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    “Pulling Faces” by Fanakapan in Aberdeen, Scotland

    The Dorset-born, London-based street artist Fanakapan brought a smile to Aberdeen this week – two in fact – with his perspective-defying street art, the fifth artist to appear for Nuart Aberdeen Summer 2021.Fanakapan is the latest ‘artist in residence’ in the Granite City curated by Nuart to bring new life to its walls.With a background in prop making, Fanakapan began creating hyper realistic visuals of real life objects in the early 2000’s. Free-hand yet technical, eye-catching but with literal and metaphorical depth, Fanakapan is best known for gleaming metallic balloons floating their way across canvases and city walls around the world. His works have earned him a stellar reputation within the urban contemporary art scene.For Nuart, he added his unique style to NHS Building, the Frederick Street Clinic, with the piece ‘Pulling Faces’ a fitting goodwill message for the city and its health service.The huge smiley faces, one rendered in a ‘3D’ style while the other wears its own pair of red and blue 3D glasses, are visible on West North Street all summer long and beyond.Hit the jump for more photos of Fanakapan’s work. Photo credits: Clarke Joss More

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    LACMA’s Game-Changing Partnership With Mega-Collector Budi Tek Will Kick Off With a Show of Contemporary Chinese Art

    In 2018, Chinese-Indonesian art collector Budi Tek announced an unprecedented partnership with the Los Angeles County Museum of Art (LACMA) that effectively granted the museum—vis-a-vis a dedicated foundation—co-ownership of his vaunted collection of contemporary Chinese art.
    Now, for the first time, a selection of art from that trove is on view at LACMA. Twenty pieces from Tek’s collection make up the new exhibition “Legacies of Exchange,” including works by Ai Weiwei, Xu Bing, and Qiu Anxiong, among others.
    The show “highlights works that relate to cross-cultural exchange, both recent and historical, between China and the West,” said Susanna Ferrell, LACMA’s assistant curator of Chinese Art who organized the show, in a statement.
    The first of the show’s two sections brings together examples of Chinese artists in conversation with historical European paintings. In a 2006 canvas, for instance, Zhou Tiehai reimagines Jacopo Palma’s Venus and Cupid with the mascot for Camel cigarettes standing in for the Roman Goddess. In a 1997 painting, Yue Minjun recreates the central young girl in Diego Velázquez’s Las Meninas as a hysterical pink man.
    The second half of the exhibition, meanwhile, looks at the ways in which artists have appropriated the language of commercial advertising in their work, such as in Huang Yong Ping’s 1997 installation Da Xian: The Doomsday. The piece comprises a trio of larger-than-life porcelain bowls filled with boxes of cereal that all give the same expiration date: July 1, 1997, the day of Hong Kong’s handover to China.
    Yue Minjun, Infanta (1997). © Yue Minjun. Courtesy of Pace Gallery.
    A prominent entrepreneur, Tek began collecting art in 2004. By 2014, he had amassed a personal collection of more than 1,000 pieces and founded a 9,000-square-foot private institution—the Yuz Museum in Shanghai—to house it all. Then came an unfortunate turn: The following year, Tek was diagnosed with pancreatic cancer.
    Just as quickly as his museum opened its doors, Tek was forced to decide its long-term future. After China denied attempts to make the Yuz Museum public, Tek turned to Michael Govan, LACMA’s CEO and director, with an alternative idea. Their eventual collaboration yielded a new foundation to oversee the collection, which would live in China but otherwise travel between LACMA and the Yuz museum for temporary exhibitions.
    Likewise, the foundation is governed by a board of trustees made up equally of representatives from LACMA and the Yuz Museum.
    “I said to Michael Govan, ‘Now we are like a husband and wife. You don’t vote by saying I’m one percent bigger than you—you can’t outvote someone,’” Tek told Artnet News in 2018.
    The first fruits of the partnership came in the form of “In Production: Art and the Studio System,” an exhibition of works from LACMA’s collection that brought in over 20,000 visitors to the Yuz Museum in 2019. 
    See more images from “Legacies of Exchange” below.
    Installation view of “Legacies of Exchange: Chinese Contemporary Art from the Yuz Foundation” at the Los Angeles County Museum of Art, 2021. Courtesy of LACMA.
    Wang Guangyi, Joseph Beuys’ Dead Hare (1994). © Wang Guangyi. Photo: Arnold Lee, Dijon Yellow Imaging.
    Installation view of “Legacies of Exchange: Chinese Contemporary Art from the Yuz Foundation” at the Los Angeles County Museum of Art, 2021. Courtesy of LACMA.
    Qiu Anxiong, The Doubter 2010). © Qiu Anxiong. Courtesy of the artist. Photo: Julian Wang.
    Installation view of “Legacies of Exchange: Chinese Contemporary Art from the Yuz Foundation” at the Los Angeles County Museum of Art, 2021. Courtesy of LACMA.
    “Legacies of Exchange: Chinese Contemporary Art from the Yuz Foundation” is on view now through March 13, 2022 at the Los Angeles County Museum of Art.
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    Damien Hirst’s Cherry Blossom Paintings, a Sentimental Ode to the Joys of Spring, Are Now on View in Paris

    The Fondation Cartier pour l’art contemporain in Paris has opened a new solo show featuring works by Damien Hirst, making it his first museum show in France.
    The artist, best known for making artworks out of dissected sharks, pill cabinets, and suspended animals, recently made a return to painting to realize a 107-piece series of canvases featuring flowering cherry blossoms inspired by Pointillism and Impressionism.
    Thirty of the works are now on view at Cartier’s Paris-based foundation through next January.
    The works present branches laden with blossoms in white, maroon, pink, and green, all depicted in short, thick brushstrokes with elements of gestural painting that nod to Action Painting. More

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    “22 Years Smiling with Friends” Group Show by Pez in StolenSpace Gallery, London

    After 2 years since the success of Pez’s group show, “20 Years Smiling with Friends”, Stolen Space Gallery is excited to welcome back Pez and his “fish friends” for “22 Years Smiling with Friends” – a celebration of artistic and personal kinship. 25 artists will take part in collaborating with Pez across mediums, including on print, paper, and canvas. Each artist will bring their own unique style and characters into the world of Pez!The show will be open to the public from August 6 to August 29, 2021. Opening night is scheduled on the 5th August, 6-9pm. The event is free for all to attend, no need to RSVP.Spanish street artist Pez began painting the streets in 1999, creating his signature character of the Fish. This character comes from the experimentation and the desire to do something constructive on the walls of his city. The always smiling fish is his alter-ego of sorts. It is present in all his works, and composed with a colourful palette of positivism. His artwork is a journey full of joy, that ranges across classic graffiti to experimental pop art.Check out the images and posters to see “22 Years Smiling with Friends” artist lineup. More

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    Works From the Fabled Collection of Late Samsung Chairman Lee Kun-hee Are Finally on Public View in South Korea

    This week, the Korean public got its first chance to see a smattering of artworks from the multi-billion-dollar collection amassed by the late Samsung Group chairman Lee Kun-hee. 
    Two shows dedicated to Lee’s former possessions went on view at major venues in Seoul Wednesday, July 21. The events marked the first time that any pieces from his collection have gone on public display since being conferred to two institutions in April. 
    The National Museum of Korea unveiled a presentation of historical artifacts from the Lee collection, including 28 pieces designated by the state as National Treasures. The 77 objects on view represent just a fraction of the more than 21,600 items donated to the institution by Lee’s heirs. 
    Meanwhile, the National Museum of Modern and Contemporary Art (MMCA) opened an exhibition of 58 Modern and contemporary paintings and sculptures by 34 Korean artists selected from the almost 1,500 artworks gifted from the Lee collection. 
    Jeong Seon, Clearing after Rain on Mount Inwang (1751). Courtesy of the National Museum of Korea.
    “We selected items that have artistic and historic value for this exhibition,” National Museum curator Lee Soo-kyung said during a press preview, according to the Korea Herald. “Our main purpose is to show the characteristics of Lee Kun-hee’s collection.”
    On view in the two-month-long National Museum exhibition are rare examples of paintings, porcelain, metal statues, and wooden furniture dating from the prehistoric era to the early 20th century. The highlight of the group is Clearing after Rain on Mount Inwang, a 1751 landscape painting by Joseon-period artist Jeong Seo. It’s thought to be the Samsung chairman’s first major art purchase.
    “A large part of the 1,488 artworks donated to our museum from Lee’s collection is Modern art, which our museum has a shortage of,” Park Mi-hwa, curator of the MMCA exhibition, explained in a preview of that institution’s show.
    “Accordingly, for the first of our special exhibitions featuring the donated Lee collection, we selected Modern art pieces by Korea’s most popular artists.” Among those represented in the exhibition are landscape painter Byeon Gwansik, abstractionist Kim Whanki, and sculptor Kwon Jinkyu.
    The historic gifts to the two museums this spring ended a months’-long debate about the fate of the more than 23,000 works of art following Lee’s death in October of 2020.

    MMCA 이건희컬렉션 특별전: 한국미술명작국립현대미술관 서울2021. 7. 21. ~ 2022. 3. 13.
    MMCA Lee Kun-hee Collection: Masterpieces of Korean Art MMCA Seoul21. Jul. 2021 ~ 13. Mar. 2022 pic.twitter.com/gVnh6rQK2c
    — 국립현대미술관 (@MMCAKOREA) July 20, 2021

    Media outlets had previously speculated that Lee’s heirs, including his son Lee Jae-yong and widow Hong Ra-hee, might sell some of the prized artworks to international buyers in order to cover the $11 billion (₩12.5 trillion) inheritance tax bill on the $20 billion (₩ 22 trillion) fortune the chairman left behind.
    Ultimately, the heirs chose to keep the collection in the country, distributing its pieces among state institutions, including the National Museum, MMCA, and the Leeum Samsung Museum of Art.
    But the artworks, owned by the state, won’t stay in these institutions for long. Earlier this month, the South Korean minister of culture, sports, and tourism, announced plans to build a new museum solely dedicated to the Lee collection. 
    Reservations to see the National Museum show are booked for the next month, a spokesperson for the museum told the Herald.
    Tickets to see the MMCA show aren’t quite as hard to get. There, reservations are unavailable through early August, per Korea JoongAng Daily. 
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    Frida Kahlo Is the Latest Artist to Get the Immersive Installation Treatment With a New Projected Light Show in Mexico City

    There’s a new way to experience the work of Mexican artist Frida Kahlo. Art lovers making a pilgrimage to her hometown of Mexico City, where she lived at La Casa Azul with her husband, fellow artist Diego Rivera, can now add a second stop to their itinerary: “Frida: La Experiencia Immersiva.”
    That’s right, Kahlo, perhaps the world’s most famous woman artist, has gotten the “Immersive Van Gogh” treatment, with a 35-minute projected light show that animates 26 of the artist’s works in larger-than-life fashion. Because Kahlo specialized in self-portraits, the experience is something of an immersive autobiography, telling the story of her struggles with illness and disability, as well as her unconventional and often fraught romance with Rivera.
    The exhibition is a way “to get to know Frida’s paintings, which have been around the world, but with a little bit of familiarity and intimacy,” the artist’s great-grandniece Mara de Anda told Agence France Presse. “I believe that Frida was very avant-garde and modern so this fits perfectly. She was a woman ahead of her time.”
    But while the show does have the Kahlo family’s stamp of approval, it is also is a corporate affair, presented by the National Bank of Mexico Citibanamex and OCESA, a Mexican concert promotion company. The show was produced by Iñaki Barcos Melga and features visuals by Mexican multimedia experience company Cocolab, which bills itself as working at the intersection of art, technology, and entertainment.
    Installation view of “Frida: La Experiencia Immersiva.” Photo courtesy of Cocolab.
    “FRIDA is an immersive, multi-sensory experience that takes the work of artist Frida Kahlo and presents it on a monumental scale accompanied by music, scenography, sculpture, interaction, and digital animation,” Cocolab said on its website.
    The experience opened on July 6, to coincide what would have been the artist’s 114th birthday. It’s on view at Fronton Mexico, an entertainment venue housed in an Art Deco building.
    Installation view of “Frida: La Experiencia Immersiva.” Photo by Claudio Cruz/AFP via Getty Images.
    Two-and-a-half years in the making, the experience features famous Kahlo paintings such as The Two Fridas, Girl with a Death Mask, Me and My Parrots, and The Broken Column, Mexican music, and narration drawn from the artist’s letters and diaries. It uses 90 projectors and 50 speakers to present a 360-degree vision of Kahlo’s life and career.
    There is also an interactive “Free Stroke” installation where visitors can draw digitally, and a “Fantastic Creatures” room where they can chose the figures in Kahlo’s artwork that best represents them.
    “You can also listen to the music she listened to, you can see details of her work, [and] you can also find out family secrets,” Frida Hentschel Romero, another great-grandniece, told Reuters, calling the experience “very different from what we have seen [before].”
    Tickets range from MX$280 ($14) to MX$369 ($18).
    See more images of the installation below.
    Installation view of “Frida: La Experiencia Immersiva.” Photo by Claudio Cruz/AFP via Getty Images.
    Installation view of “Frida: La Experiencia Immersiva.” Photo by Claudio Cruz/AFP via Getty Images.
    Installation view of “Frida: La Experiencia Immersiva.” Photo by Claudio Cruz/AFP via Getty Images.
    Installation view of “Frida: La Experiencia Immersiva.” Photo by Claudio Cruz/AFP via Getty Images.
    Installation view of “Frida: La Experiencia Immersiva.” Photo by Claudio Cruz/AFP via Getty Images.
    Installation view of “Frida: La Experiencia Immersiva.” Photo by Claudio Cruz/AFP via Getty Images.
    Installation view of “Frida: La Experiencia Immersiva.” Photo courtesy of Cocolab.
    Installation view of “Frida: La Experiencia Immersiva.” Photo courtesy of Cocolab.
    Installation view of “Frida: La Experiencia Immersiva.” Photo courtesy of Cocolab.
    Installation view of “Frida: La Experiencia Immersiva.” Photo by Claudio Cruz/AFP via Getty Images.
    Installation view of “Frida: La Experiencia Immersiva.” Photo by Claudio Cruz/AFP via Getty Images.
    Installation view of “Frida: La Experiencia Immersiva.” Photo courtesy of Cocolab.
    Installation view of “Frida: La Experiencia Immersiva.” Photo courtesy of Cocolab.
    Installation view of “Frida: La Experiencia Immersiva.” Photo courtesy of Cocolab.
    Installation view of “Frida: La Experiencia Immersiva.” Photo by Claudio Cruz/AFP via Getty Images.
    Installation view of “Frida: La Experiencia Immersiva.” Photo courtesy of Cocolab.
    Installation view of “Frida: La Experiencia Immersiva.” Photo courtesy of Cocolab.
    Installation view of “Frida: La Experiencia Immersiva.” Photo courtesy of Cocolab.
    Installation view of “Frida: La Experiencia Immersiva.” Photo by Claudio Cruz/AFP via Getty Images.
    Installation view of “Frida: La Experiencia Immersiva.” Photo courtesy of Cocolab.
    Installation view of “Frida: La Experiencia Immersiva.” Photo courtesy of Cocolab.
    Installation view of “Frida: La Experiencia Immersiva.” Photo courtesy of Cocolab.
    “Frida: La Experiencia Immersiva” is on view at Frontón México, De La República 17, Tabacalera, 06030 Mexico City, CDMX, Mexico, July 6–September 30, 2021. 
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    Nearly Two Dozen Colorful Artworks Have Enlivened a Small English Town for the 2021 Folkestone Triennial—See Images Here

    The Folkestone Triennial opens to the public today, July 22, in the British seaside town of the same name.
    For the fifth edition of the town’s triennial of public art (through November 2), organizers have commissioned 23 works by 25 artists. Curated by Lewis Biggs, who founded the Liverpool Biennial, this year’s edition is titled “The Plot.”
    The triennial was postponed last year for logistical reasons, but Biggs said the pandemic context has made people “more willing to slow down and take notice of their physical surroundings,” adding that the public is “searching for [the] color and life-affirmation” that the exhibition offers.
    “Following a year of lockdowns, stress and anxiety for everyone, it feels like there is a renewed energy here in Folkestone,” said Alastair Upton, the chief executive of Creative Folkestone, which organizes the triennial. “Collectively we are ready to welcome people back to the town: a place that is proud of its independence, resilience and creativity.”
    Mariko Hori, Mellowing the Corners. Commissioned for Creative Folkestone Triennial 2021. Photo by Thierry Bal.
    Among the works on view is a flaming “Climate Emergency Services” van by artist Mike Stubbs, which offers a warning that feels apt during the U.K.’s current searing heat wave, and a series of tongue-in-cheek billboards by Gilbert & George, such as a poster designating a “good behavior zone.” 
    Meanwhile, minimalist benches by Richard Deacon have been installed in Kingsport Gardens, Jacqui Poncelet has created surreptitious peepholes in a wall with a kaleidoscopic view onto the former site of the town’s gasworks, and the Bangladeshi artist Rana Begum has given colorful new life to a slew of beach huts on Lower Saxon Way.
    See more images of the 2021 Folkestone Triennial below.
    Richard Deacon, Benchmark 1-5. Commissioned for Creative Folkestone Triennial 2021. Photo by Thierry Bal.
    Morag Myerscough, Flock of Seagulls Bag of Stolen Chips. Commissioned for Creative Folkestone Triennial 2021. Photo by Thierry Bal.
    Mike Stubbs, Climate Emergency Services. Commissioned for Creative Folkestone Triennial 2021. Photo by Thierry Bal.
    Mariko Hori, Mellowing the Corners. Commissioned for Creative Folkestone Triennial 2021. Photo by Thierry Bal.
    Jyll Bradley, Green _ Light (For M.R.. Commissioned for Creative Folkestone Triennial 2014. Photo by Thierry Bal.
    Jason Wilsher-Mills, I Am Argonaut. Commissioned for Creative Folkestone Triennial 2021 and produced by Shape Arts as part of the Adam Reynolds Award. Photo by Thierry Bal.
    Jacqueline Poncelet, Looking Ahead. Commissioned for Creative Folkestone Triennial 2021. Photo by Thierry Bal.
    Jacqueline Poncelet, Looking Ahead. Commissioned for Creative Folkestone Triennial 2021. Photo by Thierry Bal.
    Jacqueline Donachie, Beautiful Sunday. Commissioned for Creative Folkestone Triennial 2021. Photo by Thierry Bal.
    HoyCheong Wong, Simon Davenport and Shahed Saleem, Nūr. Commissioned for Creative Folkestone Triennial 2021. Photo by Thierry Bal.
    Gilbert & George, CHAIN BRAIN (2019), exhibited at Creative Folkestone Triennial courtesy of the artists. Photo by Thierry Bal.
    Assemble, Skating Situations. Commissioned for Creative Folkestone Triennial 2021. Photo by Thierry Bal.
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    How Joseph E. Yoakum, an Enigmatic Former Circus Hand and Untrained Artist, Found Drawing in His 70s—and the Hairy Who as Admirers

    In 1962, Joseph E. Yoakum had a dream that told him to make drawings. 
    He was 71 then, a retired veteran and one-time circus hand living in Chicago. He had no experience making art. But for the next decade of his life—his last, it would turn out—drawing was what he did, churning out some 2,000 wondrous pieces in the process. 
    Most came in the form of dreamy landscapes, tethered equally to the natural world and the artist’s own fantastical one: scalloped mountains and pristine pools of water, forests that look like heads of romanesco, and winding roads that disappear into the horizon line. A sense of yearning pervades it all.
    The old adage about the Velvet Underground—that only 10,000 people bought their first album, but that every one of them started a band—also applies to Yoakum. Not many people saw his drawings, but those who did came away as immediate and lifelong fans.  
    That was certainly the case with Roger Brown, Gladys Nilsson, Jim Nutt, Karl Wirsum, and Ray Yoshida—all members of the influential group of Chicago Imagists, the Hairy Who, who were among Yoakum’s most ardent admirers since meeting the self-taught artist in 1968. (Brown would later compare their discovery of Yoakum to Picasso’s discovery of Henri Rousseau.)
    Now, thanks in large part to significant loans from that group, others will get the chance to fall in love with Yoakum’s work, too. A major survey of the late artist’s output—the largest ever mounted—is on view now at the Art Institute of Chicago, with subsequent stops at the Museum of Modern Art in New York and Menil Collection in Houston planned for October of 2021 and April of 2022, respectively.  
    Joseph E. Yoakum, Waianae Mtn Range Entrance to Pearl Harbor and Honolulu Oahu of Hawaiian Islands (1968). Courtesy of the Art Institute of Chicago.
    “Jim [Nutt] once told me, “The only reason I can figure that Yoakum doesn’t have greater visibility is that he doesn’t have a weird backstory,’” recalled Mark Pascale, curator of prints and drawings at the Art institute and an organizer of the show.   
    “Yoakum,” Pascale explained, “was just a regular person.” 
    Well, sort of. The artist may have lived a rather regular life, but that’s not how he told it. Yoakum had a habit of fabricating stories about who he was and where he’d been. He was a full-blooded Native American, he told some (or a “Nava-joe” Indian, as he put it); he had a dozen brothers and sisters, he told others.   
    What we do know is that Yoakum, an African American, was born in Ash Grove, Missouri in 1891. He left home at nine to join the circus, and spent the next 10 years of his life traveling throughout the United States and, eventually, Asia, with various acts. In 1918, he enlisted in the army, through which he was stationed in Canada and then Europe.
    Roughly 40 years later, after multiple failed marriages, he settled in a storefront apartment on Chicago’s South Side. It was there that he first began showing his work, hanging drawings in the window. And it quickly became clear that all the travels of his youth had a demonstrable influence.
    Joseph E. Yoakum, American Zeppolin Flight from New York City to Paris France in Year 1939 (1969). Courtesy of the Art Institute of Chicago.
    Yoakum’s drawings were almost always captioned with specific (and often playfully misspelled) names—so specific that you’d assume they were based on places he’d actually been to.
    “Mt Baykal of Yablonvy Mtn Range near Ulan-Ude near Lake Baykal of Lower Siberia Russia E Asia,” reads one.
    “The Open Gate to the West in Rockey Mtn Range near Pueblo Colorado,” says another.
    Whether the artist had ever been to these places is unknown, and because of his penchant for stretching the truth, we may never know. But when it comes to his work, that may not be relevant. 
    By his own assertion, Yoakum accessed these places through a process that he called “spiritual enfoldment.” The phrase was drawn from the literature of Christian Science (Yoakum was a devout believer) and was used by the artist to describe how he used art to locate memory.  
    “He’d make the drawing, he’d have a spiritual enfoldment, he would recognize where the place was, and then he would label it,” Pascale said.
    Joseph E. Yoakum, Mt Baykal of Yablonvy Mtn Range near Ulan-Ude near Lake Baykal of Lower Siberia Russia E Asia (1969). Courtesy of the Art Institute of Chicago.
    There’s a common misconception, given the Imagist’s interest in Yoakum, that he had a great deal of influence on their work. And it’s not hard to draw a line between their brand of representation and his own. But that’s not quite right, explained Pascale. Nutt, Nilsson, and the other Imagists were almost fully formed as artists by the time they discovered Yoakum in the late 1960s. 
    If there was one thing that the movement’s members found in Yoakum’s work, though, it’s an interior picture. 
    “[The Imagists] were all trying to find their way as artists,” said Pascale. “They were looking for this place inside of themselves that was unique. With Yoakum, there it was—this guy found it.”
    In a sense, it was the only thing Yoakum had. By the time he made his drawings, he was estranged from his children and had outlived all his ex-wives. He was alone.
    Joseph E. Yoakum, Mt Cloubelle Jamaca of West India (1969). Courtesy of the Art Institute of Chicago.
    “My takeaway, from all the years I’ve spent thinking about it, is that the landscape drawings that Yoakum made are a picture story of his life,” said Pascale.
    “They are his self-portrait, his autobiography. It’s like 10 years at the end of his life spent making a visual diary of where he was, where he had been, and where he had hoped to go, where he felt most excited and comfortable, and where he felt he lived the most.” 
    “Joseph E. Yoakum: What I Saw” is on view now through October 18, 2021 at the Art Institute of Chicago.
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