Abstract
In this chapter, Lee Kit’s art installation at the Venice Biennale in 2013 is used as a case study of the ways in which artworks represent and help to construct representations of Hong Kong’s challenge and subversion of an aggressive and powerful rising China.
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Notes
- 1.
Facebook on the protest event, “We Want the Truth”, and related materials. https://www.facebook.com/events/413614548705386/, retrieved on November 22, 2014.
- 2.
“Lee Kit to Represent Hong Kong at the 2013 Venice Biennale”, http://www.hkadc.org.hk/en/content/web.do?page=pressrelease20120622, posted in June 2012.
- 3.
“Summary of the Evaluation Report on the Venice Art Biennale 2013”, http://www.hkadc.org.hk/en/content/web.do?id=4ac14e32468164e30146d79076fa0028, posted on June 28, 2014.
- 4.
Facebook on the protest event, “We Want the Truth”, and related materials. https://www.facebook.com/events/413614548705386/, retrieved on November 22, 2014.
- 5.
The last two responses are cited from “Summary of Assessors’ Reports for The Hong Kong’s Exhibition in the 55th Venice Art Biennale 2013”(I & II), Summary of the Evaluation Report on the Venice Art Biennale 2013 (annex 2). Hong Kong Arts Development Council, posted on June 26, 2014. http://www.hkadc.org.hk/en/content/web.do?id=4ac14e32468164e30146d79076fa0028, retrieved on Oct 26, 2014.
- 6.
Ibid.
- 7.
ArtReview Questionnaire #20: Lee Kit (London: 2013). http://artreview.com/previews/20_venice_lee_kit/, retrieved on Nov. 7, 2014.
- 8.
ArtReview Questionnaire #20: Lee Kit (London: 2013). http://artreview.com/previews/20_venice_lee_kit/. Retrieved on Nov. 16, 2014.
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Man, E.K.W. (2015). Hong Kong Pavilion at the Venice Biennale as Method: The Case of Lee Kit. In: Issues of Contemporary Art and Aesthetics in Chinese Context. Chinese Contemporary Art Series. Springer, Berlin, Heidelberg. https://doi.org/10.1007/978-3-662-46510-3_12
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