Mire Lee

Born 1988 in Seoul (South Korea),
lives and works in Amsterdam (Netherlands)

Mire Lee’s motorised sculptures evoke dysfunctional organic machines. Mistreated and abused, some reproduce aerobic movements while others crawl around, twisting on the ground or revealing viscous liquids (grease, oil, glycerin…) that circulate and spread through the moving tangles of pipes and cables. Reflecting the artist’s ambiguous affective relationship with her materials, which include steel, silicone, plaster, plastic and clay, these works explore the tension between attraction and repulsion, love and hatred, gentleness and violence, domination and submission. Antagonistic impulses and emotions materialise in the form of low-tech sculptural representations devised for specific sites. Extending a previous work entitled Andrea, Ophelia, at the Endless House (2018) and drawing inspiration from the reference to vore — a fetishistic practice that involves wanting to swallow or be swallowed by the other —, her work explores the act of devouring as the ultimate way of uniting. Suspended or reclined in a pit, two sculptures evoke mechanical bodies whose tortured movements induce a sense of discomfort.

With the support of the Ministry of Culture, Sports & Tourism of Korea (MCST), Korea Arts Management Service (KAMS), and the grant program Fund for Korean Art Abroad (FKAA)
With the assistance of Centre Culturel Coréen

Mire Lee, Saboteurs (détail), 2019. Courtesy de l’artiste, de la Biennale de Lyon 2019 [of the artist, the 2019 Lyon Biennale]. © Blaise Adilon