{"id":7360,"date":"2014-04-16T11:29:00","date_gmt":"2014-04-16T11:29:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=7360"},"modified":"2022-12-15T11:36:24","modified_gmt":"2022-12-15T11:36:24","slug":"of-indeterminate-time-or-occurrence-heman-chong","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hans\/of-indeterminate-time-or-occurrence-heman-chong\/","title":{"rendered":"Of Indeterminate Time Or Occurrence: Heman Chong"},"content":{"rendered":"\n

\u201cOf Indeterminate Time Or Occurrence\u201d \u2013 solo exhibition by Heman Chong<\/a><\/strong><\/strong><\/p>\n\n\n\n

FOST<\/a><\/strong> (1 Lock Road, #01-02, Gillman Barracks, Singapore, 108934), Mar 8 \u2013 May 4, 2014<\/strong><\/p>\n\n\n\n

If there is one thing that an exhibition by Heman Chong is likely to provoke, it is a massive, sprawling search engine binge. Basically, a fevered jag of endlessly reformatting and tinkering with your search terms as you follow link after link to the most abstruse corners of the internet\u2019s vast, distributed reaches. It is an apt demonstration that you don\u2019t need QR codes and other technical widgets to deal with the weirdness of a networked world.<\/p>\n\n\n\n

Which is not to say that nailing down the origins, first causes, and influences underlying Chong\u2019s practice is a spiraling mission. Rather, as Kenneth Tay relates in the exhibition\u2019s publication, there is a provocative indeterminacy in Chong\u2019s work\u2014one which dares us to make irreverent over-readings. To step over each work and wander amongst branching paths is perhaps something like way in which the publication Of Indeterminate Time or Occurrence<\/em> supplements his 2013 monograph, The Part In The Story Where We Lost Count Of The Days<\/em>.<\/p>\n\n\n\n

Such a transition\u2014from some poetic sense of wonderment at being lost to a dry technicality suggestive of Heisenberg\u2019s uncertainty principle\u2014recalls the chain of chance events examined in After Bola\u00f1o (After Duchamp)<\/em>. Briefly summarized, Chong by chance comes across ready-mades through Roberto Bola\u00f1o\u2019s novel 2666<\/em>, in which Professor Amalfitano discovers among his belongings a book he has no recollection of ever owning\u2014the poet Rafael Dieste\u2019s Testamento Geometrico<\/em>. Discomfited and fearing for his sanity, he re-enacts Duchamp\u2019s Unhappy Readymade<\/em>, hanging the geometrical treatise from clothes pegs and leaving it to the mercy of the elements.<\/p>\n\n\n\n

Now, some years after this chance discovery, Chong takes his turn in re-enactment, extending the line drawn between Duchamp\u2019s chance operations and Bola\u00f1o\u2019s fabulist realization. In this enactment, Chong removes the unhappy ready-made from the presumed source of its unhappiness\u2014being left out to get rained on\u2014and suspends it in a state of undisturbed repose in some sly homage; a chain of chance and coincidence turned rarefied model, like the International Prototype Kilogram, a reference point for the future.<\/p>\n\n\n\n

Dominating the gallery, however, is the riotous profusion of colors and textures of his book covers, arranged in neat grids at opposite ends of an otherwise mostly monochrome gallery. It\u2019s a vivid contrast\u2014just as the seemingly endless iteration and variation of the book covers decouples the weighty titles from their received associations, nudging them forward to undertake some strange wanderings.<\/p>\n\n\n\n

The paintings are accompanied by a text in the exhibition\u2019s publication, Bibliography (1) 358 Books, 17.02.2014<\/em>\u2014an alphabetical listing of the books which is meant to be read aloud, alone, in a bookish sort of place such as a library or bookshop. It\u2019s a rule which invites another question\u2014is there some concomitant expectation for you to produce images, alone in the gallery, as your eyes drift from painting to painting?<\/p>\n\n\n\n

If there is an answer to be found to these and other questions, perhaps it\u2019s found in the snappy, neon equivocation of NEVER \/ AGAIN<\/em> \u2013 never, again, never again, or something else entirely, as semantic satiation takes hold.<\/p>\n\n\n\n

\"\"<\/a>
Heman Chong, \u201cWittgenstein\u2019s Mistress \u2013 David Markson\u201d, acrylic on canvas, 61 x 46 cm, 2013<\/figcaption><\/figure>\n\n\n\n
\"\"
Heman Chong, \u201cOne Day in the Life of Ivan Denisovich\u2014Aleksandr Solzhenitsyn\u201d, acrylic on canvas, 61 x 46 cm, 2014<\/figcaption><\/figure>\n\n\n\n
\"\"
Heman Chong, \u201cOuter Dark \u2014 Cormac McCarthy\u201d, acrylic on canvas, 61 x 46 cm, 2013<\/figcaption><\/figure>\n\n\n\n
\"\"
Heman Chong, \u201cNever \u2013 Again\u201d, neon sign, 140 x 70 cm, edition of 5, 2014<\/figcaption><\/figure>\n\n\n\n
\"\"
Heman Chong, \u201c2C Forer Effect\u201d, site specific wall installation, dimensions and materials adaptable per site, edition of 5, 2008<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

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