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Lee Ufan (Korean: 이우환, Hanja: 李禹煥, (:iːuhwan) born 1936 in Haman County, in South Kyongsang province in Korea) is a Korean〔돌·쇠’로 우주 삼라만상 얘기할 수 있더라 (Aug 27, 2009), () ''Hankyoreh''.〕 minimalist painter and sculptor〔(Felicity Fenner, ''Art in America'', July, 2003 ),〕 artist and academic, honored by the government of Japan for having "contributed to the development of contemporary art in Japan."〔Japanese Ministry of Foreign Affairs, ( "2009 Autumn Conferment of Decorations on Foreign Nationals," p. 9. )〕 The art of this artist, who has long been based in Japan, is rooted in an Eastern appreciation of the nature of materials and also in modern European phenomenology. The origin of Mono-ha may be found in Lee‘s article "Sonzai to mu wo koete Sekine Nobuo ron (Beyond Being and Nothingness - A Thesis on Sekine Nobuo."〔Original title is "存在と無を越えて-關根伸夫論"(Art magazine Sansai 三彩, Japan, June 1969), Kim Mi Kyung, "Study on Sekine Nobuo Ron (1969) by Lee Ufan", Journal of Korean Modern Art History, Association for Education of Korean Art History, Seoul; Korea, pp.234-278, 2005〕 Once this initial impetus given, Mono-ha congealed with the participation of the students of the sculptor Saito Yoshishige, who was teaching at Tama University of Art at the time. One evidence may be found in the book (so, toki )(場 相 時, place phase time)(Spring, 1970).〔Kim Mi Kyung, "(Rereading Lee Ufan in the contexts of Japanese Mono-ha, and Korean Monotone Painting and Experimental Art )", Asian Studies Conference Japan (ASCJ), Sophia University, Ichigaya Campus, Tokyo, June 21, 2003〕 Lee, the main theorist of the Mono-ha (“School of Things”) tendency in Japan in the late 1960s and early 1970s, was trained as a philosopher. As a painter, Lee contributed to 'Korean Monotone Art'(Dansaekjo Yesool, 單色調 藝術),〔Recently the Korean term "Dansaekhwa", a rough translation of 'Monochrome Painting' was used from the loosely defined nomenclature in the exhibition of National Museum of Contemporary Art, Korea in 2012. But numerous artists could not be accurately studied so long as they were related to the concept of “Dansaek (monochrome)” or “hwa(painting)”. They are rather to be approached from the consideration for the realm of materials, subjectively located in space and time, hence re-reading “The Monotone Art” (not "the monochrome painting"). Lee's concept of Mono-ha has been misidentified with 'monochrome painting' in Korea. See Kim Mi Kyung, ''Experimental Art and society in the 1960-70s Korea'', Doctoral thesis, Ewha Womans University(Seoul; Korea), August, 2000 () and Kim Mi Kyung, "Re-reading Korean Contemporary Art", special lecture at Museum of Modern Art(MoMA), New York, April 15th, 2014.〕 the first artistic movement in 20th century Korea to be promoted in Japan. He advocates a methodology of de-westernization and demodernization in both theory and practice as an antidote to the Eurocentric thought of 1960s postwar Japanese society. Lee divides his time between Kamakura, Japan and Paris, France. ==Career== Born in Haman-gun, Gyeongsangnam-do in 1936, Lee Ufan was raised by his parents and Confucian grandfather. Lee studied painting at the College of Fine Arts at Seoul National University for just two months and moved to Yokohama, Japan in 1956, where he earned a degree in philosophy in 1961.〔(''Lee Ufan: Marking Infinity'', June 24 – September 28, 2011 ) Guggenheim Museum, New York.〕 Whilst studying philosophy Ufan painted in a restrained, traditional Japanese style, eschewing the expressive abstraction of the contemporary Japanese Gutai movement.〔(Lee Ufan ) Tate Collection.〕 Lee spent his early working years pursuing careers as an art critic, philosopher, and artist.〔Benjamin Genocchio (May 15, 2011), (Lee Ufan ) ''BLOUINARTINFO''.〕 In Japan he became an active participant in the countercultural upheavals surrounding the Anpo Movement of the 1960s.〔Ken Johnson (June 23, 2011), (A Fine Line: Style or Philosophy ) ''New York Times''.〕 He came to prominence in the late 1960s as one of the founders and theoretical leaders of the avant garde Mono-ha (School of Thing) group.〔Nancy Kapitanoff (March 31, 1991), (Japan Exports Different Perspective with Museum Exhibit ) ''Los Angeles Times''.〕 Mono-Ha was related in Arte Povera movement of the 1960s and Japan's first contemporary art movement to gain international recognition. The Mono-Ha school of thought rejected Western notions of representation, choosing to focus on the relationships of materials and perceptions rather than on expression or intervention. The movement's goal was to embrace the world at large and encourage the fluid coexistence of numerous beings, concepts, and experiences. Lee U-fan's position in the philosophy department at Nihon University in Tokyo earned him a distinguished role as the movement's spokesman. In 1973, he was appointed Professor of Tama Art University in Tokyo and he stayed there until 2007.〔(Lee Ufan, September 3 - October 2, 2009 ) Galerie Thaddeus Ropac, Paris.〕 Yoshio Itagaki was one of his students in 1989-1991. He is Professor emeritus at Tama Art University. In the mid-1970s Lee introduced Korean five artists whom called later ''Dansaekzo Whehwa'' (Monotone Painting) school to Japan,〔Kim Mi Kyung, "So(素)-Korean Monotone Painting Rereading with Soye(素藝): Critical research on Lee's sculptures, presenting dispersed arrangements of stones together with industrial materials like steel plates, rubber sheets, and glass panes, recast the discrete object as a network of relations based on parity between the viewer, materials, and site. In his sculptural series ''Relatum'', each work consists of one or more light-colored round stones and dark, rectangular iron plates.〔(Lee Ufan ) Lisson Gallery, London.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Lee Ufan」の詳細全文を読む スポンサード リンク
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