李禹焕

Lee Ufan

韩国艺术家

物派 的理论与实践主导者

李禹焕，1936年生于韩国庆南山区，先后在庆南学院和首尔大学学习书法、诗歌和绘画。他是前卫艺术流派“物派”最重要的理论家和实践者之一。“

受到成长环境和教育环境的双重影响，李禹焕将艺术创作和哲学思考的过程相融合，认为艺术作品的终极概念在于“相遇”，即作品、观赏者、当下空间之间的联系都是一次“相遇”的动态过程。不论作品的媒介如何，他始终认为比起形式元素，布局和质地是更值得关注的根本——因为作品材质与周围环境存在着一种无形的“共振式连接”。他的作品虽大多拥有一种强有力的图像，但观者似乎容易被牵引进入这个大的“引力场”，瞬间唤起宁静之感。

他的绘画擅长以点、线表达生命的起始与终结，糅合了他独特的哲学观点，意味深重。对他而言，一块空白的画布就是创作的无限宇宙，而重复的绘画动作则是个人修养的表达，艺术由此而生。

在法国东南部艺术名城阿尔勒，韩国艺术家李禹焕（Lee Ufan）与日本建筑师安藤忠雄（Tadao Ando）合作打造的李禹焕阿尔勒中心（Lee Ufan Arles）于2022年正式开放。由安藤忠雄负责改造设计，成为集作品展示与文化传播于一体的多功能艺术空间。作为艺术家在法国设立的首个永久性艺术机构，中心完整呈现了李禹焕历年代表作及新近创作，同时致力于支持各类艺术文化活动。

In Arles, a renowned art city in southeastern France, the Lee Ufan Arles, a collaborative project between Korean artist Lee Ufan and Japanese architect Tadao Ando, officially opened in 2022. Tadao Ando was responsible for the renovation design, transforming it into a multifunctional art space that integrates exhibition and cultural dissemination. As the artists first permanent art institution in France, the center presents a comprehensive collection of Lee Ufans representative works from over the years as well as his recent creations, while also being committed to supporting various art and cultural activities.

梵高基金会 ©François Deladerrière

弗兰克.盖里新作LUMA ©hervé hôte

李禹焕阿尔勒博物馆外景 / Lee Ufan Arles Museum exterior ©kamel mennour

法国东南部艺术名城阿尔勒自19世纪后期吸引文森特·梵高(Vincent van Gogh)等印象派画家聚集以来，持续吸引着艺术家和艺术界。韩国艺术家李禹焕(Lee Ufan)自2013年在圣洛朗-勒卡皮托尔教堂举办展览后，便与这座城市结下深厚渊源。2022年4月15日，李禹焕基金会（纽约）正式开设李禹焕阿尔勒中心，该项目在圣保罗德旺斯玛格基金会前总监米歇尔·恩里奇（Michel Enrici）、阿尔勒Actes Sud出版社的让-保罗·卡皮塔尼（Jean-Paul Capitani）和弗朗索瓦丝·尼森（Françoise Nyssen）等友人的资金支持下得以完成，大部分筹款用于历史建筑的改造工程。

韩国艺术家李禹焕与日本建筑大师安藤忠雄展开跨领域合作，将16世纪的历史建筑弗农酒店（Hotel Vemon）改造为李禹焕阿尔勒中心。这座曾为德尔比厄(Dervieux)家族宅邸的历史建筑位于阿尔勒古城中心，完整保留了16-18世纪的古典比例。改造后的空间既尊重原有建筑特色，又创造出适合展示李禹焕作品的理想环境，包括大型临时展厅和多功能艺术空间。

Since attracting Impressionist painters like Vincent van Gogh in the late 19th century, Arles has continued to draw artists and the art world. Korean artist Lee Ufan has had a profound connection with the city since his exhibition at Saint-Laurent-le-Capitol Church in 2013. On April 15, 2022, the Lee Ufan Foundation (New York) officially opened the Lee Ufan Arles. The project was made possible with financial support from friends such as Michel Enrici, former director of the Fondation Maeght in Saint-Paul-de-Vence, and Jean-Paul Capitani and Françoise Nyssen from Actes Sud publishing house in Arles, with most of the funds raised going towards the renovation of the historic building.

Lee Ufan, the Korean artist, and Tadao Ando, the Japanese architectural master, engaged in a cross-disciplinary collaboration to transform the 16th-century historic building, Hotel Vernon, into the Lee Ufan Arles. Once the mansion of the Dervieux family, this historic building, located in the heart of Arles old town, retains its classical proportions from the 16th to 18th centuries. The renovated space respects the original architectural features while creating an ideal environment for exhibiting Lee Ufans works, including large temporary exhibition halls and multifunctional art spaces.

李禹焕阿尔勒中心的建筑设计体现了李禹焕与安藤忠雄在创作理念上的共鸣。建筑空间维持原有比例，通过简洁线条与石材、木材、混凝土的平衡运用，实现历史建筑与现代艺术的对话。改造采用轻盈手法，仅在一层增设必要空间优化参观流线。安藤在改造过程中充分尊重弗农酒店的历史建筑特质，保留原有六边形陶土砖、裸露横梁与粉白墙面等原始材料，同时巧妙融入标志性的清水混凝土元素。

The architectural design of the Lee Ufan Arles reflects the resonance between Lee Ufan and Tadao Andos creative philosophies. The building maintains its original proportions, achieving a dialogue between historic architecture and modern art through the balanced use of simple lines and materials such as stone, wood, and concrete. The renovation adopts a light-touch approach, adding only necessary spaces on the ground floor to optimize the visitor flow. During the renovation, Ando fully respected the historic characteristics of Hotel Vernon, preserving original materials like hexagonal terracotta bricks, exposed beams, and whitewashed walls, while skillfully incorporating his signature exposed concrete elements.

保留原有裸露横梁与粉白墙面等原始材料，融入标志性的混凝土元素。/ Keep original beams - walls, add concrete. ©Lee Ufan Arles

李禹焕阿尔勒中心展出的雕塑、装置及约30件精选绘画作品，展现了艺术家对空间与物质关系的独特探索。李禹焕的创作理念认为雕塑并非独立存在，而是通过与石头、钢板、玻璃等材料的自然组合，构建出与世界、自然及建筑环境的对话关系。这种创作方式强调将人为干预降到最低，让观者能自然感受到作品的真正意义。从1960年代作为物派艺术运动先驱到成为国际艺术大师，李禹焕的创作始终融合数学、极简主义与禅宗元素。这种独特的艺术理念特别强调作品与展示空间的动态互动关系，从而每次展览会因差异而产生新的张力与对话。

The sculptures, installations, and approximately 30 selected paintings exhibited at the Lee Ufan Arles showcase the artists unique exploration of the relationship between space and matter. Lee Ufans creative philosophy posits that sculptures do not exist independently but rather construct a dialogue with the world, nature, and architectural environments through natural combinations with materials such as stones, steel plates, and glass. This approach emphasizes minimizing human intervention, allowing viewers to naturally perceive the true meaning of the works. From being a pioneer of the Mono-ha art movement in the 1960s to becoming an international art master, Lee Ufans creations have consistently integrated mathematical, minimalist, and Zen elements. This unique artistic philosophy particularly emphasizes the dynamic interaction between works and exhibition spaces, resulting in new tensions and dialogues with each exhibition due to its differences.

通过与石头、玻璃等材料的自然组合，构建出与世界、自然及建筑的对话。/ Natural blend with stones, glass sparks dialogues. ©Lee Ufan Arles

李禹焕阿尔勒中心的总面积约1350平方米，共25个房间，分布在三层楼内，兼具展览和多功能空间用途。美术馆总协调人朱丽叶·维尼翁（Juliette Vignon）介绍，李禹焕亲自参与画作遴选和展陈布置，要求作品按创作年代悬挂。参观路线从小空间过渡到大空间，以营造视觉张力。墙面与地面的处理经过精心设计，观众在欣赏最新《对话》（Dialogue）《回应》（Response）等大幅画作前，会先看到作为视觉缓冲的壁画。

The Lee Ufan Arles covers an area of approximately 1,350 square meters, with 25 rooms distributed across three floors, serving both exhibition and multifunctional space purposes. Juliette Vignon, the general coordinator of the art museum, mentioned that Lee Ufan personally participated in the selection of paintings and exhibition layout, requiring the works to be hung according to their creation years. The visiting route transitions from small to large spaces to create visual tension. The treatment of walls and floors is carefully designed, with murals serving as visual buffers before visitors appreciate the latest large-scale paintings such as Dialogue and Response.

Relatum-Sky underneath / Lee Ufan、Tadao Ando / 2022 ©kamel mennour

推开风化的老木门，在首层空间入口处，矗立着安藤忠雄（Tadao Ando）与李禹焕合作的装置作品《地下的天空》（Ciel sous terre）。纪念碑般的混凝土圆柱，螺旋形结构的狭窄通道内，投射着缓慢移动的白云影像，其灵感源自阿尔勒的天空。

Pushing open the weathered old wooden door, at the entrance of the ground-floor space stands the collaborative installation work Ciel sous terre by Tadao Ando and Lee Ufan. The monumental concrete cylinder, with its narrow spiral passageway, projects slowly moving images of white clouds inspired by the sky of Arles.

Relatum-Sky underneath / Lee Ufan、Tadao Ando / 2022 ©kamel mennour

首层空间展出了10件《被关系者》（Relatum）系列雕塑，每件作品均由浅色圆形石头和长方形钢板组合而成。李禹焕的经典作品《舞台》（The Stage）以独特的铁墙结构围合成环形空间，参观者可以步入其中感受光影变化。在他的装置中，空间既未被完全占据，也未完全留白，介于为与无为之间。这些石头与钢板的组合，实际上是对笔触与画布关系的另一种诠释。该系列通过自然物（如岩石、亚麻）与人造工业材料（如钢板、玻璃）在特定空间中的相遇，探讨了物与空间的关系。

The ground-floor space exhibits 10 sculptures from the Relatum series, each composed of a combination of light-colored round stones and rectangular steel plates.Lee Ufan’s classic work “The Stage” uses a unique iron wall structure to enclose a circular space, where visitors can step into and experience the changes in light and shadow. In Lee Ufans installations, the space is neither fully occupied nor completely empty, existing between doing and non-doing. These combinations of stones and steel plates are actually another interpretation of the relationship between brushstrokes and canvas. Through the encounter of natural materials (such as rocks and linen) with man-made industrial materials (such as steel plates and glass) in a specific space, this series explores the relationship between objects and space.

Relatum-The stage / Lee Ufan / 2022 ©Lee Ufan Arles

其中，《通往阿尔勒之路》（Chemin vers Arles）通过在砾石地面上优雅排列弯曲的镜面板，两侧配以大型天然岩石，营造出富有诗意的空间韵律。

Among them, Chemin vers Arles creates a poetic spatial rhythm by elegantly arranging curved mirror panels on a gravel ground, flanked by large natural rocks on both sides.

Relatum-Chemin vers Arles / Lee Ufan / 2022 ©Lee Ufan Arles

二层空间系统性地呈现了艺术家创作生涯的代表性作品。展览按年代完整展示从1970年代《从线开始》系列到2000年代《对话》系列的艺术演变，其中包括1980年代部分非典型极简素描作品。其中还有1991年创作的《对应》（Correspondence）系列，李禹焕创新性地将油画颜料与碎石混合，在纯白画布上以极简的一两笔灰蓝色构成富有张力的画面。

The second floor systematically showcases representative works from the artists creative career. The exhibition presents a complete chronological display of artistic evolution, spanning from the From Line series of the 1970s to the Dialogue series of the 2000s, including some atypical minimalist sketch works from the 1980s. Among them is the Correspondence series, created in 1991, in which Lee Ufan innovatively mixed oil paint with crushed stones to create dynamic compositions on pure white canvases with just one or two minimalist strokes of grayish-blue.

而橙蓝渐变的《回应》（Response）、《对话》（Dialogue）系列则通过独特的色彩处理，营造出类似考古发现的视觉效果。三层空间作为多功能展区，主要承办各类临时展览和艺术活动。

The Responseand Dialogue series, featuring an orange-blue gradient, creates a visual effect akin to an archaeological discovery through its unique color treatment. The third floor serves as a multifunctional exhibition area, primarily hosting various temporary exhibitions and art events.

Response / Lee Ufan / 2021 ©Lee Ufan Arles

Dialogue / Lee Ufan / 2016-2018 ©Lee Ufan Arles

李禹焕阿尔勒中心底层的艺术装置 / Lee Ufan Arles‘s art installation on the ground floor of Arles Centre ©Lee Ufan Arles

展览空间 |

李禹焕阿尔勒中心

策 展 人 |

李禹焕

建筑设计 |

安藤忠雄

展览地点 |

法国阿尔勒Rue Vernon街5号

项目摄影 |

卡梅尔·穆纳瓦尔

图片来源 |

李禹焕阿尔勒中心