pressentiment
At the CCC OD the artist shows an exhibition that has been profoundly inspired by the darkness emanating from the exhibition space, the Black Gallery, which has been specially chosen for this project. Here six unseen installations can be discovered walking through six rooms, expressed using the quintessential elements of his artistic lexicon, with sculptures marrying stone found in the natural world and industrial metal, and paintings showing the trace of a single gesture. Moving from shadow into light, each installation is an invitation to encounter and meditate.
Lee Ufan’s works display an extreme simplicity of form and are characterised by his minimal intervention in terms of space and materials, based on the principle that “seeing, choosing, borrowing or moving are all part of the creative act.” The artist’s research is based on the association of ‘doing and not doing’, what is created and what exists already. The void and the resonance between objects are conferred with as much importance as the objects themselves.
Lee Ufan is developing an ‘art of encounter’ based on his artistic expression, building bridges between the visible and the invisible, between humans and the infinite space surrounding them. Using pared-down sculptural methods, the silent art of Lee Ufan elicits a physical and metaphysical experience of “being in the world”.
D’une extrême simplicité formelle, les œuvres de Lee Ufan se caractérisent par une intervention minimale sur l’espace et la matière, selon le principe que « voir, choisir, emprunter ou déplacer font déjà partie de l’acte de création ».
lee ufan
Lee Ufan was born 1936, in Haman County (South Kyongsang province in Korea). He now lives and works between Japan and France.
When he was twenty years old, Lee Ufan moved to Japan where he studied philosophy before beginning his artistic career. He was one of the founders and main theoretician of Mono-Ha, a japanese artistic movement that appeared in 1968. Similarly to many other artists in europe and the united states at that time, the artist actively participated in the deep questioning of the foundations and definitions of art.
The artist’s exhibition at the CCCOD was deeply inspired by the original darkness of the exhibition space that was specifically chosen for his new project: the black gallery. The spectator wanders across six different rooms, that all display essential features of the artist’s vocabulary: sculptures made out of stones and industrial metal; paintings with traces of a unique gesture… Forming a pathway of shadows and light, each installation is an invitation to encounter and meditation.
Lee Ufan’s work is characterised by minimal intervention on space and matter; the artist follows the idea that looking at an object, choosing it, and moving it around is already part of the creation process. The artist bases his research on the relationship between what is created, and what already exists. He assigns an important role to emptiness and the resonance it creates between objects, which become just as valuable as the object itself. Lee Ufan develops an “art of encounter” that creates bridges between the visible and the invisible, between men and the infinite space around us. Through the use of simple materials, Lee Ufan’s silent art provides the spectator with a body and metaphysical experience.
From the “Pressentiment” exhibition press release, 2017
Lee Ufan is represented by the Galerie Kamel Mennour.
At the CCC OD the artist shows an exhibition that has been profoundly inspired by the darkness emanating from the exhibition space, the Black Gallery, which has been specially chosen for this project. Here six unseen installations can be discovered walking through six rooms, expressed using the quintessential elements of his artistic lexicon, with sculptures marrying stone found in the natural world and industrial metal, and paintings showing the trace of a single gesture. Moving from shadow into light, each installation is an invitation to encounter and meditate.
Lee Ufan’s works display an extreme simplicity of form and are characterised by his minimal intervention in terms of space and materials, based on the principle that “seeing, choosing, borrowing or moving are all part of the creative act.” The artist’s research is based on the association of ‘doing and not doing’, what is created and what exists already. The void and the resonance between objects are conferred with as much importance as the objects themselves.
Lee Ufan is developing an ‘art of encounter’ based on his artistic expression, building bridges between the visible and the invisible, between humans and the infinite space surrounding them. Using pared-down sculptural methods, the silent art of Lee Ufan elicits a physical and metaphysical experience of “being in the world”.
D’une extrême simplicité formelle, les œuvres de Lee Ufan se caractérisent par une intervention minimale sur l’espace et la matière, selon le principe que « voir, choisir, emprunter ou déplacer font déjà partie de l’acte de création ».
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