monstrous and cyborg-like body as having sprung, as it were, from a fundamental fantasy. That in the process allusions are made to Manga and Anima as well as to historical works such as those by Hans Bellmer or the Surrealists exposes the fantasies—which are in a process of constant rearticulation—as universals of recurring fears. In 1997 Lee began with the production of various cyborgs. The series «Cyborgs W1–W4» consists of sculptures made out of silicon and showing fragmented women's torsos with a smooth and closed surface. The excessively aesthetic productions of the eroticized mechanical woman of the avant-garde and the cyborgs out of the Manga are at the same time broken and deformed, and do not allow themselves to be looked at as fetishes. Both Lee's inflatable monumental sculptures out of plastic with an Asian beauty atop them as well as the human-sized sculptures «Monster: Pink» and «Monster: Black,» which seem to be proliferating sores, are analyses of the projections of the monstrous-proliferating-female. They are reminiscent of notions of the abject, of a hysterical spreading without either system or organization. What is being staged here is the

reproductive aspect of the maternal body, fitted with cables, mechanical parts and wires. That Lee does this in a very conscious way can be seen in a performance in which she put on a proliferating creation painted red and went out on the streets. She showed herself delightfully pregnant with the ability to gruesomely proliferate. Lee's work makes it clear that the fear of female monstrosity and its ability to reproduce despite new technologies, which appear to take over these (reproductive) abilities, has not been overcome. Rather it becomes clear that the monstrous of the techno-social is projected onto the female-maternal. By her staging the terrible-aggressive and overflowing-disseminating of this techno-organic creation, she reveals the strategies of the shiftings of psychosocial fears onto the monstrous, sexualized or desexualized maternal body, without, however, repeating one-dimensional closures. Although Lee Bul makes direct reference to the reproductive fantasies in bioengineering and the new media, she situates her own work in traditional media, in particular sculpture and the (video) installation. This media distance allows her to direct her attention to the phantasmatic