Cantocore Proposal
Contents |
Black Rock Arts Foundation 2008 Grants Applicant Information
- Name: Deer Fang, Justin Hoover, Jon Phillips, Sarah Wylie Ammerman
- Title of Project: Cantocore
- Organization: Fabricatorz, Garage Biennale
- Mailing Address: 2830 Pacific Ave.
- City, State, Zip: San Francisco, CA 94115
- Daytime Phone: (415) 425-1647
- Email Address: info@fabricatorz.com
- Website: www.garagebiennale.com, http://fabricatorz.com, www.queensnailsannex.com
- Are you submitting supplemental materials? Yes. Letter of support.
- Have you previously applied for a Black Rock Arts Grants? No
Team
- Deer Fang - Guangzhou Producer
- Justin Hoover- San Francisco Producer, Fund Raiser
- Jon Phillips - Web developer and business developer
- Sarah Wylie Ammerman - General Project Manager,
- Dorothy Santos - Assistant in San Francisco
Project Information
1. Project Title
Cantocore
2. Project Goals
Briefly state the goals of your art project. What is the fundamental purpose of your project? [Response limited to 1500 words]
1. The primary goal of this project is to investigate key trends in the evolution of global culture through the lens of piracy in fashion. Specifically, this act of piracy is expressed in the prevalent copying and mixing of global styles in local Guangzhou, Canton culture. The Cantocore project extends the dialogue and aesthetics of remaking and reinterpreting identity through artistic collaborations, public interventions, gallery exhibitions and other public events in Guangzhou, China and San Francisco.
2. The next goal is to develop a growing network of Chinese and U.S. contemporary experimental artists concerned with creating art in alternative contexts. We will create a platform for both Chinese and U.S. artists and the public to interact through a collaborative project that will be exhibited in both countries.
3. Lastly, through building dialog and coordinating international collaborative actions, we will highlight how objects born out of local, creative cultures transfer identity into the products of the global environment and the culture of the masses, and vice versa. This project seeks to analyze the ways in which each mode of production is remaking/reinterpreting, or counterfeiting, one another in the age of information.
3. Project Rationale
Please provide a narrative that describes why your proposal for a public artwork will matter, how it will serve your community and others, and how your art project furthers the mission of the Black Rock Arts Foundation. If relevant, also discuss briefly the role of partners or volunteers. [Response limited to 1000 words]
When one encounters art in the public sphere, in a non-art context, they are more prone to question its meaning, its significance, and their own relation to objects and activities in their daily lives. Raising these questions in the minds of the public has the power to promote creative thinking, help people break out of their personal conventions and challenge them to expand and develop their lives. This project opens dialogue between people in San Francisco and Guangzhou and ask us to think beyond national identities. Projects like ours, that encourage international collaboration, promise a new conception of cultural identity and self-expression in the world system.
As China becomes increasingly present in the international arts community, as well as potentially the next world superpower, the type of cultural bridge we propose is a requirement for developing vibrant international dialogue. We propose a public artwork and cultural exchange project in Guangzhou (also called Canton), which is the capital of fashion import-export in the Pearl River Delta of Southern China. Its clothing industry supplies manufactured clothes to China and many parts of the world, and acts as a hub for the manufacturing of international styles. Many of the international fashion brands set up production sites in Guangzhou and its surrounding areas.
Walking into one of the clothes whole sale market in Guangzhou, one is immediately bombarded by the amount of sales activities in these crowded area, and the varieties of languages and regional dialects being spoken, and lastly and most importantly, the amount of knockoff clothing brands being redesigned in front of your eyes. On the street in Guangzhou, you will witness the most interesting clothing styles among all ages and classes. You may recognize the styles from contemporary fashion magazines, and yet they are not exactly like these; or you might notice the drastic combination of different obscure styles. The low cost of “high fashion” in Guangzhou also enables people to outfit themselves with the most trendy or the wildest styles they want, regardless of class or social distinction. The context surrounding Guangzhou fashion is important in understanding how local fashion emerges in the era of post-globalization.
Additionally, this study recognizes the role of piracy in fashion, music, movies and art, as a cultural phenomenon embodied in the aesthetic of appropriation and reinterpretation. Artists such as Danger Mouse’s Grey Album, DJ Spooky’s Re-Birth of a Nation, and the paintings of renouned artist Elaine Sturtevant likewise embody this sentiment and tradition. American fashion styles, especially hip hop style clothing, which is a large part of Bay Area fashion, are some of the most popular styles in Guangzhou. Likewise, San Francisco, because of its culture of intellectual and creative sharing and appropriation, the influence of the oldest U.S. Chinatown, and the city's population of artists and musicians, displays a freedom of any particular style on its streets. Initiating a dialogue between San Francisco and Guangzhou in the context of art will provide a reflexive perspective for the public and art community in both locations. Such a project is intended to spark dialogue about art and the public sphere, making one question their role in society, and to develop new artistic communities in the global urban landscape.
This project will specifically serve the communities of San Francisco and Guangzhou by reinserting the agency of individuals into an industry of giants. Through the Fabricatorz organization we will invite individuals in the local populations to become involved in the design, construction, and exhibition of this clothing line. This will serve both populations by redefining notions of identity, and highlighting the viability of the concepts of the counterfeit, the knockoff, making people question the role the genuine, and the exclusive.
Another community this will serve is the larger international conceptual and experimental arts community of the Bay Area and Guangzhou. By establishing this cultural bridge it will open doors for more artists to show work in both places, helping these artists to further develop their practice outside the bubble of San Francisco. By enabling artist from both cities to exhibit in the other city, during the exhibition on Remaking Culture, we will be building lasting connections between peoples, communities and artistic practices. In the long run we hope to develop this into a sustainable practice of international dialogue, and interchange.
Specifically, Counterfeit Fashion will further the mission of the Black Rock Art Foundation by bolstering the values of temporality, inclusivity, experimentation, connectedness, and intercultural dialogue. The project will consist of a series of guerilla style fashion shows and public happenings, designed by a veteran team of artist/curators from San Francisco and Guangzhou, China. These happenings interject the beautiful, the absurd, the surreal, and the playful, into common environments such as corporate office buildings, government centers, the streets, and in conventional art galleries, in order to prompt new models of social interaction. Due to the performative nature of these interventions, they support the values of temporal and ephemeral art. Additionally, they highlight the importance of developing community dialogue by requiring the public's participation through their interaction with the performers.
4. Project Description
Please describe your art project. How will it manifest itself physically?[Response limited to 1500 words]
The project will consist of 4 sections all to occur both in Guangzhou, China and San Francisco:
1) A Clothing Remix/Remake project
2) Guerilla Fashion Show
3) Gallery Exhibitions.
4) Publication of a book/catalogue, and a magazine
Clothing Remix/Remake
In 2007 after a trip to Guangzhou, Fabricatorz (Deer Fang and Jon Phillips) began creating new clothes from used clothes found in San Francisco. Some of the clothes can be found here: http://mediaexperiment.org/wiki/CBlends. For the new project we will extend the making of clothes in Guangzhou, and invite artists and designers to participate in a counterfeit clothing workshop to create new works using existing fashions. We will also invite locals to drop off new or used clothes at the workshop space to include styles and visions directly from the community in production. The goal of the production is to explore the possibilities of mixing forms, material, styles and even brands logos, styles and identities.
Guerilla Fashion Shows
A series of guerilla style fashion shows will take place in Guangzhou to release the produced clothing. We will invite models and non-models to demonstrate the new counterfeit clothing in public spaces. These public interventions will take the form of fashion shows on temporary runways in everyday environments such as office buildings, shopping malls, government buildings, and in the street. These shows will create temporary runways in the form of a red carpet - a long line of orange work cones, astro-turf or sod, or any other sculpturally defined space. For example, if a material, such as salt is readily available, it can be formed into a long flat strip on which to walk as a way of defining a section of space.
Gallery Exhibitions
Fabricatorz and the participating artists will invite additional artists and curators to organize an art show on the subject of Remaking Culture and will exhibit this idea of identity reinterpretation in the temporary gallery space in Guangzhou. The opening of the show will also coincide with the release of the book/catalogue, the magazine and the fashion product line. Furthermore, after Guangzhou, the exhibition travels to San Francisco for exhibition in Queens Nail Annex, The Garage, or another similar independent art gallery.
Publications: Book/Catalogue, and Magazine
A team of two to three photographers will document Canto fashion on the street. They will record styles and take portraits of people who have interesting fashion. After collecting a good amount of material, these images are to be publish in a book with writing by internationally acclaimed artists and writers. Additionally, this publication will take the format of a magazine (or newspaper) to be distributed in the street.
5. Project Interactivity
In what way will your proposed art project be interactive? Consider the people, the physical environment, and the community as a whole.
There are three main elements to the interactivity component of this proposal:
1) Workshop and Clothing Dropoff
2) Street Fashion Shows
3) Public Gallery Events and Talks
This project seeks to involve both local populations in Guangzhou and San Francisco through the workshop, fashion shows/public interventions, and through gallery events and talks. The public will be encouraged to bring their old fashions or clothes they find to the workshop during its open hours as a way to actively involve them on the material level of our designs. Additionally, we will make an open call to individuals to be models for the fashion shows and during the exhibits. These volunteers will be equipped with one of the counterfeit outfits and become part of the guerilla fashion team. Once these models are inserted into the public, the public will be encouraged to participate by putting on clothes themselves, mixing with their current clothes, or putting on a unique outfit provided by the project staff.
The public at large will be invited to submit work to the gallery exhibitions. These submissions will be chosen by the project staff and exhibited jointly in China and San Francisco. The non-artist public is likewise invited to take part in the gallery events/talks. Everyone is invited to come and participate in the discussions.
6. Collaboration
Define or describe your community. Who will help you create your art project? Is the project collaborative? In what ways?[Response limited to 1000 words]
The partnering institutions will absolutely include, but are not limited to, The Garage Biennale and Fabricatorz. Other institutions that we are in dialogue with include Queen’s Nail Annex, and the Yerba Buena Center for the Arts. The overall project also dovetails with Stephanie Syjuco's work and vision behind her organization, Counterfeit Crochet (http://www.counterfeitcrochet.org), whose objective is very similar in scope. In creating Cantocore, The Garage Biennale along with the Fabricatorz hope to address the political economics and implications of 'otherness' as well through alternative fashion and partnership with international artists and designers.
The target community for the fashion shows includes the public in many different locations including by not limited to places of commerce such as malls, and shopping centers, government buildings, and financial centers. The target community for the gallery book/catalogue and magazine includes the people of both San Francisco, and Guangzhou, specifically the people who can be found walking the street and frequenting public places. They will range from young to old, rich and poor. Lastly, the target community for the exhibition includes the local art, and the international art communities.
7. Community Interaction
In what ways will your project encourage community outreach? How will your project encourage participating communities to interact with other communities? How will your audience benefit from the experience of your work?[Response limited to 1000 words]
One of the ways in which the Counterfeit Fashion/Fabricatorz collective will encourage community outreach is by both attendance and participation in the guerilla fashion shows themselves, and the gallery exhibitions which will exhibit documentation from these shows. Such community-based interaction will enable communities to interact with each other through diaglogue and a commonality in the overall experience. The performative nature of the work is meant to inspire immediate reaction and action to the actual message being conveyed.
8. Funding
How much funding are you requesting for the project described in this application? (Note: A complete budget must also be submitted as a part of your application).[Response limited to 1000 words]
We are requesting $6,000 to complete this project.
Please see the attached budget worksheet to view the proposed breakdown of expenses and income.
9. Accomplishments
Please list your relevant accomplishments. You may include past projects, your experience with similar projects not your own, corresponding websites or other resources.[Response limited to 1000 words]
Deer Fang
Deer Fang (Lu Fang) born 1981 Guangzhou China. She is a video artist works in San Francisco and Guangzhou. Her projects investigate the condition of video in art making and the dynamics within the production process through participation, improvisation, real-time production and socialization. Her current work uses common formats from popular culture such as the reality TV show, music videos, and online-videos as cultural containers.
Fang studied in School of Visual Art with Luca Buvoli and completed her BFA in Graphic Design in 2005. She received MFA in New Genres (Video+ Performance) at the San Francisco Art Institute with Tony Labat, Paul Kos and Okwui Enwezor in 2007. Currently she is a visiting faculty in New Media and Video Production department at Sun Yat-Sen University in Guangzhou.
Education
Master degree in Fine Art, San Francisco Art Institute, 2005-2007.
BFA degree in Graphic Design, School of Visual Art, 2003-2005.
Maryland Institute College of Art, 2001-2003.
Exhibitions and Events
Show Some Color Part 2, 111 Minna Gallery, San Francisco, 2007. 10
The Bridge Art Fair, London, 2007. 10
F.R.O.M 4th Party, Beijing, 2007. 9
Show Some Color Part 1, Art Box show, Little Tree Gallery, San Francisco, 2007.8
The American Heresy, Roxie Theater, San Francisco, 2007. 6
San Francisco Art Institute MFA Exhibition, Fort Mason, 2007. 5
Overlap, RX Gallery, San Francisco, 2007.4
Version Festival, Chicago, 2007.4
Media Blitz, Garage Gallery, San Francisco, 2007.1
Anti/Social, Mission 17 Gallery, San Francisco, 2006. 12
Alternative Context, Diego Riveral Gallery, San Francisco, 2006.
Continuing MFA Show, Diego Riviera Gallery, San Francisco, 2006.
Cannibal Cafe, Diego Riviera Gallery, San Francisco, 2006.
Impressive Nature, 1015 Folsom, San Francisco, 2006.5
Media Exchange, Guangzhou Academy of Fine Art, GZ China, 2006.
Release, Zinc Bar, Guangzhou, China, 2006.1
Guest Lecture, Guangzhou Academy of Fine Art, GZ China, 2006.1
RMX group show, RX gallery, San Francisco, 2005.
The Rencontres Internationales Paris/ Berlin, Grande Halle of la Villette, Paris, 2004.
Contemporary Artist Center, North Adams, MA, 04. ringe Short Film Festival,Gothenburg, Sweden, 2003.
C-M TV, Global Media Arts Net Work, 2003.
School of Visual Arts Gallery, Line Forms Here, New York, 2003.
Meyerhoff Gallery, Maryland Institute College of Art, 2002.
Teaching
Visiting Faculty, New Media and Video Production Department of Sun Yat-Sen University, Guangzhou China, 2008
Teaching Assistant, New Genre I with Tony Labat, SFAI, 2006.
Teaching Assistant, Design Workshop with Frances Valesco, SFAI, 2006.
Selected Work Experience
Freelance Editor, XLR8R TV, 2007
Director/Editor, Diva TV, 2007
Production Designer, Art AsiaPacific magazine, New York, 2004-2005.
Graphic Designer, Acconci Studio, 2005.
Graphic Designer, The Kitchen, New York, 2003-2004.
Selected Awards
Alternative Exposure Grant, Southern Exposure, 2007
Chauncey McKeever Award, 2007
International Student Fellowship, San Francisco Art Institute, 06-07.
Honorable mention, Contemporary Artists Center, MA, 2004.
Honorable mention, School of Visual Arts, NY, 2005.
Merit Scholarship, School of Visual Arts, NY, 2002-2005.
Merit Scholarship, Maryland Institute College of Art, MD 2001-2002.
Jon Phillips
Jon Phillips (www.rejon.org) is an artist and entrepreneur with 14+ years of experience building communities and growing successful media projects. His work with Open Source Software and Content communities has been presented internationally at Academia Sinica (2007, 2008), Wikimania (2007), Pixelodeon Conference AFI (LA, 2007), Guangzhou Academy of Fine Arts (2006), SFMoMA (2004), University of Tokyo (2004), Korea Advanced Institute for Science and Technology (2004), UCLA Hammer Museum’s Digital Storytelling Conference, UC-Berkeley’s 040404 Conference (2004), USC Aim Festival IV (2003), and the ICA London (2002). He is a core Open Source developer on Inkscape (http://www.inkscape.org), a scalable vector graphics editor, the Open Clip Art Library (http://openclipart.org), and develops the media community Overlap.org. Currently, he is Community and Business Manager at Creative Commons (www.creativecommons.org) where he manages large scale projects such as the CC+ initiative, PDWiki/OpenLibrary, Live Content, and international business development globally for the 40+ Creative Commons affiliates.
Phillips completed his MFA in June of 2004 at the University of California, San Diego, where he studied with Lev Manovich (http://www.manovich.net/) and additionally with Sheldon Brown, Geof Bowker, Jack Greenstein and Joseph Goguen. He completed a BFA, New Media, at the Kansas City Art Institute where he studied with Patrick Clancy (http://www.patrickclancy.org/). He is affiliated with Overlap.org, Scalejournal.org, Mediaexperiment.org and is part of Fabricatorz.com.
Justin Hoover
Artist, Curator, International Management specialist
Professional Experience
Associate 1990 Institute, a Chinese/U.S. public policy think tank. Developing a joint project between the 1990 Institute and the China National Children’s Center establishing a Mural Painting Center for the world’s youth in Beijing, China, 2008.
Development Intern, San Francisco Museum of Modern Art, 2007.
Program Administrator, ArtSeed, San Francisco local arts education organization 2004-7.
Education
Masters Degree of Public Administration of International Management, Monterey Institute of International Studies, 2007
Masters Degree of Fine Art, San Francisco Art Institute, candidate 2009
Creative Director and Founder of The Garage Biennale (www.garagebiennale.com)
Distinctions
Awarded of Ministry of Education of Taiwan (R.O.C.) travel and study grant, 2007
Awarded San Francisco Art Institute Scholarship Grant, 2008
Recent Media/Press
Stretcher Magazine: Review of 100 Performance for the Hole, (soon to be published), 2008
7x7 Magazine: “At Home With Art”, 2007
Sarah Wylie Ammerman
Sarah Wylie Ammerman is a media artist and film/event producer living and working in San Francisco.
Relevant Professional Experience
Co-Producer, We're In This Together, Feature Film (dir. Laura Zaylea & David Yun), 2008
Project Manager, Show Some Color 2, Media Event (dir. Fabricatorz), 2007
Producer, Synching Blue, Feature Film, (dir. Seo Wontae), 2007
Co-Director, The Women Writers Conference, Literary Festival (dir. Rebecca Howell), 2004 - 2006
Education
San Francisco Art Institute, MFA Film, 2008
University of Kentucky, BA English, BFA Studio Arts, 2003
About Fabricatorz
Website: www.fabricatorz.com
Fabricatorz is a production company founded by artists Jon Phillips and Deer Fang. This company is a sustainable open collaborative structure so that art, media and commercial projects may be actualized locally and globally. Fabricatorz are the fabricators of our contemporary society. Each project exposes and opens up contemporary production means and processes iteratively shaping culture beyond the information age.
In 2007, Fabricatorz has launched it's first project Show Some Color with Alternative Exposure Grant sponsored by Southern Exposure. "Show Some Color" is a series of video projects intended to explore, through female perspectives, how American citizens in San Francisco represent and define themselves racially. The project also consist of a media event, online video contest and a TV show.
About Garage Biennale
website: www.garagebiennale.com
"The Garage Biennale has been my single greatest artistic accomplishment to date. The Garage is an artist-fueled space, focusing on expanding ongoing dialog and understanding between artists, curators, and the public. It is an ongoing community development project incorporating thousands of artists and patrons around the Bay Area. It is a "meta-contextual" sculpture, a social organism overcoming a focus on the nature of objecthood and embracing the conceptual nature of collected energy dedicated to artistic play. Its purpose is to construct an independent hierarchy of beliefs and values. The Garage does so by giving reason to a space for a purpose other than its original intention. It constructs its own context for the reading of art and redefines the relationships of the people involved. By changing our relationship to the space itself and to each other, we provide meaning and reason to the simple act of being, thereby enabling artistic exploration through play for play’s sake.
The vision of the Garage Biennale is to inspire artistic conceptualism and foster a progressive aesthetic in a non-commercial atmosphere. Specifically, the Biennale exists as an annual exhibition modality to showcase contemporary experimental practices. It highlights the immaterial and the unconventional, and values process over product, and appreciation over consumption. If art is defined as the closest thing to life without being life itself, then The Garage gleefully plays within the space between." (Justin Hoover)
10. Professional Development
How will this project grow your capacity as an artist?
This project’s unique approach to seeing, making, and interacting will not only enable our group to grow and develop a deeper understanding of how collaborative and interactive art work impacts and, potentially, influences the public - it will also expand our own practice based on what we will learn from the public. We are deliberately giving the public the agency to imagine and represent their own notions of fashion and national identity, with our decision to use the clothes they bring to our banks as our media and materials, because of our interest in what they can bring to us. Being concept-based artists, it is our hope to never reach an end but to continue seeking and growing our repertoire of with the public and with other artists. We hope to connect publics intellectually and artistically with one another, and more we want to connect artists and publics, for the growth of communication between all of us.
This project is just the beginning of what we plan to be an extended and sustainable international collaboration. Through inserting Chinese art and culture into the fabric of San Francisco cultre and vice versa we hope to further develop this developing network of Chinese and U.S. contemporary experimental artists concerned with creating art in alternative contexts and intersecting art and the public sphere. Moreover, we hope to use this project as a stepping stone to build momentum for the financial and cultural sustainability of an organization dedicated to facilitating artistic and cultural dialogue between China and the U.S. Funding this project will help us reach our long term organizational goals of bridging Chinese and American contemporary art and culture. In the big picture, we believe this project will be a first step toward making our collaborative team synonymous with top-level contemporary experimental international art.
Currently, project team member Justin Hoover has been formally trained for international management and the administration of projects of this type. Coupled with his production of art, his established curatorial practice at a professional level, and his experience in development/fundraising, this project is sure to be both impactful and sustainable. The biggest hurdle to get over in the establishment of an organization of this type is the initial funding. Thus, with help from the Black Rock Arts Foundation, we can build this bridge for art, culture and the world.
11. Outcomes
What are the tangible outcomes your art project will achieve through the support of the Black Rock Arts Foundation?[Response limited to 1000 words]
Tangible outcomes include
1) Guerilla fashion shows incorporating professional and non-professional model, and multiple conceptual fashion lines
2) Two gallery exhibitions for two months
3) One publications; a magazine document the project and produced work
4) A line of intellectually and physically consumable clothing
5) A digital web archive of the project
6) An expanded network of internationally minded artistic collaborators
Other outcomes include exposure to varied talented artists supported by the Black Rock Arts Foundation, and access to an expanded public due to the ability to expand current levels of marketing and public relations. Also, another outcome of this project will be the synergy created by increasing the size of the pool of impressive talent that Black Rock Arts Foundation unites. Incorporating this project into the Black Rock Arts family will absolutely create energetic dialog and substantial future collaborations between our collective and yours.
Additionally this project will have an output of a line of intellectually consumable clothing, which is also physically consumable. The outcome of this production is a redefinition of style and the means of production in our environments. As we utilize fashion as the impetus for a public forum to address the terms 'individual' and 'masses', we also create a style of fashion that is simultaneously conceptual art and a consumable product for sale in galleries and that is meant to be worn in the everyday. We will create new forums and new communities through dialogue and practice centered on ideas of fashion, art, nationalism, and internationalism in the global age.
Budget
Total budget request: $6,000
Expenses(USD)
1. Clothing Remix/Remake
- Space Rental in Guangzhou ($500/month x 3 months.) $1,500
- Clothing material $400
- Stipend for sewing workers (3 workers at $150 ea.) $450
2. Guerilla Fashion Shows
- Materials cost for production $400
- Stipend for models (20 models at $30 ea.) $600
3. Gallery Exhibitions
- Shipping fee for clothes, books, magazines to U.S. $200
- Guangzhou gallery space is included in session 1.
- U.S. gallery space $0
- Guangzhou gallery attendant and assistant ($150/month x 3) $450
- Hospitality $500 In Kind
4. Publications
- Editorial and graphic design $200
- Book printing (edition of 500) $1,500
- Stipend for photographers (3 photographers at $100) $300
- Writers' and artists' contributions $1,000 In Kind
total requested $6,000
Additional Cost (USD)
Following cost has exceeded the limit of Black Rock Arts Foundation grant. We will pursuit other grants or funding resource to sponsor this part of the budget.
- International Travel tickets $3,600 (4 tickets at $900 each, 2 visas $100 each)
- Compensation for four collaborators $2,000($500x4)
- Accommodation in Guangzhou ($200/month x 2 = $400)
Possible Income (USD)
- Sales of Clothing Remix/Remake
- Sales of Artwork from exhibitions
- Donations at door of exhibiiton
- Direct mail fundraiser initiative
4 Month Timeline
July 2008
- Establish workshop space in Guangzhou
- Begin open calls to public for workers, designers and clothing contributions. Invite collaborators.
- Establish dedicated website
- Documentation of Guangzhou street fashion
- Solicit writers and artists to contribute to publications
August 2008
- The main construction of clothing phase
- Documentation of Street Fashion
- Editorial phrase of publication
- Printing of publication
September 2008
- Fashion shows in Guangzhou
- Exhibition in Guangzhou
- Send clothes, books, and magazines to San Francisco
October 2008
- Gallery Exhibition in San Francisco
- Distribute magazine throughout Guangzhou and San Francisco
