MADNES, EROS, HYSTERIA——Park Youngsook、Lee Soon Jong、Lee Eunsae

愤怒，情欲，歇斯底里

一、Libido And Eros 力比多与情欲
一、Libido And Eros 力比多与情欲

The artists presented in Chapter 3 are Park Youngsook (b. 1941), Lee Soon Jong(b.1953) and Lee Eunsae (b, 1987). While veteran feminist photographer Park Youngsook delves into the sociopathological and psychological connotations of mad women' through her camera lens, and multimedia artist Lee Soon Jong executes satirical feminism through eroticism that is both aesthetic and political, threefin t terrible Lee Eunsae represents the provocative history of bad girls through bold paintings executed in a new style. All three women come from different eras and backgrounds, but similarities can be found in their expression of explosive anger against paternalistic gender ideology that treats women as a second sex ol'other'. Using unconscious channels, such as madness, eros and hysteria, as welas psychological defiance, they seek an outlet for liberation.
第三章介绍的艺术家是朴英淑（生于 1941 年）、李顺宗（ 生于 1953 年）和李恩塞 （生于 1987 年）。资深女权摄影师朴英淑 通过她的相机镜头深入探讨了疯女人的社会病理和心理内涵 ，多媒体艺术家李顺钟通过美学和政治的情色来执行讽刺女权主义， 而三鳍特·恩塞则通过以下方式代表了坏女孩的挑衅历史大胆的绘画以一种新的风格执行。这三位女性都来自不同的时代和背景，但相似之处在于她们对将女性视为第二性“ 他者 ” 的家长式性别意识形态的爆炸性愤怒的表达 。他们利用无意识的渠道，如疯狂、爱欲和歇斯底里，作为心理反抗，寻求解放的出口 。

在第三部分中出现的艺术家是：朴英淑（生于1941年），李淳钟（生于1953年）

Madness, eros and hysteria are psychoanalytical concepts that have much to do with femininity, According to Freud's libido theory, eros refers to a state in which sexual instincts suppressed by culture have been sublimated into life instincts after a process of catharsis. In the same context, Herbert Marcuse wrote in his book Eros and Civilization (1955) that eros is an instinctual civilization process that transforms libido into high-level creative energy, or a liberating escape from desire that is sublimated in the socialization process of eros. In other words, sexual desire is transformed into eros - which takes on biological life instincts and social amplitude-as instincts shift and expand from the childish desires of the imaginary to the order of the symbolic world. The organism itself is 'erotified' by performative currents that draw away from the reproductive organs and towards cultural development. According to Marcuse, eros becomes a 'cultural constructor' in the context of converting biological impulses into cultural impulses, and the 'great refusal' - the ultimate form of freedomist performed through eros.
疯狂、爱欲和歇斯底里是与女性气质有很大关系的精神分析概念，根据弗洛伊德的理论，爱欲是指被文化压抑的性本能经过宣泄过程后升华为生命本能的状态 。在同样的背景下，赫伯特·马尔库塞在他的 《 爱欲与文明》（1955）一书中写道，爱欲是一种本能的文明过程，将转化为高级的创造能量，或者说是一种在爱欲的社会化过程中升华的欲望的解放逃避。换句话说，转化为爱欲——它具有生物生命本能和社会幅度——因为本能从想象的幼稚欲望转变和扩展到象征世界的秩序。有机体本身被表演潮流“ 色情化 ”，这些流动远离生殖器官并走向文化发展。 根据马尔库塞的说法，在将生物冲动转化为文化冲动的背景下，爱欲成为一种 “文化建构者”，而“大拒绝”—— 通过爱欲表演的自由主义者的终极形式 。

The fundamental alienation of humans comes from the sexual instincts that are lost ircivilization and the socialization process of eros. This is because you cannot become an independent person unless you follow the rules of the symbolic order where unconscious desires are repressed. Women, whose language has been lost within the phallic system of symbols, are unable to withstand the weight of oppression; they either abandon themselves or submit to social demands or suffer the break dowr of their humanity, The resulting non-verbal and mad symptoms equate with the language of women and stigmatize them with a psychological disorder - that ishysteria', the pathological terminology derived from the ancient Greek word for uterus, 'hysteria’. The asymmetrical sexual norms for men and women are maintained by a psychological hypothesis viewing hysteria as an abnormal phenomenon that threatens the community and presents women in terms of dichotomous subordinate concepts, such as bodies, emotions, the subconscious and wildness Within this asymmetrical structure, cultural movements that reject the rules of the symbolic language game, such as feminism, are experimental and discontinuous often resulting in unfinished projects, In spite of this, feminist artists, such as Park Youngsook, Lee Soon Jong and Lee Eunsae, call for a 'return of the repressed' through artistic struggles that resist oppression.
人类的根本异化来自于失去的性本能 、 不文明和爱欲的社会化过程。这是因为除非你遵循无意识欲望被压抑的象征秩序规则，否则你无法成为一个独立的人 。女性的语言已经迷失在符号系统中，无法承受压迫的重压; 他们要么抛弃自己，要么屈服于社会要求，要么遭受人性的崩溃，由此产生的非语言和疯狂症状等同于女性的语言，并用心理障碍给她们带来耻辱--“ishysteria”，病态术语源自古希腊语子宫的单词 “ 歇斯底里 ”。男性和女性的不对称性规范是由一种心理学假设维持的，该假设将歇斯底里视为一种威胁社区的异常现象 ，并以二分法的从属概念（例如身体、情感、潜意识和野性） 来呈现女性在这种不对称结构中，拒绝符号语言游戏规则的文化运动 ， 例如女权主义，是实验性的和不连续的， 往往导致未完成的项目，尽管如此，朴英淑、李顺钟和李恩塞等女权主义艺术家通过抵抗压迫的艺术斗争呼吁 “被压抑者的回归”。

二、Park Youngsook: Mad women and witches 裴永淑：愤怒的女人和女巫
二、Park Youngsook: Mad women and witches 裴永淑：愤怒的女人和女巫

Park Youngsook is a first-generation feminist photographer who plays a significant gelatin silver print part in the history of Korean feminist art, Since emerging as a grassroots feminist within the Minjoong art context of the late 1980s, she has been building a unique artistic vision as a pragmatic activist and conscious feminist. While many female artists today employ photography as their medium of choice, Park stands out for her continued interest in women, 'others' and the periphery, as well as her consistently feminist work based on a critical perspective of gender and representation, Park's feminism has remained in touch with and evolved alongside the trends of thetimes. In 'Photo Exhibition', an exhibition at the National Public information Center,Seoul in 1975 and in parallel with the UN's designation of 1975 as internationalWomen's Year, Park presented documentary photographs from a socialisfof the gender inequality forced on women. Thisoerspective that captured scenesncluded photographs of female labourers carrying stones on the banks of theHan River, street vendors with their babies sleeping in boxes next to them, se.workers in the back streets of Seoul's Yeongdeungpo neighbourhood, chickenfemale computer programmers at Koreacoop-like dormitories in wigAdvanced Institute of Science and Technology (KAlST), and ordinary housewivesexperienced physical and mental after-iving in apartments.Atter that.surgery she underwent at thirty-nine, Park took aeffects from the breast cancernew direction in 1981 with her 'Portraiture of 36 Friends' at Gonggansarng GallerySeoul. In this exhibition, Park took the first step towards her own brand of 'femininephotography' by making portraits of professional women from different fields,basketball player Park Shin-ja, theatre actressncluding painter seok Nan-hee.Park Jung-ja and televisiondrama writer Hong Seung-yeon.
朴英淑是第一代女权主义摄影师， 在韩国女权主义艺术史上扮演着重要的明胶银版画角色，自 1980 年代后期在敏中艺术背景下作为草根女权主义者崭露头角以来 ，她一直以务实的活动家和有意识的女权主义者的身份建立独特的艺术视野。 虽然当今许多女性艺术家将摄影作为她们的首选媒介，但朴槿惠因其对女性、“他人”和边缘的持续兴趣，以及她基于 性别和表征批判视角的一贯女权主义作品而脱颖而出， 朴槿惠的女性主义一直与时代潮流保持联系并与时俱进 。 在 1975 年在首尔国家宣传中心举办的“摄影展”展览中，在联合国将 1975 年定为国际妇女年之际 ，朴槿惠展示了来自社会社会对女性的性别不平等的纪实照片。 拍摄场景的 Thisoerspect 包括在汉江岸边搬运石头的女工 、睡在旁边盒子里的婴儿的街头小贩、 首尔永登浦街区后街的工人 、 韩国合作社的鸡女计算机程序员-像假发的宿舍一样高等科技学院（KAlST），普通家庭主妇在公寓里经历身心的洗礼后 。 除了 39 岁时接受的手术外 ，朴槿惠于 1981 年在首尔 Gonggansarng 画廊举办了她的“36 个朋友的肖像”，从 乳腺癌的新方向中汲取了影响 。在本次展览中，朴槿惠为来自不同领域的职业女性拍摄了包括画家石南熙在内的不同领域的职业女性肖像，迈出了迈向自己品牌“ 女性摄影 ”的第一步 。朴正子和电视剧编剧洪承妍 。

In the climate of Minjoong feminism during the late 1980s, Park claimed to besocialist, but she also adopted an essentialism rooted in the physical, psychologicaThe 1988 exhibition 'Let's Open Our Floodgates:and socialexperence ot women,Emancipatory Poetry and Painting planned byA Meeting Between Femalelomoon was an important event that, as previously discussed, fauratively openedthe floodgates not only for Korean feminism but also for Park personally as afeminist artist. This aroup exhibition featured the poets Kim Hvesoon, Go JungheeKim Kyoungmee and Cheon Yanghee along with the painters Yun Suknam, DjinSuk Kim and Jung Jungyeob. Here, Park exhibited work in an essentialist vein.incorporating allusions to femininity and the femaleimage.For example, Rose(1988), an experimental work consisting of multiple scenes in a sequenced fommat.was a symbolic effort that expressed the mysticism of the female body as a centralloriented rose. Another was WVitch (1988), an allegorical piece that inyoked thespinits of witches that live inside women.WVitches are a primary and recurrent motifin Park's work, in which they are often referred to as 'mad women'. They are exploredparticularly extensively in the artist's 2020 series 'Tears of a Shadow'
在 1980 年代后期的闵中女权主义氛围中，朴槿惠自称是社会主义者，但她也采用了一种植根于身体、心理的本质主义 1988 年的展览“让我们打开我们的闸门：和女性的社会经验 ，解放诗歌和绘画 ”策划的女性之间的会议 正如前面所讨论的，这是一个重要的事件， 它不仅为韩国女权主义打开了闸门，也为朴槿惠个人作为爱美主义艺术家打开了闸门 。本次展览邀请了诗人金维顺 、高正熙、金庆美 、千洋熙 ， 以及画家尹淑南 、 金正硕和郑正烈 。 在这里，朴槿惠以本质主义的方式展出了作品 。融入了对女性气质和女性形象的暗示。 例如，Rose（1988），一部实验作品，由序列中的多个场景组成 。是一种象征性的努力，将女性身体作为一朵集中的玫瑰的神秘主义表达出来。另一部是 《WVitch》（1988），这是一部寓言作品， 它唤起了生活在女性体内的女巫的旋转 。WVitches 是朴氏作品中一个主要且反复出现的主题 ，在这些主题中，她们通常被称为“疯女人”。 它们在 艺术家 2020 年的系列“影子的眼泪”中得到了特别广泛的探索

Thanks to connections formed through theTomoon exhibition, Park ioined theYeomiveon aroup in 1992, taking part in the annual "Women and Reality'exhibitiorand-alongside Yun Suknam-presenting radicalfeminist art that had a pivotaimpact on Minjoong feminism, At this time, Park released a seres of joint workswith Yun based on their overlapping interest in collaboration and a sense offemale community. One of these collaborations was Se/f lmage (1992), which waspresented in the 'Women and Reality' exhibition. lt consisted of a photograph ofPark, nude from the waist up, with one of her breasts removed in a mastectomyand a wooden figurative sculpture by Yun showing a light bulb hanging in front opart of the work and titled 'l put a lightthe fiaure's chest. A ioint poem, written asbulb on the spot where it was cut off mirrors this composition. Another joint wor!from the same exhibition, A Day of Yun Youngsook and Park Suknam (1993), wasa multimedia installation that critiqued the recklessness of women that emergedfrom lacking a sense of womanhood. The two artists, who also shared an interesin anonymity, switched names, and therefore attributions, for this work, In thefollowing year (1 994), for the exhibition 'Woman: The Difference and the Power' atthe Hankuk Art Museum in Yongin, Park and Yun invited a pastor named Kim Youngand a singer named Han Young Ae to present Song of the Uterus, a compositework that consisted of drawinas, installations, video, photographs, text, speech,poetry and music. in this piece,an oral text and slide show presented inside a uterusmade of cloth told the storyof the sky mother and earth mother, lt was a strong,essentialist feminist workextolling the nature of maternity and femininity, Park'send with the production of art; it was brought to thecollaborative approach did notfore in her 'portraits' of the exhibiting artists that were used in the exhibition postersand cataloque.She welcomed each of thenineteen participants to her studio forindividual sessions-another example of Park'sfeminine photography
由于通过东文展览建立的人脉 ，朴氏于 1992 年参加了一年一度的“女性与现实”展览 ，并与尹淑南一起展示了 对敏中女性主义产生关键影响的激进女权主义艺术 ，此时，朴氏发布了一部系列 与 Yun 的合作基于他们对合作的重叠兴趣和女性社区意识。其中一项合作是 Se/f lmage （1992），它在 “女性与现实”展览中展出 。 它包括一张朴槿惠的照片 ，从腰部以上裸体，在乳房切除术中切除了她的一个乳房，以及云的木制具象雕塑，展示了作品前面挂着一个灯泡 ， 标题为“我放了一盏灯菲奥尔的胸膛”。 一首在被切断的地方写成球茎的诗反映了这首作品。 同一展览的另一件作品 《尹英淑和朴淑南的一天 》（1993） 是一个多媒体装置，批评了女性因缺乏女性意识而产生的鲁莽行为 。 这两位艺术家也匿名 ，为这件作品交换了名字，因此也交换了归属， 次年（1994 年），在龙仁韩国美术馆举办的 “女人：差异与力量”展览中 ，朴和尹邀请了一位名叫金英的牧师和一位名叫韩英爱的歌手来展示《子宫之歌》， 由绘画 、装置、视频、照片、文本、 演讲、诗歌和音乐组成的复合作品 。在这件作品中，在用布制成的子宫内呈现的口头文本和幻灯片讲述了天空母亲和地球母亲的故事 ， 这是一部强烈的、本质主义的女权主义作品 ，颂扬了母性和女性气质的本质， 朴氏与艺术的生产有关;它被带到了合作方法 ，在她为展览海报和卡塔洛克中使用的参展艺术家的“肖像”中没有出现。她欢迎 10 名参与者中的每一位 来到她的工作室进行个人会议—— 这是朴氏女性摄影的又一个例子

Park made a name for herself not only in theworlo of art out also in the oroadercultural sphere-gaining particular supportin the feministcommunity-throughThe Mad Women (1999), a piece that she submitted for the groundbreaking feministexhibition 'Patjis on Parade'at Seoul Arts Center in 1999. The sociopathologicaland psychoanalytical implications of 'mad women' appealed to experts in the fieldwhile the work's subversive nuance tapped into the hidden instincts of everyday(female) visitors to the exhibition, eliciting unexpected reactions. The 'Patjis onParade' exhibition was desianed to challenge conventiona svstems of gender andrepresentation that viewed women as subordinate subjects, ts title centred on Patithe 'wicked stepsister' antagonist in the Korean fairy tale Kongii and Patji - ratherthan the Cinderella-like protagonist Kongil, subverting the traditional fairy tale script.ark's work similarly efected ateminist turning of the tables, and by rising up throuahthe arbitrary expression ot madrresonated with the exhibition's theme. Parkater completed her broader 'Mad Women Projectwith the release of nine series:'Sexuality is Lost for Women'(2001),'mprisoned Body, Wandering Spirit'(2002)Gay (Monsieur Butterfly) and Lesbian' and 'Project for Money Reformation' (both2003), 'Feminists in Osaka' and 'Feminists in Tokyo'(both 2004), 'The Goddess ofHeyri, WOMAD (2004),'A Flower Shakes Her' and 'Witch Within Me' (both 2005)
朴氏不仅在艺术界崭露头角，还在文化领域声名鹊起，通过 1999 年在首尔艺术殿堂举行的开创性女权主义展览 “Patjis on Parade” 提交的作品《疯女人》（1999）在女权主义界获得了特别的支持 。“疯女人”的社会病理学和精神分析含义吸引了该领域的专家， 而作品的颠覆性细微差别挖掘了展览日常（女性）参观者隐藏的本能，引起了意想不到的反应。“PatjisonParade”展览旨在 挑战将女性视为从属主体的性别和代表性传统 ， 其标题以韩国童话故事《 金刚》 和 《帕吉 》 中的“邪恶继妹”反派为中心 。 而是灰姑娘般的主角孔吉尔，颠覆了传统的童话剧本。阿克的作品同样影响了阿特米尼主义的扭转局面，并通过武断的表达方式崛起，与展览的主题产生了共鸣 。 帕卡特完成了她更广泛的“疯女人项目 ”，发行了九个系列：“女性失去了 ”（2001 年）、“ 被囚禁的身体，游荡的灵魂”（2002 年）、《同性恋（蝴蝶先生）和女同性恋》和“金钱改革项目”（均为 2003 年）、“大阪的女权主义者”和“东京的女权主义者”（均为 2004 年）、“ 海里女神 ，WOMAD”（2004 年）、“一朵花摇晃她”和“我内心的女巫”（均为 2005 年）

The 'Mad Women Project' suggested that after passing through phases of socialismand essentialism, Park's feminismwas shifting towards a post-structuralism thatdeconstructed paternalistic conceptssexualty.Equating the 'goodairl complex with female madnen's oppressive reality througra psychological lens, this psychoanalyticalproject interpreted a fundamental questionwhy women are inherently discriminatory beings - by employing the non-verbalhysterical language of women. As if responding to her own assertion that 'the role offeminists fis] to unearth the buried stories of women', Park keenly senses the realityof women who 'cannot live without madness’ due to the loss of identity and feelingsof humiliation in a patriarchal society, She conceived the idea of 'going vicariouslycrazy'as an exorcistic play to liberate women from their social prison.
“广告狂女人计划”表明，在经历了社会主义和本质主义的阶段后，朴槿惠的女权主义正在转向后结构主义 ，解构家长式的性观念。 这个精神分析项目通过心理学镜头将 “goodairl 情结”等同于女性 madnen 的压迫性现实 ，通过使用女性的非语言歇斯底里语言来解释一个基本问题为什么女性本质上是歧视性的存在 。仿佛回应了她自己主张的“ 发掘埋藏的女性故事的角色”，朴槿惠敏锐地感受到了女性在父权社会中因身份丧失和屈辱感而“ 离不开疯狂 ” 的现实 ，她将“ 替代疯狂” 的想法构思为一部将女性从社会牢笼中解放出来的驱魔剧。

As the main participants wearing the masks of hysteria in the 'vicarious madness'Park positioned her feminist colleaaues in front of the camera as models for the 'MacWomen Proiect', This included Yun Suknam, cultural organizer Lee HyaeKyoung,poet Kim Hyesoon and artists belonging to a younger generation, Ryou Junhwa andYeesookyung. Due to their inexperience as models, their expressions and posesare plain, exaggerated or comical. The lack of naturainess and documentary realismmeans the mad women they are posing as do not seem terrifying or creepy. insteacof projecting the psychological uncanniness of madness or physical grotesquenessthey radiate a childish or naive pseudo-madness. Working with friends allows Parkto confront the self-effacing notion that equates feminists with 'madwomen': themodels are familiar, more like alter egos, than 'otherized' entities. At the same time.the amateurism and familiarity of the models allowed Park to establish her ownunique schema that informs the entire ‘Mad Women Project’.
作为戴着歇斯底里面具的“替代疯狂”的主要参与者， 朴槿惠将她的女权主义同事定位在镜头前，作为“MacWomenProiect” 的模特 ，其中包括尹淑南 、文化组织者李惠京、诗人金惠顺以及属于年轻一代的艺术家，柳俊华和伊淑京 .由于他们缺乏模特经验，他们的表情和姿势是平淡的、夸张的或滑稽的。缺乏自然和纪录片现实主义意味着他们所扮演的疯女人看起来并不可怕或令人毛骨悚然。 insteac 投射疯狂或身体怪诞的心理怪异它们散发着一种幼稚或天真的伪疯狂。与朋友合作让帕克托面对将女权主义者等同于“疯女人”的自谦观念： 模特们很熟悉，更像是另一个自我，而不是“他者化”的实体。 同时 ， 模特的业余性和熟悉度使朴槿惠建立了自己独特的图式，为整个 “ 广告狂女人计划 ” 提供了信息 。

After establishing her standing as an artist through the 'Mad Women Project', in2007 Park abruptly opened the photography gallery Trunk and shifted to a caree as a gallerist committed to discovering rising artists and to developing the world of photography, Ten years later, she returned to working as a full-time artist by synthesizing the 'Mad Women Project' into 'The Park Youngsook Mad Women Project - Mad Women Speak', a solo exhibition held at Arario Gallery in Cheonan At this point, Park's practice of 'feminine photography' came from a more heightened feminist perspective, The 2020 exhibition 'Tears of a Shadow' at Arario Gallery. Which took on the theme of 'witches', showcased a series of works by the samen ame that revealed how aspects of Park's feminism had deepened and expanded in terms of theme, style and discourse, Witches are a classic example of a patriarchal discourse that calls for introspective reflection on their positioning within human civilization and history, To give one example, within art history and literature, thereis a legacy of treating witches as accursed objects of terror that mustbe banished, for instance, as in the figure of Medusa. More broadly,the concept of the witch can be leveraged as a patriarchal devicelegally justified and artificiallthrough which violent oppression becomescategorized. Park issues a warning against this prejudice and arrogancewhile at the same time embracing witches as a valid negative alter ego.subverting prescriptive positive images of 'good girls', such as Kongji, olthe 'happy mother' and revealing them as symbols of bourgeois ideology.
在通过“Mad Women Project”确立了艺术家地位后，2007 年，朴氏突然开设了摄影画廊 Trunk，并转而成为致力于发掘新锐艺术家和发展摄影世界的画廊主 ，十年后，她将 “Mad Women Project”整合为“The Park Youngsook Mad Women”，重新开始全职艺术家工作在天安阿拉里奥画廊举办的个展“——疯女人说话”此时，朴槿惠的“女性摄影”实践来自更高度的女性主义视角，2020 年在阿拉里奥画廊举办的展览“影子的眼泪”。 以 “女巫”为主题，展示了 samename 的一系列作品 ，揭示了朴槿惠女权主义在 主题、风格和话语方面的深化和扩展，女巫是父权话语的经典例子 ，呼吁对她们在人类文明中的定位进行内省反思和历史，举个例子，在艺术史和文学中， 有一种将女巫视为必须被驱逐的被诅咒的恐怖对象的遗产， 例如，美杜莎的形象。更广泛地说， 女巫的概念可以作为一种父权制手段，在法律上是合理的和人为的， 通过它，暴力压迫被分类 。 朴槿惠对这种偏见和傲慢发出警告，同时将女巫视为有效的消极另一个自我。颠覆对“好女孩”的规范性正面形象， 例如孔吉和 “幸福的母亲”，并将她们揭示为资产阶级意识形态的象征 。

Park's witches are 'madwomen' by another name, as well as an innerself, Since her first presentation of her Witch at the Tomoon exhibitior'Let's Open Our Floodgates', Park has summoned contemporary witchesin her series 'Mad Women Project' and 'Witch Within Me'. in which sheequates herself with a witch, as well as her concept of the WOMAD,the name she assigned to the new nomadic women who will lead thetwenty-first century, Near the end of this perilous journey oscillatingbetween witches as mad women and mad women as witches, Parkvisited Gotjawal Forest on Jeju lsland for two years, beginning in 2018.In her imagination, it was a place for witches, and she dreamed ofencountering them there. She hoped to comfort the souls of those whcfaced persecution or who were even burnt at the stake and to expressgratitude towards them for awakening her feminist consciousness.
朴槿惠的女巫是另一个名字的“疯女人”，也是内在的自我 ， 自从她在东文展览 “让我们打开我们的闸门” 上首次展示她的女巫以来，朴槿惠在她的系列“疯女人计划”和“我内心的女巫” 中召唤了当代女巫 。其中 ，她将自己等同于女巫，以及她对 WOMAD 的概念， 她给将引领二十一世纪的新游牧女性起的名字 ，在这段危险的旅程即将结束时 ，在女巫作为疯女人和疯女人作为女巫之间摇摆不定，朴在济州岛的戈特贾瓦尔森林呆了两年，从 2018.In 她的想象开始，那里是女巫的地方，她梦想着遇到他们在那里。她希望安慰那些遭受迫害甚至被烧死在火刑柱上的人的灵魂，并对他们唤醒她的女权主义意识表示感谢 。

In the barren land and damp forests of this mountainous region, Parksensed the pain of witches who had been threatened, oppressed andhad their very existence taken from them. In response, she createdthe set of photographs comprising 'Tears of a Shadow' using whatshe described as *the black tears that flow from my heart'.s Park choscamera angles that evoked the feeling of a witch and brought a senseof breath and movement to the previously still and dormant forest. Thfull vitality of Gotjawal's nature was awakened and transformed into a space for imagined encounters with the spiritual manifestation of witches, Ratherthan photograph models representing witches, Park evokes their presence throughevocative props, such as powder cases, combs, scarves and letters, which are eerilyplaced throughout this seemingly primeval forest, Perhaps the way Park looks atwitches - 'the black tears' and breath that inform her imagined collaboration withthem - is a tacit protest that has been passed down by witches throughout historyto the womads of this generation, as well as a warning signal to the men who haveostracized and marginalized them.
在这片山区贫瘠的土地和潮湿的森林中， 帕克感受到了女巫们的痛苦，她们受到威胁、压迫 ， 甚至被剥夺了自己的存在。作为回应，她创作了一组由“影子的眼泪 ”组成的照片，使用她所描述的“从我心中流淌的黑色眼泪 ”。 朴的镜头角度唤起了女巫的感觉，并为 以前静止和休眠的森林带来了呼吸和运动的感觉 。 Gotjawal 本性的活力被唤醒，并转化为一个想象中与女巫精神表现相遇的空间， 朴不是代表女巫的照片模特，而是通过令人回味的道具唤起她们的存在， 例如火药盒、梳子、围巾和字母，这些道具被诡异地放置在这片看似原始的森林中，也许朴氏看待女巫的方式——“ 黑色的眼泪”和呼吸 ，告知她想象中的与女巫的合作 ——是历史上女巫对这一代巫婆的默许，也是对那些排斥和边缘化他们的男人的警告信号 。

二、LEE SOON JONG’S EROTICISM

It is impossible to talk about the artistic world of Lee Soon Jong without mentioningeroticism, With origins in myth and philosophy, eroticism has given birth to countlessworks of erotic literature and art throughout the ages, Erotic art emerged outof classical, romantic and surrealist art and literature, and now, causing a stir infeminism with regard to the boundaries between art and pornography, it adapts andmorphs in parallel with social and historical changes. At the very end of this historicprocess and aesthetic experimentation lies the unique eroticism of Lee Soon Jong.
说起李顺宗的艺术世界 ，就不能不提到色情主义 ，情色起源于神话和哲学， 历代孕育了无数的情色文学和艺术作品，情色艺术从古典、浪漫和超现实主义的艺术和文学中涌现出来，现在，在艺术和色情之间的界限上引起了一场激动的女权主义 ， 它适应和随着社会和历史的变化而变化。在这个历史过程和美学实验的最后，是李顺宗独特的情色。

Rather than regarding eroticism as a sexual urge or carnal love, Lee understands itas an instinct and primal life force. As an extension of this, she views erotic art asa cultural struggle and a creative mental activity,* Here, she exhibits similar thoughtsto those expressed in Freudian psychoanalysis, which reinterpreted psychosexualityalong scientific lines, or the libido/eros theory of Marcuse, which redefined it throughMarxist philosophy. In spite of this, Lee, from an artistic perspective, understandseros as a sexual symptom that is ubiquitous across all creation and unrelated tohumans, society, the world, the universe or sex, This can be seen in her assertionthat 'art is the excrement that comes from consuming eros, which is energy, vitalityand a lubricant,s Lee discovers captivating, transgressive eros in a number of places:natural landscapes, such as waterfalls, ridges and rocks, religious representations,such as medieval icons or Buddhist paintings and statues from the Goryeo dynasty(918-1392); traditional motifs, such as Miindo (Portrait of a Beauty), a paintingby eighteenth-century painter Sin Yun-bok; women's hair; the shamanist jakdutagi sword ritual; myths about goblins; and the classic Korean tale of the devoted daughterSimcheong. She also looks to contemporary Korean culture: love motels on theoutskirts of towns, kitschy market alleys and bright red slabs of meat in butchershops. Lee takes in these images and visualizes and shapes them through her art.
李没有将其视为一种性冲动或之爱，而是将其理解为一种本能和原始生命力。作为这一点的延伸，她将情色艺术视为一种文化斗争和一种创造性的心理活动，* 在这里，她表现出与 弗洛伊德精神分析中表达的想法相似的想法，弗洛伊德精神分析重新诠释了性心理沿着科学路线，或者马尔库塞的/爱欲理论， 通过马克思主义哲学重新定义了性心理 。尽管如此，李从艺术的角度来看， 将血清理解为一种性症状，它无处不在， 与人类 、社会、世界、宇宙或性无关，这可以从她的断言中看出，“艺术是消耗爱欲的排泄物，爱欲是能量、 活力和润滑剂， 李发现这很迷人， 许多地方的越界爱欲 ：自然景观，如瀑布、山脊和岩石，宗教表现，如中世纪圣像或高丽王朝（918-1392）的佛教绘画和雕像;传统图案，如十八世纪画家冼允福的画作《美女肖像 》;女性的头发;萨满教的 jakdutagi 剑术仪式;关于妖精的神话;以及忠诚的女儿 Simcheong 的经典韩国故事 。 她还着眼于当代韩国文化：爱城镇郊区的汽车旅馆 、俗气的市场小巷和肉店里鲜红色的肉板 。李吸收这些图像，并通过她的艺术将它们可视化和塑造。

A fascinating but unfathomable aspect of her practice is how Lee sees the energyof eros in the military, which represents a symbol of male power and institutionalizecmale collective culture,s To her, thinas like khaki patterns, army hats, various insigniasand sleek bayonets are not afterimages of the horrors or terrors of war; they hold anallure instead for their organismal, eco-friendly eroticism, Perhaps Lee's experienceteaching art for several years in the barracks of the Eighth United States Armyfollowing her studies in the United States operated on an unconscious level as anaesthetic motivation behind her embrace of yiolence and barbarity through an eroticfeminine gaze -or as the driving force behind an artistic delirium.
她的实践中一个令人着迷但深不可测的方面是李如何看待 军队中的爱欲能量，它代表了男性权力的象征和制度化男性集体文化，对她来说， 卡其色图案、军帽、各种徽章和光滑刺刀等薄衣并不是战争恐怖或恐怖的残影;它们具有诱惑力相反，因为他们有机的、环保的色情，也许李在美国留学后在美国第八军营教艺术几年的经历在无意识层面上起作用，作为她通过色情女性凝视拥抱 yiolence 和野蛮 背后的麻醉动机 ——或者作为艺术谵妄背后的驱动力。

Lee's early work First Aid Cupboard (1996) is a plastic translation of the erosshe sensed in the weapons and emergency military supplies kept in hangars anaarmories. The neatly arranged obiects appear more akin to ordinary tableware ordecorative pottery than weapons, They were educational materials she developedtor art lectures for the army, To create these iet-black obiects, she moulded wet clayinto the desired forms and fired them in a kiin, finally covering them with a generousamount of graphite, Displaved in the cupboard, these strange shapes transform intofirst aid supplies and weapons. The visual dissonance between weapons and potterand the gender clash stemmina from the contrast between the eroticized maleweapon and desexualized female craft - create aesthetic confusion and tension.This duality is enhanced by the colour and shape of the objects which call to minda crematory and death, juxtaposed with the work's references to care and lifesavincmeasures.Perhaps Lee is overcoming the thanatotic death drive with the kind ofartistic imagination that is capable of finding eros even in death and sublimating itinto life. The reason that First Aid Cupboard appears ordinary while at the same timstirring up strong emotions is the energy emanating from the intersections of erosand thanatos, life and death, masculinity and femininity, and stillness and movementThis energy is the true nature of Lee's erotic art.
李的早期作品《急救柜》（1996 年）是对机库、 军械库中存放的武器和紧急军事物资中感觉到的侵蚀的塑料翻译 。排列整齐的 obiect 看起来更像是普通的餐具或装饰性陶器，而不是武器，它们是她为军队开发的艺术讲座的教育材料，为了制作这些黑色的 obiects，她将湿粘土模制成所需的形状，然后将它们烧成 kiin，最后用 大量的石墨， 被扔在橱柜里，这些奇怪的形状变成了急救用品和武器。武器和陶艺之间的视觉不和谐以及性别冲突源于色情化的男性武器和去性化的女性工艺之间的对比——造成了审美上的混乱和 紧张。这种二元性通过物体的颜色和形状得到增强，这些物体让人想起火葬场和死亡，与作品中对关怀和救命措施的提及并列 。也许李正在用一种艺术想象力来克服死亡的驱动力，即使在死亡中也能找到爱欲并将其升华到生命中 。 《急救柜》之所以显得平凡，却又能激起强烈的情感，是因为从侵蚀与塔纳托斯 、生与死、 阳刚与女性、静与动的交汇处散发出的能量 ， 正是李氏情色艺术的真实本质 。

The sense of eroticism produced by an artist who bases her work on military motifswas taken a step further through the rhetoric of humour and metaphor in her solopresentation 'Million Troops' at Cultural Complex CR Collective, Seoul in 2018.Here, both the subject matter and the medium are sharp metal needles comparableto the bayonets of soldiers: acupuncture needles as first-aid medical instruments fotreating iliness. To create the works in this exhibition, countless needles are insertecinto two thin layers of artificial silk pulled taut on an aluminium frame. A particularshape emerges as the sharp points find the correct positions and pass betweenthe silk's front and back surfaces. In Body and Mind (2018)- the Korean name ofwhich is a term coined by the artist combining the words for 'body' and 'mind'- Leeemploys this labour-intensive, hysterical process to produce examples of the Korearlandscape that are worth preserving, These include the Baekdu mountain range,the demilitarized zone and old, crumbling rocky mountains. For Carniva/ (2018).she transferred an image of a sea of people at a Korean mud festival onto sik beforeinserting hundreds of needles into it. In contrast, for Mountain (2018), the sameprocess began with a hellish image of the Holocaust, Trophy(2018), a sculptureconsisting of deer antlers stuck with needles, symbolizes the ecological impact ofdeer hunting, Elsewhere, through a form of visual alchemy, nude female bodies artransformed into valleys, and crowds of people into natural scenery, depending onwhere the gaze is directed. Lee's acupuncture art is at once tactile and sensual.The strokes of the acupuncture needles trenchantly present these scenes forcriticism and reflection, yet they also transform into smoothly rippling erotic images.
2018 年，她在首尔文化综合体 CR Collective 的个展《百万军队》 中，以军事为主题的艺术家所创造的情色感 ，通过幽默和隐喻 的修辞更进一步 。在这里，无论是主题还是媒介，都是堪比士兵刺刀的锋利金属针： 针灸针作为治疗韧性的急救医疗器械 。为了创作本次展览中的作品，无数的针入到铝框上拉紧的两层薄薄的人造丝中 。 当尖锐的点找到正确的位置并在丝绸的正面和背面之间穿过时，就会出现一种特殊的形状 。在《身体与心灵》（2018）中 ， 李氏利用这种劳动密集型 、歇斯底里的过程来制作值得保存的韩国景观 ， 其中包括白头山脉、 非军事区和古老、摇摇欲坠的景观落基山脉 。为了 Carniva/（2018）。她将韩国泥巴节上人海的图像转移到 sik 上， 然后将数百根针插入其中。 相比之下，对于《山》（2018）来说， 同样的过程始于大屠杀的地狱形象， 奖杯（2018），一个由鹿角插着针组成的雕塑 ，象征着猎鹿的生态影响 ，在其他地方，通过一种视觉炼金术的形式，裸体的女性身体变成山谷，人群变成自然风光，取决于在哪里目光是定向的。李的针灸艺术既具有触觉又感性。 针灸针的笔触深深地呈现了这些场景 ，迫使批评和反思，但它们也转化为平滑荡漾的色情图像。

In total, Lee used six-hundred thousand acupuncture needles in this exhibition.The title Million Troops is a reference to the huge number of acupuncture needlesrequired to penetrate the blockages in our bodies and the world at large. 'Each ofthe million needles is a military and a weapon' the artist has proclaimed.? As thissuggests, she fights against disease-ridden bodies and global disasters through helneedles, which she personifies into troops', The idea of healing eroticism that bothraises awareness about and overcomes the brutality of war, terrorism and gender-based conflict is a product of her own 'body and mind'realization that came aboutafter the artist had been receiving acupuncture treatment for approximately a decadeShe was also influenced by the ssia/ ideas of philosophers Yu Young-mo and HamSeok-heon, which emphasize the nature and principles of life. The ssia/ teaching thatlife 'ruptures' throuah death is associated with eros by the artist, who uses the art ofacupuncture to create an erotic life force as a way of surmounting human limitationsand healing social ills that have become patriarchally entrenched. 'Million Troops' usesfirst-aid'acupuncture needles as weapons, taking a stand against an androcentricculture marked by violence and force.viewed as a feminist prolectbased on a homeopathic concept that offers anfeminine alternative.
李在这次展览中总共使用了六十万根针灸针 。 标题 百万大军 指的是大量的针灸针刺穿我们身体和整个世界的堵塞。“ 一百万根针都是军用和武器”，艺术家宣称。正如这所暗示的那样，她通过地狱针与疾病缠身的身体和全球灾难作斗争 ，她将其拟人化为军队，治愈色情的想法是她自己对战争、恐怖主义和性别冲突的残酷性的认识和克服的，这是她自己“身体和思想”实现的产物之后这位艺术家已经接受针灸治疗大约十年了她还受到哲学家 Yu Young-mo 和 HamSeok-heon 的 ssia/ 思想的影响，这些思想强调生命的本质和原则。 艺术家认为生命通过死亡 “ 破裂 ” 的教义 与爱欲联系在一起，他使用针灸艺术来创造一种色情生命力，以此作为克服人类局限性和治愈父权制根深蒂固的社会弊病的一种方式。 《百万军队》 使用急救针灸针作为武器，反对 以暴力和武力为标志的男性中心文化 。被视为基于顺势疗法概念的 女权主义产品 ，提供女性化的替代方案 。

From 2001 to 2019,the eroticismwas extended through simie rathe!than metaohor in thePortrait of Beautyseries, which drew inspiration from thelate Joseon-era paintina of the same name by Sin Yun-bok, The beautiful womarin the painting arouses erotic feelings. She is at once sensual and elegant, on thecusp between the saintly and the witch-like, while her sexual appeal emanates notfrom typically sexualized parts of the body but from her deadly, needle-like hair.While hair is a symbolic signifier of fema!sexuality,Lee's'Beauty works emphasizethe sensuality of hair via fine-qrainedhniques and exaggerated depictions thatundulate across the entire pictureplane,simultaneously stimulating and repressingmale desire through thetheir delicacy and intensity. Lee's aesthetic andooliticalmessage of halphysical weapon is made clear in her series'FourVoble Men'(2001).the titlewhich is a reference to the 'four noble plants', plumblossom，orchidoan0 20(chrysanthemum,that are commonly found inaristocratic literary painting traditionbecause ofthelr associations with traditionavirtues,Lee's works, titled Apricot Flower, Orchd, Chrvsanthemum, Bamboo, anaFour Pillars, or One Stroke, capture strands of hair rejecting the pictorial frameThe har transforms into an unrulydrawing that challenges heavy-handed, 'nobletraditions while acting as a conduit for the artist's subconscious and its desire forunknown,secretive and spiritualtnings that cannot be captured by the eves.Theuse of hair in écrture feminine is renderecmore concrete in Herstom(2011).inwhich clippings of Lee's hair and the hair of her motherand mother-n-law are mixectogether to represent the surface of the moonnothing less than a personal andpolitical history of women written in human hair. By deploying the inherently eroticmedium of hair - a female weapon on par with the needle - Lee has situated herown history as a woman at the place where feminism and eroticism intersect.
从 2001 年到 2019 年， 情色通过 simierathe！thanmetaohor 在美人的肖像系列中得到扩展 ，该系列的灵感来自朝鲜晚期的同名画作 ， 美丽的 womarin 画作引起了情欲的感觉。她既性感又优雅，介于圣洁和女巫之间，而她的性吸引力不是来自身体典型的性感部位，而是来自她致命的针状头发。虽然头发是女性性的象征 ，但李氏的美作品通过细腻的纹理和夸张的描绘来强调头发的性感， 这些描绘在整个画面上起伏 ，通过其细腻和强烈同时刺激和压抑男性的欲望 。 李氏的美学和半物理武器信息在她的系列“FourVoble Men”（2001） 中得到了明确体现 。 标题参考了贵族文学绘画传统中常见的 “四大植物”， 梅花 ， 兰花 0 20（ 菊花， 因为它们在贵族文学绘画传统中很常见 ，因为与传统的联系，李的作品，名为《杏花》、《 兰花 》、《Chrvsanthemum》、《竹子》、《ana 四柱》或《一笔》，捕捉了拒绝画框的发丝哈尔变成了一幅不守规矩的绘画 ，挑战了严厉的“ 高贵传统” 同时充当艺术家潜意识及其渴望的渠道，这些都是前夜无法捕捉到的未知 、秘密和精神 。 头发在女性的使用是 Herstom（2011） 中更具体的。 其中李的头发剪报和她母亲和婆婆的头发混合在一起 ，代表月球表面 ， 无异于用人类头发写成的女性的个人和政治历史。 通过运用头发这种固有的色情媒介 ——一种与针相提并论的女性武器——李将她自己作为女性的历史置于女权主义和情色主义的交汇处。

LEE USAE'S HSTERICAL TOES

Lee Eunsae is a young painter, yet a mature form of painterly reflection can bediscerned in her plastic lanquage of abbreviated yet vibrant shapes, unique coloursand free-flowing brushwork, As if finding the answer to the question of "how todraw' in the question of 'what to draw', Lee varies her formal experiments with thechosen content and also explores significant ways in which the content becomesform, The most common motifs in Lee's work are mass media, anecdotes or tabooincidents uploaded to social media; stray thoughts she has experienced or imaginedand quick impressions of people around her, The artist decontextualizes thesethemes through abstraction or caricature, rendering them non-realistic and informalHer practice incorporates a subjective, formative process, and in an interview from2019, Lee said, 'l am mainly drawn to breaking forms that are standardized andtypified,s With brushstrokes that distort form and unnatural colours that run counteto realistic descriptions, she enters a world of expression that has been liberatedirom probability and mimesis, With its exaggeration and variations, expressionistpainting reflects the anxieties of an era in crisis, As a voung Korean woman paintincin a contemporary context that is exemplified by the Sewol ferry sinking, candlelighrevolutions and the #MeToo movement, Lee exposes the feminine symptoms ofhysteria and transmits a powerful message of liberation with her distinctive freeflowing expressive powers.
李恩世是一位年轻的画家，但在 她简 洁而充满活力的形状、独特的色彩和自由流动的笔触的塑料语言中，可以辨别出一种成熟的绘画反思形式，仿佛在 “画什么”的问题中找到 了“如何画”问题的答案 ，李恩塞对选择的不同形式进行了实验。内容，并探讨了内容的重要形式 ，李作品中最常见的主题是大众媒体、 上传到社交媒体的轶事或禁忌事件 ;她经历过或想象的杂乱想法以及对周围人的快速印象，艺术家通过抽象或漫画将这些主题去语境化 ，使它们变得非现实和非正式她 实践包含一个主观的、形成性的过程，在 2019 年的一次采访中，李说，“我主要被标准化和典型化的打破形式所吸引 ，通过扭曲形式的笔触和不自然的色彩 ，使她进入了一个被解放的表达世界，即概率和模仿，随着它的夸张和变化， 表现主义绘画反映了一个危机时代的焦虑，作为一个韩国女性 ，在世越号沉没、 烛光革命和 #MeToo 运动等当代语境中 ， 李氏暴露了女性的症状 歇斯底里， 并以其独特的自由流动的表达能力传递了强大的解放信息 。

Lee's work is divided into two phases: before and after 2015. The first phase isdefined by caricatures of specific incidents, while the second is distinguished bycharacter portraits that capture everyday people in her life and, in particular, theeccentric behaviour of women. A number of paintings from the earlier phase wereincluded in the 2015 exhibition 'Crack; Interference; Witness' at Gallery Chosun,Seoul. These works appear to be representing something, although it is impossibleto know exactly what it is, They transmit a mystery associated with something activelynappening and the circumstantial changes this produces: images of the qroundcollapsing, holes spontaneously forming or a rippling water surface, as in StoneThrowing (2013). The artist paints a momentary action with the use of snapshot-likeimpromptu methods.
李的工作分为两个阶段：2015 年之前和之后。第一阶段以特定事件的漫画为特征，而第二阶段则以人物肖像为特征，捕捉她生活中的普通人 ，特别是女性的古怪行为 。 早期阶段的一些画作被收录在 2015 年的展览“裂纹;干扰;“见证” 在首尔朝鲜画廊展出。这些作品似乎代表了某种东西，尽管不可能确切地知道它是什么， 它们传递了一个与活跃的事物相关的神秘感以及由此产生的环境变化：qround 塌陷 、自发形成的洞或波光粼粼的水面的图像，如 StoneThrowing（2013）。艺术家使用类似快照的即兴方法描绘了一个瞬间的动作 。

In several paintings, the artist captures fleeting sensations and ambiguous, slipperymoments by invoking the visual and tactile sensation of ice cream or cream piesdripping through the hand. The Sliding lce Cream on the Table (201 4), Cutting theIce Cream (2014),Coffee lce Cream (2014)and Excuse for Cream Pie(2016)symbolize the boundaries and cracks between solid and liquid states and the gapsthat emerge between unfixed scenes. Underneath runs a current of eroticism, wherethe effect of 'stickiness' is amplified by the pornographic desires that the seductiveand impulsive act of eating alludes to in these specific works. lce cream is sweet,but it drips messily, forming a sticky trickle, like an abject secretion. Expressingthe sensuous, tactile female libido as evoked by the ice cream, Lee offers a visuarepresentation of psychological, emotional and physical female hysteria that hasbeen twisted into instability.
在几幅画作中，艺术家通过唤起冰淇淋或奶油馅饼从手中滴落的视觉和触觉来捕捉转瞬即逝的感觉和暧昧、 滑溜溜的时刻 。《滑动的 lce 桌上的奶油》（201 4）、《切割冰淇淋 》（2014）、《咖啡 lce 奶油》（2014）和 《奶油派的借口 》（2016）象征着固态和液态之间的界限和裂缝，以及未固定场景之间出现的间隙 。在阴暗之下，有一股情色的潮流， “粘性”的效果被色情欲望放大，而这些诱惑和冲动的饮食行为在这些特定作品中暗示了这种欲望。LCE 霜是甜的，但它滴得乱七八糟，形成粘稠的涓涓细流，像一种卑鄙的分泌物。 李表达了冰淇淋所唤起的感官、触觉女性，提供了一种被扭曲为不稳定的心理、情感和身体女性歇斯底里的视觉表现 。

The works Lee created in the second phase of her career act out a sort ofpsychodrama by featuring women's faces that have been blown up into strangeshapes or deformed in eerie ways, or by depicting figures cheekily exposing bodyparts and striking provocative poses, Reproaching herself over her appropriation omass media images -which she saw as ultimately similar to the way in which themedia consume and produce images and exploit and circulate the colonized bodiesof women- Lee presented a series of related works in the 2016 solo exhibition*Guilty=lmage-Colony' at Gallery2, Seoul, The bizarre and aggressive female figuresin this series are reminiscent of Medusa for modern times. There is the 'bad girl'kneeling in her underwear with her middle fingers raised in a gesture echoed by thepainting's title +-, the undressing figure who appears to have an open mouth belowher exposed breasts in The Mole with Sharp Teeth, and the bared, knife-like teeth inthe wide-open mouth of the figure in P Cutter (all 2016).
李在她职业生涯的第二阶段创作的作品通过描绘被炸成奇怪形状或以怪异方式变形的女性脸为特色， 或者描绘厚颜无耻地暴露身体部位和摆出挑衅姿势的人物，责备自己挪用大众媒体图像——她认为这最终与媒体的方式相似消费和生产图像，剥削和传播被殖民的女性身体 ——李在 2016 年首尔 Gallery2 的个展“Guilty=lmage-Colony”中展示了一系列相关作品，该系列中奇异而咄咄逼人的女性形象让人想起现代的美杜莎。有穿着 内衣跪着，竖起中指的 “坏女孩” 与画名 +-相呼应，有脱衣服的人物在裸露的乳房下张开嘴巴， 在《尖牙鼹鼠》（ 均为 2016 年）中，裸露的刀状牙齿在张开的嘴里。

This series marked the point where Lee established her own unique brand ofportraits: monstrous women who glint with madness, dangerous women who clashwith society. In her 'Night Freaks' exhibition at Alternative Space Loop, Seoul in2018, Lee shocked the art world with her candid representations of women caughtin drunken acts, These included Pop a Squat, which depicted a crouching womanlooking straight ahead while boldly urinating in the street; Vomit, where a womanthrows up into her own hands with her eves wde(Lauah Out Loud. whichfeatures a woman laughing, her mougaping as it she is screaming; and BeachWa/k, an image of a woman strutting along a beachexulting in a sense of victoryand liberation, as if the entire worldwas her own (all 2018).The women portrayeoin these works all look straight at the viewer with an intense, frenzied gaze, creatinga sense of unease, Unaccepted by society at large, these inebriated women arebold and menacing like outlaws of the night; unbothered by the vulnerability of thesurrounding darkness, they appear as aggressive, out-of-control monsters. Whenthese wicked monsters strike back against enemies beyond the picture frame in ahysterical and dissolute manner - as if explosively releasing their pent-up anger- it affords viewers a vicarious gratification that is both pleasant and distasteful.
这个系列标志着李建立了自己独特的肖像品牌：闪烁着疯狂光芒的怪物女性， 与社会发生冲突的危险女性 。2018 年，李氏在首尔另类空间循环中心举办的“Night Freaks”展览中，以她对醉酒行为中的女性的坦率表现震惊了艺术界 ， 其中包括 《Pop a Squat》，描绘了一个蹲着的女人直视前方，同时大胆地在街上小便;呕吐物，一个女人用她的前夜吐到自己手中 （Lauah Out Loud。 其中有一个女人在笑，她在尖叫时胡须; 和 BeachWa/k，一个女人在海滩上昂首阔步的形象 ，在胜利和解放的感觉中欣喜若狂 ，仿佛整个世界都是她自己的（全部 2018 年）。 这些作品中描绘的女性都以强烈、疯狂的目光直视观众， 营造出一种不安感，这些醉酒的女性不被整个社会所接受， 像黑夜的亡命之徒一样大胆而凶猛;她们不受周围黑暗的脆弱性的困扰 ，她们看起来像攻击性强、失控的怪物。 当这些邪恶的怪物以歇斯底里和放荡的方式反击画框外的敌人时 ——仿佛爆炸性地释放了他们压抑的愤怒——它给观众提供了一种既愉快又令人厌恶的替代满足感。

Lee raises doubts not only about fixed ideas of 'women' and "ladylike behaviour' butalso normative family institutions. The pieces Lee presented as part of the "YoungKorean Artists 2019: Liquid Glass Sea' group exhibition at the National Museum ofModern and Contemporary Art, Seoul depicted everyday family images on canvasesof a variety of shapes and sizes, including The Loaders, The People in Front of aMuseum, People Sharing a Cake, The House with lron Bars and Kindergarten Part(all 2019). While she drew on the format of the traditional family photograph takenat home or on holiday, closer inspection reveals that hers are not stereotypical ornormative family images. The characters in her paintings are women by themselves orin pairs, or people of unclear gender who appear to be living in adopted communitiesor temporary groups. To Lee, family is simply a social and historical structure akinto the concept of women. lt is not an inexorable truth or moral to be adhered to, butsomething to be wary of and relect.
李不仅对“女性”和“淑女行为”的固定观念提出了怀疑，而且对规范的家庭制度也提出了怀疑。李氏在首尔国立现代美术馆举办的“韩国青年艺术家 2019：液态玻璃海”联展中展出的作品在各种形状和大小的画布上描绘了日常家庭形象 ，包括装载机、博物馆前的人 、共享蛋糕的人们、有酒吧的房子和幼儿园部分（ 全部 2019 年）。虽然她借鉴了传统的家庭照片的形式 ，无论是在家还是度假时拍摄，但仔细观察就会发现，她的照片并不是刻板的或规范的家庭形象。她画中的人物是女性，或成对 ， 或性别不明的人，似乎生活在收养社区或临时群体中。对李来说，家庭只是一种类似于 女性概念的社会和历史结构。 这不是一个不可阻挡的真理或道德 ， 而是需要警惕和忽视的东西 。

Seeking to pictorially incorporate principles of the universe that exist in the form ofuncertainty, diversity and complexity, Lee rejects dichotomy in the themes, formatand content of her work, She blurs the boundaries between scenes and people inher subjects, between painting and drawing in her style, and between the abstractand the fiqurative in terms of form. The sketch-like paintings showcased in the2020 exhibition 'As Usual at Gallery2, Seoul show her emphasis on trans-boundanaesthetics and indeterminate taste that eschew anything singular, robust, completeand definite. They depict drowsy figures lethargically sitting or lying down, renderecin black and white in contrast with the artist's typically strong colour palette. LayingWith Switch (2020) features a woman who is lying down, lost in thought, her legsspread as she holds a Nintendo Switch, This piece qives off a sense of resignationand indifference, but at the same time reveals a subtle emotional aspect that evokesas much of an impression of turmoil as the 'night monsters', To Lee, stillness/movement and strength/weakness are two sides of the same coin.
李氏试图以不确定性 、多样性和复杂性的形式以图像方式融入宇宙的原则 ， 拒绝作品主题 、 形式和内容的二分法， 她模糊了主题中场景和人物之间的界限 ，模糊了她风格中的绘画和素描之间的界限， 以及抽象与具象之间的界限在形式上。2020 年首尔画廊 2 展览“一如既往”展出的素描画作展示了她对跨界美学和不确定品味的强调，避开任何单一、坚固、 完整和确定的东西。它们描绘了昏昏欲睡地坐着或躺着的人物， 呈现黑白，与艺术家典型的强烈调色板形成鲜明对比 。 《LayingWith Switch》（2020）的主角是一个躺着的女人 ，她拿着任天堂 Switch， 陷入沉思，双腿张开 ，这件作品散发出一种顺从和冷漠的感觉 ，但同时揭示了一种微妙的情感方面， 唤起了与 “夜怪”一样动荡的印象，对李来说，静止/运动和力量/软弱是同一枚硬币的两面。

Lee focuses more on the process than the result, seeking to free herself from acompulsion towards 'completeness', As if to infer an unstable female identity, shecaptures a stream of fleeting emotions, fluid moments and indeterminate thoughtson canvas, aestheticizing the existential experience of herself and other women, Yetshe does not simply stop at the self-sufficient act of drawing: she attempts to initiatea conversation with the audience, With the shock and stinging sensation akin to beingstruck with a cane, she is speaking out about the absurd circumstances of Korea andthe world, particularly the oppressive reality facing women, The firm message in herpaintings is about witnessing gender inequality in the everyday lives of women, directlyconfronting the disparagement and oppression of marginalized and secondary beingsdescribing a crude and powerful resistance with 'tightly clenched hands’- and urgingus to view the world through a new, non-patriarchal gaze.
李氏更注重过程而不是结果，试图将自己从对“完整”的强迫中解放出来 ，仿佛要推断出一个不稳定的女性身份， 她捕捉了一连串转瞬即逝的情感、流动的瞬间和不确定的思想画布 ，将自己和其他女性的存在体验美学化， 然而她并没有简单地停留在绘画的自给自足的行为上： 她试图 与观众展开对话， 以一种类似被拐杖击打的震惊和刺痛感 ，她正在诉说韩国和世界的荒谬处境 ，特别是女性面临的压迫现实，她的画作中坚定的信息 是见证女性日常生活中的性别不平等， 直面对边缘化和次要生物的贬低和压迫描述了一种粗暴而强大的抵抗，“紧紧握着的手 ”——并敦促他们通过一种新的、非父权制的目光来看待世界。

PROVOCATION AD TUL T EROS AND HSTERIA
挑衅广告 TUL T EROS 和 HSSTERIA

Park Youngsook, Lee Soon Jong and Lee Eunsae all seek to resist patriarchaloppression and restore the dignity of female agency through unconscious languagethe language of female hysteria that rejects patriarchal language rules, and with theprovocations and combative capabilities that are made possible by art. In a modernsociety where patriarchal authority has gone beyond the family sphere and expandedinto social authority, the discovery and creation of 'women's language may beseen as assuming paramount importance, lf so, these artists should be praised fortheir artistic fighting spirit, which seeks to raise gender consciousness through thepsychologicaI and physical language of women.
朴英淑、李顺钟和李恩世都试图通过无意识的语言、 拒绝父权语言规则的女性歇斯底里的语言，以及艺术带来的挑衅和战斗能力来反抗父权制的压迫 ，恢复女性能动性的尊严 。在父 权权威已经超越家庭领域并扩展为社会权威的现代社会中 ，“女性语言”的发现和创造可能被视为至关重要， 如果这样，这些艺术家的艺术斗志应该受到赞扬，他们试图通过心理学提高性别意识。以及女性的肢体语言 。

In a patriarchal society, language reflects the power dvnamics between men andn which politics are publicly recoqnzzed as malewomen.private feminine anguade,thelanguage'and culture is treateca0 wnotCi2creative capabilities of women have been disparaged and undervalued. The reasonfeminism must speak in the language of themarginalized,and listen to those withouoower and the oppressed, is so that it can bring back the words they have lost. justas female identity is neither uniform nor simple, women's speech is also complex ancoluralistic.which is what makesit fantastical and imaginative, Because women spealan unconscious language of the imaginary order instead of the phallic language ofthe symbolic order, when they begin to speak out, a new world is born that has noprevlously been experenced,seen or heard.
在父权制社会中，语言反映了 男性之间的权力 dvnamic 和 政治被公开承认为男性女性。私人女性的语言，语言和文化被对待 eca0 wnotCi2 女性的创造能力被贬低和低估。 女权主义必须用边缘化者的语言 说话 ， 倾听那些没有被压迫者和被压迫者的声音，这样它才能带回他们失去的话语。 正如女性身份既不统一也不简单一样，女性的言语也是复杂的无语主义的。这就是它变得奇幻和富有想象力 的原因 ，因为女性使用了想象秩序的无意识语言，而不是象征秩序的语言 ，当她们开始说话时，一个前所未有的新世界诞生了 体验、看到或听到 。

It is in this context that we can see the optimal brand of feminism to neutralize humarnarginalization and gender oppresseros and hvsteria that ParkYoungsook,Lee Soon Jong and LeeEunsae speak of in their work, Nevertheless,in unofficial, non-institutional and non-social languageince reminism 'sei is rootecit faces practical limits as a social movement. These are the limitations of essentialisfeminism, with its return to a pre-Qedipal matriarchal source and the unconsciousrealm of the imagination, But in the same sense, it also reminds us that feminismis a cultural issue that cannot be done away with, The key to this is the belief thatwomen and female artists will disrupt and subvert the status quo through languagethat justifies their lives and art while politicizing their female identity and establishinga sustainable feminist agenda.
正是在这种背景下，我们可以看到朴英淑、李顺宗和李恩世在他们的作品中谈到的中和人类主义化和性别压迫者和 hvsteria 的最佳女权主义品牌，然而 ，在非官方、非制度和非社会语言中，“sei is rootecit 作为一项社会运动，面临着实际的局限性。这些都是本质上的局限性是女权主义 ，它回归了前 Qedipal 的母系根源和想象的无意识领域 ，但同样的意义上，它也提醒我们， 女权主义是一个无法消除的文化问题，其关键在于相信女性和女性艺术家将通过语言来破坏和颠覆现状 。 为她们的生活和艺术辩护，同时将她们的女性身份政治化并建立可持续的女权主义议程。