Coverbild Jeewi Lee
A table of contents from a book, presented in a clean, two-column layout on a white page. The content is divided into three main sections: 1 – Text, 2 – Work, and 3 – Appendix. Each section, marked with a blue heading and accompanying Korean characters, lists various chapters and their page numbers.
A page from an academic essay by Sybille Krämer titled, So, What Constitutes a Trace? An Overview. The text is laid out in two columns and discusses the meaning and etymology of the German word Spur, with headings for Meaning of the Word Spur and Attributes of a Track. The page is numbered 11.
An eye-level view of two large, abstract rectangular paintings hanging side-by-side on a white gallery wall over a dark floor. The painting on the left is horizontal, rendered in golden yellow and orange with a faint grid and a thick red stripe on the right. The painting on the right is vertical, a deeper reddish-orange, also with a subtle grid pattern. The image appears as a two-page spread in a book or catalog.
A two-page spread from a book. On the left, a photograph shows an artist with dark, wavy hair in a forest, making a rubbing of a tree's bark. The artist, wearing black, presses a large sheet of paper onto the tree trunk, creating a black-and-white textured impression. On the right page, a block of text describes the artwork, titled Inzision.
A person walks up a steep, fire-ravaged hillside littered with fallen, charred logs. In the background, a dense forest of blackened, leafless tree trunks stands against a pale sky. Patches of vibrant green foliage sprout from the ashen ground, signaling new growth and recovery.
A page from an art catalog showing an installation on a white gallery wall. The artwork, titled Ashes to Ashes, is a large, precise grid of hundreds of small, rectangular, bluish-grey soap bars. An adjacent page provides text explaining the soap was made from the ashes and charcoal of a forest fire in Tuscany.
A wide shot of an outdoor art installation featuring dozens of dark, round objects arranged in loose rows on a light-colored, cracked stone patio. In the background, a stark white wall is overshadowed by the uneven edge of a thick, two-toned thatched roof.
A two-page spread from an art book. On the left, a vertical abstract painting features a dark, heavily textured surface with mottled shades of deep red and black, set in a thin black frame. Below the artwork is the caption 2-25 Insomnia. The right page is white and contains a block of text in the upper corner defining Materiality, with the page number 265 at the bottom.
A page from an art book or catalog. On the left is a top-down photograph of a large, circular, white installation resembling a circus ring filled with sand. The sand's surface is intricately textured with a dense network of overlapping tracks and impressions. On the right, a block of text provides a description of the artwork, titled Blinder Beifall.
A two-page spread from a Korean art book or exhibition catalog, featuring columns of black text interspersed with six small, monochrome photographs of various contemporary art installations and sculptures. Page number 329 is visible on the bottom right.
Jeewi Lee
Index
€ 58.00
VAT included. Shipping costs will be calculated at checkout
Author: Lukas Feireiss, Sybille Krämer , Lydia Korndörfer
Edited by: Lukas Feireiss, Ana Lessing Menjibar
October 2023, 352 Pages, 188 Photos
Paperback
226mm x 298mm
ISBN: 978-3-7757-5612-9

HATJE CANTZ VERLAG
Mommsenstr. 27
10629 Berlin
Germany
E-Mail: contact@hatjecantz.de


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Every Contact Leaves A Trace
Jeewi Lee is interested in all the traces-the intimate imprints and distinctive markings-that we leave behind and that inhabit the spaces surrounding us. Abstract compositions of rescued stories, worn-out pavements and stripped down wallpapers, cut out floors, grains of sand that have traveled millions of years around the world, coffee stains or burnt wood. These traces, both human and historical, become vessels of stories and memories, inscribed on various materials, bearing witness to the past, present, and future.
 This publication offers a comprehensive exploration of the manifold tracings of the Berlin-based Korean artist over the past decade. It provides insight into her highly conceptual way of working and unveils previously unseen documentation of her deeply personal process of creation.

JEEWI LEE (*1987, Seoul) is a Berlin-based South Korean-German artist. She studied painting at the Berlin University of the Arts and at Hunter College University in New York, graduating in 2014 with a master in fine arts and since 2018 holds an MFA from the postgraduate program Art in Context. Her multidisciplinary practice encompasses site-specific installations and interventions, video and image series that predominantly deal with traces that question our visual perception, while also reflecting their own production process.
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