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.
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