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[Tokyo] June 7, 2003-July 13, 2003 The Japan Foundation Forum Organized by The Japan Foundation Asia Center
[Okayama] August 2, 2003-September 15, 2003 Kojima Torajiro Memo rial Hall, Ohara Museum of
Art, Kurashiki
Organized by Ohara Museum of Art The Japan Foundation Asia Center
ILee fsUIL: MianCont1.'fflporaryArtistSoloExh1bi1oon~,1
?lnea?rUIM l0rln1s 7'errarUIM
The Japan Foundation Asia Center
Foreword
The Japan Foundation Asia Center is pleased to present "Lee Bui; Theatrum Orb is Terra rum," the third in our series of solo exhibitions of contemporary Asian artists. This series of annual exhib itions was begun in the year 2000, and on this occasion we have elected to show the work of one of the most internationally renowned artists from Korea, Lee Bui.
Lee Bui was born in Yongwol, Korea in 1964 and began showing her art in the latter half of the 1980s. Last year she was rated as the number-one artist in the 35 to 45 age range by Korean art professionals. Wh ile her reputation in Korea is assured, she has also achieved international fame, appearing in many exhibitions throughout the world from the latter half of the ninet ies through the present. However, there have been few opportunities for her work to be seen in Japan up until now, so th is is a long-awaited exhibition.
Lee Bui began her career with radical performances and grotesque, kitschy threedimensional figures, advancing in the nineties to a greater diversity of materials and forms, includ ing real fish, balloons, cyborgs, monsters, and karaoke chambers, to create works that were open to diverse interp retations by viewers. Critics have natura lly noted the esthetic qualities of her art, but they have also discussed it in terms of fem inism because of its incisive protest against the male chauvinism still prevalent in Korea and in terms of cultural theory because of the way it comments on the influence of Japanese manga and anime on Korean popular culture as well as an esthet ic viewpo int. Lee believes that the body is the most effective medium of expression. She focused on th e body to convey a femin ist message in her early works, and in the cyborg and monster projects she called attent ion to a crisis of the breakdown of the body. In recent works, she has begun explor ing more universal themes of common interest to people throughout the world, science and technology, nature (life and death), and ecology.
Lee will show her works, with a focus on her new work, Theatrum Orbis Terrarum,
as an installation that takes up the entire Japan Foundation Forum and create an illusionary "world" space. She is also showing related drawings of these installations. The title of the new wo rk is taken from the first modern wor ld atlas, published in 1570, during the Age of Exploration. The exhibit ion confronts spectators with penetrating questions posed by the artist. On this stage of the "world" of the future that Lee Bui has created, will human beings continue to be the main actors?
Our sincere thanks go to the artist, Lee Bui, for her generous cooperation in preparing for this exhibit ion. We wou ld also like to express our appreciation to 2 1 st Centu ry Museum of Contempo rary Art , Kanazawa who loaned works in their collection, and all the other people who provided many kinds of valuable help and assistance.
June 2003 The Japan Foundation Asia Center
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l!lM / Acknowledgements
*Mc7)1lll11t:a; tc1J, el2c7)n,, s J:V'mlilll/J''>** 1.i: ;::'.tll 1J Hi•J :tL, too !2V, J!lll!fc7):@:f,l!L, :t"t o
The following people and organizations have given us their generous assistance. We would like to take this opportunity to extend them our sincere gratitude.
Lee Bui
pkm gallery
~5R211!t~~lf,jfi! (i&f,J;) [21st Century Museum oi Contemporary Art, Kanazawa]
l,lilliil7':J7'~,l,ifi! [Fukuoka Asian Art Museum]
8:f:i::J/j-;...,;f-7•)-7'-I'- [Shiraishi Contemporary Art, Inc.]
Bae Sook-nyeo
Doryun M. Chong
Hur Sun-mi Eungie Joo
Jo Young-a
Kang Tae-hi
Kim Hye-shin
Kim Seung-duk
Kim Sun-jung
James B. Lee
Lee Hwa-young
Nam Zie
Oh Shi-ne
Park Kyung-mee
Shin Jung-pi!
Shin Seung-jun
Franck Gautherot
Catherine Millet
Evence Verdier
i!!iliiiJ!l!i, [Echizen Toshiya)
iiiiMilitoll [Fukushima Mizuha)
Jt;•V'c,J,. [Kitazawa Hiromi)
~ iliHEJl~ [Kubota Maho)
/!EEili','/, [Kuroda Raiji)
ifli!l'iiff [Namba Sachiko)
JlEE6'.>~0 [Washida Meruro)
W*i!ii:'I(; [Yamamoto Atsuo)
§ ;;,:/ Contents
ll1llt&( t!tWO)Jifi, ) / Plates Theatrum Orbis Terrarum
1' •:1J1,0)( t!t-!'I-O)Jifi>) [~:t91a I n>rt: J
Y-'T, ;;(eO)=.-::>O)Jl-it: 1' · :1·J1,"-0)1':, ;,t: ·.i-
Lee Bul's Theatrum Orbis Terrarum [Kang Tae-hi)
Les deux corps de l'artiste: An interview with Lee Bui
il11/t&/ Plates Previous Works
Pll\~/ Biography
w~:itiltUBibliography
fl'o~1J;;(e / List of Works
25
31
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,i Allucquere Rosanne Stone, "Will the Real Body Please Stand Up?" The Cybercultures Reader, Eds. David Bell and Barbara Kennedy (London: Routledge, 2000), pp.5 17-23.
2. 'I::,;,: '.$1-0)'\'1J;,-,,lil;ti'i'H/iitlU~l:;/lj<:, tc, S-5, ,1;ti1l~l::l!U(O)jj~l::c '?~~O)"teras"1', Jllf\:O)'ii'f/f~,:;t, (teratology) O)aJiilll1'tilo-5o /lil)e9{]1:frii.-Ct:,;,: '.$1-1:llll,Uttt tcO)l;t 7'') ;;<:l--j'-1,.,;,: 1'ilo-s>o 1/Jil;l:!/l!iO),lt tH }._ 1$0)JlOsl::tl!JEL, c, )..ra90)t±::~ll':iEm ;(dJm1:,h Ti'rt>tt-5Ri¥1;t!/l\'I.IJ', -t?1' ,:,:, ,a,¥t;tfr\'l.ll'~actt -5/:L,, friii1e:iEm>j:tO), t!f~L it!rli/:;i,,1;;,-;~.,_,l:L,tc/lilSEO)l/ltlll:>j:~fco Rosi Braidotti, "Signs of Wonder and Traces of Doubt: On Teratology and Embodied Differences," Between Monsters, Goddesses
and Cyborgs: Feminist Confrontations with Science, Medicine and Cyberspace, Eds. Braidotti and Nina Lykke (New York Zone Books, 1996), pp.135-52.
3. 1-·;i)i,/:f\:, A='))l,l)-yl::. ,tj'IJ;,:t,/:O)xHJl o 1-tt1;Jf-7 & ;, 1):::J;,..- 1 -j'Jt,/:-fO)f~.l'H [1 · j'Jl,)f. J:/J'.$1 J:l?(7' - l--'../;,:Jr·t:,51-, 1998) 0
4. 1970-s'i-\:l:i'Je!!" El ,ll,O)!iofHl::ia:M,O)lilf~ttl:1:L, tc, S-5 7 i~=;;zt-sf,Nl!il•G1:::,1--.-ciijtc;::O)]f§":;'.[t;t, iff J;Ji;1$-tt1 ;/f-?H'i-,:;t,tt®t:f:itjjl\L, tc/lllV I/ ';i -O)'Ecr Jt,(:L,, [ia]P,¥1:i&;i,e{]:1,$,~0) :I-517y-.-:/,'l:ir,L, tcp\J
'&'1'ilo-5o ;::ti,t;t, T "cO)=,l-$, !llii9{]J!ii, 'i!'iiitE~l:mxH-5t0)1', -tt1 ;/f-?0)1 :1--Vl;t, MaVth !Im, 1am!it/i/,l!l;;t, !\m~/ae!\m~O)Jla'l-tlliiSL"'-t!:-5t.:iL-JJ 1'S•J , ~t.l!9{],j:Jja'/-O)!il!itH~~-; -s>o Donna Haraway, "A Cyborg Manifesto," Simians, Cyborgs, and Women . The Reinvention of Nature (Free Association Books, 1991 ), pp.149-82.
5. 1-tt Jt,fi'-J•.1 Jl;t, ~t:kiffiJ.:t:t)_lfi'L,tc:k:IIO),iij,i~.ii!.ll!!1', M:iiil"t-5~0)/il;~l:>j:-s,0)1', Wd*'Jfc'5/J'G~ttGtt fc o 17'? 1)1J;,:Jt;t.::z.1J'la-O):/E1', :¥'f~, ,O)')>p:t~~T -s,IJ<, ji:ql;l:!/l!i/:O)fflxiittT -s,~O)p:±:1'tiloQ 0 1? 1J-tf 1J;;<:J ("' >j: 'if) l;l:, \ll:,ltil,iO)ili!i1';!i!!i'®'l"<J,1!tO)Jilp:/:ll/lt>•J.-Cffl-::>o IJS*•Jfc'5U!it,L,fc 1-tf 11,.,-:, Ji;J:, 'I' 1; ;,-,f'!l,iiO)***-~O)iiilO)milT, r;;z-J t-.17.,, J 01urr£ l 11, ;/i,!liu[M1:~t1 .. , ,:r;JcJi,'\'-U',lr•9~t±::-. -5£ 1', 2000-s'l:'.L}llll"' tttcSFll!Jicii!ii0)'.$111--Jvc'tilo-50 P)l!ii!iic'li:, 'l'sn;i<i!liO)l,\ .-C-9-;;i.-s,f'!ll!l\O)!\mj;is.-C:@:~L, T_I., ,f~o
6. :k~:SZ:1ttcEl#"t-5-tt11l-1t:,?tc'51i:201-\:*;/l)O)!l\11tc'51', -tt11,-1 :1--Vt;tffiJi/,H:Vi:,';i-it,;,: j'v-t?1:11t"'tt Tl ,, , )..raVM!li;tO)[R ,J-J:•J, !llii / 'ti:!10)12: ,l-O)la'?il'li:-5/J'l:jRlgj, ' o Judith Squires, "Fabulous Feminist Futures and the Lure of Cyberculture," The Cybercultures Reader, pp.360-71
7. Anne Balsamo, Technologies of the Gendered Body: Reading Cyborg Women (Duke U. Press, 1996), pp.3-31.
8. Anita Hagerman-Young and Kerry Wilks, "The Theater of the World," Ed. Larry Norman, The Theat
rical Baroque (University of Chicago, 2001), pp.36-45.
[li1"''1l'!1l l::J:lI=.L.;;z · ;Jf:, .:,_/:)t,-;s;·;,, ;;<:O)ll1]/t&li:"'Fa~3'lil;IU;Jffil,fc0
· Peter Beagle, The Garden of Earthly Delights (Viking, 1982) · Julius Held and Donald Posner, 17th and 18th Century Art (Prentice Hall, 1972)
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33
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fig.1 (p.25)
Hieronymus Bosch, The Garden of Earthly Delights (detail), Museo del
Prado, Madrid
fig .2 (p.26)
Hieronymus Bosch, The Third Day of
Creation, The Garden of Earthly Delights (verso), Museo del Prado, Madrid
Lee Bul's Theatrum Orbis Terrarum
Kang Tae-hi (Professor, The Korean National University of Arts)
The Body There is one certain diagnosis of the contemporary era. It asserts that there are two
most important problems the contemporary human is facing: speed and the human
evolution incapable of cultural advancement.' Vertiginously developing scientific,
medical technologies have literally turned the human body into an object of
redesign and reprogramming, but there is no one adequately prepared for such
massive changes. The 1992 exhibition "Post Human" early on predicted this social
condition. Already making art that consistently uses the body as its subject five
years prior to that groundbreaking exhibition, Lee Bui is a rare artist who presents
through her art reflect ions on the present and future of our bodies.
Lee believes that "the body is the most appropriate site for making statements
about society, history, civilization and culture." From the very beginning of her
career, Lee has been making monst rously malformed bodies, i.e., organic "pseudo
human" or "strange-human," rather than technology-friendly post-human. Later
on, she continued to make dynamic statements about the status of the body with
her monsters and cyborgs. The theme running through her oeuvre is a reflection on
the materiality of the body and its limitations. Although the bodies her hands create
are beautifu lly decorated, Lee posits them as sites of the phenomena of life such as
decomposition and disintegration. Similarly, death functions as the fundamental
motif in her art from her mechanized cyborgs to recent works. Ranging
chronologica lly from the early period, when she exposed the feminine body as the
locus of inequity or source of oppression, till the present moment, in which she
interrogates the contemporary body at risk of fundamental changes, the methods in
which the artist interprets the body's social, cultural codes warrant a serious
explorat ion. Given such a background, t he current exhibit ion at the Japan Founda
tion Forum is especially remarkable as Lee shows us her new approaches toward
and perspectives on this thesis.
Theatrum Orbis Terrarum
In a pitch-black darkness, several tiers of dimly shimmering translucent matter hang
from the ceiling. This "organic" formation, whose surface is dotted with air
pockets, at first appears to be one gigantic mass, but is actual ly numerous separate,
fragmented units connected to each other by thin pipes. At close inspection, the
semi-transparent white bodies are of all different shapes, which resemble eye, head,
breast, hand, foot, knee or tail, and consist of scales and shells. These fantastic,
amb iguous bodi ly fragments of gleaming beauty are the protagonists of Lee Bul's
new work. The work's title, Theatrum Orbis Terrarum (pp.1-16) means "the stage or theater
of the world" in Latin. It specifically refers to the atlas, the very first world map in
the modern sense which, appearing in the late 16th centu ry, gained a t remendous
popu larity. Another term of the same meaning, "theatrum mundi," widely used by
artists of the time, implies that life is like a drama stage, and human beings are
actors and audiences of this drama. Lee Bui seems to have chosen "theatrum orbis
te rrarum" to suggest that the humanity is of diverse shapes and appearances,
rather than to specifically refer to the historical map of the world.
Lee points to the historical genre of ceiling fresco and Hieronymus Bosch's The
Garden of Earthly Delights (fig. 1) in particu lar as the art historical sources for her
new wo rk. Lee discusses how the ceiling fresco, in creating an illusionistic represen
tation of the Heaven, orders its figures into a hierarchy-i.e., from God on top, then
saints and moral beings, down to the Satan and monsters in the lower tiers. Her
new work t hen relates to Bosch's painting, which stages a surreal hybridization of
humans, monste rs and all ot her biological beings that have already turned into
cyborgs. In that light, The Third Day of Creation (fig.2) on the rear side of the
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fig.3, fig .4 (p.26)
Hieronymus Bosch, Last Judgement (detail), Alte Pinakothek, M unich
fig.5 (p.26)
Peter Paul Rubens, Fall of the Damned, c. 1620, Alte Pinakothek,
Munich
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painting is of special note; in it, the earth, where the firmament and the land, and light and darkness are in the process of separation, represents the atlas, or "the theater of the world," in which bizarre hybrids of animals, plants and inanimate things make appearances. Another group of fantastic crossbreed monsters in another painting by Bosch, Last Judgment (figs.3, 4) are, in their strangeness and beauty, clearly conceptual predecessors of Lee Bul's new work. The faintly shimmering bodies are also reminiscent of Bosch's Hell on fire or Rubens's Fall of the Damned (c. 1620) (fig.5), which dramatically portrays bodies plunging in an intense light-dark contrast. Why might it be that this artist, who, ahead of any other artists, has been making cutting-edge futuristic cyborgs, is now invoking historical ceiling frescos and Bosch's monsters? In order to better address this question, we need to look back at her works up to this point
Monster Lee Bul's career is roughly divided into two periods: the first runs about 1 O years from 1987, when the artist graduated from college and began to exhibit her works, until 1997, the year of her one-person show at Museum of Modern Art, New York; the second period begins in the same year with the earliest cyborg sculptures and lasts into the present If the former period is dominated by organic bodies in which the human being and the monster interfuse, mechanized cyborg-monster organisms and human-machine coexistences have populated the following five years. While her personal and social interests were rather directly presented through the body in the earlier period, Lee's work since 1997 has dealt with the technologygoverned body as its main text However, there is no fundamental change between the two periods. Her interest has been consistently focused on reflecting and contemplating upon the temporary nature of human flesh and all attempts to transcend it
Even from the moment when she made her early soft sculpture in the shape of an incompletely-developed fetus with an umbilical cord still attached, Lee Bui seems to have never been concerned about "normal" bodies. She has made sculptures/ costumes in the shapes of, for instance, underdeveloped or malformed fetuses and monstrous bodies with abnormally developed limbs, and collaged with brilliant patterns and sequins on top. In one of her early performance works, Sorry for Suffering: You Think I'm a Puppy on a Picnic? (1989), Lee, clad in one of her soft sculptures, walked around a number of places for 12 days in Korea and Japan, including Narita Airport and downtown Tokyo. Works such as this evoke through ritualistic acts the spiritual power of the feminine being as shaman-monster-mother, or induce attentions and gazes directed at such a monstrous body in order to confront and challenge them. Around this time, she also presented She Was the
Source of My Salvation at Gallery K, Tokyo. In this work, Lee placed breads shaped like the human body along with vegetables, released chickens and had them peck and eat the scattered foodstuff on the floor; later, she built a grave out of the remaining breads. Using crumbling and rotting breads in lieu of the body to symbolize the Christian notions of sacrifice and salvation, Lee revealed for the first time her interest in religious deliverance.
From 1996 for three years, Lee also made a series of balloon sculptures. In this series of works, the artist takes the Korean fan-dance doll, which was developed as a souvenir for foreign tourists, as the model, and dresses herself up in the image of the Asian female, hybridizing a queen, goddess, geisha and shamaness. Lee transfers the photographic images of herself in these various guises onto phallic balloons, with titles such as/ Need You and Hydra. Inflating and deflating through audience participation, these balloons are humorous parodies of Orientalism as well as of masculine power and authority. As the phallus blows up into its fullness, it
conjures up the femi nine image, the most outstanding point of which is a lily held by the artist. The flower, wh ich customar ily symbol izes pur ity, and the baby dol ls attached on the artist's breasts and stomach mock the stereotypica l binary of saint/ whore and mother/temptress on the one hand, and, on the other, the male gaze that seeks simultaneously fem inine sexual purity and licentiousness.
Lee Bul's career reached a crucial turning point w ith her notorious exhibition at New York MoMA, well publicized fo r its early cancellat ion unprecedented in the museum's history, due to the odor of rotting fish that was used in the work. The unt itled work, later shown all over the wor ld, generated a shock with its illogica l combination of the natural and the artific ial embodied by the sequin-decorated fish, and, in effect, wen t beyond th e or iginal context that deals with the social sacrifice of women in Korea to gain considerable values added. This work, removed from the museum premises because of the rotting stench, actua lly took the form of a fem inine-form monster composed of a gold -thread net filled with w igs, sequins, traditional Korean hair pins and lilies, as we ll as fish. The mater ials used here connect the work to the balloon monuments, and in terms of the content, it also deals with Orientalism and fem ininity. However, it differs from other earlier works in that th is body, made up of fish, directly addresses th e ideas of decomposit ion and lowliness of fl esh. In consequence, the femin ine body here becomes the example of the intense abject in which excessive beauty and disgust, allure and rejection coexist.
Here, we need to give some room for consideration around the hidden meanings of Lee Bul's obsession with monsters. The monster traces its origin back to the classical period. Its definition came into a wide circulation in the late 18th century, and at that t ime, it connoted all sorts of bodily excess and lack, or misplacement of bod ily organs. 2 When scientific knowledge was in its infancy, various theories had to be invented in order to explain abnorma l, malformed fetuses and located the female body as the site of the production of monsters. As the opposition of the masculine sex, the feminine sex was already considered a kind of a monster, thus doubly othered. Furthermore, in contrast to the rational, "non-defective" male body, the female body is fluid. Constantly shiftin g w ith reproductive functions, such as menstruation, pregnancy, delivery and lactation, the female body was considered a dangerous and unstable being, even an obJect of displeasure and fear-i.e , the abject itself.
In her pre-Cyborg period, Lee Bui made representat ions of anima listic bodies whose limbs and organs are overdeveloped. Through such bod ies, the artist interjects into the monstrous feminine identity, refracting, fractur ing and twist ing the male gaze to ultimately deconstruct it. This artistic act is, on the one hand, one of claiming the "pseudo -human" that maximizes the always already peripheral female body, and, on the other, one of intent ionally superseding the frame of representation to present an unsacred body (Donna Haraway) that resists the docile body rendered comp liant by apparatuses of management and self-surveillance (Michel Foucault). In other words, those bodies that have othered themselves into monste rs are absolutely not socially alienated, reclusive beings, but rather selfaware subjects t hat boast thei r monstrosity to the extent that they attempt even disrupting preexist ing orders.
Cyborg The trademark of Lee Bul's art, cyborgs f ind their source in Korean and especially Japanese animat ion (anime) and cartoon (manga). Gendered female, Lee's cyborgs are endowed w ith super-human powers, feminine bodies and girlish personalities, and they are thus inf iltrated w ith the male desire for girl-like vulnerability in coexistence with fantast ic super-human powers.3 Up until th is point in her career,
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Lee had focused on critiquing and illegitimating the male gaze inscribed upon the fema le body by exposing and metamorphosing the body per se. From here on, the artist changed the course to realign her artist ic task to scrutinizing, through the medium of the cyborg, the very mechanism of popular representations of feminin ity. Lee especially pays attention to the feminine ident ity that is directed by technology and to the ways in which the logic of power surreptitiously enters into that identity. "Cyborg"-etymo logical ly speaking, a neologism conjoin ing the two words, "organism" and "cybernetics"-or iginal ly belongs to the realm of science and technology. Its circulation in the popu lar cultural realm, however, was effected by science fiction. Although Lee was already fami liar w ith feminist cyborg theorist Donna Haraway's "A Cyborg Man ifesto" (1985), the essay was not the direct mode l for her wo rks.• The f irst pair, Cyborg (Red) (p.46) and Cyborg (Blue) (p.47), we re made out of silicone, today's materia l for bodily enhancement. Completely leaving behind the previous forms of organic monsters, they were reborn as mechanized forms. In the following year along came a series of white polyurethane cyborgs (pp.48 -53) and a pair of pink and black monsters (pp.48-49). For the first t ime in her artistic career, Lee began to take form itself as an important element. Lee installed these bodies-sti ll unstable but reminiscent of a graceful princess or woman warr ior-hang ing from the ceiling rather than placing them on top of pedestals. In their presence, the viewer is compe lled to look up as one would when view ing goddess statues in a Greek temple.
Immediately fol lowi ng the early cyborgs and monsters, Lee produced another series of sculptures interf using cyborgs and monsters. Their tit les-such as Amaryllis
(pp.54,62), Chrysalis (pp.56 -59) and Siren (pp.55,60)-are etymologically associated wi t h the female sex and mythology, like Sargasso, the t it le of an earlier series of small pink monsters. 5 In terms of form, they are separated into erect, radiat ing and cocoon-shaped groups. Origina lly inspired by the larva of a cicada and also books of illustration of animals and plants, their final forms are mechanica l metamorphoses of flowers and insects, in which allure and danger, the beautifu l and the grotesque coexist. In a departure from earlier human-anima l hybr id monsters, these wo rks synthesize all biological life fo rms and resemble the menacing, tentacle-brandish ing space monsters of science f ict ions. Made up of jo ined organs and clearly displaying the metal rods and knots that connect the fragments, the ir bod ies important ly depart from the cyborgs' anthropomorph ism. They also boast certa in fetish istic eroticism and contrast the power and fantasy of technolog ical authority with the sublime of monstrous entities.
Despite all the advancements in science, there are limits to the extent in wh ich technology penetrates our bodies. Our society similarly remains deeply patr iarchal, and the cyborg society is no exception to this. Historical fem inine "cybo rgs" have not been exempt from the passive, subservient image, and this t radition persists, without a change, in contemporary advert isements, animations and science fictions. 6 That is, science and technology may have recoded the body in the realm of cultu re, but gender remains the naturalized sign of human ident it ies. The fem inine body is, in spite of everyth ing, still ignored, disparaged and inscribed in the excess signs of the consumerist culture.7 In that light, Lee Bul's cyborgs encounter conceptually with cyber-fem inism, and it is from such a premise that the artist has tenaciously been making the feminine-form cyborgs, criticiz ing the views of fem ininity in cyberpunk discourses. However, she has recently confessed that she no longer calls herself femin ist as the fem inist mora l position has posed too much delimitat ion to her work. Perhaps, Lee w ishes to speak to the quest ion of "fu ndamental" death from a perspective that transcends the feminist one.
Exiled Body Subsequently, Lee Bui started producing a series of karaoke chambers, which addresses the problems of life and death from a perspective distanced from feminism. In this group of works, she shows the dreams, hopes and enduring limits of humans-turned-cyborgs. In the most recent work Theatrum Orbis Terrarum which immed iately follows this last group of works, Lee uses historical frescos to turn her attention to the longstanding human religious drama of salvation and transcendence.
In the long history of painting, fresco is the medium that best embodies the dictum "Life is Short, and Art is Long." And especially the Baroque-period ceiling painting took illusionism to its ult imate limit. It may be said that both, which are representative attempts to overcome the limits of time and space in art, are themselves the greatest illusions. Signifying the human interest in a limitless space as well as the material body's desire to escape the gravity's hold, ceiling fresco transports the viewer's mind to the realm of infinity. Though times and contexts are diffe rent, the illusion of the ceiling painting, which seeks to surpass time and space, is not so different from the cyborg's illusion of t ranscending the limits of the body.
The reflections like these lead Theatrum Orbis Terrarum back to the Baroque period. Thanks to new scientif ic discoveries, people were learning that the earth and the human being are no longer the fixed center of the universe, and the universe is simply an enormous material mass moving in space. Life was seen to be but a brief moment. Time was newly approached in a dimension unrelated to the theological worldview that focuses on the humanity and its salvation. The hierarchical cosmology of God-human -Hell was shaken down to its fundamental roots . The order ly Renaissance ceiling fresco broke out of its frame, turning into a f loat ing space. As people of the time felt an obsessive fear toward the incomprehensible infinity never previously experienced, the question of salvation was a desperate matter. Abovementioned "theatrum mundi" was often used to refer to the orderly wor ld and dangers posed to it. Artists also worked in such a philosophical context. 8
Did Lee Bui find in Baroque ceiling frescos a metamorphosis of time-space that so closely resembles the contemporary cyberspace, or the consciousness of its dangers7
The question of death and salvation transcends specific histor ical periods. The body's uncontrol lable revolts and the human struggles to overcome them have also continued throughout history. As I have suggested above, these issues have been the main thesis of Lee Bul's art. Shedding the inadequate human body is the basic premise for the cyborg. Those fresco figures, who are depicted as being saved and delivered to the Heaven, are then the cyborgs of the past. In the lower register in the "theate r of the world," we find the shattered, fragmentary bodies of monsters, exiled and dr ifting in the darkness. In the end, what Lee proposes to us is the heart-rending drama of us humans still trapped in our bodies.
Standing in front of Theatrum Orbis Terrarum, we ask ourselves what ultimate consolat ion we derive for our inevitably limited bodies from all our advanced scientific know ledge represented by a far more meticulous atlas, several centuries since the Baroque period had passed. Reflected on those bodies glittering dimly, like a mirror in the darkness, we see none other than our own bodies. Are we then actors or audiences in this drama of salvation and escape?
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