Like a post-minimal graveyard, Kishio Suga’s cut stones and wood planks lend an existential air to the exhibition space at Dia:Chelsea. The Japanese artist’s first solo museum show in the United States gives a nod to Suga’s legacy as one of the founding members of Japan’s School of Things (Mono-ha), by featuring, alongside newly commissioned...

Opening at the Boghossian Foundation’s Villa Empain in Brussels this weekend is When Process Becomes Form: Dansaekhwa and Korean Abstraction , the first exhaustive exhibition of the Korean Dansaekhwa movement in Belgium, featuring some fifty works by seven of its leading proponents: Chung Chang-Sup, Chung Sang-Hwa, Ha Chong-Hyun, Kim Whanki,...

Recently I’ve noticed that when I meet people who know my work, they say, “Oh you must be so busy!” I usually reply with something like, “Well, I’m getting by,” which probably gives people the impression that I’m quite reserved. Certainly, in these past three years, I’ve been doing exhibitions unlike...

Japanese Mono-ha (“School of Things”) artist Kishio Suga was announced the winner of the 2016 Mainichi Art Award on January 28. The prize, which was first established in 1959 by the leading Japanese newspaper Mainichi Shimbun , recognizes the contributions of outstanding figures in visual art, literature, theatre, music and film.

'For over 40 years I have been a kind of déraciné’, says Lee Ufan, ‘and I’m really still continuing on a pilgrimage around the world.’ We are sitting in the artist’s Paris studio on a brilliant early autumn day. A few minutes away is rue Victor Massé, where Degas lived in his later years, and a short walk uphill...

As soon as one walks into Pace’s gallery space on Burlington Gardens, we are immediately immersed into a space that is distinctively Lee Ufan. Four of his seven major series— From Point (1972–84), From Line (1972–84) From Winds( 1982–86) and With Winds (1987–91)—are on show in his third solo exhibition...

Melissa Chiu - Director of the Hirshhorn Museum and Sculpture Garden, Washington DC What/who are you looking forward to seeing at the Venice Biennale this year? I’m looking forward to seeing the dansaekhwa (monochrome painting) exhibition from Korea, one of the satellite shows. This is an historical show bringing together works...

An impressive double header opened at London's Lisson Gallery yesterday with new shows from Anish Kapoor and Korean minimalist Lee Ufan. More than thirty years on from his first exhibition at the gallery, Kapoor presents new giant resin and silicon pieces - not for the squeamish - that blur the boundary between sculpture and painting and look,...

There is a new encounter in Hong Kong, Australian curator Alexie Glass-Kantor, and her vision captures the zeitgeist of our region. A curated section within any art fair presents an interesting conversation, sitting somewhere between the commercial streams and a rigorous view of now. Encounters is slightly different in that it is dedicated to...

“We can make another future: Japanese art after 1989,” a sprawling survey of contemporary Japanese art curated by Reuben Keehan, opens at the Queensland Art Gallery and Gallery of Modern Art (GOMA) on September 6. This ambitious survey takes a retrospective look at key artists and tendencies from Japan’s Heisei era through a...

IT HAS BEEN SOME TWENTY YEARS since the great wave of introductions to modern non-Western art, the peak of which coincided with the popularization of such terms as globalization and transnationalism in the 1990s. Now, with those introductions complete, the project of positioning non-Western modernities in an expanded art history has taken on...