Through his new exhibition,Peace, Prosperity and Friendship with All Nations, the conceptual artist offers a commentary on the current global political and cultural landscape through contemporary artefacts based on everyday encounters and objects
Heman Chong is happy to take on the interview for this story but requests for it to be conducted via email, preferring to respond in writing. The artist’s responses come through with another request: to use them as they are and, where needed, to reconfigure or adjust the questions to fit them.
Wait a minute … is this to ensure that his responses are not subjected to any form of editing? In journalism, text is edited not to change the content but to give structure to a story and enhance the focus and flow of writing, even more so with the finite space in print.
When in fact, Chong himself exercises this right in his monumental new work, Call for the Dead (2020), which was produced in residency at the STPI – Creative Workshop & Gallery. He redacts text from the late author John le Carré’s first spy novel of the same name by blacking out with ink all but the verbs of the story, highlighting the secrets Le Carré could have revealed in the fictional work published in 1961 when he was still working for British intelligence. From there, Chong produces 86 silkscreen prints on linen—enough to fill an entire room—which will be showcased as part of his latest solo exhibition, his first at the STPI Gallery, opening February 20.
Titled Peace, Prosperity and Friendship with All Nations—after the controversial Brexit 50-pence coin unveiled by the Royal Mint last January to ironically mark the UK’s departure from the European Union—the exhibition offers a critical, albeit deadpan, look at the current global political and cultural landscape through a series of conceptual gestures based on everyday encounters and objects. From the spy novel and Brexit coin to a series of photographs of embassy backdoors in repeat patterns, Chong offers contemporary artefacts that allow audiences to contemplate a new world order.
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The current pandemic has also inspired the series of 56 paintings in The Circuit Breaker Paintings (2020) to mark every day of Singapore’s circuit breaker period from April 7 to June 1 last year. Chong, who has been working from home since 2003 (“I don’t feel like I need to keep a studio I go to in order to be an artist.”), paints over the works from his painting practice dating back to 2009 with an “X”, in reference to the safe distancing measures of cordoning off public spaces.
He also reimagines the ubiquitous QR code, a feature of Singapore’s Covid-19 SafeEntry system, enlarged to epic proportions in Safe Entry Version 2.0–2.7 (2020). This iteration of the public art commission by the Singapore Art Museum (SAM) for its Walking in the City series offers access to a video posted on Chong’s YouTube channel, Ambient Walking, of a recorded walk around Changi Airport Terminal 2 before it was closed for renovations during the circuit breaker period.
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