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  • philip nod
    Senior Member
    • Aug 2007
    • 5903

    SZ Cultural Calendar




    </p>

    </p>

    this 30 yr old wonder opened last night at Barbara Gladstone named Andro Wekua. very lush color lighting schemes in the video projection that translate into colored walls and bizarre sculptures. sort of like david lynch's Inland Empire w/ the nutty Rabbits. drawings and paintings are knockouts, and all sold out at prices that make augusta boots seems like snickers bars.</p>



    Andro Wekua Opening Tonight

    Friday February 29 | Reception 5:30-7:30PM





    FOR IMMEDIATE RELEASE

    "BLUE MIRROR"
    March 1 through March 29, 2008

    Gladstone Gallery is pleased to announce an exhibition of new work by Andro Wekua. Viewing the past as a spiral of infinite reoccurrence, he creates enigmatic tableaux questioning the intersections of history, memory, and fantasy. In the new sculpture, paintings, collages, and film included in this exhibition, Wekua explores history as a chain of repeating events and emotions, that both heightens a sense of disassociation even as it sustains one?s inner-life.

    Many elements of Wekua?s formal language reappear throughout the various media he employs. Images that could be family snapshots or advertisements haunt the base layers of his collages as the artist?s hand drowns them in color, traces attenuated facial features, and obliterates the composition with interlocking geometric shapes. The question lingers whether what is buried is lost, or purposefully hidden. Out of these collages emerge not just recurring images but also the basic formal grammar of Wekua?s visual world. The young boys and girls ripped from the photo albums or magazines, scarred or decorated in the collages, become the sculptures isolated in colored vitrines, or hiding on tabletops.

    While sometimes a very literal boundary separates these children from the outside world, in many cases these figures are secluded by unknown forces, whether self-imposed or the product of past experience. This estrangement creates an uncanny sensation as twinned figures seemingly stand-in for the possibilities of autobiography or for the ramifications of earlier events. Through these doppelgangers, he explores an infinite division of self as the prerequisite for the desires that structure self-image. Wekua betrays the exuberant colors and fantastic vignettes as tinseled disguises for melancholy nostalgia. While his engagement with the past elicits a sense of lonely isolation, there seems to be a palpable desire for a shared understanding of one?s inner life that unites the various enigmatic mis-en-scene through doubling. In his new film, Wekua tracks these reoccurrences, drawing a connection between the stasis of immobility and existential repetition.

    Andro Wekua was born in 1977 in Georgia, and studied visual arts there and in Basel, Switzerland. He has been the subject of solo exhibitions at numerous museums, including Neue Kunst Halle, St. Gallen, Switzerland; The Rubell Family Collection, Miami; Kunstmuseum Winterthur, Switzerland; Museum Boijmans van Beuningen, Rotterdam; and Hydra Workshops, Greece; and he has participated in various group shows including the 4th Berlin Biennial in 2006. He will have upcoming exhibitions at the Camden Arts Center, London; the Frans Hals Museum, Haarlem; and Le Magasin, Grenoble. A fully illustrated artist?s book will accompany this exhibition.
    </p>
    One wonders where it will end, when everything has become gay.
  • Faust
    kitsch killer
    • Sep 2006
    • 37852

    #2
    Re: Art shows you should see



    Thanks for that thread, pnod - I'm all ears.</p>

    I am taking my students to see Design and the Elastic Mind - should be awesome. Not exactly art, it's a design exhibition.</p>


    </p>
    Fashion is a form of ugliness so intolerable that we have to alter it every six months - Oscar Wilde

    StyleZeitgeist Magazine

    Comment

    • philip nod
      Senior Member
      • Aug 2007
      • 5903

      #3
      Re: Art shows you should see



      you're very welcome faust. another great one.</p>

      </p>



      </p>

      </p>

      </p><h2>Miroslav Tichy</h2><h3>16 Feb 2008 - 15 Mar 2008</h3>

      MIROSLAV TICHÝ





      February 16 ? March 15, 2008





      Gallery 2 For immediate release





      Tanya Bonakdar Gallery is very pleased to present its first solo exhibition of selected works by Miroslav Tichý.





      Born in 1926, Miroslav Tichý spent close to three decades
      (1960s-90s) in a small Moravian hometown working outside the
      conventions of contemporary art to create an incredibly compelling,
      experimental body of photographic work. After attending the Academy of
      Fine Arts in Prague in the 40s, Tichý was soon alienated by the
      political regimes of the time in Czechloslovakia. At some point in the
      50s, he moved away from the avant-garde paintings of his student years
      and, as Barry Scwhabsky writes in his 2005 Artforum review of Tichy?s
      first major museum exhibition at Kunsthaus Zurich, ?practically
      reinvented photography from scratch.?




      Using self-made cameras, constructed from tin cans, bottle caps
      and plastic, Tichý captured the poetry of everyday life in photographic
      images. Making only one print from each negative, Tichý created
      compositions featuring mainly anonymous female characters who lent
      themselves unwittingly to his practice. Taking mothers, students,
      waitresses and others as his live models, situated on park benches,
      sunbathing, or even on TV screens, these intimately scaled black and
      white prints often feature hand-drawn details and a washy, mottled
      print quality. Some of the works feature elaborate ink or watercolor,
      cardboard framing elements. The resulting works fall dynamically
      between painting and photography, between image and object, embracing
      chance, and time in a unique process of presentation and production.




      While Tichý certainly employed the representational nature of
      photography, and exploits the inherent voyeurism of the medium, his
      works transcend the limitations of film as documentary tool. Again,
      from Schwabsky?s Artforum piece, ?What counts for him is not only the
      image- just one moment in the photographic process- but also the
      chemical activity of the materials, which is never entirely stable or
      complete, and the delimination of the results via cropping and framing.
      Tichý makes all these aspects visible through their imperfection, not
      unlike the scratching, clotting, and smearing that Roland Barthes
      identified as Cy Twombly?s way of making matter ?appear? (in the sense
      of taking the stage) in his paintings.?





      A major solo exhibition at the Kunsthaus Zürich in 2005, has
      been followed by several important international exhibitions including
      a current solo show at Magasin 3 in Stockholm, and upcoming solo shows
      at the Museum for Modern Kunst in Frankfurt, as well as the Centre
      Georges Pompidou in Paris. Tichý will also be featured in the upcoming
      Biennale of Sydney, at the Kunsthaus Bregenz, KUB Billboards, Miroslav
      Tichý, 23th of March - 1th of June 2008 ; the National Gallery of Czech
      Republic: International Triennale of Contemporary Art, Opening June 2,
      2008; Douglas Hyde Gallery Dublin: solo show, opening November 21, 2008
      (through January 22, 2009).








      Please do not hesitate to contact the gallery for any further images or information.





      </p>

      </p>
      One wonders where it will end, when everything has become gay.

      Comment

      • denimfan
        Junior Member
        • Feb 2008
        • 24

        #4
        Re: Art shows you should see

        there is a great exhibit of local photographers at MOMA in Chicago right now. Very cool!

        Comment

        • laika
          moderator
          • Sep 2006
          • 3787

          #5
          Re: Art shows you should see

          [quote user="philip nod"]



          this 30 yr old wonder opened last night at Barbara Gladstone named Andro Wekua. very lush color lighting schemes in the video projection that translate into colored walls and bizarre sculptures. sort of like david lynch's Inland Empire w/ the nutty Rabbits. drawings and paintings are knockouts, and all sold out at prices that make augusta boots seems like snickers bars.</p>



          [/quote]</p>

          </p>

          I stopped to see this on my way home from the store yesterday, and I thought it was really fantastic. It's rare that art provokes a desire for ownership in me, but the paintings/collages and the film had me mesmerized. Didn't get to spend as much time as I would have liked, as I was carrying a big ol bag of beer, but I'm definitely going to go back. I like the way he seems to work outward from darkness to evoke a feeling of things being hidden.</p>

          Anyway, thank you for the recommendation, and I hope this thread will have a long life. [Y]</p>
          ...I mean the ephemeral, the fugitive, the contingent, the half of art whose other half is the eternal and the immutable.

          Comment

          • philip nod
            Senior Member
            • Aug 2007
            • 5903

            #6
            Re: Art shows you should see



            cheers laika, going to see this tomorrow: </p>

            </p><div class="titlelarge"><font class="uppercaseAll">REALISM AND VOYEURISM</font>
            </div>
            <div class="subtitlelarge">by Michèle C. Cone</div>



            "Gustave Courbet," Feb. 27-May 18, 2008, at the Metropolitan Museum of Art, 1000 Fifth Avenue, New York, N.Y. 10028


            Gustave
            Courbet?s ideas on realism have been appropriated by Socialist, Marxist
            and Feminist theory. His oeuvre has already demonstrated its relevance
            to generation after generation of artists, from Paul Cézanne (The Fringe of the Forest, 1856) to Renoir (The Beautiful Irish Woman, 1866) and Balthus (Juliette Courbet, 1844), and from Marcel Duchamp to even Jeff Koons and John Currin, in their more salacious paintings.</p>


            Courbet?s
            sources in great Dutch, Italian and Spanish art have been frequently
            noted. Individual works have been scrutinized and even x-rayed. And in
            the exhibition of his works held in Paris last fall, now on view in New
            York, the artist?s erotic pictures have become a centerpiece of the
            show. Pointing to a relationship between the artist?s nude pictures and
            the new medium of photography, the Met exhibition breaks ground by
            including photographic nudes by various 19th century photographers, and
            also a then-new gadget called the stereoscope for viewing obscene
            photographs in close-up view.</p>


            For myself, walking through the
            show of the great painter at the Metropolitan Museum was a sociological
            experience as much as an artistic one. What I saw was something of the
            social reality of mid-19th-century France and, within that time frame,
            the paradoxical reality of a member of the new provincial middle-class
            born out of the French Revolution, trying to succeed in the big city.
            In literary terms, the paradigmatic figure of this socially ambitious
            generation is Flaubert?s hero in Sentimental Education (1869), Frédéric Moreau, a beautiful young man who is both narcissistic and insecure. </p>


            Paris
            in the mid 1840s offered young men harboring idealistic Republican
            ideals opportunities not available to them in earlier days, but the
            society in power in Paris at that time, the July Monarchy and later the
            Second Empire, tended to look down on them and make them feel socially
            insecure. The hypothesis I want to explore is that insecurity is not
            only recognizable in Courbet?s narcissistic self-portraits, and the
            flattering portraits of friends and relatives, but that it appears in
            some of his major works in the form of the voyeuristic eye. </p>


            Past
            the great self-portraits in the first room of the show, the viewer
            comes across a number of the artist?s friends and acquaintances. There
            are several portraits of Alfred Bruyas, the red-bearded art collector
            who also appears in The Meeting (1854). There are portraits of
            Proudhon, the anarchist theorist and Courbet supporter. There is Jules
            Valles, the journalist at Le Figaro newspaper, another
            useful contact. When matched against other sources in the catalogue,
            these portraits reveal Courbet?s propensity for flattery. A photograph
            of Valles by Nadar, and a portrait of Bruyas by Delacroix, tell that
            story. </p>


            Courbet?s portrait of his father Regis Courbet is
            another case in point. The man, something of a boor by reputation, is
            depicted as a young and handsome gentleman farmer, his head coiffed
            with a becoming black cap and his face adorned with fashionable
            sideburns. Any son would be proud of such a father. The problem is he
            did not exist.</p>


            Flattering portraiture is often the
            bread-and-butter of an artist?s oeuvre. For Courbet, living in Paris at
            a time known for its unusual official motto, "Enrichissez vous!" ("get
            rich!"), such compromises were part of the general get-rich mood.
            Clearly, in order to get at the great, immortal Courbet, one has to
            turn away from these bread-and-butter works and look at the more
            challenging paintings. </p>


            The presentation at the Met follows
            the artist?s career chronologically. Chronology is useful if one is
            searching after an enduring theme, thread, thought, mode or mood, or
            perhaps obsession in the oeuvre. And what I see, starting with the Portrait of Baudelaire and The Preparation for the Dead Girl, is a pictorial strategy that anticipates his famous series of sleeping models (Sleeping Spinner, and the notorious Sleep). Furthermore, the stereoscopic view of Bathers and of other works in which sitters are caught unaware, is consistent with the Sleep
            paintings. What makes these paintings so strange or, in Freudian
            language so uncanny, is the artist?s voyeurism. These images give the
            impression that Courbet is always standing in a place where he is not
            supposed to be, and that he sees things or scenes that he should not be
            witnessing. </p>


            Courbet?s portrait of Baudelaire from 1848, an
            early work, is quite different from his other portraits of friends, in
            that the sitter, not particularly flattered, is at a slight remove from
            us, surrounded by his immediate environment -- a red sofa at the edge
            of which the poet is seated, and a table with paraphernalia on top of
            it, including a quill and a pipe. Leaning firmly against the side of
            the table is a book that Baudelaire is reading. Within this setting,
            the poet appears engrossed in the book in front of him, enjoying a
            moment of peace and solitude, seemingly unaware of being watched. This
            is early evidence of what one can call Courbet?s voyeurism, here just
            an impingement on privacy.</p>


            In the absence of Courbet?s Burial at Ornans and The Artist?s Studio
            -- both of these pivotal paintings being too fragile to travel to New
            York -- the most enigmatic painting on view at the Met is a large,
            squarish interior scene featuring a young woman in a pose of fainting
            abandon (the mirror held in front of her face is possibly to test her
            breath?). She is surrounded by friends. The painting is labeled here The Preparation of the Dead Girl (1850-54). An unfinished work, it has gone through a number of titles including The Preparation of the Bride.
            The sketchy relief of the figures, the foggy colors and uncertain light
            contribute to the mystery of the scene, but also explain why, according
            to the art historian Linda Nochlin, a great connoisseur of Courbet, the
            artist stopped working on the painting, unable to complete it.</p>


            Perhaps
            the idea came from a story of a bride who died on her wedding day.
            Perhaps the artist witnessed the goings on that followed a young
            woman?s sudden death, and the morbidity of the image upset him too much
            to continue. While several intentions may be conflated in the depicted
            scene, there is no ambiguity on the vantage point. The performance --
            if performance there was -- is being watched by someone with a
            first-row seat. When preparations are going on, be they for a wedding
            or after a death, the assumption is that privacy ought to prevail. In
            the Courbet work, this code is being broken by an indiscreet intruder.</p>


            If
            there is a specific moment when one is unaware of being watched, it has
            to be when one is asleep. Picasso made a number of works with sleeping
            models. So did Courbet. In the show at the Met, sleep is pictured in an
            early drawing of Courbet?s sister from 1840, and in a self-portrait
            ambiguously entitled The Wounded Man (1844-54). It is the subject of Sleeping Blonde (1849), The Sleeping Reader (1849), The Sleeping Spinner (1853), The Lady of Frankfurt (1858), whose relaxed pose is reminiscent of that of the dead girl, and, of course, Sleep (1866), the notorious painting of a pair of entwined sleeping female bodies. </p>


            Why
            an artist would choose to depict sleeping models is on the surface easy
            to understand. A sleeping figure is relatively immobile, hence easier
            to sketch than a moving one. Writing about Courbet?s Sleeping Spinner
            in the catalogue of the show, Sylvain Amic offers another motive.
            "Courbet?s depiction of women asleep has a hint of explicit voyeurism,
            and while the Spinner is far from being a purely erotic
            painting, there is undeniably an element of sensuality at work." He
            goes on to cite the critic Théophile Gautier describing the fold of
            flesh between the neck and the shoulder of the sleeping woman as
            suggesting female genitalia. What I propose is that the voyeurism here
            is more than "a hint." It is an essential aspect of Courbet?s vision,
            and comes out of a feeling of insecurity vis-à-vis the desired object.
            To understand this feeling, reference to Flaubert?s hero in Sentimental Education may be helpful.</p>


            Frédéric
            Moreau, the protagonist of the novel, who in its first pages falls in
            love with a wealthy married woman, is condemned to catching sight of
            the subject of his desire without her knowing his feelings until close
            to the end of the novel. The young man first observes the woman?s
            graceful ways at a distance while they are both on board a steamboat.
            Months later, he catches sight of her emerging from her husband?s Paris
            art gallery and disappearing into the crowd. The reader is supposed to
            think that she is unaware of his passion, even after he has penetrated
            the intimacy of her household and is sitting next to her at a dinner
            party, even as he observes with delicious attention the most intimate
            details of her face. </p>


            The motif in the Flaubert novel of
            being unaware of inspiring desire is rendered by Courbet through the
            metonymy of closed eyes. Such a pose suggests an absence of reciprocity
            and symbolizes the voyeur?s lonely destiny, a real or metaphorical
            viewing gadget always at his side for spying on the love object. This
            voyeuristic vision may also help explain why the middle ground of
            Courbet?s space is often blurred. The way Flaubert depicts Frederic
            Moreau?s successive ways of seeing his love object, his distant sight
            of her on a Paris street, and his close-up observation of her face
            during dinner, such radical changes of perception from far to near in
            the novel have their counterpart in Courbet?s pictorial space.</p>


            That
            space catapults into a single image the secrets of a desiring
            consciousness. It presses to the foreground (in sometimes obscene
            detail) these views of an unsuspecting subject observed at a distance,
            fully dressed in The Sleeping Spinner, naked and making love in Sleep.
            The same formal strategy of distance viewing and close-up rendering is
            at work in the series of Courbet?s bathers in a landscape, either in
            the process of dressing or undressing near water -- The Bathers of 1853, The Young Ladies at the Bank of The Seine (1856-58), or actually splashing in water, in The Woman in the Waves (1869) and The Source (1868).</p>


            It is generally agreed that Courbet considered his 1853 Bathers to be a breakthrough work. "On more than one occasion, Courbet would stress the importance of The Bathers
            in his oeuvre," one reads in the exhibition catalogue. Was it because
            the painting showed two women in a secluded place, a theme "that would
            take on an increasingly erotic character [and] become one of this
            favorite themes?" A recent thesis by Maura Reilly, Le Vice à la Mode: Courbet and the Vogue of Lesbianism in Second Empire France, confirms this view.</p>


            Taking
            into account the towel wrapped around the woman emerging from water,
            another interpretation suggests itself as well, related to rivers and
            lakes as a place to wash, cleanse one?s body as well as splash for fun
            in 19th-century country life. In a period when modesty was taken
            seriously, whenever two women went bathing in an open space, each in
            turn would go naked in the water, so that the other could keep an eye
            out for possible intruders. Given such a pedestrian interpretation of
            the Bathers? subject matter, its importance to Courbet remains
            enigmatic. Perhaps it had something to do with the gesturing of the two
            women. For what the women?s hands are signaling are lines of force in
            the painting?s composition. </p>


            Over the years, Courbet
            devised several strategies to call attention to a painting?s
            two-dimensional abstraction. Incredibly daring in this respect is the
            early, unfinished and rarely seen Man Mad with Fear (1844-45),
            characterized by an unusually broad swatch of bright blue for the sky,
            and abstract expressionist brushwork below the image of the titular man
            mad with fear. In Bathers and in Man Mad with Fear,
            Courbet may well be anticipating the anti-illusionistic tradition that
            leads to abstraction, his "realism" hence calling attention not only to
            contemporary life but also to the flat surface of a painting.</p>


            In
            the final galleries of the show, we discover a different Courbet, one
            who was pursued by creditors as well as the French government, which
            had seized his works in repayment of a fine imposed for his role in the
            destruction of the Colonne Vendome. For Courbet, it was a time
            of beautiful if repetitive landscape and grotto paintings, and of
            paintings of hunts with dead animals. Among the last works are
            magnificent dead or dying fish images done in Switzerland, where he
            lived in exile at the edge of a lake.</p>


            For someone who liked to
            stand where he was not supposed to stand to see what he was not
            supposed to see, life offered a strange twist. While in Switzerland at
            the end of his life, Courbet was spied upon by a police inspector,
            caught swimming in the nude at night with a companion. The report is
            found on page 40 of a 1982 exhibition catalogue, Courbet et la Suisse.</p>


            MICHÈLE C. CONE is a New York-based critic and historian. Her latest book is French Modernisms: Perspectives on Art before, during and after Vichy (Cambridge 2001).</p>

            </p>

            </p>

            </p>

            Man Mad with Fear (1844-45)
            </p>

            </p>
            One wonders where it will end, when everything has become gay.

            Comment

            • philip nod
              Senior Member
              • Aug 2007
              • 5903

              #7
              Re: Art shows you should see



              very strong recommendation to see this Courbet show at the met. </p>

              for those of you who have never seen it in france, you can see the "origin of the world"</p>

              </p>

              also saw the guggenheim show. pretty fucking crazy. Cai Guo Qiang. say it with me now.</p>

              make a date of it.</p>


              </p>
              One wonders where it will end, when everything has become gay.

              Comment

              • kira
                Senior Member
                • Mar 2008
                • 2353

                #8
                Re: Art shows you should see

                [quote user="philip nod"]

                very strong recommendation to see this Courbet show at the met. </p>

                for those of you who have never seen it in france, you can see the "origin of the world"</p>

                </p>

                also saw the guggenheim show. pretty fucking crazy. Cai Guo Qiang. say it with me now.</p>

                make a date of it.</p>


                </p>

                [/quote]</p>

                </p>

                both sound great. thanks for the info. will definitely go and see both.[75]</p>
                Distraction is an obstruction of the construction.

                Comment

                • Faust
                  kitsch killer
                  • Sep 2006
                  • 37852

                  #9
                  Re: Art shows you should see

                  I want to go with pniddy, so he can show me the light, yo!
                  Fashion is a form of ugliness so intolerable that we have to alter it every six months - Oscar Wilde

                  StyleZeitgeist Magazine

                  Comment

                  • philip nod
                    Senior Member
                    • Aug 2007
                    • 5903

                    #10
                    Re: Art shows you should see, maybe, if you like art fairs.



                    the armory show art fair somewhere in the piers opens this week. tix are a crazy 30 bucks a pop! last year they were 20. but thats what you do when big name galleries drop out. you raise the prices because its a weaker fair...this is pervasive art logic. anyway, there's bound to be a few pieces worth seeing.
                    </p>
                    One wonders where it will end, when everything has become gay.

                    Comment

                    • Chinorlz
                      Senior Member
                      • Sep 2006
                      • 6422

                      #11
                      Re: Art shows you should see

                      [quote user="philip nod"]


                      very strong recommendation to see this Courbet show at the met. </P>


                      for those of you who have never seen it in france, you can see the "origin of the world"</P>
                      <P mce_keep="true"></P>


                      also saw the guggenheim show. pretty fucking crazy. Cai Guo Qiang. say it with me now.</P>


                      make a date of it.</P>



                      </P>


                      [/quote]</P>


                      They got him to do an installation at the goog in NY? Awesome. Will have to see it.</P>


                      His car crash piece at Mass MoCA was some illnasty. Same with his tiger piece. Well worth the 1.5 hr drive from Amherst outside of Boston.</P>
                      www.AlbertHuangMD.com - Digital Portfolio Of Projects & Designs

                      Merz (5/22/09):"i'm a firm believer that the ultimate prevailing logic in design is 'does shit look sick as fuck' "

                      Comment

                      • philip nod
                        Senior Member
                        • Aug 2007
                        • 5903

                        #12
                        Re: Art shows you should see

                        yes, its a blockbuster. there's a boat ride for kids on the top floor
                        One wonders where it will end, when everything has become gay.

                        Comment

                        • ddohnggo
                          Senior Member
                          • Oct 2006
                          • 4477

                          #13
                          Re: Art shows you should see

                          i saw his car installation at the seattle art museum. funk nasty.
                          Did you get and like the larger dick?

                          Comment

                          • iSuck
                            Senior Member
                            • Mar 2008
                            • 536

                            #14
                            Re: Art shows you should see

                            In NYC I am a big fan typically of everything ClampArt and Yossi Milo show. From their website you can sign up for their mailing lists.

                            Comment

                            • hanajibu
                              Senior Member
                              • Jan 2007
                              • 158

                              #15
                              Re: Art shows you should see

                              [quote user="iSuck"]In NYC I am a big fan typically of everything ClampArt and Yossi Milo show. From their website you can sign up for their mailing lists.[/quote]<DIV><BR class="khtml-block-placeholder"></DIV><DIV>My favorite Yossi Milo show from awhile ago was the Pieter Hugo one, the young men posing with their hyena 'pets'. </DIV><DIV><BR class="khtml-block-placeholder"></DIV><DIV>I really enjoyed the Ai Weiwei installation at Mary Boone Gallery on W 24th St and my favorite Chelsea gallery is definitely Tanya Bonakdar on W 21st. She has a great cast of young and not-so-young international artists (Rivane Neuenschwander, Mark Dion, Tomas Saraceno, Sandra Cinto, Phil Collins...) that I find really elevates the contemporary art experience. I live in West Chelsea so I tend to visit the galleries every weekend and attend openings. </DIV>

                              Comment

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