<?xml version="1.0" encoding="utf-8"?><metadata xmlns:dc="http://purl.org/dc/elements/1.1/"  xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xmlns:dcterms="http://purl.org/dc/terms/"><dc:title xml:lang="en">Mono-ha</dc:title><dc:identifier>http://AATesaurus.cultura.gencat.cat/aat/getty_en?tema=31366770</dc:identifier><dc:language>en</dc:language><dc:publisher xml:lang="en">Getty Institute</dc:publisher><dcterms:created>2026-03-30 20:38:55</dcterms:created><dcterms:isPartOf xsi:type="dcterms:URI">http://AATesaurus.cultura.gencat.cat/aat/getty_en</dcterms:isPartOf><dcterms:isPartOf xml:lang="en">Tesaurus d&apos;Art i Arquitectura</dcterms:isPartOf><dc:format>text/html</dc:format> <dcterms:alternative xml:lang="en">School of Things</dcterms:alternative> <dc:description xml:lang="en"><![CDATA[ Art movement in Japan initiated by Lee Ufan and Sekine Nobuo in 1968 and continuing through 1973 in the narrower sense and throughout the 1970s and beyond in a broader sense. Mono-ha can be translated as ‘School of Things.' Although somewhat related to movements such as Arte Povera, Minimal Art, and Land Art, Mono-ha artists were primarily concerned with creating an art that reflected an Asian and Japanese worldview. Mono-ha pieces often utilised raw natural materials with minimal intrusion by the artist. They focused on the interrelation between objects and the environment, and on creating a system that generates an encounter between two objects. Although short-lived, the movement’s formal and theoretical innovations continued to spark interest and debate among artists and critics beyond its end. ]]></dc:description></metadata>