Next Events
Event at 20:00 online https://vimeo.com/bibak - Live Q&A at 21:00 : https://meet.jit.si/ArtinDarkTimes

Event at 20:00 online https://vimeo.com/bibak - Live Q&A at 21:00 : https://meet.jit.si/ArtinDarkTimes

Followed by a talk with Jelena Juresa, Galit Eilat and Erden Kosova

Who has the freedom to forget?

The video works of the artist Jelena Juresa deal with the psychological effects of political violence. State-supported terror and its dehumanisation policies, collective silence, and amnesia on crimes that have been inflicted on masses, and the therapeutic mechanisms of memory are among the motifs of her recent practice. Juresa's films Aphasia and Ubundu from the year 2019 are a call to break the collective silence and to look at the blind spots that seem to have become a fundamental part of our European identity. 

Jelena Juresa was born in Novi Sad and currently lives in Ghent. She has been extensively working with the questions of cultural identity, gender, politics of memory and oblivion through the media of photography, video and text. In her work, she relates individual stories and questions of identity to collective processes of oblivion and remembrance. 

Galit Eilat is an interdependent curator and writer based in Amsterdam. She developed her practice through a variety of platforms and roles as an institute director and editor of books and a magazine. Her current research trajectories are dealing with the Syndrome of the Present and Art under authoritarianism. Eilat is the recipient of Keith Haring Fellowship in Art and Activism, Bard College, 2017-18 and she is the director of Meduza Foundation since 2018.

Erden Kosova is an art critic in Berlin and Istanbul. In 2017 he curated the exhibition "Contemporary Syndromes", which was shown in Thessaloniki, Izmir, Amsterdam and Berlin. In 2019, he was a co-organizer of the Young Curators Academy, which took place at the Maxim Gorki Theater as part of the 4th Berlin Herbst Salon. In 2019 he was also involved in the exhibition of the SIS collective "In the blink of an eye" at the nGbK. Kosova is the editor of the Istanbul online magazine red-thread.org.

Amaarae

In Nigeria and Ghana, the music-centric alté movement has recently begun to challenge the dominant Afrobeats/Afropop/Afrofusion scene as an underground/DIY counterpart. Ghanaian-American musician and producer Amaarae is part of this exciting young generation of West-African artists, who express their (queer) identity through music and fashion, using social media and visual aesthetics to connect with their audience – be it inside or outside of their visible borders. Amaarae's sound combines Neo-Soul and African pop, creating an alternative version of contemporary African club music with lyrics revolving around everyday queer intimacy.

Pamela Owusu-Brenyah is a music consultant, festival organiser, and DJ, working on an enhanced visibility of contemporary African Pop culture in Germany. With her community platform AFRO x POP she regularly offers a music festival stage for rising artists of the Afro-German scene. Pamela, a studied political scientist, is based in Berlin and has family roots in Ghana. She has worked in Ghana’s capital Accra as a DJ for three years and since then has been commuting back and forth between both musical worlds.

Florian Sievers is a journalist, author, and curator who loves to tell alternative stories from African urban spaces where at present a rising middle class is producing hip cultural expressions, from fashion and art to especially music. Originally a trained journalist for politics and economics, Florian researches his forward-looking stories from the mother continent on at least yearly trips to continuously new African metropolises. On a sideline during these trips Florian has also become a hobby collector of old vinyl records from Africa.

Followed by a talk with Jacqueline Rose, Galit Eilat and Erden Kosova

Women in Dark Times

One of the main focal points of Jacqueline Rose’s writing has been the historical misogyny and asymmetric social conditions inflicted on women. Her recent book Women in Dark Times takes this focus on the tragic and creative biographies of famous women in history and merges it with a more contemporary framework in which she explores the lives of three women who have been victims of ‘honour killing’ and the works of three contemporary artists who deal with the global condition of women today. Rose will investigate the questions about the extent which our present time differentiates itself from previous episodes of darkness.

Jacqueline Rose is Co-Director of the Birkbeck Institute for the Humanities and the London Critical Theory Summer School. She is internationally known for her writing on feminism, psychoanalysis, literature and the politics and ideology of Israel-Palestine. Her books include The Haunting of Sylvia Plath (1991), States of Fantasy (1996), The Question of Zion (2005), The Last Resistance (2007), Proust Among the Nations – from Dreyfus to the Middle East (2012), the novel Albertine (2001), Women in Dark Times (2014) and most recently Mothers – An Essay in Love and Cruelty. Her new book, On Violence and On Violence Against Women will be published early next year. 

Galit Eilat is an interdependent curator and writer based in Amsterdam. She developed her practice through a variety of platforms and roles as an institute director and editor of books and a magazine. Her current research trajectories are dealing with the Syndrome of the Present and Art under authoritarianism. Eilat is the recipient of Keith Haring Fellowship in Art and Activism, Bard College, 2017-18 and she is the director of Meduza Foundation since 2018.

Erden Kosova is an art critic in Berlin and Istanbul. In 2017 he curated the exhibition "Contemporary Syndromes", which was shown in Thessaloniki, Izmir, Amsterdam and Berlin. In 2019, he was a co-organizer of the Young Curators Academy, which took place at the Maxim Gorki Theater as part of the 4th Berlin Herbst Salon. In 2019 he was also involved in the exhibition of the SIS collective "In the blink of an eye" at the nGbK. Kosova is the editor of the Istanbul online magazine red-thread.org.

Followed by a talk with Quinsy Gario, Galit Eilat and Erden Kosova

Disrupting the Dutch Cultural Archive

Quinsy Gario is the artist behind Zwarte Piet Is Racisme (2011–2012) and Action Image (2013-2014), the performance art work about the permit for the Amsterdam Sinterklaas parade that went all the way to the Dutch Supreme court. The works confronted the public perception about the racist figure and practice of Zwarte Piet (Black Pete), which survived to the modern times as a result of structural and institutional  support on all levels in the Netherlands. Gario’s contribution will give an account of the aftermath of the campaign and delineate the specifics of historical escapism in the present-day Netherlands.  

Quinsy Gario is a visual and performance artist from the Curaçao and St. Maarten, two islands in the Caribbean that share continued Dutch occupation. He is a Master of Artistic Research graduate from the Royal Academy of Art The Hague, a 2017/2018 BAK Fellow, a board member of De Appel, a member of the artist collective Family Connection with members of his family and used to be a recurring participant of the Black Europe Body Politics biannual conference series. His recent writings were collected in the book, Roet in het Eten (Spanner in the Works). 

Galit Eilat is an interdependent curator and writer based in Amsterdam. She developed her practice through a variety of platforms and roles as an institute director and editor of books and a magazine. Her current research trajectories are dealing with the Syndrome of the Present and Art under authoritarianism. Eilat is the recipient of Keith Haring Fellowship in Art and Activism, Bard College, 2017-18 and she is the director of Meduza Foundation since 2018.

Erden Kosova is an art critic in Berlin and Istanbul. In 2017 he curated the exhibition "Contemporary Syndromes", which was shown in Thessaloniki, Izmir, Amsterdam and Berlin. In 2019, he was a co-organizer of the Young Curators Academy, which took place at the Maxim Gorki Theater as part of the 4th Berlin Herbst Salon. In 2019 he was also involved in the exhibition of the SIS collective "In the blink of an eye" at the nGbK. Kosova is the editor of the Istanbul online magazine red-thread.org.

Aris San

When Aris San (born Aristeídis Seïsanás in Kalamata, Greece, 1940) arrived in Israel in 1957, he was just an anonymous Greek teenager with a guitar. When he left in 1969, he was the top-selling recording artist in the country. During his twelve years in Israel, he managed to become not only an icon of celebrity, European chic, and musical fashionability but a brand name associated with “wedding music”, working-class audiences, and Mizrahiyut (“Eastern-ness”, or, the culture of Middle Eastern Jews in Israel). San was a key agent in transporting Greek music – or, to be more precise, the conglomerate of styles, sounds and stereotypes loosely held together by this title – from the smoky confines of an immigrant café in Jaffa to Israel’s most prestigious music venues, official Independence Day celebrations, national television, and the homes of leading generals and politicians. In an era when the bouzouki was being established globally as the national instrument of Greece, San wielded an electric guitar as his solo instrument. Employing bouzouki techniques and melodic formulas, he created a unique, signature sound, evocative of both bouzouki and rock-guitar virtuosity. In this and other ways, his musical persona was able to traverse the twin fictions of Western modernity and Oriental backwardness.

The goal of this lecture is to look at San’s career as a window into the negotiation of cultural identities that took place in 1960s Israel/Palestine (and, indeed, the East mediterranean at large) between Eurocentric national elites and marginalized groups often associated with Oriental taste cultures. It will present San’s career as a performer, recording artist, club manager, and public figure not merely for the sake of telling an individual's story: In all these capacities San facilitated the emergence of Mediterranean “Audiotopias”: physical or virtual sonic spaces of identification, where musical stereotypes of East and West were both mobilized and overcome, and where an ideal Mediterranean was outlined, which encompass everything from Umm Kulthum to Mexican Ballads.

Oded Erez (Dept. of Music, Bar-Ilan University) is a scholar of popular music and film music, working in the intersection of historical musicology, ethnomusicology and cultural studies. His work focuses on the relationship between politics and aesthetics, with an emphasis  on music in Israel and the Mediterranean. He is currently completing a book manuscript on Greek music and ethno-class politics in Israel. 

Current Series
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By Sebastian Reier aka Booty Carrell, Pamela Owusu-Brenyah aka DJ Pam Bam, Florian Sievers, Oded Erez, Kornelia Binicewicz, Mountains of Tongues, Rahman Məmmədli, Ekaterina Borisova, Yuriy Gurzhy and Can Sungu

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OUTERNATIONALE: Stars from Outer Space

The new bi’bakaudio series OUTERNATIONALE: Stars from Outer Space is devoted to the concept of Outernational Music, a counterposition to so-called “World music”. While “World music” tends to exoticize or tame music produced outside of the Western world, Outernational Music sees the distinction between Western music and World music as an extension of the colonial perspective. In contrast, the emphasis is on sound productions that are received and celebrated in cross-border geographies far away from the Western music market - neither mainstream nor underground, but multilingual and influenced by diverse musical traditions and cultures. The music talk series OUTERNATIONALE presents selected artists, along with their artistic creations and biographies, in conversation with experts. Venturing beyond cultural or linguistic barriers, we begin a project of collective musicological research.

Ekaterina Borisova is a music journalist from Saint Petersburg, Russia. Since the mid-80s she has been writing articles on rock music for Russian magazines and newspapers, whilst remaining a major fan and developing a deep knowledge about the Russian underground rock scene. She’s also the author of several books – two books about Yanka Dyagileva among them, issued and reissued in 1998 - 2005.

Florian Sievers is a journalist, author, and curator who loves to tell alternative stories from African urban spaces where at present a rising middle class is producing hip cultural expressions, from fashion and art to especially music. Originally a trained journalist for politics and economics, Florian researches his forward-looking stories from the mother continent on at least yearly trips to continuously new African metropolises. On a sideline during these trips Florian has also become a hobby collector of old vinyl records from Africa.

Kornelia Binicewicz is a Polish record collector, curator, DJ, and founder of Ladies on Records, a multifaceted endeavour focused on the musical legacy of women all over the world, presenting female music from the past decades.Her passion for female music brought her to Turkey where she started to explore the undiscovered world of Turkish female music scene. She curated “Turkish Ladies. Female Singers from Turkey 1973 - 1988” (Epic Istanbul) compilation and “Uzelli Psychedelic Anadolu” compilation (Uzelli), both released on vinyl. Kornelia is currently working on a special project dedicated to female singers from Turkey from one of the Turkish label’s back catalogues.

Mountains of Tongues, founded by Ben Wheeler and Stefan Williamson-Fa, have spent the last seven years traveling across the Caucasus region making recordings and collecting examples of lesser known musical traditions. Through selected samples from their hours of field recordings, coupled with carefully curated tracks from a personal archive of collected LPs, tapes, CDs, and home VHS recordings from across the region, their live shows present a unique and vibrant take on the soundscapes and cultures of the Caucasus, highlighting the music’s diverse forms and settings and the local musicians that make all of it possible. Whether it’s lo-fi bootlegs of Azeri guitarists, the vocal gymnastics of Gurian polyphony, blaring Yezidi woodwinds at an engagement party, auto-tuned Dagestani techno, circling Chechen Sufi rituals, or vintage Yamaha synthesizers accompany songs in isolate languages, Mountains of Tongues presents music at the intersection of the modern/traditional, the participatory/presentational, and the sacred/secular.

Oded Erez (Dept. of Music, Bar-Ilan University) is a scholar of popular music and film music, working in the intersection of historical musicology, ethnomusicology and cultural studies. His work focuses on the relationship between politics and aesthetics, with an emphasis  on music in Israel and the Mediterranean. He is currently completing a book manuscript on Greek music and ethno-class politics in Israel. 

Pamela Owusu-Brenyah is a music consultant, festival organiser, and DJ, working on an enhanced visibility of contemporary African Pop culture in Germany. With her community platform AFRO x POP she regularly offers a music festival stage for rising artists of the Afro-German scene. Pamela, a studied political scientist, is based in Berlin and has family roots in Ghana. She has worked in Ghana’s capital Accra as a DJ for three years and since then has been commuting back and forth between both musical worlds.

Rahman Məmmədli was born in 1961 in the Füzüli district of Qarabağ and grew up surrounded by and immersed in the music of that region. In his childhood he had already mastered the garmon before coming across the guitar. Being deeply connected to traditional music, both muğam and aşıq music, he has managed to transpose these genres onto the electric guitar through his creation of new and distinct playing techniques. His ability to emulate the voice of classic muğam xanənde singers led to him being known as the man with ‘oxuyan barmaqlar’, (singing fingers). Along with his many solo releases on cassette, VHS, and CD he has performed with many of the greatest artists of Azerbaijan. He has performed at concerts throughout Azerbaijan, Turkey, Iran and Russia. As a master musician Məmmədli continues to inspire new generations of guitarists who continue to develop a unique guitar subculture and style in Azerbaijan.

Booty Carrell is the DJ alias of Vinyl archaeologist, Golden Pudel resident and outernational deejay Sebastian Reier. Carrell does his research in the deep spaces of the vinyl universe. He likes to dig into the second wave of musical globalization.

Yuriy Gurzhy was born in the Ukraine and lives in Berlin. He is a musician, songwriter, DJ and producer and is known for his work with RotFront, Shtetl Superstars and The Disorientalists as well as his party series Russendisko, Born in UA and Disko Kosmopolit.

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Curated by Galit Eilat and Erden Kosova

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ART IN DARK TIMES

The current pandemic paralysis of world societies has changed the definition of the term of ‘‘crisis’’ irreversibly, reinforcing the sense of deepening tectonic changes in relation with the inner structuring of our contemporary societies and the destruction of nature under capitalism. Yet, the appeal to the term of ‘‘crisis’’ decade has already escalated along with successive complications within the political sphere: the turbulence of state sovereignty, the unravelling of basic premises of secularisation by the hands of new and traditional ideological movements, the rise of historical revisionism erasing past crimes to open up for new ones, increasing appeal to misogyny, majoritarian politics and authoritarianism, catastrophic consequences of hyper-consumption and conversely, undeclared resurgence of human slavery. The series of talks framed as ART IN DARK TIMES will try to trace the ways in which artistic and cultural practices (curatorial projects, academic texts, activist campaigns, video and films) have been responding to these antagonising complications. Relating to the specific conflicts of their own burdened geographies, the invited guests will examine the interconnected and global character of these shifting grounds. The program of the series was conceived last autumn and adapted recently to the current pandemic circumstances.

Funded by the Bezirkskulturfonds  Bezirksamt Mitte in Berlin

Erden Kosova is an art critic in Berlin and Istanbul. In 2017 he curated the exhibition "Contemporary Syndromes", which was shown in Thessaloniki, Izmir, Amsterdam and Berlin. In 2019, he was a co-organizer of the Young Curators Academy, which took place at the Maxim Gorki Theater as part of the 4th Berlin Herbst Salon. In 2019 he was also involved in the exhibition of the SIS collective "In the blink of an eye" at the nGbK. Kosova is the editor of the Istanbul online magazine red-thread.org.

Galit Eilat is an interdependent curator and writer based in Amsterdam. She developed her practice through a variety of platforms and roles as an institute director and editor of books and a magazine. Her current research trajectories are dealing with the Syndrome of the Present and Art under authoritarianism. Eilat is the recipient of Keith Haring Fellowship in Art and Activism, Bard College, 2017-18 and she is the director of Meduza Foundation since 2018.

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Upcoming
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Cooperation partners 140journos

By Çağdaş Erdoğan

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From Almanya With Love

bi’bak is partnering up with Turkey’s most popular ‘counter-media’ channel 140journos for the short-film series Almanya’dan Sevgiler | From Almanya With Love. The series features six mini-documentaries directed by Çağdaş Erdoğan, focusing on a diverse range of stories of migration from Turkey to Germany.

Turbulent politics has played a major role in shaping transnational migration patterns between Turkey and Germany throughout the last century. After 1961, thousands of Gastarbeiters came to Germany in order to build up the post-war economy, forming the hitherto largest ethnic minority group. Violent ideological clashes in the 1970’s or oppressive politics in the 90’s in Turkey resulted in numerous, mostly leftist and Kurdish asylum seekers coming to Germany. Today, a new wave of migrants from Turkey are settling mainly in Berlin. These journalists, artists, academics and other young professionals are escaping ongoing persecution and seeking for a better future. In his films, Çağdaş Erdoğan investigates a diverse selection of backgrounds and stories of migration from Turkey to Germany and brings to light counter-narratives against dominant stereotypes.

Çağdaş Erdoğan is a photographer and artist born in 1992 in Eastern Turkey. As a photojournalist, his work focuses on minorities in the Middle East. His works have been  published in world-leading newspapers and magazines like the New York Times, Stern, The British Journal of Photography, The Times, The Guardian, İz Magazine and many others. He was selected among the ‘Ones to Watch in 2017’ by The British Journal of Photography. His first photobook titled Control was published Akina Books. He works with the video collective 140journos. He has held a fellowship at bi’bak since October 2019.

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A travel cookbook about the excursions of the tiger

Workshop Leaders Tuna Arkun and Heather Purcell

The tiger comes to table

Now it's about the sausage! That's what the tiger thought when, for the first time in his life, he saw the meat packed into such small shiny packets. Odor-proof and sterile. He wouldn’t have been able to tell whether it contained pork neck, venison breast or a juicy piece of antelope, if the saleswoman had not shown him the animal symbols on the package. The lady could not say how many animals had found a place in this refrigerator, or where they had come from. Also to the man, who was eating lunch at the meat counter it didn’t really matter, how the sausage came onto his plate. But the tiger knew these animals, with four legs, two ears and a tail, and he was a passionate carnivore. He decided to set off to find the animals that would later become these schnitzels.

Meat and other animal products are present every day in all our meals, but not everyone would appreciate a Sunday visit in a slaughterhouse. We find animals cute, but the stench in the steel is rather uncomfortable. That the schnitzel was an animal is not anymore obvious to everyone. Even more tragic is the fact that the meat is so cheap that we throw it away without hesitation if we do not eat it. 

Meat is valuable to us, because it means the life of an animal. We want to learn more about the history of our food and to see where the animals to which we owe our food live. With our self-bound sketchbooks, we visit various farms around Berlin, inform ourselves about how milk and meat are produced, and draw, ask, taste and cook delicious recipes. As a final product, we want to design a book in which we summarize our image and text research. The book will have the character of a diary documenting the journey of the tiger to the outskirts of Berlin as he visits the places where animals live, complemented by our delicious recipes.

In cooperation with the MIK - Jugendkunstschule Mitte and the Humboldthain Elementary School

Funded by Projekt Jugend ins Zentrum! der Bundesvereinigung Soziokultureller Zentren im Rahmen des Programms Kultur macht stark. Bündnisse für Bildung des Bundesministeriums für Bildung und Forschung.

 

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Experimental Film Workshop

Workshop Leaders Svenja Schulte and Dennis Vetter

Experiment Film

You are invited to an experimental film workshop, in which we will learn to understand cinema through a playful examination of real 35mm film material: How is the image we see actually formed? What influence does light have? Can you really cut film? And what part does sound have to play in film?

Even without a camera or screenplay, we can all become filmmakers: with brushes and scissors, we approach existing film material to create vivid colors, shapes and new relationships on the screen.

 During the course of a 4-day workshop, we will dive into the world of analog film. The children grapple with the film material in a playful and experimental way and learn how film is created by light, cut and sound. Analog film trailers are cut up and glued together again or painted with color. The results are viewed in between with a projector to understand what we are able to create, with the help of film and light. We feel the images, and in the second stage, start to think collectively about which tones could accompany them, which music we want to add in live. 

 After the workshop, the results will be presented in a film screening in bi’bak, to which children, friends, family and neighbors will be invited. Each child also receives a DVD with the digital film versions.

A bi’bakwerk project in cooperation with Erika Mann Primary School

Funded by the Berlin Project Fund for Cultural Education and the Berlin District Office

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Caravan, Kargo, car parade

Things, people and images in motion

By Anna Faroqui and Haim Peretz

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Caravan, Kargo, car parade

More than ever before in history, our world is determined by mobility: Whether for work, tourism or forced by wars and conflicts, people around the world are on the move. However, who is allowed and who is not allowed to travel is unequally regulated.  Terminology, words like “expat”, “tourist” or “migrant, ”differentiates between who has a right to mobility and who does not. A closer look also makes it clear within the city: Mobility is not a matter of course, but depends on income, residence status and physical requirements. Completely different rules apply to human travelers in the world of things and goods, which can often move freely from one place to another in global trade networks. In contrast to the tedious and risky beginnings of world trade in caravans, millions of goods and goods are in motion around the world today. 

In two workshops, we deal with different forms of being on the road of people and things. Based on various routes, means of transport and travel occasions, we investigate forms of any kind of mobility that lead people as well as goods and goods from one place to another. 

Based on the considerations and personal experiences of the participants, the young people will develop scenes that they then be process in animations. After all, what better way to tell about mobility than with “moving” images? We are inspired by the origins of the film, in which the process of movement, in contrast to digital technologies, is still visible: the Zoetrop, the Thaumatrop, the Laterna Magica and the flip book. The youngsters experiment with these old moving-image devices and finally present their animations in a public exhibition. 

A bi’bakwerk project in cooperation with the MiK Youth Art School Berlin Mitte and the Theodor Heuss School
Funded by Berliner Projektfonds Kulturelle Bildung

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Curated by Özge Calafato

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A DREAM FOR EACH

The contemporary gaze had barely seen the level of unprecedented instability the world has witnessed in 2020. But inequalities have been brewing for long, created by the new world order that has kept us in quarantine while we watch those who can’t afford to stay home. This film program delves into the questions of wealth, labor and confinement, entangled within neo-liberal power relations that continue to prevail. The colonial residue lingers, buried under the entanglements of globalized trade, technology, and tourism. With their masterful storytelling that leaves room for nuances, the filmmakers in this program urge us to reserve judgment and negotiate the notion of “our true nature" as humans and as citizens. 

Özge Calafato ist Kuratorin, Lektorin und Schriftstellerin. Sie arbeitete für zahlreiche Filmfestivals und Institutionen, unter anderem Cinema Akil, das Abu Dhabi Film Festival (ADFF), den SANAD Development and Post-Production Fund, Documentarist, DOK Leipzig, DokuFest, The Arab Fund for Arts und das Imagine Science Film Festival. Sie ist Mitbegründerin der Nationalen Filmbibliothek der Vereinigten Arabischen Emirate

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