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40 entries

Jong Hwa (Duly) Lee (40)
Immortal since May 10, 2007
Uplinks: 0, Generation 1
catch me if you can lost somewhere
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    Good morning, Sunshine!
    Now playing SpaceCollective
    Where forward thinking terrestrials share ideas and information about the state of the species, their planet and the universe, living the lives of science fiction. Introduction
    Featuring Powers of Ten by Charles and Ray Eames, based on an idea by Kees Boeke.

    photos by Walter Willems | @ Toronto's Nuit Blanche 2012, End of the World exhibition
    September 29th, 2012, in the parking garage of Nathan Phillips Square, from dusk until dawn

    Quasar 2.0: Star Incubator (Q2:SI) is an immersive interactive light and sound installation. Providing a spatial reflection of renewing and evolving life-cycles, the Q2:SI body is conceived of an array of structural prototype elements, electronic sensors and control elements that form an intricate three-dimensional spatial experience. The light and sound events are expressions of a multilayered generative system that transport ever changing narrative structures through emerging characteristics. The installation’s life-form is computed in real-time comprising of simultaneously converging data streams: local infrared and electromagnetic fields, Muon Neutrino data streams from the Antarctic IceCube Neutrino Observatory and weather data collected at Automated Weather Stations from the Antarctic Meteorological Research Center. A local information screen provides tangible data sourcing and processing of the multiple inputs. Over time the observer will notice subtle differentiations of the evolutionary principles that are fluently transitioning and initiating a new impetus for connecting visitors with an interface of various information stratum. The aim of the exhibit is to connect the audience with systems of the universe unfolding beyond our senses, collapsing scale and time into the immediacies of the experience of ever new beginnings.

    Jean Michel Crettaz and Mark-David Hosale
    w/ Duly Lee, Michaela Neus, F. Myles Sciotto, and Marco Verde

    This project was made possible through collaboration with the Automatic Weather Station program of the Antarctic Meteorological Research Center, University of Wisconsin-Madison Space Science and Engineering Center; and the Wisconsin IceCube Particle Astrophysics Center (WIPAC), University of Wisconsin-Madison, Graduate School.

    Sponsored by the City of Toronto for:
    Nuitblanche 2012, End of the World exhibition, Zone Monumental, Nathan Phillips Square

    Janine Marchessault and Michael Prokopow
    With support from Kristine Germann, Joe Sellors, and Michelle Lun

    more information:
    QUASAR 2.0_go to link
    Fri, Oct 5, 2012  Permanent link

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    "If one envisions the entire cycle of any act or event in a system where linear continuity and dialectical polarity no longer exist, in a field unhinged by simulation, all determination evaporates, every act is terminated at the end of the cycle having benefited everyone and having been scattered in all directions"

    (Jean Baudrillard)
    Mon, Apr 30, 2012  Permanent link

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    photo by Marc Belanger

    _Merging research and technology in 3D modeling and CNC laser fabrication with the life sciences and creating a hybrid approach.

    _Using computer algorithms to model the precise form, inspired from natural organic growth protocols and then layering in a laborous process: layer by layer by hand – the human touch, the Guna mola.

    The title “MAUQUI-MOROBDUP” is a name of an island in Guna Yala, which is located in the northern most extreme to Cartí region, in the outer boundaries of the Cayos Holandeses - in a cluster of islands called Mauqui. It is situated so far out that you hardly see any Guna people inhabitants, since they lack the resources to survive. However, it has become a sailboat docking haven, for it is protected inside the coral barriers. For the longest time this island has been given the name “BBQ island” by an American that settled there. In all sailors manuals or internet sites instead of its original name, its gringo name appears. For about two years now, the owner (Adames-Esquibel) family has decided to live there in spite of the harsh living conditions, in order to protect their territory and reclaim its original heritage name "Morobdup"; it means "turtle island" since it is told during the months of March and April the site becomes nesting grounds for sea turtles.

    During a visit to Morobdup for New Years 2012, I had heard numerous fairy-tales and extremely enlightening mythical stories surrounding this island. In awe, I had taken upon myself a mission to resurrect its Guna title and sharing these stories with everyone I encounter. “MAUQUI-MOROBDUP” is a piece that tries to tell this story. A story of Guna legend and persistence. A sacred myth that only those daring visitors may experience upon their stay in this magnificent island.


    collaboration w/ Lt. Dan Photography

    as makeSHIFT:NOW
    Jong Hwa Duly Lee (principal)
    w/ Aura Bermúdez + Ana Melissa Correa

    Panama City, February 2012

    Special Thanks:
    Taller Cruz-Diez, Panamá

    click here for design process
    click here for detail photos
    Wed, Mar 7, 2012  Permanent link

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    version 1

    Panama 2012
    as Founder and Executive Director
    w/ Fundación ParqueArte


    _A Free Festival project for Education, Culture and Science in Panama.

    Festival Abierto is a social experiment that seeks to promote, educate, and inspire the population about Earth’s future and the value of our resources. It is birthed from the dream of living in a clean Panama where citizens are environmentally conscious, and their actions have a positive and concrete impact towards the sustainability of our environment.

    Promoted by Fundación ParqueArte, in partnership with local artists, private institutions, and global corporations, Festival Abierto is the largest free cultural event in Panama, held in Parque Omar. On Earth Day weekend 2012, the inaugural event hosted over 10,000 people interacting with carefully curated NGO exhibitions, housed in custom designed pavilions built from recycled prefab materials and solar powered energy.

    With a three year commitment from the Office of First Lady of Panama, Festival Abierto's mission is to create an open platform that gathers non-profit organizations, institutions, and businesses alike to build a collective voice on sustainability and the safe guarding of our planet.

    Upholding the three pillars of education, culture and science, Festival Abierto creates an atmosphere where people not only learn about sustainability, but also experience it first hand through family-friendly activities.

    The Abierto team believes that true social change comes from the passion of the people; and passion can be inspired through an investment in education, culture, and science.

    Tetra Pak
    La Prensa
    The Office of the First Lady of Panama
    Smithsonian Tropical Research Institute
    INAC - (National Institute of Culture)
    Biblioteca Nacional Ernesto J. Castillero R.
    TBWA Panama

    click here for our facebook link
    click here for our YouTube channel
    click here to follow us on twitter
    click here to participate in our collective art project!
    Thu, Jan 19, 2012  Permanent link

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    "All living beings are in the open: they manifest themselves and shine in their appearance. But only human beings want to take possession of this opening, to seize hold of their own appearance and of their own being-manifest. Language is this appropriation, which transforms nature into face. This is why appearance becomes a problem for human beings: it becomes the location of a struggle for truth"

    (Giorgio Agamben)

    Windows to the Other Side are opening up in multitudes within this frame.
    These vibrating portals are presented in every object you see.
    A rhythm is broken.
    A space of oscillatory pause is created.
    Take a breath.
    Take a break.
    You are neither here nor there.

    as makeSHIFT:NOW
    Jong Hwa Duly Lee (principal)
    w/ Aura Bermúdez + Ana Melissa Correa

    Panama City, June 2011

    submitted to RADAR
    pre-selected for exhibition at MAC (Museum of Contemporary Art), Panama - September 2011
    2nd place winner w/ mention of honor - Sept. 13 2011

    click here for process photos
    Fri, Jul 15, 2011  Permanent link

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    part 1

    Sea corals bleach completely white and “freeze-in-time” when a shift in temperature occurs in its environment. It induces unbearable stress and brings upon a sudden death. It loses all its colorful pigmentations and becomes a bone-like artifact, especially when seen dry out of the water. I give this example because I like to collect artifacts that go through this kind of processes.

    My collection of bleached artifacts happen from the future; near or distant it doesn’t matter. The only thing is that when you bring it to surface, as it crosses the boundary of its space and yours, it completely stops pulse and loses its anima. It is a lethal psycho-physiological reaction that occurs when it leaves the Other Side.

    Just as every ocean goer takes a few shells back home from the beach, I also can’t resist the temptation of bringing back some tangible memories from this place. It’s not often that I travel there, and every time I experience excruciating metamorphosis like in Aronosfky’s film Black Swan, so I would like to keep something to remember.

    Is it ok to bring things back? According to marine conservationists they say “take only memories; leave behind only footprints,” and that by removing organic items from the sea it will permanently affect the ecological balance formation in one way or another.

    part 2

    Adrenaline is rushing through every pore; the skin starts growing sensations never felt before. A complete transformation is taking place and you are totally stressed out from this new yet displeasing surrounding. There are left no choices but to surrender.

    Everything happens in slow motion: I open my eyes and nothing is moving. I am endlessly swimming as hard as I can, but the force of undertow counters me into a hold-still. I know I am on the losing side… and slowly I have to let go.

    Holding my palpitating lungs, my desperate instincts try to suck one last breath into the void. What was once hold-still is now alive; details emerge in sheer excitement. I am a fish. Within the transparent reflections of surrounding water, I see a glimpse of the future now. It is here.

    part 3

    A few months back I was given a strange “heart-shaped” purple seed from an indigenous Kuna friend of mine. She said it was a token of love. I was to keep it close in my satchel at all times: in return her spirits of love would protect me through the treacherous jungle.

    Entada Rhidee seeds are known in indigenous shaman cultures as having special divinatory healing powers when ingested. It is said to induce lucid dreams where the dreamer can actively participate in and manipulate imaginary experiences in the dream environment. Some dreamers simply decide only to observe and let be carried away into experiences that seem to have gone extinct in the real world. A few risk and chase the vapors into all directions.

    Multitudes of future scenarios are presented before me as I hold a concentrated last breath and thrust down my bare hands to clasp the big fish. Most times I fail, but once in a while I wake up with something in my hand. Only it is not anymore what it was. It is now a desiccated fragment from my waking dream.

    I have killed it. I had no other choice but to desire it. Everything looked real and possible. There was no inhibition. I knew it would die if I took away from it, but those precious moments bring me back to my present moment. I am one again. The fleeting mistakes are gone with the distant sun. I am lost again in equanimity.

    submitted to Pentales
    Fri, Jun 10, 2011  Permanent link

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    as makeSHIFT:NOW
    Jong Hwa Duly Lee (principal)
    w/ Mario Alberto Zapata + Zaira Lorena Gutierrez
    & Satoru Sugihara (computation consultant)

    Kuna Yala, Panama 2011
    latitude: 9° 46’ S longitude: 78° 98’ W
    average temperature: 27.0° C (80.6° F)
    Beneficiary: Kuna Indigenous People

    The San Blas Kunas do not have a systematized method to procure potable water. This is ironic since in Panama it rains heavily due to its tropical climate. In fact the Kunas drive their motor boats to the river mouth and fetch unclean water. They waste fuel for transportation and burn incredible amounts of material in order to boil water. In the islands, where gasoline price is inflated and with limited resources, it is counter-productive to continue this practice. Our project aims at resolving this problem locally by empowering the Kunas with passive green technologies at the same time adhering to their cultural traditions and materials.

    _The Kunas are considered one of the most resilient indigenous tribes in the Americas.
    _Transformation of the traditional thatched roof by tiling discarded Tetra Pak cartons for collection and filtration of rain as potable water source.
    _Combination of various independent collectors to create a public gathering space for the community.


    Made of tiled salvaged TetraPak cartons, the funnel is modeled to breath like a cheap enlarged version of Gore-Tex. The qualities of TetraPaks protect from sunlight and provide a watertight surface; the simple mechanics of the hanging scaled-cartons allow the surface to be a breathable membrane that lets air through. The aesthetics of the project does not attempt at a novel presence in the context of Kuna-townscape, but only aims to facilitate a need by material language that is already present.


    The project serves various scales: as a single-unit rain collecting tower and/or as aggregated multiple unit clusters that make up the “pavilion”. Each unit collects, stores and filters rainwater for the community. Most of the materials which comprise the function of the project (except for the UV device) are either locally sourced or found from recycled trash. The posts that hold up the structure come from salvaged palm trunks, a renewable resource, and the rain collecting surface is made from used TetraPak cartons arranged in a specific manner. Each building component was designed with the idea of “temporality” and facilitates future transportation and re-assembly of the project. The rain collecting surface can be collapsed very easily due to its monofilament wiring that is storable in one bundle, and of TetraPak cartons that can be unclipped and packed together without great effort. Even the UV device is attached with velcro belts that make it easy to configure it somewhere else.

    The project offers a sustainable solution to the task of harvesting potable water. By eliminating the need to travel distances and by enabling water collection locally, it saves human labor and time, and most importantly the use of gasoline. The UV filter runs on solar power which saves burning material that otherwise can be used to cook food. The project functions as a pavilion and it creates a shaded public area for communal activities that also provides clean potable water for the residents.


    Microbial pollution of water is one of the principal causes of life-threatening diseases in the developing world. Ultraviolet light is increasingly a viable alternative for disinfection of water. A UV-based disinfection system can be sustainable from 40 users and above in areas with poor water quality and lacking an electrical grid and distribution network, with a monthly fee of $2. The project creates a long-term sustainable system that use local renewable energies to provide a basic need - water.


    It is estimated that in Panama people that form a part of any of the six local ethnic groups are all experiencing something in common: 98.5% in poverty, 89.7% in extreme poverty. The project aims to empower the Kunas with passive technologies to procure clean potable water, locally, without the burden of expending valuable resources to transport and disinfect water. Kunas in the islands live by means of fishing and agriculture, and it is incredibly wasteful to spend their money on inflated gas prices to operate their boats especially for collecting water from river mouths. Once the project is in place, it will rid the need to travel distances to fetch water, as well as the need to burn wood to boil and disinfect water. Accessible clean water will enable more activities that will increase sustainable cultural practices. From the inception to actualization of the project, the Kuna community is collectively involved in decision-making, material sourcing and construction processes.

    submitted to 2011
    submitted to - Ecological Borders: YUmen[eco]tec-pharming

    "We must remember that man is a paradoxical nature: he is one with nature, but he is a completely unique animal inasmuch as he can become conscious of his position and inasmuch as he can influence nature in an enormous and sometimes terrifying way. Whether we like it or not, it is quite clear that hence forward we have to take responsibility for what is happening on our planet, because if we don't take responsibility and if we don't act accordingly to our knowledge of and affection for nature, we shall destroy the ground on which we are living and finish off our species."

    (Aldous Huxley, 1959)
    Mon, Mar 28, 2011  Permanent link

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    Panama City, Panama 2011.02.24

    Presented by:
    editoris + Cartooch as Hors Serie

    The Naked Hearts
    (New York) return to Panama, sharing stage with The Green Sky (Panama) and Austin TV (Mexico) in the ancient ruins of old Panama City - Panamá Viejo.

    w/ special dance perfomance by Jonathan Harker
    Wed, Mar 2, 2011  Permanent link

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    Panama City, Panama 2010.12.14

    part 1

    The other day, Ana Perez from the new Manrey Hotel in Calle Uruguay called me to make a temporary art piece for their lobby. They had asked four artists to do one and each project would be sponsored by a brand; mine being Johnny Walker. Not only do I usually avoid work for brand marketing projects, my first instinct was how I detest when brand logo or image is placed next to a work - labeled "sponsored by:_________".

    I had to do an Andy Warhol move, and use the brand itself as subject of the work. At the same time I had to give the hotel a christmas present! What if I make them a present-box: how about "Whiskey in the Box"?

    The concept of "Whiskey in the Box" is reference to "sheep in the box" in Antoine de Saint-Exupéry's Little Prince. The prince asks the pilot to draw him a sheep, and he draws several sheeps only to the prince's discontent. While all the illustrative descriptions weren't satisfying the little prince, at an annoying dismay, the pilot draws him a box with few holes in it and tells him "This is only his box, the sheep you asked for is inside." The prince responds "That's exactly the way I wanted it! Do you think that this sheep will have a great deal of grass?"

    part 2

    The human size Johnny Walker Black box is placed by a mirror wall next to the elevator waiting area. Instead of their logo there are alien indentations on the surface: two curvilinear penetrations into the whiskey box. Through the portal-holes the depth-of-sight is increased by two-folds due to the mirror effect and you are greeted with a sudden shift in perception. What you now see is the opposite side reflection of the wall you're looking through; a static white-lit room with two ocular protrusions - consequently looking back at yourself.

    You are now peeking into "The Other Room" in the Manrey hotel, the secret heterotopic room that Mallol doesn't know about. Perhaps just an empty limbo space stuck in-between this world and the other. To some, it could be a momentary respite from the nauseous coquetry of a loud party scene...

    Alex Alba is looking into the box...
    Tue, Dec 14, 2010  Permanent link

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    "Because species diversity was created prior to humanity, and because we evolved within it, we have never fathomed its limits... The living world is the natural domain of the more restless and paradoxical part of human spirit. Our sense of wondering grows exponentially; the greater the knowledge, the deeper the mystery and the more we seek knowledge to create new mystery... Our intrinsic emotions drive us to search for new habitats, to cross unexplored terrain, but we still crave this sense of a mysterious world stretching infinitely beyond."

    (Edward O. Wilson)
    Wed, Nov 17, 2010  Permanent link

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