Lee Kit’s solo exhibition “The more I ignore you, the closer you get.”

About the Exhibition

TheCube Project Space is honored to host Hong Kong artist Lee Kit’s solo exhibition as its first major event in 2017. This exhibition, titled “The more I ignore you, the closer you get.” will be on view from 18 February to 9 April.

Lee Kit has been active in the international art scene, and also represented Hong Kong at the 55th Venice Biennale in 2013. In recent years, he has not only shuttled between Hong Kong and Taipei but also frequently travelled for his exhibitions around Asia, North America and Europe. Lee tends to project the indescribable spiritual dimension of our quotidian existence to the exhibition venues with paintings, texts and images based on the dialogues that embody his personal attributes and implicit political struggle for survival. His artworks always leave the spectators with a feeling of empathy for his deep sentiments and acumen.

In addition to creating artworks, Lee co-founded a non-profit art space named “Things that can happen” with Hong Kong-based curator Chantal Wong in the historic district of Sham Shui Po, Kowloon in 2015. This art space is dedicated to providing a platform for open experimentation and dialogue in response to the rapidly changing cultural and political contexts of Hong Kong.

The more I ignore you, the closer you get was inspired by Lee’s social intercourse in recent years with Taipei in general and TheCube in particular. The artist seeks to open up the possibilities of mutual gazing and dialogue between the visitors and the exhibition venue as well as between ordinary people and their lives, an attempt carrying the undertone that life should be a pleasant blend of work and social intercourse.

During the course of the exhibition, Hong Kong artist Kong Chun-Hei will attend the talk event on 12 March at Lee’s invitation.

Artist Statement

‘The more I ignore you, the closer you get.’

1.
A is an attentive listener in a way that B is not. However, A is occasionally impatient during listening, so that he has to concentrate on his breath. (Life—or time—goes on, whatever the situation one faces.) Then he realized that people in the world can be classified into a handful of types. People’s words dictate their deeds. Both the devil and human nature are in the details. A believes that breath is the most fundamental prerequisite for survival. Human beings cannot live without breathing. Breath is tantamount to preparation for some mission. Others have no way to know you’re breathing, but B thought that he did.
You can hazard a guess about what you’ve heard, but don’t take it too seriously.

2.
A has led a hectic life, both at work and in leisure time, and doesn’t construe such a lifestyle as problematic. A regards himself as a man like many other people who have devoted considerable effort to grasping and suppressing desires, trying to get along with them, and thereby understand and control them. One day, C almost bit A’s head off due to something C deemed highly important. A didn’t seem to mind much about it, but this event has become a story revolving around them. To tell or not to tell this story doesn’t make any difference to A, and C may at most feel slightly ashamed about the story. Your desires will not sympathize with you in face of such a minor emotional injury. (Oh my God! None can get any more pathetic than you!)

3.
People who know when to make a stop will choose to listen or not. They stop at the intervals between inhalations and exhalations, which could be long or brief. This is virtually incomprehensible to both self-abased people and conceited ones. Never mind. You’ll fall into the arms of altruistic love, gain a sense of belonging to the society, and move hand in hand with the political as the shadow follows the body.

4.
It is no less than a space with or without sunlight pouring in, or a pitch-black room in the night, where A is making stops and moving, and meanwhile trying to understand and control. People disappear and appear, while this room remains as quiet and buzzing as usual.

5.
The world of politics moves in an unobtrusive and imperceptible manner. Both politics and everyday life are quiet in essence. They are tackled as unpretentiously as routine duty is done.

6.
These exhibits look awkward in this specific space, but they try to make themselves comfortable as much as possible. It should suffice that the exhibition is properly organized. Who do you think you are?
The desks and chairs remain the same as they used to be, and the sunshine comes streaming in as usual in the sunny days.

About the artist

Lee Kit

Born in 1978 in Hong Kong, Lee Kit lives and works in Hong Kong and Taipei.
Solo exhibitions include A small sound in your head, S.M.A.K., Ghent, Belgium (2016), Hold your breath, dance slowly, The Walker Art Centre, Minneapolis, USA (2016), The voice behind me, Shiseido Gallery, Tokyo (2015), How are things on the west coast?, Jane Lombard Gallery, New York USA (2014), You (you), The 55^th Venice Biennale, Italy (2013), Every breath you take., Minsheng Art Museum, Shanghai (2012), House M, The Pavilion, Beijing (2012), This is not an easy thing., Arrow Factory, Beijing (2012), Henry (Have you ever been this low?), Western Front, Vancouver, Canada (2011), etc.
Group shows include, Sharjah Biennial, UAE (2015), Ural Industrial Biennial, Yekaterinburg, Russia (2015), Room Service, Staatliche Kunsthalle, Baden Baden, Germany (2014), Beating in the Bush, Bonnefanten Museum, Maastrich, Netherlands (2014), Hugo Boss Asia Art Award, Rockbund Museum, Shanghai, China (2013), The Ungovernables, New Museum, New York, USA (2012), Print/Out, MoMA, New York, USA (2012), Platform in Kimusa, Seoul, Korea (2009), Friends of the Divided Mind, Royal College of Art, London (2009) and Sprout From White Night, Bonnier Kuntshall, Stockholm (2008).