[8481] in Software Accessibility Project email archive
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daemon@ATHENA.MIT.EDU (AMA/DSL)
Tue Feb 9 15:13:52 2016
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Date: Tue, 9 Feb 2016 21:13:48 +0100 (CET)
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There are no beautiful surfaces without a terrible depth. Let these words of Nietzsche sink in to try to understand the success enjoyed by the exhibition China: through the looking glass at the Metropolitan Museum in 2015.
Because we are convinced that the West looks Eastward, that the East looks Westward, and that these glances when crossed carry an undeniable fecundity, we have decided to create a weekly newsletter to explore with you the reports which maintain these two artistic spheres. Developed in partnership with Art Media Agency, the newsletter will consider with nuance, irreverence and relevance, the highlights of the international art scene, in line with our values: unwavering support of contemporary creation, transversality, and innovation.
How does one explain such a crowd and such media coverage for an exhibition dedicated to the Middle Kingdom, through the prism of fashion in one of the most important museums of the world? If we had to analyse the harsh world of fashion, we could summarise it in this way: the big designers are most of the time European or AmericanWesterners in all cases. The production of clothes is rather reserved to Asian countries or even to the Middle-East. Thus takes shape a contrast between the West and the East, which the exhibition attempts to modify
With success! In fact, the influence of the Chinese culture on Western fashion is obvious, which is why the exhibition was dedicated to China, to the mysteries and to fantasies which surround this civilisation, and that, through the phenomenon of fashion, of which the impact is felt in the ensemble of the population into our daily life.What we could see, in this event, is a new avatar of Orientalism (Edward Said) from the 19th cen!
tury peri
od during which the vast lands of Middle East fascinated European artists in search of folklore and strangeness. In the era of globalisation, the search for exoticism is not really news or at least, is for the less reconfigured. However, it is to the exotic monster of globalisation that was dedicated this exhibition: China. And it is maybe the mystery that represents the Middle Kingdom for the Western world which explains the lure and fascination which aroused this exhibition. In fact, China represents, for the West, the alternative culture the strongest and most difficult to grasp. Everything in China is different: the culture, the politics, the literature, the food
Hence the collection of fantasies which surrounds the country, which translates especially an essential lack of understanding, an opacity of this culture in the eyes of the West. Thus, this exhibition is the opportunity of a meeting between the Chinese culture and the Western world, through the phenomenon of !
fashion w
hich, although belonging to the world of luxury, is not lacking a greater popular visibility.
China is the figure of otherness, perhaps even the figure of otherness for the United States, taking the less enviable place of the USSR, which gave the enemy a regular face. This otherness is not just cultural, it is also economical (China threatens the United States of becoming the worlds largest economy, already with the first global GDP, in front of the US). Political otherness too, because China, although integrated in circuits of capitalism, did not side with Western democracies. Hence the ethnocentric fantasy, a billion Chinese as docile and disciplined as ants, ready to invade the world, as soon as theyre given the chance. Perhaps there we hold the key of success of this exhibition: China is a mystery, and its this mystery that this exhibition tries to clarify, while showing the influence of this country on fashion designers, for mostly, Westerners. China is the dark side of our Western civilisation, and like all the dark sides, it provokes the fantasy. The imp!
act of ou
r Chinese culture on the American culture participates trade between the two countries. Wong Kar-Wai, a big Chinese film director, known for the famous film In the Mood for Love, shows that the Middle Kingdom is not left on the same land of American soft power. Afterwards, its the fashion universe which recognises China an endless inspirational source and therefore a dialogue between two civilisations which influence each other.
The title of the exhibition itself is an indicator. Because what it seems to us is the image of China through a mirror. The mirror is a symbol of fashion and appearance, but it's also an experience of ones self awareness (what analyst Jacques Lacan called Mirror stage). The mirror, is what gives us a reflection of ourselves, of allowing us to see ourselves symbolically like an other (our image in the mirror is always a reflected image, with the right and the left reverse, thus creating a symbolic space distinct to real space
). In other words, the mirror allows us to see ourselves as an other, and to see the other like ourselves. Its a dialectic which is installed: that of the watcher watched found by the philosopher Maurice Merleau-Ponty.
All the exhibitions are, in their way, mirrors of something, but rare are those which assume it as directly and invite us to think about the multiple reflections that they give out. Thus, in proposing to discover the cultural treasures of China (and their influence to fashion designers), the exhibition shows us how we can meet a different civilisation, fascinating because its different, through the prism of its usages, of its traditions, which often reveals more about its country than its laws together. Its incidentally whats seen in Wong Kar-Wai films: China, under its reflection, the object before the image, although only the image reaches us. Perhaps, it is about a new exhibition formula for the future, where art mixes with ethnology, where the question of appearance (fashion, mirror) takes us into an immense depth, at the discovery of one-self as an other. —
dslcollection • AMA
dslcollection was founded in 2005 by Dominique and Sylvain Lévy and focuses on Chinese contemporary creation. The collection tries to limit the number of art pieces it owns to 350 in order to keep its fresh and singular taste. Through the intensive use of the web and social medias, dslcollection wants to bring knowledge about Chinese contemporary art to the largest possible audience.
Art Media Agency (AMA) is a newswire founded in 2010 and specialised in the art world. It produces 100 to 150 articles per week (in both French and English) and has an archive exceeding 40,000 texts. The agency also produces a weekly publication sent to 170,000 art professionals and collectors.
This newsletter is distributed to 195,004 subscribers.
If you wish to unsubscribe from this mailing list, please follow this link: http://www.artpr.fr/clients/dsl/unsubscribe.php?token=ff7564ed81db5d0273ed9287dd5cf23b
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sche sink in to try to understand the success enjoyed by the exhibition =C2=
=93China: through the looking glass=C2=94 at the Metropolitan Museum in 201=
5.</div></td></tr></table></td><td align=3D"right" valign=3D"middle" class=
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l"><!-- CONTENT TABLE // --><table border=3D"0" cellpadding=3D"5" cellspaci=
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-serif;font-size:9px;margin-bottom:0;color:#FFFFFF;line-height:135%;text-al=
ign:right;">Gallery View<br> Chinese Galleries, Douglas Dillon Galleries, E=
xport Silk<br> Photo: =C2=A9 The Metropolitan Museum of Art.</div></td></tr=
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"top" class=3D"textContent"><h1 style=3D"color:#FFFFFF;line-height:100%;fon=
t-family:Helvetica,Arial,sans-serif;font-size:30px;font-weight:normal;margi=
n-bottom:5px;text-align:center;">China=C2=A0: through the Looking Glass.</h=
1><h2 style=3D"text-align:center;font-weight:normal;font-family:Helvetica,A=
rial,sans-serif;font-size:17px;font-style:italic;margin-bottom:10px;color:#=
cccccc;line-height:135%;">There are no beautiful surfaces without a terribl=
e depth.</h2><div style=3D"text-align:center;font-family:Helvetica,Arial,sa=
ns-serif;font-size:15px;margin-bottom:0;color:#FFFFFF;line-height:135%;text=
-align:justify;">Let these words of Nietzsche sink in to try to understand =
the success enjoyed by the exhibition =C2=93China: through the looking glas=
s=C2=94 at the Metropolitan Museum in 2015.</div></td></tr></table><!-- // =
CONTENT TABLE --></td></tr></table><!-- // FLEXIBLE CONTAINER --></td></tr>=
</table><!-- // CENTERING TABLE --></td></tr><!-- // MODULE ROW --><!-- MOD=
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--><table border=3D"0" cellpadding=3D"0" cellspacing=3D"0" width=3D"100%"><=
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y;font-family:Helvetica,Arial,sans-serif;font-size:15px;margin-bottom:3px;c=
olor:#5F5F5F;line-height:135%;">Because we are convinced that the West look=
s Eastward, that the East looks Westward, and that these glances when cross=
ed carry an undeniable fecundity, we have decided to create a weekly newsle=
tter to explore with you the reports which maintain these two artistic sphe=
res.</div><div style=3D"text-align:justify;font-family:Helvetica,Arial,sans=
-serif;font-size:15px;margin-bottom:3px;color:#5F5F5F;line-height:135%;">De=
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=3D"center" valign=3D"top" width=3D"500" class=3D"flexibleContainerCell"><!=
-- CONTENT TABLE // --><table border=3D"0" cellpadding=3D"0" cellspacing=3D=
"0" width=3D"100%"><tr><td valign=3D"top" class=3D"imageContent"><img src=
=3D"http://www.artpr.fr/clients/dsl/1/image-2.jpg?token=3Dff7564ed81db5d027=
3ed9287dd5cf23b" width=3D"500" class=3D"flexibleImage" style=3D"max-width:5=
00px;width:100%;display:block;" alt=3D"" title=3D"" /></td></tr></table><!-=
- // CONTENT TABLE --></td></tr></table><!-- // FLEXIBLE CONTAINER --></td>=
</tr></table><!-- // CENTERING TABLE --></td></tr><!-- // MODULE ROW --><!-=
- MODULE ROW // --><tr><td align=3D"center" valign=3D"top"><!-- CENTERING T=
ABLE // --><table border=3D"0" cellpadding=3D"0" cellspacing=3D"0" width=3D=
"100%" style=3D"color:#FFFFFF;" bgcolor=3D"#999999"><tr><td align=3D"center=
" valign=3D"top"><!-- FLEXIBLE CONTAINER // --><table border=3D"0" cellpadd=
ing=3D"0" cellspacing=3D"0" width=3D"500" class=3D"flexibleContainer"><tr><=
td align=3D"center" valign=3D"top" width=3D"500" class=3D"flexibleContainer=
Cell"><!-- CONTENT TABLE // --><table border=3D"0" cellpadding=3D"5" cellsp=
acing=3D"0" width=3D"100%"><tr><td align=3D"center" valign=3D"top" class=3D=
"textContent"><div style=3D"text-align:center;font-family:Helvetica,Arial,s=
ans-serif;font-size:9px;margin-bottom:0;color:#FFFFFF;line-height:135%;text=
-align:right;">Gallery View<br> Evening gown, Guo Pei <br> Courtesy Guo Pei=
. Photo: =C2=A9 The Metropolitan Museum of Art</div></td></tr></table><!-- =
// CONTENT TABLE --></td></tr></table><!-- // FLEXIBLE CONTAINER --></td></=
tr></table><!-- // CENTERING TABLE --></td></tr><!-- // MODULE ROW --><!-- =
MODULE ROW // --><tr><td align=3D"center" valign=3D"top"><!-- CENTERING TAB=
LE // --><table border=3D"0" cellpadding=3D"0" cellspacing=3D"0" width=3D"1=
00%"><tr><td align=3D"center" valign=3D"top"><!-- FLEXIBLE CONTAINER // -->=
<table border=3D"0" cellpadding=3D"0" cellspacing=3D"0" width=3D"500" class=
=3D"flexibleContainer"><tr><td align=3D"center" valign=3D"top" width=3D"500=
" class=3D"flexibleContainerCell"><table border=3D"0" cellpadding=3D"30" ce=
llspacing=3D"0" width=3D"100%"><tr><td align=3D"center" valign=3D"top"><!--=
CONTENT TABLE // --><table border=3D"0" cellpadding=3D"0" cellspacing=3D"0=
" width=3D"100%"><tr><td valign=3D"top" class=3D"textContent"><div style=3D=
"text-align:justify;font-family:Helvetica,Arial,sans-serif;font-size:15px;m=
argin-bottom:0;margin-top:3px;color:#5F5F5F;line-height:135%;">How does one=
explain such a crowd and such media coverage for an exhibition dedicated t=
o the Middle Kingdom, through the prism of fashion in one of the most impor=
tant museums of the world?<br> If we had to analyse the harsh world of fash=
ion, we could summarise it in this way: the big designers are most of the t=
ime European or American=C2=97Westerners in all cases. The production of cl=
othes is rather reserved to Asian countries or even to the Middle-East. Thu=
s takes shape a contrast between the West and the East, which the exhibitio=
n attempts to modify=C2=85With success! In fact, the influence of the Chine=
se culture on Western fashion is obvious, which is why the exhibition was d=
edicated to China, to the mysteries and to fantasies which surround this ci=
vilisation, and that, through the phenomenon of fashion, of which the impac=
t is felt in the ensemble of the population into our daily life.<br>What we=
could see, in this event, is a new avatar of =C2=93Orientalism=C2=94 (Edwa=
rd Said) from the 19th century period during which the vast lands of Middle=
East fascinated European artists in search of folklore and strangeness. In=
the era of globalisation, the search for exoticism is not really news or a=
t least, is for the less reconfigured. However, it is to the exotic monster=
of globalisation that was dedicated this exhibition: China. And it is mayb=
e the mystery that represents the Middle Kingdom for the Western world whic=
h explains the lure and fascination which aroused this exhibition. In fact,=
China represents, for the West, the alternative culture the strongest and =
most difficult to grasp. Everything in China is different: the culture, the=
politics, the literature, the food=C2=85 Hence the collection of fantasies=
which surrounds the country, which translates especially an essential lack=
of understanding, an opacity of this culture in the eyes of the West. Thus=
, this exhibition is the opportunity of a meeting between the Chinese cultu=
re and the Western world, through the phenomenon of fashion which, although=
belonging to the world of luxury, is not lacking a greater popular visibil=
ity.<br></div></td></tr></table><!-- // CONTENT TABLE --></td></tr></table>=
</td></tr></table><!-- // FLEXIBLE CONTAINER --></td></tr></table><!-- // C=
ENTERING TABLE --></td></tr><!-- // MODULE ROW --><!-- MODULE ROW // --><tr=
><td align=3D"center" valign=3D"top"><!-- CENTERING TABLE // --><table bord=
er=3D"0" cellpadding=3D"0" cellspacing=3D"0" width=3D"100%"><tr><td align=
=3D"center" valign=3D"top"><!-- FLEXIBLE CONTAINER // --><table border=3D"0=
" cellpadding=3D"0" cellspacing=3D"0" width=3D"500" class=3D"flexibleContai=
ner"><tr><td align=3D"center" valign=3D"top" width=3D"500" class=3D"flexibl=
eContainerCell"><!-- CONTENT TABLE // --><table border=3D"0" cellpadding=3D=
"0" cellspacing=3D"0" width=3D"100%"><tr><td valign=3D"top" class=3D"imageC=
ontent"><img src=3D"http://www.artpr.fr/clients/dsl/1/image-3.jpg?token=3Df=
f7564ed81db5d0273ed9287dd5cf23b" width=3D"500" class=3D"flexibleImage" styl=
e=3D"max-width:500px;width:100%;display:block;" alt=3D"" title=3D"" /></td>=
</tr></table><!-- // CONTENT TABLE --></td></tr></table><!-- // FLEXIBLE CO=
NTAINER --></td></tr></table><!-- // CENTERING TABLE --></td></tr><!-- // M=
ODULE ROW --><!-- MODULE ROW // --><tr><td align=3D"center" valign=3D"top">=
<!-- CENTERING TABLE // --><table border=3D"0" cellpadding=3D"0" cellspacin=
g=3D"0" width=3D"100%" style=3D"color:#FFFFFF;" bgcolor=3D"#999999"><tr><td=
align=3D"center" valign=3D"top"><!-- FLEXIBLE CONTAINER // --><table borde=
r=3D"0" cellpadding=3D"0" cellspacing=3D"0" width=3D"500" class=3D"flexible=
Container"><tr><td align=3D"center" valign=3D"top" width=3D"500" class=3D"f=
lexibleContainerCell"><!-- CONTENT TABLE // --><table border=3D"0" cellpadd=
ing=3D"5" cellspacing=3D"0" width=3D"100%"><tr><td align=3D"center" valign=
=3D"top" class=3D"textContent"><div style=3D"text-align:center;font-family:=
Helvetica,Arial,sans-serif;font-size:9px;margin-bottom:0;color:#FFFFFF;line=
-height:135%;text-align:right;">Gallery View<br> Ensemble, Jean-Paul Gaulti=
er <br> Courtesy Jean-Paul Gaultier. Photo: =C2=A9 The Metropolitan Museum =
of Art</div></td></tr></table><!-- // CONTENT TABLE --></td></tr></table><!=
-- // FLEXIBLE CONTAINER --></td></tr></table><!-- // CENTERING TABLE --></=
td></tr><!-- // MODULE ROW --><!-- MODULE ROW // --><tr><td align=3D"center=
" valign=3D"top"><!-- CENTERING TABLE // --><table border=3D"0" cellpadding=
=3D"0" cellspacing=3D"0" width=3D"100%"><tr><td align=3D"center" valign=3D"=
top"><!-- FLEXIBLE CONTAINER // --><table border=3D"0" cellpadding=3D"0" ce=
llspacing=3D"0" width=3D"500" class=3D"flexibleContainer"><tr><td align=3D"=
center" valign=3D"top" width=3D"500" class=3D"flexibleContainerCell"><table=
border=3D"0" cellpadding=3D"30" cellspacing=3D"0" width=3D"100%"><tr><td a=
lign=3D"center" valign=3D"top"><!-- CONTENT TABLE // --><table border=3D"0"=
cellpadding=3D"0" cellspacing=3D"0" width=3D"100%"><tr><td valign=3D"top" =
class=3D"textContent"><div style=3D"text-align:justify;font-family:Helvetic=
a,Arial,sans-serif;font-size:15px;margin-bottom:0;margin-top:3px;color:#5F5=
F5F;line-height:135%;">China is the figure of otherness, perhaps even the f=
igure of otherness for the United States, taking the less enviable place of=
the USSR, which gave the enemy a regular face. This otherness is not just =
cultural, it is also economical (China threatens the United States of becom=
ing the world=C2=92s largest economy, already with the first global GDP, in=
front of the US). Political otherness too, because China, although integra=
ted in circuits of capitalism, did not side with Western democracies. Hence=
the ethnocentric fantasy, a billion Chinese as docile and disciplined as a=
nts, ready to invade the world, as soon as they=C2=92re given the chance. <=
br>Perhaps there we hold the key of success of this exhibition: China is a =
mystery, and it=C2=92s this mystery that this exhibition tries to clarify, =
while showing the influence of this country on fashion designers, for mostl=
y, Westerners. China is the dark side of our Western civilisation, and like=
all the dark sides, it provokes the fantasy.<br> The impact of our Chinese=
culture on the American culture participates trade between the two countri=
es. Wong Kar-Wai, a big Chinese film director, known for the famous film In=
the Mood for Love, shows that the Middle Kingdom is not left on the same l=
and of American soft power. Afterwards, it=C2=92s the fashion universe whic=
h recognises China an endless inspirational source and therefore a dialogue=
between two civilisations which influence each other.<br></div></td></tr><=
/table><!-- // CONTENT TABLE --></td></tr></table></td></tr></table><!-- //=
FLEXIBLE CONTAINER --></td></tr></table><!-- // CENTERING TABLE --></td></=
tr><!-- // MODULE ROW --><!-- MODULE ROW // --><tr><td align=3D"center" val=
ign=3D"top"><!-- CENTERING TABLE // --><table border=3D"0" cellpadding=3D"0=
" cellspacing=3D"0" width=3D"100%"><tr><td align=3D"center" valign=3D"top">=
<!-- FLEXIBLE CONTAINER // --><table border=3D"0" cellpadding=3D"0" cellspa=
cing=3D"0" width=3D"500" class=3D"flexibleContainer"><tr><td align=3D"cente=
r" valign=3D"top" width=3D"500" class=3D"flexibleContainerCell"><!-- CONTEN=
T TABLE // --><table border=3D"0" cellpadding=3D"0" cellspacing=3D"0" width=
=3D"100%"><tr><td valign=3D"top" class=3D"imageContent"><img src=3D"http://=
www.artpr.fr/clients/dsl/1/image-4.jpg?token=3Dff7564ed81db5d0273ed9287dd5c=
f23b" width=3D"500" class=3D"flexibleImage" style=3D"max-width:500px;width:=
100%;display:block;" alt=3D"" title=3D"" /></td></tr></table><!-- // CONTEN=
T TABLE --></td></tr></table><!-- // FLEXIBLE CONTAINER --></td></tr></tabl=
e><!-- // CENTERING TABLE --></td></tr><!-- // MODULE ROW --><!-- MODULE RO=
W // --><tr><td align=3D"center" valign=3D"top"><!-- CENTERING TABLE // -->=
<table border=3D"0" cellpadding=3D"0" cellspacing=3D"0" width=3D"100%" styl=
e=3D"color:#FFFFFF;" bgcolor=3D"#999999"><tr><td align=3D"center" valign=3D=
"top"><!-- FLEXIBLE CONTAINER // --><table border=3D"0" cellpadding=3D"0" c=
ellspacing=3D"0" width=3D"500" class=3D"flexibleContainer"><tr><td align=3D=
"center" valign=3D"top" width=3D"500" class=3D"flexibleContainerCell"><!-- =
CONTENT TABLE // --><table border=3D"0" cellpadding=3D"5" cellspacing=3D"0"=
width=3D"100%"><tr><td align=3D"center" valign=3D"top" class=3D"textConten=
t"><div style=3D"text-align:center;font-family:Helvetica,Arial,sans-serif;f=
ont-size:9px;margin-bottom:0;color:#FFFFFF;line-height:135%;text-align:righ=
t;">Gallery View<br>Chinese Galleries, Douglas Dillon Galleries, Chinoiseri=
e<br> Photo: =C2=A9 The Metropolitan Museum of Art</div></td></tr></table><=
!-- // CONTENT TABLE --></td></tr></table><!-- // FLEXIBLE CONTAINER --></t=
d></tr></table><!-- // CENTERING TABLE --></td></tr><!-- // MODULE ROW --><=
!-- MODULE ROW // --><tr><td align=3D"center" valign=3D"top"><!-- CENTERING=
TABLE // --><table border=3D"0" cellpadding=3D"0" cellspacing=3D"0" width=
=3D"100%"><tr><td align=3D"center" valign=3D"top"><!-- FLEXIBLE CONTAINER /=
/ --><table border=3D"0" cellpadding=3D"0" cellspacing=3D"0" width=3D"500" =
class=3D"flexibleContainer"><tr><td align=3D"center" valign=3D"top" width=
=3D"500" class=3D"flexibleContainerCell"><table border=3D"0" cellpadding=3D=
"30" cellspacing=3D"0" width=3D"100%"><tr><td align=3D"center" valign=3D"to=
p"><!-- CONTENT TABLE // --><table border=3D"0" cellpadding=3D"0" cellspaci=
ng=3D"0" width=3D"100%"><tr><td valign=3D"top" class=3D"textContent"><div s=
tyle=3D"text-align:justify;font-family:Helvetica,Arial,sans-serif;font-size=
:15px;margin-bottom:0;margin-top:3px;color:#5F5F5F;line-height:135%;">The t=
itle of the exhibition itself is an indicator. Because what it seems to us =
is the image of China through a mirror. The mirror is a symbol of fashion a=
nd appearance, but it's also an experience of one=C2=92s self awareness (wh=
at analyst Jacques Lacan called =C2=93Mirror stage=C2=94). The mirror, is w=
hat gives us a reflection of ourselves, of allowing us to see ourselves sym=
bolically like an other (our image in the mirror is always a reflected imag=
e, with the right and the left reverse, thus creating a symbolic space dist=
inct to real space=C2=85). In other words, the mirror allows us to see ours=
elves as an other, and to see the other like ourselves. It=C2=92s a dialect=
ic which is installed: that of the watcher watched =C2=97 found by the phil=
osopher Maurice Merleau-Ponty.<br></div></td></tr></table><!-- // CONTENT T=
ABLE --></td></tr></table></td></tr></table><!-- // FLEXIBLE CONTAINER --><=
/td></tr></table><!-- // CENTERING TABLE --></td></tr><!-- // MODULE ROW --=
><!-- MODULE ROW // --><tr><td align=3D"center" valign=3D"top"><!-- CENTERI=
NG TABLE // --><table border=3D"0" cellpadding=3D"0" cellspacing=3D"0" widt=
h=3D"100%"><tr><td align=3D"center" valign=3D"top"><!-- FLEXIBLE CONTAINER =
// --><table border=3D"0" cellpadding=3D"0" cellspacing=3D"0" width=3D"500"=
class=3D"flexibleContainer"><tr><td align=3D"center" valign=3D"top" width=
=3D"500" class=3D"flexibleContainerCell"><!-- CONTENT TABLE // --><table bo=
rder=3D"0" cellpadding=3D"0" cellspacing=3D"0" width=3D"100%"><tr><td valig=
n=3D"top" class=3D"imageContent"><img src=3D"http://www.artpr.fr/clients/ds=
l/1/image-5.jpg?token=3Dff7564ed81db5d0273ed9287dd5cf23b" width=3D"500" cla=
ss=3D"flexibleImage" style=3D"max-width:500px;width:100%;display:block;" al=
t=3D"" title=3D"" /></td></tr></table><!-- // CONTENT TABLE --></td></tr></=
table><!-- // FLEXIBLE CONTAINER --></td></tr></table><!-- // CENTERING TAB=
LE --></td></tr><!-- // MODULE ROW --><!-- MODULE ROW // --><tr><td align=
=3D"center" valign=3D"top"><!-- CENTERING TABLE // --><table border=3D"0" c=
ellpadding=3D"0" cellspacing=3D"0" width=3D"100%" style=3D"color:#FFFFFF;" =
bgcolor=3D"#999999"><tr><td align=3D"center" valign=3D"top"><!-- FLEXIBLE C=
ONTAINER // --><table border=3D"0" cellpadding=3D"0" cellspacing=3D"0" widt=
h=3D"500" class=3D"flexibleContainer"><tr><td align=3D"center" valign=3D"to=
p" width=3D"500" class=3D"flexibleContainerCell"><!-- CONTENT TABLE // --><=
table border=3D"0" cellpadding=3D"5" cellspacing=3D"0" width=3D"100%"><tr><=
td align=3D"center" valign=3D"top" class=3D"textContent"><div style=3D"text=
-align:center;font-family:Helvetica,Arial,sans-serif;font-size:9px;margin-b=
ottom:0;color:#FFFFFF;line-height:135%;text-align:right;">Gallery View<br> =
Anna Wintour Costume Center, Imperial China<br>Photo: =C2=A9 The Metropolit=
an Museum of Art</div></td></tr></table><!-- // CONTENT TABLE --></td></tr>=
</table><!-- // FLEXIBLE CONTAINER --></td></tr></table><!-- // CENTERING T=
ABLE --></td></tr><!-- // MODULE ROW --><!-- MODULE ROW // --><tr><td align=
=3D"center" valign=3D"top"><!-- CENTERING TABLE // --><table border=3D"0" c=
ellpadding=3D"0" cellspacing=3D"0" width=3D"100%"><tr><td align=3D"center" =
valign=3D"top"><!-- FLEXIBLE CONTAINER // --><table border=3D"0" cellpaddin=
g=3D"0" cellspacing=3D"0" width=3D"500" class=3D"flexibleContainer"><tr><td=
align=3D"center" valign=3D"top" width=3D"500" class=3D"flexibleContainerCe=
ll"><table border=3D"0" cellpadding=3D"30" cellspacing=3D"0" width=3D"100%"=
><tr><td align=3D"center" valign=3D"top"><!-- CONTENT TABLE // --><table bo=
rder=3D"0" cellpadding=3D"0" cellspacing=3D"0" width=3D"100%"><tr><td valig=
n=3D"top" class=3D"textContent"><div style=3D"text-align:justify;font-famil=
y:Helvetica,Arial,sans-serif;font-size:15px;margin-bottom:0;margin-top:3px;=
color:#5F5F5F;line-height:135%;">All the exhibitions are, in their way, mir=
rors of something, but rare are those which assume it as directly and invit=
e us to think about the multiple reflections that they give out. Thus, in p=
roposing to discover the cultural treasures of China (and their influence t=
o fashion designers), the exhibition shows us how we can meet a different c=
ivilisation, fascinating because it=C2=92s different, through the prism of =
its usages, of its traditions, which often reveals more about its country t=
han its laws together. It=C2=92s incidentally what=C2=92s seen in Wong Kar-=
Wai films: China, under its reflection, the object before the image, althou=
gh only the image reaches us. Perhaps, it is about a new exhibition formula=
for the future, where art mixes with ethnology, where the question of appe=
arance (fashion, mirror) takes us into an immense depth, at the discovery o=
f one-self as an other. —</div></td>=
</tr></table><!-- // CONTENT TABLE --></td></tr></table></td></tr></table><=
!-- // FLEXIBLE CONTAINER --></td></tr></table><!-- // CENTERING TABLE --><=
/td></tr><!-- // MODULE ROW --><!-- MODULE ROW // --><tr><td align=3D"cente=
r" valign=3D"top"><!-- CENTERING TABLE // --><table border=3D"0" cellpaddin=
g=3D"0" cellspacing=3D"0" width=3D"100%"><tr><td align=3D"center" valign=3D=
"top"><!-- FLEXIBLE CONTAINER // --><table border=3D"0" cellpadding=3D"0" c=
ellspacing=3D"0" width=3D"500" class=3D"flexibleContainer"><tr><td align=3D=
"center" valign=3D"top" width=3D"500" class=3D"flexibleContainerCell"><tabl=
e border=3D"0" cellpadding=3D"5" cellspacing=3D"0" width=3D"100%"><tr><td a=
lign=3D"center" valign=3D"top"><!-- CONTENT TABLE // --><table border=3D"0"=
cellpadding=3D"0" cellspacing=3D"0" width=3D"100%"><tr><td valign=3D"top" =
class=3D"textContent"><div style=3D"text-align:center;font-family:Helvetica=
,Arial,sans-serif;font-size:15px;margin-bottom:0;margin-top:3px;color:#5F5F=
5F;line-height:135%;"> </div></td></tr></table><!-- // CONTENT TABLE -=
-></td></tr></table></td></tr></table><!-- // FLEXIBLE CONTAINER --></td></=
tr></table><!-- // CENTERING TABLE --></td></tr><!-- // MODULE ROW --><!-- =
MODULE ROW // --><tr><td align=3D"center" valign=3D"top"><!-- CENTERING TAB=
LE // --><table border=3D"0" cellpadding=3D"0" cellspacing=3D"0" width=3D"1=
00%" bgcolor=3D"#F8F8F8"><tr><td align=3D"center" valign=3D"top"><!-- FLEXI=
BLE CONTAINER // --><table border=3D"0" cellpadding=3D"0" cellspacing=3D"0"=
width=3D"500" class=3D"flexibleContainer"><tr><td align=3D"center" valign=
=3D"top" width=3D"500" class=3D"flexibleContainerCell"><table border=3D"0" =
cellpadding=3D"30" cellspacing=3D"0" width=3D"100%"><tr><td align=3D"center=
" valign=3D"top"><!-- CONTENT TABLE // --><table border=3D"0" cellpadding=
=3D"0" cellspacing=3D"0" width=3D"100%"><tr><td valign=3D"top" class=3D"tex=
tContent"><h3 style=3D"color:#5F5F5F;line-height:125%;font-family:Helvetica=
,Arial,sans-serif;font-size:20px;font-weight:normal;margin-top:0;margin-bot=
tom:3px;text-align:left;"><b>dsl</b>collection • <span style=3D"font-f=
amily:Times New Roman,serif;">AMA</span></h3><div style=3D"text-align:justi=
fy;font-family:Helvetica,Arial,sans-serif;font-size:15px;margin-bottom:3px;=
color:#5F5F5F;line-height:135%;"><b>dsl</b>collection was found in 2005 by =
Dominique and Sylvain Lévy and focuses on Chinese contemporary creat=
ion. The collection tries to limit the number of art pieces it owns to =
;350 in order to keep its fresh and singular taste. Through the intensive u=
se of the web and social medias, <b>dsl</b>collection wants to bring knowle=
dge about Chinese contemporary art to the largest possible audience.</div><=
div style=3D"text-align:justify;font-family:Helvetica,Arial,sans-serif;font=
-size:15px;margin-bottom:3px;color:#5F5F5F;line-height:135%;">Art Medi=
a Agency (<span style=3D"font-family:Times New Roman,serif;">AMA<=
/span>) is a newswire found in 2010 and specialised in the art world. It pr=
oduces 100 to 150 articles per week (in both French and English) and h=
as an archive exceeding 40,000 texts. The agency also produces a weekl=
y publication sent to 170,000 art professionals and collectors.</div><=
div style=3D"text-align:justify;font-family:Helvetica,Arial,sans-serif;font=
-size:15px;margin-bottom:3px;color:#5F5F5F;line-height:135%;">This newslett=
er is distributed to 195,004 subscribers.</div></div></td></tr></table><!--=
// CONTENT TABLE --></td></tr></table></td></tr></table><!-- // FLEXIBLE C=
ONTAINER --></td></tr></table><!-- // CENTERING TABLE --></td></tr><!-- // =
MODULE ROW --></table><!-- // END --><!-- EMAIL FOOTER // --><table bgcolor=
=3D"#E1E1E1" border=3D"0" cellpadding=3D"0" cellspacing=3D"0" width=3D"500"=
id=3D"emailFooter"><!-- FOOTER ROW // --><tr><td align=3D"center" valign=
=3D"top"><!-- CENTERING TABLE // --><table border=3D"0" cellpadding=3D"0" c=
ellspacing=3D"0" width=3D"100%"><tr><td align=3D"center" valign=3D"top"><!-=
- FLEXIBLE CONTAINER // --><table border=3D"0" cellpadding=3D"0" cellspacin=
g=3D"0" width=3D"500" class=3D"flexibleContainer"><tr><td align=3D"center" =
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