Tokyo

View of Lee Kit, 2018

Lee Kit

Hara Museum of Contemporary Art

Lee Kit’s exhibition “‘We used to be more sensitive.’” turned most of the rooms of this 1930s-era building into a temporary home for feather-light interventions. While painting in Lee’s practice can certainly refer to the process of applying paint to a substrate, it is just as likely to refer to that of articulating light through the utterly utilitarian but thoroughly contemporary means of a video projector. What is most thrilling is when he throws footage of flapping fabric, or that of a painter in a studio adjusting a work in progress, onto plain or painted planes in a kind of trompe l’oeil of process and product that rings true to his own assessment of these installations as “situations.” The artist is more interested in politics than in aesthetics, as he noted in an interview with this publication in 2016. The practice of art can be political, he believes, and so can its reception.

This

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