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Leonard Suryajaya: Don’t Hold On to Your Bones

Leonard Suryajaya: Don’t Hold On to Your Bones Chicago Artist Coalition (cac), Chicago, il, usa, 4–24 March 2016.The experience of walking into the exhibition space of Leonard Suryajaya’s Chicago Artist Coalition Bolt Residency solo show Don’t Hold On to Your Bones itself is jarring—a spectacle for the senses (fig. 1). The walls and floor are covered with what looks like a veneer of multicoloured confetti. The room is full of furniture one would find in a domestic space—chairs, benches, tables, lamps, books, a microwave, a telephone, a water cooler, and even several palm trees—but it is covered and wrapped in this same multicoloured paper. No surface goes unmasked; everything is in a state of camouflage. Amidst this visual blur, the eyes come to rest on eleven photographs that line the walls. Here again, nothing can be quickly decoded. They are full of patterned fabrics and ornate symbols, and they portray complex interactions and relationships between the people in the photographs. In addition, tv screens are placed far up in the corners of the gallery, above which surveillance cameras covered in multicoloured paper look down on us. On these elevated monitors, schoolchildren in Indonesia are enthusiastically singing “This Land Is Your Land,” “America the Beautiful,” “God Bless America,” and http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Diasporic Visual Cultures and the Americas Brill

Leonard Suryajaya: Don’t Hold On to Your Bones

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Publisher
Brill
Copyright
Copyright © Koninklijke Brill NV, Leiden, The Netherlands
ISSN
2352-3077
eISSN
2352-3085
DOI
10.1163/23523085-00302018
Publisher site
See Article on Publisher Site

Abstract

Chicago Artist Coalition (cac), Chicago, il, usa, 4–24 March 2016.The experience of walking into the exhibition space of Leonard Suryajaya’s Chicago Artist Coalition Bolt Residency solo show Don’t Hold On to Your Bones itself is jarring—a spectacle for the senses (fig. 1). The walls and floor are covered with what looks like a veneer of multicoloured confetti. The room is full of furniture one would find in a domestic space—chairs, benches, tables, lamps, books, a microwave, a telephone, a water cooler, and even several palm trees—but it is covered and wrapped in this same multicoloured paper. No surface goes unmasked; everything is in a state of camouflage. Amidst this visual blur, the eyes come to rest on eleven photographs that line the walls. Here again, nothing can be quickly decoded. They are full of patterned fabrics and ornate symbols, and they portray complex interactions and relationships between the people in the photographs. In addition, tv screens are placed far up in the corners of the gallery, above which surveillance cameras covered in multicoloured paper look down on us. On these elevated monitors, schoolchildren in Indonesia are enthusiastically singing “This Land Is Your Land,” “America the Beautiful,” “God Bless America,” and

Journal

Asian Diasporic Visual Cultures and the AmericasBrill

Published: Mar 14, 2017

References