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2013-09-09 (¿ù) 17:34 Á¶È¸ : 2921
 
 
ÀÌ¿ìȯ¿¡ À־ ŸÀÚ(öâíº)¿Í ½ÅüÀÇ ¹®Á¦ :
<Á¶¿õ(ðÎëë)>¿¡¼­ 'Á¡'ÀÇ Àǹ̸¦ Áß½ÉÀ¸·Î
(The) study on the problem of 'the other' and 'body' in the works of Lee, U-Fan :
the meaning of 'point' in <correspondance>
 
 
 
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  • This dissertation is aimed at scrutinizing U-Fan Lee's art world by analyzing the meanings of his life and works of art. Lee didn't seem to count on intuition but instead he gave much priority to art theory. Just as Russian artist Wassily Kandinsky was a theorist who wrote the theory of abstract painting in German language, which was an absolute foreign language for him, U-Fan Lee also wrote plenty of art theories and criticisms despite his nationality: Korean. As an artist who created works of art along with studying art theory, Lee's significance spruces up not only Korean contemporary art history but also oriental contemporary art history.
    It is an undeniable fact that Korea is still standing weak under the current international logic of dominance. Attention toward 3^rd world through contemporary art is merely one phenomenon resulted from self-criticism on the occidental centralism, not the outcome of the shift or dismantlement of subject's center. Parting with the traditional concept of art, Lee absorbed western philosophies into his art world and developed his unique art theories in the history of modern art that had been presided by western world. To surmount the tradition of subject-centered perception, which had dominated over western philosophies since Decartes, Lee built his theory on the combination of Martin Heidegger's ontology and Maurice Merleau-Ponty's phenomenology, He exploited the essence of oriental painting method and its spirit. However he didn't forget to introduce critical theories on art and culture that constituted the foundation of western contemporary art.
    In his point of view, the tradition of western modern art is simply the objectification of ideas and the configuration of forms, The reality that human beings encounter in this object-oriented culture is not 'the reality per se', but merely the objectified idea.
    Therefore, Lee creates the 'meeting space' that enables people to realize the sentiment of unification with world, Lee introduces the necessity of attention to 'the other' and 'body' that make it possible to meet with others. Concerning his critical point of view over western civilization, we should clarify the way he presents the word 'the other'. Ordinary definition of 'the other' is based on the subject-oriented perception and the separation between subjective and objective, but here Lee develops unique quality of 'the other', which pays attention to the relative quality between both sides rather than the segregation one from the other. Therefore, the art world Lee wants to introduce can be generated from the moment only when the limitation on himself as a subject and the attitude to constitute works of art as an open relation body are mixed together. This is not the world directly connected with outer world but the world of abstraction. This is why he takes 'body' as a 'Relatum', which becomes prerequisite for communication with outer world. This characteristic is the most evident component in his abstract works that taboo traditional representation.
    The strokes exercised by movement of Lee's painting brush continually create points and lines until the tip of the brush dries out. Like the fact that 'everything comes from a point but vanish away after all', the fading away characteristic in his painting indicates a change or a shift from existence to nonexistence. This repeating movement also means eternity. Through 70s and 80s, two questionable subject matters appeared in his art world. Those are 'existence' for painting and 'relation' for sculpture, However at the beginning of 90s these two features began to fuse together on the canvas. In this case, the canvas doesn't function simply as two-dimensional physical surface that provides space to create visual illusion. The intervention of outer world or others in the three-dimensional space entangles with points and lines 'that symbolize the question of. 'existence', The result of this complicated fusion is the series of <Correspondance>. On what this paper is going to concentrate is the relative composition, which is usually revealed by strong interaction between what Lee paints and what he doesn't. Through this interactive space we will spotlight 'the other' that appears after outer world meets outer world, and also we will confirm body as a mediator for their get-together.
    By setting an artist, who balanced between practical and theoretical field, as an object for research, this thesis is to provide an opportunity to see the possibility of academic monograph through logical verification. As its outset relied on the theories of the artist, any clear subject or unified aesthetics wasn't able to apply to verify Lee's art world with cohesive logic.
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