其實，最近我覺得你非常噁心。話都是你說的，麻煩卻是大家的。在真誠的場域，舉止虛偽。你心裡以為，其他人都不了解你。其實這沒有太大關係。你還是一樣的噁心。慢慢地，把虛偽當真誠。
當頸項疲累，需要按摩的時候，他想念著頭。
他覺得，在他成長的城市裡明亮的光，慢慢變成一種聲音。那彷彿是低著頭的聲音。低著頭的時候，好像身在哪裡都一樣。

Techno。

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地下室、電子樂、黑暗中的燈光，以及生活中過量的資訊和壓力，這是李傑於 TKG+ 個展「Techno」所建置出的作品情境。如同電子樂的重複性節奏放大了所有的感性與知覺，隨之而來的是麻木、無限延伸震盪成為迴圈；在結構簡潔的展場中，滿溢著被攪拌過但卻又不完全融合的情緒團塊，既空曠卻又過度飽和，這同時也映照出一種人類矛盾的生存狀態。李傑的作品總是充滿不明確性，不明確便是他創作的目的、是言語表達與創作的差異，而觀者對於不明確性的閱讀，反而才是一種最明確的感知狀態。

關於李傑

1978年生於香港，現居住和工作於香港和台北。李傑以極具個人特質、以及日常的幽微政治性對話，運用文字、影像、繪畫、光和聲音，將日常生活中難以言說的精神狀態投射於展場空間中。近期個展於韓國首爾Art Sonje中心（2019）、日本東京原美術館（2018）、義大利聖喬瓦尼瓦當諾 Casa Masaccio（2018）、中國深圳 OCAT（2018）、比利時根特 S.M.A.K. 當代美術館（2016）、美國明尼阿波利斯沃克藝術中心（2016）、日本東京資生堂藝廊（2015）、第55屆威尼斯藝術雙年展（2013）等；聯展於法國巴黎東京館美術館（2017）、捷克布拉格國立畫廊（2016）、阿聯酋沙迦雙年展（2015）、俄羅斯烏拉爾當代藝術工業雙年展（2015）、德國巴登國立美術館（2014）、荷蘭伯尼芳坦博物館（2014）、上海外灘美術館 Hugo Boss 亞洲新銳藝術家大獎聯展（2013）、紐約現代藝術博物館（2012）等。

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In fact, lately I find you repulsive.
The damage was done by you alone, but the trouble you caused harms everyone.
You are a hypocrite in a sincere world.
In your heart, you are convinced that no one understands you.
But to tell the truth, it doesn’t matter much anyway.
You are still just as disgusting.
Slowly, you begin to think of hypocrisy as sincerity. Slowly, hypocrisy becomes sincerity.

When the neck grows weary and aches for a massage, he misses his head.

He feels as though the bright lights in the city where he grew up gradually transformed into a kind of sound.
It is like the sound of bowing your head.
When you look down, every place seems the same.

Techno.

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A basement, electronic music, neon lights penetrating the darkness, and the information overload and excessive pressures of contemporary life. These are the key elements of Lee Kit’s latest solo exhibition Techno at TKG+. As the repetitive rhythm of electronic music amplifies sensations and perceptions, it is followed by numbness and the extension of shock entangled into an infinite loop. Within the minimalist display of the exhibition, a myriad of emotions is stirred but not fully integrated; it is simultaneously empty and over-saturated, reflecting a contradictory state of human existence. Ambiguity is the defining characteristic of Lee Kit’s immersive installations, and his works always offer a multitude of interpretations. It is the contrast between verbal expression and artistic practice. The viewer’s discernment of this ambiguity presents the most lucid state of perception.

About Lee Kit

Born in 1978 in Hong Kong, Lee Kit lives and works in Hong Kong and Taipei. Drawing upon his personal qualities and subtle political dialogues, he combines words, images, paintings, light, and sound to project the inexplicable/metaphysical essence of daily life into the exhibition space. Recent solo exhibitions include: Art Sonje Centre, Seoul, Korea (2019); Hara Museum, Tokyo, Japan (2018); Casa Masaccio, San Giovanni Valdarno, Italy (2018); OCAT, Shenzhen, China (2018); S.M.A.K., Ghent, Belgium (2016); Walker Art Centre, Minneapolis, U.S.A. (2016); Shiseido Gallery, Tokyo (2015); and the 55th Venice Biennale, Italy (2013). Group shows include: Palais de Tokyo, Paris, France (2017); National Gallery in Prague, Czech Republic (2016); Sharjah Biennial, UAE (2015); Ural Industrial Biennial, Yekaterinburg, Russia (2015); Staatliche Kunsthalle, Baden Baden, Germany (2014); Bonnefantenmuseum, Maastrich, Netherlands (2014); Hugo Boss Asia Art, Rockbund Museum, Shanghai, China (2013); MoMA, New York, U.S.A. (2012), among others.