Space Hamilton is a temporary independent art space in Seoul, which is located in a side street, only 200 meters away from the Comme des Garçons flag ship store. I cleaned the store-front-like-window and built a box indoors to create a white cube space. I filled it with items from the Made In North Korea collection. On the window is a white text, which is an excerpt from the online education that South Koreans have to pass when applying for a visa to visit Kaesong Industrial Complex in

North Korea. It is a crash course in North-South relations, which expresses the political intentions of the Kaesong Industrial Complex. The black text on the back are headlines from the newspaper articles from the Made In North Korea artist book, which all refer to the Kaesong Industrial Complex.I was interested to juxtapose two very different rhetorics though both texts refer to the same topic.

The shirts Made In North Korea were produced at the Kaesong Industrial Complex. The shirts come with a collection of more than one thousand newspaper articles about the Kaesong Industrial Complex which were published during the period of the production of the garments: from March until June, 2010. The news coverage provides a wide range of perspectives on the Kaesong Industrial Complex.

In the exhibition the newspaper articles were printed on large card board panels, so that the viewers could get an impression of the huge amount of articles that show the relevance of the Kaesong Industrial Complex for the inter-Korean relations.

With The Invisible of the Visible exhibition and the launch of my fashion industries at Front Row in Singapore, Fleischmann presents a fashion label as an art project. my fashion industries triggers issues of commodity fetishism by redefining the oft-obscured relationship between labour and commodity.
Fleischmann uses his Crescent Palm shirt as a link to give an idea of the production conditions of the Cavite Economic Zone to a wider public. Questions of access and locality are set off on different levels throughout the project.
The shirt functioned for the artist as an "entry ticket" into the free trade zone because unless one is an employee within the restricted zone, one can only access this place as an investor.

The presence of the artist in the place of the shirt production and the extensive video documentation could be understood as a strategy to create a visual map of the city of Rosario with its economic zone. The artist too is included in this map, albeit present only behind the camera. The shirt functions again as an "entry ticket" to another place in the exhibition The Invisible of the Visible. Only collectors of the shirt are exclusively accredited to visit the multichannel video installation at the Squash Court studio/project-space of Singaporean artist Charles Lim. This exclusivity provides a visual proximity to the labour aspect of the shirt. The exhibition addresses the alienation that is common in our perception of commodities and it reflects the concept of the shirt in a spatial way.