Abstract This article examines Lee Ufan’s Relatum series, works which he started producing in Japan in the late 1960s. It begins by historicising the series, where steel plates and rocks are placed in various configurations, in relation to Mono-ha, or School of Things. The article then explores the theatrical and animistic dimensions of the works, which are contrasted with the fetish character of the commodity and the forms of interpretation it demands. The Relatum series is then considered in relation to haikus, together with Roland Barthes’s later writings on the neutral. The article ends by examining the reference to Marcel Proust in Lee’s work, focusing on memory and its relation to affect, while also raising wider questions concerned with the nostalgic character of the Relatum series and the relationship between the industrial and the natural.

中文翻译：

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李禹焕，月亮的隐藏面孔

摘要 本文考察李禹焕 1960 年代后期在日本开始创作的 Relatum 系列作品。它首先历史化该系列，其中钢板和岩石以各种配置放置，与 Mono-ha 或 School of Things 相关。然后，文章探讨了作品的戏剧性和万物有灵论的维度，这与商品的拜物教特征及其要求的解释形式形成了对比。Relatum 系列然后被考虑与俳句以及罗兰巴特后来关于中性的着作。文章最后通过检查李的作品中对马塞尔·普鲁斯特的引用，重点关注记忆及其与情感的关系，同时也提出了与 Relatum 系列的怀旧特征以及工业与自然之间的关系相关的更广泛的问题。