View of “Lee Bul,” 2018. Photo: Linda Nylind.

View of “Lee Bul,” 2018. Photo: Linda Nylind.

Lee Bul

Hayward Gallery

In Lee Bul’s glittering London retrospective, “Crashing,” everything seemed to be reaching and pushing insistently outward. The exhibition—covering thirty years of Lee’s practice, 1988–2018, with more than one hundred artworks on display—extended beyond the gallery’s physical limits to include a specially made artwork, Weep into Stones, 2017–18, comprising some fifty thousand crystals hanging off the Hayward Gallery’s Brutalist concrete exterior. At the entrance, the South Korean artist’s sprawling installation of cracked and curving acrylic mirrors, Civitas Solis II, 2014, stretched over two walls and spilled over much of the floor. This silvery expanse sparkled beneath Cyborg W1–W4, 1998, a constellation of prosthetic robot limbs and torsos hanging overhead, their distended contours encased in sculpted white “armor.” Nearby were suspended a pair of works from Lee’s “Monster”

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