Spare and abstract at first glance, Lee Ufan’s sculptures and installations are deeply complex meditations on a person’s relation to their environment, elucidated via the subtle interplay of raw industrial and natural materials. This arranging of matter is characteristic of Mono-ha, a loose collective of Tokyo artists in the late ’60s who rejected Western modernism’s focus on subjectivity and artist intervention in favor of a methodology that emphasized the impact of the surrounding space on the creation and experience of art objects. Lee, who had an academic background in philosophy, was an informal spokesperson of sorts for Mono-ha, writing eloquently about the phenomenological questions on experience, perception, and material reality at the heart of the movement.
Asia Culture Center’s spring exhibits look at history and freedom. The Asia Culture Center(ACC) in Gwangju opened two new exhibitions on M..by YOON SO-YEON