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54th Venice Biennale, the Ukrainian National Museum Journal
Feature Stories:
Professor Lee Sun-Don's Viewpoint on Art
In this year's 54th Venice Biennale, the Ukrainian National Museum in particular commissioned "Ukrainian Culture" magazine to produce the Journal of National Museum, reporting on Ukraine's significant development in the arts and the influential figures in Ukrainian art circles in recent years. This special journal of the National Art Museum of Ukraine published a special interview with Professor Lee Sun-Don, and put on the cover page the title of the interview, Professor Lee's viewpoint on art ─ ─ "Lee Sun-Don: We Still Cannot Buy Mona Lisa." It is obvious that Professor Lee's artistic creation and his viewpoint on art has caused great influence on the art circles of Ukraine.
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LEE SUN-DON:
WE STILL CANNOT BUY THE MONA LISA |
LEE SUN-DON, TAIWANESE ARTIST AND THIRD PATRIARCH OF THE ZEN-BUDDHIST FORSHANG SCHOOL, HAS BEEN PRESENTED AT THE LAST VENICE BIENNALE BY THE CURATORIAL PROJECT OF ACHILLE BONITO OLIVA. IN A YEAR MASTER LEE HAS BECOME A PARTICIPANT OF INNER LIGHT, A PROJECT CURATED BY KOSTYANTYN DOROSHENKO AT THE NATIONAL ART MUSEUM OF UKRAINE IN COLLABORATION WITH MICHAEL MURPHENKO, A KYIV-BASED ARTIST OF IRISH ORIGIN.
At the end of the last century the West was convinced that the East would buy European and American contemporary art but would not export its own. But the opposite happened. In 2008, the auction house Christie's has sold during one week the works of the Asian authors totaling $310.7 million. A week of auctions in Hong Kong has only proven Asia's reputation of being the most promising market, which today yields in terms of sales only to London and New York.
What is interesting: most of the Asian contemporary artist, instead of promoting their own descriptive ideas, have plunged into art created by European and American artist in specific socio-historical metamorphoses during the course of the 20th century. They try to slip the history during several Five-Year Plans almost as well as Nikita Khrushchev.
In this Asian art Lee Sun-Don is rather an exception to the rule. What he does connot be compared to the work of Cai Guo-Qiang or Liu Xiaodong who criticize the social and political changes in China. Lee is much closer to tradition, but not to Maoist imperial art but to Zen-Buddhism with its understand of creativity as a spiritual practice, with its idea of instant enlightenment. During his workshop at the Kyiv museum artist made a painting, Enjoy a Free Moment, in front of the viewers in just a few minutes using one tube of white paint on white canvas. Lee also showed several techniques peculiar to his'totem painting',based on the principle of creating something new by means of metamorphosis of the existing one, "because in order to create something new, we should not be afraid of destroying something old".
The fact that the curator of your project at the 53rd Venice Biennale has been professor Oliva is very significant. Perhaps it was the decisive factor drawing the attention of the world's professional art community to your project. What can you say about your cooperation with Achille Bonito Oliva?
From my personal experience I can say that he is a very direct person, who says what he wants to say. He is impulsive and open-minded. Sometimes it is difficult to predict his behavior. He can be angry one moment and happy and inspired the next. Later some of Italians explained to me that it is a very convenient way of self-expression: there are many people from different places, many different languages are spoken, so sometimes the best way to express yourself is through emotions. This language is understood by everyone.
At any rate, cooperation with maestro Oliva is a great achievement and a precious experience for a contemporary artist. He was the first curator whom I have trusted with my art. Before this I have organized exhibitions and expositions by myself.
IF YOU ARE TALENTED YOU CAN CONTRIBUTE TO THE DEVELOPMENT OF THE COUNTRY. |
Moreover, before the exhibition in Kyiv, you have had only solo shows. Why have you agreed to the collaborative project in Ukraine?
In Taiwan there is an old Chinese expression which can be met very seldom in continental China: 'Yuan Fen'. This can be translated as 'fate brought'. In general, these moments are very appreciated in Chinese culture. If fate brings something your way and you feel that this is the right way without speculation or expectation, why should you go against it? This is karma, that very case when there is no sense to resist. Having received a proposal to do a joint exhibition with Michael Murphenko, I had to see his works. They interested me. After meeting him and talking to him in Taipei I felt reassured that it makes sense for both of us. My school teaches not to avoid karma but to follow it.
I have a busy schedule of exhibitions all over the world, especially in the capitals of the international art market: New York, Moscow, Tokyo, and London. Though Kyiv is not an attractive city in terms of sales, the manner of curator Kostyantyn Doroshenko at the last Venice Biennale, his articulation of questions concerning the exhibition and the organization of negotiations has left me without any doubt as to my participation. I follow my karma. I am confident that our project Inner Light has furthered the understanding of modern art, and not only in Ukraine.
How do you assess contemporary art trends in China? Frankly, most of what is commercially successful at international auctions, looks rather imitative concerning Western contemporary art.
China has got into its trap, because the country suffered a terrible event, the so-called 'cultural revolution'. This is why more than a decade in the history and cultural development of China has been occupied by emptiness. Another problem which has appeared before the 'cultural revolution' is the simplification the Chinese hieroglyphics in the 60s. Yes, it is more efficient, if has increased the rates of literacy among the population, but has become a huge obstacle breaking the link with the thousand-year-old Chinese culture. Today, the Chinese on the continent do not understand their own ancient literature. Culture has been interrupted. And if there are no roots, what will be the crown of the tree like? When one surface has left and it is impossible to get to the depth, how to not repeat other artists?
In Taiwan children have a hard time, they must cram a lot: old hieroglyphs, stories, philosophical concepts, quotes. But we have this all. Therefore we have very powerful and strong roots. It is the only way to grow in you own direction. Apparently, only in this situation you are able to come up with something new.
WHEN ONE SURFACE HAS LEFT AND IT IS IMPOSSIBLE TO GET TH THE DEPTH, HOW TO NOT REPEAT OTHER ARTIST? |
I absolutely agree with your statement that in modern Chinese art there is nothing new. The high prices are due to plain and simple speculation. The West has been increasing prices but has not bought up these works because of prestige and have brought them back to China, which caused the price increase. It was just inflating the cost in terms of economy and not in terms of art value.
In the midst of the financial crisis of 2010, when galleries all over the world complained about falling prices, you have opened a gallery in New York. Was it self-confidence or extravagance?
It does not matter what it is – economic crisis or prosperity. We still cannot buy the Mona Lisa. The point is not in economy or its condition but in art itself. If a picture can inspire you and awaken your desires, what difference does it make how stable the economy is. There will always be rich men who understand the influence of art on the quality of life. Shortly before my presentation in Kyiv I had an exhibition in Tokyo, where thirty-eight paintings were sold. I didn't notice any problems with the economy. To me, everything is fine.
This spring I have organized the art fair in Taipei and was amused with its results so much that I plan to do a regular event.
You are a citizen of Taiwan and at the same time a professor at Beijing University. While the relations between Beijing and Taipei are still strained how, is it possible to combine such things?
Recently Continental China has been worrying not more about art or education policy but about attracting talents. If you are talented you can contribute to the development of the country. It is a very healthy, modern approach. If you are recognized internationally, China will accept you happily, will assist and support you. In a case like that politics does not matter.
Besides Beijing, I am an Honorary Professor of Xiamen University. Xiamen is called 'Eden in Southern China'. When my solo exhibition was shown there, something really extraordinary happened. One of the oldest Buddhist monasteries with a history of more than eight hundred years has violated its own statute of ferocious seclusion, and a hundred and eight monks were allowed to leave its premises to visit my exhibition. It is no coincidence that they were exactly 108, a special number in Buddhism. It means perfect fullness.
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