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2024
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2024
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Opus no. 8
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2024
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Opus no. 9
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2024
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Opus Series
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2023
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LL Interspace: HOTPOT
Galerie KUB
2023
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Composition no. 3
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2023
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Composition no. 2
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2023
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Composition no. 1
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2023
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The New Altar no. 4
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2023
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The New Altar no. 3
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2023
Exhibitions
Ketterer Kunst Masterclass Preis 2023
Ketterer Kunst
2023
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The Absurd Dance no. 3
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2023
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The Absurd Dance no. 2
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2023
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The Absurd Dance no. 1
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2023
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Table of Contents
Bistro 21
2023
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Instant Crush
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2023
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Drawing Set for Study no. 1
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2023
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Open Studio: L’air Arts Paris
Cité Falguière
2023
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Residency: L’air Arts Paris
Cité Falguière
2023
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Life no. 1 & no. 2
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2023
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Sigil no. 1
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2024
Texts
Dancing in the Pandemic Blues: The significance of Musical Optimism in Times of Crisis.
Publication
2022
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Tacet and the Portrait of a Headless
Studio
2022
Exhibitions
Just Rolllllll
documenta fifteen
2022
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The Circle of Love
documenta 15
2021
Exhibitions
Between Strangers
Nuweland Gallery
2021
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Investec Cape Town Art Fair 2021
CTICC
2021
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11:11
Eclectica Contemporary
2020
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Peepshow
Online
2022
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Neighbours / Des Voisin.e.s
Cité Falguière
2020
Works
Bearing Between the Wheel and the Cycle
Studio
2020
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Art Rotterdam
Rotterdam
2019
Press
Two artists use video and sculpture to explore perceptions of history and memory
Design Indaba
2019
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Satellites
Suburbia Contemporary
2019
Press
Kyu Sang Lee
SA Art Times
2019
Exhibitions
Investec Cape Town Art Fair 2019: SOLO Section
CTICC
2019
Press
Spotlight on Investec Cape Town Art Fair 2019
Artthrob
2019
Press
Restful Moments: Cape Town Art Fair’s SOLO exhibition
The Art Momentum
2019
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Artist to Shine at the Art Aair
News24
2019
Press
Investec Cape Town Art Fair 2019 champions emerging artists and digital practices
Bubblegum Club
2019
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10 Reasons To Come To Investec Cape Town Art Fair In 2019
Africa.com
2019
Works
The Sound of Light: Sequences I-III
Studio
2019
Exhibitions
Still Here Tomorrow to High Five You Yesterday
Zeitz MOCAA
2018
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The Structured Surrealism of Kyu Sang Lee
The Art Momentum
2018
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Also Known As Africa
Le Carreau du Temple
2018
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A Motif for Thrity Two Irregular Orbits
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2018
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Photographs in Twelve Parts
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2018
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Throwing Shapes
SMITH Studio
2018
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nano 1.2
Barnard Gallery
2018
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ein kleines Nachtfoto No.2
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2018
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ein kleines Nachtfoto No.1
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2018
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Stop Stop Click
Eclectica Contemporary
2018
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Investec Cape Town Art Fair 2018
CTICC
2017
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Salad
SMITH Studio
2017
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SS17
Gallery MOMO
2017
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SS17 at Gallery MOMO
Artthrob
2017
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Kyu Sang Lee wins a Celeste Prize
University of Cape Town
2017
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Celeste Prize 2017, 9th edition by Fatoş Üstek
OXO Tower Wharf
2017
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Cry When Flowers Fall in the Morning
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2017
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Turbine Art Fair
Turbine Hall
2017
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Matisse and the People of the Night
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2017
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Dancing Along Alone
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2017
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Be Kind, Please Rewind
Gallery MOMO
2017
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Marked
Eclectica Print Gallery
2017
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Still-life with Three Suspended Bodies
Studio
2017
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Paradise Regained
Eclectica Contemporary
2016
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The Festival of Insignificance
Studio
2016
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Meditative Moments
Müllers Gallery
2016
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By Way of Hand
Cape Town School of Photography
2016
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Focus
Jan Royce Gallery
2014
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From Now to Then
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Contact
Phone(De) : +49 176 43229331
Email : kyusang.q.lee@gmail.com
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Phone(Kr) : +82 10 3895 0550
The Sound of Light: Sequences I-III
Works
2019
Studio
The Sound of Light: Sequences I-III
2019
Wood, glass, stainless steel, incandescent light bulbs & electronics.
64.5 x 88.4 cm [each]
Collaboration with Martin Wilson
Temporary loan to Zeitz MOCAA, South Africa.

Embedded music sequences:

Sequence l [52:46]
G. Holst "The Planets, Op. 32" - H. v. Karajan & Berliner Philharmoniker (1980)

Sequence II[76:21]
H. Birtwistle "The Triumph of Time" - P. Boulez & BBC Symphony Orchestra (1975) [00:00 - 27:46]
P. Zinovieff & H. Birtwistle "Chronometer '71" (1971) [27:46 - 52:10]
H. Birtwistle "Deep Time" - D. Barenboim & Staatskapelle Berlin (2017) [52:10 - 76:21]

Sequence III [63:25]
W. A. Mozart "Requiem in D minor, K. 626" - K. Böhm & Wiener Philharmoniker (1971)

The Sound of Light: Sequences I-III (2019) is a light/sculptural triptych that attempts to translate music from the audio domain into the visual. Like white light passing through a prism, the musical spectrum is separated into its individual tones and presented as a rhythmically-encoded sequence of light and shadow.

Both sound and light are inseparable from the dimension of time: not only because they are experienced as signals that vary over time, but also because they propagate through space at a finite speed. Therefore, within the artwork they act as catalysts for considering humanity’s own relationship to time; our beginnings and ends, and our existence and impermanence.

The music programmed into the artwork was also chosen to signify the conceptual passage of time: the past, the present, and the future. However, since they play simultaneously and cyclically, this implied chronology exists separately from the lived experience of the viewer, and the ticking of the metronomic timers. In this way these various conceptions of time collapse in an ironic interplay of meaning. At once infinite and fleeting; and metaphysical and mundane.

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