A young woman (Mire Lee) in a lavender shirt sits cross-legged on a concrete ledge in a minimalist space with white walls and an abstract sculpture

Mire Lee. Photo: Jihyun Kim

 

Mire Lee (*1988) is known for her visceral, kinetic installations that probe the tension between eroticism, vulnerability and decay. Informed by her background in sculpture and influences from body horror, fetish culture and poetry, she experiments with an eclectic combination of industrial materials – including silicone, concrete, PVC tubing, lubricants, machinery, electric motors and pumps – to create works that teeter between growth and collapse. Her environments ooze, throb and rumble, evoking both bodily and mechanical functions and resembling living organisms that conjure a sense of the grotesque that is as seductive as it is unsettling.

 

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Lee’s major institutional exhibitions have pushed the scale of her work to envelop entire architectural spaces. In 2024 at Tate Modern, her site-specific Hyundai Commission, Open Wound, transformed the Turbine Hall into a factory-sized ecosystem producing dripping skin-like forms that blurred the line between machine and organism. Her 2022 Museum MMK für Moderne Kunst Frankfurt show, Look, I’m a fountain of filth raving mad with love, featured found concrete mixers churning liquids alongside building site detritus, a wall covered in writing and two video works – all haunted by implied corporeality.

Her video practice explores themes of voyeurism and violence. Faces (2016), for example, isolates brief excerpts from Japanese pornography, focusing only on moments just before aggression begins. The close-up shots of women’s faces appear innocuous, yet carry an undercurrent of anticipation and dread that signals impending harm.

Across all mediums, Lee consistently returns to the fundamental dynamics between attraction and repulsion, desire and vulnerability, building and breakdown. Her environments offer an experience that registers as simultaneously bodily and alien, establishing her as a distinctive voice in contemporary art’s engagement with embodiment and affect.

 

Mire Lee
Look, I’m a fountain of filth raving mad with love
MMK Museum für Moderne Kunst, Frankfurt am Main, 2022
Video: Heinrich Schmidt
© Vernissage TV | www.vernissage.tv

 

Works
Mire Lee
Look, I'm a fountain of filth raving mad with love, 2024

Mire Lee
Look, I’m a fountain of filth raving mad with love, 2024
Used formwork panels, cement mixers
Dimensions variable

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Mire Lee
Untitled (burlap body piece with many holes) I, 2024

Mire Lee
Untitled (burlap body piece with many holes) I, 2024
Burlap, dried clay, wood
55 × 108 × 85 cm | 21 5/8 × 42 1/2 × 33 1/2 inches

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Mire Lee
Untitled (burlap body piece with many holes) Concrete version, 2024

Mire Lee
Untitled (burlap body piece with many holes) Concrete version, 2024
Burlap, concrete
180 × 100 × 100 cm | 70 7/8 × 39 3/8 × 39 3/8 inches

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Mire Lee
Porridge, 2022

Mire Lee
Porridge, 2022
Concrete on wooden boards
45 × 121.5 × 5 cm | 17 3/4 × 47 7/8 × 2 inches

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Mire Lee
Eyes of Fountain of Filth VII, 2022

Mire Lee
Eyes of Fountain of Filth VII, 2022
Car oil on sculpted concrete
56.5 × 61 × 19.5 cm | 22 1/4 × 24 × 7 3/4 inches

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image/svg+xml
Details

Mire Lee
Look, I’m a fountain of filth raving mad with love, 2024
Used formwork panels, cement mixers
Dimensions variable

Mire Lee
Look, I'm a fountain of filth raving mad with love, 2024
Mire Lee

Mire Lee
Look, I’m a fountain of filth raving mad with love, 2024

Mire Lee
Look, I'm a fountain of filth raving mad with love, 2024
Mire Lee

Mire Lee
Look, I’m a fountain of filth raving mad with love, 2024 (detail)

Mire Lee
Look, I'm a fountain of filth raving mad with love, 2024
Mire Lee

Mire Lee
Look, I’m a fountain of filth raving mad with love, 2024 (detail)

Mire Lee
Look, I'm a fountain of filth raving mad with love, 2024

Mire Lee
Untitled (burlap body piece with many holes) I, 2024
Burlap, dried clay, wood
55 × 108 × 85 cm | 21 5/8 × 42 1/2 × 33 1/2 inches

Mire Lee
Untitled (burlap body piece with many holes) I, 2024
Mire Lee

Mire Lee
Untitled (burlap body piece with many holes) I, 2024

Mire Lee
Untitled (burlap body piece with many holes) I, 2024
Mire Lee

Mire Lee
Untitled (burlap body piece with many holes) I, 2024 (detail)

Mire Lee
Untitled (burlap body piece with many holes) I, 2024

Mire Lee
Untitled (burlap body piece with many holes) Concrete version, 2024
Burlap, concrete
180 × 100 × 100 cm | 70 7/8 × 39 3/8 × 39 3/8 inches

Mire Lee
Untitled (burlap body piece with many holes) Concrete version, 2024
Mire Lee

Mire Lee
Untitled (burlap body piece with many holes) Concrete version, 2024 (detail)

Mire Lee
Untitled (burlap body piece with many holes) Concrete version, 2024

Mire Lee
Porridge, 2022
Concrete on wooden boards
45 × 121.5 × 5 cm | 17 3/4 × 47 7/8 × 2 inches

Mire Lee
Porridge, 2022
Mire Lee

Mire Lee
Porridge, 2022 (detail)

Mire Lee
Porridge, 2022

Mire Lee
Eyes of Fountain of Filth VII, 2022
Car oil on sculpted concrete
56.5 × 61 × 19.5 cm | 22 1/4 × 24 × 7 3/4 inches

Mire Lee
Eyes of Fountain of Filth VII, 2022
Mire Lee

Mire Lee
Eyes of Fountain of Filth VII, 2022

Mire Lee
Eyes of Fountain of Filth VII, 2022
Mire Lee

Mire Lee
Eyes of Fountain of Filth VII, 2022 (detail)

Mire Lee
Eyes of Fountain of Filth VII, 2022
Details
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Current and Upcoming

Once Within a Time: 12th SITE SANTA FE International
Group Exhibition with Louise Lawler, Mire Lee and Nora Turato
Curated by Cecilia Alemani
SITE SANTA FE
Through January 12, 2026

Once Within a Time takes its title from the most recent film by Godfrey Reggio, the legendary experimental filmmaker who has long resided in Santa Fe. Reggio’s Once Within a Time (2022) intertwines fairytale atmospheres with apocalyptic landscapes, pursuing a form of storytelling that blends the fantastical and the mundane in a moving portrait of the existential condition. Inspired by the film’s circular narratives, the 12th International places storytelling at its heart, exploring New Mexico’s multilayered histories through the lens of more than ninety participants.

Learn more
Exhibitions at Sprüth Magers

Horror
Curated by Jill Mulleady
November 21, 2025–February 14, 2026
Los Angeles

Monika Sprüth and Philomene Magers are pleased to present Horror, an intergenerational group exhibition curated by Jill Mulleady. In conceiving the exhibition, Mulleady was inspired by the long history of horror in film and literature, as well as by Mike Kelley’s 1993 group exhibition and publication, The Uncanny, a curatorial statement which explored the complex interplay of recognition, memory, and repression. Over thirty years on, Horror takes Kelley’s project as a touchstone, moving beyond the psychological discomfort of the uncanny toward the explicit shock of horror.

With works by Dario Argento, Antonin Artaud, Oliver Bak, Bruce Conner, Mati Diop & Fatima Al Qadiri, Cyprien Gaillard, Jonathan Glazer, Anne Imhof, Arthur Jafa, Asger Jorn, Mike Kelley, Karen Kilimnik, Harmony Korine, Tetsumi Kudo, Mire Lee, Diego Marcon, Tyler Mitchell, Ottessa Moshfegh, Jill Mulleady, Precious Okoyomon, Sondra Perry, Carol Rama, Cindy Sherman, Pol Taburet, Henry Taylor, Paul Thek, Rosemarie Trockel, Andra Ursuta, Kara Walker and Jordan Wolfson.

Press

Artist Mire Lee on her visceral Tate Modern Turbine Hall commission
Financial Times, article by Kristina Foster, October 8, 2024

Openings: Mire Lee
Artforum, article by Pablo Larios, April 30, 2024

Tate Modern Taps Fast-Rising South Korean Artist Mire Lee for Turbine Hall Commission
Artnet News, article by Andrew Russeth, February 14, 2024

Mire Lee’s Deep-Rooted Romanticism
Frieze, interview by Alvin Li, September 6, 2022

Biography

Mire Lee (*1988, Seoul) lives and works in Seoul and Amsterdam. She holds a Bachelor of Arts from the Department of Sculpture (2012) and in Media Arts (2013) from Seoul National University. In 2024, she presented a site-specific work at Tate Modern’s Turbine Hall as a Hyundai Commission artist. It marked the first major presentation of Lee’s work in the UK. Further recent solo exhibitions include Black Sun, New Museum of Contemporary Art, New York (2023), and Look, I’m a fountain of filth raving mad with love, Zollamt – MMK, Museum für Moderne Kunst, Frankfurt am Main (2022).

Education
2012 BFA, College of Fine Arts, Seoul National University, South Korea
Awards, Grants and Fellowships
2023 Gold Art Prize, Gold House
2022 PONTOPREIS MMK
2021 Special Prize, Future Generation Art Prize, Victor Pinchuk Foundation
2018 Residency at Rijksakademie van Beeldende Kunsten, Amsterdam
2017 SeMA Nanji Residency, Seoul Museum of Art, Seoul
Public Collections
Center Pompidou, Paris, France
San Francisco Museum of Modern Art, San Francisco, USA
Fundacion Medianoche0, Granada, Spain
MMCA (National Museum of Modern and Contemporary Art), Seoul, South Korea
Leeum, Samsung Museum of Art, Seoul, South Korea
Seoul Museum of Art, Seoul, South Korea