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Julio Larraz

Julio Larraz

The Forum of the Instant:

Tropes and Temporality in the Paintings of

Julio Larraz 

Ricardo Pau-Llosa

Throughout his august career, Julio Larraz has consistently and profoundly tackled the manner in which time is signified and grasped in painting.  Temporality, or the presence of time in consciousness (or being), may well be the most complex and difficult concept to explore in painting.  The first breakthrough came in Diego Velázquez’s Las Hilanderas (1657) with the blur of the loom spokes on the left and those of the young woman’s fingers on the right.  The issue seemed clear: time, like the wind, is visible only by its effects, and so motion and its evanescence in sensorial awareness constitute the primary, if not the exclusive, language for the visual representation of temporality.  Other Baroque masters, such as Bernini and Rembrandt, also delved into the theme which would harken later to Turner, Goya, Géricault, Delacroix, among others.  In the modern era, the concept is central to various abstractionist movements–Informalism, Abstract Expressionism, and Kineticism.  

Temporality haunts representational painting in particular because of its focus on the life-world (Edmund Husserl’s term for the reality we share experientially).  From Van Gogh and Gauguin to Sargent and Sorolla to the Surrealists and beyond, the struggle to reflect through painting on our consciousness of time endures.  Music, literature, and cinema are inextricably grounded in time; hence they offer quite different insights into its dynamics in consciousness.  Architecture has an implied temporal component in how we experience buildings by moving around and through them.

R. Pau-Llosa/The Forum of the Instant

Coral Gables Gallery 

Coral Gables Museum
Coral Gables Museum

Coral Gables Gallery 

ELECTIONS FROM CORAL GABLES MUSEUM’S PERMANENT COLLECTION

Galeras Gallery, Coral Gables Museum | March 23 – Jun 9, 2024

Coral Gables Museum showcases a selection from its Permanent Collection, reflecting our steadfast commitment to the mission of celebrating, investigating, and honoring the civic arts of architecture, urban and environmental design, and the visual arts while fostering an appreciation for the culture and history of Coral Gables. Spanning from historical artifacts to contemporary artworks, alongside significant architectural and urban design elements, visitors are invited to explore the multilayered stories that these pieces evoke about our built environment and the integral role civic art plays in shaping our communal and individual identities. This exhibition serves as a vibrant testament to the enduring power of art to inspire, connect, and reflect our community’s pride as The City Beautiful.

We would like to thank donors for their generosity and trust, and invite others to consider Coral Gables Museum as the future home for their treasures. We also invite you to donate to our Phineas Paist Acquisitions Fund in order to significantly expand the depth of our historic holdings.

SELECCIONES DE LA COLECCIÓN PERMANENTE DEL MUSEO DE CORAL GABLES

Galería Galeras | 23 de marzo – 26 de mayo de 2024

El Museo de Coral Gables exhibe una selección de su Colección Permanente que refleja nuestro firme compromiso con la misión de celebrar, investigar y honrar las artes cívicas de la arquitectura, el diseño urbano y ambiental, así como las artes visuales, a la vez que fomentamos el aprecio por la cultura y la historia de Coral Gables. Abarcando desde artefactos históricos hasta obras de arte contemporáneas e importantes elementos arquitectónicos y de diseño urbano, esta muestra es una invitación a explorar múltiples historias sobre nuestro entorno y el papel integral que desempeña el arte cívico en la configuración de nuestras identidades comunitarias e individuales. Esta exposición es un vibrante testimonio del poder imperecedero del arte para inspirar, conectar y reflejar el orgullo de nuestra ciudad como La Ciudad Hermosa.

Nos gustaría agradecer a las personas que han donado a nuestra colección por su generosidad y confianza. Quisiéramos también invitarlo a considerar el Museo de Coral Gables como el futuro hogar de sus tesoros. También le animamos a contribuir a nuestro Fondo de Adquisiciones Phineas Paist que nos permitirá expandir y profundizar en nuestra colección histórica.

Virtuoso Guitarist Yamandu Costa

YAMANDU COSTA
YAMANDU COSTA

Virtuoso Guitarist Yamandu Costa to perform at Sanctuary of the Arts

Sunday, June 2 | 7pm

410 Andalusia Avenue | Coral Gables, FL 33134
Tickets $35-$45 • sanctuaryofthearts.org

Latin Grammy® winner Yamandu Costa is widely considered one of the great guitarists in the world today. This virtuoso 7-string guitar player has left audiences breathless around the world with his impressive skill and overwhelming passion. Born in Rio Grande do Sul to a musical family, he played his first major concert at age 17 in São Paulo and quickly gained international fame for his incredible talent. Yamandu is credited with reviving Brazilian guitar music and his diverse repertoire includes styles like chorinho, bossa nova, milonga, tango, samba and chamamé, making him difficult to categorize into a single genre. A 2021 Latin Grammy winner for Best Instrumental Album, Costa has collaborated with Bobby McFerrin, Richard Galliano, Doug de Vries, Gilberto Gil, Toquinho, João Bosco, Ney Matogrosso, Marisa Monte, Renato Borghetti, and many more.
He has also been a featured soloist with symphony orchestras around the world.

“Musicians of this caliber that make you fall out of your seat come once in a generation.”

  • La Presse Montreal

About Sanctuary of the Arts Sanctuary of the Arts (SOTA) is a collaborative, artist-led institution that operates under three tiers of service to South Florida’s diverse community: 1) To present world-class national and international talent, 2) To support and strengthen existing small and medium arts organizations, and 3) To support the next generation of young artists with an array of mentorship opportunities, including strategic planning, development, production, rehearsal and performance space. Both a presenter and/or producer, SOTA’s reach and impact is exponentially maximized through four resident companies, and over 10 collaborative partners, all leading to a wider audience base, more
personal engagement, and ultimately assisting in workforce development of sustainable arts careers.
About Brazilian Nites Brazilian Nites, a booking agency and production company founded in 1989, offers top-level Brazilian artists and bands the opportunity to perform at prestigious venues, clubs and festivals in the US and Canada. With offices in Los Angeles and also Miami, headed by Gene de Souza, the agency has presented tours with Marisa Monte, Tribalistas, Djavan, Lulu Santos, Alceu Valença, Diogo Nogueira, Yamandu Costa, among many other. For more info visit BrazilianNites.com.

BRESH LA FIESTA FAVORITA DE LEO MESSI.

messi
messi

BRESH LA FIESTA FAVORITA DE LEO MESSI.

EL ASTRO DEL FUTBOL NUEVAMENTE ASISTIÓ A LA BRESH, GENERANDO REVUELO ENTRE LOS PRESENTES Y COINCIDIENDO CON MARIA BECERRA QUE CANTÓ EN LA FIESTA.

LA BRESH SIGUE DE GIRA EN MAYO Y JUNIO EN ESTADOS UNIDOS.

Luego del triunfo del Inter Miami ante DC United, el astro del futbol, Leo Messi y su esposa Antonela Rocuzzo, asistieron nuevamente a la famosa Fiesta Bresh que se celebró este fin de semana en el Hotel Hard Rock Hollywood generando emoción y un gran revuelo entre los presentes.

Junto con Luis Suarez, su esposa Sofi Balbi, Elena Galera, Stef Roitman y un grupo de amigos, coincidieron con la reconocida artista María Becerra quien cantó en la fiesta. Fue una noche especial, se les vió alegres, con su sencillez de siempre posando ante las cámaras, cantando y disfrutando de la música de su compatriota.

Es la segunda vez en pocas semanas que Messi asiste a la Bresh, algo que evidencia que es uno de sus planes favoritos.

Qué hermoso tenerlos en casa, los amamos. La noche más linda del mundo.” comentó Bresh en su cuenta de instagram.

La Fiesta Bresh que se replica en diferentes lugares del mundo y van millones de personas, sigue de gira en mayo y junio por Estados Unidos. Continύa en New York y Chicago el 25 de mayo, seguido de Houston el 31 de mayo, luego Dallas 1 de junio, San Francisco 7 de junio, Los Ángeles 8 de junio y Austin 15 de junio. En Miami todos los viernes en M2 (www.fiestabresh.com).

¿Que tiene la Bresh que figuras como Messi y grandes artistas regresan a la Fiesta Bresh? Descúbrelo asistiendo a sus fiestas alrededor del mundo.

BRESH – USA ROADTRIP: 

New York, NY – mayo 25 – HK Hall

Chicago, IL – mayo 25 – Park West (Sueños Festival) 

Houston, TX – mayo 31 – Warehouse Live Midtown

Dallas, TX – junio 1 – The Echo Lounge & Music Hall

San Francisco, CA – junio 7 – August Hall 

Los Angeles, CA – junio 8 – The Bellwether

Austin, TX – junio 15 – Emo’s Austin

Miami, FL – Cada viernes en M2

Boletos en: www.fiestabresh.com


Sigue a Bresh en:
Instagram: @bresh
TikTok @fiestabresh

Bonnie Clearwater

Bonnie Clearwater Director & Chief Curator
Bonnie Clearwater Director & Chief Curator

Bonnie Clearwater

Director & Chief Curator

Bonnie Clearwater joined NSU Art Museum Fort Lauderdale as Director and Chief Curator in September 2013. An influential leader who played a major role in Miami’s emergence and development as an international arts center, she is widely recognized for her curatorial vision, scholarship and record in administration, public education and community outreach. Ms. Clearwater spearheaded an exciting phase of transformation at NSU Art Museum that includes an overall rebranding and expansion of the museum’s reach locally, nationally and internationally. Her initiatives include the development of a world-class exhibition program, expansion of the museum’s education initiatives and public programming, and increased engagement with diverse audiences.

Known for her ability to identify and nurture emerging artists, over the past two decades, she presented the first U.S. solo museum exhibitions for some of today’s most significant artists including: Daniel Arsham, Hernan Bas, Tracey Emin, Teresita Fernandez, Mark Handforth, Jonathan Meese, Albert Oehlen, Matthew Ritchie and Shinique Smith. She also curated historically important solo exhibitions of artists David Smith, Frank Stella, Roy Lichtenstein, Richard Artschwager, Malcolm Morley, Jack Pierson and Helen Frankenthaler, in addition to groundbreaking thematic exhibitions.

Recognized for her experience in museum education, Ms. Clearwater guides NSU Art Museum Fort Lauderdale’s education program, in which students of all ages are inspired by direct access to the museum’s exhibitions, collection and professional staff.

Ms. Clearwater has written extensively on Modern and contemporary art and is a respected scholar of Mark Rothko. She is the author of The Rothko Book (Tate Publishing/Abrams) and Mark Rothko: Works on Paper, (Hudson Hills). Other publications include: Tracey Emin: Angel Without You (contributing writer) (Rizzoli); Edward Ruscha: Words Without Thoughts Never to Heaven Go, (Abrams); Roy Lichtenstein: Inside/Outside and Frank Stella at 2000: Changing the Rules (both for MOCA, North Miami); editor/contributing author of West Coast Duchamp (Grassfield Press) and Ana Mendieta: A Book of Works (Grassfield Press), among other titles.

From 1997 – 2013, she was the Executive Director and Chief Curator of the Museum of Contemporary Art, North Miami where she developed an internationally renowned exhibition program and guided the museum’s education program. Prior to that, she was Executive Director of the Lannan Foundation Art Programs in Los Angeles and Director of the Lannan Museum in Lake Worth, Florida. She served as Curator of The Mark Rothko Foundation in New York and concurrently was Curator of the Leonard and Evelyn Lauder Collection also in New York. She also served as Curator of the Peter Norton Family collection.

She has an M.A. in art history from Columbia University and a B.A. in art history from New York University.

“The Time Begins”: A Group Exhibition Exploring Time, Memory, and Perception

"The Time Begins": A Group Exhibition Exploring Time, Memory, and Perception
"The Time Begins": A Group Exhibition Exploring Time, Memory, and Perception

“The Time Begins”: A Group Exhibition Exploring Time, Memory, and Perception

The Miami Hispanic Cultural Center (MHCC) is proud to present “The Time Begins,” a group exhibition opening on Thursday, May 23rd, from 6:00 PM to 9:00 PM. Curated by Picardo, this dynamic exhibition showcases the work of a collective of talented local artists, offering a unique and impactful experience through art.

Exploring the Duality of Time

“The Time Begins” delves into the multifaceted concept of time, inviting viewers to contemplate the interplay between memory, perception, and its influence on our experience. Through a diverse range of mediums including photography, sculpture, painting, and mixed media, the participating artists will showcase their personal interpretations of this universal theme.

A Vibrant Opening Reception

The opening reception promises to be a captivating event, with the opportunity to meet the artists, engage with their thought-provoking works, and delve deeper into the essence of “The Time Begins.” Guests will enjoy live performances, light refreshments, and a fun photo booth to capture memories of the evening.

Join the Conversation

The MHCC invites the community to experience “The Time Begins” and participate in the ongoing conversation around time, memory, and the power of artistic expression.

Exhibition Details

  • Exhibition Title: The Time Begins
  • Opening Reception: Thursday, May 23rd, 6:00 PM – 9:00 PM
  • Location: Miami Hispanic Cultural Center, 111 SW 5th Ave, Miami, FL 33130
  • Admission: Free and open to the public

Contact:

Picardo Colours

[email protected]

(616) 881-5971

Julio Larraz 

Julio Larraz

El Foro del Instante:

Tropos y Temporalidad en las Pinturas de

Julio Larraz 

Ricardo Pau-Llosa

A lo largo de su augusta carrera, Julio Larraz ha sabido aprehender con consistencia y profundidad las diversas maneras en que el tiempo ha sido interpretado y representado en la pintura. La temporalidad, o presencia del tiempo en la conciencia (o en el ser) es posiblemente el concepto más complejo y difícil de explorar en pintura. El primer gran avance se encuentra quizás en Las Hilanderas (1657) de Diego Velásquez, con el difuminado de las varillas del telar a la izquierda y de los dedos de la joven tejedora a la derecha. La propuesta era aparentemente clara: el tiempo, como el viento, sólo se hace visible por sus efectos, y por ello el movimiento y su evanescencia en la conciencia sensorial constituye el primero, si no el único, lenguaje para la representación visual de la temporalidad. Otros maestros del barroco, como Bernini y Rembrandt, también profundizaron en el tema, que posteriormente resonaría en Turner, Goya, Géricault, Delacroix, entre otros. En la era moderna, es un concepto central en varios movimientos abstraccionistas ─ el informalismo, el expresionismo abstracto y el cinetismo. 

La temporalidad se torna particularmente obsesiva en la pintura representativa, pues ésta se enfoca en el mundo de la vida (término usado por Edmund Husserl para designar la realidad que compartimos a través de la experiencia). Desde Van Gogh y Gauguin a Sargent, Sorolla, los surrealistas y sus sucesores, el esfuerzo por reflejar nuestra conciencia del tiempo en la pintura se ha mantenido constante. La música, la literatura y el cine están inextricablemente enraizados en el tiempo, y por ello proporcionan intuiciones muy diversas sobre su dinámica en la conciencia. La arquitectura tiene un componente temporal implícito en la experiencia que adquirimos de los edificios al movernos en torno y a través de ellos.

The 2024 edition of Art Basel in Basel

Sasha Stiles on how technology renews our relationship with storytelling

Art Basel unveils further highlights for its 2024 edition, including full details of its expanded city-wide program featuring Parcours, the Merian, Film, Conversations, and the Messeplatz project

  • Parcours, curated for the first time by Stefanie Hessler, Director of Swiss Institute (SI) in New York, will showcase more than 20 site-specific public art installations along Clarastrasse, which connects the fairgrounds to the Rhine.
  • The Messeplatz will host a major work by conceptual artist Agnes Denes, curated by Samuel Leuenberger, Founder of SALTS.
  • Unlimited, curated by Giovanni Carmine, Director of Kunst Halle Sankt Gallen, will present 70 large-scale installations by distinguished and emerging artists.
  • Kabinett, Art Basel’s sector for thematic presentations within galleries’ main booths, will showcase 22 projects presented by 23 galleries.
  • Celebrating its 20th anniversary, Conversations, curated for the first time by Kimberly Bradley, will bring together over 25 thought leaders across 11 panels, focusing on the issues shaping contemporary culture.
  • Presenting a week of extraordinary cinema and celebrating its 25th edition, the Film program, curated by Filipa Ramos, will feature artists’ surveys, feature films, and a special program for young audiences, from age four onwards.
  • Art Basel, whose Global Lead Partner is UBS, will take place at Messe Basel from June 13 to 16, 2024, with Preview Days on June 11 and 12.
    The 2024 edition of Art Basel in Basel will feature 285 of the world’s leading galleries, showcasing the highest quality of works across all media, including painting, sculpture,
    photography, and digital artworks. 22 first-time participants will join a robust lineup of European exhibitors and returning galleries from around the globe.
    In addition to remarkable presentations in its Galleries, Feature, Statements, and Edition sectors, around 70 large-scale installations and performances will be on view in the show’s Unlimited sector, while the Kabinett sector will return for the second time to Art Basel’s Swiss edition to spotlight distinct, curated exhibitions within the main booths of exhibitors.
    This year’s show will also present an expanded city-wide program, which will include Agnes Denes’ seminal land art work Honouring Wheatfield – A Confrontation (2024) on the Messeplatz, curated by Samuel Leuenberger. The reconceptualized Parcours sector, curated for the first time by Stefanie Hessler, will unfold along Clarastrasse up to the Middle Bridge, where Art Basel will activate the Merian to provide audiences with a stimulating venue for around-the-clock artistic events and showcases. Free to the public, Art Basel’s Conversations series, curated for the first time by Kimberly Bradley, will focus on ways to build and shape the art world’s future, while the Film program, curated by Filipa Ramos, will showcase a unique lineup of surveys, feature films, and a special program for young audiences from age four onwards.

Maike Cruse, Director of Art Basel in Basel, said: ‘I am particularly excited about this year’s expanded city-wide program as a testament to Basel’s cultural pulse. The Messeplatz project, featuring Agnes Denes’ transformative installation Honouring Wheatfield – A Confrontation (2024), redefines the dialogue between environment, land art, and the value of things. Our Parcours sector transforms the Clarastrasse into an exhibition exploring the topics of circulation and transformation. And the Merian will not only showcase Petrit Halilaj’s installation on the façade but will also extend Art Basel’s activation into the evening and night. Join us to celebrate community and the limitless possibilities of artistic expression along the Rhine.’

Unlimited
Art Basel’s unique sector for large-scale projects, Unlimited provides exhibitors the opportunity to present monumental installations, colossal sculptures, boundless wall paintings, comprehensive photo series, and expansive video projections. Unlimited will be curated for the fourth time by Giovanni Carmine, Director of Kunst Halle Sankt Gallen.

Highlights from Unlimited include:

  • A site-specific installation by Swedish artist Anna Uddenberg, titled Premium Economy (2023-2024), presented by Kraupa-Tuskany Zeidler and Meredith Rosen Gallery
  • A reenactment of American artist Faith Ringgold‘s first multimedia performance, titled The Wake and Resurrection of the Bicentennial Negro (1976), presented by Goodman Gallery in collaboration with ACA Galleries
  • Untitled (2022), an installation by American artist Henry Taylor, presented by Hauser & Wirth
  • Greek Italian artist Jannis Kounellis’ installation Senza titolo (vele) (1993), presented by Kewenig
  • An installation of a significant section from American artist Keith Haring’s mural Untitled (FDR NY) #5-22 (1984), presented by Gladstone Gallery and Martos Gallery
  • A new video installation titled DOKU The Flow (2024) by Chinese artist Lu Yang, presented by Société
  • Chess (2012), a seminal installation by American artist Lutz Bacher, presented by Galerie Buchholz
  • ARCHITEKTURTRAUM (2001) by Swiss artist Miriam Cahn, presented by Meyer Riegger and Galerie Jocelyn Wolff
  • A complete set of Robert Frank’s The Americans (1954-1957) presented by Pace Gallery and Thomas Zander Art Basel’s Unlimited Night will return on Thursday, June 13, providing visitors the chance to experience the sector alongside special performances during extended opening hours. For the first time, visitors of Unlimited will have the opportunity to vote for their favorite artwork for the whole duration of Art Basel. The Unlimited People’s Pick will then be announced towards the end of the show week. Further details around the prize will follow in due course. For the full list of artists and galleries presenting in Unlimited, please visit artbasel.com/basel/unlimited. Parcours
    Curated for the first time by Stefanie Hessler, Director of Swiss Institute (SI) in New York, Art Basel’s public art sector will unfold along Clarastrasse up to the Middle Bridge, connecting the fairgrounds with the Rhine. Hessler’s concept for Parcours is a curated exhibition that meanders through empty stores and operational shops, a hotel, a restaurant, a brewery, and other quotidian spaces on Basel’s Clarastrasse. Through ambitious projects, many of them site-specific and newly produced, the sector explores transformation and circulation in areas such as trade, globalization, and ecology. Hessler takes over Parcours from Samuel Leuenberger, who successfully managed and expanded the sector over the past eight years.

Highlights from Parcours include:

  • An architectural structure lined with paintings that houses produce on sale at the Tropical Zone store by London-based artist Alvaro Barrington, presented by Sadie Coles HQ, Thaddaeus Ropac, and Massimodecarlo
  • An installation combining traditional Chinese shadow play and digital animation by Swedish artist Lap-See Lam, unfolding in a food court, and presented by Galerie Nordenhake
  • A portable garden by Austrian artist Lois Weinberger, transposing nature into an urban context with the aim to attract insects and birds, presented by Galerie Krinzinger
  • A performance by London-based artist Mandy El-Sayegh interrogating the circulation of information and goods inside a partially vacant shopping mall, presented by Thaddaeus Ropac and Lehmann Maupin
  • A series of pirate flags by Rirkrit Tiravanija, lining the Middle Bridge crossing the Rhine, presented by neugerriemschneider
  • Peruvian artist Ximena Garrido-Lecca’s Conversion systems contraposing ancestral techniques and artisanal materials with industrial applications in petrol extraction, installed inside a brewery, presented by Galerie Gisela Capitain Newly the Parcours Night will be hosted on Wedneday, June 12, from 8 to 11pm, offering a festive night filled with live performances and other acts along Clarastrasse and at the Merian. All Parcours locations will have extended opening hours to provide visitors a unique experience. For the full list of artists and galleries featured and further information, visit artbasel.com/basel/parcours.
    Messeplatz
    The city’s Messeplatz will feature a site-specific presentation by conceptual artist Agnes Denes, curated for the third time by Samuel Leuenberger, founder of the non-profit exhibition spaces SALTS in Birsfelden and Bennwil. Denes’ artistic practice is distinctive in terms of its aesthetics and engagement with socio-political ideas. As a pioneer of environmental, ecological, and land art, she will present the piece Honouring Wheatfield – A Confrontation (2024), referring to her iconic land art work from the 1980s. The work will remain on the Messeplatz throughout the summer until its harvest. Born in 1931 in Budapest, Hungary, raised in Sweden, and educated in the United States, Agnes Denes today lives in New York City.
    The Merian
    The Merian, situated right at the Middle Bridge along the Rhine in Kleinbasel and across Basel’s Old Town, features a hotel bar, restaurant, and terrace that will host a continuous, around-the-clock program. The façade of the former Café Spitz will be taken over by When The Sun Goes Away We Paint The Sky, an artwork by Petrit Halilaj symbolizing guidance and commemorating the 30th anniversary of the partnership between UBS and Art Basel. Evenings will be curated and enlivened by various members of the global and local arts community including Jenny Schlenzka, Director of Gropius Bau Berlin; Aindrea Emelife, Curator Modern and Contemporary at the Museum of West African Art in Benin City, Nigeria; Pati Hertling, Director of Performance Space New York; Stefanie Hessler, Director of Swiss Institute New York; Benedikt Wyss, Curator of SALTS and Finally Saturday in Basel; and others.

Film
For its 25th edition, the Film program will present a week of extraordinary artists’ cinema
projects. Film is curated by Filipa Ramos, founding curator of the online video platform
Vdrome and lecturer at the Arts Institute of the FHNW in Basel, in collaboration with
Marian Masone, a New York-based independent curator. This year’s program will
address topics such as ecology, intimacy, history, and politics in a series of short film
programs, surveys, and feature films.
The program starts on Wednesday, June 12 with ‘The Political Life of Plants’, a series of
short films by Nefeli Chrysa Avgeris, Zheng Bo, Ulla von Brandenburg, Kyriaki Goni,
and Tiffany Sia. Inspired by the title of two films by Bo, the program looks at how the
vegetal world has been a major figure in recent artists’ cinema. On Saturday, June 15,
‘Bats and Rockets’ will celebrate artists’ films for young audiences, from age four
onwards. This year’s film program will then conclude with Taking Venice (2023), a
documentary about Robert Rauschenberg’s participation in the 1964 Venice Biennale by
Amei Wallach.
For further information, please visit artbasel.com/basel/film. For further information,
please visit artbasel.com/basel/film.
Conversations
Art Basel’s flagship talks program returns for its 20th anniversary edition with an
exciting lineup, curated for the first time by Berlin-based art critic Kimberly Bradley.
Bringing together more than 25 thought leaders, the 2024 edition features 11 focused
panels, all relating to the pressing issue of how to build and shape contemporary
culture’s future. The discussions will explore the art trade’s challenges and opportunities
in a super election year, the potentials of increased interdisciplinarity in museums, how
artists relate to politics in a time of global crisis, and the ways digital technologies are
recasting art’s social and economic ecosystems. Conversations is free and accessible
to all.
Highlights from this year’s Conversations series include:

  • Launching the program with a special celebration of 20 years of Conversations,
    Hans Ulrich Obrist will speculate on worldbuilding and revisit the notion of
    utopia with pioneering digital artists Rebecca Allen and Danielle Braithwaite
    Shirley, as well as architect Carlo Ratti.
  • Ahead of her Hyundai Commission at Tate Modern’s Turbine Hall, artist Mire Lee
    reflects on her practice – which references the art-historical lineage of kinetic
    sculpture – in the Premiere Artist Talk.
  • Ben Davis, Artnet News’ National Art Critic, will discuss how technology is
    blurring the lines of art’s communities and art’s valuation with artist Cecile B.
    Evans.
  • Legal experts Katalin Andreides and Till Vere-Hodge, along with UBS’s Paul
    Donovan, will debate the ways potential political and legal reorientations in an
    election year could change how art is bought, sold, and distributed, in a talk
    moderated by Georgina Adam.
  • The talks will conclude on a light note, with Basel-based artist Sophie Jung and
    curator/critic Francesco Bonami discussing the multiple roles humor and satire
    play in contemporary art.
  • During the show’s final weekend, a curated series of videos of Conversations’
    most notable debates, spanning nearly two decades, will be on view in the
    Conversations auditorium.

Conversations will take place from June 13 to 16 at the Auditorium in Hall 1. The series is
free to attend. For further information, visit artbasel.com/stories/conversations.
Kabinett
The sector dedicated to curated and thematic presentations featured in a separate
section within galleries’ main booths, Kabinett will present 22 projects by 23 galleries for
the second year.
Highlights from Kabinett include:

  • Air de Paris’ presentation of works by American artist Sarah Pucci and her
    daughter Dorothy Iannone. The presentation aims to shed light on Pucci’s
    mesmerizing objects by contextualizing them within the loving relationship with
    her daughter.
  • Croy Nielsen’s presentation of paintings by German Japanese artist Ernst Yohji
    Jaeger, addressing intimacy and emotion with a moody palette and mysterious
    subject matter
  • Experimenter’s presentation of Indian artist Kanishka Raja’s Switzerland for
    Movie Stars (2014), which plots a speculative Google map journey from Srinagar
    to Geneva through a panoramic panel painting and an accompanying brochure
  • Catriona Jeffries’ presentation of paintings by Canadian painter Elizabeth
    McIntosh, which respond to the ever-shifting workflows of contemporary
    industrialization
  • Sies + Höke’s presentation of works by German artist Gerhard Richter,
    including mirror pieces of various tints and dimensions as well as Richter’s
    quintessential stainless-steel spheres.
    For the full list of artists and galleries featured and further information, visit
    artbasel.com/basel/kabinett.
    NOTES TO EDITORS
    Giovanni Carmine
    Giovanni Carmine is the Director of the Kunst Halle Sankt Gallen, Switzerland and an art
    critic based in Zürich and St. Gallen. He curated the Swiss Pavilion at the 55th Venice
    Biennale in 2013 and was the artistic coordinator of ILLUMInations, the 54th Venice
    Biennale in 2011. He also initiated several independent projects and as a critic, Carmine
    has contributed to many notable art publications and catalogs. He was Chair of the Swiss
    Federal Art Commission between 2017 and 2019 and in 2001 was awarded the Swiss Art
    Award for curatorial excellence.
    Stefanie Hessler
    Stefanie Hessler is a curator, writer, editor, and the Director of Swiss Institute (SI) in New
    York. At SI, Hessler has co-curated solo exhibitions by Ali Cherri, Lap-See Lam, and
    Raven Chacon, as well as initiated the curatorial project Spora, which invites artists to
    transform the institution through what she calls ‘environmental institutional critique’.
    Previously, as the Director of Kunsthall Trondheim in Norway, Hessler co-led the
    exhibition ‘Sex Ecologies’ and edited the accompanying compendium on queer
    ecologies, sexuality, and care in more-thanhuman worlds (with Seed Box and The MIT
    Press, 2021). Selected projects as an independent curator include the 17th MOMENTA
    Biennale, ‘Sensing Nature’, Montreal; ‘Joan Jonas: Moving Off the Land II’, Ocean
    Space, Venice; the symposium ‘Practices of Attention’, 33rd Bienal de São Paulo; the 6th
    Athens Biennale; and ‘Tidalectics’, TBA21– Augarten, Vienna. Hessler is the author of
    Prospecting Ocean (The MIT Press, 2019), and has edited over a dozen volumes. She
    currently serves on the advisory board of the Institut Valencià d’Art Modern (IVAM), is a
    founding committee member of the New York chapter of the Gallery Climate Coalition
    (GCC), and forms a part of the On Seeing editorial collective between The MIT Press and
    the Brown University Library.

Kimberly Bradley
Kimberly Bradley is a writer, editor, and educator based in Berlin. Her writing has
appeared in The New York Times, ArtReview, and many other publications. Bradley is
co-editor of Navigating the Planetary, a reader on transcultural art, and has lectured at
NYU Berlin and the Salzburg International Summer Academy of Fine Arts. A former
curator and moderator of he talks series at Viennacontemporary, she most recently
moderated public events for Forecast, an international mentorship program.
Agnes Denes
Agnes Denes is recognized as a pioneer artist of environmental, ecological, and land art.
She combines art with science, mathematics, languages and philosophy. An artist of
enormous vision, her work deals with environmental, cultural and social issues that
address the challenges of global survival, and are often monumental in scale. A
conceptual artist and the true pioneer of the ecological art movement, one of her bestknown works is WHEATFIELD—A CONFRONTATION a two-acre wheat field she planted
and harvested downtown Manhattan and other projects since 1958. She has planted
forests of endangered species and fields of grain in megacities on four continents and a
25-year master plan for a 100 km area in the center of Holland. She designed megadunes for New York after super-storm Sandy hit the shores and barrier islands to hold
back the sea in low-lying areas around the world. Agnes Denes has had over 600
exhibitions on four continents and completed public and private commissions in North
and South America, Europe, Australia, and the Middle East. She had three major
retrospectives, written 6 books and holds two honorary doctorates in fine arts from
Rippon Coll. Wisc. and the Humane Letters for contributions to education, art and
pioneering environmental art from Bucknell University, Lewisburg, Pa.
Samuel Leuenberger
Samuel Leuenberger is an independent curator based in Basel. He initiated and runs the
not-for-profit exhibition space SALTS in Birsfelden and Bennwil (Switzerland), which
promotes young Swiss and international artists. In 2014 Leuenberger was the associate
curator of ’14 Rooms,’ a major live art exhibition by Fondation Beyeler, Art Basel, and
Theater Basel. In 2017, he co-organized the Salon Suisse, a collateral program by Pro
Helvetia, supplementing the exhibition at the Swiss Pavilion at the Venice Biennale. In
May 2017 the Canton of Baselland announced Leuenberger the winner of the 2017
Kulturpreis for his work in the field of mediation and curation in the region of Basel. Since
2023, he is the curator of the Globus Art in Public Project in collaboration with Fondation
Beyeler. He has been the curator of Art Basel’s Parcors sector previously, and
successfully managed and expanded the sector over the past eight years. He is now
curating the Messeplatz for the third consecutive time. In addition to curating
internationally, he is working with the Master’s class students at Institut Kunst, Art,
Gender, Nature in Basel.
Filipa Ramos
Filipa Ramos is a Lisbon-born writer and lecturer based in London and the Curator of Art
Basel Film. Her research looks at human engagement with animals in the contexts of art
and artists’ cinema. Her essays and texts have been published in magazines and books
worldwide. With Andrea Lissoni, she founded and curates Vdrome, a programme of
artists’ films screenings. She is Lecturer in the MRes Art course at University of the Arts
London, Central Saint Martins, and the Master’s programme at the Arts Institute of the
Hochschule für Gestaltung und Kunst, Fachhochschule Nordwestschweiz, Basel. She
was Editor-in-Chief of art-agenda, Associate Editor of Manifesta Journal, and contributor
tp dOCUMENTA 13 (2012) and 14 (2017). She edited Animals (Whitechapel Gallery/MIT
Press, 2016) and curated the group exhibition Animalesque (Bildmuseet Umeå, Summer
2019, and BALTIC, Gateshead, Winter 2019/20). She curates the ongoing symposia
series ‘The Shape of a Circle in the Mind of a Fish with Lucia Pietroiusti’ for the
Serpentine Galleries. She is curator of Bestiari, the Catalan Presence at the 2024 Venice
Biennale and is co-curating Songs for the Changing Seasons for the First Climate Biennale in Vienna in 2024

Marian Masone
Marian Masone is a film curator based in New York. For over 25 years Masone was
Associate Director of Programming at the Film Society of Lincoln Center, one of
America’s pre-eminent film organizations, where she sat on the selection committees for
New Directors/New Films, produced with the Museum of Modern Art in New York and
Film at Lincoln Center, and The New York Film Festival. Among her consulting projects,
she works with German Film Services to select and present a yearly program of German
films in New York City and is a consulting producer for Jump Cut Creative in New York.
Masone is on the film panel of the Princess Grace Foundation, awarding fellowships to
young artists, and is a member of Women in Film’s preservation fund. She has been a
guest lecturer and curator for such leading institutions as Parsons School of Design in
New York and Museo Reina Sofia in Madrid.


About Art Basel
Founded in 1970 by gallerists from Basel, Art Basel today stages the world’s premier art
shows for Modern and contemporary art, sited in Basel, Miami Beach, Hong Kong, and
Paris. Defined by its host city and region, each show is unique, which is reflected in its
participating galleries, artworks presented, and the content of parallel programming
produced in collaboration with local institutions for each edition. Art Basel’s engagement
has expanded beyond art fairs through new digital platforms and initiatives such as the
Art Basel and UBS Global Art Market Report. Art Basel’s Global Media Partner is The
Financial Times. For further information, please visit artbasel.com.


Partners
UBS & Contemporary Art
Global Lead Partner of Art Basel, UBS has a long history of supporting contemporary art
and artists. The firm has one of the world’s most important corporate art collections. UBS
seeks to advance the international conversation about the art market through its global
lead partnership with Art Basel, and as co-publisher of the ‘Art Basel and UBS Global Art
Market Report’ and the ‘Art Basel and UBS Survey of Global Collecting’. UBS also
supports some of the world’s most important arts institutions, events and fairs. UBS
provides its clients with insight into the art market, collecting, and legacy planning through
its UBS Collectors Circle and UBS Art Advisory. For more information about UBS’s
commitment to contemporary art, visit ubs.com/art.
Art Basel’s Associate Partners are Audemars Piguet, whose contemporary art
commissioning program, ‘Audemars Piguet Contemporary’, works with artists to support
and develop an unrealized artwork which explores a new direction in their practice; and
NetJets – the world leader in private aviation, partnering with Art Basel to showcase
emerging artists through their lounge activations in Art Basel in Basel, Paris + and Miami
Beach.
Art Basel is also supported globally by BMW, Ruinart, Parley for the Oceans, We Are
Ona, GOAT, and Quintessentially. Local Partners in Basel are Baloise, whose Art Prize is
awarded to up to two artists exhibiting in the Statements sector, Samsung The Frame, La
Prairie,1664 Blanc, Official Partner of the Unlimited Night, Enea Landscape Architecture,
Vitra, and Mövenpick Hotel Basel. For more information, please visit
artbasel.com/partners.

Important Dates for Media
Preview (by invitation only)
Tuesday, June 11 and Wednesday, June 12, 2024
Public opening dates
Thursday, June 13, 2024 – Sunday, June 16, 2024
Press accreditation
Online registration for press accreditation for our show in Basel is now open. For further
information, please visit artbasel.com/accreditation.
Upcoming Art Basel shows
Basel, June 13-16, 2024
Paris+ par Art Basel, October 18-20, 2024
Miami Beach, December 6-8, 2024
Hong Kong, March 28-30, 2025
Media information online
Media information and images can be downloaded directly from artbasel.com/press.
Journalists can subscribe to our media mailings to receive information on Art Basel.
For the latest updates on Art Basel, visit artbasel.com, find us on Facebook at
facebook.com/artbasel, or follow @artbasel on Instagram, Twitter, and WeChat.
Press Contacts
Art Basel, Sarah Degen
[email protected]
PR Representatives for Europe
SUTTON, Joseph Lamb
Tel. +44 77 1566 6041, [email protected]
PR Representatives for France
CLAUDINE COLIN COMMUNICATION, Thomas Lozinski
Tel. +33 1 42 72 60 01, [email protected]
PR Representatives for North and South America, the Middle East, and Africa
FITZ & CO, Yun Lee
Tel. +1 646 589 0920, [email protected]
PR Representatives for Asia
SUTTON, Carol Lo
Tel. +852 2528 0792, [email protected]

Juan Loyola

Juan Alberto Loyola Valbuena
Juan Alberto Loyola Valbuena

Obra ( Performance) y poema Pinto del gran artista Juan Loyola

Mi vida es una continuación de pequeñas muertes, y por lo corta que es la vida, aprendí la importancia de un instante. A ese instante me entrego con amor profundo; y cuando las palabras me faltan, porque la emoción es infinita, acudo a la fuerza mutante de mi arte, que cambia, registra, esos momentos especiales que no vuelven…

Es como desvestirme ante la naturaleza y, casi mudo, perder el miedo de mi desnudez; abandonar las poses, a veces obligantes, y ser tal cual soy, con mi mundo de pasiones al descubierto, demostrando su hambre y su sed, humanamente cargada de sentimientos.

Amputar un pedazo de mí, del proceso continuo y existencial, a veces dramático, ingenuo e idealista, para ofrecerlo a este proceso de vivir, en el espacio sin tiempo de mi propio universo. Es porque a veces me duele la nostalgia y no sé cómo decirlo… PINTO!

PINTO porque me encuentro solo, cargado de amor, y no sé cómo entregarlo. Pinto porque descubro un vacío parecido al mío, humano. PINTO porque a veces quiero gritar y no me sale el aliento. PINTO porque me parece una manera especial de estar con Dios. PINTO para atajar el tiempo que se escapa entre los dedos. PINTO para escapar de las cárceles. PINTO también para correr peligro. PINTO para despedirme con grandeza. PINTO porque a veces estoy herido, porque un susurro me dice “aguanta”, y otro murmullo “continúa”.

PINTO para no verme vestido de soledades y silencios. PINTO para sentirme amado por mi pueblo. PINTO para descubrir un mundo especial para todos; para cantarle a Bolívar y a Sucre, y ser digno de sus cartas. PINTO para comunicarme y poder decir “Dios”, “Naturaleza”, “Historia”. PINTO porque siempre estoy pensando en mi patria.

PINTO porque me infla la vida. PINTO porque si no exploto. PINTO porque todavía EXISTO, porque tengo esperanzas, porque confieso que amo, y que el amor ejerce la principal emoción que draga y hechiza el movimiento vertical de mi vida: a ella ofrendo mi sonrisa y el último de mis suspiros. Pinto para sentirme libre.

Por eso PINTO yo: PINTO… luego existo

Juan Alberto Loyola Valbuena nació en Caracas (Venezuela) el 9 de abril de 1952, hijo de Juan Luis Mario Loyola y Auristela Valbuena. Se le considera uno de los artistas más controvertidos y polifacéticos de Venezuela. También fue poeta, performer, fotógrafo, cineasta y pintor. Murió repentinamente el 27 de abril de 1999 en Catia la Mar, Venezuela, tras una larga batalla contra la cardiomegalia.

From Yayoi Kusama to Robert Frank: Eight monumental artworks to see at Art Basel

From Yayoi Kusama to Robert Frank: Eight monumental artworks to see at Art Basel

Explorations of power dynamics, playful pumpkins, and gravitational bodies are among the highlights of this year’s Unlimited sector

By Emily McDermott

Staged across a 16,000-square-meter hall, the Unlimited sector of Art Basel in Basel features artworks of monumental scale. This year, 70 projects span a variety of media and contexts: Historical photographic series and large-scale sculptures appear alongside immersive contemporary installations, murals created in situ, and three performances. Keep an eye out for these eight highlights.

Teresa Solar Abboud, Tunnel Boring Machine (Transformation Figure), 2024. Courtesy of the artist and Travesía Cuatro.
Teresa Solar Abboud, Tunnel Boring Machine (Transformation Figure), 2024. Courtesy of the artist and Travesía Cuatro.

Teresa Solar Abboud
Tunnel Boring Machine (Transformation Figure), 2024

Presented by Travesía Cuatro

Spanish artist Teresa Solar Abboud investigates the sculptural qualities of theatrical spaces as well as the subterranean realm as a place of mysterious encounters, in order to propose new modes of interaction and existence. Tunnel Boring Machine (Transformation Figure) (2024) consists of two sculptures: One is like a mixture of a giant ear and elephant tusk, the other a spoon and a dolphin’s fin. Clay is used to join the zoomorphic fragments together, with the material representing, as the artist has said, the ‘relationship of mankind with the geological mantle on which our civilizations lay.’ The two hybrid forms appear like futuristic entities, alluding to bodies in states of transformation and blurring the lines between organic figures and those industrially produced, between the tangible and the mythical, fiction and reality.

Ali Cherri, The Watchman/Welcome Soldiers, Open Your Eyes II (film still), 2024. Presented by Almine Rech.
Ali Cherri, The Watchman/Welcome Soldiers, Open Your Eyes II (film still), 2024. Presented by Almine Rech.

Ali Cherri
The Watchman/Welcome Soldiers, Open Your Eyes II, 
2024

Presented by Almine Rech

With a short film and two larger-than-life sculptures, Beirut-born and Paris-based artist Ali Cherri unpacks the construct of war by examining the figure of the military guard. Shot in Cyprus, an island at the center of decades-long tensions between Greek and Turkish communities, the film takes the location’s political history as its starting point. The protagonist’s job is to guard the border of the unrecognized Turkish Republic of Northern Cyprus, but the majority of his shifts are spent in silence, slipping in an out of alertness and sleepiness. Two soldiers sculpted from mud are likewise slouched, as if sleeping. The installation questions the slippery nature of the inheritance of historical trauma, of the monumentalizing of power, and of the political recognition of borders and the consequences thereof.

Maria Hassabi, Mirrors, 2024. Courtesy of the artist and The Breeder.
Maria Hassabi, Mirrors, 2024. Courtesy of the artist and The Breeder.

Maria Hassabi
Mirrors, 2024
Presented by The Breeder

In Maria Hassabi’s installation Mirrors (2024), photographs and the perception of oneself become tinged with an ambiguous golden hue. Straddling the intersections of performance and both moving and still images, Hassabi creates work in which every action – including the gaze – is subject to scrutiny. In Mirrors, a series of photographs shows dancers twisting and contorting their bodies; these images are mounted on a wall of acrylic gold mirrors. When looking at the photographs, the viewer thus merges with the dancers, becoming part of the performance and highlighting the constant negotiation between the body’s relation to gravity, time, and space.

Yayoi Kusama, Aspiring to Pumpkin’s Love, the Love in my Heart, 2023. Courtesy of the artist and David Zwirner.
Yayoi Kusama, Aspiring to Pumpkin’s Love, the Love in my Heart, 2023. Courtesy of the artist and David Zwirner.

Yayoi Kusama
Aspiring to Pumpkin’s Love, the Love in my Heart
, 2023
Presented by David Zwirner

Yayoi Kusama’s giant sculpture depicts two interconnected bronze pumpkins with undulating surfaces, augmented by lines of Kusama’s signature dots. The artist has used pumpkins to represent themes of infinity, fertility, and the sublime. Kusama first encountered a pumpkin as a child at her family’s plant nursery, and when she went to pick it, it supposedly began speaking to her. She soon painted the pumpkin and won her first prize – at the age of 11. Ever since, ‘pumpkins have been a great comfort to me,’ the artist has said. ‘They speak to me of the joy of living. They are humble and amusing at the same time, and I have and always will celebrate them in my art.’

Alex Da Corte, Hell Hole, 2022. Courtesy of the artist and Sadie Coles HQ.
Alex Da Corte, Hell Hole, 2022. Courtesy of the artist and Sadie Coles HQ.

Alex Da Corte
Hell Hole, 2022
Presented by 
Sadie Coles HQ

Conceptual artist Alex Da Corte is known for creating environments concerned with the topic of consumption. Hell Hole (2022) comprises a life-sized wood cabin with windows illuminated by flame-shaped neon lights. Inside, a bearded male figure sits at a table covered with ephemera: half a disco ball, a neon star, a rolling pin, and what could be either a bong or a vase. ‘The work is about food, the politics of food, and the society and spectacle of consumption,’ Da Corte has said. Here, instead of acting as a symbol of capitalist success, the white-picket-fenced house becomes a place in which desire and consumption beget only hell.

Lutz Bacher, Chess, 2012. Courtesy of the artist’s estate and Galerie Buchholz.
Lutz Bacher, Chess, 2012. Courtesy of the artist’s estate and Galerie Buchholz.

Lutz Bacher
Chess, 2012

Presented by Galerie Buchholz

For over five decades, Lutz Bacher explored the undercurrents of the political and pop culture of the US, often using found and appropriated materials: Chess (2012) exemplifies this. Rather than a traditional life-size chessboard, the ground is a tiled pattern reminiscent of a pixelated screen in grayscale. Atop the tiles are two giant chess pieces and a cast of objets trouvés: a camel, cardboard cutouts of Elvis Presley in his gold lamé suit, a Tyrannosaurus rex, and a replica of Marcel Duchamp’s Bicycle Wheel (1913). The installation uses the mechanisms at play in a game of chess to mirror the legacies of 20th-century icons, simultaneously alluding to gamified notions of capitalism, heroism, power dynamics, and idolatry.

Faith Ringgold, The Wake and Resurrection of the Bicentennial Negro, 1976. Courtesy of the artist’s estate and Goodman Gallery.
Faith Ringgold, The Wake and Resurrection of the Bicentennial Negro, 1976. Courtesy of the artist’s estate and Goodman Gallery.

Faith Ringgold
The Wake and Resurrection of the Bicentennial Negro, 1976

Presented by Goodman Gallery

Conceived in response to the bicentennial celebrations of the adoption of the Declaration of Independence in the United States, Faith Ringgold’s The Wake and Resurrection of the Bicentennial Negro (1976) marks the artist’s first multimedia performance work. ‘We’re not going to celebrate that bicentennial because we weren’t free,’ Ringgold said at the time. The performance told the story of Buba, who dies of a drug overdose, and his wife Bena, who subsequently dies of grief. Relatives and friends mourn their passing, but then the couple is resurrected – free from drug addiction and interdependence, ready for a new beginning. Accompanying the performers were four sculptural ensembles: Bena and Buba crafted from black satin fabric stuffed with foam; a flag rendered in Pan-African colors and used as a ‘cooling pad’ for the corpses; two primary mourners crying tears of rhinestones and sequins; and bouquets of satin flowers. Today, the performance lives on in the restaging of these ensembles, as a reminder of what Ringgold stated when she first made the piece: By ‘the year 2076, we must turn things around so that all Americans can join the celebration.’

Robert Frank, from the series ‘The Americans’, 1955-1957. Courtesy of the artist’s estate, Pace Gallery, and Galerie Thomas Zander.
Robert Frank, from the series ‘The Americans’, 1955-1957. Courtesy of the artist’s estate, Pace Gallery, and Galerie Thomas Zander.

Robert Frank
The Americans, 1955-1957

Pace GalleryGalerie Thomas Zander

One of the most influential figures in the history of photography, Robert Frank embarked on a two-year trip across the United States in the mid-1950s, during which he took over 28,000 black-and-white photographs; 83 of which were published in his seminal monograph The Americans (1958). Frank delved into corners of America, producing images that reveal a country haunted by racism, dirty politicians, and a rapidly expanding culture of consumption. On the occasion of what would have been the photographer’s 100th birthday, Pace Gallery and Galerie Thomas Zander are jointly presenting the last available complete printed set of The Americans – one that was, until now, kept in Frank’s personal archives.

Credits and captions

Emily McDermott is a writer and editor living in Berlin.

Learn more about the Unlimited sector of Art Basel in Basel, from June 13 to 16, 2024, here.

Caption for header image: Lutz Bacher, Chess, 2012. Courtesy of the artist’s estate and Galerie Buchholz.

Published on May 29, 2024.

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