{"title":"Lee Ufan's ambivalent otherness and art historiography","authors":"Sohyun Park","doi":"10.1017/s1479591423000426","DOIUrl":null,"url":null,"abstract":"<p>This article aims to reexamine the relationship between the artist Lee Ufan and nationalist art history through his idea of “ambivalent otherness,” which he defined as both “suffering” and “power.” Traditional art history is established upon a nationalist framework that emphasizes the artists' nationality, leading to the marginalization of national others at the border. As a <span>zainichi</span> Korean, Lee has undergone the “suffering” of being excluded by the art world and art historiography. However, he transformed it into his source of “power” to challenge art historiography based on nationality. This study analyzes the art criticism of “Japanese Contemporary Art History” written by Minemura Toshiaki and Chiba Shigeo in the 1970s and 1980s and highlights the ruptures that the artist's in-between identity wrought on nationalist art history. This shows how both the Mono-ha movement and the artist were marginalized in the construction of “Japanese Contemporary Art History.” Furthermore, this study scrutinizes how Lee attempted to rewrite art history using Mono-ha art theory and a perspective committed to “overcoming coloniality” from the postcolonial in-between position, by reinterpreting Lee's article on <span>Chosŏn minhwa</span>, written amidst an aesthetic controversy across the border between Japan and Korea.</p>","PeriodicalId":51971,"journal":{"name":"International Journal of Asian Studies","volume":null,"pages":null},"PeriodicalIF":0.5000,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"International Journal of Asian Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1017/s1479591423000426","RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ASIAN STUDIES","Score":null,"Total":0}
引用次数: 0
Abstract
This article aims to reexamine the relationship between the artist Lee Ufan and nationalist art history through his idea of “ambivalent otherness,” which he defined as both “suffering” and “power.” Traditional art history is established upon a nationalist framework that emphasizes the artists' nationality, leading to the marginalization of national others at the border. As a zainichi Korean, Lee has undergone the “suffering” of being excluded by the art world and art historiography. However, he transformed it into his source of “power” to challenge art historiography based on nationality. This study analyzes the art criticism of “Japanese Contemporary Art History” written by Minemura Toshiaki and Chiba Shigeo in the 1970s and 1980s and highlights the ruptures that the artist's in-between identity wrought on nationalist art history. This shows how both the Mono-ha movement and the artist were marginalized in the construction of “Japanese Contemporary Art History.” Furthermore, this study scrutinizes how Lee attempted to rewrite art history using Mono-ha art theory and a perspective committed to “overcoming coloniality” from the postcolonial in-between position, by reinterpreting Lee's article on Chosŏn minhwa, written amidst an aesthetic controversy across the border between Japan and Korea.
期刊介绍:
International Journal of Asian Studies (IJAS) is an interdisciplinary, English-language forum for research in the humanities and social sciences. Its purpose is to foster multi-directional communication among the global Asian studies community. IJAS examines Asia on a regional basis, emphasizing patterns and tendencies that go beyond the borders of individual countries. The editorial committee is particularly interested in interdisciplinary and comparative studies whose arguments are strengthened by rigorous historical analysis. The committee encourages submissions from Asian studies researchers globally, and especially welcomes the opportunity to introduce the work of Asian scholars to an English-language readership.