[국제갤러리-이우환 전시 리뷰] 돌과 철의 대화

Dialogue between rock and steel

 

"Relatum-Dialogue" by Lee Ufan [Kukje Gallery]

Lee Ufan [Kukje Gallery]

Weighty rocks, large iron plates and sticks lay around in the first and second floors of Kukje Gallery in Sogyeok-dong.

We hardly ever give them a glance when similar objects are strewn around outdoors, probably in a nearby construction site; in the gallery, though, no one dares to touch them.

They are Lee Ufan's works. Lee is one of Korea's most renowned artists, and also known as a writer and a philosopher. Currently, he is holding a solo exhibition in his home country for the first time in six years.

It is also the first-ever show featuring his sculptures in Korea.

Many people identify Lee with his most famous painting series - "From Point" and "From Line" - which he sparsely painted basic dots, lines and brush strokes on the canvases.

Void, which is referred to as the beauty of the margin in oriental philosophy, is always spotlighted in Lee's works.

Another important concept in the works is "Monoha," a Japanese movement that criticizes modernism and illuminates the relationship between natural and artificial materials through visual art. In fact, it was Lee who theoretically established the concept in Japan in the 1970s.

At this exhibition titled "Sculpture," Lee is showcasing a three-dimensional version of Mono-ha. Like his paintings, the objects are sparsely laid out to emphasize margins.

The rocks and the iron plates symbolize opposites - nature and artificial. Yet, the two are like brothers, as both originated from nature.

They seem to be quietly gazing at each other, or perhaps deep in conversation.

"I just brought these rocks and irons which did not know each other together and let them talk. I am just a mediator," Lee said.

The only controversy about this respected artist has been in regards to his identity, because he is often known as a Japan-based artist in other countries.

He transferred to the department of philosophy at Nihon University in Tokyo while attending the School of Arts at Seoul National University because he decided he needed to have "a solid working knowledge of aesthetics or social beliefs as foundation" for his art.

Since then, he grew to be an influential artist in both countries. During the Biennale de Paris in 1971, in which he participated as Korea's representative, Lee joined some other participating Japanese artists and introduced the concept of Monoha to the European world.

The world was excited about this new concept and Lee held many exhibitions and won many prizes overseas. Japan is even planning on constructing a Lee Ufan art gallery.

Still, he never forgot about his home country. In 2001, he held an exhibition called "Nostalgie Coreene" in Musee National des Arts Asiatiques-Guimet in Paris, showcasing his personal collection of Korean decorative folk paintings.

So the usual question of whether he considers himself a Korean artist or a Japanese artist popped up again at the press conference last week.

"I am just artist Lee Ufan," Lee answered, adding that he only gets the question from the Korean press and that he does not see why that should be an issue.

"I lived 20 years in Korea, 20 years in Japan and 30 years in Europe ... I could not help being influenced by Japan. But I also am bound by my Korean roots, which I can't shake off even if I wanted to. If I am influenced by Japanese styles, the Korean culture in me had me focus on relationships."

The exhibition runs through Oct. 9 at Kukje Gallery in Sogyeok-dong, central Seoul. For more information, visit www.kukjegallery.com or call (02) 733-8449.

(claire@heraldm.com)

By Park Min-young