Monthly Archives: April 2014

Between Savage and Civilized: Negotiating a Space for Indigenous Art in the 21st Century — at NYU

Between Savage and Civilized: Negotiating a Space for Indigenous Art in the 21st Century
Co-presented by the Asian/Pacific/American Institute at NYU and NYU Draper Program

Tuesday, April 29, 2014

A/P/A Institute at NYU
8 Washington Mews

What does it mean to be an “Indigenous artist” working between his/her own community and the contemporary global art world? To what degree has the global art world embraced the “tribal”, and the “tribal” interfaced with western art? These are some of the questions Brett Graham will explore, drawing from examples in his own work, and recent indigenous art exhibitions such as Sakahan: International Indigenous Art. Mario Caro (Assistant Professor/Faculty Fellow, NYU Draper Program) provides an introduction.


Image credit: Jennifer French.

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Cai Jin at Chambers Fine Art, NYC — April 17-May 31, 2014


Cai Jin, Landscape No.54, Oil on canvas, 2012

Cai Jin: Return to the Source

April 17 – May 31, 2014
Opening Reception: Thursday, April 17, 6 – 8 pm

522 West 19th Street, New York

Chambers Fine Art is pleased to announce the opening on April 17, 2014 of Return to the Source by Cai Jin.  This exhibition of works from her Landscape series will be her first at Chambers Fine Art in New York. Widely recognized as one of the most distinctive painters of her generation, Cai Jin first attracted critical attention in the early 1990s with her paintings of meirenjiao (translated as “Banana Plant”).  Inspired by a dying plant that she saw in her native Anhui province in 1990, she has painted close to 400 variations on this theme between 1991 and the present day.

This continued throughout her stay in New York between 1997 and 2007, a period that was not always easy for her. Lacking proficiency in English, establishing a career in an alien environment, giving birth to a child and going through a separation all left their mark on her work which was expressive of a heightened emotional state. As one of the few Chinese female artists to have emerged during this period, she produced a highly personal body of work that differed widely in its thematic content from the politically oriented oil painting of her male contemporaries that gained such a wide following.

Even at a time, however, when the lush vegetation of the banana plant mostly filled the surface of the canvas, there were occasional glimpses of the background, patterned and textured surfaces that gave rise to several small paintings that she referred to as landscapes.  In 2003, while still living in New York, she painted a single larger version of this theme. Since 2008 landscapes have largely replaced the meirenjiao as the focus of her attention. Varying greatly in scale and in palette, these paintings are not landscapes in the conventional sense. They have been described as “landscapes of the mind, the result of countless hours of wandering on the surface of the canvas wherever her intuitive grasp of the medium guides her. These journeys without destination are like long walks through imaginary landscapes, an activity that causes her a great deal of personal happiness. She loses herself in her painting in a totally agreeable way, the finished works reflecting a new level of psychic satisfaction that mirrors her new-found self-confidence and satisfaction with life as it is.”  The landscapes are all characterized by a painterly quality that is rare in China today.

Contrasting with the expansive landscapes is a suite of drawings of pears dating from 2012.  Whereas the landscapes are expansive and festive in feeling, the drawings are tightly controlled, the forms of the fruit emerging from countless layers of small, circular strokes. Representing two aspects of her art, the oil paintings and works on paper are nonetheless united by the distinctive movement of her hand which can be utilized to create intense studies of the real world (the drawings of fruit) and evocative landscapes that incite an imaginative response on the part of the viewer.

For more information, please contact the gallery at 212-414-1169

Chambers Fine Art

522 West 19th Street

New York, NY 10011

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Jakkai Siributr — Transient Shelter — April 17 – May 31, 2014, Tyler Rollins Fine Art, NYC

Tyler Rollins Fine Art


APRIL 17 – MAY 31, 2014

Rollins Fine Art is pleased to present Transient Shelter, an exhibition of new works by Jakkai Siributr, taking place at our gallery in New York City from April 17 – May 31, 2014. The public is cordially invited to the opening reception on Thursday, April 17, from6:00 to 8:00 pm. The artist will be in attendance.

Jakkai has long been known as one of Thailand’s leading artists working with textiles, producing meticulously handmade tapestry and installation works that make powerful statements about religious, social, and political issues in contemporary Thailand. A main preoccupation of his art is the interaction between Buddhism and materialism in modern life, and the everyday popular culture of Thailand. In recent years, he has incorporated other materials and media in his work, including industrial and found materials, sound, and video. For Transient Shelter, Jakkai has produced a series of self-portrait photographs that have him “embodying” the elaborately embroidered and ornamented uniforms that are also part of the exhibition, along with a video work.

The exhibition is a meditation on the transience of worldly success and the way the trappings of social status are often imbued with quasi-mystical associations that maintain a link with animistic beliefs. With the photographs, Jakkai adopts poses taken from portraits of his ancestors, many of whom served as royal courtiers and in some cases had their lives cut short by the sometimes tragic vicissitudes of Thai political history. Wearing Thai civil service uniforms decked out with awards, he evokes the type of formal portrait photographs that are included in the funeral books that Thai families compile to commemorate the lives of relatives, and that typically emphasize the deceased person’s social status. Jakkai has encrusted the actual uniforms with elaborate ornaments that are inspired by Buddhist amulets and animist talismans, hinting at the deep-seated beliefs that underlie current social conventions. With some of the portraits, Jakkai poses in front of dilapidated backgrounds, pointing to the process of decay and rebirth that alludes to the cycle of life and death, as well as perhaps the state of social breakdown in today’s fractious Thailand. The exhibition title itself suggests that social status, like everything else in life, is but a transitory phase. This sense is heighted by the short video work, in which a uniform jacket slowly moves under flowing water, accompanied by a soundtrack of a burning funeral pyre.

Transient Shelter is curated by Singapore-based researcher, curator and critic Iola Lenzi, who writes in the catalogue essay: “mining local icons of religion and entrenched cultural tradition, Jakkai produces an art of thoughtful resistance that allusively takes aim at meaningless hierarchies, ineffective systems, and empty gestures masquerading as consequential. In its questioning of overlapping fiction and truth, dance with image and reality, and to-and-fro between life and death, Transient Shelter, though starting with ideas rooted in Thai culture, speaks to a universal audience.”

Born in 1969 in Bangkok, Thailand, where he currently lives and works, Jakkai received his formal training in the United States, earning a BA in textile and fine arts at Indiana University (1992) and an MS in printed textile design at Philadelphia University (1996). His work has been shown in a number of museums around the world in recent years. In the United Sates, his work was included in Phantoms of Asia: Contemporary Awakens the Past at the Asian Art Museum of San Francisco (2012), as well as the museum’sHere / Not Here: Buddha Presence in Eight Recent Works (2011). As part of the latter exhibition, Jakkai presented his interactive Reciprocity project in the Asian Art Museum’s Tateuchi Gallery; his work Recession (2010) subsequently entered the museum’s collection. In 2009, Jakkai’s Lucky Ware installation (2008) was featured at the Rubin Museum in New York City, and he was included in Truly Truthful in Miami. He has presented two solo exhibitions at Tyler Rollins Fine Art: Temple Fair (2008) and Karma Cash & Carry (2010). In Asia, Jakkai’s Shroud installation was recently featured in the exhibition, Exploring the Cosmos: The Stupa as a Buddhist Symbol (2012 – 2013) at Singapore’s Asian Civilisations Museum, which acquired the work for its permanent collection. In 2011, he presented a major exhibition of installations, sculptural works, and embroidered tapestries at the Art Center, Chulalongkorn University, Bangkok, Thailand (2011). He was a featured artist in the 2011 Chongqing Biennial and in the 2009 Asian Art Biennial at the National Taiwan Museum of Fine Arts, which acquired his work,Suffrage (2008). Other important collections of his work include the Bill and Melinda Gates Foundation, Seattle, and the Vehbi Koç Foundation, Istanbul.

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DAAN’S Monthly Newsletter
April 2014



Dear DAAN Members, Diasporic Asian Art Network is excited to debut this new monthly newsletter! Please send information including exhibitions, conferences, calls, positions, and other news and opportunities via this form. If you have images please them email to DAAN Newsletter Editor Beatrice Glow at with the subject heading “Newsletter.” Please send all images at 72 dpi, in jpg or png files, around 5 x 5 inches. The cut off date to be included in the monthly listing is the third Friday of each month and the Newsletter will be sent out at the beginning of each month. Help our network grow by sharing this newsletter subscription link, like us on Facebook and visit DAAN’s website for more news, events and member profiles. Are you listed in DAAN’s membership online directory? If not, please sign up here. Thanks!


  • A message from DAAN co-organizers Margo Machida and Alexandra Chang on DAAN’s participation at the College Art Association that took place in Chicago this past February.
  • How to submit proposals for to DAAN’s Panel Selection Committee for 2015
  • Call for Papers for the forthcoming peer-reviewed journal “Asian Diasporic Visual Cultures and the Americas.”
  • Call for Papers for the PoNJA-GenKon10th Anniversary Conference “For a New Wave to Come: Post-1945 Japanese Art History Now” that will take place at Japan Society, New York City.
  • New York Regional Membership




DAAN at CAA Chicago


DAAN Panel “Asia / Americas: Praxis and Pedagogy.” Feb. 14, 2014. Photo credit: Ming Tiampo

The DAAN business meeting and panel session at College Art Association (CAA) took place on February 14, 2014 at the Hilton Hotel in Chicago. Members began the meeting by sharing memories of important scholar, curator, colleague, friend and mentor Karin Higa.

Announcements included the publication of the Third Text special issue edited by DAAN members Dean Chan and Michelle Yee for the International Network for Diasporic Asian Art Research [INDAAR]: “The Transnational Turn: East Asian Mobility.” Also the new peer-reviewed journal, Asian Diasporic Visual Cultures and the Americas (Brill), was announced as a collaboration with Asian/Pacific/American Institute at New York University and The Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art at Concordia University. The journal is co-edited by DAAN members Alexandra Chang and Alice Ming Wai Jim and will launch in Winter/Spring 2015. The call for manuscripts has begun and the deadline for the first issue is June 1st (see listing below for more information). The Virtual Asian American Art Museum Project, a partnership between New York University, Getty Research Institute and Smithsonian Institution was also discussed.

The DAAN panel “Asia / Americas: Praxis and Pedagogy” discussed important issues of artistic production, teaching and the academy in relation to the conceptual hemispheric framing of Asia / Americas with panel chair Alice Ming Wai Jim and panelists Richard Fung, Beatrice Glow, Valerie Soe, and discussant Alexandra Chang. After the panel, DAAN members new and old gathered for dinner to continue the conversation in downtown Chicago.

This should be an exciting year ahead!

All our best,
Alex and Margo DAAN co-organizers


CAA Panel Selection Committee

The business meeting also brought together a new DAAN CAA panel selection committee for the upcoming February 2015 conference in New York. The panel committee includes Alice Ming Wai Jim, Binod Shrestha, and ShiPu Wang. Please submit panel proposals here by August 31, 2014.


Call for Papers: Asian Diasporic Visual Cultures and the Americas

Editors: Alexandra Chang (New York University) and Alice Ming Wai Jim (Concordia University)

ADVA Journal Asian Diasporic Visual Cultures and the Americas is a new peer-reviewed journal that features multidisciplinary scholarship on intersections between visual culture studies and the study of Asian diasporas across the Americas. First issue is tentatively planned for publication in Winter/Spring 2015.

Essays (between 5,000-6,500 words) and reviews (between 800-1,000 words) should be prepared according to MLA (for humanities) or APA (for social sciences) style and submitted electronically. Proposed artist pages (up to 6 pages) will also be considered.

DEADLINE: Sunday, June 1, 2014

More detailed instructions for authors can be found at and downloaded here. Please send queries or submissions to


Asian Diasporic Visual Cultures and the Americas will be published by Brill in affiliation with the Asian/Pacific/American Institute at NYU (New York) and the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art, Concordia University (Montreal).


Call for Papers: PoNJA-GenKon 10th Anniversary Conference

“For a New Wave to Come: Post-1945 Japanese Art History Now”

Japan Society, New York City

Deadline: March 20

Organizing Committee

Co-Chairs: Reiko Tomii and Miwako Tezuka

Honorary chair: Alexandra Munroe

Members: Ming Tiampo, Midori Yoshimoto, and Mika Yoshitake

Please direct any question to

September 12, 2014, Friday
“Reports from the Field: On Archival Documents” co-organized with Japan Society and NYU’s East Asian Studies

September 13, 2014, Saturday
“New Scholarship” (tentative title) co-organized with Japan Society

General Parameters Proposed papers should be based on original and critical research within the following parameters: 1) the paper must address the work of art and related media (e.g., visual culture, such as film, design, architecture, manga, etc.) produced after 1945 2) the artist(s) must have been either born in Japan, of Japanese descent, or active in Japan 3) the work must demonstrably relate to aesthetic or socio-political situations in Japan after 1945.

Download  CFP FINAL file for more details


New York Regional DAAN Membership

Members of DAAN Network in the New York Area: Please email Michelle Yee, your New York Regional Representative, at if you are interested in being placed on a mailing list for future events and activities for DAAN members in the region.


Follow this link to subscribe. To unsubscribe, please send an email with the subject headline “unsubscribe” to DAAN’s official website:

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PILLOW TALK — Hyemin Lee at Tenri Cultural Institute of New York, April 10-23, 2014


Hyemin Lee

April 10 – 23, 2014
Opening Reception: Friday, April 11th, 6-8 PM


Hyemin Lee’s pillow installations can be discussed in terms of their historical background in the Chosun Dynasty when seen as symbols of dividing men from women. Used to denote the palace quarters that women occupied while working on creative projects, Kyubang defined the female space. Lee’s pillows however, are not just repetitions of past patterns, materials and forms but rather, they are new researches incorporating some traditional elements. In their categorical and hierarchic belief Confucianist doctrine instills in its followers a very strict code of ethics and hierarchical orientation. Thus, women needed to heed their roles as daughter in laws, be good in home management, be humble and chaste and have proper etiquette. These may seem like antediluvian ideas for today but revisionist studies like that of the Chinese American scholar Yuk Kwei Kwong posits a new more expanded perspective of Confucianism that shows Confucius as supporter to feminist ideas. By creating Kyubang pillows Lee speaks to these Chosun Dynasty Confucianist beliefs while respecting some, and changing others to suit her vision of contemporary art. She does not make them out of silk as did her forebears but rather out of repurposed materials that in themselves have a rich Korean history. Furthermore, Lee is reimagining the past into new forms. By sewing her works out of pieces of used Korean clothing she makes small pillows out of which she creates her installations. These configurations can take various forms like the frieze for example that usually wraps around the central part of a room. Although the frieze design is attributed to the ancient Greeks, by using it, Lee combines eastern and western compositional designs. As the artist says in her statement “I use daily objects representative of forgotten traditions or memories from my personal history, to create works, reviving in them the once lost dreams and hopes. I sew together old pieces of fabric and clothes, mostly traditional Korean garments that have been abandoned, to make miniature pillows, or collects wooden pieces from worn-out frames or cheap paper and cast them together into colorful sculptures. As I bring together everyday trivialities and traces of the past to restructure them in multiple layers into my own creations, I invite the audience to revisit and recollect their own past.”

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Double Mirror: Korean-American Artists April 1 – June 1, 2014 at the Katzen Arts Center, the American University Museum

Double Mirror:
Korean-American Artists

April 1 – June 1, 2014

Curated by Iris Inhee Moon

American University Museum

Fax: 202-885-1140
4400 Massachusetts Ave NW
Washington, DC 20016

Admission Free
Tue-Sun, 11:00-4:00
Fully Accessible


Double Mirror is a mixed media and mixed genre exhibition representing a group of 30 Korean and Korean-American artists whose works share, reflect, and refract the conditions of having bi-cultural identities in the ultra modern world. Through their works, these unique artists convey the cultural complexity and richness of serving two countries, Korea and America. They employ masterful techniques of multiple mediums including painting, drawing, photography, and reliefs. Double Mirror is an exploration of the ways contemporary Korean-American artists have faced, challenged, changed, and re-formulated the issue of physical, mental, and virtual immigration.

The 30 innovative artists represented in Double Mirror depict their diverse identities and subject matters as influenced by their multi-cultural backgrounds and media-controlled societies. As a whole, their work reflects a common vulnerability, uncertainty, and solitude of their subjects, many of whom are captured in the process of transporting and transforming themselves. These subjects are depicted using techniques of deconstruction, superimposition, repetition, and fractionation to inform their meaning. Whether physically embodied, absent, or entirely void, some subjects are familiar, some estranged, and others entirely escape our reality. Many of the works in Double Mirror both literally and symbolically represent the notion that altered and distorted realities govern our existence. Our lasting impression of this exhibition is that fluidity and adaptability exist hand-in-hand with fragility and vulnerability. Double Mirror renders these subjects in a sublimely beautiful way.

Participating Artists:

Sung Ho Choi
Sook Jin Jo
Sei Ryun Chun
Myong Hi Kim
Tchah Sup Kim
Young-Mi Kim
Mina Cheon
Hyungsub Shin
Hyong Nam Ahn
Moha Ahn
Jun Ahn
Buhm Hong
Koh, Sang Woo
Jae Yong Kim
Duck Hyun Cho
Hong Hee Kim
Daru-Jung Hyang Kim
BG Muhn
Atta Kim
Ik-Joong Kang
Ha Lee
Hee Soo Kim
Kyung Jeon
Yoo Ah Park
Eun Jin Jang
Hye Rim Lee
Jong Hoon Yang
Sung Hee Cho
Joon Kim
Nara Park


Gallery Talk:
Curator Inhee Iris Moon
April 5

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“A Day in the Life of Asian Pacific America” – Photo Workshop with Lenore Chinn, Bob Hsiang & James Sobredo — April 12, 2014

“A Day in the Life of Asian Pacific America” – Photo Workshop with Lenore Chinn, Bob Hsiang & James Sobredo
April 12 @ 2:00 pm – 4:00 pm

life2014_Page_1 aday-backThe Chinese Historical Society of America (CHSA) is proud to present two workshops on documentary photography in support of the Smithsonian Asian Pacific American Center’s “A Day in the Life of Asian Pacific America” online photo/video exhibition set for May 2014.

The project will collect thousands of photographs about Asian Pacific American daily life taken on May 10, 2014 and produce an exhibit at by May 26, 2014. Over 50 professional photojournalists, documentary film/video makers, and artists are participating in the project along with thousands of photo enthusiasts of all ages and backgrounds.

This is the second workshop in the series, which takes place on Saturday, April 12 at the CHSA Learning Center, 965 Clay Street, San Francisco from 2 pm to 4 pm. This workshop will feature photographers Lenore Chinn, Bob Hsiang, and James Sobredo, who will present slides of their documentary photography and discuss how they approach their work.

Also, read more about the first workshop on Saturday, April 5 with photographers Leon Sun, Laura Ming Wong, and Leland Wong.

Both workshops will be moderated by Eddie Wong, guest curator for the “A Day in the Life of Asian Pacific America” online photo/video exhibition. He will answers questions about how to join the project and upload photos and videos to the Smithsonian Flickr group.

The workshops are free and open to the public. Come learn about documentary photography and join this national and international effort to reflect upon Asian Pacific American life. For more information about the project, visit

For more information about CHSA, call 415-391-1188 x101 or email

Additional information on the photographers who will be presenting work on Sat. April 12:

Lenore Chinn
Lenore Chinn is a San Francisco based artist who focuses on the depiction of a wide spectrum of people in all their diversity and color.

Portraiture is at the core of her visual art practice whether it is painting or photography—both are employed in her creative process.

A moment in time spontaneously captured by her digital camera, transmitted to acrylic on canvas, conveyed in modern archival print or shared on Facebook, these images document everyday life.

As a body of work they are visual narratives that constitute an art history largely hidden from the public’s perception of society and our particular collective experience.

Bob Hsiang
was born and raised in New York City. My interest in photography began while in middle school when my brother showed me how to develop film in the bathroom. In high school I took photographs and learned how to shoot 35mm film.

While attending college at SUNY at Buffalo, I continued my photography self-education as the editor of the school newspaper covering various events. At that time, protests against the Vietnam War became front-page news. After graduation, I continued to photograph student and worker activism in NYC, joining the Asian American Movement. Then in 1974, I moved to San Francisco and began photographing various political and cultural activities associated with the Third World Liberation movements, Asian American awareness and the International Hotel struggle for low-income housing. Since I needed a real job, I started freelancing my work, sustaining my small family with various photography jobs.

Consequently, I built a business that centered around my strengths as a shooter— mainly art & cultural events, portraiture, studio work. Today I operate a studio in San Francisco and service both the corporate and not-for-profit organizations.

James Sobredo
James Sobredo is an Associate Professor of Ethnic Studies, Asian American Studies Program, at California State University in Sacramento. He has a Ph.D. from UC Berkeley in Ethnic Studies. A multimedia documentarian and social documentary photographer for 20 years, his graphics, photographs and articles have appeared in The New York Times, AsianWeek and magazines such as Filipinas and Pacific. An avid long-distance backpacker and mountaineer, Sobredo is also a practitioner of Vispassana Buddhism.

Eddie Wong, workshop moderator
eddiewong Eddie Wong is one of the founders of Visual Communications, a non-profit media company that produced books, slide shows, photo exhibits and films about the Asian American and Pacific Islander experiences. He directed and produced the following documentary films: Wong Sinsaang, Pieces of a Dream, Chinatown Two-Step, Something is Rotten in Little Tokyo, and the Sound of Pleasure.

He also served as the Executive Director of NAATA/Center for Asian American Media and the Executive Director of the Angel Island Immigration Station Foundation. Now that Eddie has retired, he has more time to take photographs and explore art projects.

Smithsonian Asian Pacific American Center
The Smithsonian Asian Pacific American Center serves as the national resource for discovering the consequence and complexity of the Asian Pacific American experience through collaboration, exhibitions, programs and digital experiences. The vision of the Center is to enrich the appreciation of America’s Asian Pacific heritage and empower Asian Pacific American communities in their sense of inclusion within the national culture. More information at

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Lee Bul at Lehmann Maupin, NY May 2-June 19, 2014


Lee Bul

May 2 – June 19, 2014

201 Chrystie Street, New York, NY 10002 Opening Reception: Friday, May 2, 6-8PM

Lee Bul

Lee Bul


Lee Bul, Via Negativa (installation, interior detail), 2012 Photo: Remi Villaggi. Courtesy: Musée d’Art Moderne Grand-Duc Jean, Luxembourg.


New York, March 31, 2014—Lehmann Maupin is pleased to present Lee Bul’s fourth exhibition with the gallery, on view at 201 Chrystie Street from May 2 through June 21, 2014. Further expanding her exploration of the intrinsic tension within utopian idealism, Lee will present new sculptural works and a large-scale installation in this exhibition. The artist’s practice of employing formal, architectural and theoretical concepts continues with this show, inviting the viewer to reassess humanity’s vision of a perfect future. The artist will be present for an opening reception on Friday, May 2nd, from 6 to 8 PM.

From the beginning of her career, Lee has investigated idealized conceptions of the human form, delving into issues of beauty, corruption, decay and humanity’s desire to transcend physical, intellectual and spiritual boundaries. Alternating between the utopian and the dystopian, this narrative of perfection, evinced most prominently in the works of her Cyborgs series (1997-2001), is informed by Lee’s experience of South Korea’s meteoric rise to modernity in the second half of the 20th century. With vibrant complexity, Lee’s work reveals the tension embedded in our collective notion of progress: the fraught, intertwined relationship of man, technology, and nature. For example, Monster: Black (1998; reconstructed 2011), which viewers encounter when entering the exhibition, depicts a biomorphic form riddled with structures that recall tentacles or multiplying limbs. Behind the seductive shimmer of the sculpture’s sequined skin, however, loom dark anxieties about the proliferation of biotechnology.

In her recent work, Lee has moved beyond the corporeal dimension toward a consideration of the larger human environment, drawing upon the utopian ideals of the theoretical work of German architect and urban planner Bruno Taut (1880-1938). Suspended from the gallery ceiling and floating freely overhead, Lee’s Untitled (2014) formally echoes the detailed architectural drawings of Taut’s 1917 volume, Alpine Architecture. Intricately constructed of crystal, glass, and acrylic beads in a latticework of steel and bronze chains, the sculpture brings to mind a future cityscape, infused with Taut’s vision of a new architectural paradigm.

Broadening her artistic inquiry into the spiritual realm, the massive, immersive installation Via Negativa II (2014), presents a labyrinth of corridors, adorned with fragmented reflective surfaces, through which viewers must make their way before ending their journey in a central chamber lined with brilliantly illuminated infinity mirrors. The installation provides an intense and disorienting experience that disrupts the viewer’s perceptual and cognitive bearings, and alludes to the tenets of apophatic philosophy, which posits that divine nature is beyond the understanding of the rational human mind and can only be comprehended by defining what it is not – ‘the negative way’ – rather than what it is.

Lee’s focus on the pursuit of the ideal—whether in the body, in society, or in humanity’s search for the true essence of divine nature—is a hallmark of her artistic practice. Through explorations of human/machine dichotomy, ideas of utopia embodied in architecture, and the perceptual and cognitive boundaries of consciousness, Lee’s works seek to delineate the limits of the human body and mind, and the fallibility of the quest for perfection.

About the Artist Lee Bul (b. 1964, Korea) grew up in Seoul and received a BFA in sculpture from Hongik University. Considered one of the leading Korean artists of her generation, she has achieved international recognition for her formally inventive, intellectually provocative oeuvre. Demonstrating virtuosity across diverse media—from drawing and performance to sculpture, painting, installation and video—her multifaceted production is representative of the most innovative aesthetic currents shaping contemporary art in the global sphere.

Lee Bul’s work has been featured in solo presentations at museums throughout the world, including the Museum of Modern Art, New York (1997); Kunsthalle Bern, Switzerland (1999); Fabric Workshop and Museum, Philadelphia (2001); MAC, Musée d’Art Contemporain, Marseille (2002); the New Museum of Contemporary Art, New York (2002); Le Consortium, Dijon (2002); Japan Foundation, Tokyo (2003); The Power Plant, Toronto (2003); Museum of Contemporary Art, Sydney (2004); Domus Artium, Salamanca (2007); Fondation Cartier pour l’art contemporain, Paris (2007–08); Mori Art Museum, Tokyo (2012); and most recently MUDAM, Luxembourg (2013-14). Forthcoming exhibitions will take place at the Ikon Gallery, Birmingham (2014); Espai d’art contemporani de Castelló, Spain (2015); and Musée d’art moderne de Saint-Etienne, France (2015). She has also participated in major group exhibitions around the world, and in 1999, she was awarded an Honorable Mention at the 48th Venice Biennale for her contribution to both the Korean Pavilion and the international exhibition curated by Harald Szeemann. The artist currently lives and works in Seoul, Korea.

About Lehmann Maupin Founded in 1996 by partners Rachel Lehmann and David Maupin, Lehmann Maupin has fostered the careers of a diverse group of internationally renowned artists, both emerging and established, working in multiple disciplines and across varied media. With three locations—two in New York and one in Hong Kong—the gallery represents artists from the United States, Europe, Asia, South America, Africa and the Middle East. Known for championing artists who create groundbreaking and challenging forms of visual expression, Lehmann Maupin presents work highlighting personal investigations and individual narratives through conceptual approaches that often address such issues as gender, class, religion, history, politics and globalism.

Upcoming Exhibitions Adriana Varejão, Polvo, April 24–June 21, 2014, New York Hernan Bas, May 13–June 2014, Hong Kong Mickalene Thomas, June 27–August 9, 2014, New York Gilbert & George, June 27–August 9, 2014, New York

For more information on Lee Bul or other gallery artists, please contact Graham Newhall at Lehmann Maupin at +1 212 255 2923 or visit

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