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Luigi Ontani the 69 year old Italian painter, sculptor and multifaceted artist who expresses himself through various artistic forms has been featured by Karen Wright for The Independent in an article titled ‘In The Studio: Luigi Ontani’. Wright states “…Ontani has only just moved into his studio near the Piazza del Popolo in Rome, but already it bears the mark of this inimitable artist, the doorbell highlighted by a tiny portrait of himself as Pinocchio. Called maestro by those who know and revere him, Ontani is an Italian treasure and is unmistakable, dressed today, as always, in a three-piece silk suit, this time the colour of spring greens. …The studio we are in belonged to Canova, the famous sculptor. Ontani recalls that he was walking in the area he now considers home and saw "affittasi" (for rent) in the window of the building. He got on the phone and the building was his by the end of the day. …"I don't like to separate my life from my art." The rooms are high and vaulted with wonderful light. He has painted the concrete floor mauve, his favorite colour, and one that recurs often in both his work and dress. He was – and is still – beautiful, and uses himself, as do so many contemporary artists, as the subject of his art. Many feature him posed as mythical characters, often nude. "My photographs are not documents, not simulacra, but are imaginary. There are others that are documenting, but not me." Shown in Paris and New York, most notably in The Kitchen in the early 1970s, his work clearly inspired the work of Cindy Sherman, among others. Otani distinguishes his art works from his performances saying, "I am naked, like a sculpture; there is no movement. It is not a document, it is a pose."  Inspired by Karen Wright, The Independent ow.ly/iuSoH Image source lanouvellevague ow.ly/iuR4H My photographs are not documents (March 30 2013)

 

Luigi Ontani the 69 year old Italian painter, sculptor and multifaceted artist who expresses himself through various artistic forms has been featured by Karen Wright for The Independent in an article titled ‘In The Studio: Luigi Ontani’. Wright states “…Ontani has only just moved into his studio near the Piazza del Popolo in Rome, but already it bears the mark of this inimitable artist, the doorbell highlighted by a tiny portrait of himself as Pinocchio. Called maestro by those who know and revere him, Ontani is an Italian treasure and is unmistakable, dressed today, as always, in a three-piece silk suit, this time the colour of spring greens. …The studio we are in belonged to Canova, the famous sculptor. Ontani recalls that he was walking in the area he now considers home and saw “affittasi” (for rent) in the window of the building. He got on the phone and the building was his by the end of the day. …”I don’t like to separate my life from my art.” The rooms are high and vaulted with wonderful light. He has painted the concrete floor mauve, his favorite colour, and one that recurs often in both his work and dress. He was – and is still – beautiful, and uses himself, as do so many contemporary artists, as the subject of his art. Many feature him posed as mythical characters, often nude. “My photographs are not documents, not simulacra, but are imaginary. There are others that are documenting, but not me.” Shown in Paris and New York, most notably in The Kitchen in the early 1970s, his work clearly inspired the work of Cindy Sherman, among others. Otani distinguishes his art works from his performances saying, “I am naked, like a sculpture; there is no movement. It is not a document, it is a pose.”

 

Inspired by Karen Wright, The Independent ow.ly/iuSoH Image source lanouvellevague ow.ly/iuR4H

Svetlana Lunkina the 33 year old Russian Bolshoi principal ballerina having trained under the great Soviet ballerina Ekaterina Maximova under whose leadership at 18 years of age she became the youngest dancer in the history of the company to perform the title role in Giselle. Lunkina is the subject of an article published in the Independent by Matilda Battersby titled ‘Bolshoi ballerina Svetlana Lunkina says she's been driven from Russia by 'threats'’, following the acid attack on artistic director Sergei Filin two weeks ago, and general director Anatoly Iksanov stating that 'evil' has entered the company. Battersby states “…the company’s top ballerina [Lunkina] has revealed she has moved to Canada in response to unspecified “threats”. …Lunkina has left Russia claiming that threats had been made towards herself and her film producer husband. Lunkina… told Russian newspaper Izvestia: “I think we need to react to these threats. These people have no right to interfere in our private lives or my professional work.” The 33-year-old dancer’s unspecified allegations suggest that the threats were made in connection with a film project involving her husband. She had been due to perform in Stravinksy’s The Rite of Spring later this year. "I was supposed to be doing a lot of interesting work, including several premieres," she said. While believed to be unconnected the news of Lunkina’s departure from Russia comes at a dark time for the Bolshoi after its well-liked artistic director Sergei Filin, 42, was brutally attacked in Moscow on 17 January. A masked man threw sulphuric acid in his face as Filin was returning home after a party.  Inspired by Matilda Battersby, The Independent ow.ly/hnHUj Image source Malixia ow.ly/hnIt6 No right to interfere in our private lives (February 12 2013)Svetlana Lunkina the 33 year old Russian Bolshoi principal ballerina having trained under the great Soviet ballerina Ekaterina Maximova under whose leadership at 18 years of age she became the youngest dancer in the history of the company to perform the title role in Giselle. Lunkina is the subject of an article published in the Independent by Matilda Battersby titled ‘Bolshoi ballerina Svetlana Lunkina says she’s been driven from Russia by ‘threats’’, following the acid attack on artistic director Sergei Filin two weeks ago, and general director Anatoly Iksanov stating that ‘evil’ has entered the company. Battersby states “…the company’s top ballerina [Lunkina] has revealed she has moved to Canada in response to unspecified “threats”. …Lunkina has left Russia claiming that threats had been made towards herself and her film producer husband. Lunkina… told Russian newspaper Izvestia: “I think we need to react to these threats. These people have no right to interfere in our private lives or my professional work.” The 33-year-old dancer’s unspecified allegations suggest that the threats were made in connection with a film project involving her husband. She had been due to perform in Stravinksy’s The Rite of Spring later this year. “I was supposed to be doing a lot of interesting work, including several premieres,” she said. While believed to be unconnected the news of Lunkina’s departure from Russia comes at a dark time for the Bolshoi after its well-liked artistic director Sergei Filin, 42, was brutally attacked in Moscow on 17 January. A masked man threw sulphuric acid in his face as Filin was returning home after a party.

 

Inspired by Matilda Battersby, The Independent ow.ly/hnHUj Image source Malixia ow.ly/hnIt6

Valentino Clemente Ludovico Garavani the 80 year old Italian fashion designer has been profiled by Christina Patterson in an article published in The Independent titled ‘Valentino Garavani: The man who turned fashion into an art form’. Patterson states “Audrey Hepburn wore them. Elizabeth Taylor wore them. So did Grace Kelly and Jackie O. …anyone who was anyone, and who was beautiful, and glamorous, and famous, and chic, wore Valentino clothes. And the clothes, it seems, weren’t just clothes. The clothes, it seems, from the way they’ve been displayed, in a new exhibition marking the 50-year career of Valentino Garavani, were art. …Sometimes, it’s just in the cut, but it isn’t “just” a cut, because the cut, like a line in a Picasso, is the mark of the master’s art. Sometimes, it’s in the beadwork, or the edging, or the stitching of a piece of cord. Sometimes, it’s in a piece of silk that’s been cut to make a rose. When you leave the gallery, and go into the room that has cabinets showing close-up examples of the craft, it almost makes you gasp. It makes you think of those medieval artists who carved whole worlds on tiny bits of ivory. It is art. Even to me, it’s art. …a wedding dress that was made for Princess Marie-Chantal of Greece. The dress, apparently, took 25 seamstresses four months. Like, perhaps, the dresses of Marie-Antoinette. But at least the seamstresses are called seamstresses. What Valentino calls his seamstresses (or used to, before he sold the business on) is “le ragazze”. “Le ragazze” means “the girls”. It must be quite strange to be a 60-year old woman and called a “girl”. It must make you think of those Brits who called their adult male African servants “boy”. “To dress stars or empresses is very pleasant,” says Valentino, “because their concept of high fashion remains so pure.” He isn’t joking. He really seems to think that the world he displays, of money, celebrity, flattery, name-dropping, and, of course, an all-consuming obsession with appearance, is something to flaunt.” Inspired by Christina Patterson ow.ly/gpQnf image source Georges Biard ow.ly/gpQm2 Turned fashion into an art form (January 6 2013)

Valentino Clemente Ludovico Garavani the 80 year old Italian fashion designer has been profiled by Christina Patterson in an article published in The Independent titled ‘Valentino Garavani: The man who turned fashion into an art form’. Patterson states “Audrey Hepburn wore them. Elizabeth Taylor wore them. So did Grace Kelly and Jackie O. …anyone who was anyone, and who was beautiful, and glamorous, and famous, and chic, wore Valentino clothes. And the clothes, it seems, weren’t just clothes. The clothes, it seems, from the way they’ve been displayed, in a new exhibition marking the 50-year career of Valentino Garavani, were art. …Sometimes, it’s just in the cut, but it isn’t “just” a cut, because the cut, like a line in a Picasso, is the mark of the master’s art. Sometimes, it’s in the beadwork, or the edging, or the stitching of a piece of cord. Sometimes, it’s in a piece of silk that’s been cut to make a rose. When you leave the gallery, and go into the room that has cabinets showing close-up examples of the craft, it almost makes you gasp. It makes you think of those medieval artists who carved whole worlds on tiny bits of ivory. It is art. Even to me, it’s art. …a wedding dress that was made for Princess Marie-Chantal of Greece. The dress, apparently, took 25 seamstresses four months. Like, perhaps, the dresses of Marie-Antoinette. But at least the seamstresses are called seamstresses. What Valentino calls his seamstresses (or used to, before he sold the business on) is “le ragazze”. “Le ragazze” means “the girls”. It must be quite strange to be a 60-year old woman and called a “girl”. It must make you think of those Brits who called their adult male African servants “boy”. “To dress stars or empresses is very pleasant,” says Valentino, “because their concept of high fashion remains so pure.” He isn’t joking. He really seems to think that the world he displays, of money, celebrity, flattery, name-dropping, and, of course, an all-consuming obsession with appearance, is something to flaunt.”

 

Inspired by Christina Patterson ow.ly/gpQnf image source Georges Biard ow.ly/gpQm2

David Lister the British Arts Editor for The Independent and Fellow of the Royal Society of Arts, has published an article in The Independent titled ‘The Turner Prize and its judges have painted themselves into a corner’. Lister states “I have never fully "got" the Turner Prize. This week, as every year, it certainly made a stir and found an interesting winner in Elizabeth Price, a 45-year-old video artist formerly of the eighties pop band Talulah Gosh (I must have been washing my hair during their 15 minutes of fame, because I can't recall them at all). But with or without memories of Talulah Gosh, the Turner Prize, presented by the statutory celebrity, this year Jude Law, proved again one of the biggest and glitziest events in the arts calendar. …It has a mission. Other arts awards don't. The Oscars and Baftas don't have a stated purpose to encourage people to debate and love film. The Comedy Awards don't solemnly claim that their objective is to get the populace discussing what makes them laugh. But the Turner Prize comes with a mission statement. It professes that it is, "intended to promote public discussion of new developments in contemporary British art". …two of the four on this year's shortlist were video artists, the third was a performance artist, and the fourth an artist who drew with a hint of excrement. There was no painter. I suspect that there is still puzzlement in public understanding about video art, just as I suspect there is still puzzlement over why painting is the poor relation in contemporary art. How helpful it would have been this week if the chair of the Turner Prize judges, Penelope Curtis, the head of Tate Britain, had "promoted public discussion of new developments in contemporary art" by addressing that publicly. Is there a crisis in British painting, Penelope? Does that make you sad, as the head of one of the most famous homes of painting in the world? Sure, let's have the parties, and the prizes presented by actors. But let's have the real discussion too. Remember that mission statement.” Inspired by The Independent ow.ly/gdKYA image source Twitter ow.ly/gdKW3 Turner Prize judges painted selves into a corner (December 28 2012)

David Lister the British Arts Editor for The Independent and Fellow of the Royal Society of Arts, has published an article in The Independent titled ‘The Turner Prize and its judges have painted themselves into a corner’. Lister states “I have never fully “got” the Turner Prize. This week, as every year, it certainly made a stir and found an interesting winner in Elizabeth Price, a 45-year-old video artist formerly of the eighties pop band Talulah Gosh (I must have been washing my hair during their 15 minutes of fame, because I can’t recall them at all). But with or without memories of Talulah Gosh, the Turner Prize, presented by the statutory celebrity, this year Jude Law, proved again one of the biggest and glitziest events in the arts calendar. …It has a mission. Other arts awards don’t. The Oscars and Baftas don’t have a stated purpose to encourage people to debate and love film. The Comedy Awards don’t solemnly claim that their objective is to get the populace discussing what makes them laugh. But the Turner Prize comes with a mission statement. It professes that it is, “intended to promote public discussion of new developments in contemporary British art”. …two of the four on this year’s shortlist were video artists, the third was a performance artist, and the fourth an artist who drew with a hint of excrement. There was no painter. I suspect that there is still puzzlement in public understanding about video art, just as I suspect there is still puzzlement over why painting is the poor relation in contemporary art. How helpful it would have been this week if the chair of the Turner Prize judges, Penelope Curtis, the head of Tate Britain, had “promoted public discussion of new developments in contemporary art” by addressing that publicly. Is there a crisis in British painting, Penelope? Does that make you sad, as the head of one of the most famous homes of painting in the world? Sure, let’s have the parties, and the prizes presented by actors. But let’s have the real discussion too. Remember that mission statement.”

 

Inspired by The Independent ow.ly/gdKYA image source Twitter ow.ly/gdKW3

 

She seems to be afraid of the photographer (November 27 2012) She seems to be afraid of the photographer (November 27 2012)

Jordi Ruiz Cirera the 28 year old Spanish documentary photographer based in London has won the Taylor Wessing Photographic Portrait Prize 2012 for his photograph of ‘Bolivian woman who (only reluctantly) agreed to have her portrait taken’. Matilda Battersby for The Independent states “He won the trust of the Mennonite woman while journeying through South America. The winning portrait is part of a series called Menonos, in which Ruiz Cirera documents the daily life of a religious community. Margarita Teichroeb is pictured at the home she shares with her mother and sister in the Swift Current Colony in Bolivia.”Sitting in front of the camera was not easy for Margarita, photography is forbidden for Mennonites and having her direct portrait taken was quite difficult so I could only take two frames of her,” Ruiz Cirera said. “She seems to be afraid of the photographer, unwilling to expose herself to our gaze. Her awkward expression says a lot about the tradition, isolation and lifestyle of this community.” More than 50,000 Mennonites live in Bolivia, descendants of Christian Anabaptists who left Germany in the sixteenth century. Famously reclusive, the pacifist sect still speaks Low German and their society prohibits the use of cars and electricity. “It’s a very humble existence. They live as their ancestors did, in small, conservative communities devoted to God and sustained by hard work in the fields. Mennonite society is very patriarchal and gender roles are strict,” Ruiz Cirera said. Born in Spain, Ruiz Cirera studied Design at Elisava College, Barcelona, before moving to the UK and gaining an MA in Photojournalism and Documentary Photography at the London College of Communication.”

 

Inspired by Matilda Battersby ow.ly/fuEqq image source Twitter ow.ly/fuEj9

Think before you shoot (November 22 2012) Think before you shoot (November 22 2012)

Kevin Macdonald the 45 year old Scottish director, best known for his films One Day in September, State of Play, The Last King of Scotland, Touching the Void and Marley; has been profiled by Ian Burrell for The Independent in an article titled ‘’The world is full of opinion. What we need is people who go out and find the facts’. Burrell states “Think before you shoot,” is the advice of the Oscar-winning director Kevin Macdonald to anyone with a newly acquired video camera who fancies themselves as a bit of a film-maker. …at the forefront of exploring the internet-driven phenomenon of amateur documentary making – celebrated in his crowd-sourced film Life in A Day, which was based on 80,000 clips submitted to YouTube, all recorded on 24 July 2010. Yet the remarkable snapshot of modern life, later shown on BBC1, did not convince Macdonald him that the age of the amateur is upon us. “You would find beautiful little moments and very talented people who had done something really special but that was the needle in the haystack,” he says. “It has become as easy to write a blog as it is to make a film or take a photograph – you don’t need any particular skill, you can just do it. There’s a democratising side to it but it also means that a lot of stuff gets sprayed out there. Nobody thinks before they switch on the video recorder.” …Documentary making has become harder than ever, Macdonald maintains. “These days if you had £120,000 for a documentary you would say that’s unbelievable. Today, 18 years later, you are expected to make something for BBC4 on the same subject for £40,000, which is the equivalent of £20,000 back then.”

 

Inspired by Ian Burrell ow.ly/fmTBk image source BBC ow.ly/fmTt3

I didn't realise how predatory he was (November 19 2012) I didn’t realise how predatory he was (November 19 2012)

Celia Paul the 53 year old British Indian painter who she was taught by Lucian Freud, becoming his muse and having his child named Frank Paul, who is also an artist.  In an interview with Matilda Battersby for The Independent Paul speaks about the effect their relationship had on her own work. Battersby states “Lucian Freud said it was “like walking into a honey pot” when he first saw Celia Paul’s paintings. What Paul, who met Freud as her tutor at the Slade in 1978, didn’t realise then, but laughs wryly at now, is that the sweet thing he was taken with was her 18-year-old self, as much as her artwork. “I really didn’t know anything about his womanising,” Paul says. “I didn’t realise how predatory he was.” She later discovered that he’d taken the job as visiting tutor at the famous London art school because his relationship at the time was going wrong and “he wanted to find a new girlfriend”. The teenage Paul was caught in Freud’s spell; and a potent one it proved. …”I was really quite disturbed by his predatoriness. It felt quite complicated, because obviously I was compelled by his art, which I admired so much.” But the 55-year-old Freud, whose mesmerising qualities had at that point already earned him 13 acknowledged children, won Paul over. It took several months for them to become lovers, and two years for Freud to paint Paul. But she would become a significant muse for him in the early 1980s.”

 

Inspired by Matilda Battersby ow.ly/fmFrE image source Cassone ow.ly/fmFk0

Slick, superficial and only for the super-rich (November 9 2012) Slick, superficial and only for the super-rich (November 9 2012)

Luc Tuymans the 54 year old Belgian contemporary artist considered one of the most influential painters working today with his signature figurative paintings has been profiled by Adrian Hamilton for The Independent in an article titled ‘Luc Tuymans: Slick, superficial and only for the super-rich’. Hamilton states “Are the painting “series” so fashionable with contemporary artists now becoming a means less of exploring the boundaries of their art than just producing repetitive works that can be sold as distinct items? The question is prompted by the showing of recent works by the Belgian artist, Luc Tuymans, at David Zwirner’s new Mayfair gallery. …At his best he paints works of shifting focus that unnerve the eye and genuinely challenge the viewer. His Zwirner show, it has to be said, is not his best. …The interest of the galleries (and we’re talking here about a million pounds or more per painting) is to play along with this by presenting every few years a new show of their artists’ ‘recent works’. It is in the interest of the painter, whatever his or her creativity at the time, to supply the market with a steady flow of new offerings. “Series” become the easy way for them to do it. In the hands of the Twomblys and the Richters, they provide a way of pushing the boundaries of their art, testing their limits. In the hands of lesser artists they can be simply a means of productivity. I felt this with Damien Hirst’s Spot Paintings and Gilbert & George’s London Pictures, to name two recent examples. I feel it with Tuymans now.”

 

Inspired by Adrian Hamilton ow.ly/eUd92 image source Marcwathieu ow.ly/eUcOC

A Potential Piece of Yellowism (October 21 2012) A Potential Piece of Yellowism (October 21 2012)

Vladimir Umanets the 26 year old Russian founder of ‘Yellowism’ has been arrested by British police for the graffiti damage caused to a Mark Rothko painting at the Tate Modern. In an article by John Fahey & Ellen Branagh published in The Independent, states “The wording on the bottom-right corner of the piece appears to read: “Vladimir Umanets, A Potential Piece of Yellowism. “Umanets said “Some people think I’m crazy or a vandal, but my intention was not to destroy or decrease the value, or to go crazy. I am not a vandal.” Umanets, who studied art, is one of the founders of “Yellowism”, which he describes as… “Yellowism is not art, and Yellowish isn’t anti-art. It’s an element of contemporary visual culture. It’s not an artistic movement. It’s not art, it’s not reality, it’s just Yellowism. It can’t be presented in a gallery of art, it can be presented only in Yellowistic chambers. The main difference between Yellowism and art is that in art you have got freedom of interpretation, in Yellowism you don’t have freedom of interpretation. Everything is about Yellowism – that’s it. I am a Yellowist. I believe what I am doing and I want people to start talking about this. It was like a platform. I don’t need to be famous, I don’t want money, I don’t want fame, I’m not seeking attention. Maybe I would like to point people’s attention on what it’s all about. What is Yellowism? What is art? It’s good people are shocked about what happened. No one is realising what actually happened, everyone is just posting that the piece has been damaged or destroyed or defaced. “But I believe that after a few years they will start looking for it from the right angle. So that’s why I did it. I believe that from everything bad there’s always a good outcome so I’m prepared for that but obviously I don’t want to spend a few months, even a few weeks, in jail. But I do strongly believe in what I am doing, I have dedicated my life to this. To be honest, I do believe I increased the value. It seems probably ridiculous for someone but I do believe in this. I didn’t decrease the value, I didn’t destroy this picture, I put something new.”

 

Inspired by John Fahey & Ellen Branagh ow.ly/eofzx image source Huff Post ow.ly/eofWN

Hooliganism motivated by religious hatred (September 3 2012) Hooliganism motivated by religious hatred (September 3 2012)

Nadezhda Tolokonnikova the 23 year old Russian musician with the feminist punk rock group ‘Pussy Riot’, along with two other group members have lodged appeals against their two year sentence. In an article published in The Independent Shaun Walker states “As lawyers for the jailed members of the punk band Pussy Riot prepare their appeals, the three women are gearing up to face the grim reality of two years in a Russian prison, where they will be able to meet their families and young children just once every six months, and receive phone calls only quarterly. …sentenced to two years in prison …for performing a “punk prayer” in a Moscow cathedral in February. The women say it was a political protest over the Russian Orthodox Church’s support for President Vladimir Putin, but the court ruled that it constituted “hooliganism motivated by religious hatred” in a verdict that has caused outrage in Russia and across the world. Lawyer Nikolai Polozov said he expected the court to hear the women’s appeal in September, and if it was unsuccessful, they would be moved from pre-trial detention to a prison camp shortly afterwards. …The women can be dispatched to any prison in Russia, meaning they could end up thousands of miles away from Moscow. Two of the women have young children, but Mr Polozov said this would not be taken into account, and they would be allowed to see them only twice a year.”

 

Inspired by Shaun Walker ow.ly/djhZX image source Таганский суд ow.ly/djitD

Unique style of observational comedy (August 4 2012) Unique style of observational comedy (August 4 2012)

Des Bishop the 37 year old Irish-American comedian who has developed a unique style of observational comedy, most critical of his adopted home in Ireland and the America he left behind, has been profiled by Jay Richardson in an article published in The Independent on his plans to learn Mandarin from scratch and perform stand-up in China. In the article Bishop states “What I thought China was and what it is are two very different things, all you hear is the very narrow focus upon human rights, the economy, the one-party system and the disparity between the rural poor and the urban wealthy. You never hear about everyday life. I was blown away by how different it was to my expectations and how much it was unlike the West. I picked up [a regional Irish variant language] faster than I expected and quickly started using it at gigs in Irish-speaking areas. Only improvised stuff, just bantering with the crowd. I realised structuring material would be difficult but actually messing around with the language, it was easy to be funny. What surprised me learning Irish was how much better I understood what made those places tick, it’s something you don’t feel until it happens”.

 

Inspired by The Independent ow.ly/czs6y image source Facebook ow.ly/czs5E

Tracey Karima Emin the 48 year old British artist, part of the group known as Britartists or YBAs (Young British Artists), has been featured by novelist Jeanette Winterson in The Independent under the title ‘The evolution of Tracey Emin’. Winterson states from a discussion with Emin, ““Wherever I am, I am aware of where I am, and the me that is in the where I am. So I am always a little bit outside of anywhere, and wondering about it.” But Tracey, what happens when the iconoclast becomes an icon? “I’m a role model, yeah, but that doesn’t mean I belong.” But doesn’t fame and fortune put you in the elite, not the outsiders? …Warhol began the idea of artist as artwork. At its most corrupt it has become celebrity culture where making news is a much more important activity than making anything worthwhile. It is vacuity and spin. Tracey Emin does make things; she has made a lot of things, and recently in her continual re-visions of hand and eye, body and brain, her work has suffered a sea-change into something rich and strange. The ugly feral shock of My Bed. The defiant beauty of the blue nudes. It’s all Tracey Emin – she can see that. Look at her.”

 

Inspired by Jeanette Winterson ow.ly/b9qEf image source Tyrenius ow.ly/b9pQW

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