Different Strokes

Total Page:16

File Type:pdf, Size:1020Kb

Different Strokes SOCIETY Different strokes Guangdong-born artist Chen Wen Hsi pioneered a new kind of East-meets-West art when he moved to Singapore. An exhibition at his former home showcases his legacy BY HONG XINYI UKIT TIMAH IS a swish among Asian collectors, with Chen’s Singapore neighbourhood oil on canvas painting Pasar fetching DON’T LOOK AT THE Bwhere an inordinate number a record HK$13.24 million (US$1.7 of roads are named after the kings, million) at a Sotheby’s Hong Kong GIBBONS FIRST. queens, duchesses and dukes of the auction in 2013. former British Empire. A blue plaque From the early 1960s until LOOK AT THE on a bungalow at 5 Kingsmead Road, his death in 1991, Chen lived at however, commemorates a different 5 Kingsmead Road. For decades, BRANCHES kind of history. he taught art at The Chinese High Johnny Quek, who has more than 600 of Chen’s Chinese ink paintings The plaque is bestowed by School, which was nearby, and also Singapore’s National Heritage Board, held lessons in this house; in the and although the round blue sign garden, he kept a menagerie of is discreet, its presence denotes animals, to better capture their a singular honour: this house is the essence in his paintings. redesigned, stacks of Chen’s only private residence in the country Evidence of his experiments in paintings were discovered in the attic. designated a historic site. It’s because abstractionism can be seen in the These were handed over to his family. it previously belonged to pioneering form of two murals on the front porch, Tay also made sure the murals were Singaporean artist Chen Wen Hsi. created in 1960. The house sat empty carefully restored. Born in Guangdong in 1906, Chen for several years after his death, and The house has changed hands arrived in Singapore in 1947. He is a by the time artist Tay Joo Mee bought once again, and she will be moving key figure in the Nanyang movement: the property in 1998, the murals out later this year. New owner Audrey a group of emigrant artists who fused were overgrown with algae. Koh Karmen, a psychotherapist, traditional Chinese art training with Tay had met Chen years ago, bought the property for S$15 million Western styles and techniques such and bought some of his paintings. (US$11.1 million) and plans not only as Post-Impressionism and cubism. Her appreciation of his work inspired to preserve Chen’s murals, but also The work of these artists today the preservation of aspects of his to incorporate them into the design of attracts keen and growing interest legacy. Before the house was her new house so that the murals will 22 THIS WEEK IN ASIA MARCH 31 - APRIL 6, 2019 SOCIETY ARTIST TAY JOO MEE; JOHNNY QUEK AND HIS FRIEND JENNIFER LEWIS; AND A SELECTION OF WORKS BY CHEN WEN HSI, INCLUDING ‘GIBBONS’. Images: Hong Xinyi and Johnny Quek be more visible from the main road. the aesthetics of traditional Chinese to buy a Chen painting because of one a curious flowering of hybrid “I feel a responsibility to keep these ink painting is clear: the branches are single, beautiful stroke. sensibilities. In Hong Kong, for murals for the next generation,” impressionistic if compared to the “Look at his speed of running the instance, the artists of the New Ink she says. verisimilitude of Western realism stroke,” he says. “It’s very difficult Movement began to marry traditional Before that happens, members but their textures and details are still to create a good, powerful stroke.” Chinese forms to post-war Western of the public will have a chance to view deftly articulated. “Then come over Chen’s interest in fusing East art movements to striking effect. a range Chen’s work in his former here and look at this,” Quek says, and West stirred long before he came If one considers the likes of the abode. From April 12-May 3, this will striding over to a 1982 gibbon to Singapore. As a student first at the Nanyang and New Ink artists critical be the site of Homecoming: Chen painting, where the branches are Shanghai Art Academy and then the precursors to contemporary Chinese Wen Hsi Exhibition @ Kingsmead, depicted more as single strokes: Xinhua Academy of Fine Arts, he artists such as Liu Dan, who toy with which will showcase more than 30 the search for a new purity of form. chose a track that allowed him to and transcend the conventions of of his Chinese ink paintings. “He is progressing, but he doesn’t study both Chinese and Western art. traditional forms, a richer picture of Most of these are from the private know where he will go yet.” It was difficult, though, to find books Chinese modern and contemporary collection of Johnny Quek, a former In a piece painted later still, about Western art in China then, art emerges. civil servant and 25-year director of in 1987, just a few years before he once told an interviewer. In 5 Indeed, Quek hopes to open the Merlin Gallery. Quek befriended Chen passed away, the brushwork Kingsmead Road, he amassed a large a museum in China where he can Chen in 1978 and has amassed more for the branches had grown sure collection of these books, and some display his Chen collection, exposing than 600 of his Chinese ink paintings. and vigorous. “This was the peak,” will be on display in the exhibition. a wider Chinese audience to his work. His admiration for Chen’s unique Quek says. “This style is very The artistic explorations of Chen He explains, simply: “I believe he is sensibilities is infectious. different, very complex, and very and his emigrant peers in Singapore a very important figure in Chinese For example, Chen is famous for difficult, but it was successfully done. parallel those of other diaspora art history.” ■ his paintings of gibbons – one of which Here, he’s even given up depicting the communities in the years between is depicted on Singapore’s $50 dollar details of the gibbons’ fur and faces. the establishment of the People’s Homecoming: Chen Wen Hsi bill – but standing before one of these But the branches are more important Republic of China in 1949 and the Exhibition @ Kingsmead runs from works, Quek insists: “Don’t look at the than the gibbons.” opening up of the country in the late April 12 to May 3 at 5 Kingsmead gibbons first. Look at the branches.” A keen calligrapher himself, Quek 1970s. Access to new ideas from Road, noon to 7.30pm daily. This 1972 painting’s adherence to says he has sometimes been moved outside the mainland unleashed Admission is free SOUTH CHINA MORNING POST THIS WEEK IN ASIA 23.
Recommended publications
  • Brother Joseph Mcnally P
    1 Design Education in Asia 2000- 2010 Exploring the impact of institutional ‘twinning’ on graphic design education in Singapore Simon Richards Z3437992 2 3 Although Singapore recently celebrated 50 years of graphic design, relatively little documentation exists about the history of graphic design in the island state. This research explores Singaporean design education institutes that adopted ‘twinning’ strategies with international design schools over the last 20 years and compares them with institutions that have retained a more individual and local profile. Seeking to explore this little-studied field, the research contributes to an emergent conversation about Singapore’s design history and how it has influenced the current state of the design industry in Singapore. The research documents and describes the growth resulting from a decade of investment in the creative fields in Singapore. It also establishes a pattern articulated via interviews and applied research involving local designers and design educators who were invited to take part in the research. The content of the interviews demonstrates strong views that reflect the growing importance of creativity and design in the local society. In considering the deliberate practice of Singaporean graphic design schools adopting twinning strategies with western universities, the research posits questions about whether Singapore is now able to confirm that such relationships have been beneficial as viable long-term strategies for the future of the local design industry. If so, the ramifications may have a significant impact not only in Singapore but also in major new education markets throughout Asia, such as the well-supported creative sectors within China and India.
    [Show full text]
  • The Artistic Adventure of Two Bali Trips, 1952 and 2001
    Wang Ruobing The Quest for a Regional Culture: The Artistic Adventure of Two Bali Trips, 1952 and 2001 Left to right: Liu Kang, Cheong Soo Pieng, Luo Ming, Ni Pollok, Adrien-Jean La Mayeur, Chen Chong Swee, Chen Wen Hsi, 1952. Courtesy of Liu Kang Family. iu Kang (1911–2004), Chen Wen Hsi (1906–1991), Cheong Soo Pieng (1917–83), and Chen Chong Swee (1910–1986) are four Limportant early artists of Singapore. They were born in China and emigrated to what was then called Malaya before the founding of the People’s Republic of China.1 In 1952, these four members of the Chinese diaspora went to Bali for a painting trip. Struck by the vibrant scenery and exoticism of Balinese culture, on their return they produced from their sketches a significant amount of artwork that portrayed the primitive and pastoral Bali in a modernist style, and a group exhibition entitled Pictures from Bali was held a year later at the British Council on Stamford Road in Singapore. This visit has been regarded as a watershed event in Singapore’s art history,2 signifying the birth of the Nanyang style through their processing of Balinese characteristics into a unique “local colour”—an aesthetic referring to a localized culture and identity within the Southeast Asian context. Their Bali experience had great significance, not only for their subsequent artistic development, both as individuals and as a group, but also for the stylistic development of Singaporean artists who succeeded them.3 Vol. 12 No. 5 77 Exhibition of Pictures from Bali, British Council, Singapore, 1953.
    [Show full text]
  • Artists Imagine a Nation
    ARTISTS IMAGINE A NATION Abdullah Ariff Boo Sze Yang Chen Cheng Mei (aka Tan Seah Boey) Chen Shou Soo Chen Wen Hsi Cheong Soo Pieng Chia Yu Chian Chng Seok Tin Choo Keng Kwang Chuah Thean Teng Chua Mia Tee Foo Chee San Ho Khay Beng Khaw Sia Koeh Sia Yong Kuo Ju Ping Lee Boon Wang Lee Cheng Yong Lim Mu Hue Lim Tze Peng Mohammad Din Mohammad Ng Eng Teng Ong Kim Seng Tumadi Patri Phua Cheng Phue Anthony Poon Seah Kim Joo Tang Da Wu Tay Bak Koi Tay Boon Pin Teo Eng Seng Tong Chin Sye Wee Beng Chong Wong Shih Yaw Yeh Chi Wei Yong Mun Sen Contents Foreword Bala Starr 8 Pictures of people and places Teo Hui Min 13 Catalogue of works 115 Brief artists’ biographies 121 Acknowledgements 135 Foreword Works of art are much more than simple collectables or trophies, in the A work of art maintains its status as a speculative object well past the date same way that history is more than a compilation of triumphal stories or nostalgic the artist considered it ‘finished’ or resolved, and in fact meanings might never reflections. Histories build and change through their own telling. The works in actually fix or settle. What we identify ascontemporary is as much about a process this exhibition, Artists imagine a nation, record individual artists’ perceptions, of looking back and re-evaluating the practices and insights of those who have experiences and thinking, and document their aspirations for their communities travelled before us as it is about constantly seeking the new.
    [Show full text]
  • Homage to Tradition (Hong Kong, 13-15 Dec 12)
    Homage to Tradition (Hong Kong, 13-15 Dec 12) Chinese University of Hong Kong, Dec 13–15, 2012 Chia-Ling Yang, University of Edinburgh Homage to Tradition A Symposium on East Asian Art in Honour of Professor Roderick Whitfield Chinese University of Hong Kong, 13th-15th December 2012 This symposium and a related festschrift publication to follow will include papers by Professor Whitfield’s students and colleagues. Both will honour Roderick Whitfield’s excellent scholarship, his unwavering support and teaching to his students, and his significant contribution to the field of Asian art history and archaeology. The main theme of this symposium, ‘Homage to Tradition,’ pays respect to Roderick Whitfield’s tireless exploration of China’s past and his numerous publications in search of beauty and truth. Many of Roderick Whitfield’s students are playing leading roles in Chinese art history, architecture and archaeology, in academia, museums, in publishing and the commercial sector. We hope all of us will present new research relating to the ways of appreciating art and cultural relics, linking art history with a multitude of other disciplines, including religion, anthropology, architecture, literature, political and social history, language, and translation theory. 13 December, 13.00-17.30 Session 1 Paradigm - Meihua Shao (Tree Valley Foundation, CIST Centre, Taiwan), The Manufacture of Neolithic Nephrite and Stone Yue Axes from the Liangzhu Burial Mounds in Southeast China - Jenny Chao-Hui Liu (Cambridge History of China, Princeton University),
    [Show full text]
  • A Story of Singapore Art
    artcommune gallery proudly presents A Story of Singapore Art An art feast that captures a uniquely modern Singapore cross-fertilized by decades of East- West sensibility in fine art. A Brief Overview The story of Singapore art could be said to have first taken roots when the island flourished as a colonial port city under the British Empire. In addition to imported labourers from India and China, unrest and destitution brought on by civil conflicts and the great world wars culminated to a significant exodus of Chinese intellectuals (educators, scholars, writers and painters) and businessmen to Singapore in search of better work-life opportunities. By the early-20th century, Singapore (then still part of the Straits Settlements) was already a melting pot of diverse migrant traditions and cultures; the early Singapore art scene was naturally underpinned by these developments. During this period, most schools under the British Colonial system taught watercolour, charcoal and pastel lessons under its main art scheme while the more distinguished Chinese language-based schools such as Chinese High School often taught a combination of Western oil and Chinese ink paintings (in fact, a number of these Chinese art teachers were previously exposed to the Paris School of Art and classical Chinese painting during their art education in China in the 1920s). Furthermore, art societies including United Artists Malaysia as well as the Society of Chinese Artists were in place in as early as the 1930s, and the Nanyang Academy of Fine Arts (NAFA) was formally established by Chinese artist-educator Lim Hak Tai in 1938. To paint a simplified picture: the local art production in early Singapore may be broadly characterised into three veins – the traditional Chinese painting, the Nanyang style, and British watercolour style.
    [Show full text]
  • Nanyang Style - Singapore's Pioneer Art Movement
    Jul 12, 2011 14:35 +08 Nanyang Style - Singapore's Pioneer Art Movement Singapore was known as Nanyang in the late 18th century. Representing South Seas in Chinese, Nanyang was a goldmine for many Chinese immigrants. Art was denied progression during this period of colonial rule. The first nationwide art class was also implemented reluctantly to comply with British examination standards. So what is the Nanyang style? Who are the main artists? This article will attempt to address these questions. According to the definition from Singapore Art Museum, Nanyang style integrates teachings from Western schools of Paris and Chinese painting traditions, depicting local or Southeast Asian subject matters. Most Nanyangpaintings are either Chinese ink or oil on canvas. There was a great influx of Chinese immigrants and the emergence of Nanyang style was in response to the dichotomy of Chinese nationalism and Southeast Asian regionalism. Colonial rule restricted art development and it was only in the 19th century when the first art society started – The Amateur Drawing Association. While in Kuala Lumpur, United Artists Malaysia emerged. These societies imparted mainly Chinese influences in the Nanyang style. As global economies were recovering from Great Depression, artists of the Nanyang style were benefiting from extra exposure from art trends in Europe and China. The establishment of Society of Chinese Artists in 1935 had members who were not only alumni of Chinese art academies but were also avid fans of western art. The need to craft a unique identity was stronger after World War II, amidst growing anti-colonial sentiments. Founding artists wanted to portray Nanyang culture in a visually unique flavour.
    [Show full text]
  • Printed from Straitstimes.Com
    Printed from straitstimes.com « Return to article Print this The Straits Times www.straitstimes.com Published on May 19, 2011 Painting with old cloth Artist Ho Chee Lick uses old pillowcases to apply ink to rice paper By corrie tan When his wife throws out old pillowcases, this artist tells her not to. That is because Dr Ho Chee Lick, 60, has turned to using pieces of cloth to apply ink to rice paper in his Chinese ink paintings, and those pillowcases have come in handy. Dr Ho, who is a senior lecturer in the National University of Singapore's Department of Chinese Studies, says: 'I'm a bit naughty. I don't want to stick to the same methods. There are 10,000 ways to use a piece of cloth. Every picture I did, I asked myself, how can I do it differently the next time?' His 26 large, abstract ink works can be seen at Art Retreat Museum till Aug 13 in an exhibition titled Sequenza, named after an Italian musical term for a collection of virtuoso pieces. Prices start at $10,000. Art Retreat executive director Teo Han Wue, 65, who co-curated the show, says: 'In this exhibition, Dr Ho is doing a sort of sequenza in painting. His medium is like a solo instrument.' One of Ho's four-panel works reflects the four movements of a symphony, inspired by Chinese composer Xian Xinghai's Yellow River Cantata (1939). Layers of Chinese ink bleed into rice paper, leaving feathery strokes and delicate monochromatic hues in their wake.
    [Show full text]
  • Annex 2 – Artist’S Biography
    Annex 2 – Artist’s biography Poon Lian, born 1947 in Singapore. He is currently a full-time artist. Education 1967 – 1970 Studied Chinese ink painting under Dr. Chen Wen Hsi's tutelage, Singapore 1969 Graduated from Nanyang Academy of Fine Arts (NAFA), Western Painting, Singapore 1966 Graduated from The Chinese High School, High School Certificate (Arts), Singapore Career 1993 – 2003 Packaging and decoration investments in Hebei, China 1973 – 1992 Engaged in visual arts related careers such as designing, printing and colour separation 1972 – 1981 Lecturer, Nanyang Academy of Fine Arts, Singapore 1971 – 1975 Art Coordinator, Nanyang Siang Pau, Singapore Appointments 2009 - Current Secretary, Club NAFA, Singapore 2006 – 2009 Supervisor, The Society of Chinese Artists, Singapore 2005 – 2008 Assistant Treasurer, Club NAFA, Singapore 2002 – 2005 President, The Society of Chinese Artists, Singapore 1994 – 2010 Member, Executive and Management Committee, The Society of Chinese Artists, Singapore 1993 – 2008 Director, Nanyang Fine Arts Foundation Ltd Member, NAFA Council, Singapore Solo Exhibitions 2015 “Encounters: Poon Lian, 50 years of art”, NAFA Galleries 1 & 2, Singapore 2013 “Art Away From Home”, Nanman Art Gallery, Singapore 2010 “Rebel in Arcadia”, NAFA Lim Hak Tai Gallery, Singapore 2007 “Artistic Odyssey”, NAFA Gallery 3, Singapore Group Exhibitions in the past decade 2014 “Reflections in Nanyang”, NAFA Galleries 1 & 2 and Lim Hak Tai Gallery, Singapore 2013 “Nanyang Inspired”, NAFA Lim Hak Tai Gallery, Singapore “A New Light in Nanyang”,
    [Show full text]
  • The Journey of Minds
    The Journey of Minds: Chinese Modernity and Chinese Ink-Painting in Singapore Woo Fook Wah (Dr.) March 2019 Abstract This essay traces Singapore Modern Chinese-Ink Painting back to the period when China was in search for a Modernity that was relevant to them. While the Chinese Intellectual went about searching for a Modernity relevant for China, the Journey of Minds into Singapore furthered the art scene here, resulting in Singapore being an art centre in Chinese Modern Art in the region. Artists in Singapore analysed the Finds of Chinese Modernity and continued the journey on a different trajectory. The development of a Chinese-Ink Painting Style that eventually took a path influenced by the confluence of thinking between the West and the then evolving Chinese modernity. This resulted in an underlying thread of ideas possibly laying the foundation of a Singapore identity in a portfolio of unique ways of creating Chinese-Ink paintings. 2 Content 1. Introduction ……………………………………………………….. 8 2. In Search of Modernity: The New Culture Movement …………. 14 A. The Motivation Behind the New Culture Movement B. In Search of Modernity C. Western Painting Concepts and Chinese Visual Art D. Traditional Chinese-Ink Painting Concept 3. The Journey of Minds and Nanyang ………………………………………….. 37 A. Arrival into Nanyang B. Bringing Modernity to Nanyang C. The Art of Nanyang 3 4. Singapore Chinese-Ink Painting – Beyond Nanyang …………………… 62 A. The Artworks of Lim TZe Peng (林⼦平) B. The Artworks of Tan Oe Pang (陈有炳) C. The Artworks of Terence Teo Chin Keong (赵振强) 5. Conclusion …………………………………………………………………………… 87 Bibliography …………………………………………………………………………………….. 94 List of Illustrations …………………………………………………………………………….
    [Show full text]
  • Art the Real
    Art The Real of Drinking In this series of art-and-space inspired libations, we’ve blended the imagination of artists and our fore-founders into a collection of cocktails. Explore a new way of “drinking in art” with a tangible experience. You’ll find these art pieces exhibited within the National Gallery Singapore. The Real Art of Drinking #1 Inspired by iconic Singaporean artist Georgette Chen’s oil on canvas, Bananas in a Basket, c. 1953–1955. BANANAS IN A GLASS Barrel-aged Banana Cognac | Vermouth | Bitters Reflecting Singapore as her new home, Chen painted this tropical fruit with vivacious and dynamic brushstrokes. We pay homage with a composition of the century-old Negroni and our in-house barrel-aged banana-infused cognac. See the painting $26 Subject to 10% service charge and prevailing GST The Real Art of Drinking #2 Inspired by the Padang, the only constant surrounded by a changing landscape in the heart of our civic district since 1822. BY THE PADANG Aged Rum | Apple Brandy | Spice | Bitters The Padang, a national monument and field of many names, was also known as The Plain, Cantonment Plain, and Raffles Plain. An open square with the immense City Hall building as a backdrop, she welcomed oncoming ships and vessels as they approached inland. $25 Subject to 10% service charge and prevailing GST The Real Art of Drinking #3 Inspired by the momentous public unveiling of Singapore’s national flag at the City Hall steps in 1959. OVER THE HORIZON Champagne | Clarified Colada Visit the steps of the City Hall building and look back at the defining moment where thousands of people gathered to greet Singapore’s National Anthem and unveiling of the National Flag for the very first time.
    [Show full text]
  • ALMA MATTER Curated by Khairuddin Hori PRESS RELEASE
    Chan + Hori Contemporary, 6 Lock Road, #02-09, Gillman Barracks, Singapore 108934 ALMA MATTER conditions. Also on display are the camp and pageantry captured Curated by Khairuddin Hori in the short-lived, gender-probing artistic practice of Khairul Ikhwan (deceased). Exhibition Dates: 24 May - 17 June 2018 Usually associated with the notion of an academy combining Opening Night: 24 May 2018, 7 p.m., featuring orthodox Western and Chinese art traditions, these artists have performances by Ella Wijt and moved on to establish themselves in the spirit of the contemporary The Kaizen M.D. and are emblematic of the ‘now’. Through their works, they have gravitated beyond local and regional concerns to incorporate a Held in conjunction with the Nanyang Academy of Fine Arts universalism that connects with human experiences. (NAFA) 80th Anniversary celebrations, Alma Matter is a visual art exhibition organized in collaboration with the NAFA Fine Art PRESS RELEASE Alumni Chapter and Chan + Hori Contemporary. It features FOR IMMEDIATE RELEASE artists who have graduated from various fine art programmes at the academy in the past ten years. Curated by NAFA alumnus Artists: Samuel Chen Khairuddin Hori, the exhibition takes its inspiration from a Khairul Ikhwan wordplay of alma mater - which ordinarily refers to an institution Warren Khong one has studied in and graduated from. In its original Latin form, Fiona Koh alma refers to the act of nourishing. It is paired here with Loi Cai Xiang matter - referencing affairs relating to the concerns and practices Justin Loke of the artists. Placed together, Alma Matter alludes to the artists’ Ong Si Hui past training at the academy while simultaneously reflecting on Ezzam Rahman their place in the contemporary art landscape of today.
    [Show full text]
  • Arts Agenda - - - - Amsterdam
    3 6 China vases, necklaces, mirrors, belts, and glass- 21 April - 21 October 2007 The Netherlands Galerie Urs Meile ware. The exhibition is made up by finds from In the Sign of the Dragon – On the Beauty of Stedelijk Museum > Arts agenda 104 Caochangdi Cun, Cui Gezhuang Xiang four archaeological sites: Ai-Khanoum, the Chinese Lacquer Art: Homage to Fritz Low-Beer Oosterdokskade 5 Chaoyang District, Beijing necropolis of Tillia-Tepe, Begram, and Fulol. This exhibition presents the extensive col- 1011 AD Amsterdam T +0086 10 643 333 93 lection formerly belonging to Fritz Low-Beer T +020 5732 911 www.galerieursmeile.com Germany (1906-76), who is regarded as the pioneer of www.stedelijk.nl IIAS Newsletter | #43 | Spring 2007 Kunst- und Ausstellungshalle Chinese lacquer art in the West. The exhibition Until 31 March 2007 der Bundesrepublik Deutschland GmbH is intended to offer an insight into the tech- 9 March - 17 June 2001 Australia Austria Wang Xingwei Museumsmeile Bonn niques and decoration of Chinese lacquer art. Paul Chan: Lights and Drawings Queensland Art Gallery / Gallery of Modern Art Thyssen-Bornemisza Art Contemporary This exhibition is comprised of works by con- Friedrich-Ebert-Allee 4 The collection focuses on carved lacquers and Solo exhibition of video and digital artist Paul Stanley Place, South Bank Himmelpfortgasse 13/9 temporary Chinese painter, Wang Xingwei. 53113 Bonn archaeological finds from the Western Han Chan. Brisbane, Queensland 4101 1010 Vienna T +49(0)228/ 9171-0 period (202 BC-9 AD). T +61 (0) 7 3840 7303 or +61 (0) 7 3840 7350 T +43 1 513 98 56 Hong Kong Heritage Museum www.kah-bonn.de Groninger Museum Artswww.asiapacifictriennial.com/ www.tba21.org agenda1 Man Lam Road Japan Museumeiland 1 Sha Tin, Hong Kong Until 9 April 2007 Fukuoka Asian Art Museum 9700 ME Groningen Until 27 May 2007 Until 30 March 2007 T +852 2180 8188 Angkor - Sacred Heritage of Cambodia 7 & 8th Floors, Riverain Center Bld.
    [Show full text]