空間・詩・人:李光裕創作研究展
2018.3.31-2018.7.15
開幕:2018.3.31 14:30
展覽地點:高雄市立美術館201-203展覽室

空間詩學—李光裕雕塑藝術國際學術研討會
2018.4.1 10:00-17:00
地點:高雄市立美術館 演講廳

Space, Poetry and People: Art of Lee Kuang-Yu
2018.3.31-2018.7.15
Opening:2018.3.31 14:30
Venue:Kaohsiung Museum of Fine Art

The Poetics of Space:International Conference on Lee Kuang-Yu’s Art of Sculpture
Date:2018.04.01 10:00-17:00
Venue:Kaohsiung Museum of Fine Arts lecture hall

 

 空間‧詩‧人李光裕創作研究展

策展人:曾堯生
大觀視覺顧問公司
創意總監

引言:亥母——李光裕創作歷程的「時間節點」

亥母,在宗教意義上,是為智慧之母,以裸身形象表徵不受俗世汙染,清明自持。

〈亥母〉,這件作品在李光裕的創作歷程則具有強烈的意義。它同時存在二種表現形式:以量塊構成渾圓厚重的豬,紮實、充滿力量,安穩落坐在地表空間上;承載的女體,以幾何簡約的片面形狀折扭彎曲,動態旋舞,手法極具繪畫性,雕塑出獨特的亥母形象。

2008年繼〈亥母〉之後,李光裕開始打破造型箝制,迭經轉變,脫離捏泥塑造,轉向用鐵片、鐵絲焊接成作品骨架,以刀抹石膏雕塑肉身,敷以肌理,其概念已異於過往;飽滿的實體轉向以不同粗細線條,營造出厚重輕盈並存的量體;在作品擠壓、堆疊形貌上,李光裕用大量「空、透」書寫水墨畫「留白」,逐漸從西方具象寫實轉向更富禪意的東方美學。

研究李光裕作品,探討其創作形態,思索他在不同時間節點上所產生的各式異樣演變?

〈亥母〉,應該會落足在最顯眼的轉折處。

從「空間‧詩‧人」看李光裕

「空間.詩.人」,是李光裕創作研究展的主題,也是我多年來遠觀近閱李光裕,兩相互動的收穫。

人文「空間」

我的雕塑是在形的豐富變化和空間營造中,注入一個理想而帶有幻境的人文情懷。(李光裕)

李光裕對空間的掌握非常獨到;不同的創作階段,有不同的形態變化。從古典時期淺浮雕創作表現,他已能超脫作品和空間的單純關係,恣意在作品內韻與外相求取互動效應。圓雕創作時期,他用相對寫實的手法,精準掌握形體,充分馳騁想像力,務使作品和空間產生大連結,更在每個不同的環境裝置中,呈現不同的情緒轉換和氛圍,如〈手非手〉那隻飽滿的手掌,內聚力足以撐起一個世界,造型厚實如同大地,每根手指卻又像峭麗山峰,各自述說豐饒巧變的情感。當觀者轉身繞讀這件作品時,常會被手背連結手腕處的山丘隆起交會點吸引,進而感受到藝術家利用實體與空隙、動態和靜態、平滑及粗糙等創作技法,直接與其心靈場域對接。除此之外,李光裕更善用挖洞借景手法,創造眾多異類型的空間結構。2013年發表《空山》作品系列,明顯有了質變,此時「圓雕」被解構了,「形」、「體」在「虛」、「實」被更自由更寬廣地轉換,中國山水的留白蛻化為洞天,〈白雲〉、〈丘壑〉、〈在水一方〉諸作中,可以體會此系列作品的多樣面貌。

從〈亥母〉到〈一線天〉進化到〈鬥牛〉,李光裕以線性架構再直塑的方法,變化作品結構肌理,促使內在疏密及實體空孔相互依存轉換,活化雕塑主體和空間環境。時間自然地在空間裡淌流,李光裕的新空間觀念就在每件新的創作中,實踐,演出。

以「詩」就藝

詩,毋需告訴我們該走哪條路,它喚醒我們內心的渴求嚮往;詩人,得需敏銳的觸鬚,探測未來,臆想未知;寫詩,仍需講究格式、語言、韻律,更需嚴謹推敲,淬鍊字詞語彙。詩要求絕對精準凝鍊,一字一句就能牽引起音樂性、視覺性、情緒性的聯想,幾乎是無法用理性思維來分析。這是我對「詩」的粗淺認知,卻也成為我對李光裕創作精神的詮釋。

我的雕塑,像首詩,又像中國山水。它不只是一件雕塑,它隱藏著我對人的看法。〈李光裕〉

李光裕的作品,從墩實圓潤、輕盈到透空穿越,他一直在創造、力求精準使用這些造型語彙;這些語彙適切地呈顯在作品上,一一映照出他個人獨具的精神性與生活哲學。

「讓自己處在自然狀態,感受到自然的莊嚴,對自然的崇高產生信仰。成住壞空的美好。唱著詩,成為一個雕塑。」延應這個想法遞衍出李光裕專屬美學。他恣意歡享山中歲月四季榮枯,沉澱心緒,淬鍊思想,創作出「顯」「隱」對話的詩篇;他拿鐵片鋼線作為毛筆,在無形空間中書寫有形,那墨跡就是造型實體,那留白就是空間虛掩。他熱愛生活,轉化內容韻事為創作詩語,譜寫抒情曲調,在過程中慢慢發散細膩的自我內心世界。

慢品細賞,李光裕的每件創作,都可以感受到詩的況味及淡淡然的世間人情。

「人」如其作

李光裕的個性,猶若鐘擺兩端,一端追求寧靜安逸,另一端趨向熱烈騷動。作品充分反應了他的人格傾向。雖然肉身與幻境交疊,信仰和欲望拔河,行於創作中卻總能巧妙地化矛盾於和諧,絲毫不見角力鑿痕。

李光裕接受過完整紮實的西方雕塑技法和理論教育,創作教學並行;自身亦精研中國藝術、哲學的脈絡思維和表現形式;他修行佛法,鍛鍊太極拳,喜聽古琴;長久蘊養出深厚的東方文化哲思精隨,也因此發展出專擅獨具的雕塑語彙。李光裕強調,他做雕塑的方式很簡單,不忮求思想形而上,不談深奧的道理,多以身邊平凡的事物題材,用「活」字自由遊戲。創作不是自我膨脹,而是他的原始潛能,從生活經驗汲取養分,兼與當下情緒自然結合。近幾年來,他的工作室經常躉滿成堆廢鐵片,逢需要銲鐵做初步造型時,他喜歡在其中俯首尋找,常有異想不到的驚喜,透過這些廢鐵棄物組合而成的雕塑骨架如同鑽石般美好。所以他強調「藝術創作,以當下處境為『師』」。

他的人生經歷如同他的創作演化,一路從舉重若重、舉重若輕,走到舉輕若重。他在滾動的生活中顯示閒逸清淨,藉由心境和諧統攝創作上的對立與不對稱。繞過學術的臆測,放掉哲理的清談,如實,坐下來工作就是。對李光裕而言,當深奧的理論熟悉到不感興趣時,自然就平常無為;因工作而發酵出的情境,比較實在,比較新鮮。

以「群」類比——展場三部曲

雕塑給觀者的直覺印象,在於它的立體特徵、質感表現和尺寸規模,以及和觀者的對應背景空間所產生的關連性,最常聽到的說法是「雕塑和觀者共存一個空間,並且是觀者身處世界的一部分」。適當的空間能為雕塑作品帶來更強烈、更深刻的感官效應;當觀者近距繞行細賞,感受雕塑作品的位移效果,繼而拉遠距離再回望,會發現作品是被鑲陳在布局好的框架中。這是「空間‧詩‧人」佈展的重點考量,如何安排這麼多件的雕塑品,引導觀者在行進與靜止中得到最好的視覺饗宴?

我們期待看見藝術家如何透過造形的空間語彙傳達創作理念;從作品的造形演變,映照出創作者在不同時空中的生命觀。

挖洞借景造境

「在現實的厚牆,打開一面窗,多麼解放,開闊的天空,呼吸另一個世界的空氣,穿透那虛空之鬆與寬大,走出密閉空間的那個『繭』,在那洞口,更進一步可以擺設各式各樣的花草,有一個豐富的層次,飽滿的色彩,敘說更多的逍遙故事,將那不可承受之重,從肩膀卸下。」李光裕自陳,孩童時代躲身在防空洞的幽閉經驗,影響他的創作至鉅,也因此發展出「挖洞借景」系列作品。

「借景」創造多層次空間,使前後連結,內外通透,開創「虛實相應」的空間結構,如〈白雲〉在女子身體挖洞造景,並以單一元素「雲」象徵「天地」的意喻手法,自成天地,別開洞天;〈在水一方〉、〈風影〉在此脈絡裡,各以澄靜及昂然飛揚的思維回應他的主張;〈探春〉則更彰顯了他在季節時序中思憶故鄉一片蓮田的想望。李光裕擅長以景造境,以實物書寫心情,〈遊園驚夢〉中,當一片微殘荷葉輕掩青春女體,對應著側面頑石,彷若敘說歲月枯榮,人情冷暖;這件雕塑挖洞呼前應後,再向左右借景,極具戲劇張力,整件作品充滿想像,取景造境,以詩入藝。

演繹人體萬象

李光裕的人體雕塑,致力追求動態曲線美感,打破材質桎梏,淋漓盡致地呈現富有彈性、飽滿軟柔的肉感。從細微處掌握各個關節轉折點,精準拿捏人體四肢、頸椎腰臂的搖擺扭動,肌肉扯拉出的條狀團塊,使之隆起賁張,鼓漲消縮,再釋放臻至最強動感,端現出誘人的輪廓線條。

在李光裕具有強大張力動感的雕塑作品裡,無論是從上襲下,由前撲後,或左右交纏,在在都帶給人靜定的感受,究其竟,源於他對雕塑的重心落點及軸心線的絕對精準掌握,〈飛天〉一作足以印證,這件龐大凝歛緊聚的量體,自下而上繞著中心軸線款擺扭動,透過肢體表情與結構一路旋轉向上,形成出女子騰空的視覺意象。

人體作品中,〈緩解與張力〉可看到傳統古典技法的含蓄,泥塑擠壓揉搓的細部表現,和蘊藏其內的強韌本質。幾經轉變,演進到具強烈動感卻安定恆常的〈飛天〉、〈山雨欲來〉;以及〈春山〉、〈盈甕〉等外在閒雅安逸,內藏騷動情感爆發力的作品;到了〈太極〉、〈飛來〉,人體已被局部解構,保留部分渾圓量體,交雜扁平造型,組成續動狀態雕塑,呈顯由重到輕的創作表現,充分流露意在言外,現形不可見。

「空間.詩.人」中,每件不同的雕塑造型,實則都能相互交融於各個展覽空間。

書寫形貌百態

2013年後,李光裕開始嘗試在隱性空間繪寫顯性形態,烘染品味,用單純黑白二色囿圍空間,創作個性特別明顯。他書寫的動作直接了當,書痕深藏抽象美感。李光裕自述:「線,敘說藝術家的內心世界,在空間遊動,由方向、轉折、頓挫、韻律、飛馳、不動、寂靜……共同圍成圖像空間,鏈接情感的時間珠串,慢慢品味、去運作,聽它說話。」當我們凝視〈威德〉這件巨大牛頭,右邊造型飽滿緊湊,左邊虛空,只剩下幾條不同粗細的線條纏繞,作品既擁實相的美感,亦享放空的鬆透;實體處得見弧面折曲奧妙,留空處卻更能引人遐想,從中彰顯中國「讓」的美學。

至於〈機智的鬥牛士、格蘭納達、紅色情挑〉三件式作品,則有如印尼皮影戲現身立體空間裡;李光裕以墨色鐵線在多層平面上分次編組,成就最純粹的書法墨趣。

這類作品採取直塑構成,先以鐵件架骨,敷陳石膏為體,其上再做不同肌理表現,藉由塊、面、凸、陷、缺等技法表現來傳遞情感;其性格越強,作品越見精神。如此表現方式,就像書法的點、橫、豎、鉤……八筆形成側、勒、啄、磔……等八種筆勢,各有特色,相互呼應。在雕塑中融入書藝語彙,使雕塑形體產生一股內在能量,抒散出東方氣味的空靈,形成大張力的場域氛圍。

結語:清供——藝術家自畫像

一個瓶子,一叢花,就可以做不完
無需靈感,手隨意畫畫可也,都不一樣。
單一體裁就有一系列的作品。
現代的人喜歡講一系列的體系,
我則不然。
知道就好,跑到別條路去玩玩。
——處處逢春。〈李光裕〉

早期每逢歲末,家家戶戶除了換貼新春聯,也喜將年節瓶花,蔬果、古玩擺置廳堂書齋,增添生活情趣兼具美化空間,新年新氣象,是謂「歲朝清供」。

〈清供〉這件作品,清透秀雅,李光裕將花瓶的完整形體打碎,重組成一個多面具穿透力的空間,層次表現弱化現實具象,增添神秘想像力;瓶上的花,以抽象線條翻飛舞動於空中,書寫詩意。這件破裂不完整瓶身的〈清供〉,可以超脫現實、穿越空間,隨著置放環境改變,會讓人產生不同的感受;作品流露的氣息,意境高古清雅,東方禪韻十足。李光裕自喻這件作品是自己60歲的心境寫照,供養自己六十甲子之年的「好」;他更進一步表示,同樣的清供,可以有各種不同情境的表現,可輕盈、可厚實,可樸拙,可絢麗,如果用人生書寫作品,會有創作不完的雕塑,也會呈現各種不同的閱讀經驗。

〈清供〉可以單一,可以多變,展場中以竹相配,適見「竹報平安」吉祥喜氣。
 

Space, Poetry and People: Art of Lee Kuang-yu

Reminiscence of Neiwei

Lee Kuang-yu was born in Neiwei, Kaohsiung in Taiwan in 1954. After he completed his academic training in sculpture in Taiwan in 1975, he went to Spain and studied the Western techniques and theories of sculpture in the Real Academia de Bellas Artes de San Fernando and the Art College of Universidad Complutense de Madrid, learning from renowned Western sculptors such as Toledo. After graduation, he returned to Taiwan in 1983 and, next year, started to teach first at Taipei National University of the Arts and then at National Taiwan University of Arts. After he retired from his teaching position in 2006, he became a full-time sculpture artist and led a hermit-like life. He built his own sculpture park and studio in a mountain woodland in Xizhi of Taipei. By combining both Eastern and Western media, techniques, philosophical thoughts as well as what he learned at school and from life, Li has created his own rhetoric of art that crosses the boundaries of Eastern and Western cultures, a kind of art as rich and diverse as the nature of Taiwan’s arts and cultures.

This exhibition showcases totally 50 sets of works created by Lee from 1986 to 2017. The curator, Tseng Yao-sheng, attempts to present to viewers the poetry and passion in Lee’s life as an artist from the three perspectives of “space, poetry and people”. Especially placed by the curator at the entrance of the gallery room, the Goddess of the Earthly Creations sculpture, which symbolizes compassion to every being in the universe, welcomes viewers to the exhibition, followed by Visiting Spring, a sculpture that represents the jubilant bustle of youth in the month of March. Then the Majesty sculpture marks the beginning of adulthood in which one starts to seek wisdom and truth. This sculpture portrays Manjusri Bodhisattva, Buddha of Wisdom, in his wrathful form (also known as Yamantaka) cracking down on the evil and protecting the good to promote wisdom and reason among mortals. The Bullfighting series is one of the highlights of this exhibition. This series of large-scale sculptures was created by Lee in 2016 for an exhibition in the former residence of Hemingway in Venice. Drawing references from Hemingway’s Death in the Afternoon, Lee imagined how a cool-headed bullfighter still managed to compose himself elegantly in the face of death and performed a tantalizing duet dance with it. Lee converted the bullfighter a ballerina in his series. In front of these sculptures, such as Grenada and Red Passion, the only thing we as viewers can do is to let them take our breath away as if we are watching one fascinating ballet performance after another.

When Lee was a teacher, he never ceased his artistic creation and, during this period of time, he attempted to infuse modern forms and aesthetics traditional sculptures. For example, he gave exaggerative twists to sculptures of large volume in order to create a strong sense of tension while easing the sense of repression caused by the large size. In addition, he intentionally added a hand-kneaded texture to the smooth surface of his sculptures. This oscillation between and merge of the East and West is a constant feature of his works. In addition, Lee also paid particular attention to the correlations between traditional sculptures and external spaces. In 2008, Lee demonstrated a brand-new artistic expression language in his Goddess of the Earthly Creations, in which the form of the goddess fully demonstrates Lee’s acute observation of human body and outstanding command of representation techniques, using light and thin metal sheets to precisely represent human anatomy. This work is practically the prototype of Lee’s recent works in which metal sheets are used to simulate Chinese calligraphy brush strokes. The heavy and realistic depiction of a creature in the lower half of this work constitutes a stable center of gravity. The contrast of lightness and heaviness, abstractionism and realism between the upper and lower halves of this sculpture is the beginning of Lee’s transition from heaviness to lightness and his signature flow of both voidness and solidness in his sculptures.

This development has also converted Lee’s earlier focus on the dialogue between his works and external spaces to his recent focus on the correlations between voidness and solidness of the sculptures. For example, The Naughty Boy in 2008 still features chiseled lines like in a hard-pen painting. In later works, such as Majesty and the Bullfighting series, Lee starts to incorporate flowing lines and void spaces that resemble Chinese calligraphy with strong and weak, dense and loose, solid and void brush strokes merged together and dotted with moss-like ink spots to create a balanced harmony. The development of these new techniques reflects the influence of Chinese calligraphy and painting artists such as Huang Kuang-nan on Lee when he was young back in his hometown. Lee experiments with a diverse range of materials and does not impose any presumed shape or concept on his works. Nor does he seek any certain pattern or any absolute existence; therefore, he is able to find an abstract territory of absolute poeticness.

In contrast to traditional sculptures that always wait quietly to be viewed, Lee’s sculptures continuously send messages and energy to viewers, buzzing their ears like those singing birds and insects by the lotus pond in Neiweipi. The “Reminiscence of Neiwei” is an expression of Lee’s sentiments toward his hometown when returning to it and having his exhibition here. Now in his sixties, Lee has transcended all the fluctuations of happiness and sadness in life, looking back at his life mostly spent outside his hometown studying, teaching and engaging in artistic creation. Over all these years, the place he settled down has felt like his new hometown to him. What connects him and his original hometown is his desire for tranquility away from the urban hustle and bustle, his moment of solitude hiding in the air-raid shelter during childhood, and his discovery of a lively world underneath the lotus leaves. All these incidents and sentiments are recorded and represented in his sculptures such as Lotus, Girls on a Lotus Leaf, and Shadow of Wind.

By Tseng Mei-chen (Senior Researcher of Kaohsiung Museum of Fine Arts)
 

展場照

Installation View

空間詩學—李光裕雕塑藝術國際學術研討會

時間:2018年4月1日上午10:00~下午5:00
地點:高雄市立美術館(高雄市鼓山區美術館路80號)
學術主持:楊心一 博士
會議召集人:石瑞仁
會議語言:中、英文雙語
主辦單位:當代藝術基金會
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■學術研討會開幕式 : 上午10:00 am -10:15 am
介紹本次研討會3場參與的9位專家學者,以及藝術家李光裕
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■第一場:上午10:15 am-11:45 am
○議題:全球視野下的雕塑藝術媒介與創新
○主持人:李玉玲(高雄市立美術館館長)
○參與學者:
1.Timothy Murray
美國康乃爾大學人文學院教授,康乃爾大學藝術與策展人協會(Cornell Council for Arts and Curators)主席,CCA雙年展負責人,Rose Goldsen新媒體藝術檔案館策展人。
2.Renate Ferro
康乃爾大學藝術系副教授,藝術系大學部主任,藝術家。
3.Alex Taek-Gwang Lee
韓國慶熙大學(Kyung Hee University)國際學院文化研究學系教授,光州雙年展學術策展人。
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11:45 am-12:30 pm 午餐 (大會備有餐盒)
12:30 pm-1:30 pm 專業導覽
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■第二場:下午1:30 pm-3:00 pm
○議題:臺灣雕塑與國際文化交流——以李光裕爲例
○主持人:石瑞仁(前台北當代藝術館館長、當代藝術基金會董事長)
○參與學者:
1.許仁豪
臺灣中山大學劇場藝術學系助理教授,上海藝術研究所客座研究員。美國康乃爾大學劇場藝術博士。
2.謝豐嶸
上海外灘美術館策展人
3.楊心一
美國康乃爾大學藝術史博士、康乃爾大學新媒體藝術檔案館顧問,曾任職於紐約MoMA、古根漢美術館。
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■第三場:3:30 pm-5:00 pm
○議題:東、西方美學思想與李光裕的雕塑語言
○主持人:楊心一博士(美國康乃爾大學藝術史博士)
○參與學者:
1.Youngjeen Choe: 韓國中央大學(CHUNG-ANG UNIVERSITY)國際學院院長、英語系教授。
2.何博超
中國社會科學院美學研究室副研究員,中國美學學會理事,兼任中國希臘哲學學會理事,清華大學道德與宗教研究院“古希臘羅馬哲學與宗教研究中心”研究員。北京師範大學文學院博士,英國劍橋大學古典學系訪問學者。
3.毛竹
中國社會科學院哲學研究所助理研究員,北京大學哲學系外國哲學博士,中國社會科學院哲學研究所博士後,比利時(荷語)魯汶天主教大學訪問學者。著有《向京作品集》(中信出版社,2017年11月)。
網路報名網址:
https://goo.gl/forms/3q7wsF8Hzehid3E33
席次有限,如欲出席請於3/28日前回覆
回函請電洽、傳真或email至學術研討會聯絡人_陳潔
TEL:02-77295809|FAX:02-85025715|MOBILE:0917-134064|EMAIL:info@chinigallery.com

 

The Poetics of Space:International Conference on Lee Kuang-Yu’s Art of Sculpture
Date:10:00 am-5:00 pm, April 1, 2018
Venue:Kaohsiung Museum of Fine Art, Taiwan
Academic Host:Dr. Shinyi Yang
Convenor:J.J. SHIH
Language:English and Chinese (On-site Bilingual Translation)
Organizer:Contemporary Art Foundation
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■Opening:10:00 am -10:15 am
Introduce the international conference, scholars and artist Lee Kuang-Yu
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Session 1:10:15 am-11:45 am
○Topic:Interpreting sculpture in the global perspective
○Host:Yulin Lee (Director of Kaohsiung Museum of Fine Art)
○Scholar:
1.Timothy Murray
Professor of Comparative Literature and English, Cornell University; Director of Cornell Council for the Arts and Curator, CCA Biennial; Curator, Rose Goldsen Archive of New Media Art.
2.Renate Ferro
Visiting Associate Professor of Art and Director of Undergraduate Studies in Art, Cornell University; Artist.
3.Alex Taek-Gwang Lee
Professor at School of Global Communication, Kyung Hee University;Academic Curator in Gwangju Biennale.
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11:45 am -12:30 pm:Lunch (We will prepare lunch for audience)
12:30 pm -13:30 pm:Exhibition Session
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Session 2:1:30 pm-3:00 pm
○Topic:The reading of Taiwanese development of sculpture with the international trend in arts: taking Lee Kuang-Yu as an example
○Host:J.J. SHIH (Former Director of Museum of Contemporary Art)
○Scholar:

  1. Jen-Hao Walter Hsu

Assistant Professor at Theatre Arts Department, National Sun Yat-Sen University;Guest Researcher at Shanghai Arts Research Institute;Ph.D of Theatre Arts,Cornell University.

  1. Hsieh Feng-Rong

Senior Curator, Rockbund Art Museum.

  1. Shinyi Yang

Curator; PhD. of Art History, Cornell University; Consultant, Rose Goldsen Archive of New Media Art;Producer of Chineseness, Discovery Channel.
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Session 3:3:30 pm-5:00 pm
○Topic:Understanding Lee Kuang-Yu’s sculptural language within the context of Eastern and Western philosophical thinking
○Host:Dr. Shinyi Yang (PhD. of Art History, Cornell University)
○Scholar:
1.Youngjeen  Choe
Professor of English, Dean of International Affairs, Chung-Ang University.

  1. He Bochao

Associate Professor at Institute of Philosophy, Chinese Academy of Social Sciences(CASS);Director of Chinese Society for Aesthetics;International Scholar in Faculty of Classics, Cambridge University.

  1. Mao Zhu

Assistant Professor at Institute of Philosophy, CASS;PhD of Philosophy, Peking University; Author of XiangJing Documents (Others) (ZhongXin Publishing House, Nov., 2017).
Sign up for Conference:
https://goo.gl/forms/6Htri3wVdeNzmVhK2
RSVP
Limited seating. Kindly RSVP by Mar. 28th
RSVP to Ms. Chen
TEL: 02-77295809|FAX:02-85025715|Mobile:0917-134064|EMAIL:info@chinigallery.com