Lee Kit’s (*1978 in Hong Kong, lives and works in Taipei) work is informed by a relational approach to objects, their place in everyday life, and their subsequent presentation as works of art. Kit refers to his installations as “situations,” underscoring the temporal nature of a certain group of works or objects. For instance, on multiple occasions Kit has painted thin cotton cloth with gridded patterns emulating domestic textiles, which have then been used as tablecloths or picnic blankets. These dinner parties or picnics are documented in photographs, and the paintings subsequently installed in its “rightful” place on the wall. By showing multiple situations where the painting is used, Kit decenters the value of the work in favor of showing is passage through stages of use.
While Lee’s work irritates the privileged position given to the artwork—and painting in particular—by Western art, it does so with an irreverent, and playful generosity that is ultimately guided by aesthetic experience. Lee’s work evaluates the aesthetic possibility of everyday occurrences by guiding our gaze to the simple beauty of the overlooked—be it by the play of light over a canvas, or the installation of his work in the underutilized spaces of the institution. With Next time when you go home, she will tell you to let go, Kit has reproduced a photograph of one of his installations, transforming it into an object. This image shows one of his paintings overlaid with a projection of a red square and the text “Next time when you go home, she will tell you to let go,” which appears like the subtitles of a film. Here, Kit captures one of the fleeting moments that he sets up in his work, where different meanings appear as instants, not necessarily anchored down by any single element.