Intersections: Huang Rui and Japanese Art in the 1980s

INTERSECTIONS: HUANG RUI AND JAPANESE ART IN THE 1980s

INTERSECTIONS: HUANG RUI AND JAPANESE ART IN THE 1980s Academic Director: Chiba Shigeo

A VIBRANT LIFE PUBLICATION

PREFACE

The Fabric of Yin and Yang From Abstract Expressionism to Spatial Expressionism

-Chiba Shigeo

Huang Rui lived in Japan for 15 years from 1984 to 2000, based mainly in Osaka in the Kansai region. At the time, Japan’s art scene was still influenced by the rise of the Mono-ha movement in the late 1960s, which developed a strong momentum in the first half of the 1970s. At the beginning of the 1980s, a handful of artists who were generally referred to as the Post-Mono-ha School by the Mono-ha, formed their own unique style by repeated experimentation, with the purpose of going beyond the “Mono-ha” ethos. The Mono-ha artists were mainly engaged in sculpture and installation art. The Post-Mono-ha School was an art genre which came into being to explore the possibilities of “paintings” and “sculptures” as a manifestation of “form” after the “form” of art had been deconstructed by the Mono-ha.

It was under such circumstances that Huang went to Japan, where he attempted in his own way, to “realise art”, whilst “transcending art”. In this sense, because of both his age, (he was born in 1952) and the problems he attempted to solve, he was closer to the Post-Mono-ha School. Huang, who longed for exposure to Western art throughout his childhood years in China, now immersed himself in the study of Western art in the much freer environment of Japan. At the same time, Huang’s ink painting, which he had grasped well since his childhood, also began to be strongly inspired by Japanese art. He also began making abstract painting, as a continuation of his Courtyard Series which he had begun before living in Japan.

In brief, there are two important points that assist in the understanding of Huang’s abstract work. Firstly, the most important issue is not the abstract form itself; instead, it is the abstraction of the essential expression of color, atmosphere, space and the stories that unfold in the actual courtyards as an integral whole. In other words, even if abstract expression is always in correlation with “reality,” it is not completely isolated and free from “reality”.

Secondly, irrespective of the time the work was created, his work was rooted in the ideologies and perception of Yin and Yang. It not only prevails in the conceptualization of his paintings, yin and yang also

exists in his foundation and the way he percieves human beings, concepts and philiosophy. That is to say, Yin and Yang is something that is deeply ingrained in his body, something that precedes and ends the “form” of art for him. It would be easy to misunderstand this concept in his work if viewed from the Western standpoint of art theory and formalism. On the one hand, the thought of Yin and Yang embodies the framework and formal character of the “forms” in his work. In the eyes of the West, it must be thought of as a method used to achieve abstraction (formalization). However, on the other hand, this is not entirely equal to the Western so-called “form”; it is not a “method”. It is neither a “form” nor a “method”, instead, it is something more profound and extensive than these specific methodologies of art. Based on these two points, we can sum up that the essence of Huang Rui’s abstract painting and abstract expressionism is in his use of space, where Yin and Yang are graphically represented.

We are constantly in symbiosis with Yin and Yang in real life, within real space, which is second nature and goes without saying for people in the Far East, even though it is not often apparent. Existence and nothingness, life and death, all are woven into a brocade of yin and yang. The essence of painting in Asia has always been rooted in this, but in the process of accepting the huge impact of Western painting, and with the gradual modernization of our living environment (westernization), the people of the Far East have unconsciously let go of this, despite the fact that in reality they still continue with the ethics of life and death in length and breadth of Yin and Yang’s fabric.

Fine art, especially painting, is an art that cannot be expressed with words. In other words, it may be percieved as “silent poetry”. Once upon a time, it was said “Poetry is the picture of words, [chinese ink] painting is a poem without words.” Huang Rui introduces yin and yang as the essence of existence and nothingness, life and death into paintings, in an attempt to make the painting into a silent art form which is beyond words. And the expression is not a straightforward description that is based on objective forms, stories and events, but a process of realization. It is easy to attach a narrative that leans on definitive forms, stories and events, but that is risky and akin to frying the leftover dishes again, it is difficult to achieve a new flavor.

Since Huang Rui is clearly aware of this, he limits his expression to painting the space itself. Therefore, it is unjust to simply summarize his works with the two Chinese characters “抽象” or the english word “abstract.” The reason being is that it is an attempt to manifest a brocade of Yin and Yang in the purest way. In this book, he divides the attempt into five categories, which are named by “space” rather than “abstraction.”

February 2016 Translated by Chang Lishun Chiba Shigeo, is a renowned contemporary art critic, East Asian contemporary art historian and a professor at Chubu University, Japan.

Huang Rui, Citizens, 1989, Oil on Canvas, 130 x 97 cm

Huang Rui, Beijinger, 1988, Oil on Canvas, 116.5 x 91 cm

Huang Rui, Beijinger, 1988, Oil on Canvas, 129.3 x 82.5 cm

Huang Rui, Prelude-Sacrifice (Preparatory Painting), 1980, Oil on Canvas, 90 x 90 cm

Huang Rui White, Grey and Black 1989-1990 Oil on Canvas 129.3 x 82.5 cm

Huang Rui, Space 85-15, 1985, Oil on Canvas, 44 x 60 cm

Huang Rui, Space 85-7, 1985, Oil on Canvas, 42 x 65 cm

Huang Rui, Red No.3 (right), 1991, Oil on Canvas, 130 x 97 cm

Huang Rui, White and White Colour No.6, 1991, Oil on Canvas, 162 x 130 cm

Huang Rui Red No.3 (right) 1991 Oil on Canvas 130 x 97 cm

Huang Rui White Abstraction 1995 Oil on Canvas 160 x 137 cm

Koshimizu Susumu, Chair, 1987, Wood Curving with a Stone Pedestal, 102.5 x 35 x 49.7 cm

Sekine Nobuo, Draw a Circle, 1974, Black granite, wooden pedestal, Stone: 35 x 5.5 cm

Koshimizu Susumu, Relief 91-3, 1991, Alder, Pigment, 199.5 x 121.3 cm

Koshimizu Susumu, Relief, 1979, Wood(Katsura Tree), 67.3 x 48.5 x 3.5 cm

ABOUT THE ACADEMIC DIRECTOR Chiba Shigeo Chiba Shigeo is an art critic, researcher and curator and is currently the Professor of Art History and Museology at The Chubu University of Nagoya in Japan. Born in 1946 in Japan, Chiba obtained his Doctorate at the Université Paris 1, France and is the former Curator of the National Museum of Modern Art, Tokyo (1975-2000). He has conceptualized and curated numerous exhibitions, more recently including Busan City Museum, Korea, “Minimalism in Asia is not Minimalism”, 2008, Gallery A Story (Seoul and Busan), “Painting and Chinese Charactor”, 2009, Gallery 604, Busan and “Contemporary Art of China and Japan”, Busan City Museum of Art, 2010, Busan.

Widely published, Chiba’s main areas of interests are China, Japan and Korea. His publications include “Minimal Art”, 1987, Tokyo, “Actual Situation of Art”, 1990, Tokyo, “Vermeer of Delft, A Vessel of the Miracle”, 1994, Tokyo, “Japanese Art Yet to be Born”, 2006, Tokyo, (translated into Chinese in 2004), “The Beginning of Modern Painting in Europe － Caravaggio, Vermeer and Goya”, 2008, Tokyo and Voyage from Caravaggio”, 2012, Tokyo. Chiba is also the Editor and Publisher of a personal art-magazine “HAIKAIKO”.

ABOUT THE ARTIST Huang Rui Huang Rui was born in 1952 in Beijing, China. He is one of China’s most highly regarded artists and was one of the main protagonists of the first non-conformist art groups in 1979 China. A leader of the Stars Group (Xing Xing) art exhibition, he was pivotal in the art movement that initiated some of the first free art expressions in the Post-Mao era. As a seminal figure of the Dashanzi Factory 798 Art District, Huang Rui has sought to express art’s function as a reflection of society and its strength in addressing contemporary concerns. Huang Rui’s work is characterized by symmetry and simplicity of form, as well as by the use of primary colors. His work stands alone as aesthetically pleasing; however, he is recognized as a socially minded, and thus often controversial, artist. Throughout his career, he has continued to be vocal about his belief in the importance of free expression - and as a result, he has faced a large amount of censorship from the government. Huang Rui is an artist that has at once the ability to combine extreme intellect with highly sensitive and personal approach. His works are finely crafted and meticulously finished. Within a minimalist exterior there hides mountains of meanings and connotations stemming from ancient Chinese philosophy, modern - day communist hypocrisy or current society’s middling obsessions. There is never just one thing hidden in Huang Rui’s works but several for his mind turns the pieces around and around as his ideas grow like shoots of complexity.

CURRICULUM VITAE

HUANG RUI Born in 1952, Beijing, China.

SOLO EXHIBITION 2015 2014 2014 2014 2014 2014 2013 2012

2011 2010 2009

2008 2007

2006 2000

1999 1998 1997 1996 1995

Language Color, Zürcher Gallery, New York, USA Black and White Cats 49, Then?, Performance Art, 10 Chancery Lane Gallery, Hong Kong Erotic×Huang Rui: Works on Paper 1981-2014, Hadrien de Montferrand Gallery, Beijing, China Meaning Matter, Magda Danysz Gallery, Shanghai, China One Country Two Systems, 50 Years Unchanged, 10 Chancery Lane Gallery Art Projects, Hong Kong Space Structure 1983-1986, 10 Chancery Lane Gallery, Hong Kong The Wasteland Series, Boers-Li Gallery, Beijing, China Language-Colour, 10 Chancery Lane Gallery, Hong Kong Woman, Outdoor Sculpture Show, German Embassy, Beijing, China Ping-Pong, Shanghai Tang, Hong Kong I-Ching, Opposite House, Beijing, China Huang Rui Exhibition, 604 Gallery, Pusan, Korea Huang Rui Exhibition, Space Hongjee, Seoul, Korea CZECHINA, Embassy Art Gallery, Embassy of the Czech Republic, Beijing, China Book launch of “1989 : 365 Art Days in China and Germany”, 10 Chancery Lane Gallery, Hong Kong Animal Time: 1204-2009, Coudenberg Museum, Brussels, Belgium Comerchina, 10 Chancery Lane Gallery, Hong Kong Comerchina, Chinese Contemporary, Beijing, China Animal Time in Chinese History II, Shao Foundation, Beijing, China Animal Time in Chinese History, Museo delle Mura, Roma, Italy Beijing 2008: Huang Rui, Sala 1, Rome, Italy Huang Rui - The Stars ‘ Time1977-1984, Art Museum, Shenzhen, China Chai-na/China, Les Rencontres Photographiques d’Arles, Arles, France Texts are the Legacy of Great Thought!, Chinese Contemporary, New York, USA Open, Huang Rui’s Studio, 798 Art District, China Chairman Mao 10,000 RMB, Chinese Contemporary, Beijing, China One Country Two Systems – Unchanged After 50 Years!, 10 Chancery Lane Gallery, Hong Kong Non-existent Journey III, KCAL Kansai Contemporary Art Laboratory, Amagasaki, Osaka, Japan Non-existent Journey IV, Osaka Contemporary Art Center, Osaka, Japan Huang Rui Exhibition, Kaze Gallery, Osaka, Japan (also ’98,97,95,92,90) Beijing 0:00 (Performance), Wenzi Gallery, Tokyo, Japan Huang Rui Exhibition, JF Mayer Gallerie, Marseille, France Huang Rui Exhibition, Tokyo Gallery, Tokyo, Japan I Ching + Planned Road, Nishetenma Area, Osaka, Japan Huang Rui Exhibition, Bricollage Gallery, Osaka, Japan Gold Fish + Planned road, Nishetenma Area, Osaka, Japan Water + Wood + Paper, Ruine der Kunst, Berlin, Germany Huang Rui Exhibition, Gallerie Bellefroid, Paris, France Water + Abenosuji, Abenosuji Gallery, Osaka, Japan Ergoutou Spirit+ Ruin (Performance), Guan Yuan area, Beijing, China

1994

1991 1990 1989 1985 1984

Huang Rui Exhibition, Kaibundo Gallery, Kobe, Japan (also’96) Water + Fish, Huang Rui Studio, Beijing, China Water + Bamboo, Huang Rui Studio, Beijing, CHina Chairman Mao 100’s Anniversary, Ai Weiwei Studio, Beijing, China Huang Rui Exhibition, International Art Museum, Beijing, China (cancelled) Water + 40 Faces, September Gallery, Beijing, China (Cancelled and moved to Self Owned studio, Beijing) Huang Rui Exhibition, Gallery Ueda, Tokyo, Japan (also’94) Huang Rui Exhibition, Osaka Contemporary Art Center, Osaka, Japan Huang Rui Exhibition, Gallery Kaze, Osaka, Japan (also ’92,’95,’97,’98,’00) Huang Rui Exhibition, Tor Road Gallery,Kobe (also 1986, 1985) , Japan Huang Rui Exhibition, Chinese Modern Art Center, Osaka, Japan (also ’88,’90’,’92) Huang Rui Exhibition, Gallery Ueda Warehouse, Tokyo, Japan Huang Rui Exhibition, Tor Road Gallery, Kobe, Japan (also ’86,’89) Huang Rui Exhibition, Central Gallery, Osaka, Japan (also ’94)

SELECTED GROUP EXHIBITIONS 2016

2015 2015 2015 2014 2013

2012

2011

2010

Right is Wrong - Four Decades of Chinese Contemporary Art from the M+ Sigg Collection, ArtisTree, Hong Kong Agitprop! , Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, New York, USA Commemoration 85, Xinhua Art Museum, Shanghai, China Right is Wrong - Chinese Art from the 1970s to Now, M+ Sigg Collection, The Whitworth, The University of Manchester, UK “Under the Surface” Chinese Contemporary Art Re-enlightenment: From 1979 to1984, Xi’an Art Museum, Xi’an, China Black and White Cats, 10 Chancery Lane Gallery Art Projects, Hong Kong Right is Wrong / Four Decades of Chinese Art from the M+ Sigg Collection, Bildmuseet, Umea, Sweden The Change of Essence – The Shenzhen Public Sculpture Exhibition 2013, Shenzhen, China Digital Live, Xiaozhou Village, Guangzhou, China Venice Biennale, Venice, Italy Light before Dawn, Asia Society Hong Kong Center, Hong Kong ArtHK 2012, 10 Chancery Lane Gallery, Hong Kong RAZE, Pekin Fine Arts, Beijing, China Daydreaming with… Artis Tree, Hong Kong Chai-na/China Signs: Works by Huang Rui & Ko Siu Lam, Slought Foudnation and the University of Pennsylvania, Philadelphia, USA Red, 10 Chancery Lane Gallery Art Projects, Hong Kong ArtHK 2011, 10 Chancery Lane Gallery, Hong Kong Blooming in the Shadows: Unofficial Chinese Art, 1974-1985, China Institute, New York, USA LOVE and HOPE, Iberia Center for Contemporary Art, Beijing, China Black White, Zero Field Art Center, Beijing, China Documentation of Chinese Performance Art Exhibition, Songzhuang Art Museum, Beijing, China Mid-Autumn Moon, 10 Chancery Lane Gallery, Hong Kong Emptiness, 10 Chancery Lane Gallery, Hong Kong Huang Rui and Dai Guangyu: Recent Works, Galerie Adler, Paris, France Reshaping History: Chinese Art from 2001 to 2009, National Convention Center, Beijing, China Let’s Do I-Ching, Czech Republic Pavilion Day, Shanghai World Expo, Shanghai, China (Canceled by Expo Security Council) Erotic, Hadrien de Montferrand Gallery, Beijing, China Warm Winter Arts Project, Three Shadows Photography Art Centre, Beijing, China (Canceled by Chaoyang District Public Security Bureau) Kollowitz and Chinese Artists, Artmia Art Center, Beijing, China Warm Winter Arts Project, Zhengyang, 008, and Dongying Art Districts, Beijing, China

2009

2007

2006

2005

2004

2003

2002

2001 2000

1999

Warm Winter Arts Project, Zhengyang Art District, Beijing, China Asian Art in Characters, 604 Gallery, Busan, South Korea OPEN, Performance Art Festival, Open Art Gallery, Beijing, China Berlin Wall Memorial Exhibition, Twentieth Anniversary of the Fall of the Berlin Wall Ceremony, Berlin, Germany Berlin Wall Memorial Exhibition, Garden, German Embassy, Beijing, China Images of China: The City Flag, Qujiang District Art Center and Dayan Pagoda Square, Xi’an, China nternational Performance Show-Ceramic Passion, Expo park, Icheon, Korea Xian Qujiang International Contemporary Art Festival, Xian, China Christian Dior & Chinese Artists, UCCA, Beijing, China Memory of China, Galerie Zdenek Sklenar, Prague, Czech Republic Interval of Silence, Redstar Gallery, Beijing, China China Avant-Garde, Groninger Museum, The Netherlands Case Studies of Artists in Art History, SZ Art Center, Beijing, China China Action, Louisiana Museum, Copenhagen, Denmark Chinese Performance Art Photography, Inter Gallery, Beijing, China Made in China - Contemporary Art Exhibition, Louisiana Museum, Copenhagen, Denmark International Asian Antique and Art Fair Hong Kong, Hong Kong ShContemporary 07 Art Fair, Shanghai, China The 4th Annual China International Gallery Exposition 2006, 10 Chancery Lane Gallery, Beijing, China China Now, Reincarnation of Chinese Contemporary Art Cobra Museum, Amsterdam The 3rd Annual China International Gallery Exposition 2006, 10 Chancery Lane Gallery, Beijing, China China Now, Reincarnation of Chinese Contemporary, Art Sammlung Essl Museum, Vienna, Austria Outside Context Problem, 10 Chancery Lane Gallery, Hong Kong Wilderness Environmental Art Plan, 10 Chancery Lane Gallery, Hong Kong Dadao International Performance Festival, 798 Art District, Beijing, China Transborder Language 4th edition, DIAF, 798 Art District, Beijing, China Create History, Commemoration Exhibition of Chinese Modern Art in 1980s, Shenzhen Art Museum, China Soldiers at Gate, DIAF, 706 Space, 798 Art District, Beijing, China 2nd Dashanzi International Art Festival: Language/Fable, Beijing, China Convergence Art exhibition, Dashanzi Art District, Beijing, China Transparent Box, Jianwai Soho, Beijing, China Cubism Painting in Asia, National Museum of Modern Art of Japan, Tokyo, Japan Forge The Fable, Zero Factory, Beijing, China 1st Dashanzi International Art Festival: Radiance and Resonance / Signals of Time, Dashanzi Art District, Beijing, China Transborder Language 2nd edition, DIAF, 798 Art District, Beijing, China Multiple Definition Imaginary Community, Crystal City, Tianjin, China Transborder Language: Live Poetry/Performance Art, Beijing Tokyo Art Project, Beijing, China Blue Sky Exposure – Anti SARS Exhibition, Dashanzi Art District and Yi Zhuang, Beijing, China Left Hand, Right Hand, Dashanzi Art District, Beijing, China Reconstruct 798-798 Art District United Activity, 798 Art District, Beijing, China Beijing Afloat, Beijing Tokyo Art Project Opening Exhibition, Beijing, China The 1st Guangzhou Triennial, Guangzhou Museum, Guangzhou, China CIPAF 02, Banpe Museum, Xi’an, China 1st International Contemporary Photograph Exhibition, Ping Yao, China Theater of Our Lives, Hyogo Prefecture Museum of Art, Kobe, Japan Dream 2001, Contemporary Chinese Art Exhibition, Red Mansion Foundation, London, UK Promenade in Asia “AFTER KITCH”, Shiseido Gallery, Tokyo, Japan The Xing Xing 20 years, Tokyo Gallery, Japan Documentation of Chinese Avant-Garde Art in 90s, Fukuoka Asian Art Museum, Japan Choi Suk Ho and Huang Rui, Gallery Gu, Seo-Cho Visual Art Institut, Seoul, Korea Battle to a 2001, Gozo Yoshimasu and Huang Rui, Gallery Shimada, Kobe, Japan Theater of Our Lives, Hyogo Prefecture Museum of Art, Kobe, Japan Memories of 100 Years, Huang Rui Studio, Osaka, Japan True, Hirano, Osaka, Japan New I-Ching, 64 Divination of 6.4, Central Park, Hong Kong

1998

1993 1992 1990

1989 1987 1985 1983 1981 1980 1979

NIPAF ’98 Nippon Performance Art Festival, Nagano etc., Japan (also ’99) Huang Rui Exhibition, JF Mayer Gallerie, Marseille, France L’Art Degenere, Gallerie Municipale de Sextius, Aix en Provence, France NIPAF a Paris, Ambassade du Japon en France, Paris, France Art Performance, Art Action, Fringe Club, Hong Kong / Tribo, Macao Today 20 Years; Japan China International Art Festival, Hamarikyu Aashi Multipurpose Hall, Tokyo, Japan Chinese Abstraction and Beyond, Hong Kong Arts center, Hong Kong Modern de Hirano, Kumata Shino Shrine, Osaka, Japan (also ‘98) The 4th Rokko Island Water Front Open Air Play, Marine Park, Kobe, Japan (also ‘98, ‘99, ’00) Imaginery trip, Eiji Okubo, Huang Rui, two- person Exhibition, Huang Rui Studio, Osaka Chinese Modern Arts, Gallery Asur, Oslo, Norway From East of Eurasia, Oxy Gallery, Osaka, Japan Origin and Myths of Fine New Art from Japan, China and Korea, The Museum of modern Art, Saitama, Japan New Painting of Chinese Artists, Alisan Fine Arts Gallery, Hong Kong The Xing Xing – China Modern Art & Cultural, Kunsterhaus Mousonturm, Frankfurt, Germany Asian Art Now, Hiroshima City Museum of Contemporary Art, Japan The Xing Xing, 15 years, Tokyo Gallery, Tokyo, Japan Asian Wave, Tokyo Gallery, Tokyo, Japan Art Now, ’92; Twelve Artists: New Horizon in the 90’s, Hyogo Prefectural Museum of Modern Art, Japan Ma Desheng, Huang Rui, Wang Keping three-person exhibition, Han Art Gallery, Taipei, Taiwan Huang Rui and Wang Keping two-person exhibition, Monte Gallery, Tokyo, Japan The Xing Xing 10 years, Salpetriere Church, Paris, France The Xing Xing 10 Years, Han-Art Gallery, Hong Kong / Han-Art Gallery, Taipei, Taiwan Xing Xing exhibition by 6 artists, Art Wave Gallery, New York, USA Documentation of Xing Xing Exhibition, Harvest University Cultural Center, Boston, USA Ma Desheng and Huang Rui exhibition, Osaka Contemporary Art Center, Osaka, Japan Ma Desheng, Huang Rui, Wang Keping Exhibition, Beijing Elementary School, Beijing, China China Contemporary Art Exhibition, New York, Boston, USA The 2nd Xing Xing Exhibition, China Art Museum, Beijing, China The 1st Xing Xing Exhibition, outside of the China Art Museum and Hua Fang Zhai Gallery, Beijing, China

PUBLICATIONS 2009 2008 2006 2005 2004 2006 2008 2009 2012 2013 2014 2016

1989 – 365 Art Days in China and Germany, Thinking Hands 798 in Beijing, new edition, Thinking Hands Beijing/Background, Timezone 8 + Thinking Hands Language/Fable, Timezone 8 + Thinking Hands 798 in Beijing, Timezone 8 + Thinking Hands Selected Works of Mao Tsetung(Volume VI), Timezone 8+ Thinking Hands, Beijing, China Beijing 798: Reflections on “Factory” of Art, Sichuan Publishing Group + Sichuan Fine Arts Publishing House (Updated Edition), Beijing, China 1989: 365 Art Days in China and Germany, edition global, Munich, Germany COMERCHINA, Chinese Contempoary+ Thinking Hands, Beijing, China Huang Rui: The Stars Period 1977- 1984, Asia One Books, Hong Kong A Constellation of Stars- Huang Rui and Ma Desheng:Art Editiors 1978- 1983, Thinking Hands+ Hadrien de Montferrand, Beijing, China Erotic×Huang Rui: Works on Paper 1981-2014, Asia One Books, Hong Kong Huang Rui: Space Structure 1983-2014, Asia One Books, Hong Kong HUANG RUI LANGUAGE FORM 1990-2015, Asia One Books, Hong Kong

ALL WORKS OF ART COPYRIGHT © HUANG RUI A VIBRANT LIFE PUBLICATION / 10 Chancery Lane Gallery Designed by Frankie Leong Tsoi Chi This catalogue is published on the occasion of Huang Rui’s Group exhibition INTERSECTIONS: Huang Rui and Japanese Art in the 1980’s, Academic Advisor: Chiba Shigeo at 10 Chancery Lane Gallery, Hong Kong from March 21-April 30.

ALL RIGHTS RESERVED. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher.

ISBN 978-988-16893-3-7 Printed in Hong Kong, 2016

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