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May 30 2012

Centre de la Photographie Genève / Interview with Director Joerg Bader

On the occasion of the opening of the exhibition Høpe ou comment armer ses jeux by Maya Bösch & Christian Lutz at the Centre de la Photographie Genève, VernissageTV met up with the director of the center of photography, Joerg Bader, in order to find out more about this institution. In this video, Joerg Bader talks about history, concept, structure and funding of the Centre de la Photographie Genève, and major past and upcoming shows. (Excerpt. Complete interview after the break.)

The Centre de la Photographie Genève (CPG) was founded in 1984 by a group of Genevan photographers. Since 2007, the CPG is located in an old ironworks building in Geneva’s Quartier des Bains district alongside the Mamco (Museum of Modern and Contemporary Art) and the Centre d’Art Contemporain (CAC). The CPG’s program focuses on monographic exhibitions. The Centre de la Photographie Genève organizes approximately 6-7 exhibitions each year. Major exhibitions at the CPG include Laurence Bonvin (2008), Gerhard Richter (2009), Yto Barrada (2010), and Serge Fruhehauf (2010).

The next exhibitions at the CPG are Images to the West. An Archive From the GDR Trade Fair and Industry Design 1967 to 1990 by Estelle Blaschke, Armin Linke, Doreen Mende and Philippe Ursprung (starts may 31, 2012); and Andrej Djerkovic: Sarajevo (starts June 21, 2012).

Centre de la Photographie Genève / Interview with Director Joerg Bader. Geneva, Switzerland, May 3, 2012.

PS: The exhibition Maya Bösch & Christian Lutz: Høpe / Centre de la Photographie Genève runs until June 17, 2012.

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Full-length interview (13:38 min.):


May 17 2012

Président Vertut: Grey Matters / TMproject, Geneva

TMprojects in Geneva, Switzerland shows a new body of work by the artist Président Vertut. The show is called Grey Matters, which is a project that started in 2010 on the occasion of the Geneva City Arts Council’s Grants exhibition at Contemporary Art Centre. With this project, Président Vertut’s character enters into politics: “Through a series of drawings, paintings, and a video installation, the artist conceives the visual identity of a party defined as the extreme center, the Middle Party, which color is a very specific medium gray named Global Average Grey. The Middle Party syncretizes all the contradictions of political action in its current mode of operation. It is not opposed to limit the flexibility of politicians, nor to the soft consensus, or the unlikely idea of a social liberalism that allows strictly individual happiness. It comes to terms with it and, worse, promotes it, even by the use coercive methods.”

The centerpiece of the exhibition is an installation titled Euroscope Méditerranée, a very angry sculpture project consistent of a coin-operated telescope (Euroscope), which was turned into a sniper rifle pointing on a video screen depicting the mediterranean sea, looking out for immigrants.

Président Vertut was born 1978 in Bourg-en-Bresse, France. He lives and works in Geneva, Switzerland. In 2008 he graduated from the Geneva University of Art and Design (HEAD). He received the City of Geneva Arts Council Grant in 2011 and 2007, and the Quartier des Bains Art Prize in 2011. Président Vertut’s exhibition at TMproject runs until June 23, 2012.

Président Vertut: Grey Matters / TMproject, Geneva. Opening reception (Nuit des Bains), May 3, 2012.

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May 10 2012

Maya Bösch & Christian Lutz: Høpe / Centre de la Photographie Genève

The exhibition Høpe ou comment armer ses jeux at the Centre de la Photographie Genève is an installation the brings together photography, scenography and sounds. The show emerged from the collaboration between stage director Maya Bösch (Compagnie Sturmfrei) and photographer Christian Lutz. The photographic installation after a stage production aims to question our society, our responsibility by showing the underground, and the world of the forgotten.

In November 2011, Maya Bösch, with her Compagnie Sturmfrei, realized Howl, the Allen Ginsberg poem at the Biennial Charleroi Danses (B). The photographer Christian Lutz accompanied the various stages of rehearsal and performance. During his trip to Las Vegas last December, Christian Lutz discovered parallels between the two juxtaposed realities: life and theater. This video provides you with a walk-through of the exhibition. A video interview with Maya Bösch is available after the jump.

Maya Bösch & Christian Lutz: Høpe / Centre de la Photographie Genève. Opening, May 3, 2012 (Nuit des Bains). Video by Daniel Barney.

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> On YouTube:

Interview with Maya Bösch (16:08 Min.):

Press release (in French language):

Installation issue d’un processus de création scénique

Vernissage le 3 mai dès 18h à l’occasion de la Nuit des Bains.

De janvier 2011 à juin 2012, Maya Bösch initie un processus de création autour de la « Beat Generation ». Elle collabore avec plusieurs artistes sur des formes différentes de représentations : atelier, lecture, performance, création. En novembre dernier, elle crée avec sa compagnie sturmfrei, Howl, le poème phare d’Allen Ginsberg à la Biennale Charleroi Danses (B). Le photographe Christian Lutz accompagne ces différentes étapes de répétition et de représentation. Lors de son voyage à Las Vegas en décembre dernier, Christian en sort des parallèles entre deux réalités et les juxtapose : la vie et le théâtre.

Comment armer ses yeux face à l’autocratie économique et politique ? Comment armer ses yeux face aux évènements quotidiens ? Comment armer ses yeux face au pouvoir ? Comment armer ses yeux face à soi-même ? Ne pas voir pour mieux voir ?

Cette installation met en scène deux espaces qui se distinguent autant dans la forme que dans le fond. La première pièce restitue la diversité du processus de création et documente en noir et blanc le souvenir de ce théâtre de la pauvreté. La deuxième pièce compose en couleur des nouvelles réalités, croise théâtre et vie et ouvre ainsi à des nouvelles perspectives et interrogations encore inconnues.

Une ode à ceux dans l’ombre, un carburant pour le demain.

L’artiste Karelle Ménine s’entretient régulièrement avec la metteure en scène Maya Bösch : une réflexion en permanent mouvement, contradictoire, et éclairante sur l’art en train de se faire sera présentée ici.

Concept : Maya Bösch / Photographie : Christian Lutz / Graphisme : Pablo Lavalley / Son : Karelle Ménine / Technique : Jean-Michel Broillet et Vanessa Bianchini

Production : cie sturmfrei / Coproduction : Centre de la Photographie Genève, GRÜ/Transthéâtre Genève / Partenaires de Création : GRÜ/Transthéâtre Genève, Le Manège de Mons (B), Biennale Charleroi Danses (B), Pro Helvetia, La Loterie Romande, Ville de Genève-Département de la culture et du sport, Canton de Genève-Département de l’instruction publique

Distribution et Remerciements :
Acteurs de la cie sturmfrei : Fred Jacquot-Guillarmod, Pascal Gravat, Pascal Merighi, Boubacar Samb, Nicolas Leresche, Roberto Garieri / Invitée spéciale : Noemi Lapzeson / Acteurs du Théâtre National de Bretagne (F) : Ambre Kahan, Duncan Evenou, Karine Piveteau, Marina Tek, Nathan Bernat, Romain Brosseau, Sarah Amrous / Guitaristes : Vincent Hänni, Jean-Marc Montera / Scénographe : Thibault Vancranenbroeck / Lumières : Colin Legras / Son : Rudy Decelière / Dramaturgie : Timo Kirez / Assistante mise en scène : Sophie Martin-Achard / Régie générale : David Kretonic / Special Guest : Sofie Kokaj


May 09 2012

Amy O’Neill: “V” / Blancpain Art Contemporain, Genève

The current exhibition at the gallery Blancpain Art Contemporain in Geneva / Switzerland is a solo show with works by the New York-based artist Amy O’Neill. The exhibition is titled “V” for “Victory Gardens” and refers back to the World Wars I and II, when American and English citizens were urged to plant vegetable gardens to reduce the pressure on the public food supply. Another aim was to boost the morale on the home front. The artist takes this patriotic effort as inspiration for her sculptures, installations and drawings that are on display at the gallery.

Amy O’Neill was born in 1971 in Beaver, Pennsylvania / USA. Currently, she lives and works in New York. Her solo exhibitions include shows at Centre Cultural Suisse in Paris; MAMCO in Geneva; and The Box, Wexner Center for the Arts, Columbus Ohio. The exhibition at Blancpain Art Contemporain runs until June 30, 2012.

Amy O’Neill: “V”. Solo exhibition at Blancpain Art Contemporain, Genève. Opening reception, May 3, 2012 (Nuit des Bains).

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From the press release:

Amy O’Neill’s most recent sculpture and installation work, “V” for “Victory Gardens” (2010-11) refer back to the war effort in World Wars I and II , in which American and English citizens were urged to plant vegetable gardens to put food on their tables, and to instill, particularly among children, a work-ethic and the kind
of patriotism that was seen as essential to the times. (The younger boys of today are the soldiers of the
next war.) Among the vintage images related to these gardens that have been collected by the artist, many show smiling, wholesome young girls posing with the fruits of their labor, casting them not only as future homemakers but as mothers. Propaganda posters were printed with slogans like: “Sow the seeds of Victory — Every Garden a Munition Plant” and “Our Food Is Fighting.” The “seeds of victory” can also be thought to refer to procreation, and the original garden is, of course, the one from which we all supposedly emerged: God and country.

As the “American” flag configuration appears in the “Victory Gardens” works, it is composed of narrow bands of burlap bags filled with sand. They are thus also sandbags, having strong associations with battlefield protection and the trench warfare of World War I, as well as with retaining walls constructed in times of flooding, meant to shore up riverbanks and levees. But there is the possibility that in wrapping oneself in patriotism, there is also a burying of one’s head in the sand, metaphorically refusing to see things for what they are, to face the facts. These works have been produced in different sizes, mostly in scale to the kinds of flags that are displayed in front of American homes. With their flag configurations, and the way that the pieces sit low or prone to the ground, these works have to be seen as anti-monuments. Made in a time of war, and with the prospect of perpetual conflicts around the globe, Amy O’Neill’s symbolic gardens are more fallow than bountiful, watched over by a scarecrow that has nothing to protect, mute and standing guard in an empty field.

Amy O ’Neill’s newest works arrive at a juncture of both resignation and hope. With the passage of time, one is able to see how her thematic concerns, her subject matter, and her own personal history are all interwoven — a process for which she offers reciprocal images: the flag unraveled and the tilled earth of the garden. Amy O’Neill is a storyteller of sorts, and while her cast of characters and locations are for the most part amusing and light-hearted, her view has always been shaded in darker tones. In O’Neill’s world there is no sentimental longing for the past, rather, she reminds us that, while never truly reconciled, the presence of the past is always with us, and haunts us, a lens through which we are able to view the circumstances in which we find ourselves today. Amy O’Neill is an artist whose project is both in, and against, the American grain.

Bob Nikas, 2011.

(Excerpt from Memory and Displacement in the Work of Amy O’Neill.)


April 06 2012

Thomas Huber: Vous êtes ici (You are Here). Retrospective at Mamco, Geneva

Since the early 1980s, the Swiss artist Thomas Huber has created a unique body of work whose imagery remained very consistent over the years. Huber’s works show interiors of monumnetal architecture, impressive buildings in deserted cities, and pictures painted into other pictures. The retrospective at Mamco shows approximately four hundred paintings. The show is titled Vous êtes ici (You are Here) and spans around thirty years of Thomas Huber’s career and is laid out chronologically. The exhibition also includes scale models, installations, sketches, and explanatory drawings. Finally, five panels have been installed in Geneva that show parts of Thomas Huber’s fictional city Huberville. Thomas Huber: Vous êtes ici runs until May 6, 2012. This video provides you with a walk-through on the occasion of the “Nuit des Bains” on March 15, 2012. With a special appearance by Johanna Di Dio (thank you!).

Thomas Huber: Vous Êtes Ici (You are Here). Retrospective at Mamco Musée d’art moderne et contemporain, Geneva / Nuit des Bains. March 15, 2012.

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> On YouTube:

Press release:

Since the early 1980s, the Swiss artist Thomas Huber has been producing a body of pictorial work that reveals a deep link with writing and language. Not so much because of the signs we see in his paintings, or the words or even whole expressions we can read there—there are indeed many examples of that. Rather it is because, along with his activity as a painter, Huber is also the author of texts which he is in the habit of delivering like a lecture or talk, standing before the images he composes. The artist thus reconnects with and explores the link—consubstantial with art history—between the painted figure and text.

Thomas Huber’s pictorial output, from the start of his career until today, has known no evolution (even less any revolution). It has never shown any change either in its style or its themes, and thus conjures up an image of painting that from the outset has been comfortably settled in its immutable identity, even a kind of timelessness. Huber’s pictures generally represent the interiors of a monumental architecture in which scenes play out that very often evoke a waking dream. The works show imposing buildings in cities that are frequently empty and even—why not—utopian (Huber has moreover created a fictional city called Huberville, the subject of several of his canvases, while Giorgio de Chirico, that painter of silent, deserted towns, is one of his favorite artists). They also feature pictures, lots of pictures, painted into other pictures. The picture indeed seems to be the object that doubly frames his experiments. Even though Huber explores a broad range of media and techniques for displaying art (film, video, installations, slide shows, drawing, watercolor, painting on canvas), it is the painted picture that he uses most often; it is the true means by which he gains access to the world of the real and the imaginary. Thus, just under four hundred paintings make up the retrospective that Mamco has mounted, where the title Vous êtes ici (You Are Here)—that shorthand expression for orienting pedestrians on public city maps— informs visitors of a kind of duty to be present in front the images, or rather of the fact that the images make it possible for visitors to genuinely be there. The show aims to be instructive and is laid out chronologically, beginning on the museum’s fourth floor. It covers a period of around thirty years in the artist’s output. The canvases are arranged in groups of works, each bearing a title like La poste (The Post Office), La bibliothèque (The Library), or Sonnez les matines (Morning Bells Are Ringing). To show these paintings today, the museum has recreated the original forms of display, the very ones that the artist devised for the works’ initial presentation. The exhibition also includes scale models and installations, as well as sketches, explanatory drawings, and quotes by the artist, which are featured on the walls. Finally, five panels painted by Huber and spotting images of Huberville, the artist’s fictional town, have been installed in the city, both around Mamco and in a neighborhood that is fairly close to the museum geographically, a way of bringing the artist’s imagination to the heart of Geneva.

Huber has also devoted a speech to each group of works. His painting is in fact deeply linked with the textual and specifically the texts he writes for his visual works and which he normally delivers in front of his canvases during his show openings. At the very start of his painting career, in fact, Huber didn’t mount exhibitions strictly speaking. Rather he would give a lecture in front of one of his images before reclaiming it and removing it from public view. Mamco is publishing an anthology of these texts in conjunction with the museum’s retrospective (Mesdames et Messieurs. Conférences 1982-2010). The writings are fictional stories, autobiographical episodes, philosophical considerations on art and existence, daydreams, digressions that take images as their starting points, Russian doll effects for the eye, fantastical views of paintings, and more… They show the degree to which seeing, reading and hearing are closely associated in Huber’s art, and that one cannot fully function without the others. In this way Huber reconnects with an ancient law of art history, which he reinvents and shifts to new ground, namely ut pictura poesis (“as painting, so poetry”), a formula that implies that painting, to be truly great, must be like poetry. For Thomas Huber, it is now language that is the picture’s alter ego, and both forms enjoy a full existence in the Vous êtes ici of the artist’s lecture.

Thomas Huber was born in 1955 in Zurich; he lives and works in Berlin.

March 23 2012

David LaChapelle: Earth Laughs in Flowers / Patricia Low Contemporary, Geneva / Nuit des Bains

The current exhibition at the gallery Patricia Low Contemporary in Geneva presents new works by David LaChapelle. The exhibition is titled Earth Laughs in Flowers and showcases photographs that are inspired by art historical masterpieces.

David LaChapelle is known for his unique style that is often opulent, surreal and ironic. At first glance, the photographs presented in Earth Laughs in Flowers show beautiful floral arrangements. At closer inspection the viewer discovers blood stained broken glasses, parts of sex dolls, pill boxes. “LaChapelle’s floral studies are contemporary reconsiderations of 16th century still life paintings: a genre which both exalted early modern consumer indulgence and forewarned of its moral corruption.” (Patricia Low Contemporary)

David LaChapelle: Earth Laughs in Flowers at Patricia Low Contemporary, Geneva. Nuit des Bains, opening reception, March 15, 2012.

PS: See also: David LaChapelle: Jesus is my Homeboy.

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March 21 2012

Cécile Bart: Suspens at Geneva / Mamco Musée d’art moderne et contemporain, Geneva / Nuit des Bains

Another exhibition we had a look at during the “Nuit des Bains” in Geneva is Cécile Bart’s installation at the Musée d’art moderne et contemporain (Mamco). Titled Suspens at Geneva the work fills the entire sculpture hall of the museum. For her exhibition at Mamco, the French artist created an environment that consists of thirty-one translucent monochrome rectangular elements that seems to float in the room. By walking through the space, the visitor permanently creates new compositions of the elements. Cécile Bart’s installation consists of three groups or movements of different color schemes. Cécile Bart was born in 1958 in Dijon / France. She lives and works in Marsannay-la-Côte. Cécile Bart’s exhibition at Mamco runs until May 6, 2012.

Cécile Bart: Suspens at Geneva / Mamco Musée d’art moderne et contemporain, Geneva / Nuit des Bains. March 15, 2012.

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Press release:

Since the late 1980s, Cécile Bart has been producing paintings that she calls peintures/écrans, or paintings/screens. A quick reading of the works might lead one to see only abstract monochromes there, except for the fact that the translucent aspect of the surfaces and their arrangement in space undermine that interpretation, suggesting other modalities and temporalities to the eye. Viewers are free to move around in a “multidirectional environment”, fascinated by a place teeming with visual information.

Suspens at Geneva returns to the Suspens show that was held at Frac Bourgogne in Dijon over the summer of 2009, although this latest version both alters and expands on the original exhibition. The thirty-one elements that now make up the series are alkyd paintings on “Plein Jour” terylene, the same synthetic fiber used in the curtains that filter the light streaming through our windows while shielding us from the indiscreet eyes of others. The look of Bart’s paintings/screens is the result of two distinct, succeeding gestures. First, the paint, which is fairly diluted, is applied in quick, irregular brushstrokes to a terylene support stretched over a frame, then the color is wiped away. The minute spaces in the weave, blocked by several passes of the brush, are freed of the surplus pigment in a gesture that restores the transparency, if unevenly, to the fabric which had been tinted with a denser color earlier. While a hint of the brush’s light contact persists in spots, at the end of the process, paint and the fabric support merge. Strung from thin metal cable, the pieces seem to levitate, forming diaphanous screens that the eye encounters and looks right through; they are surfaces sensitive to variations in the light that mask nothing of what they are hanging in front of. As if struck by a kind of double vision, viewers move about in a polymorphous, multicolor environment that they activate themselves. In this theater, the paintings/screens create the setting, which is altered by the viewer’s every move. Hanging down or balanced in place, the paintings/screens are freed from both the wall and the conventional straight-on view of pictures. Some viewers are sure to recall their precursors, the exhibitions of the Russian Suprematists, Lissitzki’s Proun Room, or the abstract room in the Art of This Century Gallery in New York (1942).

The exhibition adheres to a partition that was elaborated in the artist’s studio with the help of a scale model of Mamco’s Sculpture Plateau. Bart has composed a kind of visual ballet in three movements. Featuring warm colors, the first movement, “Les Volants” (The Flying Ones), dances an arresting pas de deux with the windows of the Plateau. The second movement, “Les Nageurs” (The Swimmers), in blue and green tones, conjures up a waterline. Finally the third movement, “Les Acrobates” (The Acrobats), an alternating array of shadows and light, plays a subtle game with the floor of the space. The works flirt with the gallery’s walls without touching them, and surprise the eye with the juxtapositions and listing, teetering arrangements of the various colored pictorial planes. The display is total, the work dances throughout the whole of the space. Visitors’ movements around the venue animate this motionless choreography. They can remain on the edge of the installation, contemplating the floating screens, which play with the large windows of the Sculpture Plateau. Or they can choose to immerse themselves in the display and discover the focal points and the teeming number of perspectives.

What makes an image in Bart’s works is the dual function the paintings/screens fulfill. They are simultaneously cameras, displaying what they frame and recording, but without setting anything down permanently, the complete range of fleeting variations that affect the screens’ surfaces: the variations of light, the visitors’ movements, and so on. But they are also surfaces for projections that are haunted by the memory of beloved paintings, like the detail from Matisse’s 1947 canvas Le Silence habité des Maisons (The Inhabited Silence of the House), projected on terylene and, for Bart, transformed into both a source image and an experience of the fusing of image and support through projection. The shadows cast by the paintings/screens are also an integral part of this display, where the way in which the pieces are hung constitutes the work strictly speaking. Viewers familiar with art history may recall here the hand-drawn shadows of certain ready-mades that Marcel Duchamp placed in his final painting, Tu m’.

Cécile Bart was born in 1958 in Dijon; she lives and works in Marsannay-la-Côte (France).

March 19 2012

Sterling Ruby: Soft Work / Centre d’Art Contemporain Genève / Nuit des Bains

Three times a year the association Quartier des Bains in Geneva, Switzerland organizes the so called “Nuits des Bains”. The galleries of the main gallery district in Geneva present their new exhibitions, while the member institutions are open. On the occasion of the first of three “Nuits des Bains” that take place on the third Thursday in March, May and September each year, VernissageTV had a look some of the exhibitions and documented four of them.

The first is Sterling Ruby’s show Soft Work at the Centre d’Art Contemporain. For his solo show in Geneva, Los Angeles-based artist Sterling Ruby decided to focus on one specific body of work from his multifaceted practice, the “soft sculptures”. The entire gallery space is filled with stuffed fabric objects, hanging from the ceiling and lying on the floor. The site-specific installation is titled SW SET 1.

The Quartier des Bains Association was founded in 2005. In the 1990s, the first galleries opened their spaces in an industrial area around Geneva’s rue des Bains. Today, the Quartier des Bains Association consists of 14 galleries and 4 institutions: Galerie Analix Forever, Art & Public, Blancpain Art Contemporain, BFAS Blondeau Fine Art Services, Galerie Patrick Cramer, Jancou, Patricia Low Contemporary, Mitterrand + Cramer, Galerie Charlotte Moser, Ribordy Contemporary, SAKS, Skopia (P-H Jaccaud), TMproject, Xippas Art Contemporain, Mamco (Musée d’art moderne et contemporain), Centre d’Art Contemporain Genève, Centre de la photographie Genève, and Médiathèque FMAC. In addition to the “Nuits des Bains”, the Quartier des Bains also runs a competition for a public art intervention. The competition is open to artists invited by the association’s members, the Haute école d’art et de design (HEAD), and the Quartier des Bains partners. The artists design banners and flags that are shown in the streets of Geneva and on Geneva’s Mont-Blanc Bridge. This year, Jonathan Monk won the prize. Previous winners were: Sam Samore, Fabrice Gygi, Ryan Gander, Gianni Motti, Das Institut, and Président Vertut. Finally there’s also the Quartier des Bains’ so called “Nocturne” that take place on April 4, and June 6 this year.

Sterling Ruby: Soft Work / Centre d’Art Contemporain, Genève / Nuit des Bains. Geneva / Switzerland, March 15, 2012.

PS: See also: Sterling Ruby: I AM NOT FREE BECAUSE… at Sprüth Magers Berlin.

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February 09 2011

Alexandre Joly: Dérive Exotiques at Galerie Rosa Turetsky

Following his exhibition at Galerie Römerapotheke in Zürich, Alexandre Joly provides us with additional aspects of his work at Galerie Rosa Turetsky in Geneva. The exhibition is a continuation of his artistic process blending numerous mediums into one body of work. Joly specifically uses sound in two of the installations, as a material which allows him to explore time and space, while creating links between the different elements of his work. He constructs a corporeal and sonar experience offering a new perception of reality. The exhibition runs until March 5, 2011.

Alexandre Joly: Dérive Exotiques at Galerie Rosa Turetsky. Opening reception, January 27, 2011. Video: Daniel Barney.

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January 06 2009

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