ArtAsiaPacific — May-June 2017

(National Geographic (Little) Kids) #1
Features artasiapacific.com^89

(Opposite page)
HOW TO BECOME US, 2011, 60 collected
objects combined into an average weight
of 5.06 kg, dimensions variable.


(This page)
IF GIVEN A CHANCE, I DO REFUSE IT,
2012, mixed-media, dimensions variable.


When I met Lee at a former steel warehouse turned studio in
the Mullae-dong area of Seoul in January, he told me he was
juggling a number of projects. The next day, he was due to travel to
Malaysia to film the final segment of “Made In” that will premiere at
the Venice Biennale. Accompanying this will be Proper Time and
Mr. K and the Collection of Korean History (2017), a large-scale
project that narrates the life of the semi-fictitious “Mr. K,” loosely
based on a man called Kim Kimoon who lived from the 1930s to


  1. The installation will piece together an archive of 14,000
    photographs with a collection of various artifacts to offer unreliable
    narratives of Korea’s tumultuous modern history. Additionally,
    the images will be partially obscured and only visible through
    peepholes, which further questions “the legitimacy of seamless
    and coherent construction of universal history,” and challenges
    viewers to explore relative truths amid a stifling social atmosphere
    of material excess and information overload.
    The works on view at Lee Wan’s latest exhibition in February, at
    313 Art Project in Seoul, further solidified the artist’s unwavering
    tenacity in addressing social issues. The series “A Diligent Attitude
    Toward a Meaningless Thing” (2017) consists of abstract paintings
    marked with enigmatic calligraphic scrawls, co-produced by Lee
    and eight migrant workers hired through a local employment
    agency. The resulting lyrical and minimalist epiphanies on the
    gallery walls were visually captivating, but they left viewers with
    a moral dilemma that is echoed throughout all of his works. Lee
    seemed to be asking: What determines the true value of art? Is it
    the observer? Or is it the sacrifices made in the name of labor and
    capitalism? Political and transformative, Lee Wan’s rebellious
    expressions encourage us to consider the world beyond its
    material, consumerist terms.


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