MINERVA INWALD RECIPIENT OF INAUGURAL 4A EMERGING WRITER’S PROJECT

4A Centre for Contemporary Asian Art is pleased to announce Minerva Inwald as the recipient of the inaugural 4A Emerging Writer’s Project.

Ahead of the November 2016 launch of the online publication The 4A Papers, 4A Centre for Contemporary Asian Art is supporting an Australian emerging writer to participate in Sea Pearl White Cloud, a collaborative two-stage exhibition project between 4A and independent Guangzhou contemporary art space Observation Society that will open on 2 June 2016.

Selected by a panel comprising Michael Fitzgerald, Editor, Art Monthly Australasia; Luise Guest, Director of Education and Research, White Rabbit Collection; and Pedro de Almeida, 4A Program Manager and Editor of The 4A Papers, Minerva will be an integral part of 4A’s project team, travelling to Guangzhou to undertake fieldwork as Observation Society’s exhibition unfolds, and later the exhibition in Sydney at 4A. Her research will see the publication of two critical texts that document the development, realisation and reception of the exhibitions, along with interviews with the artists and ongoing online content.

Pedro de Almeida says, “4A’s inaugural Emerging Writer’s Project attracted application from writers from New South Wales, Queensland, Victoria and South Australia. The range of educational, professional and artistic backgrounds from the applicants was also diverse with, for example, some writers having arts journalism experience, while others forging more experimental writing forms through artist-run platforms. 4A looks forward to offering more professional development and publishing opportunities for writers as we establish The 4A Papers later this year.”

Michael Fitzgerald says, “Minerva’s submission was outstanding. Her ongoing historical research in China as a PhD candidate at the University of Sydney, and her broader interest in how art objects circulate in the public and private spheres places her as a perfect candidate to contribute meaningfully and intelligently to this unique cross-cultural project.”

Luise Guest remarks, “Minerva’s application was outstanding in a range of ways. Firstly, her recognition that she aims to broaden her critical writing style beyond the constraints of academic writing was refreshing. Her background in carrying out art historical research on the ground in China, at the National Art Museum of China (NAMOC), using primary sources, and dealing with the complexities of dealing with a Chinese institution, will clearly be an advantage in quickly assessing the possibilities on the ground in Guangzhou. Her obvious level of fluency in Chinese (Mandarin) will also be an asset to the project. Minerva’s current doctoral research is both interesting and relevant, relating to curatorial practices, museology and the circulation of objects and artefacts. I particularly liked her thoughtful (and highly topical) plan for an extended contemplative essay reflecting on the notion of ‘southern-ness’, and how that plays out in the relationship between the sister cities of Sydney and Guangzhou. Her sample of writing – an extract from a conference paper – indicated her clarity of thought and expression, and her willingness to push against the conventional boundaries of a discipline (in this instance, historical research) indicating the potential for some innovative texts and other modes of communication emerging from the collaboration in Guangzhou.”

Sea Pearl White Cloud is supported by the City of Sydney with the Observation Society exhibition opening being part of the official program of the City of Sydney and Guangzhou Municipal Government’s civic celebrations as part the 30th anniversary of their sister-city relationship. Additionally, the Emerging Writer’s Project is supported by Art Monthly Australasia.

Minerva Inwald is a current PhD candidate in the Department of History, University of Sydney, whose research focuses on the history of the National Art Museum of China (NAMOC) between 1958 and 1989. Using Chinese-language primary sources to examine how exhibitions at this prestigious space were used to communicate ideas about the role of art in China in relation to conceptions of ‘the people,’ her research seeks to investigate broader questions of how art objects circulate in museum contexts, as well as outside museums such as in domestic, work and public spheres. Minerva graduated with Bachelor of Arts (Languages) Honours degree from the University of Sydney in 2012, and in the same year was awarded the Francis Stuart Prize for Asian Art History form the Department of Art History. She has contributed a number of papers at academic conferences in Sydney, Melbourne and Brisbane, and recently undertook an 8-month postgraduate exchange program at Beijing’s Central Academy of Fine Arts.

 

John Choi – Paper for a New Century Garden

This is an edited transcript of John Choi’s talk that was accompanied by a slideshow presentation given at 4A Centre for Contemporary Asian Art on 21 October 2011 for the forum New Century Garden: Talking About Public Art in Chinatown, produced by 4A Centre for Contemporary Asian Art in partnership with City of Sydney. Copyright of this text remains with the author.

John Choi’s text as PDF

Video documentation of this talk

 

About the Forum

New Century Garden: Talking About Public Art in Chinatown, produced by 4A Centre for Contemporary Asian Art in partnership with City of Sydney, examines the role of public space in Chinatown, using the specific idea of a garden as an initial proposal for a public art project.

The principle aim of the forum is to begin a public discussion on ideas, processes and concerns regarding new approaches to public art, particularly in regards to multidisciplinary ways of working that may allow for artists, designers, architects, planners and communities to come together in innovative and mutually rewarding contexts.

An opportunity exists for the development of a new public artwork on Thomas Street in Chinatown, which runs between Hay Street (at the southern end of Sussex Street) and past Quay Street to the rear of the ABC Building in Ultimo. The area of Thomas Street that has been identified will in future be a pedestrian thoroughfare.

In thinking about this site Public Art Curator for City of Sydney’s Chinatown Public Art Plan, Aaron Seeto, is drawn to the idea of installing a garden or to work with artists working with vegetation. There are reminiscences around ideas of more traditional sculpture gardens, but transformed for a 21st century context. In creating a garden space, this area for public art could house a number of permanent smaller works and become a public meeting area as well as becoming a space for temporary projects and presentations. The garden itself would be a public artwork in its own right, created through a process of collaboration and research amongst a team of artists, designers, architects and other professionals.

More than just a garden, the site on Thomas Street will operate as a junction of a range of disciplines and positions, including art and design, social and cultural history, feng shui principles and the community’s needs from this public space. In this sense, Thomas Street will operate as a curated space, using the idea of a garden to structure a range of positions around history, tradition, and the social and cultural aspirations for the future. Furthermore, in the past, public art in the area has been formulated within a representational mode that used a recognisable palette of Chinese elements – such as lanterns or red lighting – to locate the Chinatown area.  However, Contemporary Asian cultures around the world are constantly evolving this outwardly representational mode and future projects should embrace this dynamic to broaden the cultural, conceptual and technological parameters of thinking about what public art can be in Sydney’s Chinatown.

 

 

Guest speakers

John Choi is Founding Partner of Choi Ropiha Fighera architects with an international profile for innovative projects that bring together architecture, planning, branding, public space and tourism.

Paper

Felicity Fenner is Chief Curator at the National Institute for Experimental Arts and Senior Lecturer in the School of Art History and Education at the College of Fine Arts, University of NSW.

Nicholas Jose is a novelist, essayist, playwright, former Cultural Counsellor to the Australian Embassy in Beijing, and is currently a Professor at the Writing and Society Research Group at the University of Western Sydney.

Dr Xing Ruan is an author and Professor of Architecture at the University of New South Wales.

Aaron Seeto is Director of 4A Centre for Contemporary Asian Art and Public Art Curator for City of Sydney’s Chinatown Public Art Plan.

Bridget Smyth is Design Director at the City of Sydney and leads the City’s urban design and public art team.

Jason Wing is a Sydney-based artist of Aboriginal and Chinese heritage who has been commissioned for a public art project in Chinatown’s Kimber Lane.

 

Dr Xing Ruan

Garden as Public Sphere – A Historical Lesson?

This is an edited transcript of Dr Xing Ruan’s talk that was accompanied by a slideshow presentation given at 4A Centre for Contemporary Asian Art on 21 October 2011 for the forum New Century Garden: Talking About Public Art in Chinatown, produced by 4A Centre for Contemporary Asian Art in partnership with City of Sydney. Copyright of this text remains with the author.

Dr Xing Ruan’s text as PDF

Video documentation of this talk

 

About the Forum

New Century Garden: Talking About Public Art in Chinatown, produced by 4A Centre for Contemporary Asian Art in partnership with City of Sydney, examines the role of public space in Chinatown, using the specific idea of a garden as an initial proposal for a public art project.

The principle aim of the forum is to begin a public discussion on ideas, processes and concerns regarding new approaches to public art, particularly in regards to multidisciplinary ways of working that may allow for artists, designers, architects, planners and communities to come together in innovative and mutually rewarding contexts.

An opportunity exists for the development of a new public artwork on Thomas Street in Chinatown, which runs between Hay Street (at the southern end of Sussex Street) and past Quay Street to the rear of the ABC Building in Ultimo. The area of Thomas Street that has been identified will in future be a pedestrian thoroughfare.

In thinking about this site Public Art Curator for City of Sydney’s Chinatown Public Art Plan, Aaron Seeto, is drawn to the idea of installing a garden or to work with artists working with vegetation. There are reminiscences around ideas of more traditional sculpture gardens, but transformed for a 21st century context. In creating a garden space, this area for public art could house a number of permanent smaller works and become a public meeting area as well as becoming a space for temporary projects and presentations. The garden itself would be a public artwork in its own right, created through a process of collaboration and research amongst a team of artists, designers, architects and other professionals.

More than just a garden, the site on Thomas Street will operate as a junction of a range of disciplines and positions, including art and design, social and cultural history, feng shui principles and the community’s needs from this public space. In this sense, Thomas Street will operate as a curated space, using the idea of a garden to structure a range of positions around history, tradition, and the social and cultural aspirations for the future. Furthermore, in the past, public art in the area has been formulated within a representational mode that used a recognisable palette of Chinese elements – such as lanterns or red lighting – to locate the Chinatown area.  However, Contemporary Asian cultures around the world are constantly evolving this outwardly representational mode and future projects should embrace this dynamic to broaden the cultural, conceptual and technological parameters of thinking about what public art can be in Sydney’s Chinatown.

 

 

Guest speakers

John Choi is Founding Partner of Choi Ropiha Fighera architects with an international profile for innovative projects that bring together architecture, planning, branding, public space and tourism.

Paper

Felicity Fenner is Chief Curator at the National Institute for Experimental Arts and Senior Lecturer in the School of Art History and Education at the College of Fine Arts, University of NSW.

Nicholas Jose is a novelist, essayist, playwright, former Cultural Counsellor to the Australian Embassy in Beijing, and is currently a Professor at the Writing and Society Research Group at the University of Western Sydney.

Dr Xing Ruan is an author and Professor of Architecture at the University of New South Wales.

Aaron Seeto is Director of 4A Centre for Contemporary Asian Art and Public Art Curator for City of Sydney’s Chinatown Public Art Plan.

Bridget Smyth is Design Director at the City of Sydney and leads the City’s urban design and public art team.

Jason Wing is a Sydney-based artist of Aboriginal and Chinese heritage who has been commissioned for a public art project in Chinatown’s Kimber Lane.

 

Nicholas Jose

What is a (Chinese) Garden?

This is an edited transcript of Nicholas Jose’s talk that was accompanied by a slideshow presentation given at 4A Centre for Contemporary Asian Art on 21 October 2011 for the forum New Century Garden: Talking About Public Art in Chinatown, produced by 4A Centre for Contemporary Asian Art in partnership with City of Sydney. Copyright of this text remains with the author.

Nicholas Jose’s text as PDF

Video documentation of this talk

 

About the Forum

New Century Garden: Talking About Public Art in Chinatown, produced by 4A Centre for Contemporary Asian Art in partnership with City of Sydney, examines the role of public space in Chinatown, using the specific idea of a garden as an initial proposal for a public art project.

The principle aim of the forum is to begin a public discussion on ideas, processes and concerns regarding new approaches to public art, particularly in regards to multidisciplinary ways of working that may allow for artists, designers, architects, planners and communities to come together in innovative and mutually rewarding contexts.

An opportunity exists for the development of a new public artwork on Thomas Street in Chinatown, which runs between Hay Street (at the southern end of Sussex Street) and past Quay Street to the rear of the ABC Building in Ultimo. The area of Thomas Street that has been identified will in future be a pedestrian thoroughfare.

In thinking about this site Public Art Curator for City of Sydney’s Chinatown Public Art Plan, Aaron Seeto, is drawn to the idea of installing a garden or to work with artists working with vegetation. There are reminiscences around ideas of more traditional sculpture gardens, but transformed for a 21st century context. In creating a garden space, this area for public art could house a number of permanent smaller works and become a public meeting area as well as becoming a space for temporary projects and presentations. The garden itself would be a public artwork in its own right, created through a process of collaboration and research amongst a team of artists, designers, architects and other professionals.

More than just a garden, the site on Thomas Street will operate as a junction of a range of disciplines and positions, including art and design, social and cultural history, feng shui principles and the community’s needs from this public space. In this sense, Thomas Street will operate as a curated space, using the idea of a garden to structure a range of positions around history, tradition, and the social and cultural aspirations for the future. Furthermore, in the past, public art in the area has been formulated within a representational mode that used a recognisable palette of Chinese elements – such as lanterns or red lighting – to locate the Chinatown area.  However, Contemporary Asian cultures around the world are constantly evolving this outwardly representational mode and future projects should embrace this dynamic to broaden the cultural, conceptual and technological parameters of thinking about what public art can be in Sydney’s Chinatown.

 

 

Guest speakers

John Choi is Founding Partner of Choi Ropiha Fighera architects with an international profile for innovative projects that bring together architecture, planning, branding, public space and tourism.

Paper

Felicity Fenner is Chief Curator at the National Institute for Experimental Arts and Senior Lecturer in the School of Art History and Education at the College of Fine Arts, University of NSW.

Nicholas Jose is a novelist, essayist, playwright, former Cultural Counsellor to the Australian Embassy in Beijing, and is currently a Professor at the Writing and Society Research Group at the University of Western Sydney.

Dr Xing Ruan is an author and Professor of Architecture at the University of New South Wales.

Aaron Seeto is Director of 4A Centre for Contemporary Asian Art and Public Art Curator for City of Sydney’s Chinatown Public Art Plan.

Bridget Smyth is Design Director at the City of Sydney and leads the City’s urban design and public art team.

Jason Wing is a Sydney-based artist of Aboriginal and Chinese heritage who has been commissioned for a public art project in Chinatown’s Kimber Lane.

 

Gina Fairley

There are many elements in all, each an individual but also a member of the group, sharing common characteristics that define it and its heritage. Regardless of where it faces, it dances and greets – that’s what each must do – a responsibility to itself and to the group. The fragility of the entire system is mirrored in the individual and each layer of its being. To fit in requires effort – balancing – and a certain understanding of the space one inhabits and of those sharing it.”  – Luff

When we think of exotic species it is within a biological context: animals, microorganisms, and plants alien, unpredictable in their proliferation, and insidious – simply ‘different’. It is synonymous with non-native. This factor-driven classification is sadly mirrored in our 21st century desire for neat box-ticking and a plague of fear with its subtext of boarder control, asylum seekers, quarantine and removal. The exotic slowly takes on an unpalatable tone that creeps into a collective conscious like weeds or vines with their complex entanglements. The rubric of control sits duplicitous with the expectation of social assimilation. The metaphor splits. The exotic species must become hybrid, grafted to its new environment to survive.

Living in regional New South Wales, Tracy Luff is like that exotic species transplanted from tropical Malaysia to the cold arid climate of Goulburn – the different one – constantly existing within parenthesis. While Luff does not subscribe to cultural politics as a platform for her artmaking, she is however interested in exploring the boundaries of physical and psychological space and to question her own sense of displacement through the metaphor of recycled cardboard, her chosen material.

These ideas come together in her installation, Tip-toe-tip-toe where can I go? (2011), 22 cardboard forms sprouting in the lower gallery of 4A, observed from the street like a specimen rare and somewhat contagious, controlled in its room-sized vitrine. One is witness to something emerging.

An interesting precursor to this piece was the outdoor work, The Different Ones (2009). Taking its cue from carnivorous plants, this small group of vertical forms sat ‘introduced’ to the Wollondilly planes like wild grasses with a resilience to survive. The physicality of the landscape posed a great challenge to the cardboard: Would it hold up? How would its character be altered? While clearly out of place, there was a beauty, a synergy in Luff’s cardboard forms as they sat in conversation with the rural setting. She is also of this place.

Artists have long inserted artworks into the landscape, artists such as Walter De Maria, Dennis Oppenheim, Michael Heizer and Robert Smithson who during the 1960s and 70s co-joined the environment and human activity by employing non-indigenous, man-made materials as an interruption, questioning the definition of what is ‘natural’ and acceptable practice. Bringing materials unfamiliar to the museum, piles of dirt, sticks, gravel, grass into its venerated space, ‘meaning’ and ‘value’ were ascribed to these materials outside aesthetic conventions. While such practices have become de rigueur, one might consider Smithson in relation to Luff. “His was an art which engaged the natural in an intimate, physical way but only to bring us closer to a disclosure of our always unstable, always mediated relation to it. This was an important realization, an understanding of nature would require a reflection on the nature of understanding.” 1.

Luff’s use of cardboard is more than mere visceral seduction or crafty obsession. As a recycled material its layered histories are inscribed and spatially extended. To paraphrase: an understanding of the material would require our material engagement to understand. A level of subterfuge is at play, like fashion-wear that uses combat camouflage in varying shades of pink we register the language – the material – but it has become feral, ascribing its own parameters of definition. Placed in the gallery Luff’s cardboard environments, deeply sophisticated in their rendering, are convincing in their rightful place.

Luff overloads the viewer with textural stimuli but denies the physical experience of walking through Tip-toe-tip-toe where can I go?, once removed by its island platform. It’s a restricted zone. Luff plays out the complexity of prescribed boundaries, the island’s sombre black maintaining an officious backdrop. The rogue exotic has been contained. Corralled and clustered, the top-heavy forms teeter on turned-wood stilettos, reaching, looking for their place. Its very title alludes to the egg-shell navigation required by a non-local.

“I have lived in Australia longer than any other country. I am not so aware of it here, but whenever I travel back the changes in me become more apparent and in some cases conflict with the norms of my birth culture. I have the feeling of not belonging there either. Even in Malaysia I am alien. I am still Chinese. This constant switching becomes a burden and heavy responsibility, and as time pass, I became the other, loosing myself, my own heritage.” 

Does ‘identity’ still take precedence? As the production and consumption of ‘difference’ has become increasingly mainstream, the ‘exotic species’ has become domesticated. Cardboard plays out that role for Luff. The utilitarian sheet-character of the cardboard becomes whimsical, sensual, almost ethereal in her hands, casting shadows and gently moving, grasping at life. Tip-toe-tip-toe where can I go?, in that respect, had a performative role, a flirtation that masked a longing. The forms had a precariousness seemingly defying gravity, tenuously rooted. It underlined their impermanence.

“They stand up and sway – they are alive – they take charge. When something stands up, it is conscious and aware. The material has become part of me. I feel how it felt and they move how I move.”

Luff’s sculptures sit at the edges of realty, not unlike John Wyndham’s carnivorous mobile Triffids ever encroaching, exotic, menacing, entering our collective visual vocabulary. The denial of reality is necessary if form is to emerge as a meaningful symbol.  Our compulsion to filter meaning wants us to read Luff’s use of recycled cardboard for its environmental calculability, its fragility, its supply, reuse – Its meaningful message.

That idea of renewal for Luff, however, rests more within Buddhist underpinnings of the cycle of birth and rebirth. It takes us full circle to the introduced exotic species and notions of passage, albeit the ‘new beginnings’ of migration or enlightenment through meditative mechanical repetition of making practiced by Luff. Tip-toe-tip-toe where can I go? then can only describe an elegant evolution, assured and firm footed in its spatial inhabitation.

Notes:

All quotes take from email conversation with the artist while in Malaysia, 16 September 2011.

1. David Campany, “Survey”, introductory essay “Art and Photography”, published by Phaidon 2003, pg. 39

 

Gina Fairley is an independent writer and curator based across Sydney and Manila, Philippines. She is the Regional Contributing Editor for Asian Art News and World Sculpture News (Hong Kong), and writes essays and reviews for international magazines. She has a special interest in the contemporary art of Southeast Asia. Her latest book Effective Art Writing will be published in 2012 with Ateneo de Manila University Press

 

Daniel Mudie Cunningham

BlogdelNarco.com is a narcocultura blog that insalubriously reports on drug-related violence in Mexico. Anonymous bloggers established the site in 2010 after several journalists had been murdered for reporting on narco activities, thereby attracting global notoriety by sensationalising an inordinate number of gruesome drug war crimes gripping the country. Torture and public executions are commonplace in this context with such blogs capitalising on our long standing fascination with the spectacle of publicly staged violence – both real and represented. Mexico has a long established culture of death, albeit one that has been romaticised within art history and popular culture. To an outsider looking in, the proliferation of blogs and social networking sites reporting on the drug trade would seem an extreme and deeply disturbing consequence of narcocultura. Aside from its online manifestations it is also evidenced ‘in the mausoleums and the music and the baseball caps embroidered with marijuana leaves in Swarovski crystals,’ as historian Froylán Enciso points out. Such expressions of death he claims, merely refer to ‘the array of symbols they surround themselves with in order to ward off that fear.’1

Describing himself as an ‘anti-disciplinary artist’, Sumugan Sivanesan’s work interrogates Achille Mbembe’s theory of ‘necropolitics’ and its various developments. Sivanesan spent more than three months undertaking a residency at SOMA in Mexico, his ensuring research into narcocultura informing the four-channel video installation Dos Sicarios… (2011). Having mined the BlogdelNarco.com site for content, Sivanesan selected a one-minute grab of surveillance footage showing a man being shot dead in a public lobby, presumably a drug trade casualty. Typical of surveillance imagery, the camera is static and banal, detached from the horror it depicts. Narcocultura has become so normalised that it has inevitably become a facile part of everyday life in Mexico. Narco imagery is consumed as comedy – terror emptied out and replaced with absurdist shlock, an advertisement for the pervasive drug-related economy of death it depicts. The BlogdelNarco.com branding on the clip, along with the retail-like display Sivanesan creates with his arrangement of screens and headphones in the gallery, reads like a droll commercial for murder. More a comedy of errors than a clean kill, the victim is murdered after the gun jams and is thrown across the floor to an accomplice who together bumble but succeed in the execution. It’s the kind of bamboozled violence familiar in Hollywood and exploitation movies alike.

Sivanesan recontextualises the found footage as art by presenting four different ‘takes’ of the same footage to augment its comic value through sound or the lack thereof. The first screen uses video effects to sonify the visual signal; cartoonish sound effects imbue the action with broad slapstick punch in the second; the disembodied voiceover of a film director is ironically heard obsessing about the violations of OH&S in the third take; the fourth ‘applies’ silence yet headphones are plugged into each of the monitors (it only lasts for one minute, but recalls the same kind of silence John Cage constructs in his avant-garde masterpiece 4’33”). The serial killing on screen becomes a serial artwork; each screen synced and repeated in image but not meaning.

More than simply pointing out the malleability of the image, Sivanesan responds to a culture of user-generated media that negates encoded dominant meanings through oppositional tactics. Such is the democratic power of a more mainstream site like YouTube for instance, where users can upload ‘video responses’ that often remix and mash content already on the site in ways that construct entirely new understandings. Narco blogs, however, are in and of themselves oppositional, using dark humour to amplify shock value. Sivanesan notes: ‘a generation of narco youth raised on social media court celebrity by posting dispatches, threats and trophy videos that drive an emerging trend of watching real deaths online – a nefarious spin on prosumer net culture.’2

The aesthetics of surveillance already have a grubby lackluster quality, especially when remediated at low resolution on ‘prosumer’ blogs and gore galleries that are typically viewed on hand held devices and presumably shared virally through any number of social networking sites. Yet we are trained to believe surveillance is a truthful and unmediated trace of the real: the panoptic gaze of the camera regulates our behavior socially, capturing evidence, catching out a crime. By tinkering with the clip through value-added effects and soundtracks, Sivanesan exposes as connotation the supposed indexicality and truth-value of surveillance. No longer are we certain whether the scene is real or staged. Authenticity reveals itself as a construct.

Sivanesan plays with what viewers are willing to believe. When exhibited in an Australian gallery far removed from its Mexican narco context, the work inevitably becomes a critical exercise inviting potentially messy and irresolvable debates about mediation, affect, ethics, and politics. This doesn’t mean that the experience of watching is entirely devoid of visceral impact for an untrained viewer, especially if a viewer is to discount the artist’s use of sound (arguably it only becomes mordantly humorous when you pick up the headphones for two of the four screens). Sivanesan succeeds in trading off horror for banality in keeping with the way narcocultura is produced and consumed in Mexico and disseminated globally online. Sivanesan punctures perceptions of narco economies as airtight and culturally specific, exposing how drug worlds intersect with art worlds, all kinds of worlds. As drug money circulates volubly artists toying with narco and/or necropolitics unmask their complicity.  And ours.

 

1 Froylán Enciso cited in Alma Guillermoprieto, ‘Days of the Dead’, The New Yorker, November 10, 2008: http://www.newyorker.com/reporting/2008/11/10/081110fa_fact_guillermoprieto

2 Sumugan Sivanesan, ‘The Politics of Ass’ (artist statement), 2011