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[amymmill2]

To Be Human:

Exploring the Human Condition and the States of the Mind.

 

The Human Condition:

“The basic passions of man are not rooted in his instinctive needs, but in the specific conditions of human existence.” [Fromm, 1955/1990, p. Viii]. To be Human is to exist; to live a journey that encompasses an extraordinary range of experiences and emotions. The Human existence stretches far beyond our biological wiring which is responsible for creating instinct. Though essential to our survival, the crux of being human lies within how we navigate consciousness, ambition, morality and meaning. Ironically, as a species, we incessantly question the actual nuances of life, all whilst continually experiencing it. Unlike animals, we develop passions that aren’t immediate responses to instinctive/ physical needs, they are instead shaped by the desire for connection and viability. To be Human “involves laughter and levity, but also usually includes an element of tragedy” [Johnson, 2009, p. 13] causing us to engage openly with the contradictions of the world. Both joys and sufferings bind us to our shared human experience amongst one another. From the thrilling encounters of first love, achievement and growth to the despairing expositions of loss, grief and death, our emotional scope is designed to be vast and unique. Therefore the experience of these emotions provide influence to our understanding of the world and our place within it. The journey of being human is not merely based on survival, much like an animal, but of continual development, transformation and exploration. As humans we confront the questions of our values, our identities and our relations to others. The human experience can also be investigated through its relational stand point. As humans we are deeply social beings, striving for genuine connection and belonging. “The necessity to unite with other living beings, to be related to them, is an imperative need on the fulfilment of which man’s sanity depends.” [Fromm, 1955, p. 30]. Enriched by interactions with peers, we are provided with the opportunity to collaborate, find purpose and support. Without these fundamental principles of outside communication, the understanding of ones self and the encompassing environment would become greatly limited, hindering our personal growth of self-awareness and navigation. In essence, the conversation around the human journey will always be one that is complex in nature. We are marked “by the inescapable alternative between regression and progression, between return to animal existence and arrival at human existence.” [Fromm, 1955, p. 27]. Thus highlighting how we are existing in a continual state of evolution – there lies a tension between reverting to our instinctive nature, the unconscious ways of being, and the intentional, conscious ways of being, embellishing self-awareness  and actualisation. From birth we are challenged with internal and external factors – self doubt, questions of identity, societal expectations and interdependence – urging us to adapt our understanding of ones self but also the civilisation around us.  

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What is the topic you want to look at and why?

For my book, I would like to focus on the theme of ‘The Human’ and touch on relative sub points like The Human Condition, The Body and The Anatomy, The Questions of Animality within humanity, Challenging Gender Norms, Race & Culture- Diaspora etc.

I chose the topic of ‘The Human’ as I want to delve more deeply into researching the human condition and the universal experiences that we all share. I am also intrigued by the feeling of ‘Sonder’, which I think will be quite interesting to analyse.

What experiences from last term did it emerge from, and what was interesting to you in this?

- Looking at texts to do with Diaspora and Animals and how these link quite deeply to the human experience.

- Challenging Gender Norms: Life drawing session where we swapped the models clothing with their opposing gender. And then had to interpret this. I really enjoyed illustrating these and it posed the question of the power of identity and expression.

Visual Culture

Free will and whether our lives are predetermined or left for us to choose. (Subtopic of the human condition)

[amymmill2]

Walking After Midnight: Women, Sex and Public Space Response

As a woman, I am deeply aware of the threats that accompany me when I choose to walk at night. The term ‘choose’ being ironically appropriate, as it captures key ideas from the extract. It demonstrates that walking at night is not just a rightfully given act of movement but a deliberate decision- one weighted with risks- especially for women, even in modern society. I wish to highlight the deeper significance of walking as a woman and how this complex dynamic is more than a simple, everyday act.

Historical Context: The Contagious Disease Act

In Britain the term “walking out together” held two primary connotations- one implying that a romantic connection has ensued, and the other suggesting a more direct sexual relationship. Walking as a pair provided both parties with an opportunity to spark an emotional and somewhat physical connection with their partner, offering a socially acceptable solution to enjoy another’s company within the public sphere- without being directly physical.

However, this form of walking practice, became increasingly sceptical, particularly due to the growing number of soldiers courting women- often whom were regarded as sex workers- which began to raise concerns about public morality. Public Morality-  which should be a shared care of concern for both men and women, only ended leaning heavily towards women’s deemed lack of moral. Thus in 1864, the Contagious Disease Act was put into place. Designed to prevent the presumed spread of venereal diseases (STD) within the British Army and Navy due to high rates of prostitution.

The Contagious Disease Act is vitally significant in the understanding of the mistreatment of women; not only because of its legal capacity, but also because it subjected many women to suffer under the hands of medical professionals. If a woman was in the ‘wrong place at the wrong time’ (walking at night), this would make her eligible for a lawful arrest. Due to this mindset, this resulted in a widespread assumption (mostly among men), that she (women) was a “woman of the night” [Solnit, 2001, p.234] , granting surgeons access to carry out humiliating and painful medical examinations following the arrest. The phrase “guilty till proven innocent” [Solnit, 2001, p.233] encases the fixed prejudices of men during this period. These women were undoubtedly presumed guilty not based off legal evidence, but their sexuality and gender.

Something that stunned me about this matter was that Solnit mentions a case, where a nineteen year old girl, Caroline Wyburgh, had to forcefully endure one of these examinations. The surgeon, there to underline whether she was a prostitute or not, had in fact ‘deflowered’ her during this so called ethical examination. He proceeded to then laugh stating “You have been telling the truth… You are not a bad girl.” [Solnit, 2001, p.233]. Reading this segment was extremely unsettling for me as it embodies the very fears many women experience during a gynaecological exam. The thought of having to undertake such an invasive test is stressful enough, without having the added concern of whether your surgeon will have any compassion/empathy. To know that this surgeon could be this callous without any repercussions highlights the stark contrast between then and now.

The Sexualisation of a Woman’s Walk

Firstly, it is key to understand that this treatment of women was rooted in the sexualisation of purely existing as a female. In a society where their behaviour was under constant scrutinization, the free act of walking became performative. It was deemed by men to be a display of sexual or moral intent, - ‘not for their own experience but for that of a male audience’ [Solnit, 2001, p.234]. A simple walk now stripped of its nature as means of transportation was now a form of entertainment, which meant that women were asking for whatever attention they may receive.

The law was known to criminalise the actions of women that men were never subjected to, emphasising the idea that women’s bodies and sexualities were public domains; always under domination. A clear historical example of this would be in Middle Assyria, between the seventeenth to eleventh centuries B.C, where women were split into two categories. Wives and widows and prostitutes and slave girls. “Domestic women, sexually serving one man… are here designated as ‘respectable’ by being veiled, women not under one man’s protection and sexual control are designated as ‘public women’, hence unveiled” [Lerner, 2001, p.235]. To me this quote demonstrates the power of patriarchy even within something so personal such as a woman’s sex life. You were deemed ‘respectable’ if your sexuality was under male ownership and protection, under the bounds of marriage. This states that a woman’s worth is defined by how well she fills her role in a monogamous marriage; under vows she must be fully dependant (economically, sexually, emotionally etc) on a single male figure. The veil, in this context, is a physical metaphor for how the woman’s sexuality is controlled by her male counterpart.

In comparison, women who are deemed as unveiled or ‘public women’ are advertised as sexually available and immoral. They are denied social respect as they are associated with the dependence of sex. The act of being unveiled, depicts how they are literally and symbolically exposed, implying a lack of modesty due to the absent controlling role of a man. Without this domineering role of a male, ‘public women’ become sexually liberated. However, for me this only further highlighted the patriarchal double standards of a woman’s sexual explorations. For she will be scrutinized, whilst men will be praised for freedom of sexual expression. It was also highlighted that by making women wear these veils it made their sexuality a public matter rather than a private one. Ultimately the visibility of the veil suggests that there must be a material barrier rather than the woman’s consent and morality, regarding her sexual accessibility. Further linking to how women’s voices were diminished and unacknowledged even when it came to the rights of their body.

Regulation of the Public and Private Sphere

By the fifth century the marginal difference between gendered norms became extremely evident, with men being defined with an exterior role and women with an interior role, the public and private spheres were created. Women “were confined to houses because of their supposed physiological defects” [Sennett, 2001, p.235]. The phrase “supposed physiological defects” implies that women’s bodies were perceived to be weak and frail, making them best suited for private sphere roles, such as cooking, cleaning and nurturing. When taking a closer look at the history behind housewives, there was a sinister undertone of an ulterior motive with the men’s reasoning. It is widely known that women were deemed to be the domestic keepers, a role made to keep the family harmonious. However according to architectural historian Mark Wiggins, “the role of architecture is explicitly the control of sexuality, or more precisely women’s sexuality…the fidelity of the wife…While the house protects the children from the elements, its primary role is to protect the father’s genealogical claims by isolating women from other men.” [Wiggins, 2001, p.236]. This implying that the innocent family home, is a confinement for the woman. Emphasizing how women’s sexuality is conducted through the regulation of public and private space. Through the oppression of the home, women were successfully kept monogamous in the private sphere.

To conclude, the historical mistreatment of women’s sexuality and their motions through the night of public and private spaces discloses the deeply rooted patriarchal connection between morality and control. It demonstrates the societal tendency to view women’s bodies as commodities of consumptions. Ultimately, demonstrating how far women have come with their fight to gain rights and power over their sexualities and bodies.

Bibliography

Rebecca Solnit, RS (2001), Walking after Midnight: Women, Sex and Public Space [PDF]

Available at : https://mdx.mrooms.net/pluginfile.php/5730512/mod_resource/content/2/Solnit-WalkingafterMidnight.pdf

(Accessed: 7th December 2024)

[amymmill2]

The Red Shoes Analysis

Directed by Michael Powell and Emeric Pressburger, The Red Shoes (1948), is a visually and emotionally intense film that delves into the cost of artistic obsession and the conflict between love and artistic ambition.

Rex Whistler, The Red Shoes, Illustration for Fairy Tales and Legends

The film is based on an original dark fairy tale by Hans Christian Andersen, published in 1845. The story follows a young, unwealthy girl who is cared for by her grandmother. Despite her grandmother’s attempts of a humble upbringing, Karen is consumed by vanity and materialism. One day, she encounters a pair of bright red shoes, which she is seduced by. Against her grandmother’s wishes – who instructed her to buy a subtle pair of black shoes for church- Karen chooses the red ones instead, stunned by their beauty and allure. Unbeknownst to her, the red shoes are enchanted and quickly seize her life. They force Karen to an uncontrollable dance, dragging her through the town streets, leading to her misery and humiliation. The more she resists this fate, the more she is trapped in the curse. Her life now a nightmarish cycle of obsession and vanity, something which she once prided herself upon. She searches for a way to end her self-inflicted suffering, and in desperation, seeks the town executioner, asking him to cut her feet off. The executioner – used to foreshadow Karen’s impending doom- fulfils her request and gifts her with a pair of wooden feet. With the curse lifted, Karen believes she has been redeemed. In this moment of relief, an angel appears, relaying that all her sins had been forgiven. With overwhelming joy, she dies of happiness and her soul ascends to heaven finding eternal peace and redemption. With this origin in mind we are able to make connections to both fairy tale and film in regards to both Karen and Vicky displaying traits of obsession, which lead to their demise.

The Power of Art

A central and complex theme in this film is the metaphorical use of the power of the arts and how this inevitably can make, or in this case, break a person. Art is portrayed not as an enjoyable creative endeavour but as a forceful obsession. It encourages the elevation and transcendence of oneself but equally demands self-destruction. Through the character of Victoria Page and the ballet sequences, the film delves into the dual nature of art and its ability to liberate but also consume the obsessed. In all aspects there is ‘the idea that art can become all-encompassing, shaping every aspect of one’s existence.’ [Alexander, 2024]. In the film, ballet is not just viewed as a performance, but as a symbol of spiritual transcendence through the perfection of the artistic journey. As the central ballet plays out, the stage and reality begin to disintegrate, and the performance becomes a metaphysical experience, delivering the dancer and audience to a dream-like realm of fantasy. This blurring of boundaries between reality and performance, highlights the transformative power of art. There is also a significance around Victoria’s journey to perfection. Evidently, she is intensely devoted to ballet which reflects her desire to elevate in a spiritual manner. Linking to how Lermontov holds ballet as a religion, giving the art a sublime quality. This portrayal gives a divine set of characteristic to ballet, suggesting that Victoria was the anointed one, destined to her destructive fate.

Art can also be seen, through the character of Lermontov, as a force to be mastered rather than an art to be experienced. He takes on a very tyrannical approach with his dancers and engraves -to both them and the audience- that ballet must be worshipped, much like a God. His character successfully embodies the ominous side of the art’s power and how it can consume them into a life of lonesomeness and isolation. Victoria is not only a prisoner to Lermontov but also to the Red Shoes themselves. They metaphorically represent the domineering role of obsession and how dedication can lead to a loss of freedom. Her pursuit to master artistic perfection surprisingly leads to her oppression, enslaving her to the power of the shoes.

The Red Shoes, 1948

The Duality of Love and Art

A metaphor that links to the power of art, is how in the film, Victoria’s relationships with Julian and Lermontov depict the tension between romantic/ personal happiness and artistic fulfilment. Julian represents Victoria’s chance to have a life outside of ballet, filled with intimacy and fulfilment. Whereas Lermontov represents the all-consuming, demanding aspects of dance and how this can destruct her life, much like his. I feel as though these two men serve as metaphors for Victoria’s internal conflict. This conflict highlights the irony of greatness in the fact that perfection can’t be sustained in one area (art) without the sacrifice of another (personal happiness).

The Red Shoes, 1948

Reality vs Surrealism

The use of surrealism as a counterpart to reality is used to primarily amplify the deteriorating internal, psychological state of the protagonist, Victoria Page. As she becomes more dedicated and obsessed with ballet, the boundaries between her external reality begin to crumble. The Red Shoes themselves are an embodiment of Victoria’s inner turmoil posing the question of whether dancing is an experience. When wearing them, she isn’t just performing a ballet, she is being overtaken by the obsessive compulsion to dance, brought on by the curse. The abstract, swirling imagery in the dance, represents the downward spiral of her mind and therefore her reality. Let’s quickly explore the significance of cinematography in the ballet sequence. The camera’s fluid movement and distortion of space, paired with the dreamlike colours, indicate that the dance is not just on stage but also in Victoria’s mind. Once you begin to grasp this concept as a viewer, her fear, guilt and obsession become tangible as you are witnessing her mind’s unravelling. Thus, resulting in the dance becoming an out-of-body experience for the protagonist and on overstimulating watch for the audience.

The Red Shoes also are a representation of the surreal as they are not only symbolic of artists ambition, but a physical manifestation of the power of artistic obsession. Using technicolour these once ordinary ballet slippers are transformed into a maleficent force. In the film we don’t get an explanation as to how these shoes hold their supernatural qualities, suggesting that it is reasonable for them to exist between a plane of reality and the surreal.

The Red Shoes, 1948

Significance of Cinematography and Colour

The Red Shoes is known for its groundbreaking use of cinematography and technicolour which are key elements in portraying the themes of deep emotion and turmoil. Directors Michael Powell, Emeric Pressburger, and cinematographer Jack Cardiff, used colour as a narrative tool to enhance the symbolism of psychological unease.

The most powerful use of colour is reflected with the physical use of the red shoes. The colour red is a motif throughout the film, displaying themes of risk, passion and infatuation. The shoes possess a life of their own, and this bright hue of red is tied to the emotional distress and intensity of her character’s journey. It acts as a visual cue for the increasing danger she is putting herself in at the cost of her ambition.

As one of the earliest films to use Technicolour, Powell and Pressburger utilized this as an extended metaphor to mirror the psychological states of the characters. There is a sense of irony as the characters mental well beings are deteriorating whilst the set colours become brighter. The vivid colour palette adds a surreal, dreamlike quality to the narrative. The extravagant costumes, grand set designs and backgrounds create an enchanting environment for the ballet and the audience- both dazzling and entrapping the viewer and characters. The use of contrast with colour serves as a differentiator between reality and the world of ballet. When transported to the theatrical scenes of the dance, the colours are very vibrant and intense eluding to a heightened sense of reality. On the other hand, scenes set in real life have more muted tones of colour, emphasising the dreariness of everyday life, compared to the idealised world of ambition in the arts.

The camera movement, holds a lot of fluidity through the swirling and sweeping motions, making the dance feel dreamlike. This could also be implied as a physical representation of Victoria being lost in a trance due to her obsession. As mentioned previously, the colours of the ballet shifts dramatically, highlighting emotional and psychological disintegration. The Red Shoes are seen to morph into surreal forms, making the dance feel increasingly tense. It could be implied that the colour red in the dancing sequence represents the increasing power of the enchanted shoes, magnified by the distorted visuals.

Overall, I found The Red Shoes to be a powerful exploration of the toxic realm of art and the nature of obsession. Through Victorias character we delve into the tensions between a life of intimacy and a life of relentless perfection. She is morally challenged throughout the film, slowly driving her psyche in a downwards spiral. Ultimately, the film portrays how pursuing artistic transcendence, can lead to self-destruction. It successfully highlights the dangers of allowing an ambition to become all-consuming, and how this will inevitably lead to one’s downfall.

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Bibliography:

Rex Whistler, RW (no date), The Red Shoes, Illustration for Fairy Tales and Legends [Illustration, Photograph]

Available at:

(Accessed: 17 Nov 2024)

Shaquilla Alexander, SA (Jan 01, 2024) The Red Shoes: Beyond The Mirror [Article]

Available at:

(Accessed: 17 Nov 2024)

Gateway Cinephile (2010), The Red Shoes, Theatrical print (1948) [Photograph]

Available at:

(Accessed: 17 Nov 2024)

The Criterion Collection, The Red Shoes (1948) [Photograph]

Available at:

(Accessed:17 Nov 2024)

Deep Focus Review, The Red Shoes (1948) [Photograph]

Available at:

(Accessed: 17 Nov 2024)

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Why Look at Animals?- John Berger, Response

In “Why Look at Animals?”, John Berger explores the altering relationship between animals and humans, exploring how this modification of connection reflects broader societal changes. He challenges the ethicality of the modern man’s society and successfully critiques our tendency to distance ourselves from animals, creating a justification to reduce them to objects of spectacle, consumption or scientific study. Berger argues that in pre-capitalist societies, animals were deeply rooted into human life- not only as confidantes or resources but also as metaphors and symbols that helped humans navigate and understand their existence. Yet, with the rise of industrialisation, urbanisation and technological advancement, this profound connection has been severed. Through this shift, Berger displays the alienation of both animals and humans from the natural world (before capitalism), and he raises ethical questions about how our varying views on animals affect both their treatment and our humanity.

The Downfall of Shared Visual Language

Prior to capitalism, humans and animals were often near one another, allowing for a mutual recognition on the basis of shared bodily/physical presence alongside visual communication. Humans would observe animals closely in their natural habitats, and in turn, animals would respond to human presence with curiosity, caution and acknowledgement. This exchange wasn’t limited to words (unlike the human language, excluding BSL/ sign language), but rather, was understood through facial expressions, gestures and body language. Logistically, these interactions would happen in the wild or domesticated settings, or in more agricultural human-animal relations like farming, where there was a direct contact for communication.

However, in the modern world, this form of visual language/ communication has largely deteriorated. As humans have become more attached to capitalist life, in turn they have disconnected from nature- living in cities, relying on processed, industrialised food and their systems- has shifted our interactions with animals, cutting off our once very regulated relationship with nature. In contemporary life, animals are often no longer seen as living beings that we share an environment and language with; instead, they are objects of spectacle, confined to zoos and displayed as entertainment for humans to gawk at.

One element of the text which I found profoundly powerful was when Berger’s discussed the ‘dualism remaining among those who live intimately with, and depend on animals,’ [Berger, 2009, p.7] He argues the matter of the emotional connection, or lack of, with that of those who are farmers or peasants due to their comfortability to ‘salt away’ [Berger, 2009, p.7] meat from animals they have been nurturing. ‘They were subjected and worshipped, bred and sacrificed,’ [Berger, 2009, p.7] compared with ‘They were subjected but worshipped, bred but sacrificed,’ highlights the contradictory relationship between man and animal, however the use of ‘and’ feels more mechanical in the state that it delivers a message of what the animal was bred to do. On the other hand the use of ‘but’ delivers an ironic shock factor making us question the roots of why we lead animals into this treatment.

Alienation and The Dehumanisation of Animals

The alienation and “dehumanisation” of animals in capitalist societies runs counter to Lévi- Strauss’s comments on Rousseau’s reasoning. ‘It is because man originally felt himself identical to all those like him… that he came to acquire the capacity to distinguish himself as he distinguishes them.’ [Berger, 2009, p.7] Rousseau explicitly mentions that we must include animals within this ‘identical’ acknowledgement of man and beast. A crucial word to emphasise here is ‘originally,’ as it implies that man initially perceived equal views of the natural world and one-self. However, as we developed self-awareness, we were able to distinguish ourselves from what we were not, leading to the alienation of the animal. This has profound links to the commodification and speculation of these beings. Due to a rise of industrial farming and factory production, this led animals to the reduction of a product- their lives and bodies are controlled and manipulated, solely for human consumption. In these toxic environments, animals are bred, raised and then killed in ways that depersonalise them, disposing their individuality and life experiences. The language utilised in the commodification industry- with reference to animals as “units” or “livestock”- additionally distances humans from connecting to the individual lives of the animal. They become resources to be exploited, whether that’s for meat, labour or entertainment, and removes any ethical consideration for their suffering. This encourages a mindset where animals are no longer seen as living beings to be respected, but much rather instruments in human processes.

Berger is also seen referencing the selfish nature of zoo’s and how this indicatively alters the physical and emotional state of animals. They are no longer perceived as idolised beings but ‘realistic animal toys,’ [Berger, 2009, p.26].  This acknowledgement of living creatures being viewed as “toys” further supports the argument of the dehumanisation of animals. They are often seen as objects of entertainment, confined to foreign enclosures that are far from the realities of their natural habitats. In these environments they take on the roles of performers, becoming spectacles rather than sentient beings. Zoo’s become symbols of the human objectifying animals, capturing them for display - and ‘in principle, each cage is a frame around the animal inside it’ [Berger, 2009, p.23]- much like a live art gallery. Overall displaying a relationship where animals are no longer seen as having emotions, personalities or rights, but instead are reduced to objects for amusement.

The Changing Role of Animals in Human Culture

Another key theme in “Why Look at Animals?” is the role of art and visual representation in shaping how humans view animals. Historically, animals were often idolised and depicted in art and religion as powerful, noble or spiritual beings. We see animal symbolism in religious iconography being used in associating certain human qualities with animal species. This is evident in many religions tracing back to the classical beliefs of the Greeks and Romans alongside Hinduism, Buddhism and Christianity. For example, the ‘Greeks associated wisdom with the owl and believed that Athena, the goddess of wisdom, had a particular affiliation with birds,’ [Gorlinski, no date]  supporting the reasoning as to why she is frequently represented with an owl. This anthropomorphic standpoint is still used in modern societies – in films, books and cartoons- to create metaphors/ similes around the human and animal connection. Sayings like: “eager beaver”, “as cunning as a fox” or “cheeky monkey” show how we employ animals to depict human behaviours. This portrayal of animals in contemporary visual culture, highlights how the species is increasingly depicted in ways that serve human interests, i.e. in advertisements, as pets or in commodified forms. Overtime they have become more simplified and domesticated in their representation, reduced to cute or exotic images that are more appealing to humans. This poses the question of whether there is a criteria or standard for the type of animal that is granted domestication. Berger critiques this trend, suggesting that it reflects a wider societal shift where man no longer views animals antient beings with worth or complexity, but as accessories to their existence.

In conclusion, Berger offers a poignant critique of the heightened alienation between humans and animals, due to capitalism and urbanisation. He argues that our once significant relationship shared with this species, has been severed, minimalizing animals to commodities and spectacles. Through his analysis of historical, cultural and ethical shifts, Berger highlights how this indifference reflects a major societal change- where animals are now exploited instead of valued. Overall, Berger’s challenges us to re-visit our treatment of animals to perhaps create a more compassionate connection with the world around us.

Bibliography

John Berger, JB (2009), Why Look at Animals? [PDF]

Available at: Berger_WhyLookatAnimals.pdf

(Accessed: 17 Nov 2024)

Virginia Gorlinski, VG (2009) Animal Worship | Animals in Religion, Rituals & Mythology

Available at: https://www.britannica.com/topic/animal-worship

(Accessed: 17 Nov 2024)

[amymmill2]

Lee Bul

Commencing her career as an artist in the late 1980s, Lee Bul was able to gain enough traction in the early 1990s through participating in multiple group and solo exhibitions. She is renowned for her Cyborg series (1997-2011), which is constructed of sleek sexualised sculptures that reflect political and societal interpretations of the feminine form, inspired by the Japanese art, manga and anime. There is a real sense of irony regarding her Cyborg collection as their ‘polished appearance belies their laborious manual construction’ [Rachel Kent, 2004]. Embedded in these uncanny sculptures are motifs that explore the power of cloning, genetic engineering and cosmetic surgery. These ideals display the crossroads of technology and the human body, raising queries about transformation and identity.

Cyborg, 1998

One of her earliest works to date include an art performance named – “Sorry for suffering- You think I’m a puppy on a picnic?” This performance was spread over 12 days on the streets of South Korea to Japan, where Bul wore a self made costume depicting a sort of creature/ monster. Some may say this act was provoked due to the controlling state of the East Asian government, specifically over the matter of women’s bodies. To provide some political context, Bul was born in the 1960’s in South Korea where the country was under strict military dictatorship. However she ‘came of age during a period of incredible social and economic upheaval marked by the transition to a democratic state’ [Lee Bul, 2021].This ultimately provided her with an opportunity to freely express debatable social and political issues through her performances.

Sorry for suffering- You think I’m a puppy on a picnic?, 1990

This act led her to the Tokiwaza Theater, where she reproduced her most controversial performance “Abortion.” Naked and bound with ropes, she was suspended from the ceiling. This piece, powerful yet disturbing, shows Bul’s physical and emotional discomfort throughout the run time of 2-3 hours. Shockingly she carried out this performance every day until the end date of the ‘exhibition.’ I believe she was driven from her own personal experiences with abortion and this emotional turmoil is laid out bare for the viewers to witness.

Abortion, 1989

To me, Bul wanted to unapologetically share the raw struggles of women in South Korea. I am a fan of how unpleasant her performances are as it challenges the political and socials norms of how women should be perfectly upheld. She embraces the feminine discomfort and boldly confronts taboo subjects, tabling conversations regarding gender roles to be faced publicly. Ultimately her work not only questions women’s expectations but also encourages women to reclaim their narratives.  

Bibliography:

Rachel Kent, RK (2004) Lee Bul | Exhibitions | MCA Australia

Available at: https://www.mca.com.au/exhibitions/lee-bul/

(Accessed: 13 Oct 2024)

Thaddaeus Ropac, TR (1998) Lee Bul Cyborg W1 [Photograph]

Available at: https://ropac.net/artists/31-lee-bul/works/11870/

(Accessed: 13 Oct 2024)

Lee Bul, LB (2021) Thaddaeus Ropac

Available at: https://ropac.net/fr/news/438-south-korean-artist-lee-bul-on-her-homecoming/

(Accessed: 13 Oct 2024)

Sabukaru (2022) Sorry for suffering – You think I’m a puppy on a picnic? [Photograph]

Available at: https://sabukaru.online/articles/lee-bul-sorry-for-suffering

(Accessed: 13 Oct 2024)

Stefan Altenburger, SA (1989) Abortion [Photograph]

Available at: https://www.artsy.net/artwork/lee-bul-abortion

(Accessed: 13 Oct 2024)

Bloom (2015) Pushing the Boundaries of Korean Art: Lee Bul | Brilliant Ideas Ep. 16

Available at: https://www.youtube.com/watch?v=WhyeyI3fKY8

(Accessed: 13 Oct 2024)

[amymmill2]

When creating this piece I wanted to capture the feminine and masculine aspects of the persona. We were initially presented with 2 models who posed as cross dressers and were challenged to create illustrations that highlighted the ‘characters’. In the life drawing room both models seemed very confident at posing with the items of clothing however when I asked the question of whether photography was allowed I was given two very different responses. The female model said “yeah why not…. I have no problem with that” however the male model stated “Are you trying to ruin my life, I can’t have photos of me like this, especially on social media!!” His tone was humorous however this goes to show how the weight of judgement from society impacts one’s confidence when they are displaying something out of the norm. In this illustration I used ink and focused on creating a range of different marks and played with the weight of line (this was all done with the same brush). The subtle masculine notes are challenged with the boldness of female associated characteristics. Overall I think this image was able to successfully capture the juxtaposing elements of cross dressing.

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Reading Report: Investigating Diaspora Art

The term ‘diaspora’ derives from the ancient Greek word ‘dia speiro’, translating to the term “to sow over.” The general understanding of this word is that it refers to the migration of a large group of people from their motherland to a more developed region. Sieglinde Lemke takes time to appreciate the history of not only this movement, but also the chosen artists techniques and subjects. Whilst reading this text the ideas of belonging, displacement and culture were very evident within the identities exhibited in the artworks. She highlights the historical and societal importance of this creative expression, and how the diasporic views of these three artists, created an open discussion around community and acceptance for immigrants. Four main themes were explored in this text: Cultural Identity, Historical Context, Visual Language and the Legacy of Future Impact. Cultural Identity: It’s very evident that the book focuses on the exploration of how each artist conveys their understanding of cultural heritage; alongside how they take to respond to social injustices like, racism, inequality and the pursuit of the self. This is also highlighted through her themes of Roots, Routes and Riots, which are embedded into the artworks. Historical Context: Lemke highlights the artists importance within the broad historical narrative of African diaspora through examining the impact of migration, colonialism and cross-cultural exchange. Visual Language: There is a discussion regarding each artists approach and the powerful dynamic of expressionism is questioned. You are able to detect the distinctive aesthetics of each artist- Douglas uses modernists forms, Lawrence focuses on narrative storytelling and Basquiat applies the rawness of a graffiti-inspired aesthetic. Legacy of Future Impact: Most powerful, is the consideration of how these pieces raised contemporary discussions about race and representation in art. Ultimately, Lemke’s analysis of these artists affirms the significant role of art in expressing diaspora experiences, presenting a platform for the voices of migrants.