Island of climbers
The eternal flame
The last sunset
A coin with a lion on it holding the Pearl of the Orient. A hole is drilled in the pearl, turning the coin into a tiny aperture.
At present, most public phone booths are marked with a notice of suspension of service. In more than half of these booths, the lightboxes are broken. A reflective cover is wrapped around the phone booth, and 18 sheets of photographic papers are glued to the insides of the unlit booth. The projection is turned into negatives through the aperture.
Chai Wan Kok Street, Tsuen Wan, sunny, 20 seconds, 24 x 60 inches Clague Garden Estate ‒ Tsuen Wan was the first new town to be developed in the New Territories, and the housing estate was named after Sir Douglas Clague, Chairman of the Housing Society from 1952 to 1981. In 1989, the-then Governor Sir David Wilson and his wife officiated the opening ceremony of the housing estate.
The Communications Authority decided to exclude 765 kiosk type public payphones (about 50% of the total number of kiosk type public payphones), with about 23% of them dismantled as of March 2020.
Every public phone booth has a designated number, and its coordinates can be located in the records of the Communications Authority. However, in view of the continuous decline in public demand for phone booths, the Communications Authority had plans to complete the review of its proposal to remove telephone booths by the end of 2019.
太子彌敦道，陰晴不定，1分15秒，24×60吋 太子站——2019年8月31日後，太子站B出口封閉，市民每天在太子站獻上白色鮮花。 花束佈滿站外，成為墓碑。2019年10月10日仍未解封。
Nathan Road, Prince Edward, overcast, 1 minute 15 seconds, 24 x 60 inches MTR Prince Edward Station ‒ after 31 August 2019, the Exit B1 of Prince Edward Station was closed. Some Hong Kong citizens left white flowers outside the exit every day, turning it into a gravestone. As of 10 October 2019, the exit remained closed.
香港大會堂，晴，25秒，24×60吋 和平紀念碑——刻有 ‘The Glorious Dead’ 並分別刻上第一次與第二次世界大戰的年份，悼念死難者。八十年代碑的側面再刻上「英魂不朽 浩氣長存」。
Hong Kong City Hall, sunny, 25 seconds, 24 x 60 inches The Cenotaph ‒ a memorial formally constructed to commemorate the dead from the First World War in Hong Kong. The Cenotaph was initially inscribed with the words ‘The Glorious Dead’ and the years of the First World War. The years of the Second World War were later added to the memorial. In the 1980s, the eight Chinese characters, ‘英魂不朽 浩氣長存’ (‘May their martyred souls be immortal, and their noble spirits endure’) were carved on one side of the Cenotaph.
Statue Square, overcast, 50 seconds, 24 x 60 inches The Court of Final Appeal Building ‒ the original building of the Supreme Court was completed in 1912, and it housed the Legislative Council between 1985 and 2011. The Statue of Justice, represented by the goddess Themis, still stands outside the building today. The Court of Final Appeal is now a historical monument and is not open to the public.
九龍塘窩打老道，晴，25秒，24×60吋 九龍東軍營——原名奧士本軍營，是英國政府於1997年7月1日交還中國政府的14塊軍事用地之一，供解放軍駐港作防衞用途，是中國恢復對香港行使主權的標記 。
Waterloo Road, Kowloon Tong, sunny, 25 seconds, 24 x 60 in Kowloon East Barracks ‒ formerly known as Osborn Barracks. The Kowloon East Army Battalion is one of the 14 military sites returned by the British Government to the Chinese Government on July 1, 1997. It is a sign that the Chinese Government has resumed its sovereignty over Hong Kong.
Central Ferry Piers, sunny, 15 seconds, 24 x 60 inches Jardine House ‒formerly known as the Connaught Centre. Completed in 1973, the 52-storey building is renowned for its circular windows, and it was one of the landmarks of the newly reclaimed area in Central at the time of its opening. It was the first skyscraper in Hong Kong and the city’s tallest building at one point during the 1970s.
In the 1950s, public phone booths were installed across Hong Kong by the British Hong Kong Government. As technological advancements have provided city-wide network coverage, the gleams of smartphone screens are seen flitting in the streets. Scattered across the city are disused phone booths that are about one square metre in size, with
broken lightboxes inside. We wrapped a disused booth in a reflective cover, and added a coin from the colonial era with a hole drilled in it,
turning the booth into a pinhole darkroom. Through the inverted images inside the booth, the viewer shuttles back and forth between different landmarks before and after the handover, tracing the endlessly shifting political relationship between ‘deconstruct’ and ‘construction’ in the city.(鄧廣燊與袁雅芝 TANG Kwong San & YUEN Nga Chi)
Under the shadow of the pandemic, many things begin to seem trivial. In the months between last winter and this winter, we questioned the effectiveness of exhibitions a countless number of times, and even questioned the meaning of art itself. In times past, we always carefully considered the most ideal time to stage a show, dressed up in our best outfits for the opening, and invited our friends and acquaintances to attend. But today we are fully aware that this moment is certainly not the most auspicious time to open an exhibition. Yet when we say that we believe in the absolute necessity of presenting this exhibition at precisely this moment, it is because we seek to use the limited methods we are trained in to help recover what we have lost from the past, to help call our attention back to those things we were once too busy to notice, to treasure those things we have taken for granted, and to open our eyes to what we failed to see before.
When people are barely together, bringing their own desires and agendas with them, and anticipating that they will realise their pre-conceived concepts, desire obscures the virtue and an ‘only possibility’ can be seen, hence, the exhibition becomes no more than an empty vessel.
Lee Kai Chung, The Narrow Road to the Deep Sea-Part II: The Smoking Lady(2019), video still
李繼忠，暴動歷史 (節目主持)｜ 單頻道錄像｜6’43″｜16:9｜黑白｜雙聲道
LEE Kai Chung, The History of Riots (The DJ) | Single-channel video | 6’43” | 16:9 | B&W | Stereo
李繼忠，《通往深海的狹道，第五部：長夜將盡》｜雙頻錄像裝置（數碼與8毫米菲林錄像）｜21’05” | 彩色 | 16:9 | 雙聲道 | 廣東話｜中英文字幕
LEE Kai Chung, The Narrow Road to the Deep Sea – Part V: The Remains of the Night | Double-channel video installation (Digital video, super 8 film)|21’05″| Colour | Stereo |Cantonese| Chinese and English subtitles
LEE Kai Chung, The Retrieval, Restoration and Predicament (Installation view | 2020)