2019 Jeanine Durning & Malik Gaines
JEANINE DURNING is an Alpert Award winning choreographer, performer and teacher, whose work has been described by The New Yorker as having both “the potential for philosophical revelation and theatrical disaster.” Her research is often motivated by fundamental questions around how our basic desire for connection and communication aligns, and often misaligns, with how our thinking and feeling come to form and action.
Since 1998, Durning has created both solo and group works that have been presented nationally and internationally. Her most recent projects are centered around a procedural practice she calls nonstopping. In 2010, Durning premiered her critically acclaimed solo inging (based on nonstop speaking) in Amsterdam, and has since then been performed over 45 times in studios, theaters, galleries, rooms and festivals across Europe (Stockholm, Berlin, Zagreb, Kristiansand/Norway, Poznan/Poland and Leuven/Belgium), the US (NYC, Los Angeles, San Francisco, Milwaukee, Williams College, UMBC), in Toronto, Canada. The arts journalist, Camille LeFevre of Minneapolis wrote: “Jeanine Durning’s inging is the cri de coeur of a dancer, choreographer and actor struggling, with every cell of her being, to smash any distinctions between those three identities while, more importantly, refuting any notions that body and mind, spirit and sensation, voice and physicality, emotion and intellect are separate.”
Durning’s work has been supported and awarded by two New York Foundation for the Arts Fellowships in Choreography (2016, 2006), the Alpert Award for Choreography (2007), the Movement Research Artist in Residence (2013-2015), Gibney Dance Center’s Dance in Process Residency (2015), Brooklyn Arts Exchange Space Grant (2013), Viola Farber Residency through Sarah Lawrence College (2007), Lower Manhattan Cultural Council Space Grant (2005), Dance Theater Workshop Choreographic Lab (2005), Dance Space Center Residency (2004), The Yard Choreographic Residency (2002), The Bossak Heilbron Charitable Foundation grant (2002), and a Meet The Composer grant (2002).
In support of her new project dark matter, selfish portrait, Durning has received residencies at Seoul Dance Center, Korea through Movement Research Exchange and Asian Cultural Council (September 2017), the Rauschenberg Foundation Residency (November/December 2017), and several MANCC residencies (2018-19), made possible through the Mellon Foundation.
Durning is a sought-out performer, having collaborated with many choreographers, including David Dorfman (with whom she worked from 1995-2003), Susan Rethorst, Bebe Miller, Martha Clarke, Chris Yon and Richard Siegal. Since 2005, Durning has worked on and off with post-modern dance pioneer and choreographer Deborah Hay in the capacities of performer, choreographic assistant and most recently, from 2011-2013, as consultant to the Motion Bank (Frankfurt) on Ms. Hay’s choreographic and scoring practices.
Durning has had an ongoing teaching practice since 2000, facilitating classes/workshops/ateliers in movement and choreographic practices. She is dedicated to the transfer, transmission and translation of embodied knowledge to a future generation of performers and makers. She sees her teaching practice as a natural extension of her research of dance, focusing on how action, affect, content and context are in shared dialogue with choreographer, performer and audience alike. Durning has taught at numerous institutions across the US, including most recently at UCLA/WAC, and in Europe, including The School for New Dance Development (SNDO) in Amsterdam and with The Inter-University Centre for Dance (HZT) in Berlin.
Durning is often invited to advise the work of other choreographers as mentor and/or dramaturge. She has worked in this capacity with many choreographers including Ame Henderson (Toronto), Lito Walkey (Berlin), Tian Rooteveel (Berlin), Christina Ciupke (Berlin), Alma Soderberg (Brussels), Simon Tanguy (Rennes), Sam Kim (NYC), Julian Barnett (NYC), Quim Bassart (Stockholm), Meg Foley (Philadelphia), and Michelle Boule (NYC).
MALIK GAINES is a writer and performer interested in representation. His book Black Performance on the Outskirts of the Left: A History of the Impossible (2017, NYU Press) traces a transnational circulation of political ideas through performances of the sixties and beyond and was nominated for a Lambda Literary Award. His articles include “The Quadruple-Consciousness of Nina Simone” in Women & Performance, “City After 50 Years’ Living: LA’s Differences in Relation” in Art Journal, and many essays and interviews about for journals, magazines, museum publications, and monographs for artists such as Andrea Bowers, Mark Bradford, Meleko Mokgosi, Charles Gaines, Sharon Hayes, and Glenn Ligon. Recent writing has discussed Julius Eastman in Artforum and The Judson Dance Theater in the Museum of Modern Art’s exhibition catalogue. His research for a second book is concerned with performances and artworks at the limits of the U.S. American state.
Since 2000, Gaines has performed and exhibited with collaborators Jade Gordon and Alexandro Segade as the group My Barbarian. Their work uses musical/theatrical and critical techniques to playfully act out social difficulties. The trio has presented work at MoMA, The Kitchen, New Museum, Studio Museum in Harlem (New York), LACMA, REDCAT, MOCA (Los Angeles), SFMoMA (San Francisco), ICA (Philadelphia), Power Plant, (Toronto), ICA (London), De Appel (Amsterdam), El Matadero (Madrid), Peres Projects (Berlin), Torpedo (Oslo), Galleria Civica (Trento), Townhouse Gallery (Cairo), and many others. My Barbarian has had solo exhibitions at the New Museum, New York (2016); Gallery 400, University of Illinois, Chicago (2014); Susanne Vielmetter Los Angeles Projects (2013); Yaffo 23, Jerusalem, Israel (2013); Transformer Gallery, Washington DC (2012); Human Resources, Los Angeles (2012); Museo El Eco, Mexico City (2010); Hammer Museum, Los Angeles (2010); and Participant Inc., New York (2009). The group was included in the Whitney Biennial (2014), Baltic Triennial (2009), Montreal Biennial (2007), California Biennial (2008, 2006), and Performa Biennial (2007, 2005). My Barbarian has received grants and awards from United States Artists (2018), the Foundation for Contemporary Art (2013), Creative Capital (2012), City of Los Angeles Cultural Affairs (2010), and Art Matters (2008). Their work has been discussed in the New Yorker, New York Times, LA Times, Artforum, Art in America, Frieze, Texte zur Kunst, Bomb and various international newspapers, and by scholars including Shannon Jackson in The Drama Review, Tavia Nyong’o in Social Text, and José Muñoz in his book Cruising Utopia: The Then and There of Queer Futurity. Gaines works in other collaborative groups as well, and also makes solo music performance.
Gaines has curated exhibitions and performance programs independently, including “Fade: African American Artists in LA” for the City of Los Angeles (2004) and “Quadruple-Consciousness” at Vox Populi, Philadelphia (2010); and for LAXART, where he was a curator from 2005-2012, with solo shows by Anna Sew Hoy, Kalup Linzy and Colter Jacobsen and performances by Eleanor Antin and The Bodacious Buggerrilla, and as co-curator of the Hammer Museum’s biennial exhibition Made in LA (2012).
2017 Viviana Tellas & Miguel Gutierrez
VIVI TELLAS is an Argentine theatre director and curator whose work over the last thirty years has had a great influence on the local theatre and performance art scene. In 2015, she was named a distinguished figure of Argentinian culture by the City Government of Buenos Aires. Some of the highlights of her career as a theatre director include a staging of John Cage’s Europera V and Lecture on Nothing at the Colón Opera House, as well as a version of García Lorca’s The House of Bernarda Alba in collaboration with artist Guillermo Kuitca.
In 2014, she was honoured with the Belknap Fellow of the Humanities Council and the Department of Spanish and Portuguese of Princeton University. In 2009, she was invited by New York University (NYU) for the fall semester as a Visiting Professor to the Creative Writing Program in the Department of Spanish and Portuguese. She has also given workshops in London, Dublin, Cuba, Colombia, Barcelona, Buenos Aires, Amsterdam and São Paulo.
She is the founder of Biodrama, a revolutionary project on stage biographies. Finding theatricality outside the theatre has become the core of her work, and her unique vision of documentary theatre has led to a series of live archives with non-professional performers: Mi mamá y mi tía [My mom and my aunt], Tres filósofos con bigotes [Three philosophers with moustache], Cozarinsky y su medico [Cozarinsky and his doctor], Disc Jockey, Escuela de conducción [Driving School], Mujeres guía [Guide Women], Rabbi Rabino (Coil Festival, PS122, New York, 2011), O Rabino e seu filho [The Rabbi and his son] (Sao Paulo 2012), La bruja y su hija [The witch and her daughter], Maruja Enamorada [Maruja in love] and her latest piece, Las Personas, a remarkable play staged with the employees of the Teatro General San Martín.
In April 2013, she started her own radio show Gualicho, conversations with artists, at the University of Buenos Aires (UBA) radio station. She has participated as a speaker at TEDxRioDeLaPlata.
In 2016 Vivi Tellas was appointed Artistic Director of City Theater Teatro Sarmiento.
MIGUEL GUTIERREZ lives in Brooklyn and makes performances. He has been called “one of our most provocative and necessary artistic voices” by Eva Yaa Asantewaa at Dance Magazine. His work engages persistent philosophical questions about the search for meaning and joins a legacy of process-focused experimental dance while drawing on influences such as endurance-based performance art, noise music, ecstatic experience in social and religious rituals, the study of mind-body somatic systems, and various histories of spectacle including Broadway and queer club performance. His pieces include enter the seen (2002), I succumb (2003), dAMNATION rOAD (2004), Sabotage (with Jaime Fennelly 2001-2004), Retrospective Exhibitionist and Difficult Bodies (2005 Bessie Award), myendlesslove (2006), Everyone (2007), Nothing, No thing (2008), Last Meadow (2009 Bessie Award), HEAVENS WHAT HAVE I DONE (2010) And lose the name of action (2012) and Storing the Winter with Mind Over Mirrors (2013).
His most recent body of work is the Age & Beauty series:
Age & Beauty Part 1: Mid-Career Artist/Suicide Note or &:-/ premiered as part of the 2014 Whitney Biennial.
Age & Beauty Part 2: Asian Beauty @ the Werq Meeting or The Choreographer & Her Muse or &:@& premiered at AMERICAN REALNESS in 2015.
Age & Beauty Part 3: DANCER or You can make whatever the fuck you want but you’ll only tour solos or The Powerful People or We are strong/We are powerful/We are beautiful/We are divine or &:’/// premiered at Live Arts Bard at the Fisher Center for the Arts at Bard College in the Fall of 2015.
His work has been presented by venues such as the Brooklyn Academy of Music in NYC, Festival D’Automne and the Pompidou Centre in Paris, ImPulsTanz in Vienna, Walker Art Center in Minneapolis, MCA Chicago, PICA’s TBA Festival in Portland, the Flynn Center in Burlington and the Brooklyn Academy of Music. He most recently received a 2016 Doris Duke Artist Award. He has received fellowships from the Guggenheim Foundation, Foundation for Contemporary Art, United States Artists, Lambent Foundation, and New York Foundation for the Arts, as well as support from MAP Fund, Jerome Foundation, Creative Capital, and the NEA. He has been an artist in residence at Maggie Allessee National Center for Choreography, Lower Manhattan Cultural Council, Centre Choréographique National de Montpellier, Baryshnikov Art Center, Gibney Dance Center and several universities.
He has created one-off pieces for a host of venues, such as a collaboration with Jenny Holzer for the Boston ICA, an evening of performative interventions that were part of the Regarding Warhol exhibit at the Metropolitan Museum of Art, an hour-long performance for Courtesy the Artist’s residency during Performa 2013 at Recess Gallery, and a performance response to the Re-defining Actionism show at MUMOK in Vienna in partnership with ImPulsTanz. In 2013 he spent a week performing outdoors at the Roskilde Music Festival as one of the Holy Sisters of the Church of Beer, a project initiated by Jeremy Wade as part of his Maximum Service series. He has created commissions for Philip Adams’ BalletLab in Melbourne, The Fondue Set in Sydney, LabCo in Pittsburgh, Fauxnique/Monique Jenkinson in San Francisco, and Movement Forum in Salt Lake City. He has also participated in a variety of research/non-production based projects such as artist exchanges in Russia and Hungary that were supported by DTW’s The Suitcase Fund, an exchange with choreographer Luke George that was supported by Arts House in Melbourne, and a MANCC supported project with choreographer Alex Ketley where they drove through the American deep south in order to meet, interview and perform for strangers.
As a dancer he worked with Joe Goode Performance Group, Jess Curtis, Knee Jerk Dance Project, High Risk Group, Jennifer Monson, Juliette Mapp, Erin Cornell, Sarah Michelson, Alain Buffard, Deborah Hay, Ann Liv Young, Yvonne Meier, Mark Morris Group. For his work in John Jasperse Company he received the first Bessie for ensemble performance.
He’s read at the Poetry Project, People Herd, GUTS, Radar, and was a writer in residence in 2012 at RadarLAB in Mexico. His writing has appeared in the Movement Research Journal, Emily Roysdon’s Uncounted, online in his blog about celebrities called Stargayze.com, handjob the zine and his short essay “The Perfect Dance Critic” has been featured in several international publications. His book of performance texts WHEN YOU RISE UP is available from 53rd State Press. His work is discussed in Jenn Joy’s book The Choreographic, published by MIT Press.
He has choreographed and performed in music videos for Diane Cluck, Holcombe Waller and Le Tigre (which went viral and produced various copycat videos), has performed as a singer with Anohni, Nick Hallett, My Robot Friend, Justin Vivian Bond, Holcombe Waller, Vincent Segal and Kid Millions. He has created original music for several of his stage works and has released two albums under the moniker The Belleville. He is featured in David Thorpe’s documentary “Do I Sound Gay?”, Marc Huestis’ “Sex Is,” and Michael Wallin’s “Black Sheep Boy.”
He leads workshops in his approach to creative practice all over the world and has taught at ImPuls Tanz in Vienna, CND in Paris, CNDC/Angers, American Dance Festival, the MFA program at Hollins University, and in New York at New School/Eugene Lang, Hunter College, Gibney Dance Center, and Movement Research, among many other places. He invented DEEP AEROBICS, an absurdist workout for the radical in all of us, which has been foisted upon people all over the world and which was used to warm up audiences for The Knife “Shaking the Habitual” tour. From 2006-2015 he served as a volunteer mentor for TDF’s Open Doors program. He was the winner of the PS 122 One Minute Dance Contest in 2000, and in 1987 as a 16 year old he was one of the original Club MTV dancers. He is a guild certified practitioner of the Feldenkrais Method® and he studies voice with Barbara Maier.
2015 Sarah Thom & Mat Hand of Gob Squad
GOB SQUAD are a group of UK and German artists who make performances and videos which search for beauty in the everyday and look for words of wisdom from a passing stranger. Gob Squad is an artists collective, the 7 core members working collaboratively on the concept, direction and performance of their work. Other artists, performers and technicians are invited to collaborate on particular projects.
The collective explores the point where theatre meets art, media and real life. As well as theatres and galleries, they place their work at the heart of urban life – in houses, shops, underground stations, car parks, hotels or directly on the street. Everyday life and magic, banality and utopia, reality and entertainment are all set on a collision course and the audience are often asked to step beyond their traditional role as passive spectators and bear witness to the results.
The company started in Nottingham in 1994 but is now based in Berlin with a Nottingham office. Their work is regularly shown throughout Europe and has toured to all the continents (apart from Antarctica.)
2014 Mariano Pensotti & Toshiki Okada
As a playwright and director, MARIANO PENSOTTI has created over fifteen performances in the past ten years. Among his latest creations: Cineastas (Filmmakers), which premiered at Kunstenfestivaldesarts in Brussels and was presented in Wiener Festwochen, HAU Berlin, Holland Festival and Theaterformen(Hannover); El Pasado es un animal grotesco (The past is a grotesque animal), which premiered at Complejo Teatral de Buenos Aires and was presented at Kunstenfestivaldesarts, Festival de Otoño (Madrid), Theaterformen, Hebbel am ufer (Berlin), Auabirlewen (Bern), Norwich & Norfolk Festival (England), Kampnagel Festival (Hamburg), Zürcher Theater Spektakel (Zürich), Tempo Festival (Rio de Janeiro), Fiac (Bahia), Rotterdamse Schowburg (Rotterdam) and Frascati Theater (Amsterdam); Sometimes I think I can see you, which premiered in Berlin at Hebbel am Ufer as part of the Ciudades Paralelas Festival and has been presented in Buenos Aires, Cologne, Brussels, Zürich, Warsaw, Salamanca, Copenhage, Helsinki, Girona and Paris; Encyclopaedia of unlived lives, which premiered at Schauspielhaus Graz (Austria) and was presented during Steirischer Herbst Festival; and La Marea, which premiered at the V Buenos Aires International Festival and was subsequently invited to the Kunstenfestivaldesarts, Hebbel am Ufer Theater, Homo Novus Festival (Riga), Dublin Festival (Ireland), Festival Automne en Normandie (Rouen), Carrefour International de Théâtre (Québec), Festival Transamériques (Montréal), Yokohama (Japan), Festival Temporada Alta (Girona), Norfolk & Norwich Festival, Metropolis Copenhague (Denmark) and Push Festival (Vancouver).
TOSHIKI OKADA (writer/director) was born in Yokohama in 1973 and formed the theatre company chelfitsch in 1997. Since then he has written and directed all of the company’s productions, practicing a distinctive methodology for creating plays, and has come to be known for his use of hyper-colloquial Japanese and unique choreography. In 2005, his play Five Days in March won the prestigious 49th Kishida Drama Award. Okada participated in Toyota Choreography Award 2005 with Air Conditioner, garnering much attention. In September 2005, Okada won the Yokohama Cultural Award/Yokohama Award for Art and Cultural Encouragement. As the representative of his country, he took part in Stuecke’06 International Literature Project and in December of the same year, he presented Enjoy at New National Theatre, Tokyo. He has also served as the director for the 2006-07 Summit, an annual drama festival hosted by the Komaba Agora Theater (General producer, Oriza Hirata). In February of 2007 his collection of novels The End of the Special Time We Were Allowed debuted and was awarded the Kenzaburo Oe Prize. As a director he has directed Beckett’s Cascando for the Tokyo International Arts Festival ~ Beckett Centennial Memorial Festival, and Kobo Abe’s salient work Friends at the Setagaya Public Theater. More recently he also directed a workshop production of Strangeness with local actors at the Itami Ai Hall in Hyogo prefecture, Ghost Youth created through collaboration with students of Obirin University, and wrote a new play called Three Women for director Naoto Takenaka, among other projects. In recent years, he has widely drawn attention not only from the theatre world and the contemporary dance scene, but also from those in fine arts and literature. He has been invited to numerous art centers, museums and festivals such as Nam June Pike Art Center (Seoul), Walker Art Center (Minneapolis), Museum of Contemporary Art (Chicago), The National Museum of Art (Osaka) and Mori Museum of Art (Tokyo), and Yokohama Triennale. In March 2008, he presented Freetime, a piece co-produced by KUNSTEN FESTIVAL DES ARTS (Brussels), Wiener Festwochen (Vienna), and Festival d’Automne (Paris). In May 2009, New National Theater of Japan commissioned Okada to adapt and direct Dea Loher’s TAETOWIERUNG. As his stories as well as plays have continued to be published in Japan, his works have been translated into many languages and published abroad. Moreover, he has provided scripts for other theatre companies in Japan. In October 2009, Hot Pepper, Air Conditioner, and the Farewell Speech premiered in Berlin, in co-production with Hebbel Am Ufer (Berlin). His newest work Ground and Floor continues to tour throughout Europe and North America.
2013 Crystal Pite & Pol Heyvaert
Canadian choreographer and performer CRYSTAL PITE is a former company member of Ballet British Columbia and William Forsythe’s Ballett Frankfurt.
Pite’s professional choreographic debut was in 1990, at Ballet British Columbia. Since then, she has created over 40 works for companies such as Nederlands Dans Theater I, Cullberg Ballet, Ballett Frankfurt, The National Ballet of Canada, Les Ballets Jazz de Montréal (Resident Choreographer, 2001-2004), Cedar Lake Contemporary Ballet, Ballet British Columbia, and Louise Lecavalier/Fou Glorieux. She has also collaborated with Electric Company Theatre and Robert Lepage. Crystal is Associate Choreographer of Nederlands Dans Theater I and Associate Dance Artist of Canada’s National Arts Centre. In 2013, Crystal was appointed Associate Artist at Sadler’s Wells, London.
In 2002, she formed Kidd Pivot in Vancouver. Integrating movement, original music, text, and rich visual design, Kidd Pivot’s performance work is assembled with recklessness and rigour, balancing sharp exactitude with irreverence and risk. The company’s distinct choreographic language – a breadth of movement fusing classical elements and the complexity and freedom of structured improvisation – is marked by a strong theatrical sensibility and a keen sense of wit and invention.
Kidd Pivot tours nationally and internationally, performing such highly-demanded and critically acclaimed works as Dark Matters and Lost Action. Kidd Pivot’s residency at the Künstlerhaus Mousonturm in Frankfurt (2010-2012) provided Pite the opportunity to create and tour The You Show and The Tempest Replica. Most recently, the company has premiered Betroffenheit, a co-creation with playwright and actor Jonathon Young of Electric Company Theatre.
Pite is the recipient of the Banff Centre’s Clifford E. Lee Award (1995), the Bonnie Bird North American Choreography Award (2004), and the Isadora Award (2005). Her work has received several Dora Mavor Moore Awards (2009, 2012), and a Jessie Richardson Theatre Award (2006). She is the recipient of the 2008 Governor General of Canada’s Performing Arts Award, Mentorship Program, the 2011 Jacob’s Pillow Dance Award, the inaugural Lola Award in 2012, and the Canada Council’s 2012 Jacqueline Lemieux Prize. Most recently, she received a Laurence Olivier Award (2015) for Outstanding Achievement in Dance.
POL HEYVAERT has a long-standing relationship and is not one of the creative directors of CAMPO, a Ghent art commissioning and presentation centre and is the result of an amalgamation of Victoria and Nieuwpoortheater. Heyvaert was the stage designer for several productions by Victoria including (Alain Platel & Arne Sierens; 1994), (Alain Platel & Arne Sierens; 1997), (Latrinité; 2000), and (Wayn Traub; 2001), (Cristophe Frick; 2002) and (Lies Pauwels; 2004). He has also worked as stage designer for Les Ballets C de la B, notably for Alain Platel’s (1998), and for Nieuwpoorttheater with (1994), (1996), (1996) and (1996).
Pol Heyvaert has a long-standing relationship and is not one of the creative directors of CAMPO, a Ghent art commissioning and presentation centre and is the result of an amalgamation of Victoria and Nieuwpoortheater. Heyvaert was the stage designer for several productions by Victoria including Moeder en Kind (Alain Platel & Arne Sierens; 1994), Bernadetje (Alain Platel & Arne Sierens; 1997), Dansé Donsé Dan Dan (Latrinité; 2000), Wayn Storm Carmen Story and Mise-en-Traub V (Wayn Traub; 2001), Snack Bar Tragedy (Cristophe Frick; 2002) and White Star (Lies Pauwels; 2004). He has also worked as stage designer for Les Ballets C de la B, notably for Alain Platel’s Iets op Bach (1998), and for Nieuwpoorttheater with De 10des (1994), Napels (1996), Radio Carmen (1996) and Flippers (1996).
In 1999 he founded the Kung Fu collective together with Felix van Groeningen, where he directed Best Of and Discotheque. In 2001, he collaborated with Felix van Groeningen again on the Kung Fu short film Bonjour Maman and as a production designer for the feature film Steve + Sky. He was supporting artist for Oh Boy by Einat Tuchman and also artistic director for Looking for Alfred by Johan Grimonprez.
In 2005 Pol Heyvaert conceived, wrote and directed Aalst, a play about the trial following a family drama in a small Flemish village, Aalst. Since the original production he has aslo made a documentary on the same subject. The production has toured the world, and a full remake was made with the National Theatre of Scotland.
In 2006 Heyvaert did the general direction, stage design and video for the Victoria production Nightshade, which toured Europe extensively in 2006-07. With Nightshade Victoria challenged seven icons of the contemporary performing arts (Eric De Volder, Vera Mantero, Alain Platel, Caterina Sagna, Johanne Saunier, Claudie Triozzi & Wim Vandekeybus) to choreograph a striptease act for a male or female professional striptease dancer.
For CAMPO Pol Heyvaert made René, which looked at the life and work of the artist and architect René Heyvaert, Pol’s uncle. The piece was a ‘stage audition’ for the role of René Heyvaert, and opened with an exhibition of his work. In Cork he made Fuck my Life with Irish teenagers around the issue of teen suicides.
In 2011, he made Girl X for the National Theatre of Scotland, a performance for which he worked with a disabled actor and a choir. For this piece Pol was inspired by debates on internet forums about an eleven year old girl who suffered from severe cerebral palsy, and whose parents decided to remove her womb to keep her small and childlike.
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