.jpg?w=1)
拍品專文
Lee Lee Nam's appropriation of images from the art historical canon challenges the viewer's notion of authenticity and reproduction. As the global economy serves as a matrix for promoting standardized consumer symbols, Lee embeds Walter Benjamin's simulation theory for viewers to self-reflect on their behaviour within the capitalist society by challenging the authenticity of image and by making sophisticated modification to historical masterpieces to prove that aesthetic autonomy reacts to consumption habits.
Media has transformed our reality, producing wide-ranging societal, economic, moral, personal and political consequences. Noting this inescapable influence, Lee chose video and television as his artistic medium to cleverly deliver the level of communication and encapsulation which artworks should hypothetically impress.
Lee reveals for us our modern fascination with efficiently accessible information, as we find ourselves captivated by his self explanatory, take on the original as opposed to monotonous masterpieces that require time and contemplation. By also exploiting our interest in moving images, he also demonstrates our innate inclination towards invention and change.
Media has transformed our reality, producing wide-ranging societal, economic, moral, personal and political consequences. Noting this inescapable influence, Lee chose video and television as his artistic medium to cleverly deliver the level of communication and encapsulation which artworks should hypothetically impress.
Lee reveals for us our modern fascination with efficiently accessible information, as we find ourselves captivated by his self explanatory, take on the original as opposed to monotonous masterpieces that require time and contemplation. By also exploiting our interest in moving images, he also demonstrates our innate inclination towards invention and change.