RESOURCES

LIST OF FIGURES

Figure 1: Cover for An Analysis of Donna Haraway’s A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century (The Macat Library), 2019.

Figure 2: Sorayama Hajime, HS_Paint_163, 2018. Taken from the artist’s website, http://sorayama.jp/.

Figure 3: iPhone XR advertisement, 2018. See https://youtu.be/1EnDE-Sd_fw.

Figure 4: Sorayama Hajime, HS_Paint_138, 2017. Taken from the artist’s website, http://sorayama.jp/.

Figure 5: Sorayama Hajime, HS_Paint_141, 2017. Taken from the artist’s website, http://sorayama.jp/.

Figure 6: Mamoru Oshii (director), Ghost in the Shell, 1995. Film still showing Motoko Kusanagi (the Major).

Figure 7: Mamoru Oshii (director), Ghost in the Shell, 1995. Film still showing Motoko Kusanagi (left) and her partner Batou (right).

Figure 8: Mamoru Oshii (director), Ghost in the Shell, 1995. Film still showing Motoko Kusanagi (the Major).

Figure 9: Mamoru Oshii (director), Ghost in the Shell, 1995. Film still showing Motoko Kusanagi (the Major).

Figure 10: Liang Jun, the first female tractor driver in China, and her assistant. From The People’s Pictorial, August 1950. Taken from Du, “Socialist Modernity in the Wasteland,” 63.

Figure 11: Photograph of a young factory worker in Dongguan, 2018. From “東莞打工妹的「廠花，一個比一個漂亮有氣質 [The ‘flowers’ of factories in Dongguan are pretty and elegant]” KK News, https://kknews.cc/society/3ojvvoa.html.

Figure 12: Photograph of Fan Xiaoyan, from Xuehua News, https://www.xuehua.us/a/5eb649d586ec4d2aade2483d.

Figure 13: Fan Xiaoyan, Physical Attachment-01, 2008. Stainless steel and mixed materials. 171 x 88 x 110 cm.

Figure 14: Fan Xiaoyan, Physical Attachment-02, 2008. Stainless steel and mixed materials. 168 x 65 x 143cm.

Figure 15: Fan Xiaoyan, Physical Attachment-03, 2008. Stainless steel and mixed materials. 216 x 93 x 133 cm.

Figure 16: Fan Xiaoyan, Physical Attachment-04, 2008. Stainless steel and mixed materials. 208 x 96 x 136cm. Accessed at https://zhuanlan.zhihu.com/p/377512086.

Figure 17: Fan Xiaoyan, frontal view of Physical Attachment-01, 2008. Stainless steel and mixed materials. 171 x 88 x 110 cm. Accessed at https://www.xuehua.us/a/5eb649d586ec4d2aade2483d.

Figure 18: Masamune Shirow, Poster for Ghost in the Shell, 1995.

Figure 19: Fan Xiaoyan, Physical Attachment-04 (side view), 2008. Stainless steel and mixed materials, 208 x 96 x 136cm. Accessed at https://www.juxtapoz.com/news/fan-xiaoyans-flesh-and-steel/.

Figure 20: Lee Bul, Cyborg W1-W4, 1998. Cast silicone, polyurethane filling, paint pigment. Photo: Yoon Hyung-moon. Courtesy of the artist.

Figure 21: Photograph of Lee Bul. Photo by Klaus Vyhnalek. Accessed at https://www.artbasel.com/news/lee-bul-artist-visionary-korea.

Figure 22: Lee Bul, Abortion, 1989. Performance, The 1st Korea–Japan Performance Festival, Lobby Theater, Dongsoong Art Center, Seoul. Courtesy of the artist.

Figure 23: Lee Bul, Sorry for suffering–You think I’m a puppy on a picnic?, 1990. Performance, 12 days, The 2nd Japan and Korea Performance Festival, Gimpo Airport, Korea; Narita Airport, Meiji Shrine, Harajuku, Otemachi Station, Koganji Temple, Asakusa, Shibuya, University of Tokyo and Tokiwaza Theater, Tokyo, Japan. Courtesy of the artist.

Figure 24: Lee Bul, Cyborg Red and Cyborg Blue, 1997-98. Cast silicone, paint pigment, steel pipe support and base, 160 x 70 x 110 cm each. Installation view of Le Consortium centre d’art contemporain, Dijon, 2002. Photo: André Morin. Photo Courtesy: Le Consortium.

Figure 25: Left: Lee Bul, Cyborg Red, 1997-1998. Cast silicone, paint pigment, steel pipe support and base, 160 x 70 x 110 cm. Photo: Yoon Hyung-moon. Courtesy of the artist. Right: Lee Bul, Cyborg Blue, 1997-98. Cast silicone, paint pigment, steel pipe support and base, 160 x 70 x 110 cm. Photo: Yoon Hyung-moon. Courtesy of the artist.

Figure 26: Lee Bul, Cyborg W1, 1998. Cast silicone, polyurethane filling, paint pigment, 185 x 56 x 58 cm. Photo: Yoon Hyung-moon. Courtesy of the artist.

Figure 27: Lee Bul, Cyborg W2, 1998. Cast silicone, polyurethane filling, paint pigment, 185 x 74 x 58 cm. Photo: Yoon Hyung-moon. Courtesy of the artist.

Figure 28: Lee Bul, Cyborg W3, 1998. Cast silicone, polyurethane filling, paint pigment, 185 x 81 x 58 cm. Photo: Yoon Hyung-moon. Courtesy of the artist.

Figure 29: Lee Bul, Cyborg W4, 1998. Cast silicone, polyurethane filling, paint pigment, 188 x 60 x 50 cm. Photo: Yoon Hyung-moon. Courtesy of the artist.

Figure 30: Lee Bul, Cyborg W5, 1999. Hand-cut ethylene-vinyl acetate (EVA) panels on fiber-reinforced plastic (FRP), polyurethane coating, 150 x 55 x 90cm. Photo: Yoon Hyung-moon. Courtesy of the artist.

Figure 31: Lee Bul, Cyborg W6, 2001. Hand-cut EVA panels on FRP, polyurethane coating, 232 x 67 x 67 cm. Photo: Kim Hyun-soo. Photo Courtesy: Leeum, Samsung Museum of Art.

Figure 32: Lee Bul, Cyborg W7, 2000. Hand-cut polyurethane panels on FRP, polyurethane coating. Installation view at Amorepacific Museum of Art.

Figure 33: Lee Bul, Cyborg W8, 2004. Hand-cut EVA panels on FRP, polyurethane coating, 181 x 65 x 115 cm. Photo: Atsushi Nakamichi/Nacása & Partners. Photo Courtesy: 21st Century Museum of Contemporary Art, Kanazawa.

Figure 34: Lee Bul, Cyborg W9, 2006. Hand-cut EVA panels on FRP, polyurethane coating, 180 x 60 x 70 cm. Accessed at https://artmap.com/ropacsalzburg/exhibition/lee-bul-2007.

Figure 35: Lee Bul, Cyborg W10, 2006. Hand-cut EVA panels on FRP, polyurethane coating, 180 x 70 x 60cm. Accessed at https://ropac.net/news/314-lee-bul-on-my-shelf/.

Figure 36: Alexandros of Antioch, Venus de Milo, 150-125 BCE. Parian Marble, 204 cm.

Figure 37: Poster for cyberpunk anime miniseries “Bubblegum Crisis” (1987-1991), 1987.

Figure 38: Poster for Black Widow (2021), 2020.

Figure 39: Lee Bul, Cyborg W9 (back view), 2006 with Cyborg W10 (2006), Chiasma (2005) and Untitled (Anagram drawings No.2-5) in the background. Installation view of Domus Artium 02, Salamanca, 2007. Photo: Santiago Santos. Photo Courtesy: Domus Artium 02, Salamanca.

Figure 40: Lee Bul, side view of Cyborg W5, 1999. Hand-cut EVA panels on FRP, polyurethane coating, 150 x 55 x 90cm. National Museum of Modern and Contemporary Art, Korea. ©이불 . Accessed at http://www.mu-um.com/?mid=02&act=dtl&idx=36923.

Figure 41: Lee Bul, Cyborg W7, 2000. Hand-cut EVA panels on FRP, polyurethane coating. Photo: Jeon Byung-cheol. Courtesy of the artist.

Figure 42: Installation Gallery.
Installation view of Cyborg W2-W4, “Crash” at Gropius Bau, Berlin, 2006. Taken from https://www.lehmannmaupin.com/ko/haeoe-jeonsi/lee-bul-crash.
Installation view of “LEE BUL” at Mudam Luxembourg (5 October 2013-9 June 2014). Photo © Eric Chenal. Accessed at https://www.yatzer.com/lee-bul-shaping-science-fiction-fantasies-out-crystal-and-glass/slideshow/2.
Installation view of “Lee Bul: Crashing” at the Hayward Gallery, London, 2018. Photo by Mark Blower. ©Lee Bul. Accessed at https://www.artbasel.com/news/lee-bul-artist-visionary-korea.
Lee Bul, Cyborg W10 (2006). Installation view of Domus Artium 02, Salamanca, 2007. Photo: Santiago Santos. Courtesy of the artist.
Installation view of “Humans, Seven Questions” at the Leeum Museum of Art, Seoul, 2021. © Yonhap News. Accessed at https://www.yna.co.kr/view/PYH20211005104800013.