Mire Lee: Carriers at Tina Kim Gallery, NYC (Video + Images)


Video presentation of Mire Lee: Carriers at the Tina Kim Gallery

Mire Lee: Carriers at Tina Kim Gallery, installation view, NYC, 2022.
Mire Lee: Carriers at Tina Kim Gallery, installation view, NYC, 2022.
Mire Lee: Carriers at Tina Kim Gallery, installation view, NYC, 2022.
Mire Lee: Carriers at Tina Kim Gallery, installation view, NYC, 2022.
Mire Lee: Carriers at Tina Kim Gallery, installation view, NYC, 2022.
Mire Lee: Carriers at Tina Kim Gallery, installation view, NYC, 2022.
Mire Lee: Carriers at Tina Kim Gallery, installation view, NYC, 2022.
Mire Lee: Carriers at Tina Kim Gallery, installation view, NYC, 2022.

Mire Lee: Carriers at the Tina Kim Gallery
September 15—October 22, 2022

Images courtesy of Tina Kim Gallery and Mire Lee

For his first personal exhibition with the Tina Kim Gallery, Mire Lee presents Carriersthe continental debut of his eponymous work presented at Art Sonje, Korea in 2020, and at the Schinkel Pavilion in 2021.

In the front gallery, a spectral video of Lee’s mother is projected onto a molded monolithic form, connected by a sliding curtain, and other grayscale sculptural casts, molded from functional objects that “carry” into their daily use.

Deeper in space, Lee’s quasi-biomorphic “carriers” lurk suspended behind a filthy, labyrinthine wall of used concrete molds, squirting unidentifiable fluid from a circulatory pump system commonly used in treatments for dialysis and industrial manufacturing. A long reservoir catches the fleshy discharge, accumulating before it is spat out by the endless, regurgatory struggle of the transporters.

A telling reference for Lee is vore, a fetish involving the impossible urge to swallow the object of one’s desire in a total annihilation of the boundary between self and other, requiring supreme violence. Rather than offering a clear aggressor or willing party, Carriers, both the work and the exhibition, leans instead towards an uncompromising partiality, recalling the familiar or the corporeal in its gushing cavities without committing to a single, identifiable form. It runs concurrently with Lee’s inclusion at the Venice Biennale, Busan Biennale and 58th Carnegie International, in addition to his two solo exhibitions at MMK Frankfurt and Kunstmuseum Den Haag in 2022.

ABOUT MIRE LEE

Mire Lee (born in 1988) lives and works between Seoul, South Korea and Amsterdam, Netherlands. She received a bachelor’s degree from the Department of Sculpture (2012) and a graduate degree in Media Art (2013) from Seoul National University College of Fine Arts. Recent solo exhibitions include: As we lay die at Kunstmuseum Den Haag, The Hague (2022), Look, I’m a Fountain of filth raving mad with love at ZOLLAMTMMK, MMK Frankfurt (2022), Carriers at Art Sonje Center, Seoul (2020), words were never enough, Lily Roberts, Paris (2020), Het is of de stenen spreken, Casco Art Institute, Utrecht (2019) and War is Won by Sentiment Not by Soldiers, Insa Art Space, Seoul (2014) .

Lee’s work has also been featured in group exhibitions including: 58th Carnegie International (2022), Busan Biennale (2022), 59th Venice Biennale International Art Exhibition (2022), Schinkel Pavillion, Berlin (2021), Kunstverein Freiburg, Freiburg (2021), Het HEM, Zaandam (2021), Marwan, Amsterdam (2020), Antenna Space, Shanghai (2020), Niet Normaal Foundation, Den Bosch (2020), Laurel Project Space, Amsterdam (2019), the 15 Biennale de Lyon, Lyon (2019), Art Sonje, Seoul (2019) and the 12th Gwangju Biennale Pavilion Project (2018. She participated in residencies at the Rijksakademie van beeldende kunsten, Amsterdam (2018); Seoul Museum of Art (SeMA Nanji Residency) (2017, Cité internationale des arts, Paris (2015), and was the recipient of a special prize at the 2021 Future Generation Art Prize.

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The press release and photographs are courtesy of the gallery and the artists.




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