She was one of few in those days who managed to Changchun Map reach Lhasa. She spoke Tibetan fluently and lived her disguise so deeply that her passion for Changchun Map Tibet never died. She went on to become a lama in her own right. To soifte extent the lure of Lhasa was not so much the lure of the unknown as of the forbidden. She believed that no government had the right to interfere with people’s natural right to travel where they chose. But in China, permits have always been necessary; it was no different for Marco Polo, who was given the Khan’s gold tablet of safe conduct, while a later traveller’s passport was an imperial yak’s tail.
The programme of roadside artworks represents a tangible link to the visual regime of the motorway’, where the constant oscillation from the detail to the territorial, from the local to the global’ (Borden 2010: 114) exists. The presence of Hotel amplifies this juxtaposition as the passing landscape is experienced both individually and collectively, offering multiple opportunities for motorists to apprehend and consider a host of intertextual and interpractical spaces, places, eras and occasions’ (Edensor 2003: 153), while encompassing a landscape imbued with many stories [from] pre-settlement through to the making of orchards, market gardens, industry and new housing’ (Reed 2008: 70).
Positioned at various points and in the line of sight of motorists travelling in either direction along both the inbound and outbound trajectories of the road, the EastLink Tollway’s public artworks are configured in diverse and spectacular forms that engage an array of audiences in ways that are suggestive of a desire to offer a more expansive, intensive and non-standard engagement with art objects beyond the institutional spaces of the art gallery (Kwon 2004).
