Young-Jae Lee
Young-Jae Lee: Gefäße
Bio/Austellungen
YOUNG-JAE LEE
(* 1951 Seoul)
Ausstellungen/Ausstellungsbeteiligungen (Auswahl):
1980 Galerie Dr. Vehring, Syke
Galerie Haus Kunen, Recklingshausen
Kleine Galerie, Ludwigsburg
1981 Galerie Hennig, Darmstadt
Forum der VHS Leverkusen
Galerie im Roten Haus, Veronika Ellwanger, Lenzkirch
1981-1994 Triennale, Museum für Kunsthandwerk, Frankfurt
1982 La Galleria, Marianne Henkel, Frankfurt/Main
Galerie Böwig, Hannover
Peter Hagenah, Ottersdorf
1983 Galerie Suk, Seoul, Korea
Schloss Clemenswerth, Sögel
1984 Galerie L, Hamburg
Galerie im Roten Haus, Veronika Ellwanger, Lenzkirch
Keramik heute, Hetjensmuseum, Düsseldorf
1985 Forum der VHS, Leverkusen
1986 Internationale Keramik, Seoul, Korea
1987 Gast der Gruppe 83 in Schweden
Galerie Haus Kunen, Recklinghausen
1988 Gast der Gruppe 83, Zeitgenössische Keramik aus der BRD in Erfurt,
Magdeburg und Leipzig
1989 Sonderausstellung 10 Jahre Meister der Keramik im Forum
der CHS, Leverkusen
Muffendorfer Keramikgalerie, Muffendorf
Galerie für Kunsthandwerk, Mia Temmes, Würzburg
Galerie im Roten Haus, Veronika Ellwanger, Lenzkirch
1991 "Deutsche Keramische Kunst der Gegenwart", Keramion, Frechen
1992 Gruppenausstellung mit Görge Holt und Horst Kerstan
Akasaka Green Gallery, Tokyo, Japan
Galerie Fred Jahn, Stuttgart
Charlotte Hennig, Darmstadt
Galerie Gadenstätter, Schloss Rosenberg, Zell am See
1993 Galerie An Farina, Köln
Galerie Rhomberg, Innsbruck
Triennale Kunst aus Ton, Kloster unserer lieben Frauen, Magdeburg
Nolan/Eckman Gallery, New York
1994 Keramion, Frechen
Peter Hagenah, Ottendorf
Galerie beim Roten Turm, Sommerhausen
Keramik Galerie Margret Faita, Hameln
1995 Schleswig-Holsteinisches Landesmuseum, Cismar
Galerie Müller-Brunert, Köln
Galerie Helga Malten, Bremen
Museum für Östasiatische Kunst, Berlin, Köln
Galerie Pels-Leusden, Villa Grisebach, Berlin
Galerie Hellhof, Kronberg
Auktionshaus Lempertz, Köln
Galerie Konrad Mönter, Meerbusch
La Galleria, Marianne Henkel, Frankfurt/Main
Akamanma, Fujioka, Gunma, Göttingen
Museum für Stadtgeschichte und Volkskunde, Heppenheim
Galerie im Roten Haus, Veronika Ellwanger, Lenzkirch
Galerie Rhomberg, Innsbruck
"Form 97", Frankfurt/Main und Schwäbisch Gmünd
Keramion, Frechen
Weinberg Contemporary Art, San Francisco
Nichinichi (Harajuku Box Office), Tokyo, Japan
Galerie Yabuki, Okayama, Japan
Nichinichi(Werkstatt Toyabo), Monzen, Ishiokawa, Japan
TourRoad Livings Galerie, Kobe, Japan
Meiso Galerie, Sendai, Japan
1998 Galerie Hellhof, Kronberg
Craft Design for the Global Village, Italien
Galerie Helga Malten, Dortmund
GalerieAnnTon, Wasserschloss Klaffenbach, Chemnitz
Nichinichi(Tsuta Salon), Tokyo, Japan
WerkstattNin, Ibara, Okayama , Japan
Nichinichi( Free Space Roji), Kyoto, Japan
Atelier Rink, Kochi, Japan
Galerie Shinsakura, Toyama, Japan
Grassi Messe, Grassimuseum, Leipzig
1999 SchachenGalerie, Oensingen, Schweiz
GalerieGoutez, Mihara, Hiroshima, Japan
TheRoad Livings Gallery Nakayamate, Kobe, Japan
Nichinichi(Matsuya) Kyoto, Japan
Nichinichi (Tsuta Salon), Tokyo, Japan
GalerieMomogusa, Tajimi, Gifu, Japan
MingeiKawanoya, Shimonoseki, Japan
GalerieAzusa, Fujisawa, Japan
GalerieShinsakura, Toyama, Japan
Museumfür Ostasiatische Kunst, Köln
SaarlandMuseum, Saarbrücken
Galerie Hana, Kronberg
2000 Keramion, Frechen
Rietberg Museum, Zürich
Nichinichi (Yoshioka Someji/Space Miki/Free Space Roji), Kurashiki, Japan
Maiso Galerie, Sendai, Japan
Berger Bücherstube, Frankfurt
Schachen Galerie, Oensingen, Schweiz
2001 Galerie Hundertmark, Bonn
Galerie Helga Malten, Dortmund
Galerie Jäger, Hochheim
Akademia Sztuk,
Galerie Jäger, Hochheim
Kunstraum Falkenstein,Hamburg
AkademiaSztuk Pieknych, Wroclaw, Polen
Werkkunstgalerie MiaTemmes, Würzburg
Galerie Rosenhauer,Göttingen
2002 Gallery Hyundai, Seoul
"Description and image", Fred Jahn Studio, Kunsthandel, München
2003 "The Ceramics of Lee Young-Jae", Gallery Hyundai, Seoul
"Young Jae Lee", Galerie Fahnemann, Berlin
2004 "Description and image", Fred Jahn Studio, Kunsthandel, München
2005 "Description and image" , Fred Jahn Studio, Kunsthandel, München
"Exposition collective", Galerie Lumen, Paris (Beteiligung)
2006 "Description and image", Galerie Heike Curtze - Berlin, Berlin
2007 "Young-Jae Lee, Ursula Schulz-Dornburg", Elke Dröscher - Kunstraum Falkenstein,
Hamburg (Beteiligung)
2008 "Spindelvasen", Pinakothek der Moderne, München
"111 Bowls - BOZAR", Palais des Beaux-Arts / Paleis voor Schone Kunsten, Brüssel
Galerie Jäger, Hochheim
Kunstraum Falkenstein,Hamburg
AkademiaSztuk Pieknych, Wroclaw, Polen
Werkkunstgalerie MiaTemmes, Würzburg
Galerie Rosenhauer,Göttingen
2002 Gallery Hyundai, Seoul
"Description and image", Fred Jahn Studio, Kunsthandel, München
2003 "The Ceramics of Lee Young-Jae", Gallery Hyundai, Seoul
"Young Jae Lee", Galerie Fahnemann, Berlin
2004 "Description and image", Fred Jahn Studio, Kunsthandel, München
2005 "Description and image" , Fred Jahn Studio, Kunsthandel, München
"Exposition collective", Galerie Lumen, Paris (Beteiligung)
2006 "Description and image", Galerie Heike Curtze - Berlin, Berlin
2007 "Young-Jae Lee, Ursula Schulz-Dornburg", Elke Dröscher - Kunstraum Falkenstein,
Hamburg (Beteiligung)
2008 "Spindelvasen", Pinakothek der Moderne, München
"111 Bowls - BOZAR", Palais des Beaux-Arts / Paleis voor Schone Kunsten, Brüssel
Info
Young-Jae Lee
"There is something archaic about bowls. They combine the utmost simplicity with majestic dignity in their form. The sublime together with the humble. Bowls make visible what is put into them. They serve seeing. But what do we see when we see Young-Jae Lee's bowls?
Munich's Museum of Modern Art launched a major individual exhibition for this Korean artist living in Germany, but number symbolism is not what Young-Jae Lee intends with her 1111 bowls. Eleven-hundred bowls, that is simply a lot of bowls.1111; one and one and one and one... The number expresses the perfect quality of this form that effortlessly permits repetition without becoming boring, the joy of endless repetition. The great number is an expression of great enthusiasm. It is an allusion to the connection between form and plenitude.
In discussing Young-Jae Lee's unique art, it make little sense to speak about Young-Jae Lee herself. One can only attempt to speak about the uniqueness of execution here, since Lee operates within a canonical framework of classical forms that does not regard the expression of individual form as its goal. Not having to be original is part of the innermost essence of this art. The modest creator is an aspect of this art. His ability reveals itself in the virtuosity of mastering predetermined forms. In this special case the artist is an inventor of form who repeats what has already been invented. In this sense, it would contradict a good potter's understanding of himself to refer to himself as an artist.
And yet, every bowl is special, because it bears the traces of the hands that formed it. But its individuality is sublime. Differences are present; they demand to be perceived, not to be named. The issue here is the magic of form, not the betrayed secret. Strictly speaking, every bowl, including those that copy a preset model, has ist own unique form because it was not reproduced technically. No glaze ever has exactly the same patterning, even if they are all similar."
"There is something archaic about bowls. They combine the utmost simplicity with majestic dignity in their form. The sublime together with the humble. Bowls make visible what is put into them. They serve seeing. But what do we see when we see Young-Jae Lee's bowls?
Munich's Museum of Modern Art launched a major individual exhibition for this Korean artist living in Germany, but number symbolism is not what Young-Jae Lee intends with her 1111 bowls. Eleven-hundred bowls, that is simply a lot of bowls.1111; one and one and one and one... The number expresses the perfect quality of this form that effortlessly permits repetition without becoming boring, the joy of endless repetition. The great number is an expression of great enthusiasm. It is an allusion to the connection between form and plenitude.
In discussing Young-Jae Lee's unique art, it make little sense to speak about Young-Jae Lee herself. One can only attempt to speak about the uniqueness of execution here, since Lee operates within a canonical framework of classical forms that does not regard the expression of individual form as its goal. Not having to be original is part of the innermost essence of this art. The modest creator is an aspect of this art. His ability reveals itself in the virtuosity of mastering predetermined forms. In this special case the artist is an inventor of form who repeats what has already been invented. In this sense, it would contradict a good potter's understanding of himself to refer to himself as an artist.
And yet, every bowl is special, because it bears the traces of the hands that formed it. But its individuality is sublime. Differences are present; they demand to be perceived, not to be named. The issue here is the magic of form, not the betrayed secret. Strictly speaking, every bowl, including those that copy a preset model, has ist own unique form because it was not reproduced technically. No glaze ever has exactly the same patterning, even if they are all similar."