The 22 Magazine


One Night Stand: A Biblical Epic on Mastication
January 21, 2013, 12:46 pm
Filed under: POETRY, WRITING | Tags: , , , , , , , , , , , , , , , , , , , , ,

By David Moody

Lord, forgive all my foxiness. Remember us humans, us cruising
to nightclubs and not braking to dead stop, us stepping—
no hand rail—in black pumps and boot-cuts up to the slut box
then forgetting to dance. Us keeping secrets. Our leaving no tip.
Sometimes in a good fuck I speak carpentry—spackle and jack
tape, Jesus rib, caulk. I awoke this morning naked as a jay bird. Buzzed,
wearing glasses, I held on to no one but my body pillow, Sacagawea,
keeping her warm. Almost a godsend, God, almost.

I confess I want guidance. Guide me to the country of Charity,
that hard-knuckled woman, her deep ankle boots. Can she have red
hair or is black a must? I imagine her hips as I often do hips—chisels
and axes that hack at a crowd thralled to some DJ.
This woman shapes through body’s rhythm her own thrumming
god. Fox beast, incisors, torso warped thing. Its own twisted shape a way
of confessing. To choke without a throat, slowly, on praise.

From what is this thing we have gnawed happiness? How
has it tasted all of our lives? God of Smudged Chins. God of
Half-Virgins. We wedge fingernails into the gaps between backboard screws
and corner beams. With a wonderful quickness we know bed as world.
God, what I’m saying is that I suspect heaven
was planned with a right hand drawing blueprints on napkins,
the left hand still-buried in some idle fur.

Forgive me but nightclubs are like your mouth, like my bedroom
with its ceiling too low. The off-kilter whir of fan blades replace
any belief in collar-starch morals. Forgive the room’s stucco.
Forgive the drunk nothings this tile floor revibes. No,
nothing’s wrong with yesterday’s meats. Sometimes, though, I am
little more than gaps found between words—good and then
morning. A click-click that lingers. I cannot tell if its high heels or teeth.
If I am flea, Lord, and not a fox, I insist one thing: you must bite, hard.




David Antonio Moody writes out of Tallahassee where he pursues a PhD in poetics at FSU. Former poetry editor for SawPalm and Juked, David is production editor of Cortland Review and Southeast Review. His work has appeared or is forthcoming in Sweet, Eleven Eleven and Spillway.



The Where, The Why, and The How: 75 Artists Illustrate Wondrous Mysteries of Science.
October 23, 2012, 3:42 pm
Filed under: ART, BOOK REVIEWS, WRITING | Tags: , , , , , , , , , , , ,

A rather beautiful art object (and read) from Chronicle books, The Where, Why and How: 75 Artists Illustrate Wondrous Mysteries of Science  brings together 75 artists with 75 academics and scientists to contribute short synopses of the mysteries of science including things like, “Are there more than 3 dimensions?” “Why don’t animals atrophy during hibernation?” “Do rogue waves exist?” and more socially prevalent questions like “What Causes Autism?” and “Is Sexual Orientation Innate?”  Each image is paired with an illustration or artwork by professional and emerging artists. Though not much variety in artistic styles, the penchant towards illustration was interesting and the design itself, done by ALSO (the designers of  The Exquisite Book and Drawn In) is truly impressive. Some of the standout pieces include John Hendrix, Lauren Nassef, Ben Finer, Dave Zackin, and Edie Fake.

Check out some photos below and pick up a copy HERE.



THE WEEK/WEEKEND: October 11-17.

LISA 2012 from Blind Escrow Productions on Vimeo.

LISA Conference 2012
Peter B Lewis Theater: The Guggenheim Museum

Tuesday, October 16, 2012 from 8:00 AM to 11:45 PM

LISA 2012 is the Leaders in Software and Art conference at the Guggenheim in New York City, Tuesday October 16th, 2012.  We’ll have keynote speeches from Laurie Anderson, pioneering electronic artist, and Scott Snibbe, creator of Bjork’s Biophilia App, and panels on crowdsourced and social media art and the popular generative art toolkits openFrameworks, Processing, Cinder and Max/MSP. If you work with or care about new media, technology and interactive art, there’s still time to buy a ticket. Come meet and get inspired by some of the top artists and art experts in the field.

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The Week/Weekend: Sept 13-20.

Exhibition / “Harry Smith: String Figures”
300 Nevins St (Cabinet)
20 September – 3 November 2012

Cabinet is pleased to present “Harry Smith: String Figures,” an exhibition drawn from the collection of John Cohen. Organized by painter Terry Winters, the show features twenty-two string figures created by Smith (1923–1991), the legendary artist, filmmaker, and ethnomusicologist.

BROOKLYN BOOK FESTIVAL
Brooklyn Borough Hall and Plaza
SUNDAY, SEPTEMBER 23, 2012, 10am-6pm

On Sunday, September 23, 2012, from 10:00 a.m. – 6:00 p.m., a record 280+ top national and international authors and participants will join bibliophiles, booksellers and literary organizations on 14 stages at Brooklyn Borough Hall (209 Joralemon Street) and Plaza, Columbus Park, St. Francis College, Brooklyn Heights Public Library, Brooklyn Law School, the Brooklyn Historical Society and St. Ann & The Holy Trinity Church for the seventh annual Brooklyn Book Festival.

Michael Chabon @Greenlight
Sep 17 2012 7:30 pm
Greenlight Bookstore

In his first novel in five years, beloved Pulitzer Prize-winning and New York Times best-selling author Michael Chabon provides a kaleidoscopic vision of urban America in transition, as witnessed by two intimately intertwined families in Oakland, California. Telegraph Avenue encompasses race, family, sexuality, gentrification, politics, jazz, funk, comics, kung fu, and a talking parrot, all with dazzling style and deep compassion. Chabon will read from his novel and answer audience questions before signing books.

Date the Time – Molly Dilworth
Reception: September 20, 6-8pm
Recess

On August 17, 2012 Molly Dilworth will begin work on Date the Time, as part of Recess’s signature program, Session. Session invites artists to use Recess’s public space as studio, exhibition venue and grounds for experimentation. For Date the Time, Dilworth will create a series of banners and flags, bearing patterns generated from user-submitted photos. Addressing digital content using traditional folk art techniques, Dilworth will distill issues of labor and consumer rights from unexpected sources.

Wendy White: Pix Vää
Leo Koenig
Opens September 13 6:00 PM – 8:00 PM

In the large-scale “Fotobild” paintings, White continues to conjoin component canvases and then secures commercial storefront awnings above and atop painted canvases. These awnings and armatures, fabricated at a sign shop in Chinatown, feature human-scale snapshots that White has culled from her digital and print archives.

Stealth Reflections
Mighty Tanaka
September 14

Stealth Reflections pulls back the layers of consciousness and exposes the viewer to an awakening of self reflection.  Through his work, Miguel Ovalle seeks to reveal the inner psyche of the human condition through a myriad of interpretations and techniques.  His steadfast approach defines his meticulous attention for detail.

Tessa Farmer & Amon Tobin Control Over Nature
Spencer Brownstone Gallery
September 15 – October 6, 2012

Spencer Brownstone Gallery is pleased to present ‘Control Over Nature’, an exhibition by Tessa Farmer in collaboration with an acoustical installation by Amon Tobin. For her second show at the gallery, Tessa has teamed up with Amon Tobin to mark his September 14th performance at New York City’s Hammerstein Ballroom. With his groundbreaking audio/visual live show ISAM 2.0, the electronic music pioneer joined forces with Farmer for an extraordinary collaborative installation combining his sound design and elements from ‘ISAM’, alongside Farmer’s trademark sculptures (constructed from bits of organic material, such as roots, dead insects and bones). Hovering with a rarefied, jewel-like beauty, Tessa’s tiny spectacles resound with a theurgist exotica: their specimen forms evolve as something alien and futuristic. The collaboration perfectly captures the themes surrounding ‘ISAM’: sensory deprivation, disorienting situationism and the mechanization of natural things.

Wondering Around Wandering
Saturday, September 15, 6:00–11:00pm
983 Dean Street

Join us for the grand opening of Wondering Around Wandering, and don’t miss Pulled: A Catalog of Screenprinting, making its final stop after a year of traveling.


Fishtank Ensemble
/Baby Soda Jazz Band
Jalopy
Sat, Sept 15th

Fishtank Ensemble is a band that offers a unique blend of Gypsy, Balkan, Flamenco, Klezmer and original tunes. The arrangements are always surprising and include instruments from many countries such as violin, accordion, flamenco and gypsy jazz guitar, shamisen, bass, saw and voice./Baby Soda! Developed by hoboes, perfected through science… Baby Soda is on the cutting edge of a new movement loosely known as street jazz; with an eclectic set of influences ranging from New Orleans brass bands, jug music, southern gospel and hot jazz.

Who Gives a Sh*t About Literary Magazines?
Mon Sep 17, 7:00PM
BookCourt

Randy Rosenthal (editor of The Coffin Factory) and panelists Lorin Stein (editor of The Paris Review), Rob Spillman (editor of Tin House), and John Freeman (editor of Granta) discuss the impact of literary magazines in contemporary culture.

Survival
War of Words
Strange Tales of Liaozhai

Kris Bowers & Carson Adjacent
The NY Theremin Society Presents: GOOD Vibrations – Theremin X 4 FT Dorit Chrysler, Michael Evans, Rob Schwimmer and Allison Sniffin
Eleh (US Debut) + Lary 7
PRACTICE! W/ IKEBE SHAKEDOWN + OSEKRE AND THE LUCKY BASTARDS + THE FORTHRIGHTS + TUNDE ADEBIMBE/ OHAL GREITZER/ DAREN HO/ RYAN SAWYER/ C. SPENCER YEH QUINTET
Best American Poetry 2012
My Heart Is An Idiot: FOUND Magazine’s 10th Anniversary Tour!
LIGHT OBJECTS
MECANICA POPULAR
LIGHTNING BOLT
R. SIKORYAK & FRIENDS: CAROUSEL

The Channel
Joseph Keckler + Mac Wellman
ASBA’s 15th Annual International
NYC HONEY FESTIVAL
EatSleepDraw (5 Years)
Chris Watson + Marcus Davidson
AURAL DYSTOPIA
ALESSANDRO PESSOLI: FIRED PEOPLE
REYES & STEEL
Beth Cavener Stichter: Come Undone
Liza LaCroix
Masami Teraoka: Cloisters Inquisition    
Metropolis: Alexis Duque
Richard Estes / New York by Night
BARNEY KULOK: BUILDING
Ralph Humphrey
Assembly 2012
Sunday Paintings for a Rainy Day
Nate Wooley + Mazen Kerbaj
TAKESHI MURATA: SYNTHESIZERS
Crossing the Line 2012
Printed Matter, Inc. presents Contemporary Artists’ Books Conference in conjunction with The NY Art Book Fair
SHABOYGEN BY STEVEN AND WILLIAM LADD
Luisa Rabbia
INNER CIRCLE MUSIC FESTIVAL: PETROS KLAMPANIS TRIO
Wildlife in the Post-Natural Age
Thomas Hirschhorn “Concordia, Concordia”
ANDREA ZITTEL: Fluid Panel State
Alexander Hahn

Allison Evans
Sally Mann: Upon Reflection
POST NATURAL
Occupy Your BFF
Lucie Fontaine : Estate
New York School Artists
Respect Sextet and Loadbang
SIGHTLINES: HELEN SEAR
Opera on Tap: BRIDES ON FIRE!!!
Red Baraat w/ M.A.K.U. SoundSystem
Mount Eerie w/ Loren Connors

LIGHTNESS OF BEING
CARL MAGUIRE, FAR FROM ALMOST ALWAYS
Charles Jarboe   New Paintings
CALEB CAIN MARCUS: PORTRAIT OF ICE
FITZGERALD & STAPLETON: WAGE
Teresita Fernández & Mr.
HAIRY SANDS/SOURCE OF YELLOW
GUYI-GUYI by Pereferia Teatro
DAVE COLE
Miriam (BAM 30th Next Wave Fest)
BEAT FESTIVAL
Andra Ursuta: Aboveground Animation
Trey Speegle: Good Luck With That
THE JOSHUA LIGHT SHOW
Pictures from the Moon: A Symposium on Holograms and Art
MIVOS QUARTET
Nublu 10 Years w/ performances by Wax Poetic, Hess is More, Love Trio and Clark Gayton
Gallow Green

COMING UP:

The Secret City – NEW YORK
Cave Canem at The New School Presents: Natasha Trethaway and Metta Sama
Crossing the Line
Devotchka
The Mountain Goats
Adults in the Dark: Avant-Garde Animation (MAD)



Threshold.
August 14, 2012, 2:22 am
Filed under: POETRY, WRITING | Tags: , , , , , , , , , , , , , , , ,

By Joanna Valente

Something fell on Lincoln Ave / Mammoth teeth

in rock salt in lime in a whale’s belly / a wooden

chair breaks under weight /


Paid $25 for avocado n’ fish n’ yucca n’ lemons

to feed humans saying / don’t let me be lonely 1

when the tonality shifts / it is easier to be

evasive than to tell any truth /


& lack of truth can be blamed on brokeness

2 yrs ago was 2 yrs ago / not unremembered

in teeth / in tonal changes / over


landmasses, sea-stuff / Still I carry his name

in my cervix / at night peeling my eyes like onion

skinning off lost papers / they disappear /


hope they disappear / Cannot dream anything

in color except scribbled words (who’s biography?) /

red ink that writes don’t let me be

1.Claudia Rankine, Don’t Let Me Be Lonely, An American Lyric










Joanna C. Valente is a MFA candidate in Poetry Writing at Sarah Lawrence College, where she is also a part-time mermaid. She founded and currently edits Yes, Poetry. She can be found at http://joannavalente.com.



1. Where The Light Was
August 9, 2012, 3:54 am
Filed under: POETRY, WRITING | Tags: , , , , , , , , , , , , ,

By Terra Brigando

In the split second stitching when night greets the dawn, in that
seam, is where the pain resides. Shining white as teeth, this enamel
stutters open the day, creaks open this guilt. We sing as miniature
stuntman, flinging our bodies through the apologies of the afternoon,
the slight off-kilter yawning of space in the blue, blue sky. Sling
madness through evening, dust off that fine linen. The rooms we reside
in now we call home. Through the opening of atoms at nightfall,
splitting off of cells, we create what we do not know in the
moonlight. Tell your lovers to quit forsaking the dawn and your family
to carry forward the dead humbly and with purpose. For it’s our love
basking there in the streetlights; it’s your jaw that’s wishing
forward these words.





Terra Brigando recently received her Masters in English and Creative writing from Mills College. Her previous work can be found or is forthcoming in Fogged Clarity, apt, decomPFourtyOunceBachelors, Chamber Four, and Word Riot.



Francisca Pageo.
August 8, 2012, 4:44 pm
Filed under: ART | Tags: , , , , , , , , , , , ,

WEBSITE.



Fearing the owls’ reputation, wading along the upper atmosphere, weirdly hopeful. he remembers (Gregory Deglas.)
August 3, 2012, 6:04 pm
Filed under: ART | Tags: , , , , , , , , , , , , , , , ,


WEBSITE.



Support this Project: NYAA needs a lift.
August 3, 2012, 4:55 pm
Filed under: SUPPORT THIS PROJECT! | Tags: , , , , , , , , , , , , , , ,

New York Academy of Art needs a lift. Their current elevator is about the size of a matchbox and twice as slow. Give them a hand and help improve the lives of many many art students. Donate Now.



Alessandro Sicioldr Bianchi.
August 3, 2012, 4:13 pm
Filed under: ART | Tags: , , , , , , , , , , , , , ,

WEBSITE.



Pema Rinzin.
August 1, 2012, 9:43 pm
Filed under: ART | Tags: , , , , , , , , , , , , , , ,

WEBSITE.
Joshua Liner Summer Show (THURSDAY, AUGUST 2nd.)



An Interview with Adam Niklewicz.
July 31, 2012, 11:06 pm
Filed under: ART, INTERVIEWS | Tags: , , , , , , , , , , , , , , , , , , , ,

by Jade French

Adam Niklewicz plays with the relationship between identity and nationality with a slice of sausage in the middle. Removing our typical relationship with food (eat and run) Niklewicz forces the viewer to reimagine how we can view food with everything from beautifully rotating chicken bones to musical sausages! His sculptures are multi-faceted creations which resituate objects outside of their normal habitats. We caught up with the artist to find out more…

Jade French: How does your relationship with both Poland and America inform your work?

Adam Nikelwicz: On one hand, there’s the visual vocabulary of my Polish childhood, on the other – the American pop-cultural and commercial iconography. The two clash and blend together (there’s a bit of smoke) and all this occasionally produces some creative leaven.

JF: Do you think through creating art you gain a sense of identity? Or does art incorporate a universal feeling, which negates nationality?

AN: I’d dread to hear that my art is somehow ethnic, hermetic or obscure. True, I often base it on quirky, ethnic, folkish facts but I do hope I’m able to distill these facts into works with universal appeal.

JF: Can you explain more fully how ‘Romantycznosc is a reflection on the Polish psyche? How did you create that piece of work? Its amazing that the sound is so pitch perfect when made out of meat!

AN: It’s hard for me to explain the Polish psyche notion (other than through art itself), I know though it reaches its peak when a Pole plays a polonaise on the instrument. Putting this piece together took a lot of effort and a lot of sausage.  And there were these frequent (up to three times a day for a few weeks) visits to my local Polish deli, which confused the store clerk.  My appetite for always the same mundane kind of sausage, the shear amounts of the product purchased, the fact that I’d often produce a tape measure from my pocket to check on the sausage’s length before buying – all this made the clerk uneasy.  I fought against the instinct of explaining myself.  I decided that the explanation (I’m not really weird, I’m only making a musical instrument out of sausage) would not boost my image with the man. In other words, I enjoyed the process and misperceptions it produced.  The process has recurred several times since with other projects.  What makes the piece utter the right kind of sound must remain a secret.

JF: One thing that strikes me is the manipulation of found objects into functioning equipment- like the Art Forum kaleidoscope. How important is it that your art has a function, as well as an aesthetic value?

AN: I want my work to both look good and to possess content.  Yes, I need my objects to function, but their purpose must not adhere to an easy logic.

JF: Is the Art Forum piece a comment on art journalism? I noticed you cut the visuals from the review sections out- how much do art reviews affect an artist?

AN: Perhaps it’s a comment on the nature of art.  I truly believe that art is ever-changing (like the kaleidoscope effect used here) and ever-fresh (not unlike nature itself).

JF: Do you think using microscopic visuals forces the viewer to look harder at your artwork, or engages them in a different way?

AN: A small object of art feels precious, like a piece of jewelry. I noticed that people gladly focus their attention on a small work. They feel encouraged to wrap their minds around it.

JF: Would you classify your work as playful?

AN: I’m very happy when someone calls my work playful.  I’m equally happy when viewers find it humorous.

JF: Pieces such as Ounce have a strong sense of nostalgia and poignancy- does this piece relate directly to personal experiences?

AN: I love that you misspelled the title of this piece!  The actual title – ONUCE, stands for a garment of sorts – two pieces of fabric or paper (often a newspaper) designated to be wrapped around feet, usually in addition to socks.  All this for an extra protection against cold.  I suspect the term made the title partially because it looked like a misspelled English word (e.g. ONCE, OUNCE).  I used to wear onuce as a child.  Big time!

JF: Pieces such as Calle Lunga’ and Monument to Borscht, although stationary, seem to incorporate a sense of movement- is that something you recognize yourself?

AN: These two pieces are not really built to last.  They appear to face the imminent prospect of collapsing, breaking, sagging. I think, this is where the sense of movement comes from; their fragile nature implies change and change is related to movement.

JF: The kinetic sculpture Chicken Souphas a sense of frailty to it – what do you think this piece is trying to say?

AN: I like fantasizing about that chicken I consumed. I assembled its bones in a rather aerial manner.  I wonder- is this transformed bird on the verge of taking off?

JF: Why is there a link between food and heritage within your work?

AN: Food is a visible, tactile, sensuous (and surprisingly meaningful) way of experiencing a cultural heritage.

JF: I also read that you ate paint as an art student, which relates to the piece of bread with orange oil paint – can you tell us the story and why you recreated this moment later in life?

AN: The incident happened many years ago during a drinking party of a bunch of 17-year old art students – all ready, perhaps even certain, to conquer the artworld.  In my own drunken stupor, I spread orange oil paint over a slice of bread and challenged everyone to take a bite.  Nobody did!  Meanwhile, I put myself on the spot and now I had to have a good chunk of the slice.  The long forgotten incident returned to me quite suddenly, and made me realize that the then display of adolescent stupidity was in fact an act of commitment. A vow. I’m the only participant of that gathering from he past that keeps making art.  I recreated that ‘action’ now to renew the old vows.

For more about Adam visit his website.



More Viper Sisters: Adriean Koleric.
July 30, 2012, 4:04 am
Filed under: ART | Tags: , , , , , , , , , , , , , , , ,


WEBSITE.



Video Weekend: The Leaf Woman & the Centaur/INTI.
July 28, 2012, 5:05 am
Filed under: VIDEO WEEKEND | Tags: , , , , , , , , , , , , , , , ,



INTI from itzá! on Vimeo.

The Leaf Woman & the Centaur from Jordan BRUNER on Vimeo.



Luis Candaudap.
July 27, 2012, 2:45 pm
Filed under: ART | Tags: , , , , , , , , , , , , , , ,

WEBSITE.



The Midnight Archive – Dealing in the Obscure.
July 26, 2012, 8:23 pm
Filed under: ART, FILM/VIDEO | Tags: , , , , , , , , , , , , , ,



WEBSITE.



Amy Mahnick.
July 23, 2012, 2:08 pm
Filed under: ART | Tags: , , , , , , , , , , , , ,

WEBSITE.



Svetlana Rabey.
July 4, 2012, 2:01 am
Filed under: ART | Tags: , , , , , , , , , , , , , , ,

WEBSITE.



What it does.
June 26, 2012, 2:39 pm
Filed under: POETRY, WRITING | Tags: , , , , , , , , , , , , , , , , ,


 By Shanita Bigelow


               I am not a man.
               Were there a place for this kind of truth, it would rest like a hand at rest, only as heavy as
it tends/needs to be.
There are numbers and signs and bedposts and other treasures left for streetwear.
            In your mouth I found a mound                          and in time it will uncover itself, reveal
the buried, your ancestry kept beneath, sublingual and integrating, sublingual and dissolving,
sublingual, making its way through your vessels, shining light in new space, building mounds of elbow
and knuckle, pancreas and gallbladder, your eye.              It is not what it does,
not the purpose of a purpose anymore; rather, a guise—calm teeth compelled to mercy and
your eye, the one made of dried tubers               and plantains, the one well versed in the forsaken,
the sacred. In your palm a repository for yes.
                                                                                                                      Yes.                              Yes.         Yes.
There is a shaker being shaken at this very moment and could you hear, you might dance or fright,
you might swallow or listen.              Shake then. The answers you seek exist not in the cumbersome
notes, the copious, not in all those hands, your eye, but in the flavor, the flavor of yes and/or
thank you.               Yes, thank you.
                   If salmon were a gun and smoked, how would you maneuver                        the catch, gesture,
maneuver fork and knife through barrel and flesh—scaled is the freshness of our decrees for the
sanctity, for the answers.                     And life can exist in new measures, line after line after line after. Do
not forsake the smoked gun, the smoking salmon, the smoke.
                                                                                                                    What you’ve left of me today is more
than enough for two. Maybe, I said. Maybe.               Keep in mind what you keep in isolation. There are
carts for this kind of mercy. Call it fear or something like it or not. Call it anything but sorrow
because sorrow does not exist. Not as it should.                                                                    Instead
we are left to want for more and watch the bleeding, the smoking, crying out for another and
another and another, our tongues lost in a cannon, combustible and ugly, grimy like how you said
you’d be there.                               Watch as the pain rejects any exposure to this that does not exist.
Have we forgotten? Again                         and there is another line, more/mere mercy and other things
like webs or candor or a golden rhyme.                                                      Memories are stacked, steeped
                                                                          in what we know of it and then.




Shanita Bigelow, originally from North Carolina, currently resides in Chicago where she works and writes. She has work published or forthcoming in the DAP Journal, NAP and African American Review.



Lena Schmidt.
June 21, 2012, 3:28 pm
Filed under: ART | Tags: , , , , , , , , , , , ,

WEBSITE.



An Interview with Jeffrey Augustine Songco.
June 20, 2012, 12:52 am
Filed under: ART, INTERVIEWS, WRITING | Tags: , , , , , , , , , , , , , , , , ,

 

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JUSTIN ANGELOS (Recent Work.)
June 14, 2012, 8:19 pm
Filed under: ART | Tags: , , , , , , , , , , , , , , , , , ,

WEBSITE.




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