One Plus One: James Ming-Hsueh Lee Solo Exhibition

One Plus One emphasizes the act of “adding” — a gesture of transversality and connection. It is not merely about numerical increase, physical combination, or emotional intensification. Rather, “adding” functions as a kind of semantic dynamism — an action that allows one entity to gain something, to engage, collide, juxtapose, misalign, or transform in relation to another “one.” In other words, One Plus One does not aim to produce a stable “two,” but rather enacts a generative process: placing two heterogeneous elements into relation in order to create new structural possibilities. The “addition” here is not about summation or accumulation, but about the interweaving of consciousness, matter, perception, and memory. Within this seemingly simple relational model, the exhibition activates a field of tension between form and force. Here, the “one” is no longer an isolated unit but a co-constituted existence — a process of encounter and transformation.

The exhibition unfolds simultaneously across two venues: Hong-gah Art Museum and EQUAL = 等號 ^TM ©︎. It explores the entanglements of animality, consumption, labor, and boundaries in everyday life. Through a range of animal-related symbols, the works oscillate between the familiar and the strange, becoming vessels of symbol, memory, and desire — resonating with, complementing, and conversing with one another. The dialogue between one venue and the other transforms One Plus One into more than a juxtaposition, traversal, or synthesis of elements and artworks. As visitors move physically between the two sites, the interruption of everyday life opens up moments of pause and spatial crossings that invite encounters with the works. This multi-layered configuration constructs a heterogeneous exploration toward new relational and perceptual possibilities.

As the title suggests, One Plus One is not an answer but a process — a question: In this plural yet fragmented world, what kinds of connections remain possible?