The Sceptre Holding in Queen’s Right Hand

2020. Epson ultra giclee print. 120×84cm. Edition: 1/3+1AP.

女皇頭上的皇冠

2020. 收藏級數碼打印. 37.5×50cm. 版数: 1/3+1AP.

The Orb

2020. Epson ultra giclee print. 42×53cm. Edition: 1/3+1AP.

皇座椅背上的帝國皇冠

2020. 收藏級數碼打印. 83×80cm. 版数: 1/3+1AP.

Emblem on Left of the Throne

2020. Epson ultra giclee print. 45×60cm. Edition: 1/3+1AP.

Unicorn on the Throne

2020. Epson ultra giclee print. 69.4×57.3cm. Edition: 1/3+1AP.

Lion on the Throne

2020. Epson ultra giclee print. 69×55cm. 版数: 1/3+1AP.

Ornate Panel on the Back of Throne

2020. Epson ultra giclee print. 54.7×80cm. Edition: 1/3+1AP.

Nose

2020. Epson ultra giclee print. 30×22.5cm. Edition: 1/3+1AP.

Canopy

2020. Pencil and watercolor on digital print (archival art paper). 33×33cm. Edition: 1/3+1AP.

Part V: The Remains of the Night

2020. Double-channel video | 21’35” | colour | 16:9 | stereo | Cantonese | Chinese and English subtitle.

The Dust No.1

2020. Pencil and watercolor on digital print (archival art paper). 25.5×27.7 cm.

The Dust No.3

2020. Pencil and watercolor on digital print (archival art paper). 25.5×27.7 cm.

The Dust No. 2

2020. Pencil and watercolor on digital print (archival art paper). 25.5×27.7 cm.

The Dust No.5

2020. Pencil and watercolor on digital print (archival art paper). 25.5×27.7 cm.

The Dust No.4

2020. Pencil and watercolor on digital print (archival art paper). 25.5×27.7 cm.

Part VI: The Containers No. 2

2020. Ceramic sculpture. 30×30×34cm.

Part VI: The Containers No. 3

2020. Ceramic sculpture. 30×30×24cm.

Part VI: The Containers No. 5

2020. Ceramic sculpture. 25×25×32cm.

Part VI: The Containers No.6

2020. Ceramic sculpture. 18×18×40cm.

Part VI: The Containers No.7

2020. Ceramic sculpture. 12×12×14cm.

Part VI: The Containers No. 12

2020. Ceramic sculpture. 8×8×10cm.

Part VI: The Containers No. 13

2020. Ceramic sculpture. 5×5×12cm.

The Retrieval, Restoration and Predicament (I Could Not Recall How I Got Here)

2019. Triple-channel video | 21’46” | colour | 16:9 | stereo | Cantonese, Japanese and English | Chinese and English subtitle.

The Residual No.1

2019. Bronze sculpture (installation). 110×58×20cm. Edition: 1/3+1AP.

The Residual No.2

2020. Bronze sculpture (installation). 90×45×15cm. Edition: 1/3+1AP.

The Repatriats

2019. Pencil and watercolor on digital print (archival art paper). 29.5×32.7cm. Edition: 1/3+1AP.

Remnants

2019. Epson ultra giclee print. 49.5×70 cm. Edition: 1/3+1AP.

Cleansing

2019. Pencil and watercolor on digital print (archival art paper). 31.5 x 21cm×2.

Part I (George and the Swimming Pool)

2019. Single-channel video | 10’26” | color | 16:9 | stereo | Cantonese, Japanese and English | Chinese and English subtitle.

Part II (The Smoking Lady)

2019. Single-channel video | 9’43” | color | 16:9 | stereo.

Part III (The Enka Singer)

2019. Single-channel video | 1’45” | color | 16:9 | stereo | Japanese | Japanese and English subtitle.

Part IV: The Digger

2019. Single-channel video | 10’30” | B&W | 4:3 | stereo | Transparency film mounted on lightbox, metal rack, glass, CRT TV.

The Retrieval, Restoration and Predicament

2018. Single-channel video | 31’28” | color | 16:9 | stereo | Chinese, English, and Japanese | Chinese and English subtitle.

Made in Occupied Japan

2018. Camera Lens, Epson ultra giclee print. 5.5 (diameter)×3.4cm, 20×20 cm.

LEE KAI CHUNG

Biography

 

Website: leekaichung.com

 

About the artist

 

LEE Kai Chung performs artistic research on historical events, political systems, and ideology. His work addresses the lack of proper governance over the records and forms of historiography. Through research, social participation, and engagement, Lee considers the individual gesture as a form of political and artistic transgression, which resonates with existing narratives of history.

 

In 2017, Lee initiated a pentalogy of projects that are under the notion of “Displacement and Diaspora” – to take departure from the socio-historical implication under the Pan-Asia context, the series examines human dispersion, material circulation, and their geopolitical relations. The first in the series, The Retrieval, Restoration, and Predicament (2017-19) examines the material and ideological transition of public statues in Hong Kong; the second, The Narrow Road to the Deep Sea (2019-20), scrutinizes human displacement in Hong Kong and Guangdong during the Imperial Japanese Occupation that led to the notorious Nanshitou Incident. The rest of the series are as follows: the third: The Longing Park (2020-22); the fourth: Infinite Train (2020-23); the final: Exile (2020 – 2030).

 

Lee’s ongoing research project Archive of the People addresses the political standing of documents and archives in the social setting. In 2016, Lee established collective “Archive of the People”, which serves as an extension of his personal research to collaborative projects, education, and publications.

 

Lee Kai Chung was awarded Master of Fine Arts from School of Creative Media, City University of Hong Kong in 2014. Lee received The Award for Young Artist (Visual Arts) of Hong Kong Arts Development Awards 2017 from Hong Kong Arts Development Council in 2018. Recent exhibitions and projects include “Predicament” (2020) (Beijing, China), “Landskrona Foto” (2020) (Landskrona, Sweden), “The Deficit Faction”(2019) (Beijing, China), “Seoul Mediacity Biennale 2018” (2018) (Seoul, South Korea), “12th Shanghai Biennale: Progress – Art in an Age of Historical Ambivalence” (2018) (Shanghai, China) and  “Artist Making Movement – Asian Art Biennial 2015” (2015) (Taichung, Taiwan).

Lee’s work is collected by M+ and WYNG Foundation.

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