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

 

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).

 

Education

2014 Master of Fine Arts (Distinction), School of Creative Media, City
University of Hong Kong, Hong Kong
2008 Bachelor of Arts (Hons.), major in Fine Arts, The Chinese University
of Hong Kong

 

Exhibition
2020 Predicament (進退維谷), Hive Center for Contemporary Art (蜂巢當代藝術中心),
Beijing, China (Curated by Yang Jian)
The Narrow Road to the Deep Sea (通往深海的狹道), Art and Culture Outreach
(ACO), Hong Kong
2019 I could not recall how I got here (無法憶起 怎樣到達這裏), WMA Space, Hong Kong
(Curated by Vennes CHENG)
The Retrieval, Restoration and Predicament, Art Center Ongoing, Tokyo, Japan
2016 So Many Quiet Walks to Take, Floating Projects, Hong Kong
2014 Archive of the People, represented by Para-Site, Art Basel Hong Kong 14,
Hong Kong (Curated by Qinyi LIM)

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