Lee Mingwei to construct temporary art installation in Spring, 2003

No one can predict the future, but Lee Mingwei’s new work will encourage viewers to try. The Office for the Arts at Harvard will sponsor a residency and temporary public art installation in 2003 by artist Lee Mingwei. A native of Taiwan who now lives in New York, Lee has exhibited his work at leading venues for contemporary art in the U.S. and abroad, from the Whitney Museum of American Art in New York to the Museum of Contemporary Art in Tokyo. A recipient of an MFA from Yale University in 1997, he has been named the Marshall S. Cogan Visiting Artist for 2002-03 at Harvard University.

Much of Lee’s work has been informed by Buddhist ideals of awareness and self-knowledge, and his engagement with his audience reflects this interest as well. Through interactive installations, he not only involves the audience in consciously shaping the artwork, but also introduces an element of intimacy—with the artist, other audience members, and the self.

For his work entitled “The Letter Writing Project,” shown at multiple venues in recent years, Lee constructed three simple, but elegant, pavilions of wood and translucent glass. The booths were crafted for sitting, standing, or kneeling—postures associated with the attitudes of forgiveness, insight, and gratitude in the practice of Zen Buddhism—and were supplied with writing materials. The artist invited visitors to write a letter in the spirit of the space, and over 10,000 people responded. Letters left unsealed could be read by other visitors; sealed letters were burned ritually or, if fully addressed, were mailed.

For his project at Harvard, Lee is interested in exploring our ever-present curiosity about the future, especially in a time of many uncertainties. He notes the intriguing contradictions in the ways that various religious and cultural traditions address the power of the future in our minds and lives. For example, Lee observes, Buddhism urges attention on the present moment in response to the illusions of our existence and future, while the practice of feng shui or study of I Ching emphasize preparation for the future and the unknown. The artist also points out that we often find ourselves, in our desire to know the future, seeking the insights of strangers.

Psychics and seers are rarely visible in the circles of major academic institutions, but the artist plans to work with some of these individuals in the Harvard community to create an interactive public art installation. The project will be installed the last week of April, 2003, and will continue during ARTS FIRST 2003.

In addition to creating a temporary public artwork, Lee will participate in a range of activities with academic departments, student organizations, and the Center for World Religions, among other university institutions. He will be based at Leverett House.
Faculty, students, or staff interested in learning more about Lee’s residency, or becoming involved in this project, should call Cathy McCormick or Teil Silverstein at the Office for the Arts at 617.495.8676 or visit www.fas.harvard.edu/~ofa/programs/artists/pubart.htm

The Office for the Arts pursues explorations of public spaces by commissioning public artwork and engaging students to learn from the participating artist(s). The purpose is to engage the broadest possible number of students, especially those not involved in the arts, in seeing their familiar environment in new ways. Past projects include: a temporary installation in Holyoke Center Plaza by the Boston-based cooperative Reclamation Artists (2001); a project for the World Wide Web with New York artist Kristin Lucas (2000); a permanent sculptural installation by Richard Fleischner for the façade of the Office for the Arts’ main office at 74 Mt. Auburn Street (1997-98); a temporary installation of light and sound in Harvard Yard by British artist David Ward (1994); and a series of temporary interpretations of the Radcliffe Quadrangle by Michael Van Valkenburgh (1987-88), Ross Miller (1988), Martha Schwartz (1988), Bert Snow (1989) and Marty Cain (1990).

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