Judith Benhamou-Huet: In the 1920s, Brazilian artists who wanted to have a truly Brazilian, not Western, identity had a theoretical approach from Anthropophagy, which came from the colonization of the Portuguese. In fact the so-called savages, referring to the American Indians, defeated their enemies and then seized their power by eating them. This summarizes the theory of Anthropophagy.

And, in fact, I am somewhat intrigued by the fact that a Korean had so completely adopted Japanese culture, since traditional Korea would always feel invaded and usurped by Japan.

Are you an anthropophagous?

Lee Ufan: I think there was a misunderstanding. The relationship between Korea and Japan cannot be viewed only from the point of view of a relationship between two countries, but within the geopolitical context of Northeast Asia, where China, Korea, and Japan meet. And what’s more, Korea is a peninsular region, China is mainland and Japan is an archipelago. The trends and connections that are generated between these three nations are very intriguing and attract a lot of attention.

It is true that Korea, being peninsular, has been frequently attacked by China from the north, and by Japan from the south. However, it has not always been devoured by Japan. In ancient times, Korea had a strong influence on Japan. The Japanese themselves do not deny the fact that ancient Korean intellectuals flocked to Japan en masse and contributed greatly to the foundation of Japanese history. For a long time throughout history, these two countries have maintained a dramatic and intriguing relationship.

However, in recent history, Korea was colonized about 70 or 80 years ago by Japan, and that experience remains bleak and unpleasant for Koreans. However, if we consider its entire long history, the relationship between the two countries, which has always been under the influence of the balance of power in Northeast Asia, can be seen from another perspective.

J. BH: So you feel Asian? Neither Japanese nor Korean?

LU: I was born in Korea. I went to Japan when I was 20, and my family is there. Then, in 1971, I came to Europe. Since then, I have lived as a nomad for six months each year, between Europe and the United States. I’m not sure I’m someone with a keen interest in their identity. That doesn’t make me not think about the subject at all, but I’m not someone who seeks to define themselves completely.

J. BH: Actually, I had this idea because in his work there are principles of contradiction. For example, the contradiction of materials. Contradiction between a short or long period of time. Contradiction between themes that symbolize the work of humanity and themes that symbolize the Earth. So I tell myself that from his philosophy, there is a principle of contradiction.

LU: Contradiction or connection, or even dialogue. My work is characterized by the creation of a relationship between things, either through a contradiction or through a connection. Maybe this comes from being nomadic, which means I don’t live in my home country but wander through a world where everything happens as part of a relationship where the inside and the outside interact in conflict or harmony. Within this relationship, I consider both parties.

That is why the issue of ambivalence always haunts me. If you notice, this means that my work went well. So I’m glad to hear this question from you. Based on this ambivalence, it would be ideal for people to always look both ways, rather than judging that one or the other is right or wrong. And that’s where art comes in, opening a door through which both sides are visible.

J. BH: Yes, but in fact, what I was told was that this work of tension, this expression of tension, came out of your own life. Relating it to your move from Korea to Japan.

LU: I don't deny it. But I don’t work with an awareness of that. Throughout my life I have constantly experienced stress. Tell myself I had a troubled life with a series of lonely struggles. Perhaps the word “fight” is not the most appropriate. I will persevere on my own and the tension has always been there with me. And my work reflects that tension. When they stop in front of my works, some people say they are out of breath or that they have stopped because of the tension they were feeling. After a brief moment, they feel calmed down again. If my work encourages people to stay, or to feel that they can be reassured for a short time, it’s likely because of their distinctive features.