Sculpture (Sculpture)

Justice (2014) presents viewers with a curious assemblage: a wooden gallows with slightly curved spindles protruding from the topmost plank, which in turn is covered with rudimentary netting, the threads slackly dangling like a loose spider’s web or an rib cage that’s been cracked open. A bundle of small red rattan balls hang from the front end of the plank, precariously knotted to a single thread hanging from the gallows’ edge. A book hangs from similar red threads at the plank’s rear, its surfaced wrapped multiple times over with the thread to hold it in place, the red thread resembling blood vessels or connective tissue.

Drawing & Print (Drawing & Print)

Converting is a piece about the Orang Laut, often called Sea Nomads, that inhabited the Riau archipelago. They were Christians and pagans that were often oppressed by the majority Muslims in the Riau community and were eventually forced to convert to Islam. Zai conveyed this history in Converting through the stark contrasts of red, white, black.

Drawing & Print (Drawing & Print)

Concerned with the early history of Singapore, Zai Kuning spent many years living with and researching the history of the Riau peoples who were the first inhabitants of Singapore. Inspired by the women of Riau, Back to Mother seemingly traces the central role of maternal figures in nourishing of Riau’s history as an early archipelago kingdom that was Hindu, Buddhist, and animist prior to 14th-century Muslim invasion. Organic materials such as beeswax form a layer of balm protecting threads of red paint symbolic bloodlines in a turtle-formed mandala—a primordial womb that recalls the Hindu and animistic origin of Singaporean society.

Film & Video (Film & Video)

Making Chinatown (2012) is a remake of Roman Polanski’s 1974 classic neo-noir film Chinatown . According to Wong, the latter is a “textbook” of Hollywood filmmaking . In Ming’s version, he plays all four main characters portrayed originally by Jack Nicholson, Faye Dunaway, John Huston, and Belinda Palmer, shooting against a backdrop of a film set reproduced as wallpaper in a gallery space.

Installation (Installation)

The work Calendars is composed of 1001 images of deserted public areas in Singapore printed on pages of a calendar set from the year of 2020 until 2096. Yet Chong photographed these public spaces (shopping centers, museums, MRT stations and schools) between 2004 and 2010. Calendars continues Hong’s conceptual investigation of the intersections between time, space and situation.

Film & Video (Film & Video)

The Cloud of Unknowing (2011) is titled after a 14th-century medieval treatise on faith, in which “the cloud of unknowing” that stands between the aspirant and God can only be evoked by the senses, rather than the rational mind. In the video, eight protagonists act out their daily lives. The setting is a soon-to-be-demolished public housing facility in Singapore, a country in transition from a mindset of Eastern collectivism to global neoliberalism.

Painting (Painting)

With a habit of reading eight to ten books at the same time, Chong paints his two-foot tall novel covers through referencing an extensive reading list (accessible on Facebook) he has kept since 2006. Entitled “Bibliography (1): The Lonely Ones,” the list outlines representations of solitude that has been imposed on individuals or communities. Chong divides these archetypes into three over-arching notions: the Hide-away, the Castaway and the Prisoner.