Pace Galleries

Pace Gallery congratulates Lee Ufan and Yto Barrada for their inclusion in 2018's Art Basel Unlimited. Curated by the Hirshhorn Museum and Sculpture Garden's Gianni Jetzer, the Unlimited sector of Art Basel is a platform for large-scale installations and sculptures, projected video works, live performances, and anything else that can’t be contained in the art fair booth. This year, the projects span the breadth of these media and formats, with new video works, performance works both new and old,

‘The work of art is a representation of the stage.’—Lee Ufan The Serpentine continues its exploration of public art with a sculptural commission by Lee Ufan, to be installed outside the Serpentine Gallery in Kensington Gardens in early February 2018. Lee Ufan came to prominence in the late 1960s as one of the major theoretical and practical proponents of the avant-garde Mono-ha group. The first contemporary art movement in Japan to gain international recognition, Mono-ha (Object School) reje

In honor of both his current exhibition, Ceramics, and the celebration of Asia Week New York, Lee Ufan participated in a conversation with Michelle Yun, Senior Curator of Modern and Contemporary Art at the Asia Society. The artist discussed his recent works done in clay, and how he continues to explore themes such as space, time, and materiality through this medium. For more information on Asia Week New York and the Asia Society, please visit their website. Lee Ufan: Ceramics is on view thro

In honor of both his upcoming exhibition Ceramics and the celebration of Asia Week New York, Lee Ufan will be in conversation with Michelle Yun, Asia Society Museum Senior Curator of Modern and Contemporary Art. The artist will discuss his recent works done in clay, and how he continues to explore such themes as space, time, and materiality through this medium. The talk will be held at the Asia Society Museum in New York on Wednesday, March 8, at 6:30 pm. For more information and to reserve ti

The Hermitage Museum presents Lee Ufan's The Cane of Titan installation as part of their Sculpture in the Courtyard project. The work, which was previously displayed at Versailles will be on view in the Hermitage’s courtyard through Fall 2016. Using two materials, stone and steel, The Cane of Titan reflects the difference between nature and industry, yin and yang. Two elements that are opposed to one another, yet inseparably linked. Read more about the work and the Sculpture in the Courtyard p

  The Museum of Modern Art, Tokyo presents ‘Things: Rethinking Japanese Photography and Art in 1970s’ which includes Lee Ufan’s work alongside other pivotal characters in Japanese art history. On view through 13 September. Pace London will open an exhibition of works by Lee Ufan on 15 September 2015. More details by clicking here. 

Pace is delighted to return to ArtRio, at the Pier Mauá, in Rio de Janeiro, Brazil from 10 – 14 September 2014 (Booth 16, Pavilion 3).

This summer from June 17 to November 2, the Palace of Versailles presents ten sculptural works by Korean-born artist Lee Ufan throughout the palace's historic grounds. Lee Ufan emerged in the 1960s as one of the leading proponents of the Japanese avant-garde and has dedicated his post-minimalist practice to distilling the relationship between space, perception and object. Inspired by the radicalism of Arte Povera in the 1960s, Lee was at the forefront of Japan’s first internationally recognize

Pace Gallery is delighted to announce the opening of a new space, Chesa Büsin, in the historic city of Zuoz in the Engadin valley in Switzerland.   The inaugural exhibition Carte Blanche traces fifty-four years of the gallery’s history and feature works in which white is the dominant shade by artists including: Alexander Calder, John Chamberlain, Tara Donovan, Robert Irwin, Lee Ufan, Robert Ryman, Yoshitomo Nara, and Hiroshi Sugimoto. Carte Blanche will run from 20 February through 30 March

Lee Ufan has been selected to exhibit in the gardens of Versailles next year in a display curated by Alfred Pacquement, former head of the Musee d'Art Moderne at the Centre Pompidou in Paris. As one of the founders of the avant-garde Mono-ha (Object School) group in the late 1960s, Lee Ufan's work at Versailles will be minimalist and meditative.    Read more in Georgina Adam's latest column in the Financial Times here.

Pace is pleased to announce its participation in Frieze, taking place at Regent’s Park, in London, UK from 17 – 20 October 2013. The gallery’s stand (G8) will include a selection of paintings, works on paper, sculptures, photographs, video, and multimedia works spanning over 50 years from the 1950s to the present.  Pace presentation will feature a selection of works by Lucas Arruda, Yto Barrada, Alexander Calder, Brian Clarke, Chuck Close, George Condo, Keith Coventry, Jim Dine, James Franco,

Pace is pleased to announce its inaugural participation in ArtInternational Istanbul, taking place at Halic Congress Center, from 16–18 September 2013. The gallery’s booth D2 will include a selection of paintings, works on paper, sculptures, photographs, installations, video, and multimedia works spanning from the 1980s to the present.

Pace Gallery is pleased to announce the following artists will be on view in Venice during the 55th International Art Exhibition La Biennale di Venezia ROBERTO MATTA Matta: Roberto Sebastian Matta, Gordon Matta-Clark, Pablo Echaurren Matta Fondazione Querini Stampalia Campo Santa Maria Formosa, Castello 5252 through August 18, 2013   LORIS GRÉAUD The Snorks: A Concert for Creatures Teatrino di Palazzo Grassi San Marco 3260 Wednesdays and Fridays playing every 30 minutes

On November 19, 2011, The Pace Gallery, Beijing will present the second installment of the gallery’s annual “Beijing Voice” exhibition. This is a long term project devised by The Pace Gallery, Beijing to consider and interpret the artistic phenomena that are currently underway in the art field. The first installment, Together or Isolated explored the complex interplay between artworks and their sociocultural background while addressing certain phenomena and issues extant in Chinese contemporary

It's been cast in bronze, stuffed in a jar and painted by the likes of Jasper Johns, Man Ray and Alexander Calder. Introducing one of the art world's lesser-known icons: the light bulb. "Burning, Bright: A Short History of the Light Bulb" casts light on 37 of these efforts, by 32 artists. The exhibition opened last week at the Pace Gallery's 545 West 22nd Street outpost in New York and will end Nov. 26. Artists were among the first to fully embrace the incandescent light bulb as "a beautiful sor

After the opening last year of the Lee Ufan Museum – a collaboration with the architect Tadao Ando on Naoshima Island, Japan – and ahead of his largest retrospective to date, at New York’s Solomon R. Guggenheim Museum, Lee Ufan talks to Melissa Chiu about his five decades as an artist, writer and philosopher. Since the late 1960s, Korean-born artist Lee Ufan – who lives and works in Paris, France, and Kamakura, Japan – has been an influential painter, sculptor, writer, art critic, teacher and ph

It is 9:45 on a winter morning in Kamakura, Japan, and a wet breeze is blowing in from the ocean. Lee Ufan closes the front door and beckons me to follow him to his studio on the second floor of a spacious new wooden house abutting a bamboo grove in a residential district in this coastal city 30 miles south of Tokyo. The structure is simple and sparsely furnished, in keeping with the artist’s minimalistic paintings and sculptures, which are displayed inside and out. Built by local craftsmen, it

Lee Ufan is coming to the Guggenheim Museum. Who? Judging by a luncheon at the venerable museum Tuesday, the Guggenheim seems to know it’s going to be an uphill battle promoting its big Lee Ufan retrospective in June, a show slated to take up the entire rotunda, six ramps and two annex galleries. The Korean-born Japanese post-minimalist has something of a passionate cult following for his subtle, elegant, extremely under-stated works–but he’s far from well-known. Ufan’s body of work includes suc

For the last several years, Benesse Art Site on the island of Naoshima in the Seto Inland Sea has featured prominently in rankings of Japan's best tourist destinations. The publisher Rough Guides, for example, ranks the Kagawa Prefecture island's hotel and two art museums — set into a series of forested headlands — as the nation's sixth-most "must-see" attraction — ahead of Mount Fuji and the shrines of Nikko in Tochigi Prefecture. This year, though, Naoshima's already superb facilities — operat

NAOSHIMA ISLAND, Japan— Imagine a clutch of museums clustered on a hilly dot of land surrounded by azure waters and chock-full of some of the best contemporary art money can buy. You’ve just pictured Benesee Art Site Naoshima, on Naoshima, one of seven islands in the Seto Inland Sea, off the coast of the city of Okayama (three hours by train south of Tokyo). Founded in 1992 by the reclusive Japanese billionaire businessman Soichiro Fukutake in collaboration with the Japanese architect Tadao Ando

Lee Ufan cut a sober but gracious figure as he contemplated the installation of his new paintings and sculptures, on view last fall at New York gallery PaceWildenstein’s cavernous Chelsea space. Lee has attained near-legendary status in Asia and enjoys a high degree of recognition in Europe: over the past four decades he has held dozens of solo shows in Tokyo, Seoul, London and Paris and during the past 15 years his work has been included in major group exhibitions at the New York Guggenheim and

Korean-born painter and sculptor, Lee Ufan, now in his early seventies, spends much of his time living in either Japan or France. Known for his sparse, large-scale brush marks on empty canvas and his sculpture in which boulders are placed on glass or weathering steel, Lee—like his fellow countryman, the late Nam June Paik—has indeed spent most of his career outside of his native Korea. In 1956, at age twenty, Lee left Seoul to study philosophy at Nihon University in Tokyo. Upon graduation, he be

In October 1968 Nobuo Sekine dug a hole in the ground, shaped the extracted dirt into a large cylinder and called the work "Phase -- Mother Earth." It was probably an experiment, influenced by discussions of the new Land Art and Minimalist works taking place in the United States. When it was first constructed, the prevailing view in Japan was that it was a kind of quirky visual play of positive and negative spaces. But artist Lee Ufan disagreed, claiming that this was actually the end of visual