작업 소개

57STUDIO는 서울시립미술관 서소문본관에서 열린 《이불―시작》 전시의 준비 과정을 담은 영상 시리즈를 기획 및 제작하였습니다. 전시 제목 Beginning에서 영감을 받아, 이불 작가의 과거 작업을 회고하는 동시에 그녀의 현재를 조명하는 장면을 포착하였습니다.

영상은 무게감 있으면서도 부드러운 카리스마로 작업 현장을 진두지휘하는 이불 작가의 모습을 중심으로, 그녀의 예술 세계를 3개의 주요 키워드로 구성하여 전달합니다. 전시 준비의 긴 여정과 이불 작가의 독창적인 작업 방식을 효과적으로 담아내며, 관객들에게 그녀의 예술적 비전을 깊이 있게 소개하는 콘텐츠를 제작하였습니다.

#Seeing
전시장을 곳곳을 가만히 응시하며 골똘히 생각에 잠긴다.
#Talking
디렉션은 간단하고 정확하게, 그리고 부드러운 손짓으로 설명을 덧붙인다.
#Touching
작품을 조심스럽게 아이 다루듯이 달래가며 설치한다.

57STUDIO planned and produced a video series capturing the preparation process for the exhibition “Lee Bul—Beginning” held at the Seosomun Main Building of the Seoul Museum of Art. Inspired by the exhibition title Beginning, the series reflects on Lee Bul’s past works while shedding light on her present.

The videos focus on the commanding yet graceful charisma of Lee Bul as she leads her team in the creative process. Through three central keywords, the series delves into her artistic world, effectively illustrating the long journey of exhibition preparation and her unique creative approach. This content provides audiences with a profound introduction to Lee Bul’s artistic vision.

#Seeing: Observing every corner of the exhibition space, lost in deep thought.
#Talking: Directing with simplicity and precision, adding explanations with gentle gestures.
#Touching: Handling the artworks delicately, as if soothing a child.

From the late 1980s to the mid-1990s, Lee Bul carried out both exhibition-making and performance, participating in numerous exhibitions and performance festivals. While continuing her formal experimentation with the transformation of the body, she broadened the scope of her practice and developed a distinctive artistic language through highly charged performances that came off as a series of detonations in the existing art scene. Representative performances from this period—The Song of the Fish (1990), Artoilet II (1990), Diagramming III (1992), Auction (1994), and Laughing (1994)—generated a kind of visual syntax of irony.

via: Seoul Museum of Art
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In 1997, when Lee Bul was invited by the Museum of Modern Art, New York, to exhibit in the museum’s Projects series, she mounted an installation of raw fish adorned with sequins titled Majestic Splendor (1991/1997). This turned out to be a fraught yet pivotal moment for the artist, as the work was taken down before the opening due to its inescapable smell, which permeated the upstairs galleries of this supreme modernist institution. Along with other organic materials subject to decomposition, fish had often appeared in Lee’s performances and installations, loaded as it was as a traditional symbol of birth, fertility, and womanhood that her work sought to deconstruct. The accidental confrontation with the aesthetic conventions and hierarchies represented by what is perhaps the world’s pre-eminent modern art museum was in line with the compelling contingency of Lee Bul’s performative works.

via: Seoul Museum of Art
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