《보는 소리, 듣는 빛》 이우환공간 10주년 기념 연주회

2025년 12월 14일(일) 오후 5시 부산 콘서트홀 챔버홀 - 이우환공간 10주념 기념 연주회 《보는 소리, 듣는 빛》

있는 그대로의 돌, 단색의 사물, 정지한 점, 흐르는 붓... 본질의 모습으로 다가오는 이우환 작가의 작품을 보노라면, 의미를 강요하기보다는 감상자가 먼저 말하길 기다린다는 생각이 듭니다. 그러한 관계짓기의 유도는 돌, 사물, 점, 붓 사이의 공간, 즉 여백에서 시작됩니다. 소리와침묵으로 구성된 본 프로그램의 음악작품들은 이하느리 작곡가가 구성하였으며, 이러한 이우환 작가의 작품을 신체의 여러 감각으로 새롭게 인식하게 하는 경험을 제안 합니다.
- 프로그램노트 발췌(송주호 칼럼니스트)

✔ 연주자
키타지마 아키, 앙상블 노마드(Ensemble NOMAD), 임지영, 화음챔버오케스트라(HWAUM)
✔곡 정보
03:21 Morton Feldman – Projection I
09:31 이하느리 Hanurij Lee – Stuff#3: 이우환의 정원
21:05 Bach, J.S.: Violin Sonata No. 1 in G minor, BMW 1001
41:55 Jürg Frey: Streichquartett

[주최 및 주관] 부산시립미술관
[후원] 부산미술관회, 한국문화예술위원회


© '보는 소리, 듣는 빛' 본 영상의 저작권은 부산시립미술관에 있습니다.

On 14 Dec 2025 at 5pm in the Chamber Hall of the Busan Concert Hall, Lee Ufan Space(annex of BMA) 10th Anniversary Concert, Sonic Light, Luminous Sound, unfolded as an encounter between sound and perception.

Stones presented without embellishment. A field of monochrome. A point held in suspension. A brushstroke that appears less applied than encountered. In Lee Ufan’s work, matter is neither illustrative nor expressive in the conventional sense; it is placed, allowed, and withheld. Meaning is not delivered. It is deferred. One has the distinct impression that the work waits—inviting the viewer to arrive at speech rather than instructing it.
Such relationality begins in the interval. Between stone and surrounding air. Between object and wall. Between the point and the ground that receives it. The generative force lies in the margin—in the economy of restraint, in what is left unoccupied. Here, absence is not deficit but structure. The void performs. —Excerpt from the programme note by Song Juho, Columnist

The musical programme, conceived and composed by Lee Hanurij, unfolds within this same logic. Structured through calibrated alternations of sound and silence, it resists spectacle in favour of attunement. Rather than accompanying the visual, the music articulates a parallel field of perception—one in which tone, breath, and resonance extend Lee Ufan’s spatial propositions into the temporal register.
In this context, listening becomes a mode of viewing. Sound acquires weight; light assumes duration. What emerges is not synthesis, but adjacency: two systems of restraint held in deliberate proximity. The result is an experience that sharpens awareness of interval—of how perception itself is shaped by spacing, by pause, by relation.

✔ Performers
Aki Kitajima(北嶋 愛季)
Ensemble NOMAD
Ji-Young Lim
HWAUM Chamber Orchestra
✔ Programme
03:21 — Morton Feldman, Projection I
09:31 — Hanurij Lee, Stuff #3: Lee Ufan’s Garden
21:05 — Johann Sebastian Bach, Violin Sonata No. 1 in G minor, BWV 1001
41:55 - Jürg Frey: Streichquartett

Organised by
Busan Museum of Art

Supported by
BMAFAN(Busan Museum of Art Supporters), ARKO

© ‘Sonic Light, Luminous Sound’ All rights reserved by Busan Museum of Art.