• 2018 1st AUO Artist
  • Lee Kiwon
  • Chungang Univ, Sculpture, 5th semester
  • Lee Kiwon is attending BFA course of Chung-Ang University. He keeps trying to make a device that produces something artistic. He is currently focusing on a meta approach to Traditional Formalist Art forms of Painting and Sculpture. He uses cinematic grammar scenarios to produce his works. He seems to have overall stress on controlled, categorized, repressed and refined art forms.

Lima syndrome

3D (Sculpture, Installa..

  • 2018
  • Section 1
  • 2018
  • Section 2
  • 2018
  • Section 3
  • 2018
  • Wood, FRP, Sand
  • 2018
  • Wood, FRP, Sand
  • 18 * 119 * 18 (cm)
  • 2018
  • Wood, Silicon, Styrofoam, Rubber, FRP, Vinly
  • 85 * 195 * 40 (cm)
  • 2018
  • urethane
  • 43 * 60 * 43 (cm)
  • 2018
  • cover


In my previous work, I focused on putting my absurd imagination into reality by running the deep-sea restaurant " KIRUYA “. As an extension of the narrative, I will show a series of episodes on land.

I divided the temporary space that looks like a cold laboratory into three parts using vinyl, but it is not completely separated due to the properties of permeable vinyl. This clearly expresses a neutral state, which creates isolation from one another, but is captured simultaneously by one frame.

Section 1 - Plant Souvenirs -
The earliest section, Section 1, presents the plants I collected from the deep sea and objects that were discarded for a long time and altered in shape.
The plants and objects are placed neatly on a pedestal designed for their own shape becomes a kind of sculpture and are stuffed here.

Section 2 - The Gatecrasher -
The deep sea restaurant, Kiruya, was not successfully finished because of the gatecrasher. One of the most important rules in my restaurant in the deep sea is visual intake, but the gatecrasher ignores the rules and the mass intake of " Karl's sculpture " runs away. I catch up and am only able to collect the deep-sea plants and chase the gatecrasher. After a fierce battle, I succeeded in chasing the gatecrasher, but I lost my way back to the deep-sea restaurant and had to return to land. Upon my return, I clumsily performed a dissection to retrieve Karl’s structure even though I do not have any expertise in anatomy and as a result, the body of the gatecrasher had an untidy hole.

Section 3 - Puberty Sculpture -
Karl's sculpture thinks. It was rescued by me. Inside of the gatecrasher, Karl's sculpture recognizes it’s mass for the first time. It does not know whether it is an organ or a muscle, but Karl's sculpture recognized his mass from the inside of the gatecrasher. As Karl's sculpture was exposed outside of the gatecrasher, Karl's sculpture begins to recognize and rebel at the violence that I committed to Karl's sculpture in the name of achieving flatness at the deep-sea restaurant Kiruya. Karl's sculpture was enlarged by explosive expansion of mass.
Park Jina, Artist
‘Lima Syndrome’ is imaginative artworks based on the following scenario of the former work ‘Kiruya’. Performance(or video) which took a role of combining several artworks in the two previous works is gone, and the artist shows a single installation composed of 3-dimensional works. Couple of questions came up I was appreciating the work. To what extent of the installation is the artist’s intention? The location of the sculptures is very unique – for example, the floor where pedestals are located reminds me of ventilation holes -, the question came up to me right away. I am curious if the room and doors, windows, and floor inside are made with intention, or the location is chosen by the artist, or is given then interpreted by the artist. And questions like if it is intended, why is it made that way, and if it is chosen, is the installation site-specific follow. One thing that’s sure is the location reminds me of a temporary lab or a hallway strengthens the eerie and grotesque atmosphere of the artwork.

Another question that also applies to Lee Giwon’s other artworks, is to which extent of the scenario the artist set up should be informed to audience. Because ‘Lima Syndrome’ doesn’t include a video, the story written in the artist’s statement is rarely being read. And fully appreciating the artwork without knowing the background is no problem at all. If so, does Lee Giwon’s scenario only works as an instrument for the artist to imagine the work, and is not necessary to be informed in the installation? If the artist wishes to include the scenario in the installation work, how and in which form can he include this into the work?

Among the sections divided into three parts, I find the shapes and textures of first section very interesting, where the artist imagines collected plants from a deep sea. It seems organic and bizarre shapes from a botanical motif are presented with suitable materials. The artist’s sculptural imagination is well shown. In the second part of the artwork a concept of dissection, operating table, and bloodstains are easily read as the artist’s statement explains, but I thought it could be a little too predictable. In the last section, a background story where a passive little sculpture appeared in ‘Kiruya’ abruptly receives personality and becomes aggressive, is amusingly absurd, and in the sculpture it is represented as getting physically blown. I find this kind of precipitous swift and bold imagination is unique aspect of Lee Giwon’s works.

(translated by AOU translator)

이전 작품 ‘Kiruya’의 뒤이은 시나리오를 바탕으로 상상된 작품들이 ‘Lima Syndrome’이군요. 두 번의 발표에서 여러 작품을 묶는 역할을 했던 퍼포먼스(혹은 영상)는 사라지고 몇 개의 입체작품으로 이루어진 설치작품 하나를 보여주고 있습니다. 이 작품을 보며 몇 개의 질문이 떠올랐습니다. 먼저 설치작품의 어디까지가 작가의 연출인가요? 조각작품들이 놓인 장소가 상당히 독특해서 -한 예로 좌대가 놓인 바닥은 환풍구를 연상시키는데요- 바로 떠오른 질문입니다. 문, 창문, 바닥 등등을 의도해서 만든 장소인지, 혹은 작가가 선택한 장소인지, 아니면 주어진 장소를 해석한 것인지가 궁금합니다. 연출한 것이라면 왜 이렇게 만들었는지, 선택했거나 주어진 공간이었다면 장소특정적인 성격이 있는 설치작품인지 하는 질문이 연이어 생기고요. 한 가지 확실한 것은 임시의 실험실 또는 복도를 연상시키는 이 공간이 작품이 갖고 있는 비일상적이고 기이한 분위기를 한층 더 강화시키고 있다는 것입니다.

또 한가지 질문은 이기원씨의 다른 작품에도 해당되는 것으로, 작품을 만들어내기 위해 작가가 설정한 시나리오는 관객에게 어디까지 알려줘야 할까요? 특히 ‘Lima Syndrome’은 영상을 포함하지 않기 때문에 작가의 글에서 써놓은 이야기는 거의 읽히지 않습니다. 그리고 물론 그 배경 이야기가 없이도 작품은 충분히 감상할 수 있습니다. 그렇다면 이기원씨의 시나리오는 작가가 작품을 상상하기 위한 장치로 역할 할 뿐 설치작품에서 굳이 알려주지 않아도 상관없는 것일까요? 만약 이기원씨가 시나리오까지 작품에 포함하고 싶다면 어떻게, 어떤 형식으로 포함할 수 있을까요?

세 부분으로 나뉜 섹션 중 저는 심해에서 채집한 식물을 상상한 첫 번째 섹션을 조각작품의 형태와 질감에 있어서 가장 흥미롭게 보았습니다. 식물 모티브에서 온 유기적이고 기이한 형태를 적합한 재료를 사용해 만들어낸 작품으로 보입니다. 작가의 조각적인 상상력이 잘 드러나는 것 같고요. 두 번째 섹션의 작품에서는 작가의 글에서 확인할 수 있듯이 해부와 수술대, 혈흔을 금세 읽을 수 있는데, 다소 설명적이지 않나 하는 생각이 들었습니다. 마지막 섹션에서는 이전 ‘Kiruya’에 등장했던 소극적인 작은 조각 하나가 갑자기 인격을 부여 받아 적극성을 띠게 되는 뒷이야기가 재미있는데, 조각에서는 몸집이 불어나는 것으로 표현되는 이러한 급작스러운 비약과 엉뚱한 상상력이 이기원씨 작품의 독특한 면모인 것 같습니다.

Elaine W. Ng, Editor & Publisher, ArtAsiaPacific
Greetings Lee Kiwon!

After seeing your three projects this session, I can confidently say you excel in the bizarre and the grotesque. You have a real talent in creating totally immersive environments for your work. Although I am only looking at your projects from afar, and through the screen, your work has a very strong physical presence and I believe has the ability to create sensations of discomfort and fear.

In addition to the narrative possibilities you are exploring (in the form of the written word), you might also consider developing this series into a film/video and/or film/video installation.

There are elements of your work that recall the very early work of Lee Bul, which if you are not familiar with, I would check out: specifically the work from the late 1980s and early 1990s shortly after she graduated from art school. There are also traces of the work of Matthew Barney and Patricia Piccini, which I might look up also if you are unfamiliar.

Keep pushing the work, consider the presentation and I hope to see you work in person one day soon!

AUO translator

이기원 작가, 안녕하세요.
이번 세션 동안 총 3개의 프로젝트를 보고 난 후, 이기원 작가의 작업이 기묘하고 그로테스크함 속에서 excel한다는 것에 확신이 생겼습니다. 당신에게는 작업을 위해 완전히 immersive한 환경을 만들어 내는 것에 훌륭한 재능이 있습니다. 멀리서 스크린을 통해 이기원 작가의 프로젝트를 볼 수 밖에 없지만 당신의 작업은 아주 강한 물리적 존재감을 가지고 있고 불편하고 두려운 sensation을 창조해내는 능력을 가졌다고 믿습니다.
작가가 탐험하고 있는(글이라는 형태로 적어 내려가는) 내러티브적 가능성에 조언을 더하자면, 지금 이 시리즈를 단편영화/영상 또는 단편영화/영상 설치작업으로 발전시켜보는 것을 고려하길 바랍니다.
이기원 작가의 작업에는 이불 작가의 아주 초기 작업을 연상하게 하는 요소들이 있습니다. 만약에 이불 작가의 작업이 생소하다면, 특히 1980년대 말과 1990년대 초 그녀가 미대를 갓 졸업했을 당시 작업을 찾아보길 권합니다. Matthew Barney나 Patricia Piccini의 작업의 흔적도 발견할 수 있는 이 작가들의 작업도 같이 찾아보길 바랍니다.
더 열심히 작업하길 바라며, 지금까지 발표한 작업들을 미루어보았을 때 꼭 언젠가 직접 만나볼 수 있길 바랍니다.


2018-06-18 11:32:40

Elaine W. Ng, Editor & Publisher, ArtAsiaPacific
Confidential Advice.
Please kindly note that only mentor and mentee can view this advice.
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