Exhibition map and forum schedule now available as PDF here! “Writing off the Wall” Nadim Abbas, Bai Xiaoci, Lee Kit, Kitty Ko Sin Tung, MAP Office, João Vasco Paiva, Adrian Wong, Samson Young Curated by Venus Lau and Robin Peckham Organized by Kunsthalle Kowloon (S.E.C.P.) Opening 26 May 2011, 14:00 – 20:00 Forum 29 May [...]
Wednesday, February 16, 2011
Published on ArtSlant. Text by Robin Peckham. Lee Kit: ‘Watching Soaps (I can’t recall the day that I last heard from you.)’ Osage Gallery 5/F, Kian Dai Industrial Bldg., 73-75 Hung To Rd., Kwun Tong, Hong Kong 22 January – 22 February 2011 In his fifth major solo exhibition in two years, Lee Kit demonstrates [...]
Published in Yishu, Vol. 10 No. 1, January-February 2011. Text by Robin Peckham. It has become a truism: Chinese art is big not only in terms of physical scale, but also in the impressions it imparts to the observer. Chinese art, and not just that of the big, red, and shiny variety, tends toward the [...]
Filed in Criticism
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Also tagged Adrian Wong, Cao Fei, Chu Yun, Douglas Young, Gary Chang, Lin Yilin, Liu Chuang, Liu Wei, MAP Office, Nadim Abbas, Xu Zhen, Zheng Guogu
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Monday, December 27, 2010
Chinese version published on Artslant.com.cn, 500 Words. Text by Lee Kit as told to Venus Lau and Robin Peckham. Through an accident of historical periodization and the course of contemporary art practice, relatively young artists in Hong Kong like Lee Kit have been thrust into positions of mentorship for emerging work in new art. Although [...]
Published on Artforum.com.cn, 500 Words. Text by Lee Kit as told to Robin Peckham and Venus Lau. 通过当代艺术实践中一次偶然的历史划分，香港的年轻艺术家例如李杰已经投身于新艺术的指导工作中了。 他与香港中文大学艺术系的紧密联系以及他在伙炭艺术家社区的中心位置使得他及同代的艺术家对更年轻的一代画家起到了非凡的影响。李杰谈了自己对于当前青年艺术家的想法，温文尔雅的油画与素描创作构成的松散运动，即我们所说的“乖画”（Nice Painting）。 现在有个现象是从本土政治到本土美学的转变。大半香港年轻艺术家的作品都强调所谓“本土美学”—— 指涉茶餐厅、港式酒楼、香港老巴士和童年游戏那种风格。“乖画”艺术家应该是这类艺术家的典型。近年“乖画”圈子从十几个艺术家变成比较大型的群体。 我觉得在中大艺术系接受的是知识分子培训，成为全面的艺术家。 我们那时看书比画画的时间多，因为我们认为自己肩负着文人的责任，要抵抗专业化，也要回应社会。年轻艺术家受的是专业艺术家教育，上学时看书不多，理论都从我们口中得知，对艺术系的“新亚精神”没什么了解。但他们看到的作品和艺术事件比我们读书时多。 近年香港艺术圈涌起的一批年轻艺术家，目睹艺术圈的变化，知道要怎样预备和做得成功。他们视觉语言比较窄，作品理应概念上可以走很远，但实际上都走不远，里面动力不够。相反像白双全的作品从来都有动机，他不是解决艺术问题。而是用艺术去解决个人问题——某程度上也是社会问题。但新一代艺术家关心怎么表现个人的事情，解决跟画面的问题，但不关注绘画或者图像本身。他们对艺术没什么责任。可能“乖画”家有好想法，但实际考虑也多，例如什么作品配合什么画廊。 当然他们作品也不只是好看，这不是艺术家本身的问题，是整个环境的问题。“乖画”牵涉到外界对香港艺术说的“老调”：因为香港地方小，所以做出来的作品个人化，比较狭窄。这种说法影响到艺术家，觉得作为香港人没办法改变物理条件的问题。反向的叙述就是北京物理空间大、力量大，受的政治、社会压力也大，所以作品有所谓“大气”。“乖画”不是好也不是坏，它是一个现象，或者一个状况。我期待看这类画从考虑画面的形式，再衍生内容。
Tuesday, November 16, 2010
Published on ArtSlant. Text by Robin Peckham. Lee Kit: ‘Well, that’s just a chill.’ ShugoArts 5/F, 1-3-2, Kiyosumi, Koto, Tokyo, Japan 30 October – 20 November Lee Kit seems determined to avoid the fact that his work is increasingly in demand across the world as far as possible: at the opening of his latest solo [...]
Thursday, November 4, 2010
Published in the Hong Kong Gallery Guide. Text by Robin Peckham. There are a number of external political concerns relevant to this exhibition, jointly curated by Connie Lam, executive director of the Hong Kong Arts Centre, and Fumio Nanjo, director of the Mori Art Museum. Who initiated this international collaboration? How do two administrative directors [...]
First published on ArtSlant. Text by Robin Peckham. One of the core members of the cluster of artist studios at Fotan, an agglomeration of several dozen industrial buildings in the New Territories of Hong Kong, Lee Kit has developed art objects and an artistic practice based on his own style of life. Over the past [...]
First published on ArtSlant China. Text by Robin Peckham. The Burden of Representation: Abstraction in Asia Today Osage Kwun Tong 73-75 Hung To Road, Kwun Tong, Kowloon, Hong Kong, China May 1, 2010 – June 27, 2010 The first thing to know about “The Burden of Representation” is that it is not, in fact, concerned [...]
Filed in Criticism, Projects
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Also tagged Chen Jie, Ding Yi, Eugene Tan, Gong Jian, Jane Lee, Liu Wei, Masato Kobayashi, Michael Lin, Milenko Prvacki, Osage Gallery, Yang Jiechang, Zhao Zhao
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Friday, December 18, 2009
Text by Venus Lau 是的，李傑把卡拉ok帶到了展廳。藝術家在Osage Soho的個展Someone Singing and Calling Your Name展出兩件作品：“Fragments” 和“Sing any one of them, or all of them”。兩者儼然是兩個卡拉ok包房，“Fragments”展出摹仿廉價卡拉ok風格的錄像，影像在投影牆上循環往復，配合“As Time Goes By”, “The End of the World”等音樂播放；故意調低的室內溫度，使展廳貼近卡拉ok包廂的環境（可惜開幕當日人數太多，展場室溫其實不太低）；牆上鋪上淺棕色紙皮，上面畫上著名的商品標誌；投影 牆跟老舊的沙發打照面，音箱負責將展廳內的音樂潑向畫廊外的街道。“Sing any one of them, or all of them”為四個堆疊成田字形的電視，分別展示著潤手膏，包裝咖啡糖，半滿的咖啡和Vaseline潤膚霜的錄像；各種物品的名字，披著卡拉ok字幕的大衣，現身畫面下方。 兩 件作品明顯是戲仿卡拉ok這個為港人熟知的半公共空間。Scott Lash 在北京的講座里，提到（馬清運認為）中國沒有公共空間，這裡指的或許是指Habermas提出的，可以進行公開討論的空間，而該空間不一定是個實體空間。Lash眼中的中國的公共空間是副作用，並非刻意為之。卡拉ok是一個“刻意為之”的實體半公共空間，人們在滿足了相當條件（主要是錢）就可以使用，和一 牆之隔的陌生人，在廉價的裝修映襯下，不是交換意見，而是展覽同樣廉價的情緒，附和大賣的甜酸情歌，吞下幻想中的凝視，然後和著“是日特價”的啤酒一飲而 盡。卡拉ok具有嚴格的功能性（雖然你以為自己在裡面有種種自由），並賦予歌唱這種個人娛樂以正當性（不少人深信在公眾地方唱歌，必須有合適的理由和場 所），這種空間功能在資本增殖中進一步強化和合理化。另一方面，畫廊的主要功用是展覽，（展覽開幕式中拿起米高峰高歌的觀眾確實寥寥，如此就能看出空間功 能性的嚴格）。李傑的兩件作品以場景的形式重新檢視著空間負荷著的功能性。卡拉ok的功能性和畫廊的展示功能互相撞擊之後，前者為後者所吸納，也彰顯二者 的相似之處：兩個空間有條件對外開放，而且需要公眾的參與來支撐（雖然說當代藝術並非為大眾而設）。場景是李傑常用的表現方式，除了這次的作品，今年五月Louis Vuitton展覽裡的“有浴室的房間”以及更早在北京維他命空間這個店舉行的“We Already Lost Too Many Interest”是其場景生產的例子。德勒茲說到畫家Francis Bacon的畫作頻密運用圓形場景，通過隔離（isolation）展開了敘事和比喻之間的第三條道路。李傑的場景展示了空間和物件重置的可能，以物件和 空間實體的明晰，模糊它們功能性的藩籬。 展覽名稱原來為Singing [...]