Lee Ufan: Master of Space, Time, and Artistic Dialogue
Jason Yim / Published October 16, 2024 02:34 AM
Jason Yim
The portrait of the artist, Courtesy of the artist's official Instagram(@ufanlee)
Celebrated as one of the most influential Korean artists and critics of the 20th and 21st centuries, Lee Ufan’s work continues to bridge the realms of Eastern and Western aesthetics through a philosophical approach to artmaking. Born in 1936 in South Gyeongsang Province, South Korea, Lee’s artistic journey took him from his homeland to Japan and beyond, shaping him into an internationally renowned figure whose contributions have left an indelible mark on the global art scene.
Lee began gaining recognition in the late 1960s when he became a foundational figure in the Japanese Mono-ha movement, which emphasized the relationship between natural and industrial materials. In 1969, Lee published the influential essay Beyond Being and Nothingness, where he articulated the philosophical underpinnings of Mono-ha. His writings, which integrated Heidegger, Merleau-Ponty, and Nishida Kitaro's philosophies, helped shape the movement’s theoretical framework, positioning Lee not only as an artist but also as a critical thinker in the art world.
Lee’s artworks, especially his From Point and From Line series, exemplify his unique approach. These pieces, created through repetitive gestures of dots and lines, reveal his deep contemplation of time and space. Rather than seeking to depict objects, Lee’s minimalist works evoke a dynamic tension between the marks on the canvas and the surrounding space, inviting viewers to experience the passage of time and the relationship between form and emptiness.
Lee held his first solo exhibition at Tokyo’s Sato Gallery in 1967, coinciding with the release of his philosophical work The Aesthetics of Self-Contradiction. His early works were not only visual critiques of aesthetic concepts but also precursors to the minimalist style that would come to define his career. His incorporation of Eastern philosophies into Western art frameworks created a distinctive visual language that transcends cultural boundaries.
Beyond the canvas, Lee’s work extends into sculpture. His Relatum series, which juxtaposes stones with steel plates, emphasizes the interactions between materials, reflecting the artist’s interest in the relationships between objects and the spaces they inhabit. These sculptures, like his paintings, engage the viewer in a dialogue with the environment, underscoring the importance of presence, materiality, and temporality.
Despite his growing prominence, Lee’s journey as an artist was not without its challenges. In the 1970s, his work was initially excluded from major international exhibitions due to his nationality. However, his perseverance paid off, and by the mid-1970s, he had begun exhibiting at major galleries across Europe, including Germany’s Gallery m in Bochum and the Düsseldorf Art Museum, where he later held a solo exhibition in 1978. His recognition continued to grow, culminating in a major retrospective at the Solomon R. Guggenheim Museum in New York in 2011.
Lee’s influence extends far beyond his visual artworks. His critical writings, particularly his 1971 publication The Search for Encounter, have profoundly impacted the discourse surrounding art and philosophy. His work challenges conventional notions of art by focusing on the relationships between the viewer, the artwork, and the space they occupy, offering a contemplative experience that transcends mere aesthetic appreciation.
Today, Lee Ufan remains a pivotal figure in contemporary art. His fusion of Eastern and Western philosophies and his exploration of time, space, and relationships continue to resonate with audiences worldwide, making him a true global ambassador of artistic and philosophical thought. His works are more than visual spectacles—they are experiences that encourage viewers to engage deeply with the world around them.
The installation view of the exhibition, 'Lee Ufan and Claude Viallat, Encounter' at Pace Gallery London, 2023, Courtesy of Pace Gallery
Sayart / Jason Yim, yimjongho1969@gmail.com
The portrait of the artist, Courtesy of the artist's official Instagram(@ufanlee)
Celebrated as one of the most influential Korean artists and critics of the 20th and 21st centuries, Lee Ufan’s work continues to bridge the realms of Eastern and Western aesthetics through a philosophical approach to artmaking. Born in 1936 in South Gyeongsang Province, South Korea, Lee’s artistic journey took him from his homeland to Japan and beyond, shaping him into an internationally renowned figure whose contributions have left an indelible mark on the global art scene.
Lee began gaining recognition in the late 1960s when he became a foundational figure in the Japanese Mono-ha movement, which emphasized the relationship between natural and industrial materials. In 1969, Lee published the influential essay Beyond Being and Nothingness, where he articulated the philosophical underpinnings of Mono-ha. His writings, which integrated Heidegger, Merleau-Ponty, and Nishida Kitaro's philosophies, helped shape the movement’s theoretical framework, positioning Lee not only as an artist but also as a critical thinker in the art world.
Lee’s artworks, especially his From Point and From Line series, exemplify his unique approach. These pieces, created through repetitive gestures of dots and lines, reveal his deep contemplation of time and space. Rather than seeking to depict objects, Lee’s minimalist works evoke a dynamic tension between the marks on the canvas and the surrounding space, inviting viewers to experience the passage of time and the relationship between form and emptiness.
Lee held his first solo exhibition at Tokyo’s Sato Gallery in 1967, coinciding with the release of his philosophical work The Aesthetics of Self-Contradiction. His early works were not only visual critiques of aesthetic concepts but also precursors to the minimalist style that would come to define his career. His incorporation of Eastern philosophies into Western art frameworks created a distinctive visual language that transcends cultural boundaries.
Beyond the canvas, Lee’s work extends into sculpture. His Relatum series, which juxtaposes stones with steel plates, emphasizes the interactions between materials, reflecting the artist’s interest in the relationships between objects and the spaces they inhabit. These sculptures, like his paintings, engage the viewer in a dialogue with the environment, underscoring the importance of presence, materiality, and temporality.
Despite his growing prominence, Lee’s journey as an artist was not without its challenges. In the 1970s, his work was initially excluded from major international exhibitions due to his nationality. However, his perseverance paid off, and by the mid-1970s, he had begun exhibiting at major galleries across Europe, including Germany’s Gallery m in Bochum and the Düsseldorf Art Museum, where he later held a solo exhibition in 1978. His recognition continued to grow, culminating in a major retrospective at the Solomon R. Guggenheim Museum in New York in 2011.
Lee’s influence extends far beyond his visual artworks. His critical writings, particularly his 1971 publication The Search for Encounter, have profoundly impacted the discourse surrounding art and philosophy. His work challenges conventional notions of art by focusing on the relationships between the viewer, the artwork, and the space they occupy, offering a contemplative experience that transcends mere aesthetic appreciation.
Today, Lee Ufan remains a pivotal figure in contemporary art. His fusion of Eastern and Western philosophies and his exploration of time, space, and relationships continue to resonate with audiences worldwide, making him a true global ambassador of artistic and philosophical thought. His works are more than visual spectacles—they are experiences that encourage viewers to engage deeply with the world around them.
The installation view of the exhibition, 'Lee Ufan and Claude Viallat, Encounter' at Pace Gallery London, 2023, Courtesy of Pace Gallery
