LEE KIT - HIS GAZE HAS TURNED INTO DISDAIN FOR THOSE WHO ARE WELL-INTENTIONED YET INCAPABLE. (A QUIET DAY)

In the organizer's words:

Lee Kit, who was born in Hong Kong in 1978 and now lives in Taiwan, came to prominence in the early 2000s with paintings that are not only art objects but also objects of daily use. Among other things, he painted textiles with stripes and checkerboard patterns in order to use them temporarily as curtains and tablecloths in the home and as picnic blankets or banners outdoors. In the context of Hong Kong's protest movements, the latter use in particular manifests a decidedly political moment that is considered an important characteristic of his work. Another central feature is the abolition of genre boundaries, which was already noticeable in Lee's early formulations and has been steadily intensified in his exhibitions to this day. In his presentations, he allows his paintings, sculptures, films, photography, music and language to merge into an inseparable unity. The results are intense, immersive spaces of image, thought and experience that are as imbued with a delicate poetry as they are with the endeavor to proclaim a social utopia. The Fridericianum is presenting Lee's first solo exhibition in Germany - a walk-in Gesamtkunstwerk.

Lee's biography includes institutional exhibitions in Asia, Europe and America. He represented Hong Kong at the Venice Biennale in 2013 and has presented solo exhibitions at the Walker Art Center in Minneapolis (2016), the Stedelijk Museum voor Actuele Kunst in Ghent (2016), the Hara Museum of Contemporary Art in Tokyo (2018), West Den Haag (2021) and the Hong-gah Museum in Taipei (2023), among others. Lee has also participated in group exhibitions such as Forms of the Shadow at the Secession in Vienna (2024), Carnivalesca - What painting might be at the Kunstverein Hamburg (2021), the 15th Lyon Biennale (2019), the Kathmandu Triennial (2017), The Great Ephemeral at the New Museum in New York (2015) and the Sharjah Biennial (2015).