2020. Epson ultra giclee print. 120×84cm. Edition: 1/3+1AP.
2020. 收藏級數碼打印. 37.5×50cm. 版数: 1/3+1AP.
2020. Epson ultra giclee print. 42×53cm. Edition: 1/3+1AP.
2020. 收藏級數碼打印. 83×80cm. 版数: 1/3+1AP.
2020. Epson ultra giclee print. 45×60cm. Edition: 1/3+1AP.
2020. Epson ultra giclee print. 69.4×57.3cm. Edition: 1/3+1AP.
2020. Epson ultra giclee print. 69×55cm. 版数: 1/3+1AP.
2020. Epson ultra giclee print. 54.7×80cm. Edition: 1/3+1AP.
2020. Epson ultra giclee print. 30×22.5cm. Edition: 1/3+1AP.
2020. Pencil and watercolor on digital print (archival art paper). 33×33cm. Edition: 1/3+1AP.
2020. Double-channel video | 21’35” | colour | 16:9 | stereo | Cantonese | Chinese and English subtitle.
2020. Pencil and watercolor on digital print (archival art paper). 25.5×27.7 cm.
2020. Pencil and watercolor on digital print (archival art paper). 25.5×27.7 cm.
2020. Pencil and watercolor on digital print (archival art paper). 25.5×27.7 cm.
2020. Pencil and watercolor on digital print (archival art paper). 25.5×27.7 cm.
2020. Pencil and watercolor on digital print (archival art paper). 25.5×27.7 cm.
2019. Triple-channel video | 21’46” | colour | 16:9 | stereo | Cantonese, Japanese and English | Chinese and English subtitle.
2019. Pencil and watercolor on digital print (archival art paper). 29.5×32.7cm. Edition: 1/3+1AP.
2019. Epson ultra giclee print. 49.5×70 cm. Edition: 1/3+1AP.
2019. Single-channel video | 10’26” | color | 16:9 | stereo | Cantonese, Japanese and English | Chinese and English subtitle.
2019. Single-channel video | 1’45” | color | 16:9 | stereo | Japanese | Japanese and English subtitle.
2019. Single-channel video | 10’30” | B&W | 4:3 | stereo | Transparency film mounted on lightbox, metal rack, glass, CRT TV.
2018. Single-channel video | 31’28” | color | 16:9 | stereo | Chinese, English, and Japanese | Chinese and English subtitle.
2018. Camera Lens, Epson ultra giclee print. 5.5 (diameter)×3.4cm, 20×20 cm.
HBP XXXVI Predicament: Lee Kai Chung
2020.7.18-2020.8.19
Lee Kai Chung
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.
