For 50 years, the Korean artist’s minimalist works have been enjoying with emptiness and fullness, bringing area and supplies into resonance. To “inhabit time” and make silence resonate.
After the gardens of Versailles in 2014, right here is the fascinating necropolis of the Alyscamps in Arles, where the 85-year-old grasp has chosen to carry out a Requiem. Alongside the sarcophagi lined up on the entrance to this city of the lifeless, the elegant austerity of his Relatum thus takes on a funereal facet. Consisting of the affiliation of distinct and sometimes dissonant parts – the meeting of a stone and its reflection in a mirror set on a white square in a garden or, right here, of two stones and an extended metallic plate unrolled like a shimmering carpet alongside the sepulchres – these Relatum aren't, for their creator, completed works in themselves, but mediums.&
Removed from being an artifact, sculpture for Lee Ufan is the technique of relating people and their setting, the physique and a given area, the inside world, and the outer world… For this great master of emptiness, co-founder of the Mono-ha movement (the varsity of things) in Tokyo in 1969, advocating the effacement of the artist, the minimal intervention in using uncooked materials, it consists in making a poetic area meant to arouse an “aesthetic emotion” with the play of oppositions, an “art of resonance … capable of revealing the silence and the emptiness” of unoccupied spaces.
“To hyperlink the work to area is to open it up, to enter into a relationship with the infinite,” the artist informed us during a visit to his Parisian1 studio. “Sculpture is for me a relationship to area. I seek to open a dialogue with nature, to create an encounter between the weather and the viewer.”
Sculpture is about inhabiting area, and more than that, it's concerning the interpenetration of area and matter, letting the void inhabit the work – so that we inhabit it. Following the instance of Fontana – “who, by tearing the canvas, introduced the notion of infinity into the painting.”1 – Lee Ufan thus makes the void the place of all prospects, a space in rigidity born of “shifts and correspondences between supplies and locations,” provided to our imagination stimulated “by this ambivalence between look and disappearance, between presence and absence.”
Requiem exhibition&
on the necropolis of Alyscamps in Arles&
Till the top of September 2022
Catalog, underneath the path of Alfred Pacquement, curator of the exhibition, revealed by Actes Sud (25€)
And in addition: Exhibition Lee Ufan Arles
At the Vernon Lodge in Arles&
From spring
Stéphanie Dulout
L’article Lee Ufan : Requiem exhibition est apparu en premier sur Galerie Joseph.
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