MARCH 2010 // 1

Organised by:

6 Handy Road #02-01 The Luxe Singapore 229234 T: +65-6338 2234 Email: info@thelam.sg
2 // CONFABULATION
Tue to Sun - 11am to 7pm / Mon & Public Holidays - Close
MARCH 2010 // 3
4 // CONFABULATION MARCH 2010 // 5
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8 // CONFABULATION MARCH 2010 // 9
+ CON-
TENTS anthony
palo “I’m Watching Tv. Robot, Mr.Potato, Baby alien, and my pet i forgot his name”
16. 17. 48 x 60 inches, Oil on canvas (2008).

abrigo
18. 22. 30.
buen

36..

Fast Forward to a different moment in time

16 COMING UP
Golden Tiger New Year Art Exhibition
44 SITE SPECIFIC
Andrée Weschler
with 2 promising Philippine Artists -
Anthony Palo & Buen Abrigo whose works are
Treasury of the World: Jewelled Arts of India in the distinctly whimsical and futuristic,
Age of the Mughals
but no less introspective.
Folkish - Native South Indian Life in Art

46 REVIEWS
“The New Messiah” 36 x 36 inches, Oil on canvas.
Mummy, Is My Drawing Nice?
Mosaic Music Festival A Review on《K 变形记》
Cheo Chai-Hiang’s “Banyak Orang
Bergelang Tanggan”

18 FEATURES
Collecting Sculptures and Their Maintenance
Han Sai Por: An Interview
What Makes P. Gnana?
fast forward
12–26 March 2010
David Gerstein in Singapore
Marc Quinn: A Profile
S I N G A P O R E

The Regent Singapore, 1 Cuscaden Road Ground Floor Unit 3, Singapore 249715
Tel.: +(65) 6725 3113 · Email: contact@galeriejoaquin.com.sg
10 // CONFABULATION www.galeriejoaquin.com.sg MARCH 2010 // 11
CONTENT

41.

46. 50.

66.

55 DIRECTORY
Singapore
Malaysia

64 CREATIVE
RESOURCES

66 POSTSCRIPT
LOVE / Robert Indiana

12 // CONFABULATION MARCH 2010 // 13

Issue #4 (March 2010)
ISSN 1793-9739 / MICA (P) 183/02/2010
www.confabmag.com

Editor-in-chief // Sabrina Sit / s@confabmag.com

Art Director // Amalina MN / a@confabmag.com
Photography Director // Michael Tan (Ambious Studio)
Account Executive // Kayla Hoo / k@confabmag.com
Contributors // Dr. Robert B. Faltermeier / Yow Siew Kah / Vidhya Gnana Gouresan
/ Elisabeth Chairil / Richard Chua / Amanda Lai
Site Specific artist // Andree Weschler

General enquiries and feedback // _@confabmag.com

Advertising // ad@confabmag.com
Press Releases // pressreleases@confabmag.com

Cover
Parallel Play by P. Gnana

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14 // CONFABULATION MARCH 2010 // 15

COMING UP COMING UP

Exhibition: Folkish - Native South Indian

Life in Art
Date: 05.03.10 – 16.03.10
Venue: The Gallery of Gnani Arts
1 Cuscaden Road
#01-05 The Regent
Singapore 249715

www.gnaniarts.com

Via a fresh showcase of elucidating art by three carefully-selected emerging artists, Folkish promises
to bring you on an experiential visual excursion to classic rural life that still evident in South India,
particularly Tamil Nadu. The collection flaunts paintings by S. Elayaraja, S. Kumar and S. Sivabalan,
who have created an effective combination of brilliant technique, down-to-earth scenarios, an
endearing sense of naivety and warm hues of the earth – aspects that are so synonymous with daily life
in an archetypal village of South India.
^ Exhibition: Golden Tiger New Year Art Exhibition
Date: 22.02.10 – 21.03.10
Venue: Dynasties Antique & Art Gallery
10 Boon Lay Way
#01-136 TradeHub 21 Exhibition: Mummy, Is My Drawing Nice?
Singapore 609966 Date: 06.03.10 – 07.03.10
Venue: Red Dot Traffic
www.9911art.com 28 Maxwell Road
Singapore 0691290
Over 30 pieces of works in oils, watercolor and Chinese ink have been specially selected and brought
together in this exhibition; showcasing the vigor and vitality of the Tiger. Consisting of works by children aged 18 months to 12 years old, this exhibition will demonstrate a
range of illustrations such as scribbling, narratives, abstract drawings and violently strange characters,
which reveals a deeper insight to the way they perceive and experience their world. This exhibition also
investigates why art is vital to them and more importantly, to celebrate children’s art as inspired.
Exhibition: Treasury of the World: Jewelled Arts of
India in the Age of the Mughals
Date: Till 27.06.10
Venue: Asian Civilisations Museum
1 Empress Place Exhibition: Mosaic Music Festival
Singapore 179555 Date: 12.03.10 – 21.03.10
Venue: The Esplanade
www.acm.org.sg 1 Esplanade Drive
Singapore 038981

This blockbuster, world-renowned exhibition of jewelled art from the Mughal Empire of India (1526 – www.mosaicmusicfestival.com
1858) has been shown in prestigious museums around the world including the Louvre in Paris and the
Metropolitan Museum of Art in New York. It makes its Asian debut here in Singapore. A whole slew of
exciting public programmes like the family-friendly Mighty Mughals Weekend Festival is lined up for the
month of March. Contact ACM for details. The annual Mosaic Music Festival gets underway in Singapore on March 12th, kicking off a diverse ten-
day programme of international artists and bands. Esplanade - Theatres on the Bay hosts the event,
Image: Asian Civilisations Museum which offers visitors an appealing mix of jazz, soul, hip hop, rock and world music.

16 // CONFABULATION MARCH 2010 // 17

FEATURES
For many years now, private and corporate
investors have realised that investing in
art can be very profitable and enjoyable.
Collecting contemporary art is a great
way to add a new chapter to an existing
investment portfolio. Buying modern
Collecting
art can also immediately enhance your
living and working environment, having
an artwork on display, at home or in the
Sculptures
office can demonstrate taste, style and
power. Depending on the understanding
of the artwork and the artist, the piece can
express a company’s ethics and mission.
and Their
A background check of the artist and his
oeuvre is therefore of different importance
for home and office.
Maintenance
Well known artists such as Rodin, Moor
and Giacometti, are like blue chip stocks.
One of the most important Giacometti
works L’Homme Qui Marche recently
Text: Dr. Robert B. Faltermeier
fetched 65 million pounds in an auction in
London. This blue-chip-art is limited and
appreciates better in a poorer market, than
lesser-known artists. However, the price
tags are vastly higher. To collect masters,
you do need specialised knowledge of the
art market and the artist. These exceptional
artists have already proven their investment
quality and are an encouragement to go
out and find the next great masters. It is
important to diversify the collection and it
is always a good idea to include emerging
regional artists, these will add bulk to your
collection and there is always the potential
of an artist to be discovered and really to
take off. Imagine for a moment you were
one of the few who started buying an early
Picasso.
18 // CONFABULATION
MAINTENANCE OF SCULPTURES
Collecting contemporary art is a great
way to start collecting or to add new life
into an established collection. To make
an informed choice of artist or material to
buy, visit galleries, discuss the pieces with
the artist whenever possible. Research the
artist by reading articles in magazines,
books and the Internet. Look at the artist’s
longevity; an artist might have only one
big show and then disappear from view
forever. Therefore his exhibition record
becomes very important. See if the shows
are only local or regional, or if the artist
has been exposed to an international
clientele. This will quickly reveal if an
artist has been hyped by museums or
galleries and this might be an indicator for
quality an acceptance of pieces.
When buying modern sculptures, it is
important to see if the new artist has
understood the material he is working in.
Be it stone, bronze or modern materials.
Stone is one of the most resilient materials;
the reoccurring maintenance costs such,
as cleaning and conservation are low.
When buying a bronze for indoor or
outdoor display, the patina has to be in
pristine conditions and the sculpture needs
regular attention, since bronze corrodes
easily in an urban environment. Modern
materials such as plastics are generally a
difficult genre, since many modern resins
can deteriorate rapidly when exposed to
high light and temperature levels, as they
are typical in tropical region. It is always
good when investing in contemporary art
to have the assistance of an independent
experienced conservator, familiar with the
material and the subject.
MARCH 2010 // 19
FEATURES
Some legal aspects, a collector of modern and
contemporary art, has to understand the copyright laws
of the respective country. When buying a piece of art, the
transfer of all copyrights should be contained with in a
sails contract. The buyer has to ensure that the transfer
is legally binding. This might be necessary in case of
publication, conservation or future sail of the artwork
in question, and might determine the final value. The
contract should also indicate the authenticity, history and
provenance as detailed as possible.
The maintenance of Outdoor Sculptures is necessary
to keep its intrinsic and monetary value. The least
maintenance is needed for stone sculptures. Regular
cleaning and condition checking will keep them in
good shape.
Even as a bronze sculpture leaves the foundry, its
surface is under attack. Corrosion is due to the
interaction between a metal and its environment. The
rate, at which a bronze sculpture corrodes, depends
on its environment. In a tropical urban climate, this
corrosion can occur and progress rapidly. This is
mainly due to the high humidity and temperature,
but also air pollutants. Both formic and acetic acids
are major organic acids contributing to the acidity of
rain. These acids readily attack and dissolve patinas,
resulting in patchy and streaky surfaces.
A bronze, containing chloride corrosion, due to the
previous exposure to a chloride environment, can still
corrode in an indoor environment. These chlorides
can be due to burial, as in the case of archaeological
bronzes, or in contemporary bronze sculptures due
to airborne salts, handling and others. This chloride
corrosion can
be indicated as light green to turquoise spots, powdery
or solid in texture, or even as a light green liquid
when exposed to high humidity.
It’s an urban legend that exposure to air-conditioning
will halt this chloride corrosion completely. Only
20 // CONFABULATION
if a good dehumidifying system is used,
can the relative humidity be reduced to
deactivate corrosion or an other option
is the metal sculpture is coated with a
synthetic material to prevent humidity
attacking its surface. However; a low
humidity level in turn will affect wooden
sculptures, textiles and other organic
materials and cause them to shrink
and crack. Display cases are therefore
recommended for mixed collections of
high value.
When it comes to cleaning sculptures,
make sure that no commercial cleaner is
used. They can contain ammonia and other
additives, which stain and rapidly deteriorate
the surface. When dusting an indoor
sculpture, it is best to use a very soft, clean
and dry brush to dust the surface and make
sure the metal sleeve around the bristles does
not scratch the surface.
Sculptures made from polyester or epoxy are
best shown in an indoor environment. Coated
glass-fibre sculptures deteriorate rapidly in
a tropic environment. The high humidity
temperature and light levels have devastating
effects on its structural integrity.
Do not place sculptures directly on soil
if not absolutely necessary since the
moist ground accelerates deterioration.
Place sculpture on a plane stone surface
preferably marble or granite above the
grass line. There should be no grass line
around the sculptures since trimming with
scissors, trimmers or cutters will scratch
the surface. Be aware of animals such as
cats and dogs that might use the sculpture
as a marker, animal secretions can cause
corrosion of the surface.
MAINTENANCE OF SCULPTURES
Sculptures should no be placed under
trees, bird and other animal droppings are
very aggressive. Positioning a sculpture
in well aerated area allows the surface
to dry faster, minimising deterioration.
It is not advisable to position a sculpture
near a high traffic road, the pollution and
the vibration increases deterioration and
cracking. Outdoor sculptures should be
washed once a month from top to bottom.
If the surface is clean, moisture can dry up
very quickly, however if there is a layer of
dirt it will stay moist longer and initiate
deterioration. To wash a sculpture it is best
to use filtered tap water. The carbon filter
will filter out most of the chlorine and
fluorine and metal particles if present. A
clean flannel or sponge is needed. Should
the sponge or flannel fall to the ground or
be used on very dirty, gritty areas, it needs
to be replaced or very very thoroughly
washed. Regular cleaning solutions should
not be used.
Every 6 months the sculpture should be
washed thoroughly inspected and waxed
with a neutral microcrystalline wax that
is suitable for the climate what works
in a European climate is not necessarily
applicable in a tropical climate.
For a good management of a sculpture, it
is recommended that every 6 to 12 months
a professionally trained conservator should
inspect the surface for flaws and damage, and
clean the sculpture and reapply a sacrificial
protective coating. The condition check
ensures that the estimated 5-10% increase in
value per year is not jeopardised. //
MARCH 2010 // 21
FEATURES HAN SAI POR

Han Sai Por:

An Interview
Text: Yow Siew Kah

Award-winning Artist Han Sai Por Talks About

Her New Solo Exhibition, How She Relates to Her
Materials and Her Creative Process.

22 // CONFABULATION MARCH 2010 // 23

FEATURES
Han Sai Por is a top Singaporean
sculptor who was awarded the
Singapore Cultural Medallion in 1995
for her significant contribution to the
arts. She was educated in pedagogical
methods, the fine arts, and landscape
architecture, and has exhibited in such
prestigious locations as the Fukuoka
Museum, Japan, the National Museum
of Modern Art, Seoul, Korea, and in
the Landscape Sculpture Exhibition
in Beijing, China, during the 2008
Summer Olympic Games. She talks
to art historian Yow Siew Kah on her
new solo exhibition in Singapore.
24 // CONFABULATION
Can you tell us about the show?
My upcoming solo show is entitled “The
Changing Landscape”. I have always been
interested in the tropical landscape, and the
body of works I have made for the exhibition
shows my continued involvement in this line
of inquiry. The works are responses to what I
see as violence inflicted on the tropical flora
and fauna of Singapore.
Such violence occurs on at least two
levels. First, in the last few decades, we
have seen the physical infrastructure of our
country developing at a giddying pace.
Large parts of the natural landscape have
now been replaced by steel-and-concrete
structures. Massive destruction of wildlife
has accompanied this change. Some of the
plants and animals that I used to see as a
child appear to be extinct. Second, while
attempts have been made to re-introduce
nature into urban spaces, imported species
have been given preference over indigenous
ones. What we have now are well-manicured
gardens rather than the untamed vegetation
that used to strive under our humid tropical
conditions.
The tropical rainforest is an important feature
of the landscape of our region: it marks
the difference between us and the more
temperate areas of the world. Many places
in Singapore were named after tropical
plants which used to be abundant on the
island. Now that the flora has disappeared,
the names no longer have the same
significance.
I have grouped the works into four sub-
themes: Deforestation, Destruction,
Extinction and Transformation, each
addressing a different aspect of our
changing landscape. Instead of using the
usual pedestals, I will display the sculptures
as installations.
How are the drawings in the show related
to the sculptures?
Drawing is an important part of my art
practice, and I have been doing it for many
years. I do not draw only to conceptualise,
although it certainly has that function. If it
is possible to say that an art work can be
“complete”, many of my drawings, including
the ones in the exhibition, are “finished”
products.
We usually think of drawing and sculpting
to be two completely different activities. For
sure, there are differences, But they have
more similarities than one would imagine.
Both are creative acts that involve mark-
making: drawing lines on paper can be like
carving on stone. Of course, the media and
tools are not entirely the same, and I need to
be sensitive to the differences. For example,
sculpting is usually about removing material,
while drawing is “adding on”. But as
movements of the hand, they are really not
that dissimilar.
One of my key concerns in creating a
sculpture is the effect of light, including how
light and dark areas can be juxtaposed
to create interesting visual effects. I also
explore light-dark in my drawings.
HAN SAI POR
At the risk of over-simplifying, for me,
drawing is a more relaxing form of sculpting.
Making a sculpture out of a material like
granite is hard physical work. The sound of
the machine tools is always whirring in my
ears, and the air that I breathe in is thick
with dust. Very often, the process is so
messy that it is hard to visualise the finished
product. In contrast, drawing can be done in
a more comfortable setting, and it is easier
to see where I am going: there is a better
sense of the overall image.
Please tell us how you work with
materials.
After having worked as a sculptor for
so many years, I have developed an
intimate relationship with the materials that
I commonly work with, such as bronze,
granite and marble. Depending on the
natural appearance of a material, I decide
on how much work needs to be done. Some
materials have such beautiful forms that
I leave them pretty much as they are, but
others require more manipulation. In general,
granite has highly patterned surfaces
and need a different kind of treatment
from marble, which tends to have a more
homogenous appearance.
Different materials respond differently to
treatment. For example, granite is really
hard, and cannot be carved the same way
as marble. Also, not all materials can be
polished with good results: granite shines
easily, but sandstone never does.
MARCH 2010 // 25
FEATURES HAN SAI POR

As you can see in the works in

the show, I like to create artificial
textures on the stones, which would
then interact with the natural ones
in interesting ways. The textures are
made using a variety of methods,
including sand-blasting and polishing.

What about your creative process?

Many of my works are rather large,

and to complete them, I need help
from skilled craftsmen. They are
really hard to find in Singapore and
Malaysia, but I have access to some
good ones in a workshop in Fujian
province, China, where I spend a good
amount of time.

I usually make a maquette, which

is a scale model, of my design, and
consult with the local masons on the
choice of material. I may even need
their help in making the maquette: the
model is usually about half the size of
the final product, so depending on the
design, it can be quite sizeable.

It would be incorrect to assume that

with a scale model, the craftsmen
can complete the work unsupervised.
There are several reasons. First, the
maquette is just a model, and because
it is much smaller than the actual work
and is made quite quickly, it does not
have many of the details in the original
design. This means that I will need to
add in the finer points when executing
1. Destruction series 1, 2009, Marble with Honed
Finish, H58.5 x W38 x D34.5 cm

2. Destruction series 2, 2009, Marble with Honed

Finish H67 x W64 x D20.5 cm

26 // CONFABULATION MARCH 2010 // 27

FEATURES HAN SAI POR

the final work, either by myself or by directing a

team of masons. This occurs rather frequently.
Second, the masons are not trained in art. They are
good in replicating a design, but tend to be less
competent in making aesthetic decisions. There is
therefore a great deal of need for my input.

What projects are you working on?

I usually have ongoing special commissions to work

on. At the same time, a party has expressed interest
in publishing a small catalogue of my public art
works. A significant portion of my portfolio consists
of large, outdoor pieces. Some of these are in
private collection, while others are installed in public
spaces. Existing catalogues of my sculptures have
tended to focus on the smaller works, which means
that a large part of my oeuvre has been left out. I
look forward to seeing a publication that features the
bigger works.

The Changing Landscape is at The Luxe Art

Museum, 6 Handy Road, #02-01, The Luxe,
Singapore 229234, from 1 March 2010 to 25 April
2010. The exhibition is open Tuesdays to Sundays
from 11am to 7pm. It is closed on Mondays and
public holidays. For more information, contact
the museum at: phone: +65-63382234, fax: +65-
63372234, email: info@thelam.sg. //

Tropical Legacy, 2009, Ink on paper, 36 x 39 cm

28 // CONFABULATION MARCH 2010 // 29

FEATURES P. GNANA

What Makes
P. Gnana?
Sculptor & Painter
Text: Vidhya Gnana Gouresan

30 // CONFABULATION MARCH 2010 // 31

FEATURES
This holy Mother Earth bears, together
with many other things, a massive number
of artists of all sorts and nature. However,
in every country or culture, there is always
a selected few who stand out from the
rest for one or more reasons. P. Gnana, a
painter and sculptor, is one such artist who
has obtained a highly-captivated audience
in the Lion City and internationally, for
the aesthetic and conceptual niche that
he has created for himself within the
ever-competitive dynamics of urban art-
making, This, he continues to achieve, by
constantly counter-challenging or taming
the forces that urge him to dispel his
obsessive fascination towards the cow, a
recurring symbol in his art since the past
four years.
It is a fact that exemplary paintings by
Gnana are also in the collections of the
President of the Republic of Singapore and
the Singapore Art Museum of the National
Heritage Board. Gnana is a recipient of the
LASALLE Scholarship of the LASALLE
College of the Arts (Singapore), from
where he received his formal training in
the art of painting.
In 1970, Gnana was born to Ponnusamy (a
foreman) and Navaneetham (a homemaker)
in the township of Neyveli in Tamil Nadu
(South India), as the third of four children.
Trained as a mechanical engineer for
the sake of his parents’ vision for his
livelihood, his entry into the unfathomable
world of art was an unexpected occurrence
that served as a platform to realise his
innermost desire to drown into a realm that
he related to naturally. As a child, Gnana
32 // CONFABULATION
was always drawing, requesting every
guest to his home to vote for the drawing
that he/she considered to be the best of
all his drawings. This childhood practice
did lay a foundation for the artist’s current
penchant for observing the subjective
reactions (verbal and behavioural) to his
art from the viewer or the appreciator.
This practice, the artist reveals, “gives me
an awareness towards the communicative
process that my art provokes in the viewer.’
On the contrary, it will be a tedious task
for the viewer to tempt Gnana to talk
about his own art. He finds this daunting
indeed. “My artwork, together with the
processes within it, is my conversation,”
Gnana explains. During the birth of his
self-exploratory career as an artist, the
figurative mode was a dominant aspect
of his paintings, together with a clear
evidence of the artist’s very rigourous
study of the many possibilities of colour
manipulation. Then, there came a phase
whereby he was lured into the challenge
of abstract expressionism. What begin as
a phase to prove his spontaneous creative
capability in abstraction, did indeed turn
out to be a monumental phase that offered
Gnana an absolute sense of freedom as an
artist. During this phase, Gnana declares,
“I truly experienced ‘art for the artist’s
sake’. My brush was uncontrollable.”
Gnana’s admiration towards significant
modern artists such as Andre Mason,
Jackson Pollock and Piet Mondrian were
vital in this phase.
Coming back to the impervious
representation of the cow in Gnana’s
art, the herbivore is very much a part
of the artist’s fascinating childhood in
his hometown, that was almost entirely
a rural ambience. His mother used to
own and breed two cows and a calf.
Gnana fondly recalls moments whereby
he enjoyed assisting his mother in
the upkeep of the cows in duties such
as collecting grass for sustenance,
searching for a missing cow during the
monsoon season and even in the process
of birthing a cow. When one talks to
Gnana about his experiences with the
cow in his formative years, it will be
impossible to miss the instant twinkle
in the artist’s eyes. The cow in Gnana’s
art is not accidental at all. Indeed, it
is a worldly expression of an element
of his subconscious; an element that
is undeniably linked to the carefree
innocence of his childhood and his deep
affection for the one who nurtured him
and the cows at home – his mother. In
essence, Gnana’s celebrated Eternal
Companion series of paintings embraces
the notion of emotional ecstasy and the
enjoyable taste of being cherished, with
the cow and an often androgynous human
being as metaphors, portrayed in a
blatantly stylised, semi-figurative mode.
At this point, it has to be acknowledged
that the Eternal Companion body
of paintings did indeed emerge as a
phenomenon in its own right,
Moving further into his affair with the
cow in his art, Gnana obeyed his urge to
venture into creating three-dimensional
representations of his inspiration. The
debut collection of Gnana’s charismatic
P. GNANA
sculptures was officially launched to the
public via his eighth solo exhibition, The
Eternal Cow: Sculptures and Paintings
by P. Gnana, which was presented at the
Singapore Philatelic Museum from January
2009 to March 2009.
Experimentation, serious and sometimes
meditative, has been one of the key
instruments that has shaped Gnana’s creative
journey through the years, allowing him to
rejuvenate in a world of constant change and
fluctuating emotions. Gnana’s fascination
towards the technique of collage in his
paintings began in the first few years of his
career. Today, collage is back in his art, but
this time, on both sculpture and painting.
“With collage, an artwork is never complete,”
Gnana opines in a matter-of-fact manner.
For Gnana, collage is process-oriented with
layers and layers of ideas, presenting him
with fresh possibilities that emerge on the
spur of the moment.
“I don’t like to be controlled.” Simple as it
may sound, this very spontaneous statement
by P. Gnana is not to be taken lightly, as it
manifestly resonates the eminent artist’s
subtle yet forceful stance as a creator and
the very motto of his personal disposition.
However, it is almost paradoxical to note that
it is control, in varying intensities at different
points in time, that has stimulated the
brilliance of the intense process of formation
– from mind to medium - in the compelling
span of art that this man-of-a-few-words has
contributed to the seemingly enigmatic realm
of contemporary art and its market. //
MARCH 2010 // 33
FEATURES P. GNANA

1. Parallel Play, sculptural installation

2. Eternal Companion, bronze sculpture
3. Relaxed, 2002, oil on canvas.
4. Eternal Companion, bronze sculpture
5. Holy Cow, 2009, oil and fabric collage on canvas, 180 x 200 cm

34 // CONFABULATION MARCH 2010 // 35

FEATURES DAVID GERSTEIN

David
Gerstein
in Singapore

36 // CONFABULATION MARCH 2010 // 37

FEATURES
It is difficult to think of another artist like
David Gerstein whose work in the recent
years has gained such prominence in the
local and international art scene. Everyday
in Singapore, thousands of commuters
on their way to work and play, travel
pass the iconic 19-meter sculpture in the
courtyard of One Raffles Quay. Momento,
the commissioned project that took two
years to complete and consists of a top
figure that is mobile and is reflective of
the multi-cultural Singaporean work ethic
comprising of people climbing the ladder
to success.
Regularly exhibited at distinguished
galleries all around the world, Bruno Art
Group has teamed up with Sunjin Galleries
to present Gerstein’s first solo show in
Singapore. Gerstein’s rich painting style;
the secular, flat, mundane images, simple
and glowing in their colors; his relating
to a society accustomed to seeing reality
through the television frame and which has
forgotten the simple pleasures of sand and
sea and riding a bicycle with one’s hair
blowing in the wind - all these encourage
us to ascribe his cut-outs to a late Israeli-
style pseudo Pop Art genre, designation by
genre and, not a fundamental-ideology.
The Israeli artist seeks to expand the
limits of the two-dimensional paintings
into three-dimensional sculptures. In his
choice of subject matter he wishes to break
down the existing barriers between the
work of art and its audience, by creating
enchanted and simple straight forward
images, which render sometimes intimate,
dream-like, naïve scenes and another times
38 // CONFABULATION
a cinematic, large scale, choreographed
reality.
Gerstein creates universal colorful and
layered images of still-life compositions,
urban landscapes and human activity, witch
always retain local and autobiographical
elements. His versatile body of works
consist of indoors wall-sculptures formed
as multi-layered cutouts, outdoor works,
sculptures, paintings, prints, drawings, and
designed objects including jewelry, which
can be found in Museums and galleries,
indoor and outdoor public as well as
artifacts and design shops in Israel and
around the world.
Born in Jerusalem in the early forties,
Gerstein grew up without toys. Together
with his twin brother, he had to devise
them from anything that came to hand.
To invent a world for himself by cutting
people and cars out of cardboard and
painting windows, wheels and doors onto
them, exactly like the thin toys made out
of tin (which years later were declared
illegal). Naturally, the Gerstein twins,
bubbling with relentless creativity, were
quickly considered highly gifted wonder
children.
Until the late eighties - when the large
body of his works called “cut-outs”
appeared, along with the process of
reproducing them in series of up to 150
signed and numbered copies, hand-painted
in industrial paints with some freedom in
variation. In his cut-outs - even though
most of them are fashioned in three layers
- something can still be found of the two-
DAVID GERSTEIN
For me art is something
simple and basic, like bread
and water and air. I have
heard about artists’ creative
torments, but I feel that I
create naturally, like a fruit
growing on a tree. I also think
of my works as fruit that the
tree has sprouted. I don’t have
to invent anything or rack my
brain on how to process a
grandiose idea: things simply
grow by themselves. They flow
when I’m driving, talking, in
the morning before I get out
of bed. Then I come to the
studio and work, and perhaps
cultivate my fruit: A piece of
fruit on which nature bestows
enticing color and shape, so
that birds will come and feed
on it and disperse its seeds.
In other words, the tempting
color and shape have function
and reason.
- David Gerstein
MARCH 2010 // 39
FEATURES MARC QUINN

dimensionality of the cut and painted cars. The improved technique gave rise to
Gerstein went through different expressive strong characteristic graphic bravado,
phases, yet in all of them he brought with stylistic gestures of strong figuration,
together the biographical with the local. classical elements of drawing and

Over the years his image reservoir grew
to include trees, butterflies and birds, and
his painting technique improved until it
Marc Quinn:
traditional painting compositions. With
these came a great release of color and
a switch to shiny, sensual colors that
celebrate life and its fullness, with their

A Profile
reached the formulation of handwriting, television-like flickering and their lack of
line and coloring which are uniquely his guilt and conflict. The respective shadow,
own. His images were treated again and which forms when the cutouts hang against
again, his funny figures internalized their the wall, is also taken into account as
slight stammer, their innocent absurdity part of Gerstein’s poetic duplication and
and their kindness, until they became more echoing effect.
Text: Elisabeth Chairil
and more graphic, automatic, spontaneous,
immediate, schematic, direct, with no David Gerstein one-man show runs from
double-lining; Merely a smiling gaze. 15th April to 6th May at Sunjin Galleries
at 43 Jalan Merah Saga, #03-62 Workloft
Before the metal cutouts with their @ Chipbee, Singapore 278115. For more
industrial-like process of production, information, please contact the gallery
Gerstein created works in painted at + 65 6738 2317 or email sales@
woodcuts. He painted the first of these sunjingalleries.com.sg. //
objects in the exact same manner as his
canvases - with conventional oil paints.
However, the transition to another medium
and material called for relevant paints
and painting techniques: super-lacquer,
stencils, tapes, airbrushes, etc. He tried
to liberate the “statues” cut in wood from
the flatness of the plywood. In order to
achieve an expressive, tangible effect
he covered the image’s surface with a
mixture of glue, sand and paint, and added
acrylic paint on top of the resulting rough
texture. However, it seems that even this
did not satisfy him. His quest for a suitable
personal language led him to metal,
forcing him to give up acrylic paint and
adopt industrial paint, since acrylic does
not take to metal.

40 // CONFABULATION MARCH 2010 // 41

FEATURES
One often asks, what is the role of
an artist in his studio? He is the
creator of art, yes. But how different
is he then from the scientist in the
lab? Like a scientist, Marc Quinn
similarly experiments and creates his
works not only in practice, but also
in subject matter. Often dwelling
with the subject of science and nature
in his works, this painter, sculptor,
photographer, furniture designer and
scientist only wants to be labeled
purely as an artist.
Born and based in London, Quinn
graduated from Cambridge University
and he soon became considered as
one of the most important and young
emerging artist of his period in the
UK. He rose to prominence in the 90s
with his controversial self-portrait
piece titled Self (1991) which was
made from the artist’s blood collected
over a period of five months and
displayed in a refrigerated case.
He has since created numerous
monumental pieces made from
various materials. Many of his works
discusses the relationship of the
human body, science and nature and
include key themes such as creation
and the beginnings of life, death and
beauty.
Like many artists, his successful and
whirlwind career started with a solo
exhibition in the renowned Jay Jopling
/ Otis Gallery in London not long
after he graduated in 1986. Rarely to
appear in auction houses, the sales of
CONFABULATION
42 // CONFABULATION
MARC QUINN
his works are done through the private
market of dealers and galleries all over
the world. It was only recently that the
artist was featured in the Sotheby’s
publication, as his works were included
in a charity event held by the auction
house in which his large-scale oil
on canvas Flower Painting sold for
US$330,000.
This newly formed relations with the
auction house has more than ever given
a commercial validity to the artist
and yet Quinn is still able to hold his
artistic integrity by making something
that is personally significant. In a
profile interview the artist stated:
“Ideally you want to find something
that’s profound and appealing, but
sometimes you have to do things that
are personally important even if you
suspect you’ll never sell them.
1. Moment of Passion, 2009 Oil on Canvas, 100 x 200 cm
Luckily I’ve found that if you connect
with people the sales thing takes On the opposite spectrum of his works, Quinn’s
care of itself” Flower Paintings are equally as majestic in scale as his
figurative sculptures. Nearly eight-foot by nine-foot
(September 2008 ) in size, larger than life hyper-realist style paintings of
flowers and fruits explored the artist’s interest in the
His more prominent sculpture, Venus human’s increasingly distant relationship with nature
(2006) is of one that he made of and all things natural. Among other things, it also talks
Kate Moss which talks about the about the human’s want to create a more complex and
changeability and flexibility of the hybrid fruit and plants during any time of the year,
human figure and the duality of human regardless of seasonal change. These highly well-
life. The statuesque and yogic pose of executed hyper-realist images based on photographic
the supermodel body sculpted out of still lives are manifest of the artist’s talent and interest
various mediums ranging from bronze for perfection in natural forms. //
and some adorned with gold leaf
creates a near-perfection representation Marc Quinn’s works are exclusively available at
of the human figure. S.Bin Art Plus Gallery.
MARCH 2010 // 43
44 // CONFABULATION MARCH 2010 // 45
REVIEWS REVIEWS
REVIEWS

A Review on《K 变形记》

The Esplanade Theatre Studio
21.02.10

Text: Richard Chua

On the outset of discovering that Scenes

-- a programme presented by the Esplanade
– would be presenting Singapore bilingual
theatre company Toy Factory artistic director
Goh Boon Teck’s 1996 play 《K 变形记》
(K, in short) in celebration of 20th years of
Chinese Language theatre in Singapore
(the term “Chinese Language theatre”
in culturally mixed Singapore is a highly
problematic one), one would expect a
retrospective of the play presented during
that time (1996) and its relevance in
presenting it again in this present moment
in time.

In 1996 the play was presented as an

incisive response to the systematic cultural-
alienation process happening in Singapore
due to influx of foreign cultures when the
country was actively pursuing economic
development, especially in the area of
biomedical sciences, where multinational
companies were actively encouraged to set
up operations in Singapore. As compared
to seminal play presented the year before –
Kuo Pao Kun’s Descendants of the Eunuch
Admiral – K pales in comparison, hence it
did not get the attention it should deserve,
coming from a relatively young playwright

46 // CONFABULATION MARCH 2010 // 47

REVIEWS
and theatre company. Nonetheless, Goh
Boon Teck’s relentless pursuit in putting
minority voices out in the public sphere
through the performance was indeed
commendable.
15 years on, where Singapore has
experienced a couple of first(s): the
first time issues on homosexuality
(Penal Code 377A) were debated
openly in Parliament; grounds-up civil
society activities without government
intervention as seen in Singapore women
organization AWARE’s dramatic saga of
leadership tussles between groups, one
that protects secularism and the other
promotes Christian-right values; the open
embrace of a so-called social ill in Asian
societies: the setting up of casinos in
Singapore -- where would this play stand?
One notable example is how Chinese-
Language is taught these days, albeit
the less than effective ways, where the
language has gotten itself unprecedented
attention in the light of China’s rise in the
world. Hence the ethno-centric critique
as expounded in the line 我不喜欢上英
语课，因为我是华人 seems to have lost
its relevance and effect in the present
day. But some perennial issues will stay
for a long time, especially loneliness in
contemporary urban societies, something
not restricted to Singapore, applicable to
major cosmopolitan cities in the world, as
said aptly in the play: 一个空虚人.
If we were to read Peter Sau’s version
as a response, or even an extension to
48 // CONFABULATION
Goh Boon Teck’s script, it would mean
that the play needed to move along the
time-history of this country in charting its
relevance and power-effect. That would
be very interesting. On the contrary, Peter
Sau’s version of the play was merely an
update on Goh Boon Teck’s version in
1996, with some new additions of his own,
in the usual irreverent Peter Sau satirical
humour. There is also a fair amount
of questioning in the play, a typical
theatre-making style in Singapore in the
1990s. Unfortunately, these questions
were left unanswered, together with the
proclamations laid by Goh Boon Teck,
which were highly didactic.
Having watched a couple of Peter
Sau’s works in recent years, I realized
that his strength lies in the systematic
deconstruction of text and ridiculing
them to the maximum. This quality that
should be highly valued in the local
theatre scene. The ultimate objective
of art-making is the subversion of its
seriousness through comedic humour.
Artists should not take themselves so
seriously, as seen in the behaviour of
contemporary artists in Singapore.
Hence the very strength in Peter Sau’s
K lies in his meticulous direction of the
actors in creating a carnivalesque-like
performance style that made fun of almost
everything in the play, from children
songs to children games, not to mention a
dash of contemporary Chinese pop-music
on the side. The ensemble cast members
consisting of veteran actors Julius Foo
and Judy Ngo (whose strength seems
to lie in Mandarin Theatre more than her
English productions); veteran come-
backs such as Ling Poh Foong (The
Theatre Practice’s Love A La Zen in 1999
and 2 versions of Toy Factory’s Titoudao)
and Tan Wan Sze; new actors Guan Jin
Sen, Derick Qiu and Loki Tung -- gave
competent performances throughout,
with differences in acting abilities clearly
delineated. New actors Guan Jin Sen
and Derick Qiu had strong streaks of the
Chinese spoken-drama of the 1980s in
them, while Loki Tung a lack of energy
in his performance. Veteran actors,
especially the come-backs, needed
revision, especially with their new-found
energies in their bodies; while others like
Julius Foo and Judy Ngo, more training
to strive towards breakthroughs in their
existing styles of performances, which
were prevalent in their performances
in the Yang Family presented by The
Finger Players and Chestnuts by STAGES
respectively.
Designers Lim Woan Wen (Lights)
and Philip Tan (Sound and Music)
had also created wonderful light and
sound-scapes in the space allowing
Peter Sau’s direction to come forth
with greater strength. However Wong
Chee Wai’s set design – as much as it
was beautiful and aesthetically strong
– was devoured by the organic state
of Erika Chen Huan’s sand art display.
Special attention is needed on the
REVIEWS
sand artist Chen Huan, for her fantastic
display of sand art in creating images
at will has garnered attention in the
local theatre circle in recent times. Her
live drawings in Raka Maitra’s work
(please see review: http://www.theatrex.
asia/?p=176) have impressed many
audiences. Unfortunately it also drowned
the other elements in the Indian dance
performance. Similarly, in K, Chen Huan
has again drowned Wong Chee Wai’s set
design, making it looked like a piece of
canvas, rather than an organic set piece
that will move together with Chen Huan’s
images. On the other hand, Chen Huan’s
art – seen twice by this reviewer – seems
to be moving in a 2-dimensional manner,
lacking perspective in creating attention
points for the viewer. For it to become a
piece fine art, there is a need to make
sure that movements are accentuated
with depth, on stage.
On the whole, K is a well-presented play
that touches on issues not unfamiliar to
Singaporeans. However more needs to
be done in excavating their collective
memories in establishing dialogues to
get out of the dire cultural condition.
As said earlier shouting does not solve
problems, neither do they make our lives
better. Proclamations and humour can
only effect little changes. Action needs
to be done. We should be confident
that theatre can be the place to effect
important changes. //
MARCH 2010 // 49
REVIEWS
Cheo Chai-Hiang’s
“Banyak Orang Bergelang Tanggan”
The Esplanade
Till 28.02.2010
Text: Amanda Lai
Image: Ken Cheong (Courtesy of The Esplanade Co. Ltd)
Banyak Orang Bergelang Tangan… Veteran Singaporean artist, Cheo Chai-
Hiang’s installation, “Banyak Orang
The mention of the phrase “In the Swing of Things” – with its Bergelang Tangan” at the Esplanade is, in
connotations of ease, simplicity, naturalness and grace - invokes in me the artist’s own words, one that “invokes
in me scenes from my childhood spent
scenes from my childhood spent in Nee Soon Village. Amid the current
in Nee Soon Village”. The Malay title
on-going public discussion about school children acquiring their mother-
translates to “In the Swing of Things”,
tongue language, my own childhood memories conjure scenes from market and the viewer is immediately directed
places, satay stalls, weekends on the beach, even political rallies where towards the idea of conversation and
conversations moved freely between several dialects and languages – often discussion, coupled with feelings of
within a single sentence. nostalgia and memory.
In homage to these childhood memories, I place this beautiful Malay Central to this installation is the use
pantun at the centre of the installation, titled Banyak Orang Bergelang of a beautiful pantun, a Malay poetic
Tangan. form. The poem is also translated into
English, Mandarin and Tamil. The poem is
presented both visually, in rolling text on
In his recent exhibition Journey to the Wet Lands, featured at the
small screens, and aurally, with narrators
Singapore Art Museum, Latiff Mohidin makes use of the motif of Chinese
reciting them simultaneously in the four
landscape in his ink and brush drawings to exercise and explore his own languages.
particular visual language. This type of cross-cultural referencing is
reminiscent of some of the Pioneer Artists who introduced the local motifs These intermingling voices swirl amidst
of tropical fruits, kampong scenery and fishing boats, using traditional the resultant work: Seven irregular,
Chinese ink and wash painting technique in their attempts to address the organically-shaped “islands” filled with
question of their new “Malayan identity”. an assortment of seashells set against
the ascending steps of the Concourse
My introduction of the Malay pantun in four official languages, in an of The Esplanade. This is an homage to
event closely related to the Huayi Chinese Festival of Arts, seeks to raise the oral tradition of the pantun, and the
continuous back-forth recitation of the
issues about the use of languages and contemporary cultural practices in
poem in the four official languages of
Singapore today.
Singapore forms a verbal discourse of
sorts, where the languages are different,
Cheo Chai-Hiang (15th November 2009)
50 // CONFABULATION
REVIEWS
but the meaning is the clear and
understood by all.
Cheo asserts that this installation was
inspired by childhood memories, of
conversations that move freely among the
various languages spoken in Singapore.
Cross-cultural interaction is a major
theme, yet the seashells come across as
nothing if not homogenous; Shiny beige
shells floating in a sea of white. They
evoke a sense of peace and calm, but
little of the visuals one expects to see in
relation to the cross-cultural connotations.
The installation is beautiful, if restrained,
to the extent that one might even see
it as clinical and sterile. There is an
austere quality to the work, yet its lines
are organic. This dichotomy is subtle
and easily overlooked, but will perplex
once recognised. It makes one wonder
how memories can be collected in an
environment such as this, for is it not
contradictory and not conducive to the
retention of memory?
Cheo Chai-Hiang’s art is conceptual in
presentation and dialectic, but at heart,
it is a local art. This installation is social
commentary, disguised as a personal
memory, and situates itself in the centre of
the Singaporean diasporas. His art recalls
MARCH 2010 // 51
REVIEWS REVIEWS

nostalgia, but it is contemporaneous

to its time. His art is documentary, the
conversation and memories captured
by the seashells that dominate the
installation.

The use of seashells as the dominant

objects within the installation evokes
ideas associated not only with the sea,
but also of listening and collecting. The
beautiful, haunting sound of waves that
is heard when one’s ear is against a
shell is recollected. The seashell has the
uncanny ability to transport the sound
of the sea to faraway places. Cheo’s
installation works along similar lines,
where the pantun circulates among the
shells, and questions are raised with
regards to self and national identity. Yet,
if cross-cultural integration is meant to
be seen as a unifying factor, that must
also surely be questioned because from
a higher vantage point at the top of the
steps where the installation is located,
it looks like seven distinct and separate
islands, and the visual language points
little towards unity but more towards
differentiation and separation. //

52 // CONFABULATION MARCH 2010 // 53

 + Art
direc-
tory

54 // CONFABULATION MARCH 2010 // 55

SINGAPORE
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MARCH 2010 // 57
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SINGAPORE MALAYSIA

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Impress Galleries No. 7, Persiaran CapSquare +603 5510 5344
429 East Coast Road 50100 Kuala Lumpur www.galerisa.com
Singapore 429016 +603 2692 6118
+65 64404533 www.artloftgallery.net The Gallery @ Star Hill
www.impressgalleries.com GALLERIES Level 4 Star Hill Centre
12 (Art Space Gallery) Art Salon @ Seni 181 Jalan Bukit Bintang
12 Jalan Gombak 55350 Changkat Duta Kiara 55100 Kuala Lumpur
Off Jalan Pahang Off Jalan Duta Kiara +603 2143 3323
Peter’s Frames Mont Kiara, 50480 Kuala www.starhillgallery.com
19 Tanglin Road #02-02 53000 Kuala Lumpur
+603 4023 4128 Lumpur
Tanglin Shopping Centre +603 2287 1908 galleriiizu @ Shangri-La
Singapore 247909 www.12as12.com
www.theartgallerypg.com Hotel Annexe
+65 6737 9110 7 Level 1
petersframes@hotmail.com +Wondermilk Art Gallery
39-41 Jalan SS 21/1A Artseni Gallery UBN Shopping Arcade
Damansara Utama FF 5, Level 4 Starhill Gallery 11 Jalan Sultan Ismail
47400 Petaling Jaya Star Hill Centre 50250 Kuala Lumpur
+603 772 5893 181 Jalan Bukit Bintang +603 2031 5266
www.theclickproject.com 55100 Kuala Lumpur www.galleriiizu.com
ANTIQUITIES AND FURNITURE +603 2141 2242
A2 Gallery www.artseni.com House of Matahati (HOM)
Antiquaro 6A Jalan Cempaka 16
19 Tanglin Road, #02-42 27 Bangkok Lane
10250 Penang CHAI (Instant Cafe House of Taman Cempaka
Tanglin Shopping Centre Arts and Idea) 68000 Ampang Selangor
Singapore 247909 +603 4227 4985
www.a2artgallery.com 6 Jalan 6/3, Section 6 +601 7364 6004
+65 6737 4822 460000 Petaling Jaya www.matahati.com.my
www.antiquaro.com Selangor
Annexe Gallery
Level 1 & 2 +603 7784 8792 Lookiss
Central Market Annexe www.instantcafetheatre.com 1A-1 Anzen Business Park
Jalan Hang Kasturi Jalan 4/37A, Taman Bukit
50470 Kuala Lumpur Edi.A Art Gallery Maluri
ARTISTS’ STUDIOS FF 10, Level 4 Starhill Gallery 51200 Kepong Kuala Lumpur
+603 2070 1137
www.annexegallery.com Star Hill Centre +603 6275 1333
Chieu Sheuy Fook Studio 181 Jalan Bukit Bintang www.lookissgallery.com
Studio 102 55100 Kuala Lumpur
Art Case Galleries
91 Lorong J +603 2145 3440 Metro Fine Art
7, Level 4
Telok Kurau Road www.ediarts.blogspot.com Level 1 Legend Hotel
Great Eastern Mall
Singapore 425985 100 Jalan Putra
303 Jalan Ampang
+65 96690589 Galeri Chandan 50350 Kuala Lumpur
50450 Kuala Lumpur
chieusf@gmail.com 15 Jalan Gelanggang +603 4042 2224
+603 4257 4007
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Ketna Patel 50490 Kuala Lumpur
35 Jalan Puteh Jerneh +603 2095 5360 NN Gallery
Art House Gallery
Chip Bee Gardens, Holland www.galerichandan.com 53A & 56 Jalan Sulaiman 1
20-1 Jalan 24/70A
Village Taman Ampang Hilir
Desa Sri Hartamas
Singapore 278057 GALERI PETRONAS 68000 Ampang Kuala Lumpur
50480 Kuala Lumpur
+65 6479 3736 341-343 Level 3 +603 4270 6588
+603 2300 1343
www.ketnapatel.com Suria KLCC Kuala Lumpur City www.nngallery.com.my
www.arthousegallery.biz
Centre
50888 Kuala Lumpur
+603 2051 7770
www.galeripetronas.com.my

60 // CONFABULATION MARCH 2010 // 61

MALAYSIA

We ’ r e O
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P I N
L I P
P H I

Pace Gallery Wei-Ling Gallery Rimbun Dahan

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64 Jalan Kemajuan 12/18 8 Jalan Scott Km. 27 Jalan Kuang POR
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Petaling Jaya Brickfields Kuang CON
46200 Selangor Darul Ehsan 50470 Kuala Lumpur 48050 Selangor
+603 7954 6069 +603 2260 1106 +603 6038 3690
www.pacegallery.net www.weiling-gallery.com www.rimbundahan.org

Pelita Hati Y 2 S Art Space

22 Jalan Abdullah 9A, Jalan 5/62A Bandar
Off Jalan Bangsar Menjalara
59000 Kuala Lumpur 52200 Kepong Kuala Lumpur
LIES
+603 2284 8380 +603 6273 2853 WHAT FOR
AHEAD
www.pelitahati.com.my www.y2sart.com.my

I L I P PINE

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ART? ST OF
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PART
THREE- IONS
3 Jalan Pinang 59000 Kuala Lumpur ON AU CT

50450 Kuala Lumpur City +603 2282 5388

Centre www.zinc.com.my
+603 2166 2166
www.pinkguymalaysia.com

Richard Koh Fine Art OTHER VENUES

2F-3 Level 2 Bangsar Village II
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62 // CONFABULATION or MARCH 2010 // 63
64 // CONFABULATION MARCH 2010 // 65
POSTSCRIPT

LOVE
Artist: Robert Indiana. Consists of the
letters 'L', 'O' (titled sideways) over
the letters 'V', 'E'.

Recreated
in multiple
versions, colors
and languages,
the sculptures
are displayed
around
the world. The polychrome
blue and green
piece in Singapore
was commissioned
Image started by Wing Tai.
as a design for a
Christmas card Unveiled by Dr Ker Sin
for the Museum of Tze, Minister of State
Modern Art in 1964 The LOVE emblem for Information and the
has been adopted by Arts on 29 July 1993.
and included on an
eight-cent United skateboarders and
States Postal Service frequently appears
postage stamp in in skateboard
1973. magazines and
Originally placed in
videos.
front of Park Mall.
After skateboarding
It was quite
was banned in
unfortunately
First exhibited as a Philadelphia’s LOVE
removed and kept
sculpture in NYC in Park, the emblem was
in storage a couple
1970 and later moved used by organizations
of years ago.
to Indianapolis Museum opposing the ban.
of Art.

66 // CONFABULATION MARCH 2010 // 67

68 // CONFABULATION