Still in Paris researching our upcoming show, "Art and China after 1989." In Yang Jiechang's studio, this "testament" from his early 90s show in Fukuoka curated by Fei Dawei is stacked among other works from th past three decades. It was shown hanging over a stoneware jar which conceptually contained the tiger's gutty output. The show, his wife the scholar Martina Koppel Yang tells me, was like being reincarnated in another state after the shock and killing of Tiananmen, when all belief in the agency of artists and intellectuals to partake in China's reform was destroyed. He left Beijing immediately after and has lived in Europe ever since.