[Yeouido Art Museum]⑤ Lee Ufan Loved by Samsung... The Philosophical Artist

Lee Ufan's 'Relation' Series... Minimizing the Artist's Subjectivity
Encouraging Direct Confrontation with the Object Without Ideological Interpretation
Influenced by Merleau-Ponty's 'Being-in-the-World'

Artist Lee Ufan (left) went to study in Japan in the 1950s. At that time, he began his connection with Samsung Group while assisting experts in traditional Korean art such as Lee Byung-chul, the founder of Samsung Group, and Hye-gok Choi Sun-woo.

"Rather than the image expressing meaning, it is meaning that gives birth to the image."

-Maurice Merleau-Ponty, 'Indirect Language and the Voice of Silence'

On May 27th, when it was raining and the International Gallery was quiet, Hong Ra-hee, former director of the Leeum Museum of Art, visited. She came to see the solo exhibitions of Lee Ufan and Alexander Calder. Former Director Hong showed greater interest in Lee Ufan's exhibition than in Alexander Calder's. This time, we share the story of artist Lee Ufan and his works that captivated former Director Hong’s attention.

Ufan Lee I 'Relatum-Dialogue' wood floor, natural stone, light bulb and charcoal drawing natural stone ⓒUfan Lee

People who have seen Lee Ufan’s exhibition say it is difficult to understand. There is a reason for this. When looking at his works, one tends to think of philosophical reflection. In fact, he entered Seoul National University’s College of Fine Arts but went to Japan to study abroad and enrolled in the Department of Philosophy at Nihon University. Later, he became famous for theoretically explaining and critiquing the 1960s Japanese art movement called 'Mono-ha (もの派)'.

Installation works placing stones, iron, glass plates, etc. in specific spaces

The 'Relatum' series consists of installation works that place stones, iron, glass plates, and so on in specific spaces. These are also representative works of Lee Ufan. The art and philosophy communities interpret his works by citing French philosopher Maurice Merleau-Ponty and Martin Heidegger.

In the first photo, a large curved iron plate catches the eye. Next to it sits a stone. Generally, stone symbolizes nature, and iron symbolizes civilization. However, this work does not speak of the opposition between nature and civilization. A hint can be found in the title of the work, 'Relatum.'

Relatum is a philosophical term meaning the 'subject' that forms a relation. Why did the artist choose the title 'Relatum' instead of 'relation'? The term 'relation' implies a private connection or relevance among people, objects, or phenomena. In other words, it presupposes that a person subjectively assigns meaning when viewing an object.

For example, imagine a man holding a flower. From the perspective of 'relation,' he could be someone meeting his girlfriend, a flower vendor, or a man celebrating his birthday. When we look at an object, we do not see it as it is but interpret it in our own way. However, 'Relatum' does not define the object before us but focuses on the object itself. It concentrates on the essence of each subject, free from social or ideological contexts related to the flower and the man.

'Relatum-The Kiss' (Relatum-The Kiss·2023) ⓒ Ufan Lee

Contemplation on the structure of objects relating to each other in the field of perception

When we look at an object, we perceive it within our current worldview. For example, when seeing a tree on a mountain, we might think 'nature is beautiful.' Furthermore, we might believe that nature (the tree) should not be damaged. This is a kind of prejudice.

When seeing a structure made of iron, we think of civilization overcoming nature. Lee Ufan advises not to understand objects ideologically but to focus on the objects themselves. Using Merleau-Ponty’s expression, this is called the 'primordial world.'

Looking again at the work, what do you see? You see a stone, but it is not just a stone. Perhaps it was once a great mountain. The stone, containing wind, sun, rain, and other elements of nature, has become a body that holds time itself. Iron is artificially made by humans but is a metal that originated from nature. Before becoming an iron plate, it was iron ore, and before that, it might have been rock. Floating between relationships in time and space, it stands before us in its present form.

Professor Son Ji-min of Dankook University’s Department of Philosophy evaluated in his thesis that "Mono-ha artists including Lee Ufan commonly exclude all ideologies and allow the audience to see the situation of objects (distinguished from mere objects) existing within the world as they are." This can be interpreted in this context.

Ufan Lee's artwork 'Dialogue' exhibited at the Leeum Museum of Art ⓒ Ufan Lee

Negative space, reducing the artist’s intervention and encouraging viewer participation

Another characteristic of Lee Ufan’s works is the use of 'negative space.' This feature is especially prominent in his paintings. The empty space on the canvas stands out, but it is not just empty space. The space where the 'Relatum' works are exhibited is the same.

Generally, artworks contain the artist’s story. The artist’s worldview is reflected in the work. Viewers see the artist’s worldview. However, Lee Ufan’s works minimize the artist’s intervention. The art world describes this as 'denying completeness.'

Because of this, viewers can actively communicate with the object through the negative space. The 'Relatum' works are no exception. Viewers look at them and resonate with them. Furthermore, the viewers themselves participate as an extension of the artwork.

Lee Ufan is like a solitary philosopher. Just as humans explore ways of perceiving the world, he contemplates the structure of the world through his works. Perhaps for this reason, he is especially popular in France, the land of philosophy. He received France’s highest honor, the 'L?gion d'honneur,' in 2007, and in 2014, he held a solo exhibition in the outdoor gardens of the Palace of Versailles near Paris by invitation.

In the southern French city of Arles, there is the 'Lee Ufan Museum.' It is the third permanent exhibition hall after Korea and Japan. Arles is a city loved by Vincent van Gogh and is becoming a center of contemporary art. The opening of the 'Lee Ufan Museum' there in April last year is very meaningful. If you have not yet made summer vacation plans, how about visiting France, the land of philosophy, to see Lee Ufan’s works?

[References]

Sartre vs. Merleau-Ponty, Kang Mira, Sechang Publishing

Art & Study, 'Philosophy Meets Art I: Merleau-Ponty, Heidegger, Lyotard, Blanchot' (Kim Dong-guk)

Art & Study, 'From Phenomenology to Existentialism II: Heidegger, Merleau-Ponty, Sartre, Camus' (Jang Ui-jun)