Lee Ufan

Lee Ufan (* June 24, 1936 in Haman -gun, Keisho - nando, Chosen Province, at that time the Japanese Empire, present-day South Korea), also Yi U- hwan, is a painter and sculptor who, in his minimalist art in Asian and European roots concerns.

Life

After beginning his studies of art at the Seoul National University in 1956 Lee went to Japan to Nihon University to study East Asian and European philosophy. In the 1960s he was a key figure in the Japanese group of artists Mono -ha (Japanese物 派, such as " group of things" ). He took a strict line of Entwestlichung and turned in theory and practice against Western modernity that determined the self-understanding of Japan after the Second World War.

The artists of that of other mono -ha group used mainly corpus of natural materials. Things should speak for itself. Art was not primarily seen as a creative act, but as a new arrangement of found objects, which thus enters into relationship with the surrounding space.

On the 7th Paris Biennale 1971 Lee Ufan was first represented as the representative of South Korea in Europe. He traveled through Europe. 1971 marked the end of Lee Mono -ha movement and forms a significant intersection in his work.

Since the 1970s, Lee has lived in Paris and Tokyo. In 1977 he participated in Documenta 6 in Kassel.

From 1973 to 1990 Lee was a professor at the School of Art Tama in Tokyo.

1997 Lee visiting professor at the École nationale supérieure des beaux -arts de Paris.

2010, the " Lee - Ufan Museum " (Japanese李 禹 焕 美术馆, Ri Ukan Bijutsukan ) was opened on Naoshima, Japan.

Work

Lee Ufan work is based on an intensive examination of East Asian and European philosophy. In Lee Ufan work approaches the American Minimal Art and country meet kind traditional Asian space and landscape concepts. He will join his work continuously in theoretical discussions.

"He's not a matter of realizing a work of art, but he uses the art to make the surrounding silence and emptiness, the great dazzling cosmos visible., Finally, I would increase by limiting the ego to a minimum the relation to the world to a maximum. I am the one who brings about the correspondence, but that one out of the work out anweht a feeling of infinity, which is based on the power of the remaining empty space. My works, I hope, appear other than what they are for myself, semi-transparent things that always include the unknown in it. ' "

Important series of works

  • Approximately 1970 Start of series of works Relatum until today titles of all his sculptural works.
  • 1973 Start of the series From Point and From Lines
  • 1986 Start of the series From Winds
  • 1987 Series With the start of the Winds
  • 1991 Start of series Correspondance

Works in public space

  • Relatum with Four Four Stones and Irons (1978 )
  • Relatum - Holzwege I ( 2000)
  • Relatum - Holzwege II (2000 )
Revised Romanization of Korean McCune–Reischauer Tama Art University Integrated Authority File
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