🖤HR GIGER & MIRE LEE🖤 Curated by yours truly. @schinkelpavillon The octagon-shaped plinth created by Lee turns into a stage for a demonic, violently sexy love story between Lee’s new animatronic work ‘Endless House’ (2021) and Giger’s iconic ‘Necronom (Alien)’ (1990) sculpture. Lee’s sculpture is inspired by Frederick Kiesler’s Endless House – an unrealised architectural project of a biomorphic, continuous space, which Kiesler saw as ‘endless like the human body – there is no beginning and no end’. The idea of body being an endless house becomes something more sombre in the case of Lee’s sculpture. Her ‘Endless House’ is a metaphor for a fear of entrapment: an entrapment of a body that is endlessly abused. It also refers to a type of an emotional entrapment in relation to Borderline Personality Disorder (BPD). Lee’s sculptural ‘cell’ is protruded with holes – exposing the fragility and vulnerability of the slime smeared insides that rotate hypnotically. People who suffer from BPD are said to have no ‘outer shell’, no ‘house’ for their emotions, and may find it hard to distinguish between the self and the world. Here, Lee in a homage-like gesture, matches the colour of the gooey ‘slime’ and ‘intestines’ that turn in the middle of her ‘Endless House’ with that of the ‘Alien’ sculpture – as if the creature had implanted itself inside Lee’s work. Giger’s Magus’ (1976) shows his fascination with the occult, death and spiritual traditions. 📷 Frank Sperling Funded by Hauptstadtkulturfonds, Mondriaan Fund and Koreanisches Kulturzentrum. Special thanks to Antenna Space, Shanghai @antennaspace and Tina Kim Gallery, New York @tinakimgallery for their generous support! ✨🖤✨ HR Giger, Der Magus, 1976, Courtesy of Museum HR Giger, Gruyères @hr_giger_museum