Seung-taek LEE 리스트보기 썸네일보기

  • Untitled
  • Untitled
  • Untitled
  • Untitled
  • Untitled
  • People at the Square
  • Untitled
  • Untitled
  • Untitled
  • Untitled
  • Wind
  • Wind
  • Untitled
  • Untitled
  • Untitled
  • Wind
  • Wind
  • Wind
  • Painting Water
  • Paper Installation
  • White Porcelain
  • A Bridge not able to Cross
  • Godret Stone
  • Tile Works
  • Paper Tree
  • Green
  • Wind from East
  • Wind Performance at Back Hill
  • Drawing
  • Drawing
  • Game in Wooden Construction
  • Untitled
  • Untitled
  • Untitled
  • Untitled
  • Untitled
  • Untitled
  • Wind
  • Wind
  • Wind Folk Amusement
  • Wind Folk Amusement
  • Sound of Wind
  • Wind Fence
  • Burning Performance
  • Non Scupture
  • Installation
  • History and Time
  • History and Time
  • Artist
  • Man made Installation
  • Earth Performance
  • Earth Performance
  • Earth Performance
  • Hairy Canvas
  • The Burning Canvas Floating on the River
  • Installation view at GALLERY HYUNDAI, 2013
  • Installation View at Frieze Masters Art Fair in London, 2014
  • Installation view
Seung-taek LEEUntitled1963Rope on canvas230.7 x 83 cmSeung-taek LEEUntitled1957Rope on wood panel60 x 36 cmSeung-taek LEEUntitled1958Rope on wood panel36 x 70 cmSeung-taek LEEUntitled1962Rope on colored canvas90.7 x 131 cmSeung-taek LEEUntitled1963Rope on canvas80 x 100 cmSeung-taek LEEPeople at the Square1965-2015Rope on colored canvas130 x 272.5 cmSeung-taek LEEUntitled1966Rope on colored canvas72.7 x 60.5 cmSeung-taek LEEUntitled1967Graphite on paper38.7 x 53.7 cmSeung-taek LEEUntitled1968Rope on colored canvas120 x 120 cmSeung-taek LEEUntitled1968Rope on colored canvas130 x 90 cmSeung-taek LEEWind1970Ink and human hair on paper18 x 30.2 cmSeung-taek LEEWind1971Graphite and watercolor on paper48.7 x 76.4 cmSeung-taek LEEUntitled1971Rope on colored canvas72.7 x 91 cmSeung-taek LEEUntitled1971Rope on colored canvas110 x 110 cmSeung-taek LEEUntitled1972Rope on colored canvas163.5 x 98.5 cmSeung-taek LEEWind1972-1982Rope on canvas300 x 126 cmSeung-taek LEEWind1972-1982Rope on canvas300 x 126 cmSeung-taek LEEWind1972-1982Rope on canvas300 x 126 cmSeung-taek LEEPainting Water19802000 x 800 cmSeung-taek LEEPaper Installation1980Seung-taek LEEWhite Porcelain1972Seung-taek LEEA Bridge not able to Cross1993Bridges, Painiting, Object300 x 700 x 200 cmSeung-taek LEEGodret Stone1958Small stones, Cords, Bar60 x 40 x 5 cmSeung-taek LEETile Works1968-88TilesSeung-taek LEEPaper TreePaper, BranchesSeung-taek LEEGreen1983Moss Fertilizer Coloring at Road Construction SiteSeung-taek LEEWind from East1974Drawing on PhotographSeung-taek LEEWind Performance at Back Hill2009at Nam June Paik Art CentreSeung-taek LEEDrawing 1966Cords1500 x 400 cm Seung-taek LEEDrawing1974Cords300 x 700 cmSeung-taek LEEGame in Wooden Construction 1968150(h) x 700 x 2800 cm Seung-taek LEEUntitled1980Tree, Clothes, Cords300 x 900 x 700 cmSeung-taek LEEUntitled 1970Sand Mountain, Object5000 x 3000 cmSeung-taek LEEUntitled1972Wood stick, Object10(h) x 1500 x 200 cmSeung-taek LEEUntitled1975300(h) x 700 x 800 cmSeung-taek LEEUntitled1976Construction(in a Laver farm)Seung-taek LEEUntitled1986300 x 200 x 70 cmSeung-taek LEEWind1969Clothes, Wood stickSeung-taek LEEWind1970300 x 700 x 250 cmSeung-taek LEE1990Clothes, Stones6000 x 10000 cmSeung-taek LEEWind Folk Amusement1971Clothes Performance100 x 8000 x 2000 cm Seung-taek LEEWind Folk Amusement1977Clothes PerofrmanceSeung-taek LEESound of Wind1974Net Installation
Seung-taek LEEWind Fence1964100(h) x 500 cm (diameters)Seung-taek LEEBurning Performance 1989Sculpture, Fire200 x 150 x 200 cm Seung-taek LEENon Scupture1979Tree, Object400(h) x 350 x 300 cmSeung-taek LEEInstallation1968Vinyl500(h) x 2000 x 1800 cm Seung-taek LEEHistory and Time1957Plaster, Barbed Wire, Paint250(h) x 150 x 40 cm Seung-taek LEEHistory and Time1957Plaster, Barbed Wire, Paint250(h) x 150 x 40 cmSeung-taek LEEArtist's Studio1976Panel300(h) x 600 x 200 cm Seung-taek LEEMan made Installation19741500(h) x 400 x 500 cm Seung-taek LEEEarth Performance1988Balloon Performance500 cmSeung-taek LEEEarth Performance1987Balloon Performance500 cmSeung-taek LEEEarth Performance1990Balloon Performance500cmSeung-taek LEEHairy Canvas1976240 x 80 cmSeung-taek LEEThe Burning Canvas Floating on the River 1964/74Painting, Fire (Performance)Seung-taek LEEInstallation view at GALLERY HYUNDAI, 2013Seung-taek LEEInstallation View at Frieze Masters Art Fair in London, 2014Seung-taek LEEInstallation view2015Dimensions Variable

Seung-taek Lee has an innovative and diverse practice that often questions established political, social and artistic values. Lee’s art has been linked to a host of ailments in the context of cultural consciousness and rupture between the real and the traditional in Korean culture, which has been transformed by the influx of information about Western art during the adoption of Western civilization of the Orient in 20th century.

Much of Lee’s paintings, sculptures, and environmental intervention share a kinship with both American land art and Korean shamanic traditions and embraces chance and ephemerality in its attempts to form a collaborative partnership with natural phenomena such as fire, water, wind, and smoke. And this Non-materializations or also known as ‘Non-Sculpture’, ‘Anti-Concept’ is the essential concept of Lee’s artwork and the current phenomenon that has appeared in contemporary art.

Lee used these non-materialistic and non-sculptural concepts as a manifestation of his rejection of existing ideas and orders, meaning that his work had no relation with any sculptural concept whose initial goal was plasticity. It is evident in his work, , created in 1964 by burning all the trashy paintings he made and throwing them into the Han River. Through this work, Lee refused the plasticity problem which became acknowledged as an act of experimental art and later granted him with a title of ‘forerunner of Korean modern art’.

Lee is not interested in what can make a work of art but in what cannot make one. He enjoys abnormality more than normality, what exists beyond common sense, and the freedom of anti-art; therefore dealt with objects that are grotesque, unpleasant, ugly, and sexually provocative, regardless of their shapes or forms because they stimulate and invigorate the artist. This embracing of the alternative or the other through radically individual choices that Lee pursued with his practice is all the more remarkable given the complicated social and political context experienced in Korea during the 60s and 70s where the effects of the prolonged Japanese occupation that led to a civil war resulting in Korea becoming a divided nation were still present.

Lee with his negative strategies and unique, isolated path has reflected the Korean realities of post-war era and clearly determined that the value of art comes not from the level of the concrete object as artwork nor from the system of the artwork, with its visible structure. Moreover, for Lee, the creative act is not to produce modern iconic values but ‘work’ that suggests and assembles by bringing various codes to a medium in a unique way. For him, the creation of the artwork is a reconstructive concept using various levels of cultural codes that are distinct from the creative concepts of modern art. The concept of ‘non-materialization’ is a key here, distinguishing his work from modern concepts. And this aesthetic grammar places Lee in the vanguard of contemporary art.

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