Hong Kong Shenzhen Bi-city Biennale of Urbanism/ Architecture

Dear Organizer of HKSZ Bi-city Biennale of Urbanism/ Architecture,

I have visited the Shenzhen section of the Biennale during the
holiday, which was very interesting, consisting of works by
architects, planners, artists, sociologists and writers. All their
contributions are regarded as official participation in the biennale
and included in the catalogue. I have also heard that our Hong Kong
organizer provided a substantial fund in millions HK$ to the Shenzhen
exhibition.

As an artist invited to take part in this Biennale Festival which is
NOT the official Biennale Exhibition as stated, I was already
reminded there will be zero budget and not even installation support
whereas the OFFICIAL biennale participants received a production
budget and are included in the catalogue (not the leaflet which is
ONLY for the Festival artists).

As Hong Kong artists, we all know how difficult to make things happen
here and have all sorts of experience to work in zero budget
exhibition but we also know we're doing meaningful work but no cheap
extras. Artists need to make many efforts to finish a work which is
not meant to just fill up the ample exhibition space in the former
Police Station compound and deserve a little respect.

This HKSZ biennale is generously supported by the Hong Kong
government and the Jockey Club. All visitors to this biennale would
think all participants including artists of this Biennale Festival
got the same support. After all, what's the difference between
Biennale Exhibition, Biennale Festival and/or Biennale Gallery? So it
has to be clarified, not only the names but also the way how it's
organized and curated. I think it is important to let everybody know
whereas huge amount of money is spent on big cultural events and
institutions, there is no corresponding support to small
organizations and artists.

Although I would love to exhibit my work in such a big exhibition, I
have to withdraw as an extra Biennale Festival participant because of
my protest to the organizer's indifference to the artist and its
unfair and unprofessional organization and expenditure.

Leung Chi Wo
http://www.leungchiwo.net

Christmas dinner

We don't celebrate Christmas for religious reasons like most others. However, because of the holiday mood, we do feel like doing something special. When I reviewed the last 15 Christmas eves, I actually didn't remember how special they were. It's always dinner at home; for a couple of times, there were also one or two guests.
What I remember the best was the first Christmas eve in my old flat. It was such an excitement being in a new place. I even bought a real Christmas tree, something I never did before and ever since. A good friend and his partner called Johnson were invited over. It seemed to be the first time I met him but for sure it was the last time. He was then entering to his later stage of cancer disease. We had some pan-fried salmon, wine and very nice chats. It was such a lovely evening.
Johnson hasn't appeared in my conversation with my friend for very very long time. I may suppose he has already rested in peace. But every now and then, Johnson still pops up in may mind; maybe I just couldn't remember much other Christmas eves I had.

Podcast with Sarah Van Ingelgom

Fo Tan is an old industrial area in Hong Kong, recently revived by artists' studios. Sarah Van Ingelgom talks about her Blue Lotus Gallery, the first gallery equipped with a regular exhibition programme in Fo Tan. English, 30 min.
Listen

Dialogue

Curator: Are you interested in taking part in my exhibition which is important and international...., sponsored by a big foundation and blessed by the government...., to be grandly opened by our mayor....
Artist: Of course, I can specially make a new work for it....
Curator: ...but we have zero budget for your production...
Artist: Hmmm...
Curator: Oh sorry, we can't provide artist fee neither.... I hope you understand the situation but I really want to include good artists in it.
Artist: Ok, I can show an existing work that hasn't been shown here before. It also fits perfectly to the theme. I actually would like to make a slight alternation to make it more unique to this show....
Curator: Oh sorry we have no budget....
Artist: Well, I can cover the material costs myself, but can you just get some people to help out...
Curator: Oh sorry we don't have people....
Artist: I understand. So I can just project a video which is also new to the audience here.
Curator: That's good.
Artist: But can you help out to get a projector?
Curator: No, sorry!
Artist: Perhaps you can get a projector manufacturer to sponsor. I know one which has sponsored many art exhibitions....
Curator: Maybe you can request for the sponsorship yourself.
Artist: I'm not an institution. It's difficult for me. Maybe....
Curator: No, sorry. So can you still participate in the show with no budget and projector?

Lianzhou

I went to Lianzhou last weekend for the International Photo Festival there. To go there was a really long journey. Though being part of Guangdong province, it's close to Hunan and Guangxi provinces. After reaching Guangzhou, it's another 6 hour-ride on the road. It says Lianzhou is an ancient city with over a thousand years' history but what I saw was a town packed of pragmatic but poorly maintained buildings from the late 80s and onwards. The few buildings I have seen dated earlier than the second world war were in really bad conditions. The only exceptions were the factories and warehouses used for the venues of the photo festival.
It was covered by a very think smog although it's surrounded by mountains. It's dusty everywhere. On the way to Lianzhou, even leaves were covered by a layer of dust which may come from the cement factories nearby and power plants. On the roadside, I didn't see other industries but small vegetable farms, garages and gas stations.
As usual, you felt overwhelmed with so many artists' works and ended up forgetting what you have seen. Actually not many participating artists attended because of its location, I guess. In the festival guide, all the Hong Kong artists' names were spelt in pinyin for English names such that we sounded like other Chinese artists! I became Liang Zhihe (again) and Stanley Wong was Huang Binpie, etc. The only exception is David Clarke who retained his English name somehow (though "e" was missing there).
I exhibited my new series Fish Farm Houses and provided to the organizer an introduction in both Chinese and English. For some reasons, my Chinese text was missing and they translated for their own version from the English. It finally became something totally confusing. For example, they even invented a place called 漁塘府 for the translation of fish farm houses! Ah....
See my photo tour of Lianzhou.

Podcast on VITAL BODIES

Arts writer/ project organizer Yeung Yang talks about her recent participation in VITAL BODIES: International Conference in Liverpool John Moores University which was part of Vital'07: International Chinese Live Art Festival in Manchester. Cantonese, 33 min.
Listen

Real or prop

Yesterday when I opened my mail box, I found a letter posted to my studio address but not any recipient. Being curious in its handwritten address, I opened it immediately. To my surprise, it's so much just like the imagined "props" of a triad movie which I exhibited in the 14QK show at Para/Site a couple of weeks ago. But this is not in a movie or an art exhibition. It's a piece of A4-sized paper, on which there are handwritten Chinese words "1819 burns you to death. Leung Chi Wo". Overleaf there's a no. which seems to be an HKID and the name of a person "Fung ??? On" whom I could hardly know. It's really mysterious, not far away from a movie plot indeed. A couple of burnt "joss notes"(usually as offering to the dead in Chinese ceremony) are enclosed. Could it be a joke or threat? But for what? For the first time, I reported a criminal case to the police for its possibility of a real threat, or to get a clue of it. As you could imagine like what you have seen in the movie, I was interviewed by a CID detective in a small room. They're serious about it and started investigation right-away like sending this letter for forensic test for finger prints.
Of course I hope it's only a joke but I don't think it's funny. Never thought this could happen in my real life! And what happens if the police really arrest the person who sent this to me.

Europe loves China!

Podcast with Vanessa McRae

Vanessa McRae, Exhibitions Manager of the Institute of Modern Art in Brisbane has spent eight weeks in Hong Kong as her AsiaLink residency. She talks about her observation and experience in the Hong Kong arts community.
listen

Sudden sound

At a last-minute notice, I attended a sound performance by Austrian artists Christof Cargnelli and Berhard Gal. They actually very often presented installation works concerning sound and architectural space, an area not much explored in Hong Kong. It's a pity not many local artists and people like those behind in midair knew about this event.

Podcast on Microwave festival

A chat in Cantonese with Jeff Leung to review this year's Microwave International New Media Arts Festival and the new media arts development in the main stream visual arts context.
listen

Podcast on '85 New Wave & etc.

A chat in Cantonese with independent curator Jeff Leung on the inaugural exhibition "'85 New Wave: the Birth of Chinese Contemporary Art" of the long-anticipated Ullens Center for Contemporary Art in Beijing; also some thoughts and observations on the art scene in Beijing.
listen

The power of K

The "14K" T-shirt of G.O.D. got trouble with the police concerning the infamous triad society bearing the same name. It's time to re-consider how much freedom of speech we have and the law we have to comply. Suddenly it's become an obsession of a number with which we all have lived for long time. People might argue "14K" could mean so many different things and all depend on the context. In spite of the restrction of the Societies Ordinance, how wrong/bad is such an idea to bear the name of a frequently media-featured triad society on the T-shirt before the police argued against its unlawful status. It's the law which is supposed to protect us from the crime of the triad. I suppose someone(police?) felt offended by the T-shirt. Then we always remember someone here can be offended by art too. It's just scary that a T-shirt design could put you in jail. It's hard to understand: for the same meaning, "14" is ok but "14K" isn't.

I think there are many other things to put on T-shirt which is lawful but offensive! The drawing above was made after the G.O.D. design, replacing the Chinese characters 拾肆Ｋ(14K) with 廿參條(Article 23 which was about the national security and its drafting caused half a million people to demonstrate against the government in 2003).

Beijing scan II

The "tornado" by Anish Kapoor In Galleria Continua was the best I saw in Beijing this time, really a must-see exhibition.

Panda show of Zhao Bandi

Qiu Anxiong's solo in the Universal Studio was great. Still full of details and subtleties in the spectacular train compartment.

The Nam June Paik solo in Doart was nice. A lot of smaller pieces from different periods, good complement to his Guggenheim retrospective some years ago.

The Egg was not interesting as I expected. Too dry, too big and too much dwarfing the landscape around.

A tacky show rehearsal of dancing jockeys in a shopping mall promoting Olympic equestrian sport in Hong Kong 2008.

Dinner chat, Jeff & Vanessa

Beijing scan I

The current show curated by Huang Du in the Today Art Museum was interesting. The giant steel spine by Wang Jin was one of my favourites.

Koohaus' split CCTV towers in the smog.

In the new Ullens Center, the '85 New Wave show was touching. You could just feel the artists' passion then which is kind of rare nowadays. Huang Yong Ping's seminal work re-made with brand-new washing machines.

Rain

It has got real rain these days since I came back almost 2 months ago and I started to like it somehow. Maybe it's sad when we had "sunny" days, it also meant hazy and polluted.

Art auction

I went to Para/Site's fundraising auction last night, something potentially embarrassing if your work went unsold. It's this situation that it's only a small crowd but as far as there're 2 persons liking the same piece, it could be sold well. It seems something psychological too when people were not 100% sure about the work and other bidders would give endorsement.
I walked away when it was up to my piece. Luckly it was sold. And it was great for Para/Site and the amount raised was more than double of that last year.

New podcast

I have just tried to create a podcast on arts in Hong Kong and beyond. Basically I hope to make a space which is "casual" enough to "seriously" talk about art as we always tend to wait for the serious moment before we would do anything serious. I invite people to chat on things happening at the moment (we can't wait too much!) I think the voice recording is somehow an alternative document to writing which is unfortunately not so popular in our community. The trial episode is in Cantonese and I have Jeff Leung with me to talk about October Contemporary as seen from outside.

Gallery in Fo Tan

Last Sunday the first gallery was inaugurated in Fo Tan, where artists have gathered for studio spaces since a few years ago. It's been common theory that galleries, shops and restaurants always follow artists in the west. And finally artists have to move out again because of high rent. The famous example is SoHo in New York. I'm not sure if the end of Fo Tan will be like this but first wonder if it would actually happen in the beginning too. I'm unsure if there will be more galleries opening here. Hanart got a space last year but it remains a warehouse after the open studio. The new Blue Lotus is operated as weekend gallery before customers or visitors would travel up here to see art during the week. Not even talking about the general mindset on contemporary art here, the preconception of distance of a lot of people in Hong Kong is super conservative. It's always the comfort zone for art from Wan Chai to Sheung Wan. Going beyond that can be "far away" for a lot of art hoppers, although it might be 20 more min in the MTR/KCR, that length of time has so often killed by all sorts of silly activities.

Anyway, there's a community in Fo Tan but not all the time invisible. While hoping things will be flourishing, there may be more substantial to have a place like cha chan tang (local cafe) where artists can have more chance to bump into each other. There are getting more "private" spaces for individuals and "open" space for public during the open studio events but that kind of communal space among artists are still missing.

Fage

Just completed a new work as a donation to Para/Site. It's acrylic colour on canvas, an image of sky made by writing for thousands times the simplified Chinese characters 发格 (fage) that I found in Wikipedia as "fuck in Shanghainese". There will be a preview in Pacific Place III from today to Oct 29 but the venue management found the title too offensive and censored it. So, you will only see the painting with the clean title "Fage" there.
It's the first piece of a brand new series and has never been exhibited. Also not sure it will be exhibited again if it's sold!

1949,1968,2004

Chung Yeung Festival is coming. The other day we did a family visit to my dad's grave. It's this typical room of multi-level niches for ashes in east Kowloon. Not far away from my dad's, I spotted this plaque on which was a photo of an old woman and a young man. What intrigued me was they were couple. The man was born in 1917 and died in 1949 (a life of histories!) The woman was born in 1926 and passed away in 2004. So, she was only 23 when he left at an age of 32. So she had been widow for another half a century, far much longer than the life of her husband. Then there's also their son, his ash right next to theirs. He was born in 1949 (when his dad died) and passed away in 1968 (year of turbulance too) at 19 only. These figures allow a lot of imagination and association. It seems difficult to think without consideration of a country's history. So, what happened in 2004....?

Contemporary, contemporary!

Went to the opening of the "International Contemporary Art Fair" here. Just curious what people would expect the meaning of "contemporary". Is it money-sexy? The same organizer did the "Art & Antiquity" fair not long ago which was regarded as "successful". Contemporary might be only understood as something now. So, these are the stuffs being sold and purchased in Hong Kong at the moment in that sense only.

To my surprise, the fine art department of the Chinese Uni took part in it as a vendor of art by students and alumi. Would it be an example how the academic institution embraces the market? When all these art fairs in Europe try to involve independent shows (with so called academic recognition) as endorsement by the star curators, we have our university art school taken over by the art fair. Anyway, I heard they sold well!

October Contemporary

Went to the opening in the Cattle Depot and then at Para/Site. The theme "Again" seems to be a bit vague to draw different shows together. Perhaps its flexibility appealed and allowed the organizer to hook up eight very different "independent" organization. Positively it amplified the small voice of each organization in front of the public that was predominated by all sorts of mainstream currents, but that also showed the limit of "independence" if the festival would go beyond that. The great turnout of the opening might demonstrate the possibility that individuals of this segregated community could get together. But I hope things could really evolve beyond that. I still very much appreciate the potential of grass root organizations in Hong Kong and if their cooperation can progress to collaboration which requires more engagement and understanding, definitely a more cohesive October Contemporary can be a very dynamic and interesting alternative to those institutional Asian biennales. We could simply forgot the controversy of the Hong Kong Biennial. But then some might ask if we need a truly international and carefully-curated multi-venue exhibition, but founded in this urban/local setting. Well, Hong Kong seems not to be very international, at least in terms of its indifference to what's happening in the neighboring countries.

The other day, I saw the sign of ParknShop containing the word "international"! I bet some of the street markets here are actually more international.

With or without you

Para/Site's AGM was held last weekend and I officially retired from its board. Feeling good. At the same time, I finished a short contribution to a book on artist-run space published by YYZ Books in Toronto. Here I also attach my text:

Looking at the development of an artist-run space, after almost 12 years of involvement, I will sum up with a couple of words: change and let go.

Nowadays, the difference between institutions and organizations is getting smaller and smaller. Once the romantic structure of artists’ organization seems gone. What left behind is in name of professionalization. Artists need to be better organized, like it or not!

The most interesting part of an artist-run organization for me is its existence at different stages, transforming itself until the day when it is no longer regarded as artist-run. The process lasts variedly, from a couple of years to 10 or 15. Its survival deals with its changing environment. It can be so fluid that it may allow immediate failure or success. The opportunity cost can be very low in name of passions. After all, you see yourself growing along with the organization. This momentum may diminish when one cannot keep up with the other.

The infamous example is its core members (in most cases also the founders) are too busy with their own careers to progress the organization. The worst situation is the slow death of the organization which still absorbs certain amount of energy and resources because of its early glory, of those who sympathize.

To fold up or change the organization always stirs up controversy, as there are always people with different ideas. You just need to allow different possibilities and it is always interesting to explore the new. In this moment, you definitely sense the opportunity cost is getting higher. But then it’s time to give the organization a new life, with or without you.

Just miss the cool and clean air in Canberra

Loss of space

Yesterday I went for a walk in the hills of Sha Tin, a trail exactly the same as I did nine years ago. I remember last time I left the hill and came to a small lawn before entering to the town centre which I enjoyed much with BB. This time the lawn has gone and it sits a huge ramp of the expressway.

Hong Kong Artists Series

Back in Melbourne, Brett showed me this little toy he bought in Hong Kong.

Hong Kong for taitais

Hong Kong, such a small arts community, is hardly attractive to the international players but love means a lot here. I have so far met a few art professionals including curators/directors and editors of major art museums and magazines who relocated to Hong Kong in the name of love as their partners had to come to Hong Kong for their business and career. They were female art professionals and gave up their career for their husbands. Some of them continue their career (in smaller scale and capacity) in different ways but some might simply become a wealthy tai tai, occasionally doing some volunteer work for art organizations or other charity.

Mmm... maybe a lot of local artists are similar too, perhaps just not wealthy. Once Chan Yuk Keung said making art in Hong Kong just like doing for charity! I respect them all anyway.

Airport

Airports are just like cathedrals in our times. They are all similar, grand and full of glass. You know what it means when it's not well attended. Travelling is something like faith, its experience becomes respected.
Yesterday I went to the airport for the first time not for anyone's arrival or departure. I lost my wallet in the airport (to be precise, the aircraft which already commuted between airports after 2 days) and have it found and returned. My belonging left its owner and travelled thro' countries.

Shooting

The shooting of "baby sign" took place on Aug 25 & 26. I didn't got many people help in the first day which was long. Anyway, it's just fun to work with these lovely people. It was an eye opener for me. Communication in silence.

Back to Hong Kong

Almost 2 months in Australia have passed. Back to home and started to meet old folks. Last night it was a small dinner with friends. It seemed like ages we didn't see each other before.

I shall have some re-collection of the days in Australia as not yet into the mood of an usual work life.

Real-not-real-video

Recently working on a video on Auslan (the sign language of Australia). There are two parts. The first one is a "real" educational work teaching people how to sign to babies. Now it's getting popular for young parents to communicate with their little ones in sign because of many benefits found in recent researches. The second part is "not-real", a fiction of a mother signing to her baby of messages of our real world. Luckily I have all actors now.

Teacher Laisarn

70% Urban

I just visited the National Museum of Australia today and really got something different from when I biked past it the other day. I guess it somehow built as a touristic attraction but it's no compromise to its substance. Seeing inside it's far more than a photo spot.

I like it in a way not too didactic although all the time you sensed the political correctness as the national museum would have. The racial issue is something so serious here in Australia but is simply overlooked and ignored in Hong Kong. It's so much a memorial for reconciliation. After all, instead of being overwhelmed by all those historical artifacts, there are quite a lot of contemporary art works here. Art works more often pose questions instead of answers. Although the tone is quite set, audience could still have this space to think about the issue.

Especially I like the temporary exhibition "70% Urban". Unfortunately I walked to that part when the museum was almost closed. in a pretty rush I walked thro' the show. It's such dilemma and tension between tradition and new in many post-colonial discourses. It's a resonance of the rethink of orientalism in Asia which a lot of internalization takes place because of globalization and tourism. You always have this arguement of authenticity..... I probably have a revisit as the good thing of this museum is free admission.

One of touching display is about the 70s movement for civil rights and social justice. There was an Aboriginal Tent Embassy set off the old parlament house, where now has become a listed heritage. It means a piece of history of thiry years. Now look at our Queen's Pier. Where is the gut of our government to preserve our history (of both of the colony and the civil rights)?

Who needs development?

Moon of the day

Night ride

Last night I went to a deaf kids' parents meeting as the beginning of my research of the sign language here. It's held in Holder, a suburb 12 km away from the city of Canberra. For a moment I was thinking to go by bike all the way there. Then when I thought of the highway, it seemed not a good idea to do it at night. However, for its remote location and rare bus services, I decided to take the bus to the Woden Interchange and continued with my bike for something like 5km. All sounds not too bad. But when I have had my quick sandwich after the bus journey and walked out from the mall, I found myself right next to the highway. Having spent sometime in my google map, I started my bike journey at night. I was leaving the main traffic and the area turned so silent. I came to a road where was no street lamp. In the darkness, I recognized my way with the starlight and the light from the remote houses. I had to stopped when there was a car coming as its frontlight was just too bright for me to see anything. Then there were ups and downs that you never realized on the map. For a moment I was having the picture of Tour de France in my mind. However, there was a slope where I simply had to get off my bike. Actually the silence and stars were very enjoyable. I found myself in the countryside! For this journey of 5km from the city to the suburb via a no-man's land, I spent 1 hour & 15 min.

The meeting was interesting though, it's a different story. Once in my mind: " Would there be anyone who might give me a ride back?".

I returned alone, on the same route to the bus interchange. This time, it was only 30 min!

Art & death

To my ignorance, I have just learnt about the death of Dominican/Mexican curator Priamo Lozada who passed away on June 14 in Venice(Mestre). I had no knowledge of him. From the news I got, he was the curator of the new Mexico Pavillion in Venice Biennale this year. Many people recommended the Mexico Pavillion although I haven't got a chance to visit it. Many people went to the opening of Venice Biennale as part of the Grand Tour but it was also this sadness a curator died by accident during his time in Venice when most were partying around.

Intimate shots

Just received an invitation to take part in a group show in Spazio Paraggi. It's about intimacy related to certain erotica. I am thinking to extract something from the Domestica Invisibile series. A few digital trials here. Are they erotic?

Fern Garden

In the National Gallery, there were collection shows. Even the "special" photo exhibition VIP-Very Important Photographs makes no difference. The interesting things are outside the galleries. The commissioned works by a few Asian artists are great. Also I found the Fern Garden by Fiona Hall very intriguing. She relates it to history - all the fern here are thousands year-old!

Art in Canberra

Last weekend I had visits to a few art spots in Canberra. I got an impression that the local artist community is rather small although there are some national institutions because of its status of the national capital, which are not so much related to the community here. Perhaps their perspective is mainly national or international but then it's a feeling of transplanting these institutions to this place from somewhere else.

The Drill Hall is a public gallery located in the ANU campus, currently showing a touring exhibition of drawings by an Australian artist. It's no particular interest to me but I just couldn't imagine if I would only make drawings for my life long career. However, it held the retrospective of Rebecca Horn last month, as a stop of her international tour.

The Contemporary Art Space is located in an old government premises with other non-profit arts groups. It's called Gorman House Arts Centre, similar to our Cattle Depot, much smaller but more lively. It was a Saturday market where second-handed stuffs and craftswork were for sale. Food and drinks were also available. I think Cattle Depot could generate more dynamic if it could also be turned as Sunday market, the best way to relate its neighbours.
The CAS currently shows as part of the Festival of Contemporary Art that doesn't shows any focus indeed.

Physically mobile

Today I bought an used bike and immediately felt ready to move around. Canberra is such a city not really designed for pedestrians. If you want to walk, you're supposed to do it in the park or the promenade. It's a city of roads but not streets. Roads form the fabric of the city where only objects with wheels are mobile!

Anyway, I had a nice short bike tour along the lakeside. Nothing to complain then!

The landmark National Museum of Australia on the lakeside - sculptural & deconstructive - I don't like it much although I haven't visited inside yet.

Arrived in Canberra

Just arrived in Canberra yesterday. It was my first time to board on a plane with propeller. It flew at a height a bit lower than the jet. I got a nice window seat on the plane and found the city looks so much like a huge golf court.

Shanghai MOCA

Reversing Horizons is a show co-curated by Chang Tsong-zung & Gao Shiming. It's rare not only as a Hong Kong art show outside Hong Kong but also one cross-generations & cross-media seldom seen in Hong Kong.

Yuk King was not able to install the show herself and entrusted me to keep an eye on the installation. It's my ignorance that it was finally mis-installed. I hope the museum staffs can fix it soon.

Yuk King's work on the right is supposed to be hung at an angle.




Amy poses as model for my installation, a 4 back-projections installation entered via a small corridor, which should be realized 4 years ago.

before 71

After many difficulties and help via a friend in South Africa in addition of my call for help at various websites, I sorted out translations in Tibetan (done in Vienna, London, Switzerland & Bhutan!!!). The first line "I don't like my name" was pencil drawn directly on wall in 1a Space. The 2nd line "Can you change your name?" was on the banner for the July 1 march.

I also did a collection of Google search "I don't like my name" and it's amazing to see how many really don't like their name!

planes

This year I saw a lot of aeroplanes in Venice!

64 & 71

I went to the candle night in memory of June 4, 1989 in Victoria Park and then got really stuffed with art in the famous Grand Tour (3/4 version!) in Europe. Immediately it's the July 1 march that I returned to the same place.

This year Para/Site organized the participation with banners designed by artists. I also contributed one in Tibetan. It's my first time to walk with banner.

"Can you change your name?"

Bernd Becher

Bernd Becher has just passed away last week. The Becher couple was really contemporary masters who have so much influence on what we see photography nowadays. http://www.nytimes.com/2007/06/26/arts/26becher.html?ex=1340510400&en=aa3ba0750af71bc2&ei=5090&partner=rssuserland&emc=rss

Sky by Liang Zhihe