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Consider Yourself Invited
Two North African artists are invited to Switzerland to speak about their work: one who meets the necessary visa requirements to enter the country and one who doesn’t. These two scenarios, to be presented at the Belluard Festival, are the starting point for a story that won’t be afraid to touch upon the difficult question looming behind its creation and our collective prejudices:

Will the visiting artist overstay his visa to start a new life after his talk in Switzerland?
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Aníbal López at Despacio
Central American Biennial, 2016 at Despacio
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Don't Talk to Strangers
We playfully confound two typically distinct spaces—the gallery & the domestic home—as artists will present their work in the households of participating NY residents. In each dwelling, an installation area is designated, while the existing items (i.e. sofas, coffee tables, books, and personal objects) are moved and reinstalled at in a gallery space.

With the artworks thus displaced, gallery visitors must directly contact the private hosts, whose phone numbers are available alongside their displayed belongings.
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Consider Yourself Invited
Two North African artists are invited to Switzerland to speak about their work: one who meets the necessary visa requirements to enter the country and one who doesn’t. These two scenarios, to be presented at the Belluard Festival, are the starting point for a story that won’t be afraid to touch upon the difficult question looming behind its creation and our collective prejudices:

Will the visiting artist overstay his visa to start a new life after his talk in Switzerland?
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As Far Away as Home
The idea is simple. As far away as home: Paris to Warsaw is a curatorial initiative featuring Nummer veertien, home (2012), an ambitious video by Dutch artist Guido van der Werve. Even though van der Werve’s videos have been shown in heavyweight art institutions around the world—or perhaps exactly for that reason—the project deliberately took place beyond museum walls.

One work. One route. A myriad of people and outcomes.
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Consider Yourself Invited
Two North African artists are invited to Switzerland to speak about their work: one who meets the necessary visa requirements to enter the country and one who doesn’t. These two scenarios, to be presented at the Belluard Festival, are the starting point for a story that won’t be afraid to touch upon the difficult question looming behind its creation and our collective prejudices:

Will the visiting artist overstay his visa to start a new life after his talk in Switzerland?
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All the Lights We Cannot See
The exhibition, which went virtually unnoticed by the general public, was held April 9 – 12, 2016 on the 23rd floor of the Yanggakdo International Hotel in Pyongyang, North Korea.
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Who Runs the Space Now?
The exhibition Who Runs The Space Now? explores the progression from tension to risk, from the tipping point to the inevitable stage of falling. Five international artists intervene with the polarities of maintaining tension and then losing it, which reveals the exciting kinetic potential of objects.

Tension is impressionable.
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Don't Talk to Strangers
Artists present art works in strangers' homes. In each household, an installation area is designated, while existing items (furniture, books, and personal objects) are reinstalled in the art space. With the artworks thus displaced, visitors must directly contact the private hosts, whose phone numbers are available alongside their displayed belongings at the art space.

Installation View: Cory Arcangel at Roland Früh's Home
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First Day of Good Weather
The group show took place at Sies + Höke, Düsseldorf
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Die Revolution in Bern muss verschoben werden
With Marcel Meury, a Swiss performance and installation artist, we made the ‘revolution’ phenomenon and its relevance to today’s society the subject of an elaborate exhibition. The art space became the base of operations for probing research and the testing ground for an attempts to incite a revolution of his own.

What value has a potential, if not realized?
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Sometimes Attention Should Be Paid to the Absence of Everything
Buried in the remote Icelandic desert, this one-of-a-kind book is encapsulated in the Kunsthalle Tropical, a contemporary art institution that draws artists to a place where no spectator is ever present. Documenting the Kunsthalle’s mission, the book details the curator’s vision for a new kind of art institution, where possibilities for creative innovation are endless.

The book is buried at +65° 20' 14.76", -15° 51' 8.40" at a depth of 93cm.
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Amongst Those Present
An experimental approach to one of contemporary art's major themes—the "unknown"—this project was executed on the occasion of the grand opening of Réunion. For it, professional safecrackers emptied two ancient vaults, both of which had been sealed for over 20 years. Neither keys nor owners were known, and most importantly, no one knew what lurked within, so the unearthed findings were shared among all present.

The hidden inspires collective imagination, dreams, and art alike.
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No Shoes Allowed
New York-based artist David Horvitz was the first artist in an ongoing series who was asked to send spontaneous installation instructions via email, consisting of no more than two sentences. His directions: “Cover the entire gallery floor with polenta. No shoes allowed in the gallery.” After his vision was executed, Horvitz simply received, again by email, an image of the completed installation.

As no instructions for deinstallation were given, the polenta was left for the birds, literally.
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Eternal One-Night Stand
Art performers, queer artists, and dancers met once again beyond the witching hour – a time when “decent” people are already sound asleep, merely dreaming about unleashing their free spirits. The evening unfolded around one-on-one performances, meaning each visitor will experience each performance on their own.
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La Fontaine Froide
La Fontaine Froide, a reflection of themes involving travel, destination, and contemplation, took the form of a long hike from a wooded location in the mythic Val-de-Travers to an exhibition space. Participants walked together, all the while discussing potential works of art. Upon arrival at their endpoint, it was collectively decided that an impromptu exhibition would be realized.

An art-inspired walkabout, followed by an unpremeditated exhibition.
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Without the Viewer
Where do we find time to truly engage with art, while being caught between the constraints of hyper availability and keeping up with a fast-pace society? A five-strong crew of artists and curators withdrew from the world into an abstract emptiness to regain what often seemed lost: Time for debate and reflection.

A journey across the Atlantic.
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A Table
Dreams are necessary in order to help us survive the reality of life. But sometimes we just have to sit down and listen to other people’s dreams in order to realize what reality means outside our own little world. A Table is a Paris-based project that brings homeless people, local residents, curious tourists, creative people, and disorientated strangers together around the dinner table.

A potpourri of people, a feast of food.
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Consider Yourself Invited
Two North African artists are invited to Switzerland to speak about their work: one who meets the necessary visa requirements to enter the country and one who doesn’t. These two scenarios, to be presented at the Belluard Festival, are the starting point for a story that won’t be afraid to touch upon the difficult question looming behind its creation and our collective prejudices:

Will the visiting artist overstay his visa to start a new life after his talk in Switzerland?
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Tout est bon dans le poisson
For two nights only, the Réunion was transformed into a fish market, occupied by Charly, Paris’s Michelin award-winning fish vendor. Peddling fish from the art space’s front window, Charly’s quotidian business collided with the world of art, as nightly performances toured underground cultures and explored the limits of new exhibition formats.

Gourmands meet fringe performance art.
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Aníbal López at Despacio
Central American Biennial, 2016 at Despacio
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Julian Charrière at Despacio
Siempre cuenta cuántos cuentos cuentas, 2016 at Despacio
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Tout est bon dans le poisson
For two nights only, the Réunion was transformed into a fish market, occupied by Charly, Paris’s Michelin award-winning fish vendor. Peddling fish from the art space’s front window, Charly’s quotidian business collided with the world of art, as nightly performances toured underground cultures and explored the limits of new exhibition formats.

Gourmands meet fringe performance art.
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Keep the Secret
The Embassy of Switzerland wrote:

"Probably one of the most lively and innovative art galleries in Switzerland, Neue Galerie (now Random Institute) literally breaks with boundaries and moves to London for one month, presenting an exhibition of contemporary Swiss artists dealing with a highly sensitive subject."
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Don't Talk to Strangers
Artists present art works in strangers' homes. In each household, an installation area is designated, while existing items (furniture, books, and personal objects) are reinstalled in the art space. With the artworks thus displaced, visitors must directly contact the private hosts, whose phone numbers are available alongside their displayed belongings at the art space.

Installation View: Cory Arcangel at Roland Früh's Home
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Random Institute is a testing ground for new exhibition formats and random ideas
Random Institute is an extension of what a contemporary art institution can be, that is to say, truly unbothered by rules and bureaucracy. Ultimately, it brings together & curatorial and publishing activities.

Since March 2016, Random Institute is running the curatorial program for Despacio in San José, Costa Rica.
The best color is transparency.
The best defense is a good offense.
Untold Stories
Shown
Anytime
Anywhere

Mutual Misunderstanding

ArchivedHappened in May 2017
52.3642457000
4.8817973000
Stadsschouwburg

Random Institute embarks with the theater director Marcus Rehberger on a pioneering experiment: leaving the audience in the dark, as well as the actors. Presenting a theater play that fully develops in pitch darkness it leaves the scenes to the imagination of the public. Well almost. Every few minutes the room is lightened for milliseconds by a flash, revealing an awe-inspiring scenery that proves again and again that imagination might be only a mutual misunderstanding.

Thoughts
Information

The Playtime festival centers around an elastic exhibition, a 12-hour sequence of presentations by international project spaces that experiment with temporality and visibility. Selected were art initiatives that dare to take risks in their programming and identify new trends in art which are often overlooked by institutional frameworks.

Each of these initiatives presents in its own unique way, a project that stretches the boundaries of space in which audience, art and artist collide.

Playtime is organized by K_nstvl___ Platform for Experimental Art Spaces.

This festival runs from May 20th to May 22nd, 2017 at SSBA Salon (Stadsschouwburg) in Amsterdam. Random Institute's contribution to the festival will take place on May 21nd at 4pm.

Further information

  1. Full program
  2. Facebook Event

Other participants: Apice for Artists (Amsterdam, NL), Askeaton Contemporary Arts (Limerick, IE), B32 (Maastricht, NL), Buenos Tiempos, Int. (Brussels, BE), Bureau des Réalités (Brussels, BE), Club Solo (Breda, NL) icw M HKA CODE ROOD (Arnhem, NL), Corridor Project Space (Amsterdam, NL), Deborah Bowmann (Brussels, BE), EMBASSY gallery (Edinburgh, GB), Galerie Gallery (Rotterdam, NL), Le Salon (Brussels, BE), Mertens Frames Project Space by Plan B (Amsterdam, NL), NEVERNEVERLAND (Amsterdam, NL), Nile Sunset Annex (Cairo, EG), Rainbow Soulclub (Amsterdam, NL), RGKSKSRG (nomadic), Samet Yilmaz (nomadic), Kunsthuis SYB (Beetsterzwaag, NL), Treize (Paris, FR), WINDMAKERS (Den Haag, NL) and Kunstverein Zürich (CH).

Naked Fish Festival

ArchivedHappened in April 2017
9.9336674000
-84.0741834000
Despacio

If Paris were an aquarium, Charly would be its tropical fish, jumping out of the water each night with no one watching. The award-winning fishmonger peddles fish during the day and tours as a drag queen through the French capital’s underground scene at night. Now, for the first time, Charly is crossing the Atlantic to take part in the Despacio performance festival, uniting his many worlds: fresh fish, art performances and queer appearances.

Thoughts
Information

Upon entering Charly’s fish market, situated on a busy Paris street, one quickly observes a universe of dreams and desire: glassy eyes of dead fish stare at you; posters for drag shows paper the walls; a handwritten thank you note from the mayor, Anne Hidalgo, perches alongside his Michelin medal. It’s more than a fish market, it’s a hodgepodge of the various stories life can offer when one's passion is given free reign. It’s a stage, where fish are the props and the clients become the public.

When day turns to night, our fisherman lets his diva emerge, darting like a tropical fish through the underground rivers of Paris. In placing Charly's fish-market at center stage of the festival, Despacio celebrates the grandeur of a man's dreams, desires and duality – each one a stand-in for our own.

On April 29th several international and local artists will turn his shop into an unending stream of performance and fantasy.

From drag shows, musical contributions, theatrical interventions, to long-durational art performances – all will question the roles we tend to play in life, as well as those we tend to ignore. To transgress the rules of society and fashion is to give rise to an inner creativity and break with conformity.

Visitors will bear witness to a real fish-market, one where they can buy fresh fish and see them prepared into meals on-site. For French speakers, there will be plenty of opportunity for conversations with the enigmatic fishmonger. For the non-French speakers, body language will suffice. In Charly's grotto, it's anything goes.

The fish market and performance festival takes place on April 29th 2017 at Despacio. (Facebook Event)

Participating artists: Charly Le Poissonnier, Dino Real, Elyla Sinvergüenza, Javier Calvo, Monsieur Bien, Oscar Ruiz-Schmidt, Señorita Abril, Robertito and more.

Directed by Sandino Scheidegger

This marks the second edition of the festival. It was originally conceived by Sandino Scheidegger for Random Institute and staged in 2014 in Zurich. Credits for drag film: Performer: Elyla Sinverguenza, Camera, Directing and Editing: Guillermo Sáenz, Costume and Styling: Marcus Carmon, Production: Nicholas Blevis & David Torres, Music: Arca - Anoche. Credits for film about Charly in Paris: Camera: Fabian Niklaus, Animation: Raphael Etter, Concept: Leila Hincelin and Sandino Scheidegger. Credits for film about Charly in Costa Rica: Ernesto Varga. Credits for photos of the festival: Juliette Chrétien and Erno Hilarion.

Station

Ongoing: Started on Thursday, March 23, 2017 at 7 pm
9.9336674000
-84.0741834000
Despacio

As if it were an appendix of the mothership, Carlos Fernández docks at Despacio a habitat that encapsulates not only his work, but also himself and even a patch of life where each one of us might find ourselves.

Thoughts
Information

Upcoming workshops:
May 27th: Plants Workshop Carlos Fernández & Sergio Rojas Chaves
June 10th: La Mala Mano Farming Workshop with Carlos Fernández




COORDINATES:   9°56′00″N 84°05′00″
OTHER MARKERS:   Avenida Central, Calle 11, San José, Costa Rica
RESOURCES:   canvas, plants, seeds (I), Carlos’s hat (II), soil and chicha (III)
ACTIVATIONS:   pedagogical workshops (IV), funky bar (V), seed exchange (VI), and others, still unknown.

  1. a variety of organic, local seeds for corn, beans, pumpkins, green vegetables, forests, and also many staked plants
  2. hat from the indigenous ngäbe community, with stains from a gallon of paint that fell on it accidentally during one of its many journeys between stations
  3. alcoholic beverage obtained through a process of non-distilled corn fermentation that originated in Central and South America in pre-Columbian times
  4. drawing, botany, and urban crop–design workshops
  5. ludic moments by the heat of chicha, with good friends and music
  6. the seeds come from Carlos’s personal plot, from neighbors’ farms, from urban-agriculture projects in San José, and even from abroad, brought as gifts. The plan is to create a “seed center,” a place where they can be exchanged or given to others to plant, so that their harvests yield seeds that keep nourishing the center, thus paving the way for constant renewal.



This is a real person’s temporary and imaginary work camp. At this station, a series of live elements coexist; they are not the final products but parts of a simmering process. It is also an installation that sustains itself through collective participation and collaboration.

While participating in this experience, the concept of excess provides clues and serves as a common thread: in abundance lies beauty. The plants’ greenness blends with its smells and paintings function as registers of past lessons and future explanations. It is imperative to allow oneself to be enchanted by the layers that coat and recoat every corner—superimposed, hidden information, and the possibility of germination in every square centimeter of the space.

We discover that we can access a fragment of a practice that has long represented not the intermingling of one or two disciplines but rather Carlos’s life itself: his everyday to-and-fro and his passion for agriculture, art, botany, and education. The production of this work represents the search to redefine these practices as well as an act of appropriation.

This station, set at the center of San José, will offer moments for learning, contemplation, and dance. Always in the spirit of exchange—of knowledge and experiences, of seeds and the multiple possibilities between practices that will here appear to overflow and interconnect. There is a subtle but continuous invitation of integration; we are invited to engage in the (self)care inherent to the relationship that we can create with the soil and harvest.

Suddenly, art is life understood through the idea of purpose: of working the soil as if it were a canvas; of generating spaces to share or exhibit beyond the traditional ones. Even of needing to collect and exchange seeds as a reflex of turning the gaze toward the beginning, a gesture that seeks to perpetuate life.

Thoughts by Paula Piedra. Translated by Paula Kupfer.

Carlos Fernández's solo show at Despacio in San José, Costa Rica opens March 23th and runs through April 23th, 2017. (Facebook Event)

The indoor garden that is part of the exhibition will remain throughout 2017 and serve as Despacio’s new central archive.

An Island of Two

ArchivedHappened in March 2017
9.9336674000
-84.0741834000
Despacio

Twins Jörg and Rolf Fischer are deeply bound to one another by their fate: they were both born deaf and, due to severe diabetes, gradually lost their sight during the course of their lives. Photographer Marlena Waldthausen moved in with Jörg and Rolf to capture one of the most remarkable relationships ever recorded, forged by their love and care for one another, everyday in every way.

Thoughts
Information

Born deaf and now blind, 49-year-old twins Jörg and Rolf Fischer are totally reliant on one another for companionship and communication. They share everything, including a bond that transcends everyday brotherly love.

The brothers experience life very differently from the way most of us do, and that is what makes their relationship so unique. As it is understandably difficult for them to communicate with the outside world, they support each other in their daily lives through their own language and humour.

Jörg is now completely blind. Rolf, who is still partially sighted, tries to support his brother as best as he can. He guides Jörg, even though he does not see the way properly himself. If there is written information, he reads it to Rolf in spite of the great effort.

Photographer Marlena Waldthausen lived with Jörg and Rolf at their care facility and in their parents home for more than 7 months, documenting their bond with her camera and doing her best to learn their language.

This solo exhibition opens on March 23th and runs through April 22nd, 2017 at Despacio (Facebook Event).

Marlena Waldthausen was born close to Stuttgart in southern Germany in 1987 and is currently based in Amsterdam. She spent several years in Latin America living in many different cities, including Buenos Aires and Mexico City. From 2008 to 2012, she studied Regional Studies of Latin America at Cologne University before becoming a student of Photojournalism and Documentary Photography at the University of Applied Sciences and Arts in Hannover.

Outside of her assignments, Waldthausen works mostly on long term personal projects in film and photography. She won the 2016 VGH Award, is one of five winners of the 2016 Feature Shoot Emerging Photography Award, and was nominated for the 2016 Freelens Award and the 2015 Balkan Photo Award.

First Day of Good Weather

ArchivedHappened in January 2017
51.2227347000
6.7716700000
Sies+Höke

Art history rarely moves in a straight line. Now more than ever, when it comes to a collective notion of Latin American art, there are as many ways to approach it as there are to traversing its nineteen countries and territories. Steering clear of a generalized survey of the region, we choose a more personal path by compiling works from Latin American artists that inspired us throughout our journey over the last decade, bringing to the fore the works, artists, and conversations that we couldn’t possibly forget.

Thoughts
Information

First Day of Good Weather takes as its inspiration and starting point conversations that happened in and around Despacio. While it is true that personal dialogues can result in a filtered perception of reality—the filters as well as the perception being both highly subjective—that same subjectivity seems to be an essential ingredient for a truly independent art space. There are no set guidelines, just a vision that is focused through the discourse of like-minded peers.

The exhibition features artworks by sixteen artists from Central America, the majority of whom have never before shown their work in Germany. Also included are thirteen more Latin American artists who have been at the center of extensive dialogues detailing their profound influence on entire generations of artists, from Mexico’s Rio Grande to Argentina’s Tierra del Fuego.

Spanning multiple genres and ranging in tone from political to humorous, the works transcend the immediate allure of the exotic to reveal the contagious spirit of curiosity. The artistic propositions are often balancing acts between everyday life and what it means to be an artist in Latin American society—a society which has a long history of wrestling with local and global political crises, colonial capitalism, abuse of power, and the struggles of subsisting day to day.

Art is critical thinking—building an awareness of the inner workings of the mind. But art is also making sense of the situations we find ourselves in. It helps us to accept that there is not such a thing as a single current reality, but rather a myriad of perceptions that together comprise our collective reality. The sum of all of these works is, therefore, much more like a fluid conceptualization of Latin America and its art than it is a static definition.

First Day of Good Weather takes visitors back to where everything began: the conversations with artists that sent our thoughts flying into space to return in new and unusual configurations that would culminate in more than fifty exhibitions and projects over the last decade. The exhibition is a voyage of discovery through the artistic territory of Latin America, far off the beaten path of exotic fantasies, dealing instead with specific experiences and contexts that exist in constant states of evolution. We wait, ever watchful, after each rainy season for that first day of good weather to begin our explorations all over again.

Thoughts by Sandino Scheidegger

The group exhibition opens on January 13th and runs through March 11th, 2017 at Sies + Höke in Düsseldorf, Germany.

Facebook Event

Participating Artists: Jennifer Allora & Guillermo Calzadilla, Alejandro Almanza Pereda, Iván Argote, Sol Calero, Javier Calvo, Luis Camnitzer, Benvenuto Chavajay, Donna Conlon & Jonathan Harker, Alejandro de la Guerra, Melissa Guevara, Federico Herrero, Walterio Iraheta, Alfredo Jaar, Regina José Galindo, Aníbal López, Teresa Margolles, Adrian Melis, Ronald Morán, Rivane Neuenschwander, Yoshua Okón, Liliana Porter, Naufus Ramírez-Figueroa, Abigail Reyes, Crack Rodríguez, Gabriel Rodríguez, Tercerunquinto, Adán Vallecillo, and Guillermo Vargas Habacuc.

Photo credits and copyright: Images of the art works courtesy of the artist and their respective galleries. Installation views by Achim Kukulies, Düsseldorf.

Sandino ScheideggerJohanna SchaibleBookRamon StrickerJean-Dominique NgankamHoiko SchutterVinzenz MeynerRenaud LodaSebastien VerdonMarion QuartierLaurentino RodriguezNicola RuffoSimone HuserCarlos GonzalezAndreas WagnerSascha LinglingMonika StalderAnnika EbneterHans WirzChristian MesenhollLukas ErardRenato AebiLilian KlosePhillipp SiegenthalerChristophe KuenzlerMarcel MeuryEmanuel SenAnna ErnstJrene RolliRomano StrebelBarbara StreuliStephan AebischerToby MatthiesenAnna RhynEli RhynLorenz HuserMagdalena OberliMichael BaeriswylSimon GrossenbacherJulia WeissDiana Abi KhalilMarco StrickerArnim MahlkeFabian NiklausLuca MüllerResearchLindsey CashMarlen HaushoferMarcel BroodthaersMartha NussbaumMalcolm McLowryMartin SuterMcElweeMichael MooreN.R.KleinfieldNiels van MaanenNietzschePaul D. MillerPaul ÉluardPaul McCarthyPeter MountfordPlatoPopeProustR. P. 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