A group of Chinese museum visitors have issued a formal complaint against Heman Chong, after the Singapore-based artist allegedly shared their images on social media alongside what they describe as “derogatory accusations”.
The visitors say they shared pictures of themselves posing at Chong’s exhibition, The Endless Summer (27 October 2024-6 April 2025) at UCCA Dune, on the Chinese platform Xiaohongshu, also known in English as Little Red Book or Rednote. They then claim that between 20 February and 1 April the artist reposted their images to his own Instagram account, with captions including “…used my work as a backdrop for their narcissism”, “…self-obsessed images” and “…appropriating my work as a background for their images”.
More than 20 screenshots purporting to show these now-deleted posts have been reviewed by The Art Newspaper.
The detailed complaint that followed, also reviewed by The Art Newspaper, suggests that Chong violated China’s portrait rights law. That 2020 amendment to China’s Civil Code forbids using recognisable images of individuals without their express consent. The complaint also accuses the artist of deriding and humiliating audiences who paid to support his exhibition, and of “gender-based targeting” for only using images of women.
Chong has not replied to repeated requests for comment.
UCCA Dune—the Qinhuangdao outpost of Beijing’s UCCA Center for Contemporary Art—and the Aranya resort it sits within were also accused by the complainants of a dismissive response and breach of duty. “UCCA’s silence betrayed public trust,” the complaint reads. “During a time when museums rely on visitor support, this institutional failure enables discrimination and exploitation.”
The complaint goes on to issue demands for a “formal bilingual apology on Instagram admitting to portrait rights infringement and public insults” from Chong, and that “UCCA/Aranya must jointly apologise and implement artist ethics reviews”. It also calls for institutions to re-evaluate projects with Chong, who recently opened the solo exhibition Heman Chong: This is a dynamic list and may never be able to satisfy particular standards for completeness (until 17 August) at the Singapore Art Museum.
A UCCA spokesperson said: “UCCA contacted artist Heman Chong immediately upon learning of concerns raised in response to content he posted on his personal Instagram feed,” after which Chong “promptly removed” the posts. “UCCA has extended direct apologies to the known affected individuals, who have responded in acceptance. UCCA is in direct communication with Aranya to develop and implement further actions.”
Digital influencers
Selfie-taking and other photography shoots by wanghong—digital influencers or celebrities—have long been a fixture at China’s galleries and museums. Aranya particularly markets itself to the influencer demographic, a reputation that the complainants highlighted in a follow-up message.
They said: “The Endless Summer exhibition at UCCA Dune Art Museum explicitly permits photography, and taking photos is a legitimate right of attendees to appreciate the art and document their visiting experience. As a paid exhibition, visitors invested time and money to support the artist and institution without damaging artworks or disrupting operations. Our photos were taken in good faith, reflecting genuine engagement with the exhibition.”
The group, self-styled as Victimized Visitors of Heman Chong, UCCA & Aranya, point out that “many museums worldwide encourage such interaction to enhance engagement and promote exhibitions. Our photos, shared in good faith, increased visibility for Aranya, UCCA, the artist, and the exhibition—a commercial endeavour reliant on public support.”
The UCCA spokesperson added that the institution “collaborates with Chinese social media platforms including Rednote, Douyin, and WeChat in the name of promoting its exhibitions and engaging its audiences. UCCA encourages its visitors to engage with its exhibitions and programmes using social media as they see fit. UCCA values the feedback it receives from visitors via social media, and employs dedicated staff who monitor and respond to comments and inquiries it receives.”
The complainants assert that “artists and institutions must respect the freedom of audiences to engage with artworks in their own way (if not causing harm and with malicious intention), just as artists enjoy creative freedom. If photography is a concern, museums can clearly prohibit it through signage or policies, rather than permitting it and then publicly shaming visitors. If an exhibition is intended for a select audience or deems the general public unfit to engage, it should not be open to ticket-paying visitors.”
The complainants suggest that artists and museums, if unhappy with audience interactions, provide further context through accompanying statements and guided tours, rather than blame visitors. “Such approaches would maintain professionalism and avoid alienating the public,” they conclude.
