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ICAS: Institute of Contemporary Arts Singapore, LASALLE College of the Arts Issue 01 July 2010

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EDITORIAL

By Dr Charles Merewether Director of the Institute of Contemporary Arts Singapore

documentation alone is not enough. As we see it, the value of the publication is to provide a space that serves as both recognition of their practice but also a critical forum of discussion. On some occasions, we will host interviews with the artists and raise critical questions in order to provoke a stronger explication of their practice, if not, processes of production. This opportunity is critical to supporting and nurturing practice through engagement. Issue One also provides a special visual documentation of the launch of the LASALLE annual exhibition. The final section of Trispace+ offers a glimpse of forthcoming exhibitions at the Institute of Contemporary Arts Singapore and calendar of events. TriSpace+ is a quarterly magazine representing on each occasion the three most recent exhibits at TriSpace and the forthcoming calendar. We hope in this manner that the publication can provide a critical forum that can critically engage with and respect with contemporary art. The role and significance of this engagement is to heighten awareness, to raise issues and challenges, and to find if not build a common language for discussion. Hence this allows for the real possibility of creating a dialogue and community that shares in the belief of contemporary art and its intrinsic and essential value to a community. We are delighted to present for you the first issue in what we hope is an ongoing and successful venture. We hope it will be received positively and we welcome comments, critical engagement and contributions.

TriSpace is an ongoing provisional space a small triangulated space that owes its existence to that of two others: ICA Galleries 1 & 2. It creates a silent bridge between the two, a form of crossing that remains undisclosed. For this reason, TriSpace is felicitous in its origin and for that reason alone, serves as a promise of things to come. In the coming months, TriSpace will feature exhibits of new and recent emergent artists. These artists have expressed an interest through the process of responding to an open call. Each artist chosen has developed a proposal according to it being in TriSpace. The exhibition will be held for three weeks, so each month a new artist has the opportunity to be hosted to make an exhibition. They have been selected for the quality of their work in regards to experimentation and innovation cornerstones from which to build and invigorate their practice over time. For LASALLE, TriSpace offers a crucial link and passage between inside and out to both the students and to public. As in the origin of the space itself, the programme for TriSpace is dedicated to serving as a bridge to the larger world of Singapore and beyond. To recall Yves Kleins famous remark, it is a leap into the void, a risk and yet too a commitment to the practice of art as a profession. In this first issue of TriSpace+, we are presenting the three most recent exhibitions held at TriSpace, with a critical overview of both their project and practice along with a visual documentation of the exhibition. Yet,

Welcome.

SLOBODAN TRAJKOVIC:
16 October - 14 November 2009

A MIDSUMMER NIGHTS DREAM

An Interview with Slobodan Trajkovic by Milenko Prvacki

About the Institute of Contemporary Arts Singapore
The Institute of Contemporary Arts Singapore (ICAS) is the curatorial division of LASALLE College of the Arts. It runs the LASALLE Galleries, comprising some 1,500 square meters of gallery spaces dedicated to exploring new and experimental art, design and media practices. Its programme focuses on showcasing international, Asian, South-east Asian and local contemporary art with the aim of contributing to the cultural well-being of students, artists and the Singaporean public. Committed to the experimental and new, ICAS seeks to support practices which challenge orthodoxies and establishment. This serves as not only an important educational tool for students but, offers an alternative to artists in giving them the opportunity to explore and venture into unknown, unrecognised spaces not otherwise available in the Singapore today. Its outreach programme includes regular publications, seminars and symposiums, visiting artists talks and contemporary sound/music events. Hi Slobodan, lets talk about your work exhibited at TriSpace in October last year. Titled A Midsummer Nights Dream, it certainly was a complex installation with a very clear Shakespearian narrative that fuelled this work. Were there additional elements that motivated and inspired you to create this work? It is easy to forget how gloomy the year 2009 was, but it was that gloomy atmosphere following the worst recession since WWII, which gave me the idea to work on something quite the opposite. I thought a fantasy story would be appropriate a stage where identities shift and where nothing is what it seems would engage people in a different kind of thinking. At that point I was in Venice. I was planning a show at Ikona Gallery to be held during the Biennale. Looking at the people all around me, walking with their maps and smiles on their faces as they desperately tried to find their way through the labyrinthean streets of Venice I thought here is the very proof that nothing is what it seems. I felt Shakespeare behind me, laughing. This is it, I thought, All these people have put the cake in the oven and forgot about it and went out for summer dreams. It was much later when I saw the gallery in Zattare that everything came together. The space was right on the water. As soon as you opened the door a massive amount of sunlight came in followed by light, which reflected off the water. Everything sparkled. The sound of waves filled the last hole. I thought to myself, My work is done! Ill open the door and the space will reconnect with water, sound, light Then my friend Ziva Kraus, director of Ikona said, No, no, Mr. Trajkovic. Somebody already did that. Shortly after, I remembered someone at Yvon Lambert had exhibited empty space as a work, but this was entirely different. You had light, sound, and two spaces with tons of different materials and the connection of two different contexts. Nevertheless, I closed the door. Shortly after I took a mirror to bring that light inside the room and the elusiveness that arrived with it, my work started taking shape.

About TriSpace+
TriSpace+ is a quarterly newsletter dedicated to ICASs smallest gallery TriSpace. This highly unusual, triangular space reminiscent of a window display is devoted to new and emerging artists who wish to develop their practice. Besides documenting the past works exhibited at TriSpace, this newsletter features critical essays and upcoming exhibitions and happenings at ICAS.

TriSpace+ Team
Editor Co-ordinator Associate Editors Contributors Charles Merewether Kimberly Shen Adeline Kueh Milenko Prvacki Lawrence Chin Teo Rofan Ian Woo

Institute of Contemporary Arts Singapore LASALLE College of the Arts 1 McNally Street Singapore 187940 Tel: +65 6436 5070 Email: icas@lasalle.edu.sg Website: http://www.lasalle.edu.sg/index.php/galleries Facebook: http://www.tiny.cc/icasingapore

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A MIDSUMMER NIGHTS DREAM

How did you choose to develop the story of dreams? I thought an installation would be an appropriate form to develop the idea with. By nature, installation has the ability to expose layers of content. It allows you to literally walk through the work itself and see it from totally unexpected angles. It is like peeling an onion. I thought a conglomerate of materials and shapes would create a feeling of gathering, a street sort of situation, where a variety of people populate the space at critical spots. My idea was to isolate these hot spots and work on them. The fantasy story you have realised at TriSpace is definitely an extension of your Venice project. How do you develop your dreams in different geographical situations and how was it reflected in your work at ICAS? Geography is very interesting. I love to ponder upon how things are placed in a space. The substance, the character, the mind, the spirit and adding language as another spiceearth is an exciting place with people, nature and space Art in its essence has a spiritual breath. Art has a transcendental form in our life. It operates on the level of creating something that wasnt visible a moment ago. Art has an essential understanding of life and physical knowledge of giving birth to new artefacts. It is that newly born work which holds the understanding of our reality as a transcendental being. In all the daily negativism towards popular media, I see television as the future art form. Simply because it is an instantaneous occurrence. It produces a miracle as soon as it is turned on anywhere on the planet. That moment of surprise and participation is one of the few most valid aspects of art. And what is the next engagement after The Midsummer Nights Dream and how will you develop your ideas and dreams? I would like to bring my work to a different level, where you can see reflections of aspects of the human condition regardless of historical time or political agenda. Somehow I always like things that I dont understand and I wish my work goes that way, in a direction of wonder with the big question of What is it?. I would like a person to stop moving and think about the universalsomething closer to the point of where it all began.

In the past 20 years or so, I have lived apart from my native land and I speak languages other than my native tongue. Being somewhere else does not mean that you are no longer a genuine person it means that you are a normal human being with no political pretext. I am a Serbian and I carry that with me wherever I go. That is an unfortunate act. That is the DNA of my soul. Apart from that, I am always trying to stay normal and make sense of my life. An additional set of tools is always needed to communicate with a foreign culture but that is always a good start to seeing oneself and the world from a different perspective. Dreams remain an area of human behavior that few understand. I believe that they are part of our soul and part of our mindset. They are constantly unfolding. But you see, I wasnt on the Freudian view of dreams as subconscious wishes nor interpretations of Shakespeares play. I used the story as a pretext for my agenda and with that, I built the structure of the piece. The installation at TriSpace was more developed than the one in Venice. I wanted to further develop a visual vocabulary I had been working on. I brought new forms and materials and used the space between stations to create a continuation of the set almost like a harmonica in its span. With applications such as photography and computer manipulated images of the head and ear and skin, these are attempts to exemplify the human condition. I still felt that I was missing something in that work and I always came to the same conclusion that pure form is ultimately an abstract work and abstraction doesnt have something that our culture is particularly looking for, which I suppose is the sociological and moral aspect of life.

I absolutely agree with you about creating a visual vocabulary as well as following your artistic agenda. Unfortunately, technology and general development (social, political and, of course, monetary) are not patient and collaborative partners to the human condition and utopian (or identity profiled) ideas. How do you manage existing disproportion of global interests? My agenda is connected to the work I do. Issues come up in the process of developing a vocabulary to present that idea. In general I treat every idea in the same way, which is to find a way to make the strongest possible statement and create a means with which to represent it. That disproportion of interest in art and other aspects of life has always been there. Imbalance is present all the time. We need to bridge that gap. Many things dont mix well: art, politics, economy and that is how it has been for centuries. Antagonism is part of our character and as such is a big force in life. General development is based on the idea of profit and expansion, and technology follows that idea by being a major contributor in creating new tools for people to use so that the idea of progress is achievable. Should art follow that pattern of speed and the mentality of profit? Right now there are many artists and art institutions which believe in that idea of speed and the urge for progress. The work of art of a living artist has become a commodity worth more than $1,000,000. So, the central question is, as always, what should the artist do? Art is not a necessity for most people. In many ways art today serves as a means of connecting people so they can exchange ideas on how to see things differently. To me, this occasionally looks like a new form of cultural tourism and consumption of art.

The narrative started to unfold. Critical spots became a metaphor for the seven stages of Jesus on the way to Golgotha. I decided to confront the elusiveness of the mirror with slabs of the white wax. Both create a feeling of uncertainty because the mirror is unable to sustain the image of itself nor could the wax hold the imposed shape. At that point I was very pleased with the endless dialogue they were creating. Changing the angle of the mirror that was placed on the floor gave it a lift and brought energy to the setting so that all could go upwards. I took elastics to further enhance the feeling with the movement towards the ceiling to create a triangle, a geometrical form in space. By holding strings at the top and letting it go, it flourished into colours of fabrics and softness of forms.

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ADELINE KUEH:
22 January - 10 February 2010

THE BUTTON PROJECT

Lessons through a button(-hole): reflections on the button project by Lawrence Chin

Buttons are immensely curious things. They are curiously inconspicuous yet ubiquitous; functional yet decorative; fixed yet portable; commonplace yet fashionable (and quirky). In spite of that shift between categories or because of it we can extract a few lessons in thinking about and around things1.
Surface Tensions Usually accepted as functional entities for everyday use, buttons are perceived as necessary and reliable. Yet archaeological evidence strongly suggests that the very early use of buttons was likely to be

decorative or ornamental2. These decorative items were not merely superfluous as they might have served as markers of social status, affiliation or even commemorative events. The development of buttons as means of fastening items of clothing together was introduced later. Yet buttons continued to retain their earlier decorative use, sometimes to the point of excess. Simplification became an inevitable reaction, which also later overlapped with increasing mechanised means of production. Such a reaction to the decorative or ornamental saw another upswing in the pursuit of modern design, especially in the field of architectural and urban master-planning3. Indulgence in decorative and ornamental details was also perceived as a degeneration of modern sensibility or thinking, in general: The ornament is an end in itself4. And as an end in itself, its purpose and function are self-indulgent at best. Being self-indulgent, buttons are deemed as being highly personal, coupled with an undeniable intimacy of scale. But as uniformity (and blandness) of industrial design started to exert a hold on everyday

choices, the urge to accentuate the decorative and ornamental aspects became a means of differentiation at an individual level. Nevertheless, such a decorative approach was adopted without compromising the larger and more common use value of such objects as pragmatic means of dressing modestly the decorative button continued to function in a utilitarian manner. This vacillation between the commonplace and the personal functional and decorative suggests that these (seemingly opposing) categories are neither mutually exclusive nor fixed. Being functional does not preclude being decorative; ornamentation does not follow that use is being impeded. That coexistence and acceptance of conflating categories within an entity may be the true harbinger of a more nuanced and authentic understanding of the world at large.

Telling Similarities The normative understanding of things (buttons, included) is predicated upon a priori categories big round ones; shiny smooth ones; symmetrical ones; unclassifiable ones etc. Being classified as useful or decorative is yet a further attempt at classification, albeit based on intangible qualities. One could also argue that the work of taxonomy or classification is intimately entrenched in human behaviour5. In any case, the long-standing function of classification is both to aid understanding, as well as to affirm prior understanding. Knowledge and understanding presuppose that one is able to identify and name in excluding what it is not. A button is not a zipper; neither a belt nor a Velcro strip. A button is understood and identified by being similar to another button bound by similar innate qualities and recognisable features. Taxonomy is possible if identification does not shift, no matter how absurd those categories might seem6. This assumes that identity is constituted correctly, once and for all times.

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1-6 One is reminded of the improbable list of animals as categorised in a story by Jorge Louis Borges quoted in the preface of Michel Foucault, The Order of Things: An Archaeology of the Human Sciences (Vintage Books, 1994). In the same preface, Foucault intimated that heterotopia, as oppose to utopia, is predicated on and even, celebrates the breakdown (or inadequacy) of language. Extending that argument further, one Trispace + could also argue that, perhaps, it is the breakability of language that carries the imperative of a heterogenous existence, no matter what.

THE BUTTON PROJECT

Being in a specific category is to assume a properly constituted designation a proper name. By being properly identified, it can be referred to time and again without undue confusion or ambiguity resting upon a comforting assumption that things can only be one and not another at the same time. Identification then becomes an aid in unravelling the complexities of the world around, in seeking understanding of the larger chaotic scheme of life.

Hi Tzu Nyen, thanks for doing this interview with us! Id like to discuss the project Zarathustra A film for everyone and no one, your most recent commissioned project at the 6th Asia Pacific Triennal which was held in Brisbane. This work took shape at our campus and was subsequently presented in TriSpace.
I find this collaboration at Zarathustra A film for everyone and no one reminiscent of The Bohemian Rhapsody Project in 2006, which casts students in the production of the film. How do you think incorporating them in your filmic works fit your thematic concepts of your projects? How does it relate it to your practice as a researcher, writer and artist? What were the challenges you faced with this experimental approach?

HO TZU NYEN:
An interview with Ho Tzu Nyen by Teo Rofan
10 March - 11 April 2010

ZARATHUSTRA A FILM FOR EVERYONE AND NO ONE

This returns us to that first recognition that a button is functional and ornamental depending on context. It is also being able to appreciate a button as round and red amongst other qualities at the same time. It also then follows that meaningful identification is constituted not by designation, but by being different. Understanding is to be sought not by referring to established categories but by articulating nuances; not by language, but by its intrinsic failure. Buttons or, anything else, for that matter are buttons yet different at the individual level (because of context). The context becomes crucial, not as a determinant of what-it-is but as a bridge outside of the thing-initself. Context becomes a tool for individuation and identity. As such, the hole which holds a button must also define what that button is. Perhaps, it is the (w)hole which makes the button, after all. The immense attraction of buttons must surely be a projection of our intense scrutiny of lifes possibilities the myriad voices, echoes, metaphors. They act as silent and sentinel reminders of ourselves, as complex, curious and highly differentiated beings. We dont see things as they are. We see them as we are. Anas Nin Lawrence Chin is an occasional writer who also occupies himself with conserving artworks in his full-time work and part-time teaching at LASALLE College of the Arts.

Detailing Differences The unity of any category belies the immense differences that must exist between individual members. Round buttons could be thick or thin or ever so slightly coloured differently but it does not matter in the specific category of round. If nuances are to be sought, then refinement of the taxonomic system could be made in terms of creating new categorical terms: round and thick; round and red; and so on There will come a point when language fails and categories become finite. Such a situation will then result in a world that is described and perceived through such categories. We then see the world in a highly mediated manner and being able to perceive a thing only if it could be identified or named. This will also mean that we will be blind to all that cannot be identified beforehand. It is in overcoming such blindness that the celebration of overlooked details can begin to set one individual member apart from another. Such attention to (tangible and intangible) details will also bring to light specific contexts (or stories), which in turn are crucial in understanding and recognising that identity is better constituted through differences rather than by designation. 8

The Bohemian Rhapsody Project was an actually organised as a live audition in the former Supreme Court of Singapore at the City Hall. 21 young men some, but not all of them students were asked to turn up to audition for the role of a young defendant. Upon arrival, they were made up, dressed in jumpsuits, handcuffed and made to recite the lines to the rock band Queens The Bohemian Rhapsody. There were about 20 other actors. Six of them were playing cops and another six were angels of mercy. We had a judge, as well as prosecuting and defending lawyers. These were all actors that had been thoroughly rehearsed with the crew of more than 12, just recording the event simultaneously with three cameras. All the young men auditioning for The Bohemian Rhapsody Project were entirely unprepared. They were told only to memorise the lyrics of The Bohemian Rhapsody.

On the other hand, the focus of The Zarathustra Project was the school. Not just the school as a setting, or with students as collaborators, but the school as a kind of unifying theme that structures the entire process of the project. The artwork in question the film, Zarathustra A film for everyone and no one, is simply a product, or the remainder of what actually happened. So what happens is that Zarathustra was offered to the students from the Film, Music, Fine Arts, Acting and Musical Theatre departments as a course rather than an artwork. We tried our best to secure a month of theoretical lessons on the sources for the film, and another month of practical lessons, whereby working professionals were invited to do workshops with the students. Finally, everything culminated in the film shoot of Zarathustra A film for everyone and no one. This project was itself a kind of return to school for many of the working professionals who took part. The film shoot is seen as a kind of ritualistic end to this process. Thus it was organised as a highly complex single-take film, in order that every participant in the event remain fully at every moment of the shoot a form of being together in time, which is rarer and more precious than sharing the same space.

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The film is based on a German novel titled, Thus Spoke Zarathustra: A Book for Everyone and No One by Friederich Nietzsche, which was written in the 19th century. It is set in a theatre space at LASALLE, reflects an apocalyptic environment with an androgynous character donning a black hood, being revered and feared at the same time. It opens with Also Sprach Zarathustra by Strauss and continues with a pastiche of other sonic pieces. Together, the integration of these elements in the setting, location, music and casting seem to elude historicising the work. Could you explain the setting and sonic choices for the work? Nietzsches text is a strange animal with a unique physiology. It is a work of philosophical insight and spiritual strength, coupled with the most foul of bile and the lamest slapstick. But above all, it is a great work of art. It is a book that communicates directly to the nervous system. It has a rhythm to it, which can be described as long passages of wandering amongst the cities, occasionally giving way to the most glorious bursts of sunshine on mountaintops. It has a rhythm, and an atmosphere. So our film too, is a mixture of the high and low. I guess this is how the idea of doing a doom/drone metal opera of Zarathustra came about. But I must say that the usage of doom and drone metal is much more important for me in a different way as a kind of weight which can permeate the entire film one which is noxious, breathless and oppressive; with a few moments of release.

ZARATHUSTRA A FILM FOR EVERYONE AND NO ONE

Why did you choose to make a film project on Thus Spoke Zarathustra: A Book for Everyone and No One? It has always been one of my favourite books. And almost all the projects that I have made are about things that I love. But as I mentioned before, the book is already a work of art in itself. Thus spoke Zarathustra: A book for everyone and no one can be understood as a book about forces the struggle between active, creative forces and re-active, nihilistic forces. So the book is permeated with metaphors of forces. It seems to lend itself easily to my current interests in making films which are purely visual and sonic expressions of forces, in which ideas can be compressed. In the article published in Broadsheet, curator June Yap stated the underlying theme of this work is Nietzsches message that Zarathustra learned to love fate which corresponds with Amor fati, a line constantly written by the protagonist in your film HERE. Could you tell us more about this concept, in particular its relationship to your work? Let me just answer by quoting Nietzsche: What if a demon were to creep after you one night, in your loneliest loneliness, and say, This life which you live must be lived by you once again and innumerable times more; and every pain and joy and thought and sigh must come again to you, all in the same sequence. The eternal hourglass will again and again be turned and you with it, dust of the dust! Would you throw yourself down and gnash your teeth and curse that demon? Or would you answer, Never have I heard anything more divine? If your answer to the demon is that you have never heard anything more divine a total affirmation of your fate, you would understand the concept of Amor fati. I am interested in the concept of total art, which is termed by German composer, Wagner to imply a synthesis of music, visual arts, multi-media and performances as the filmic approach in this project. How does this link with Zarathustra conceptually and philosophically? I consider the works that I do as just expressions of my own nervous system with what is outside myself. I cant lay any other claims to them. I tend to believe that all great art is multi-disciplinary to begin with. In fact, Nietzsche probably wrote Thus Spoke Zarathustra: A Book for Everyone and No One as his version of a Wagnerian opera. An interesting work of art always already contains a multitude of linkages to things outside of itself. A prolific artist like yourself has created projects that cross from directing films such as Here (2009) and 4 x 4 episodes (2005), to appropriation of two-dimensional works seen in Utama Every Name in History is I (2003), and to theatre works of which include The King Lear Project (2008). Could you tell us about the works you are currently working on now? Im currently working on Endless Day, my second feature film after HERE. Like so many of my other works, it is about love. Love of fate.

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The LASALLE SHOW 2010 was a dazzling display of light, a myriad of colours and an electrifying experience of sound. An annual showcase of exhibitions, performances and display, it was also a culmination of hard work and years of creative education and artistic dedication. Ranging from the disciplines of Design, Fine Arts, Film, Fashion, Music and Theatre, students and visitors revelled in the various galleries on campus, which housed works of 971 graduates.

Homeland (Heimat)
Rochor Canal Road Sim Lim Square Prinsep Street Short Street Institute of Contemporary Arts Singapore Bencoolen Street Artists: Basma Al Sharif, Brenda Croft, Qiu Anxiong, Siamak Fallah and Hayati Mokhtar Guest Curator: Alan Cruickshank Heimat (German for "home/ homeland") articulates a perception by which people are bound by their birth, childhood, language and earliest experiences. It can be perceived as a reaction to the onset of modernity, a loss of individuality and intimate communityeffectively ones identity, the totality of the circumstances in which a person grows up. Removed by whatever force from home or homeland and this utopian sense of place, one would experience a sense of alienation and separation, displacement

Burlington Square

ICAS EXHIBITIONS
Middle Road

and dispossession. The works of these artists are connected by their experiences of displacement and social change. Venue: ICA Galleries 1 & 2 Date: 9 July 10 August 2010

Dedicated to inspiring creativity, independence and the pursuit of excellence, Martell Cordon Bleu presents "ICON de Martell Cordon Bleu". A premier photography prize, this exhibition is aimed at honouring photographers who have cultivated an original vision in combination with thought-provoking ideas. This local platform honours artists who have greatly contributed to the advancement of photography in Singapore and seeks to provide nationwide recognition of photographers whose vision and tenacity stand out. From a field of 13 artist nominations, the Jury has selected three photographers: Sherman Ong, Francis Ng and Jing Quek to be in the final stage of the award, with Sherman Ong finally announced as the winner. Venue: Praxis Space, Project Space & Brother Joseph McNally Gallery Date: 18 June 17 July 2010

Se le e gi a Ro d

Sunshine Plaza

Eccentricity City Rise and Fall

Artists: Keiichi Taanami & Phunk Studio "Eccentricity: Rise and Fall", shows emerging and fallen structures of the cities that are build upon symbols of dreams and memories of Japanese artist, Keiichi Taanami and artist and design collective, Phunk Studio. The exhibition features an interdisciplinary collaboration in graphic design, animation, architecture and installation. By combining the creative abilities of accomplished local designers including Theseus Chan from Werk and the support of Graphic students at LASALLE, expect a riot of colours and an electrifying experience. Venue: ICA Gallery 1 Date: 18 August 19 September 2010

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The Future of Exhibition: It Feels Like Ive Been Here Before

Artists: Roslisham Ismail aka Ise (Malaysia), Vincent Leong (Malaysia), Eva McGovern (Malaysia), Jason Wee (Singapore) and June Yap (Singapore). Guest Curators: June Yap & Eva McGovern Were not sure if we have been anxious enough, if we have the right number of artworks or the correct distribution of artists for national representation. Has the opening has been timed right, and did we get the appropriate VIP? Have we said enough... or too much? Did we already fail? "The Future of Exhibition" presents, art and work performed in a space. Through exploring the exhibition-making process, it reveals what happens when co-conspirators get together to experiment and play in a gallery. Through humour, self reflection, and organised chaos what emerges are observations on creation and control in the art world. Venue: Earl Lu Gallery Date: 12 July 14 August 2010

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