Pace London: From Point, From Line, From Wind by Christophe C

September 15, 2015 - October 31, 2015
Pace London

6 Burlington Gardens
London W1S 3ET

From the Pace London Gallery website:

Pace London’s exhibition highlights works produced in the 1970s and 1980s, considering Lee’s important early practice and seminal contribution to Tansaekhwa. Emerging in South Korea in the 1960s and flourishing through the 1970s, Tansaekhwa reacted against dominant trends of figuration and realism in Korean art, pursuing a new type and method of painting grounded in abstraction.

Lee Ufan at Pace Gallery New York: May 15, 2015 - June 27, 2015 by Christophe C

May 15, 2015 - June 27, 2015
Pace Gallery

534 West 25th Street
New York NY 10001

From the Pace Gallery exhibition website:

Pace is pleased to announce its second solo exhibition of Lee Ufan. It is the artist’s first exhibition in New York since his landmark 2011 survey at the Solomon R. Guggenheim Museum, and follows his 2014 solo presentation of twelve site-specific works created for the Château de Versailles. The exhibition will be on view from May 15 to June 27 at 534 West 25th Street. An opening reception for the artist will be held Thursday, May 14 from 6 to 8 p.m.

To accompany the exhibition, Pace will publish a catalogue featuring a new essay by Barbara Rose.

Venice Biennale: Dansaekhwa with Lee Ufan by Christophe C

May 8, 2015 - August 15, 2015
Palazzo Contarini Polignac

874 Dorsoduro, 30123 Venice, Italy

From Venice Dansaekhwa press release:

Kukje Gallery is very happy to announce the opening of a major site-specific installation of new works by Lee Ufan to coincide with Dansaekhwa, an official Collateral Event of the 56th International Art Exhibition–la Biennale di Venezia. Internationally celebrated for his intellectual and formal rigor, Lee’s installation of new sculptures and paintings will fill the first floor of the Palazzo Contarini-Polignac. Created specifically for Venice, these five new site-specific works echo his constant interrogation of the relationship between painted and unpainted, occupied and empty space. Each work has been installed in a separate space on the ground floor of the Palazzo, consisting of the artist’s iconic rock installations and a painting from his Dialogue series. Together these gestures immerse the visitor in a space that is at the same time untouched and engaged, reflecting the thin line between doing and non-doing that marks the artist’s ongoing exploration of the relationship between materials and perceptions.

Space Lee Ufan at Busan Museum of Art by Christophe C

We are pleased to announce the inauguration of Space Lee Ufan at Busan Museum of Art in Busan, Korea, which officially opened on April 10th after the museum's first announcement in 2013.

The space covers approximately 1,400 square meters among 2 levels which were designed by the artist himself. Presented are fifteen paintings from throughout Lee Ufan's career, seven indoor installations, as well as outdoor installations in the museum's sculptural park.

This is the artist's second station after the Lee Ufan Museum in Naoshima, Japan.

Please visit the Museum website for further information.

Lee Ufan | Lisson Gallery by Christophe C

March 25, 2015 - May 9, 2015
Lisson Gallery

27 & 52 Bell Street , London NW1 5DA 

From the gallery website:

This exhibition brings together a body of new work by Lee Ufan, famed as a founding member of the Japanese Mono-ha and Korean Dansaekhwa groups of the late 1960s and early ’70s – both important modern and parallel art movements which have only relatively recently been feted by major shows in the West. Although his practice is widely regarded as minimalist, Lee believes in utilising an economy of gesture or representation in search of the maximum possible effect or resonance. His most recent series of Dialogue paintings and watercolours are economically composed of singular sweeps of paint, each built up over an extended period of time through an accretion of smaller strokes. The brush gradually unloads, the mark lightening towards immateriality as he drags it across the surface of the canvas or paper, each repetition being ritualistically controlled by Lee’s held breath. The incorporation of strong colours – blue, red or an earthy green – to the artist’s traditional grey palette, marks a decisive shift away from the intangibility of grisaille towards elements or references in the real world, perhaps harking back to an early series of fluorescent spray-painted works by Lee from 1968, entitled Landscape. The four large-scale paintings at Lisson Gallery combine together to form a chapel-like environment within the main atrium, surrounding the viewer with gestures that require time and concentration to fully appreciate.