Mikyung Lee’s project starts at a fence easily found at construction sites throughout the city. A fence is usually put up temporarily to block the view that hinders urban environment. However, the fence itself becomes a sort of “emotional” symbol in an environment where development and reconstruction have become common place. People passing by the fence imagine what is being destroyed or built beyond the fence. Confusion, frustration, anger, sadness, disappointment, hope and expectation. These are some of the feelings one can expect to get when the fence goes down and the object behind it is revealed. The artist views fence as the only medium arousing emotion in everyday life in an indifferent city.
In *Fence*, the artist fills the exhibition hall with volume of fences limiting the moving line of audience and making them to view the various objects over the fences. As a result, audience has to stand on tiptoe or stand on concrete blocks wondering and imagining what they would find beyond the fences. At the same time, they also project their expectation and concept they had about artworks. In the process, audience designs “imaginary artworks” by themselves.
First shown at *2012 Hermès Foundation Missulsang*, *Fence* was donated to *The Spatialization of Programs*, through which it was transformed into an archive and exhibition space of Anyang Pavilion. Contrary to the original version where the audience was unable to enter the inside of the work, the inner area is opened and its structure repurposed into storage space and exhibition showcase. Parts of the work are re-appropriated into structures for video work displays.
이미경 Mikyung Lee ∙
As a conceptual artist, Lee explores the subject of “communication of the visual arts” through projects that emphasize the public nature and functionality that result from the relationships we form with our surrounding environments. Apart from solo show *oh my office* (Gallery Factory, Seoul, 2008), she participated in *Hermès Foundation Missulsang* (Atelier Hermès, Seoul, 2012), *Life, a User’s Manual* (Culture Station Seoul 284, 2012), *100 Daehangro* (Arko Art Center, Seoul, 2009), *B-side* (doART Seoul, 2008), and the 2nd APAP (Anyang, 2007).