01 portada catalogo hye rim lee_DEF.FH11
Transcripción
01 portada catalogo hye rim lee_DEF.FH11
HYERIMLEE HYERIMLEE Photography, Paul Nathan, 2008 HYERIMLEE CATÁLOGO Arte Contemporáneo GACMA Textos críticos Juan Antonio Álvarez Reyes Director Cecilio Rodríguez / José Luis Rodríguez Fotografías © Hye Rim Lee © GACMA, Kukje Gallery, Starkwhite Gallery, Galerie Volker Diehl, Max Lang. Marketing y Comunicación Antonella Montinaro Diseño gráfico tuimagina Impresión Lozano Impresores Traducción al inglés y alemán Sande Sistemas de Información Traducción al italiano Maria Teresa Manganaro Edición © Arte Contemporáneo GACMA 2008 Fidias, 48 29003 Málaga www.gacma.com [email protected] © SEPHA Edición y Diseño, S.L., 2008 Biedmas, 4 29008 Málaga www.editorialsepha.com [email protected] AGRADECIMIENTOS: Nuestro especial agradecimiento al artista Hye Rim Lee, Suzie Kim, Dominic Feuchs, Jan Frontzek y Chris Choi. Colaboran: Diario El Mundo Málaga, La Opinión de Málaga, ADN y Málaga Hoy. Noviembre 2008 ISBN: 978-84-96764-47-7 Depósito Legal: Producción y montaje Francisco Rodríguez Catálogo publicado en ocasión de la exposición "Hye Rim Lee" en 2008, en la galería GACMA de Málaga. Esta edición contiene una escultura múltiple en resina, numerada y firmada por el autor con textos de Juan Antonio Álvarez Reyes. Edición total de 55 ejemplares -50 ejemplares con escultura multiple en resina de 28 cm de altura numerada y firmada por el autor desde 1/50 hasta el 50/50 -5 ejemplares con escultura multiple en resina de 28 cm de altura numerada y firmada por el autor desde I/V hasta el V/V Catalog published for the "Hye Rim Lee" exhibition in 2008, at Gallery GACMA of Málaga. This edition contains a sculpture multiple in resin, numbered and signed by the author and texts by Juan Antonio Álvarez Reyes. Total edition of 55 copies - 50 copies with a sculpture multiple in resin of 28 cm tall numbered and signed by the author since 1/100 to 100/100 - 5 copies with a sculpture multiple in resin of 28 cm tall numbered and signed by the author since I/V hasta el V/V Catalogo pubblicato in occasione dell' esposizione "Hye Rim Lee" nel 2008, presso la Galleria GACMA di Málaga. Questa edizione contiene una scultura multiple in resina, numerata e firmata dall' autore e testi di Juan Antonio Álvarez Reyes. Edizione totale di 55 esemplari -50 esemplari con una scultura multiple in resina alta 28 cm numerata e firmata dall' autore, dal 1/50 fino al 50/50 -5 esemplari con una scultura multiple in resina alta 28 cm numerata e firmata dall' autore, dal I/V hasta el V/V Katalog, veröffentlicht anlässlich der Ausstellung "Hye Rim Lee" 2008 in der Galerie GACMA in Malaga. Diese Edition enthält eine mehrteilige Skulptur aus Harz, durchnummeriert und vom Autor unterschrieben, mit Texten von Juan Antonio Álvarez Reyes. Gesamtauflage 55 Exemplare -50 Exemplare mit mehrteiliger Skulptur in Harz 28 cm Höhe, durchnummeriert und vom Autor unterschrieben, von 1/50 bis 50/50 -5 Exemplare mit mehrteiliger Skulptur in Harz 28 cm Höhe, durchnummeriert und vom Autor unterschrieben, von I/V bis V/V HYE RIM LEE critical texts textos críticos testi critici kritische texte juan antonio álvarez reyes Animated myths for the new millennium(1) Juan Antonio Álvarez Reyes The history of animation is already a hundred years old(2), and we could even say that it is a media that pre-dates cinema, but starts out on its great pathway along side it. If different "machines" and creations were soon able to give movement to drawings and images and end up providing what was called "optical theater", the discovery of the photogram to photogram projection technique, together with simple tricks using the film and recording and projection devices, made emergence easier for a great evolution of a media and of a genre that has always had one foot anchored in the cinematic and entertainment industry and the other in artistic and avant-garde productions. Even though we traditionally associate animation with Walt Disney and his empire (although Japanese Anime is also present) animation has a vast history that has been linked to the artistic and visual avant-garde, making up perhaps one of the last media to be explored on the path to assimilation that modern art and museums have started out on decades ago, firstly with photography and then with cinema. In a world dominated by visual culture development of specific computer programs has made expansion and use of this media extremely easy for a number of artists who, raised in the entertainment industry (based firstly on animation) and then educated with videogames, use the tools currently available for narrating today's stories. Animation brings reality down a few notches, even though it doesn't eliminate it totally, which then opens the door to fiction, in each and every one of its variants. Animation has also recently expanded into new territories. Therefore it should not be unexpected that it has also come into the artistic scene. This is due to several things: The first one has to do with the history of animation, spread over more than one hundred years, and its approximations to avant-garde art and experimental cinema during different periods of the twentieth century. During different times of the twentieth century and in different places in the World there have been important animators who have had a clear-cut experimental and avant-garde vocation. Therefore there is a historic tradition that has marked this close relationship between visual arts and animation. On the other hand is the tight link with cinema and, above all, with some of the innovative experiences born in this field. So then it is not rare, at a time such as ours, in which screens (public (1) Text based on essays published at the four exhibits I have been curator for in the last years in the area of modern art: Sesiones animadas (CAAM, Las Palmas y MNCARS, Madrid 2005), Historias Animadas (Caixaforum, Barcelona, Sala Rekalde, Bilbao and Le Fresnoy, Tourcoing, 2006-2007), Fantasmagoría (Fundación ICO, Madrid, 2007) and Geopolíticas de la animación (CAAC, Sevilla y MARCO, Vigo, 2007-2008). The title refers to an essay by Antonia Levi. (2) For example, please see these two histories of animation: Giannalberto Bendazzi, Cartoons. 110 years of animation cinema. Madrid, Ocho y Medio, 2003. Or Jerry Beck (Ed.), Animation Art. From Pencil to Pixel, The History of Cartoon, Anime & CGI. London, Flame Tree Publishing, 2004. cinema) would take over today's museums and art centers, the media that has our attention also occupies an important part of them. During the last decade, together with cinema, an authentic boom of an old media has occurred due to the fact that it is closely and intimately related: drawing has been profusely used, exhibited and reclaimed. So, how do we combine them? How do we bring video-cinema and drawing together? Well, the answer seems logical and simple: by using "animated drawing". So then, what would the use of animation provide? To start with, to a large degree, it suspends reality and leads the viewer into a different world, taking away his prohibitions about the order of things and allowing him not only fantasy, tales or fiction, but by using these, and once the viewers open up, it makes an introduction to symbolism and allegory easier. A large part of this is due to our innate inclination and opening up to this media (that was constructed and fomented since childhood). On the other hand it allows us to step over that reality and not have to be limited by it regarding the physicality of the world: the artist is not limited and limitless possibilities are opened up before him, almost to the same degree as they are possible in his mind. Lastly, using it in the current artistic scene is a practice that is permeable from a critical point of view, from things ironic, sweet, crazy or even tragic. The possibilities that this hundred-year-old language offer are rediscovered and they find in our world one of the decisive moments of their history, especially in the territory of modern art and thanks to the continuous dissolution of the boundaries between reality and fiction. Animation does not only perceive the world differently, but also creates other worlds by using two powerful tools: fantasy and imagination. Could we conceive, today, by way of animation, a new claim on imagination and fantasy in the current art world, one that would allow for a critical attitude toward the World and that, at the same time, is aware of the powerful mechanisms involved in its construction and usage? The answer is yes. This is seen in works and careers of people like William Kentridge or Kara Walker, but also with animation that is less povera, from the field of 3D technologies, Hye Rim Lee is involved in critical exploration of questions dealing with modern visual culture from a complex point of view in which different approaches are used that come from post colonialism and geoaesthetics, feminism and social and cultural stereotypes Antonia Levi(3), by studying current Japanese animation, has commented that the creation of new myths is one of the basic issues in the new millennium. Hye Rim Lee also believes, as she does, in the construction of narrations regarding the new cyberfeminism (3) Antonia Levi, "New Myths for the Millennium: Japanese Animation", publicado en John A. Lent (edit), Animation in Asia and the Pacific. Indiana University Press, 2001. mythologies along with the culture of videogames. The artist is conscious of the "I am where I think" that Walter D. Mignolo(4) has studied with such detail by pointing out the importance of the geopolitical aspect of knowledge and by aiming for a state of "global coloniality". Therein lays the need to analyze those myths that take part in the images of things feminine, of sexuality, of the culture of children, of exotism and cultural stereotypes that the mass media reflect and impose. Among that mass media are, without a doubt, animations and videogames. Maureen Furniss(5), while analyzing the cultural differences, has written "when we talk of representation in animated films, in most cases, we focus on what appears on the screen. However, we should be interested just as much, or even more, in what does not appear". In her feminist analysis of representation (beyond a catalogue of racist and sexist works), Furniss believes that up until now there has not been "a better way of representing femininity and the issues relating to women" in animated works. In any case, Hye Rim Lee seems to adhere to the masculine and Western stereotypes regarding the female body and sexuality in order to change her stories (as she does with Candyland). So, in the game of combining and changing supposed naiveties that she uses in her videos, there is an intelligent union of two elements that are constitutive of animation itself in what regards cultural construction. To know: on one hand animations have been associated with an audience made up of children for decades. On the other, during the last decade, production of animated pornography has blasted off. Therefore, this iconic interrelationship that the artist has done in pieces such as Crystal City Spun (2007) and Crystal City (2008) is appropriate, since it combines apparently contradictory items: the culture of children, masculine desire, geocultural stereotypes and sex all in a media (animation) in which all these elements have been present during its already long history in constructing new and different myths. (4) Walter D. Mignolo, Local Histories/Global Designs. Princeton University Press, 2000. (5) Maureen Furniss, Art in Motion: Animation Aesthetics. John Libbey Publisher, 2008. Mitos animados para el nuevo milenio(1) Juan Antonio Álvarez Reyes La historia de la animación es ya centenaria(2), incluso se podría decir que es un medio que comienza con anterioridad al cine, pero que alcanza el inicio de su gran desarrollo con él. Es decir, si diversas "máquinas" e ingenios consiguieron pronto dar movimiento a dibujos e imágenes y acabar propiciando lo que se denominó como "teatro óptico", el descubrimiento de la técnica de proyección fotograma a fotograma, junto a sencillos trucos con las películas y los aparatos de grabación y de proyección, facilitaron el surgimiento y una pronta gran evolución de un medio y de un género que ha tenido siempre un pie en la industria cinematográfica y del entretenimiento y otro en la producción artística y de vanguardia. Aunque tradicionalmente asociemos los dibujos animados a Walt Disney y a su imperio (también al anime japonés), la animación posee una amplia historia que ha estado ligada a la vanguardia artística y visual, conformando quizás uno de los últimos medios por explorar en el camino de asimilación que el arte contemporáneo y los museos emprendieron hace unas décadas en relación primero con la fotografía y después con el cine. En un mundo dominado por la cultura visual, el desarrollo de programas informáticos específicos ha facilitado la expansión y la utilización de este medio por numerosos artistas, que nacidos en la industria del entretenimiento, basada primero en los dibujos animados, y educados posteriormente en los videojuegos, utilizan estas herramientas puestas actualmente a su disposición para narrar historias actuales. La animación rebaja el nivel de realidad, aunque no la elimina del todo, lo que abre la puerta a la ficción con todas sus variantes. Recientemente, además, la animación no deja de expandirse por nuevos territorios. No es de extrañar, por tanto, que haya entrado también en el escenario artístico. Esto ha sido así por varias razones. La primera tiene que ver con la propia historia de la animación, con sus más de cien años de historia, y sus aproximaciones en distintos periodos del siglo pasado al arte de vanguardia y al cine experimental. Ha habido importantes realizadores de animación con una clara vocación experimental y vanguardista durante distintos momentos del XX y en lugares bien diferentes del planeta. Existe, por tanto, una tradición histórica que ha marcado esa cercanía y proximidad entre las artes plásticas y la animación. Por otro lado está (1) Texto basado en los ensayos publicados en las cuatro exposiciones que sobre la animación en el ámbito del arte contemporáneo he comisariado en los últimos años: Sesiones animadas (CAAM, Las Palmas y MNCARS, Madrid 2005), Historias Animadas (Caixaforum, Barcelona, Sala Rekalde, Bilbao y Le Fresnoy, Tourcoing, 2006-2007), Fantasmagoría (Fundación ICO, Madrid, 2007) y Geopolíticas de la animación (CAAC, Sevilla y MARCO, Vigo, 2007-2008). El título hace referencia a un ensayo de Antonia Levi. (2) Ver, por ejemplo, estas dos historias de la animación: Giannalberto Bendazzi, Cartoons. 110 años de cine de animación. Madrid, Ocho y Medio, 2003. O bien, Jerry Beck (Ed.), Animation Art. From Pencil to Pixel, The History of Cartoon, Anime & CGI. Londres, Flame Tree Publishing, 2004. la estrecha relación con el cine y, sobre todo, con algunas experiencias innovadoras provenientes de este campo. No es raro, por tanto, que en un momento como el actual, en el que las pantallas (el cine de exposición) acaparan las salas de los museos y centros de arte actuales, el medio que nos ocupa tenga también una importante presencia en ellos. Además, junto al cine de exposición, también en la última década se ha producido un auténtico auge de un viejo medio, el dibujo, que por su inmediatez y cercanía ha sido profusamente utilizado, expuesto y reivindicado. ¿Cómo combinarlos? ¿Cómo aunar vídeo-cine y dibujo? Pues la respuesta parece lógica y sencilla: mediante el "dibujo animado". ¿Qué aportaría, entonces, la utilización de la animación? Para empezar, suspende, en gran medida, la realidad y adentra al espectador en un mundo diferente, desarmándole de sus prevenciones sobre el orden de las cosas y permitiendo no sólo la fantasía, la fabulación o la ficción, sino que a través de ellas y ante la bajada de barreras por parte del público, facilita la introducción de lo simbólico y alegórico. Esto es así en gran parte por nuestra predisposición innata y apertura hacia este medio (en tanto construida y fomentada desde la infancia). Por otro lado, posibilita traspasar esa realidad, no tener que atenerse a ella en cuanto a la fisicidad del mundo: es decir, no limita al artista y le abre posibilidades ilimitadas, tantas casi como fueran posibles en su mente. Por último, su utilización en la escena artística actual es una práctica permeable con el sentido crítico desde la ironía, la dulzura, lo disparatado o lo trágico. Las posibilidades de este lenguaje centenario son redescubiertas y encuentran en nuestros días uno de los momentos álgidos de su historia, especialmente en el terreno del arte contemporáneo y por la continua disolución de las fronteras entre la realidad y la ficción. La animación permite no sólo percibir el mundo de manera distinta, sino también crear otros diferentes mediante dos herramientas poderosas: la fantasía y la imaginación. ¿Se puede concebir hoy, mediante la animación, una reivindicación de la imaginación y la fantasía en el arte actual, que permita una actitud crítica ante el mundo y que sea, a su vez, consciente de los mecanismos de poder en su construcción y utilización? La respuesta es afirmativa y se puede comprobar en obras y trayectorias como en las de William Kentridge o Kara Walker, pero también, desde una animación menos povera, desde el campo de la tecnología 3D, Hye Rim Lee se implica en la exploración crítica de asuntos relacionados con la cultura visual contemporánea desde una óptica compleja en la que participan diferentes enfoques provenientes del postcolonialismo y la geoestética, el feminismo y los estereotipos sociales y culturales. Antonia Levi(3), al estudiar la animación japonesa actual, ha comentado que la creación de nuevos mitos es uno de los asuntos fundamentales en el nuevo milenio. Para Hye Rim Lee también, como ella mismo afirma al construir narraciones en relación con las nuevas mitologías cyberfeministas y con la cultura de los videojuegos. La artista es conciente del "soy de donde pienso", que tan detenidamente ha estudiado Walter D. Mignolo(4) al señalar la importancia de la geopolítica del conocimiento y al apuntar hacia un estado de "colonialidad global". De ahí, entonces, la necesidad de analizar esos mitos que participan de las imágenes de lo femenino, de la sexualidad, de la cultura infantil, del exotismo y de los estereotipos culturales que los medios de masas reflejan e imponen. Y, entre esos medios de masas, están sin duda los dibujos animados y los videojuegos. Maureen Furniss(5), por su parte, al analizar las diferencias culturales, ha escrito que "cuando hablamos de representación en películas animadas, en la mayoría de los casos, nos fijamos en lo que aparece en pantalla. Sin embargo, debería interesarnos tanto o más lo que no aparece". En el análisis feminista que hace de la representación -más allá de un catálogo de obras racistas y machistas-, Furniss cree que no existe hasta el momento "una forma mejor de representar la feminidad y las cuestiones relativas de las mujeres" en los trabajos de animación. En cualquier caso, Hye Rim Lee parece apropiarse de los estereotipos sexuales masculinos y occidentales sobre el cuerpo femenino y sobre la sexualidad para alterar sus historias -como hace en Candyland-. Así, en el juego de combinación y alteración de supuestas ingenuidades que emplea en sus vídeos, hay una inteligente unión de dos elementos que son constitutivos de la animación en sí misma en tanto que construcción cultural. A saber: por un lado, los dibujos animados han estado asociados durante décadas a un público infantil; por otro, en la última década, se ha disparado la producción de pornografía animada. Resulta, por tanto, adecuada esta interrelación icónica que la artista realiza en piezas como Crystal City Spun (2007) y Crystal City (2008), en tanto que mezcla estados aparentemente contradictorios: la cultura infantil, el deseo masculino, los estereotipos geoculturales y el sexo a través de un medio, la animación, en el que todos estos elementos han estado ahí presentes a lo largo de su ya larga historia en la construcción de diferentes y nuevos mitos. (3) Antonia Levi, "New Myths for the Millennium: Japanese Animation", publicado en John A. Lent (edit), Animation in Asia and the Pacific. Indiana University Press, 2001. (4) Walter D. Mignolo, Local Histories/Global Designs. Princeton University Press, 2000. (5) Maureen Furniss, Art in Motion: Animation Aesthetics. John Libbey Publisher, 2008. Miti animati per il nuevo millennio(1). Juan Antonio Álvarez Reyes La storia dell'animazione è ormai centenaria(2), si potrebbe persino dire che é un mezzo che comincia prima del cinema, ma che con esso raggiunge l'inizio del suo grande sviluppo. Ossia, se diverse "macchine" e artifici riuscirono rapidamente ad imprimere movimento a disegni ed immagini ed a realizzare quello che fu chiamato "teatro ottico", la scoperta della tecnica di proiezione fotogramma per fotogramma, insieme a semplici trucchi con le pellicole e con gli apparecchi di ripresa e proiezione, favorirono la nascita e la rapida e grande evoluzione di un mezzo e di un genere che ha avuto sempre un piede nell'industria cinematografica e dell'intrattenimento ed un altro nella produzione artistica e d'avanguardia. Anche se tradizionalmente associamo i cartoni animati a Walt Disney ed al suo impero (anche all'anime giapponese), l'animazione ha una ricca storia che è stata legata all'avanguardia artistica e visiva, configurando forse uno degli ultimi mezzi per esplorare il percorso di assimilazione che l'arte contemporanea ed i musei hanno intrapreso qualche decennio fa, prima in relazione con la fotografia e poi col cinema. In un mondo dominato dalla cultura visiva, lo sviluppo di programmi informatici specifici ha favorito l'espansione e l'uso di questo mezzo da parte di numerosi artisti nati nell'industria dell'intrattenimento, basata prima sui cartoni animati ed educati posteriormente ai videogiochi, che utilizzano questi mezzi oggi a loro disposizione per narrare storie attuali. L'animazione riduce il livello di realtá, anche se non lo elimina del tutto e ciò apre la porta alla fiction con tutte le sue varianti. Inoltre, recentemente l'animazione si espande anche verso nuovi territori. Non bisogna stupirsi, perció, che sia entrata perfino nello scenario artistico. Questo si è verificato per varie ragioni. La prima è collegata alla storia stessa dell'animazione, con i suoi oltre cento anni di storia e la sua vicinanza, in periodi diversi del secolo scorso, all'arte d'avanguardia ed al cinema sperimentale. In vari momenti del XX secolo ed in luoghi molto diversi del pianeta ci sono stati importanti realizzatori di animazione con una chiara vocazione sperimentale ed avanguardista. Esiste, quindi, una tradizione storica che ha segnato questa vicinanza ed affinità tra le arti plastiche e l'animazione. D'altro canto c'è una stretta relazione con il cinema e soprattutto, con alcune esperienze innovatrici provenienti da questo campo. Non é raro, (1) Testo basato sui saggi critici pubblicati nelle quattro esposizioni di cui sono stato commissario negli ultimi anni: sull'animazione nell'ambito dell'arte contemporanea Sesiones animadas (CAAM, Las Palmas e MNCARS, Madrid 2005), Historias Animadas (Caixaforum, Barcelona, Sala Rekalde, Bilbao e Le Fresnoy, Tourcoing, 2006-2007), Fantasmagoría (Fundación ICO, Madrid, 2007) e Geopolíticas de la animación (CAAC, Sevilla e MARCO, Vigo, 2007-2008). Il titolo si riferisce ad un saggio di Antonia Levi. (2) Vedere, per esempio, queste due storie dell'animazione: Giannalberto Bendazzi, Cartoons, 110 anni di cinema d'animazione Madrid, Ocho y Medio, 2003. O anche, Jerry Beck (ed.), Arte d'animazione dalla matita al pixel, la storia del cartone animato, Anime & CGI Londra, Flame Tree Publishing 2004. quindi, che in un momento come l'attuale, in cui gli schermi (il cinema d'esposizione) si appropriano delle sale dei musei e dei centri d'arte attuali, il mezzo di cui ci stiamo occupando vi abbia anch'esso un'importante presenza. Inoltre, accanto al cinema d'esposizione, nell'ultimo decennio si é prodotta anche un'autentica fioritura di un vecchio mezzo, il disegno, che per la sua immediatezza ed accessibilità è stato ampiamente utilizzato, esposto e rivendicato. Come abbinarli? Come unire video-cinema e disegno? La risposta sembra logica e semplice: attraverso il "cartone animato". Cosa può aggiungere, dunque, l'utilizzo dell'animazione? Tanto per cominciare, arresta, in buona misura, la realtá ed introduce lo spettatore in un mondo differente, riducendo i suoi pregiudizi sull'ordine delle cose e permettendo la fantasia, l'affabulazione o la finzione, ma facilitando anche, grazie ad esse ed all'abbassamento delle barriere da parte del pubblico, l'introduzione di aspetti simbolici ed allegorici. Questo accade in buona parte per la nostra innata predisposizione ed apertura verso questo mezzo (costruita ed alimentata fin dall'infanzia). Da un'altra parte, ciò permette di superare la realtá, di non doversi adeguare ad essa per quanto attiene alla fisicitá del mondo: cioè, non limita l'artista e gli apre possibilitá illimitate, quasi altrettante quante sono possibili nella sua mente. In ultimo, il suo utilizzo nella scena artistica attuale é una pratica aperta al senso critico partendo dall'ironia, la dolcezza, l'assurdo o il tragico. Le possibilitá di questo linguaggio centenario sono riscoperte e ritrovano nei nostri giorni uno dei momenti culminanti della sua storia, specialmente nel terreno dell'arte contemporanea e per la continua dissoluzione delle frontiere tra realtá e finzione. L'animazione permette non solo di percepire il mondo in modo diverso, ma anche di creare altri mondi differenti attraverso due strumenti poderosi: la fantasia e l'immaginazione. Si può concepire oggi, grazie all'animazione, una rivendicazione dell'immaginazione e della fantasia nell'arte attuale, che permetta un atteggiamento critico davanti al mondo e che sia, a sua volta, cosciente dei meccanisimi di potere nella sua costruzione e utilizzo? La risposta á affermativa e si puó verificare in opere e traiettorie como quelle di William Kentridge o Kara Walker, ma anche, attraverso un'animazione meno povera; partendo dalla tecnologia 3d, Hye Rim Lee si impegna nell'esplorazione critica di concetti collegati con la cultura visiva contemporanea secondo un ottica complessa in cui partecipano differenti approcci provenienti dal post-colonialismo e la geoestetica, il femminismo e gli stereotipi sociali e culturali. Antonia Levi(3), studiando l'animazione giapponese attuale, ha commentato che la (3) Antonia Levi, "New Myths for the Millennium: Japanese Animation", publicado en John A. Lent (edit), Animation in Asia and the Pacific. Indiana University Press, 2001. creazione di nuovi miti è una delle questioni fondamentali del nuovo millennio. Ciò vale anche per Hye Rim Lee, come lei stessa afferma costruendo narrazioni collegate con le nuove mitologie cyberfemministe e con la cultura dei videogiochi. L'artista è cosciente di quel "sono di dove penso", che Walter D. Mignolo(4) ha studiato tanto a fondo, segnalando l'importanza di una geopolitica della conoscenza e indicando che si va verso uno stato di "colonialitá globale". Nasce da ciò, dunque, la necessitá di analizzare quei miti che partecipano delle immagini della femminilità, della sessualità, della cultura infantile, dell'esotismo e degli stereotipi culturali che i nuovi massmedia riflettono ed impongono. E, tra questi massmedia, si trovano indubbiamente i cartoni animati e i videogiochi Da parte sua, Maureen Furniss(5) nell'analizzare le differenze culturali, ha scritto che "quando parliamo di rappresentazione in film d'animazione, nella maggior parte dei casi ci interessiamo di ciò che appare sullo schermo. Invece, dovremmo interessarci altrettanto, se non di più, di quello che non vi appare". Nella sua analisi femminista della rappresentazione - al di là di un catalogo di opere razziste e maschiliste-, Furniss crede che non esista fino ad oggi "un modo migliore di rappresentare la femminilità e le questioni relative alle donne" nei lavori di animazione. In ogni caso, Hye Rim Lee sembra appropriarsi degli stereotipi sessuali maschili e occidentali sul corpo femminile e sulla sessualità per alterare le sue storie -come fa in Candyland-. Così, nel gioco delle combinazioni ed alterazioni di presunte ingenuità che impiega nei suoi video, c'è un'intelligente unione di due elementi che sono costitutivi dell'animazione in sé in quanto costruzione culturale. Cioè, da una parte i cartoni animati, per decenni associati ad un pubblico infantile; dall'altra il boom della produzione di pornografia animata negli ultimi dieci anni. Appare, quindi, adeguato il collegamento iconico che l'artista realizza in pezzi come Crystal City Spun (2007) ed in Crystal City (2008), mescolando stati apparentemente contraddittori: la cultura infantile, il desiderio maschile, gli stereotipi geoculturali ed il sesso, attraverso un mezzo, l'animazione, in cui tutti questi elementi sono stati sempre presenti durante la sua ormai lunga storia nella costruzione di differenti e nuovi miti. (4) Walter D. Mignolo, Local Histories/Global Designs. Princeton University Press, 2000 (5) Maureen Furniss, Art in Motion: Animation Aesthetics. John Libbey Publisher, 2008 Animierte Mythen für das neue Millennium(1) Juan Antonio Álvarez Reyes Die Geschichte der Animation blickt bereits auf mehr als ein Jahrhundert zurück(2), man kann sogar sagen, dieses Medium ist älter als das Kino, wenn auch seine großartige Entwicklung gleichzeitig mit diesem begann. Das heißt, wenn auch verschiedene "Maschinen" und Erfindungen früh in der Lage waren, Zeichnungen und Bildern Bewegung zu geben und es schließlich zu dem brachten, was man "optisches Theater" nennt, so haben doch die Erfindung der Projektionstechnik Fotogramm für Fotogramm gemeinsam mit simplen Tricks an den Filmen und den Aufnahme- und Wiedergabegeräten für Aufstieg und eine baldige großartige Entwicklung eines Mediums und eines Genres gefördert, das ständig einen Fuß in der kinematografischen und der Unterhaltungsindustrie und den anderen in der künstlerischen Produktion und der Avantgarde stehen hatte. Obwohl wir traditionell Zeichentrickfilme mit Walt Disney und seinem Imperium (auch mit den Animationen aus Japan) in Verbindung setzen, besitzt die Animation eine lange Geschichte, die an die künstlerische und visuelle Avantgarde geknüpft ist und vielleicht ist sie eines der letzten Medien, die auf dem Wege der Assimilation, welchen die zeitgenössische Kunst und die Museen vor einigen Jahrzehnten zunächst hinsichtlich der Fotografie, anschließend des Kinos eingeschlagen haben, erforscht werden müssen. In einer Welt, die von der visuellen Kultur beherrscht wird, hat die Entwicklung spezieller Computerprogramme die Verbreitung dieses Mediums und seine Nutzung durch zahlreiche Künstler gefördert, die sich der Unterhaltungsindustrie angeschlossen haben, welche zunächst auf animierten Bildern beruht, um sich anschließend an Videospielen weiterzubilden und diese Werkzeuge benutzen, die ihnen gegenwärtig zum Erzählen aktueller Geschichten zur Verfügung stehen. Die Animation senkt das Niveau der Realität, obwohl es diese nicht vollkommen eliminiert, was der Fiktion in all ihren Varianten Tür und Tor öffnet. In jüngster Zeit breitet sich die Animation auch über immer neue Territorien aus. Es ist von daher nicht erstaunlich, dass sie auch das künstlerische Szenarium betreten hat. Dies geschah aus mehreren Gründen. Der erste hat mit der eigenen Geschichte der Animation zu tun, mit ihrer über 100jährigen Geschichte und ihren Annäherungen wä hrend unterschiedlicher Perioden des vergangenen Jahrhunderts an die Kunst der Avantgarde und das experimentelle Kino. Es gab in der Animation wichtige (1) Der Text basiert auf den Essays, die in den vier Ausstellungen über Animation im Ambiente der zeitgenössischen Kunst, die ich in den letzten vier Jahren betreut habe, publiziert worden sind: Sesiones animadas (CAAM, Las Palmas und MNCARS, Madrid 2005), Historias Animadas (Caixaforum, Barcelona, Sala Rekalde, Bilbao und Le Fresnoy, Tourcoing, 2006-2007), Fantasmagoría (Fundación ICO, Madrid, 2007) und Geopolíticas de la animación (CAAC, Sevilla y MARCO, Vigo, 2007-2008). Der Titel bezieht sich auf ein Essay von Antonia Levi. (2) Vgl. zum Beispiel diese beiden Geschichten der Animation: Giannalberto Bendazzi, Cartoons. 110 años de cine de animación. Madrid, Ocho y Medio, 2003. Oder auch Jerry Beck (Hrsg.), Animation Art. From Pencil to Pixel, The History of Cartoon, Anime & CGI. London, Flame Tree Publishing, 2004. Regisseure mit einer klaren experimentellen und avantgardistischen Berufung in verschiedenen Momenten des 20. Jahrhunderts und an ganz unterschiedlichen Orten unseres Planeten. Es gibt von daher eine historische Tradition, welche diese Nähe und enge Beziehung zwischen den plastischen Künsten und der Animation betont hat. Auf der anderen Seite besteht eine enge Verbindung zum Kino, und vor allem zu einigen innovativen Erfahrungen aus diesem Bereich. Es ist daher nicht verwunderlich, dass in einer Zeit wie der gegenwärtigen, in der die Bildschirme (das Ausstellungskino) die Aufmerksamkeit der Museumssäle und der Zentren der Gegenwartskunst auf sich ziehen, das Medium, das uns hier beschäftigt, hier auch eine gewichtige Präsenz aufweist. Neben dem Ausstellungskino fand im letzten Jahrzehnt auch ein tatsächlicher Aufschwung eines alten Medium statt, nämlich der Zeichnung, die ob ihrer Unmittelbarkeit und Nähe umfangreich benutzt, ausgestellt und beansprucht worden ist. Wie diese miteinander verknüpfen? Wie kann man Video-Kino und Zeichnung miteinander verbinden? Nun, die Antwort erscheint logisch und einfach: mittels "Zeichentrickfilm". Was bringt uns also der Einsatz von Animation? Zunächst hebt sie im großen Maße die Realität auf und führt den Zuschauer in eine andere Welt ein, nimmt ihm seine Voreingenommenheit über die Ordnung der Dinge ab und lässt nicht nur die Phantasie, die Fabulierung oder die Fiktion zu, sondern durch diese und angesichts eines dafür offeneren Teils des Publikums ermöglicht sie die Einführung des Symbolischen und des Allegorischen. Dies geschieht zum größten Teil aufgrund unserer inneren Prädisposition und Öffnung zu diesem Medium (seit der Kindheit eingestellt und gefördert). Andererseits ermöglicht sie ein Überschreiten dieser Realität; man muss sich, was die physischen Gesetze dieser Welt betrifft, nicht an sie halten: Das heißt, der Künstler wird nicht eingeschränkt und ihm stehen unzählige Möglichkeiten offen, beinahe so viele wie in seinem Geiste möglich sind. Zuletzt ist ihr Einsatz in der künstlerischen Szene eine Praxis, die im kritischen Sinne durchlässig ist für Ironie, Süße, Unsinn oder Tragik. Die Möglichkeiten dieser hundertjährigen Sprache sind offenkundig und stehen in unserer Zeit auf einem Höhepunkt ihrer Geschichte, ganz besonders auf dem Gebiet der zeitgenössischen Kunst und ob der ständigen Verwischung der Grenzen zwischen Realität und Fiktion. Die Animation ermöglicht es nicht nur, die Welt in einer anderen Weise wahrzunehmen, sondern auch, weitere unterschiedliche Welten mit Hilfe von zwei mächtigen Werkzeugen zu schaffen: Phantasie und Einbildungskraft. Kann man heute mittels der Animation in der Gegenwartskunst einen Anspruch der Einbildungskraft und der Phantasie erheben, der eine kritische Haltung der Welt gegenüber zulässt und sich gleichzeitig der Machtmechanismen bei seiner Konstruktion und seinem Einsatz bewusst ist? Die Antwort ist zustimmend und kann anhand von Arbeiten oder Werdegängen wie die von William Kentridge oder Kara Walker überprüft werden, aber auch mit einer weniger realitätsnahen Animation im Technologiebereich 3D lässt sich Hye Rim Lee hineinziehen in die kritische Untersuchung der Dinge, die im Zusammenhang mit der zeitgenössischen visuallen Kultur stehen, und das aus einer komplexen Sichtweise, an der die verschiedenen Brennpunkte beteiligt sind, die mit dem Postkolonialismus und der Geoästhetik, dem Feminismus sowie den sozialen und kulturellen Stereotyen zu tun haben. Antonia Levi(3) hat anlässlich ihrer Untersuchung der gegenwärtigen japanischen Animation bemerkt, dass die Schaffung neuer Mythen zu den wichtigsten Angelegenheiten des neuen Jahrtausends gehört. Für Hye Rim Lee gilt dies auch, wie sie selbst behauptet, wenn sie Erzählungen konstruiert im Zusammenhang mit den neuen cyberfeministischen Mythologien und der Kultur der Videospiele. Die Künstlerin ist sich des "ich bin woher ich denke" bewusst, das so eingehend von Walter D. Mignolo(4) untersucht wurde, als er die Bedeutung einer Geopolitik des Wissens aufzeigte und bis zu einem Zustand einer "globalen Kolonialität" gelangte. Von daher also besteht eine Notwendigkeit, diese Mythen zu analysieren, die von den Bildern des Feminismus, der Sexualität, der Kinderkultur, der Exotik und der kulturellen Stereotypen partizipieren, welche die Massenmedien reflektieren und aufdrängen. Und zu diesen Massenmedien gehören zweifellos auch die Zeichentrickfilme und die Videospiele. Maureen Furniss(5) ihrerseits hat, als sie die kulturellen Unterschiede analysierte geschrieben dass, wenn wir, wenn wir über die Repräsentation von Animationsfilmen reden, in den meisten Fällen uns darauf konzentrieren, was auf dem Bildschirm zu sehen ist. Es sollte uns aber ebenso sehr oder noch mehr das interessieren, was nicht zu sehen ist. Bei der feministischen Analyse über die Repräsentation, weit mehr als ein Katalog rassistischer oder Macho-Werke, glaubt Furniss, dass es bis jetzt "keine bessere Form der Darstellung der Fraulichkeit und der Frauenfragen" bei den animierten Arbeiten gibt. Auf jeden Fall scheint Hye Rim Lee sich die männlichen und westlichen Sexualstereotypen über den weiblichen Körper und die Sexualität angeeignet zu haben, um ihre Geschichten zu entstellen -wie geschehen in Candyland-. So liegt im Spiel der Kombination und Veränderung angeblicher Naivitäten, das sie in ihren Videos einsetzt, (3) Antonia Levi, "New Myths for the Millennium: Japanese Animation", veröffentlicht in John A. Lent (Hrsg.), Animation in Asia and the Pacific. Indiana University Press, 2001. (4) Walter D. Mignolo, Local Histories/Global Designs. Princeton University Press, 2000. (5) Maureen Furniss, Art in Motion: Animation Aesthetics. John Libbey Publisher, 2008. eine intelligente Verbindung von zwei Elementen, die konstitutiv für die Animation als solche wie auch als kulturelle Konstruktion sind. Zur Erläuterung: Einerseits wurden die Zeichentrickfilme jahrzehntelang einem kindlichen Publikum zugeordnet; andererseits ist innerhalb der letzten Dekade die Produktion von animierter Pornografie sprunghaft gestiegen. Von daher scheint diese ironische Wechselbeziehung angebracht, welche die Künstlerin in Stücken wie Crystal City Spun (2007) und Crystal City (2008) realisiert, indem sie offenbar widersprüchliche Zustände miteinander vermengt: die Kinderkultur, die männliche Sehnsucht, die geokulturellen Stereotypen und den Sex über ein Medium, nämlich die Animation, bei dem all diese Elemente im Verlaufe seiner nun schon langen Geschichte der Konstruktion anderer und neuer Mythen vorhanden waren. HYE RIM LEE photography fotografía fotografia fotographie crystal city Touch My Tit, 79 x 39.68 inch Dragon YONG, white 63.53 x 72 inch Dragon YONG with Unicorn Horn, white, 72 x 72 inch Whiskers, Unicorn Horn and Curly Spikes, white, 72 x 72 inch Crystal City 2, white, 72 x 72 inch Bunny Wired, white, 72 x 68.82 inch Dragon YONG Whips TOKI, white, 72 x 68.47 inch Giant Towers, white, 72 x 62.82 inch Touch My Nipple, red, 72 x 65.65 inch Stretchy Bunnies, red, 72 x 56.4 inch Yellow Flower Ring and Pink Bunny, red, 72 x 54.8 inch Crystal City 2, red, 72 x 72 inch Dragon YONG Whips TOKI, black, 72 x 68.47 inch Chess, black, 72 x 60 inch Yellow Flower Ring, Black, 72 x 66.35 inch Crystal City 3, black, 72 x 56.25 inch Whiskers, Unicorn Horn and Curly Spikes, crystal, 72 x 72 inch Dragon YONG, crystal, 63.53 x 72 inch Chess, crystal, 72 x 60 inch Yellow Flower Ring, black, 72 x 66.35 inch Sleeping Beauty, rubber, 72 x 60 inch Bunny Wired, rubber 72 x 68.82 inch Bunny Wired, rubber, 72 x 68.82 inch Dragon YONG Whips TOKI, rubber, 72 x 68.47 inch Crystal City 3, rubber, 72 x 56.25 inch Like my tongue?, blackrubber, 72 x 54.9 inch Touch My Tit, crystal, 72 x 60 inch Whiskers, Unicorn Horn and Curly Spikes, blackrubber, 72 x 72 inch Dragon YONG with Unicorn Horn, blackrubber, 72 x 72 inch Chess, blackrubber, 72 x 60 inch Dragon YONG with Unicorn Horn, frost, 72 x 72 inch Dragons Whiskers, frost, 36.64 x 72 inch Dragon YONG, frost, 63.53 x 72 inch Yellow Flower Ring and Pink Bunny, frost, 72 x 54.8 inch Yellow Flower Ring, frost , 72 x 66.35 inch Touch My Nipple, frost, 72 x 65.65 inch Bunny Wired, frost, 72 x 68.82 inch Crystal Diehl Projects, Galerie VolkerMax Diehl, Berlin, 2008New York, 2008 Hye RimCity, Lee,installation at the soloshot, exhibition Crystal City opening, Lang Gallery, HYE RIM LEE photography fotografía fotografia fotographie candyland Candyland 2006, Installation view, Kukje Gallery, Seoul 2007 Candyland 2006, 3D animation, Digital Photography, C print, Custom made frame with car spray painted, 70 x 70 cm Candyland, installation view, Adam Art Gallery, Wellington, 2008 Candyland, installation view, Art Chicago, Chicago, 2007 Candyland 2006, Installation view, Kukje Gallery, Seoul 2007 HYE RIM LEE v v v v i i i i d d d d e e e e o o o o crystal city spun Crystal City Spun. Video still, 3D animation projection with surround sound, 3'15" loop DVD. 2008 Crystal City Spun, installation view, Max Lang Gallery, New York, 2008 HYE RIM LEE video video video video obsession/love forever Obsession/Love Forever 2007 Video still 8 channel 3D animation installation with sound 3D animation, looped DVD, 1 min Courtesy the artist, Starkwhite Auckland, and Kukje Gallery Seoul Obsession/Love Forever is funded by Screen Innovation Production Fund (a partnership between Creative New Zealand and The NZ Film Commission) and Asia NZ Foundation. Obsession/ Love Forever Installation videw, Starikwhite, Auckland 2007 HYE RIM LEE video video video video prince g Prince G, video still, 2006. Courtesy the artist, Starkwhite, Auckland and Kukje Gallery, Seoul Prince G, installation view, SSamzie Space, Seoul, 2006. Courtesy the artist, Starkwhite, Auckland and Kukje Gallery, Seoul HYE RIM LEE video video video video super toy Super Toy, video still, 2005. Courtesy the artist, Starkwhite, Auckland and Kukje Gallery, Seoul Super Toy, installation view, The Gus Fisher Gallery, Auckland, 2005. Courtesy the artist, Starkwhite, Auckland and Kukje Gallery, Seoul HYE RIM LEE video video video video powder room Powder Room, video still, 2005. Courtesy the artist, Starkwhite, Auckland and Kukje Gallery, Seoul Powder Room, installation view, The Gus Fisher Gallery, Auckland, 2005. Courtesy the artist, Starkwhite, Auckland and Kukje Gallery, Seoul HYE RIM LEE video video video video lash Lash, video still, 2005. Courtesy the artist, Starkwhite, Auckland and Kukje Gallery, Seoul Lash, installation view, The Gus Fisher Gallery, Auckland, 2005. Courtesy the artist, Starkwhite, Auckland and Kukje Gallery, Seoul Lash, installation view, Campbelltown Arts Centre, Sydney, 2008 HYE RIM LEE video video video video boom boom: super heroine super beauty BOOM BOOM: super heroine super beauty Installation view, out door projection in St. Pauls Street, Auckland Festival, AK05 Auckland, 2005 BOOM BOOM: super heroine super beauty, Video stills, 2004 BOOM BOOM: super heroine super beauty Installation view, Starkwhite, Auckland, 2004 BOOM BOOM: super heroine super beauty Installation view, Prospect, Biannual Contemporary Art New Zealand, Mediaplex, New Zealand Film Archive, Wellington, 2004 HYE RIM LEE performance performance performance performance crystal beauty: electro doll Stills from documentary film 'TOKI does New York', director Dan Salmon, photography Ben Freedman HYE RIM LEE performance performance performance performance pink glitter pantyhose Pink Glitter Pantyhose, Hye Rim Lee and Jed Town, still from performance, Starkwhite, Auckland 2007. Photography, Jennifer French HYE RIM LEE biography biografía biografia biographie Photography, Paul Nathan, 2007 Hye Rim Lee www.hyerimlee.com Lives and works in New York and Auckland New Zealand EDUCATION 2003 Bachelor of Fine Arts (Intermedia) Elam School of Fine Arts, The University of Auckland, New Zealand 1985 Bachelor of Music (Voice) Ewha Women's University, Seoul, Korea SELECTED SOLO EXHIBITION 2008 Crystal City, GACMA, Málaga Crystal City, Diehl Projects, Galerie Volker Diehl, Berlin Crystal City, Max Lang Gallery, New York 2007 BOOM BOOM: super heroine super beauty, 24HR ART -The NT Centre for Contemporary Art, Darwin, AUS Obsession/ Love Forever, Starkwhite, Auckland 2006 Candyland, Starkwhite, Auckland 2005 Super Toy, Show, Wellington Powder Room, The Gus Fisher Gallery, Auckland BOOM BOOM: super heroine super beauty, St Pauls Gallery outdoor screen, AK05, Auckland 2004 BOOM BOOM: super heroine super beauty, Starkwhite, Auckland 2003 The Birth of TOKI: hundreds and thousands, Starkwhite, Auckland Bunny Boom, Rip Shit and Bust Gallery, Auckland 2002 Hello Toki ;), Moving Image Centre, Auckland SELECTED GROUP EXHIBITION 2008 Ciencia Tecnologia Arquitectura, Asociacion de Galerias Andaluzas de Arte Contemporaneo, Sevilla Summer Group Exhibition, Max Lang Gallery, New York The Joy of Sex, White Square Gallery, Las Vegas, curator: Johannes M. Hedinger The Subject Now, Adam Gallery, Wellington, curator; Tina Barton Mirror States, Campbelltown Arts Center, Sydney, curator: Kathy Cleland Videotheque, Art Unlimited, Art Basel Contemporary Korean Art from the National Museum, Korean Cultural Centre, London Art-Speak: Works from The University of Auckland Art Collection, The Gus Fisher Gallery, Auckland Light Box, Italy and Kitchens, Auckland Full Circle: Elam Graduates from The University of Auckland Collection, Auckland Luxury of Love, Vanina Holasek Gallery, New York, curator: Davide Centineo 2007 ISCP Open Studio Weekend, International Studio & Curatorial Program, New York, curator: Sara Reisman Business and Pleasure volume 2, International Studio & Curatorial Program, New York, curator: Rita Palma The New Media Festival 07, Hardcore Art Contemporary Space, Miami Shall We Smell? Space C, Coreana Meseum of Art, Seoul, Korea, curator; Myung Jee Bae Videoteque, Art Unlimited, Art Basel, Basel Group Show Part 2, Kukje Gallery, Seoul 2006 The sea that has two names, video art from Korea, Casa Asia, Barcelona, curator: Cristina de la Fuente, Manu Park Trust Waikato National Contemporary Art Award, Waikato Museum of Art and History, Hamilton Power Ball 6, The Power Plant Contemporary Art Gallery, Toronto OFF LOOP '06 Festival, New Zealand Scapes, Espai Liceu, Barcelona, curator: Mercedes Vicente OFF LOOP '06 Festival, Busan Biennale 2006, Casa Asia, Barcelona, curator: Manu Park The Original Neo Aesthetics of Animamix MoCA Shanghai, China, curator: Victoria Lu EXPOSED: black box & crystal ball, cross-cultural contemporary media art project in public sites, London, curator: Ji Yoon Lee Animamix, Hangzhou The 2nd China International Cartoon and Animation Festival, Hangzhou, China Open Studio Exhibition, SSamzie Space, Seoul, Korea Fiction@Love / Forever Young Land, MoCA Shanghai, China, curator: Victoria Lu 2005 Paradiso D'amore: New Aesthetics of Animamic Age, The Hangzhou West Lake Expo Museum, Millennium Museum, Beijing, Guangdong Museum of Art, Guangzhou, China, curator: Victoria Lu MadeKnown, UTS gallery, Sydney The TSB Collection Show, Govett-Brewster Art Gallery, New Plymouth 2004 Break/Shift, Govett-Brewster Art Gallery, New Plymouth, curator: Greg Burke, Simon Rees Telecom Prospect 2004: New Art New Zealand, City Gallery Wellington, Mediaplex, NZ Film Archive, Wellington, curator: Emma Bugden Water Works, RM 103, Auckland 2003 ICECA - Initiative for Cultural Exchange and Computer Arts, CHIANGMAI FIRST NEW MEDIA ART FESTIVAL, CMU Art Museum, Chiang Mai, Thailand Intersculpt, Snowwhite Gallery, Auckland Extra Lives, a selection of works from Arcadia exhibition at Govett-Brewster Art Gallery, the Gus Fisher Gallery, Auckland Sublime Metaphor, Oxford Museum, England, Leedy Voulkos Gallery, Kansas City, USA, curator: Jan White Portraiture, te tuhi - the mark gallery, Auckland Upfront: the foyer art project, AK03, Generator Bates office and Price Waterhouse Coopers building foyer, Auckland, curator: Derrick Cherrie, Hanna Scott Arcadia: the other life of video games, Govett-Brewster Art Gallery, New Plymouth, curator: Hanna Scott Cuckoo: Put Out More Flags! Moving Image Centre, Auckland TOKI/Cyborg, Bunny Boom, Anna Bibby Gallery, Auckland 2002 Break, Govett-Brewster Art Gallery, New Plymouth, curator: Simon Rees Hello TOKI ;), Creative New Zealand office, Auckland Nightvision, Freyberg Place, High Street, Auckland Small Time, George Fraser Gallery, Auckland Pelvic Trust 2, 37 Crummer Rd, Auckland The Bold and the Beautiful, Grantham Galleries, Auckland 2001 Elamlive@SCAPA, Kenneth Myers Centre, Auckland Streets Ahead Streets Apart, NZ Film Archive, Auckland Goggle Box, Light Box, Auckland PERFORMANCE 2008 Crystal Beauty: Electro Doll, Max Lang Gallery, New York Crystal Beauty: Electro Doll, Mighty Mighty, Wellington Crystal Beauty: Electro Doll, Campbelltown Arts Centre, Sydney 2007 Pink Glitter Pantyhose, Starkwhite, Auckland 2003 TOKILAND, Interdigitate 2003, St James Theatre, Auckland FILM SCREENING 2005 TOKINARA, Viewfinder, NZ Film Archive Window Project, Auckland TOKINARA, Rear Window Project, Dunedin Public Art Gallery, Dunedin TOKI/Cyborg, Video After Dark, Dunedin Public Art Gallery, Dunedin 2002 59 men, Bunny Cubed, I See, Channel 31, Melbourne, Australia 59 men, Film Archive Window, Auckland 59 men, ShortFuse31: A Night Of Short Film, The Classic, Auckland FILMOGRAPHY 2002 Bunny Cubed, short film, DV, 4mins 2001 E BANG IN, short film, DV, 4:40 59 men, animation, DV, 44sec Yang Sang Choo, short video, DV, 40sec 2000 Say Sexy, short video, DV, 41sec COLLECTION 2008 Candyland, Adam Art Gallery, Victoria University, Wellington Crystal City Spun, Hara Museum, Tokyo Lash, The Museum of New Zealand, Te Papa Tongarewa, Wellington Crystal City series, Mira Ricanati, New York 2007 Obsession: Love Forever, Coreana Art Museum, Seoul Crystal City series, Gallerie Volker Diehl Berlin Crystal City series, Eglantine de Ganay, Paris Crystal City series, Jean Pigozzi, New York Crystal City series, Candyland, Mira Ricanati, New York Powder Room, lips, Kevin Roberts, CEO Saatchi&Saatchi Worldwide Candyland series, Obsession/Love Forever, Saatchi & Saatchi NZ, Auckland Candyland series, Gallerie Volker Diehl, Berlin Lash, Stefan Edlis, Gael Neeson, Chicago 2006 Lash, National Museum of Contemporary Art, Gwacheon, Korea 2005 BOOM BOOM: super heroine super beauty, Govett-Brewster Art Gallery, New Plymouth The Birth of TOKI series, Ernst&Young, Auckland 2004 The Birth of TOKI series, The University of Auckland, Auckland TOKI/Cyborg, Govett-Brewster Art Gallery, New Plymouth AWARD, RESIDENCY AND COMMISSION 2008 Screen Innovation Production Fund, A partnership between Creative New Zealand and the NZ Film Commission 2007 International Studio and Curatorial Program artist in residence New York 2006 Screen Innovation Production Fund, A partnership between Creative New Zealand and the NZ Film Commission Asia NZ Foundation Fund Auckland City CBD Project public video commission Ssamzie Space Studio Programme artist in residence, Seoul, Korea 2005 Asia NZ Foundation Fund Arts Board: Creative and Professional Development, Creative New Zealand 2004 Screen Innovation Production Fund, A partnership between Creative New Zealand and the NZ Film Commission 2003 Arts Board: New Work, Creative New Zealand 2002 Elam Art Scholarship ART FAIR 2008 Crystal City, Art Basel Candyland mini, Crystal City, Sh Contemporary 08 Candyland_mini, Art HK 08 Crystal City, Art Chicago Candyland, ARCO, Madrid Crystal City, The Armory Show, New York Candyland, Art Dubai Candyland, KIAF (Korea International Art Fair 2006), Seoul 2007 Crystal City, Candyland, Art Miami Basel, Miami Crystal City, Candyland, Obsession: Love Forever, Asian Contemporary Art Fair, New York Powder Room, Candyland, Sh Contemporary 07, Shanghai Obsession/ Love Forever, Candyland, Art Basel, Basel Obsession/ Love Forever, KIAF, Seoul Candyland, Art Chicago, Chicago Lash, The Armory Show, New York Powder Room, ARCO, Spain 2006 Lash, China International Gallery Exposition 2006, Beijing Lash, KIAF (Korea International Art Fair 2006), Seoul CATALOGUE 2008 Mirror States, Campbelltown Arts Centre, Sydney 2007 Hye Rim Lee, Kyung Jeon, Hideaki Kawashima, YP, Kukje Gallery Seoul Korea 2006 Powder Room, editor: Gregory Burke, Publisher: Saatchi&Saatchi, The Gus Fisher Gallery The University of Auckland and TOKI Publications SELECTED BIBLIOGRAPHY 2008 Sue Gardiner, 'Video calls the shots', Artnews New Zealand, vol.28, pp.90-97 http://vistaartanddesign.com/news.php?news_id=163 http://www.style.com/trends_style_file/2008/04/propotion-cont.html 2007 NY Times Sunday 9 Dec 2007 http://www.nytimes.com/2007/12/09/travel/09COMdubai.html?_r=1&oref=slogin Emma Son, 'Inside Out: Examined, Exposed, Expressed', catalogue for Group Show Part Two: Hye Rim Lee, Kyung Jeon, Hideaki Kawashima, YP, Kukje Gallery Seoul Korea, pp 6-17 Whang You Mee, 'Artists expose personal identities' The Korea Herald, February 15 Park Soo Mee, 'Four Artists' Twisted Takes on Reality', Joong Ang Daily, February 16 2006 Charlotte Huddleston, 'From the powder room' Powder Room catalogue, pp.3-7 Ron Hanson, 'Re-Channelling Desire - the Creation of Prince G', White Fungus, issue 7 December, pp. 63-64 Dr. Barry King, 'Cybernetics and Sex', Powder Room catalogue, pp.23-25 Jaenine Parkinson, 'Beautification and Regulation', Powder Room catalogue, pp.19-21 Lash, Super Toy, Powder Room', aen journal, issue 2: creativity and ethnic communities, December, available on line at www.aen.org.nz John Hurrell, 'Too much work - but still some treats', Trust Waikato National Contemporary Art Award, Artbash, 7 Aug 06, available online at www.artbash.co.nz/display.asp?thread_number=793 Dr. Barry King, 'Orientalizing Sexism: Hye Rim Lee's TOKI, Afterimage, vol. 33, no.4, pp. 25-29 2005 Ron Hanson, 'Fantasy and Confrontation', White Fungus, issue 5, December, pp.22-27 T.J McNamara, 'Stacks of style and horsepower', New Zealand Herald, December 14, p.B5 Natasha Conland, 'Passing Through: A Base in New Zealand Art'. Broadsheet: Adelaide, vol.34 no.2, June-August 2005, pp.84-86 Andrew Clifford, 'TOKI the alien bunny grows into a woman', New Zealand Herald, June 15, p.B6 T.J McNamara, 'Transformations are executed with elegance, yet make a powerful impact', New Zealand Herald, June 1, p. B5 William McAloon, 'The Arrival Lounge', New Zealand Listener, vol.197, no. 3383, March 12-18, p.48 Simon Rees, 'Focus: Changing Address', Visit, #7, Summer/Autumn, Govett-Brewster Art Gallery, New Plymouth, p.11 2004 Rebecca Rice, 'Exhibitions, Wellington', Art New Zealand, No 112/Spring, p.52 William McAloon, 'The grand illusion' New Zealand Listener, July 17~23, vol.194, no.3349, p.46 Jaenine Parkinson, 'Hye Rim Lee', NZ Art Monthly, July ~ August, available online at http://www.nzartmonthly.co.nz Emma Bugden, 'Welcome In', Telecom Prospect 2004 exhibition online catalogue, www.telecomprospect2004.org.nz T.J.McNamara, 'The galleries: Art of saying one thing and meaning another', New Zealand Herald, March 17, p.B5 Gregory Burke, 'Recent exhibitions in New Zealand', Art & Australia, #41 no.3, p.478 2003 Hanna Scott, Arcadia: the other life of video games, Govett-Brewster Art Gallery, New Plymouth, p.30 Natasa Kruscic, 'Hye Rim Lee and The Birth of TOKI', NZ Art Monthly, December, available online at http://www.nzartmonthly.co.nz/kruscic_001.html Sue Gardiner, 'AK03, Artnotes NZ North Island', Art Monthly Australia, #165, p.37 Virginia Were, 'The graduates', Art News New Zealand, #23, p.54 Rhoda Fowler, 'Hye Rim Lee' Portraiture, te tuhi - the mark, p.27 Simon Rees, 'Point Break' Visit, #5, Govett-Brewster Art Gallery, New Plymouth, p.5