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Zjistit dostupnost. Key themes are the power structures in dominant, hierarchical social systems and the role of technology as an instrument of state control. He thus points out the discrepancy between the utopian idea of the Internet as a democratic space, and its actual capabilities and limitations. The exhibition includes works created between and on themes related to conflicts, protest movements and geo-political crises.
Daniel G. He created his first artistic works in the late s, mostly working with video. Early on, he experimented with the creative possibilities of the Internet. In he founded the fictitious company "Technologies To The People. Andujar has taught in several countries and conducted workshops for artists and social collectives.
His works have been shown in numerous exhibitions worldwide; the Spanish National Museum Reina Sofia in Madrid hosted a comprehensive, one-man show from January to April This is pop art, but not as you know it. Tate Modern is ready to tell a global story of pop art, breaking new ground along the way, and revealing a different side to the artistic and cultural phenomenon. From Latin America to Asia, and from Europe to the Middle East, this explosive exhibition connects the dots between art produced around the world during the s and s, showing how different cultures and countries responded to the movement.
Politics, the body, domestic revolution, consumption, public protest, and folk — all will be explored and laid bare in eye-popping Technicolor and across many media, from canvas to car bonnets and pinball machines. The exhibition will reveal how pop was never just a celebration of western consumer culture, but was often a subversive international language of protest — a language that is more relevant today than ever.
Pop art, minimal art, body art, conceptual art, arte povera … all these terms were in use in the art circles in Yugoslavia in the s and s. No, I would not consider myself a pop artist. I belong to the generation who came onto the art scene at the beginning of the s. As young artists we were eager to react to the work of the generation before us.
Our main concern was the political critique of the high, elite, institutional culture. At the time we still believed that the alternative was possible. As a woman and as an artist I was formed by the contentious spirit of Only on one occasion, for an etching project, did I use a photograph of a well-known female politician who was the president of the Croatian Communist Party. The Yugoslavian socialist government practised a Communist ideology combined with consumerist elements.
The subject of this early video, Sweet Violence , is a good example of this. I wanted to deal with the manipulative power of the media, which is a subject that I am still interested in working with. The video consists of the commercials that were part of the economic propaganda programme broadcast on Zagreb television.
The information about pop art in other parts of the world was scarce. The Anglo-American media dominance was global. In the s I was working as a graphic designer at a large publishing house in Zagreb. The knowledge I gained as a graphic designer definitely influenced the way I deal with my artworks. Yes, the s were heroic in the sense that we felt we are making a change … it was a good feeling.
I am pleased to see that young artists find some of my work still inspiring. Europe's cities offer a wealth of contemporary art galleries, making the continent an important destination for art lovers across the world. Those looking to admire both established and leading artists, as well as seek out new and emerging talent, flock both to the obvious choices such as London, Berlin, and Paris—not to mention Basel—but also to lesser-known hot-spots like Istanbul, Budapest, and Athens.
While London may be the dominant center, offering a one-stop-shop option for traveling Middle Eastern, Russian, and Asian collectors, in addition to home-grown ones, the European art markets continue to thrive and excite. But the European market is eclectic, scattered, and in constant flux. Berlin is still a hotspot, but other hubs are on the rise. Selecting the continent's top commercial galleries can be a tricky task.
The carefully selected group combines well-known galleries that enjoy widespread recognition, listed by location, as well as smaller spaces that deserve to be in the spotlight. Lenbachhaus presents the first retrospective exhibition dedicated to Argentine-French artist Lea Lublin Brest, Poland — Paris. Having begun her career as a painter in Buenos Aires, Lublin radically changed course in the mids to create art that would offer the greatest possible agency and participation for its audience.
Her work closely engaged with currents in critical theory, philosophy, and art of her time, and brings them alive for us today. Many works are on view for the first time in 20 years. A recurrent theme of her work involves the forms and context of the official culture of memory.
She uses the original monument as well as her own proposal as a vehicle to examine and shed light on latent conflicts and contradictions. Ich war, ich bin, ich werde sein! August Memorial For u ms — Histories of Possibility. Through interventions in public space and a critical use of digital media and the communication strategies of the corporations connected to it, the theoretical and artistic work developed by Daniel G.
A critical approach to current issues, the questioning of the potential of artistic interventions in urban spaces and the deployment of subversive and iconic appropriationist tactics and strategies have also represented a key part of his oeuvre. This is illustrated in works such as La cultura del ladrillo and Objetos de deseo , which renounce the co-existence of political and economic power in the creation of the housing bubble; Not Found.
The Gwangju Biennale explores the process of dynamism and innovation through the theme of Burning Down the House, to examine the new aesthetic value and the discourses on Asianness. Burning Down the House looks at the resistance and challenge against established institutions, as well as creative destruction and new start, so that cultural diversity is expressed through traditional forms of art, installation art, performance, new media, movie, theater, music and architecture.
The theme comes from the famous song title of a popular progressive group called Talking Heads from New York during the early s, which has been borrowed because it suitably delivers the direction and purpose of the Gwangju Biennale. It is notable that large numbers of performances have been introduced in order to display the dynamism, including movement for transformation and reform, criticism against customs and institutions, political interventions and creative acts.
Comisarios: Adriano Pedrosa y Rodrigo Moura. Italo Calvino. La mostra, a cura di Gerardo Mosquera, affronta il tema attraverso le opere di oltre 60 artisti provenienti da tutto il mondo, molti dei quali mai presentati in Italia. This Saturday, September 21, we would like to invite you to a very special event for us: t This Saturday, September 21, we would like to invite you to a very special event for us: the celebration where we will present the publication that brings together the 15 years of espaivisor , made possible thanks to the Award Arte y Mecenazgo "La Caixa" Followed by a Lunch - Party with paella, Turia beer, and live music.
Salas Goerlich-Ferreres Pep Benlloch. Infundir mesura. Contenerse, moderarse. El trabajo de Alberto Baraya con sus herbarios de plantas artificiales y sus expediciones. Lara Almarcegui y un descampado en la ribera del Ebro donde se acota un espacio mediante contrato y burocracia. El paisaje fragmentado de una zona llamada a desaparecer que presenta Javier Ayarza. Los mapas bordados de Ana Amorim.
Assess the importance, effect, or value of something archaic Travel over a certain distance or area There is a whole silent territory that asks for its own way of being measured by poetic also political methods, a way that the common measurement tools can not detect. Hence, art comes into play for the moderation of the untouchable, of what is known but escapes from the hands.
Leaving the painted picture to the exhibition space, where artifacts are displayed or close to them, we should say that the organization of these in a certain way could also be taken as one of those endless visual lists. They are narrative and essayistic lists that tend to infinity.
There are many things that can not be measured positively and that need to be immersed in a special poetics or context of meaning that allows interpreting what they measure and how they are measured: not everything is measurable in the same way, even more when measuring is also thinking about something analyzing it. This nuance of meaning, practically in disuse, is brought to this montage with all the intention as one of the basic exercises of artistic practice and the practices that move in its vicinity.
This is the list of this project. All processes that speak -expressed or not- about the verb to measure and about the substantive measure, in one way or another, far from the normalizations of our time, and closer to the peculiar , whether in themselves or by the passing of the years. A certain form of estrangement is the language of this work that is based on materials from artistic and similar practices taken to an intermediate place that has not just been defined as contemporary art but as the construction of another type of dialogue where many paths cross.
The infinity of lists , Random House Mondadori, Barcelona Works from th The seventies marked a turning point in the feminist movement. A new generation took to the public stage, turning the world around and shaking up the established symbolic order by means of multiple practices and cultural representations. The explosion of freedom and creativity of feminism in the seventies has been a constant source of inspiration for feminisms today that erupted in unprecedented richness and diversity that also affected many other collective emancipation movements.
By means of languages and techniques such as photography, cinema, video, performance and happenings, these artists deconstructed the repressive cultural and social constraints of the time, as well as the mechanisms and automatisms of oppression of women. The feminist movement has also increasingly joined forces with other fights against inequality: sexism cannot be taken apart from other forms of domination such as racism, homophobia and transphobia, speciesism, and disrespect for poor people or people who are considered disabled or foreign.
It is based on thematic focuses that complement and enrich the view of the seventies, from a Catalan and Spanish viewpoint, with the voice of artists who were not yet present on the artistic scene at that time. Exile Is a Hard Job will be the first solo U. Born in Cairo, the artist grew up in Istanbul and has been living in Paris since Exile Is a Hard Job presents the diversity of her work, from previously little-known paintings to her groundbreaking early videos and multimedia installations in which she combines photography, video, drawings, and sculpture into collages.
Using a quasi-anthropological methodology, she reflects the lives of these individuals and makes marginalized groups visible. Exile Is a Hard Job charts a path from her early abstract paintings through her pivotal socially engaged works and experiments with video and performance. Her pioneering work began to focus on these topics at an earlier moment and stands today as an example of art that creates connection across experiential and subjective difference.
Paisajes sin personas y personas sin paisaje; o lo uno o lo otro: nunca juntos en una misma imagen. The Humberto Rivas exhibition tackles the work of the artist along his trajectory, from the The Humberto Rivas exhibition tackles the work of the artist along his trajectory, from the s until Rivas was a fundamental author in the growth of photography in Spain from the first half of the s, when he arrived to Barcelona from Argentina.
It is due to him that there is a renovation of photography and it enters the field of art. Rivas was a visionary in relation to his artwork: each time he selected one of the photographies taken with his camera he would immediately develop several images.
This allows us to have original copies made by the artist in the exhibition. The photographic production of Humberto Rivas would fall into different photographic genres according to the historiography of the time. However, Rivas never accepted this classification and it is precisely from this point of view that his contribution to the renovation of Spanish photographic begins. Landscapes without people and people without landscapes — one or the other, never together in the same photography.
It is us who, by showing his artwork, are inserting one inside the other as it is inescapable. Therefore, our exhibition shows the highlights of his conceptual approaches about the subject and the city in a continuous which resembles to what we capture wandering around life. His photographies offer an extremely descriptive work, but also awfully analytical and yet mysterious. There is no place in his work for anecdotes or incidents.
In the eyes of Rivas, poetry was the closest art to photography, and as such his artwork is sided with the feeling of loneliness which causes a seductive uncertainty in the spectator. In his photographies of the cities Rivas shows it to us rather as a structure than a theatre of humanity.
He halts in the spaces inhabited by the shadows, his favourite, as they comprise ever present absences in his particular dissection of the city. He also pushes the limits of portrait to the limit. His obsession for certain characters, some completely unknown, which appeared as models in his artwork, brought him to approaching them in an almost compulsive manner until he got their portrait, one which he had already imagined.
As a consequence of his portraits, we find a conglomerate of time — there is no decisive moment. The exhibition includes around photographies. The formats go from his most traditional format, 26 X 26 cm, until the polyptych collages of 9 photographies of 38,3 X 38,3 cm each.
Somos brutos, somos feroces, somos crueles. Somos indomables, somos impulsivos, somos temerarios. Somos viscerales, somos imprevisibles, somos violentos. We are brutish, we are ferocious, we are cruel. We areindomitable, we are impulsive, we are reckless. We are visceral, we are unpredictable, we are violent. The exhibition is held under the auspices This exhibition was inspired by an intuitive insight into the history of Latin American literature, its real and magical narrative and by the total artists whose fates are etched into it.
It is intended as a visual and poetic story spun by contemporary creators, where artworks transform into texts. The exhibition features artists of the Americas as well as their European counterparts; most of these people have complicated biographies and a propensity for openly commenting on the oppressive political reality of today. The Chilean author sees the blue expanse as a medium of anxiety.
The exhibits tell a story of an endless journey through extraordinary worlds: the real ones, divided by the borders of countries and continents, and the magical ones, limited only by our imagination. An environment like this one is conducive to rebellion and anarchy, which are supported by fatalistic yet hopeful songs and poems. In such a system, is art a cultural remedy that transcends territory and reality, capable of bringing about a common understanding and initiating a dialogue?
Or maybe the agency of art is another utopia, an expression of trauma, a catastrophe of interpretation, and ultimately a failure of individuals? Entangled in the realms of both reality and dream, this poetry turns into a message about transient boundaries; encrypted in this message is the terrifying truth about reality, sometimes expressed metaphorically, at others literally. Its authors find inspiration in everyday life and stretch the limits of language.
The language of everydayness, which they protest, is oppressive, it encroaches on all aspects of life, but revolutionary slogans are no less oppressive either. When all is said and done, the governing principles of art and revolution have long lost their innocent flair, and graphic text has gone beyond the limits of poetry — it is easy to spot it on red, black, green and multi-coloured banners alike.
Esther Ferrer. Tabakalera www. The exhibition project, curated by Laurence Rassel and Mar Villaespesa, aims to approach the exhibition hall as an alive space. The exhibition focuses mainly on those works linked to the prime numbers and to the actions and their variations carried out by Ferrer during her wide artistic career.
And the exhibition is presented as a place for exercises, actions and thought, through which run processes, essays, sketches and models, while at the same time offering an invitation to count, to hear and to feel the materiality of sound, to experiment and to experience the body in motion following different combinatorial possibilities.
Numbers, rhythm, sound, language, body, time, space, emptiness Besides, the exhibition will be accompanied by a weekly performance programme by guest artists invited by Ferrer, and a specific mediation programme. Together these form the iterative acousmatic composition Fables of the wind. Svalbard is a key location: it is a centre for research, a place for direct observation of the tragedy of climate change, and an Arctic desert where the subsoil is permanently frozen.
Fables of the wind places us in the allegorical space of the wind, an endless cycle of departure and return. The chapter A Gift To Svalbard is an olfactory acoustic sculpture bringing together the smell of roses with the sounds of migration. The aural composition is formed from three movements: the sounds of migratory winds and the calls of crosspollinating insects, the rumble of industrial machinery, and the reverberation of border fences.
A rich, beautiful smell will be experienced on entering Vinkelstasjonen, developed in collaboration with senior perfumer Ricardo Moya of IFF. The olfactory element has been made from roses sourced from plantations in countries that are part of the Svalbard Treaty. Alongside these sounds and smells are monoprints made in the print studio at Artica, showing insects and flora from Svalbard.
The title refers to the idea of the gift: an act of generosity, sometimes expecting nothing in return, but often times suggesting future favours. In the print studio at Artica he developed a series of vibrant monoprints that are studies of the flora of Svalbard and the few local pollinators — in the extreme cold it is flies that do the work of fertilizing flowers.
These prints have been scaled up on the occasion on the installation, spreading outside the mine into the surrounding landscape. Meet up at Coop at 8 pm for a guided bus trip. The visit to the installation will take 45 minutes, and the bus will return to Artica for the artist conversation. Soup and drinks will be served. For those who do not wish to attend Artica, the bus will return to Coop. Led by research across diverse environments, landscapes, and social contexts, he creates immersive installations that challenge the assumptions of perception.
The purpose of the foundation is to facilitate artistic and cultural activities on Svalbard, and to support the development of Norwegian art and culture by enabling artists in all genres to create and present their art. The foundation aims to bolster the cultural and creative industries on Svalbard.
In addition to administering a series of grant schemes, residencies and visitor programmes, OCA develops its own discursive, exhibition, publication, and research programmes focused on bringing to Norway the plurality of practices and histories at the forefront of international artistic debates while also actively participating in and shaping such debates nationally and internationally.
OCA has been responsible for Norway's contribution to the visual arts section of the Venice Biennale since In she went to Paris, where she lives and works to this day. CaixaForum Madrid ha acogido la ceremonia de entrega de los Pre CaixaForum Madrid has hosted the award ceremony of the Art and A Geography of Time is an exhibition of twenty-fi This artist — who was associated with the theoretical assumptions of international Conceptual Art and Post-Minimalism — and her legacy have not been sufficiently studied since her death a decade ago.
As part of its policy of giving visibility to female voices that have remained on the fringe of the official historiographic discourse, the IVAM is presenting a major selective exhibition devoted to this fundamental artist, twenty years after El taller de la memoria The Workshop of Memory , the show that this institution devoted to her in the Centre del Carme, in which a group of six monumental installations was presented.
Pedro G. Romero El Archivo F. El Archivo F. Mulheres radicais: arte latino-americana, Radical Women: Latin American Art, From August 18 to November 19, , the Pina By giving visibility to a remarkable artistic production created between and by women who lived in Latin American countries, and by Latina and Chicana women born in the United States, Radical Women addresses a lacuna in the history of art.
The chronological segment of this group show is considered decisive both for the history of Latin America, and for the construction of contemporary art and the transformations concerning the symbolic and figurative of the female body. During this period, these pioneering artists set out to explore the notion of the body as political field and embarked on radical poetic investigations so as to defy the dominant classifications and the established art canons.
According to them, these researches eventually fostered the emergence of new directions within the fields of photography, painting, performance art, video art, as well as conceptual art. The approach adopted by these Latin American artists was a form of dealing with the dense political and social atmosphere of a period that was deeply marked by patriarchal power in the United States and by the atrocities of the dictatorships of the time supported by the former in Central America and in South America , which repressed these bodies, especially those of women, resulting in works that denounced the social, cultural and political violence of the time.
Latin America preserves a strong history of feminist militancy that — with the exception of Mexico and in some isolated cases a few other countries in the s e s — was not widely reflected in the arts. Radical Women proposes to consolidate internationally this aesthetic heritage created by women who center on their own body to allude — in a veiled manner, indirectly or explicitly — to the distinct dimensions of the female existence. For such, the curators have carried out an extensive research since , which includes trips, interviews, and analyses of publications found in the libraries of the Getty Foundation, Texas University, among several others.
The central argument of the exhibition shows that even though a large part of these artists were decisive figures in the expansion and diversification of the artistic expression in our continent, they nonetheless have not received due recognition.
Gracias a todos. Down to the affected level. Su proyecto se centra en la memoria social encapsulada y oculta en los muros de esa sala. JUN - The exhibition is divided into five sections: breaking out of one-dimensional role ascriptions as mother, housewife and wife, role-plays, locked up - breaking out, the beautiful body, and female sexuality. Many of the artists represented here moved away from the male-dominated genre of painting and turned to historically less predetermined media like photography, video, film, and performance.
A Walk through the theories of human evolution — Bleda y Rosa. Con El origen de las especies, Charles R. Con El origen de las especies , Charles R. Darwin questions the biblical account and opens, Darwin questions the biblical account and opens, in the nineteen century, the debate on the origin of humans. In that same century, in , the first remains of human fossils were discovered in Gibraltar. A few years later a German naturalist, Johann C. Fuhlrott, found remains in the valley of Neander, which he attributed to an intermediate being between ape and human.
Prehistory and Paleoanthropology are born in this way and with them the need to close the tree of human evolution. Recently a team of scientists from the University of Leipzig has dated a series of human fossils found in North Africa with an age of , years. The remains of those first human found in the Moroccan site of Jebel Irhoud have revolutionized the world of anthropology, as they displace the origin of our species to a place hitherto discarded.
In these almost two centuries elapsed between the first discovery and the latest discoveries in Morocco, a kind of geographical and temporal map of the origin of our species has been generated. A succession of dates, species, scientific equipment and places on which this work is based.
A walk through the places where the first human once stood and the history of paleoanthropology; The valley of Neander, the Turkana lake, the Olduvai Gorge or the Atapuerca mountain range. Landscape, socialization, and habitat. Aspects linked to the different species during the process of hominization are the starting point for the theoretical and aesthetic development of this artistic project.
On most occasions, he has been done alone these walks, some with one person and others in a group. Hamish Fulton is an artist whose form of expression is walking. His walks are made of paths and roads, through landscapes. He does not work in the landscape, he does not take objects from him either. His interest is, on the contrary, to leave the smallest footprint. Neither documents nor descriptions, by combining pictures and words he allows the viewer to touch, in some way, the walk experience.
June — 8. September Fragmentation, duplication, repetition, complementarity operat Subjects can multiply within the compositions, orbit or gradually fade: Nil Yalter uses memory as hermeneutical process of subjectivation, where singularity overlaps with multiplicity. The artist, whose manifold practice embraces elements from social sciences and art history, commits herself to a continuous exercise of composition. Yalter intertwines the experiences of the urban pattern by merging photography with text, drawing, painting and by using different media cardboard, textile, neon, video.
Nil Yalter performs the act of writing and re-writing counterbalancing the standardization of the tools metal movable types with the manual act of pressing, thus becoming a hybrid human-machine. The texts fill the space of geometrical concave and convex shapes, where they move and break unexpectedly against physical boundaries: the difference of their origins affirms the urgency to systematize linguistic registers that are diverse and yet united by the same unavoidable drive to denounce, to take part in a common struggle.
The images of rituals and ritualized everyday actions are so placed in patterns that evoke the geometrical decorations characteristic of the Mediterranean basin: the figurative and abstract traditions are combined and thus purposely somewhat disregarded. In Yalter's work through composed fragments, moved and moving perspectives, individual experiences and emotions melt into the collective ones. Espacios entrelazados. Guggenheim Bilbao. Su obra puede inscribirse en la corriente de arte minimalista y conceptual.
From the beginning of his career, at the end of the sixties, he develops different lines of thought through a great variety of forms and materials. His work can be inscribed in the stream of minimalist and conceptual art. Ferrer defines the genre of performance as "the art that combines time and space with the presence of an audience that is not a mere spectator, but also participates in the action", valuing above all things the freedom of the spectator : it does not offer conclusions, but questions, questions, so that, autonomously, it generates its own personal interpretation of the work.
Throughout her long career, the artist has participated in numerous action art festivals and has exhibited her work in different museums. In this exhibition, Esther Ferrer presents almost exclusively unpublished installations, which had not materialized until now, and will be activated in a special way through performances or the interaction of the public.
Nuit Blanche De lunes a viern De lunes a viernes de 10 a 14 horas. Yesterday during the presentation of the photographic book "A c We send all our love to family and friends. Espaivisor will continue working to spread her magnificent artwork. Equipo espaivisor. As the 14th edition of Documenta docks in Athens, an arrangemen Las Palmas de Gran Canaria. Walking on and off the Walking on and off the Path — Hamish Fulton 9 de abril - 23 de julio.
The first episode in this series includes works by Hal El equipo de espaivisor os desea Felices Fiestas. Copia vintage 40 x 40 cm enmarcada. El artista Cabaio decora las persianas de espaivisor. Art in Europe: — , The Cont Plaza Anselmo Polanco, 3.
Rafa Levenfeld. Elena del Rivero My friends and other September 16 — November 5, September 16 — November 5, Opening: Friday, September 16, 6 — 9 pm My life my art has been made up of two things: one — observation, gathering of material , and, two: the search for meaning, a soul an idea.
Opening: Thursday, September 8, 6—8pm From the initial idea, entirely limited just to the front space of the Luka Gallery, a very exciting project has been built and it is now occupyng all three gallery spaces at Istarska The project deals with Sanja's works in time frame from until The Right One Pearls Of Revolution will be shown to the Croatian public for the very first time, as will be the case with Invisible Women of Solidarity 6 out of 5 million.
Rochbach Living Memorial will also have its Croatian premiere in Pula. Sanja's video works and video installations have been screened at numerous international festivals and events in Europe, USA, Canada, Japan and Thailand. In her artistic pratice, Sanja is exploring and probing socio-political themes, focusing on strategies and methods of resistance to the ruling relations of power, while the main characteristic of her work is to speak from the position of the female subject.
In addition to her artistic activity, she is engaged in women's activism and is the founder and member of several women's NGOs. The official catalogue presentation — Thursday, 6th October at Guiding tours — for all visitors, on Saturdays and Sundays at Project leader: Croatian Association of Artists of Istria, www. Courtesy by Galerie Thomas Zander. Cologne More information: Everything happens somewhere. Hamish Fulton, Cerramos por vacaciones, pero volvemos muy pronto….
Nos entristece tener que comunicar que nuestro querido artista Recuperamos, gracias a la Revista Atlas, la conferencia de Luis Temporary Dwellings, created between and , were the su Fecha: martes 14 de junio de - h. Free admission Opening 24 May 7 p.
Conceptual Art in Britain — Conceptual Art in Britain — 12 April — 29 August In the s artists began to abandon traditional approaches and made ideas the essence of their work. Sala Canal de Isabel II. Del 15 de diciembre al 27 de marzo de Nuestro querido artista Carlos Leppe Chile, A story within a story Mon, - Sun, Mon, - Sun, 8. Zones of Conflict. Did you ever consider yourself now or in the past a pop artist?
Did your work engage with current events in the s and early s? How did you choose the subject matter for your work included in The World Goes Pop? Where did you get your imagery from what, if any, sources did you use? Were you aware of pop art in other parts of the world? Was commercial art an influence on your work or the way in which it was made?
Was there a feeling at the time that you doing something important and new, making a change… Yes, the s were heroic in the sense that we felt we are making a change … it was a good feeling.
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