Mire Lee

Mire Lee. Photo: Jihyun Kim

 

The works of Mire Lee (*1988) oscillate between horror and arousal, treating violence as a central component of subjectivity. In often monstrous creations made of industrial materials such as cement, wood, silicone, oil and clay, Lee confronts the boundaries between the abject and the arousing.

 

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
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
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
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
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
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

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

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

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

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
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

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

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

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

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

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

Mire Lee
Porridge, 2022 (detail)

Mire Lee
Porridge, 2022
Mire Lee

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

Mire Lee
Eyes of Fountain of Filth VII, 2022

Mire Lee
Eyes of Fountain of Filth VII, 2022
Mire Lee
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
Mire Lee
Hong Lee Hyunsook, In the Neighborhood of Seokgwang-sa, 2020

Connecting Bodies: Asian Women Artists
Group Exhibition
National Museum of Modern and Contemporary Art Seoul
Through March 3, 2025

This international special exhibition will be focusing on the work of Asian women artists since the 1960s from a perspective of “transcorporeality.” The concept of transcorporeality bears connections with the feminist point-of-view, in that it emphasizes horizontal connections while resisting hierarchy. Focusing on subtopics that include “the body as heterogeneity,” “bodies as spaces of resistance,” “the body and technology,” and “women and community,” the exhibition attempts multidimensional exploration of Asian women’s art from a transnational, comparative cultural perspective, examining it in a new contemporary light.

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Mire Lee
Hyundai Commission: Open Wound
Turbine Hall, Tate Modern, London
Through March 16, 2025

Drawing inspiration from Tate Modern’s history as a power station, Mire Lee transforms the Turbine Hall with striking hanging sculptures and epic mechanical installations, reimagining the space as a living factory. A fascinating mix of materials such as silicone and chains bring her creations to life and challenge our ideas of what is beautiful, perverse, provocative and desirable. Open Wound invites us to revel in contradictory emotions: from awe and disgust to compassion, fear and love.

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Mire Lee
Mire Lee, Hyundai Commission: Open Wound, installation view, Tate Modern, London, 2024
Photo: Lucy Green © Tate
Exhibitions at Sprüth Magers
Mire Lee

territory
Mire Lee, Liu Yujia, Gala Porras-Kim, Tan Jing, Zhang Ruyi
April 27–July 27, 2024
Berlin

On the occasion of Gallery Weekend Berlin 2024, Monika Sprüth and Philomene Magers are pleased to present territory, a group show of works by Mire Lee, Liu Yujia, Gala Porras-Kim, Tan Jing, and Zhang Ruyi, curated by Shi-ne Oh. It will be Sprüth Magers’ first group exhibition focusing exclusively on female Asian artists. The title, territory, naturally associated with aggressive political policies and behaviours, questions the vast definitions of borders and boundaries and how they both limit and liberate our transgressive desires on physical as well as psychological terrain.

The five artists will transform all of the gallery’s spaces, premiering works that examine the bounds of the body, disgust and morality, and the restraints of language, history and memory. Diverse in media and approach, the artworks on view employ unpredictable materials to engage and challenge viewers’ senses.

Learn more
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. Her 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).

Mire Lee is currently presenting a new site-specific work at Tate Modern’s Turbine Hall as the next Hyundai Commission artist. It is the first major presentation of Lee’s work in the UK.

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