Sea Hyun Lee la terra di nessuno tra le due Coree... il 38° parallelo

Questo artista coreano disegna,dipinge il paesaggio della terra di nessuno,quella striscia di terra minata,armata,irta di filo spinato che separa il 32°parallelo (credo) dipinge in questo rosso per darci la misura del dramma politico,umano,paesaggistico e non da meno l'offesa portata alla terra,alla natura. Ci rammenta che l'uomo appartiene alla terra e non che la terra appartiene all'uomo! La sua rappresentazione è ossessiva,vuole segnalarci un paesaggio tra i piu belli al mondo oggi è infinitamente sconnesso,perturbato,un luogo in cui la follia umana,la patologia umana riesce a  farsi  incubo e paesaggio al tempo stesso,a suo modo rammenta le centinaia di migliaia di persone che hanno perso la vita per qualche cumulo di rocce,una metafora dell'assurdo in definiva...o nel tentativo di attraversarlo! The Demilitarized Zone - known as the DMZ - cuts across the Korean Peninsula, acting as a buffer zone between North and South Korea. Sometimes referred to as the last front of the Cold War, it is a supremely ghostly landscape - a mountainous range that is seemingly untouched by civilization, and yet is also one of the most symbolically loaded landscapes in the world. It could be described as the most natural and the most denaturalized landscape imaginable. While it is devoid of the usual markers of political ideology - monuments to present and past regimes, the likenesses of political leaders - the whole of the landscape is, in a sense, a subtle testament to the pervasive power of one of the most stringent ideological narratives of our time. Korean artist Sea Hyun Lee locates his work in this setting. In his paintings, Lee endlessly reconstructs and reconstitutes the landscape of the DMZ. Reworking fragments of terrain, blocks of land and water, he creates a world that functions according to the logic of its own terms. In this sense, it is a world that is entirely hermetic - appropriately so, considering that the territory Lee depicts is defined by the very impregnability of its borders. Lee works by using a manner of construction that is akin to collage, a constant and obsessive shuffling of recurring fragments. And indeed, the series Between Red is at first glance overwhelmingly simple. A series of landscape paintings is rendered in delicate washes of red. Large swaths of unmarked white meander between islands of crimson land. The blank spaces are harshly set against the carefully detailed fragments in red. Nonetheless, they cohere into the flawless totality that is created by each painting. It is the fragmentation behind the landscape’s seeming totality that is operating at the core of Lee’s paintings. It is due to that fragmentation that these seemingly simple landscapes are able to evoke multiple dualities, a vast landslide of inconsistencies and fissures. This fundamental gesture of splitting, alongside its contrasting totality, is the uncanny tension that animates Lee’s paintings, and that makes them compelling both on a conceptual and a purely aesthetic level.