Art as Authority

Spun by Art as Authority at 09:09 PM | Permalink | Comments (1)

I don’t think the removal is slower, it is just that more graffiti than ever is popping up. Our contractors removed a record 27 million square feet of graffiti from 489,000 locations last year.

 -- Paul Racs, Office of Community Beautification, City of Los Angeles

Link

Spun by Richard Gleaves at 10:03 AM | Permalink | Comments (0)

Sometimes there's a need for words, and sometimes a need for action. From the Adventures in Geek Graffiti blog - Printable Cold Sores.

Nowhere in advertising is the gap between natural beauty and manufactured perfection more apparent than on subway posters. As we wait for transportation, we are unwillingly assaulted by larger-than-life representations of supposedly beautiful salespeople. The large scale of these ads and their extremely close proximity to the viewer offer up more than perceived intimacy, however... they give us the chance to see the mechanical flaws designed to correct their physical flaws.

Spun by Art as Authority at 09:02 PM | Permalink | Comments (0)

Spun by Art as Authority at 06:37 PM | Permalink | Comments (0)

Monique Dobbelaere lives and works in Brussels.
Click on image for full view

Spun by Art as Authority at 09:00 PM | Permalink | Comments (0)

I just got back from visiting the newly renovated Jacobs building at 1100 Kettner Boulevard downtown San Diego, the contemporary art annex to MCASD’s (Museum of Contemporary Art San Diego) permanent exhibition space across the street. It was up until recently, the Baggage Express holding area for the Santa Fe Depot train station that is adjacent to it and still in service. It had been empty for several years and then acquired by the museum. According to the Pacific Southwest Railway Museum web site the depot is, “an outstanding example of the classic Spanish Mission-Colonial Revival style of architecture, including Moorish influences.” It also goes on to say, “the Santa Fe Depot is 650 feet long by 106 feet wide, including the Baggage Express building, connected to its north end by arches and a track-side arcade. It's built of wood, bricks, cement and tile on a steel frame, with wide arches, tuscan columns, baroque cornices and heavy masonry appearance. The roof is of steel supported wood, with red mission tiles. Its twin towers have zigzag-pattern glazed tiles with Santa Fe's cross-in-circle emblem. The bricks around the depot were laid without mortar for long wear in a herringbone pattern.”

The Jacobs building, named after Irwin Jacobs (the founder and chairman of Qualcomm) and his wife Joan, I suspect after a generous donation, is nothing less than perfect for exhibiting contemporary art.

What was less than perfect was the greeting I received after paying the $10 admission fee and ventured into the main salle to see the current expo by Brazilian artist Ernesto Neto. As I entered a museum guard with hands clasped together in some benevolent gesture of sincerity and authority came to my side and uttered the following, “Hi, I would like to inform you that there’s no touching allowed.” I assumed it wasn’t him he was talking about and that it was the installation he was referring to. I was right of course, but just minutes later I read in big black 3 inch vinyl letters on the wall the following curatorial statement put there to aid the viewer’s comprehension, “Neto describes his works as both an exploration and representation of the body’s landscape from within. Fascinated by skin, the largest and most sensitive organ of the human body, Neto creates works that both evoke references to skin and engage the viewer’s tactile senses. It is important to Neto that the viewer should actively interact with and physically experience his work through touch, smell, and immersion. Suggesting polyps and bodily organs, Neto’s Lycra forms, filled with the intoxicating scents of spices, envelop the viewer and become a labyrinth for the senses.” Wait a minute, did the curator Stephanie Hanor, just describe the artist’s intent and most importantly his wishes in a statement in black & white on the wall for a viewer like me to read, understand and then interact “through touch, smell, and immersion”?

I guess not.

You know, what’s annoying in all of this is when contemporary art ceases to be contemporary. What is it about contemporary artwork once it’s installed or hung on the wall that it becomes ancient and sacred, untouchable, distant, and sterile? Often times I find that contemporary art that no one recognizes or sees as such is often mistaken for something else. Meaning utilized like any other ordinary object as in the case of the Richard Serra installed just outside the museum walls as a shady seat from the blazing sun and in the case of Ernesto Neto, his work is labelled as such but the viewer is confused as to what it does and/or it’s meaning – hence the explanation on the wall and Neto’s explicit desire for people to touch his sculptures. Does either perception of contemporary art help its enlightenment? Difficult to say. Neto obviously understands that people use all of their five senses in life to make sense of their environment; touch is just one way of relating, examining, and obtaining information from something they don’t quite recognize or that is foreign to them. The irony in all of this is that there were already plenty of fingerprints and graffiti on the surface of these Lycra polyps when I arrived, in fact it was one of the first things I noticed, so how did they get there, when did they get there and how? Were these unwanted caresses illicitly applied when the museum guard’s back was turned? Shameful.

While I believe it is necessary to protect all works of art from harm and I’m certainly not minimizing this in saying that it is a concern that most museums have on occasion experienced worldwide, they are - the acts of vandalism and theft - the exception to the rule for the most part. Does it make it right, of course not but I wonder about the disconnect between a lot of contemporary art and its audience. I wonder if contemporary art is for everyone and especially those who may be visiting it for the first time in an institution that society has deemed necessary for personal, intellectual and cultural enrichment. I wonder if we're not missing some very basic elementary steps in the “education” and understanding of contemporary art, assuming that since it is art the message will prevail and the viewer will simply “get it.” I wonder if instead of telling people not to touch, we could tell people why not to touch and if in the case of Neto, what we could learn if we did. Explaining contemporary art does not take away one’s personal and unique experience or interpretation of it. Even a seasoned veteran such as myself who has the habit of looking up, down and all around an exhibition space, looking for any incongruities or circumspect objects, found for example, the Richard Wright exhibit in the space next to Neto’s difficult at best. Part of that was placement, part of that was lighting, part of that is art shouldn’t look better in a catalog than on the wall.

That reading and appreciation of art can only occur when the viewer has the full effect of what is being presented and if that presentation works. Yes art still needs a helping hand or at least some insightful planning. In the case of Neto’s installation, air conditioning and climate controlled spaces while good for the comfort of both the viewer and the art, shouldn’t have played a role. Smell obviously plays an important part of the “immersion” process in Neto’s work when he is using tumeric, clove, cumin, ginger, and pepper to fill his hanging pods. Keeping with his fascination of skin, (Neto) “in his commission for MCASD, the scent of the spices conjures visceral connotations. Exotic and enveloping, the discovery of new scents as one navigates through the veils of fabric, is akin to the intoxicating experience of smelling perfume on the surface of warm skin.” Key word warm, not cool and filtered. Smell is a powerful memory trigger and an essential component in any amorous relationship perfume like spices gets you salivating. Erotic, sensual, dirty, sweaty, (not I just ran the Boston marathon sort of sweatiness) all the crevasses of the skin, all orifices of the body become major stimulants as well as the cement that bonds any physical and emotional contact between lovers or gourmands. I may not have the best sense of smell but I had to be right up on Neto’s sculpture to get any whiff at all generated by an air current or two created in my passing. When I spent some time in Conakry, Guinea a few years back I remember going to an extremely crowded open air market shaded loosely with undulated tin sheets of metal offering relief from the sun, but it was the incredible odors emanating from the center of this market that was the most inebriating – spices, salted fish, dried beef, vegetables, fruits, handmade soaps, grease, perspiration, freshly dyed fabrics, dust, heat, flies, life. I’m almost sure Neto amongst other hopes and desires he had, wanted this same amount of intensity and sensorial experience from his installation. But the museum wouldn’t let it happen. Isn’t this just another form of vandalism in the name of protecting the interest of the piece, its aesthetic appeal, its monetary value, its collectiveness, its sacredness? Wouldn’t you want to sacrifice just a little bit of the work’s uh.. “integrity” (couldn’t and wouldn’t the artist just want to make another one) in exchange for a much richer viewer/public experience and understanding of the art before them? I would think so. I would hope so.

Imagine for just a second the impact Neto’s work would have had had the climate control been turned off in that huge space as the day heated up, the San Diego sun beating down on the red mission tiles, the air still, a bit musty, particles of cumin dust floating lazily in the filtered light, the spices cool to the touch bundled up in their taut bosoms filled with an aromatic history thousands of years old: sensual, no. That, Ms. Hanor, is total immersion.





SO what is it about boys and their toys or should I say their Choo Choo trains. You may have heard the latest art news, but LACMA is wishing on a star both figuratively and literally in the hopes of erecting a operational replica of 1943 Baldwin 2900 class steam locomotive and Liebherr LR 1750 lattice boom crane 160' tall x 140' wide by the artist Jeff Koons, as a permanent installation after the museum’s current renovation is finished and designed by the architect Renzo Piano. According to LA Times staff writer Diane Haithman, “the yet-to-be-created work, which would be visible for miles, would turn its wheels, whistle and belch steam three times a day.” She goes on to say, “Director Michael Govan said LACMA had received a grant from the Annenberg Foundation to explore placing the work, to be called Train, on its grounds.” Apparently the grant to study the feasibility of placing Koon’s Train was in excess of 1 million dollars. Haithman quotes Koons as saying “that placing the artwork at the center of the LACMA campus would create a sort of town square for L.A., with the train essentially serving the purpose of a small-town clock tower. He envisions the train going through its performance at noon, 3 p.m. and 6 p.m.”

If you want to know what I think, I think it’s pretty cool – why not. It seems to fit perfectly with Koon’s iconoclastic and eccentric personality and “mirabolant” career and is certainly in line with other major outdoor installations he’s produced and goes nicely it seems with LACMA’s current ambitions. So what does the MCASD have to show for its ambitions? A Richard Serra sculpture. Not bad you say and normally I would agree with you if it was any number of other extraordinary works by Serra, I would of even settled for a Torqued Ellipses or Tilted Arc, anything other than the “plop plop fizz fizz” entitled Santa Fe Depot recently installed under the arcade at the Santa Fe Depot station, just outside the doors of the newly renovated MCASD annex. Listen, can we just this once all agree that not everything that comes out of an artist’s mind or studio is the stuff of pure genie – even for Richard Serra. Can we all agree that even sometimes the great ones, and certainly Serra is one, “make an error in judgement” if you will? The goal here is not to criticize the artist or his career but the artwork.

Santa Fe Depot is for this viewer, let’s just say, extremely boring, complacent, stagnant, and unimaginable taking up a whole lot of dynamic space that any number of artists –even local San Diego artists- could have transformed into a thing of beauty. Man, what was everyone thinking? Go see for yourself, you’ll find six blocks of forged weatherproof steel each having the exact dimensions of 52” x 58” x 64” and each weighing 25 tons. Not that it matters or that you could tell unless you were that concerned as to what these blocks were doing here in the first place. Curiosity is not one of the reactions the sculpture incites within oneself when experiencing this installation as its mere presence seems almost apologetic, almost embarrassed for taking up too much space, over compensating in a very non-clever way, the concept has been drained out of the conceptualization, it is merely ballast for a very unsteady mission and journey. Unfortunately that journey ended here in San Diego no matter how much the artist wants us to “think” about these blocks. Robert Pincus the art critic for the San Diego Union Tribune writes in his article, “welding and carving aren't part of Serra's sculptural vocabulary. The block arrives straight from the foundry. The reality of their making matters. What you see matches what you get. This is part of the conceptual integrity of his art. As massive as Serra's sculptures are, they're ignited by concept. But they're just as concerned with how you experience them. He relishes the way these blocks, placed as they are, provoke a potential viewer to wonder: What are they doing here? How do I look at them? How do they relate to this site?” Trust me, people aren’t going to ponder these blocks in this way because it is exactly the reason why they don’t relate is that they don’t relate to people’s very complicated, ambitious, multi-tasking, internet connected, cell phone ringing, Hummer driving, Wal Mart shopping, American Idol lives that need constant stimulation and entertainment. Santa Fe Depot does not entertain, it is not necessarily the fault of the work but there is nothing the least bit poetic or melodic in this work to sooth the savage beast in all of us. It does nothing to slow us down or intrigue us and no amount of “arrangement in two axes, mirroring the idea that there are train tracks running both directions” or that “each block is aligned and turned differently, so looking down the row creates a rising and falling set of rectangles and planes” is going to make it better. There is simply no room under this arcade with matching inlaid bricks of the same color underneath, that do nothing more than absorb these forms into the ground instead of projecting them upward, levitating them in some magical act of weightlessness, defying gravity and floating effortlessly like two barges passing in the night. Please don’t be fooled, these pieces cannot support the artistic weight or local history they must bear. There is simply no room in this setting for minimalist, post-minimalist or post post minimalist work as there is no room in our lives for something that is not treacherous, deadly, chaotic, and foreseeable.

It is the small things in life that count so they say, trouver du bonheur as the French would say and I believe the Surrealists understood that better than anyone. There are plenty of Surrealistic moments in everyday life that give us pause and a huge grin on our faces – you just have to be open to them and realize some are more personalized than others. Case in point, writing this article. One of these moments occurred when I was in the process of scouring the net for what other people had to say about Richard Serra’s sculpture and the tiny little typo that made its way into an article. I’ve already referenced the article above and you can find it here. Look closely though, under the heading On View, you’ll find written Santa “De” Depot instead of Santa “Fe” Depot. It’s no big deal right and I concur, except I was able to find my bonheur in that little mis-type. In French, the word dés or les dés means dice. And since I’m a strong believer that everything happens for a reason – even Santa Fe Depot – and since grammatically speaking you normally do not pronounce the "s" in dés, it made me realize what an apt ending this was to a crap shoot the museum took in installing this piece.

Kevin Freitas

Spun by Art as Authority at 04:27 PM | Permalink | Comments (2)

Hervé Crespel lives and works in Brussels.

Spun by Art as Authority at 05:55 PM | Permalink | Comments (0)

It seems to me “Breaking News” to interrupt our favorite TV show or clutter the banner on our default homepage should be changed to something like “Instant News” or “Flash News” as it appears nothing is breaking anymore as much as disseminated in the time it takes you to do a Google search on that very same headline news. Sliced, diced and packaged in easy to understand sound bytes from news agencies from around the globe to the personal blog and back out again, the news du jour will be emblazoned with personal commentary and opinion – it’s really that fast. I’d hazard a guess and say anything newsworthy over several hours from being announced is considered old news and probably completely dead after 24. So, if there is any solace to be gained at least on my part, it would be not worrying about breaking news since it has already been broken to the masses – my happiness comes from sifting through the debris.

Case in point: my friend Richard once opined that “Google is art’s best friend” as in the use of it to make art with and I would only add along those same lines, CNN has also become art’s best friend and more specifically, it has become Warhol’s 15 minutes of fame. Take for example, two recent headlines of art worldliness that both broke at roughly the same time, that is to say in a timely fashion, that earned one artist, Cosimo Cavallaro, an interview with Anderson Cooper on CNN with Bill Donahue from the Catholic League and the other artist, David Cordero, barely a mention in the national press. (image: Cosimo Cavallaro)

The artist I want to talk about however, is David Cordero and another artist, “Dread” Scott Tyler whose work some 18 years earlier around this time in April in the same city, Chicago and in the same school, the School of the Art Institute of Chicago raised hackles and questioned First Amendment rights of free speech. As for Cavallaro, there’s a myriad of articles you can Google by entering chocolate jesus, here is one of several I randomly picked to learn more about his cast 6ft. anatomically correct Jesus i.e. no loin cloth - made out of chocolate. While I personally feel there is no smoke helas no fire, in the work nor its content nor the context it would have been exhibited – quite clever, it’s worth checking out the interview between Anderson Cooper, Donahue and Cavallaro. Donahue in and of himself is quite a performance piece. Loser artist is one of many euphuisms Donahue used to characterize Cavallaro that is still ringing in my ears. Other works by Cavallaro can be seen on his website here www.cosimocavallaro.com

(image:AP Photo/Mary Altaffer)

David Cordero is a 24 year old senior at the School of the Art Institute of Chicago and has recently exhibited a sculpture of a Barack Obama look alike for his thesis show, equipped with a blue neon halo and draped in Jesus like robes, Barack is constructed out of papier mâché complete with a salutary Papal wave. Entitled Blessing the work went on view this past Saturday in the school’s gallery. Cordero is quoted as saying, “All of this is a response to what I've been witnessing and hearing, this idea that Barack is sort of a potential savior that might come and absolve the country of all its sins. In a lot of ways it's about caution in assigning all these inflated expectations on one individual, and expecting them to change something that many hands have shaped.” A lot of the same “inflated expectations” we put on art these days I would say and since we don’t really know how to look at and judge a work of art or at least lost the courage and the sensibility to do so, we rely on newsmakers in the media such as CNN to bolster our confidence and approve our choices by pointing out what is good or bad, but in reality pointing out what is hot – i.e. assigning a dollar amount and artificial value to something that would otherwise go unnoticed. Both Cavallaro and Cordero were propositioned to sell their works and/or expose them in other venues according to the article. I’m certainly not knocking Cordero’s sculpture, I like it as much as Cavallaro’s for the very same reasons – it is smart and very contemporary as in the very political and actual. It is refreshing, which is in itself is a good thing. Shocking? hardly. Controversial? not likely. We do know from experience that art can scare people even intimidate them, through ignorance or naiveté or pure emotion and is probably not good for potential presidential candidates – O ye, of little faith, Jen Pskai Obama’s spokeswoman had this to say, “While we respect First Amendment rights and don't think the artist was trying to be offensive, Senator Obama, as a rule, isn't a fan of art that offends religious sensibilities.” Isn’t that sweet, wasn’t trying to be offensive? I guess the artist didn’t do his job well enough. I wonder what sort of art Obama is a fan of? You can learn more about Cordero’s sculpture here.

Bill Donahue as a chocolate Jesus - artist rendering

“Dread” Scott Tyler who now goes by Dread Scott – a poignant reference to a well publicized 19th century federal court case involving a slave by the name of Dred Scott “who sued unsuccessfully for his freedom in the famous Dred Scott v. Sandford case of 1856,” (source and further info here and here) made his case and a name for himself by using an American flag in a controversial manner during an art exhibit at the School of the Art Institute of Chicago in 1989. It is interesting to note that just a year earlier to Scott’s intervention, another student by the name of David Nelson painted a portrait of the late Mayor Harold Washington in woman’s lingerie. Does the School of the Art Institute of Chicago have a penchant for controversial works of art? It would seem so.

Dread Scott from his artist statement on his website says, “I make revolutionary art to propel history forward. This is a world where a tiny handful controls the great wealth and knowledge humanity as a whole has created. It is a world of profound polarization, exploitation and suffering and billions are condemned to work with their hands and not their heads. It does not have to be this way and my art is part of forging a radically different world. The work illuminates the misery that this society creates for so many people and it addresses what it takes—the heart, resilience and ideals—to withstand and challenge this.” Entitled, What is the Proper Way to Display a U.S. Flag? Dread Scott took his first steps toward forging that radically different world. I’m not sure if Dread Scott has succeeded in his ambitions and has brought that change about through his art – most Americans have a difficult time with the X-treme sport of contemporary art and its “radical” doctrine and practices, I do believe though that the world in general and America in particular, have done a pretty good job themselves of bringing about that change for all the wrong reasons that has nothing to do with art and never will. After having spent a good majority of those past 18 years since Scott’s installation living in Europe (I had just arrived in Chicago when Nelson then Scott had exhibited their pieces) I have come home to an America that I no longer recognize or understand. What I do understand is Scott’s need to address the growing misery in society, to address it and challenge it via everyday actions that reflect the individual beliefs in all of us. Meaning a little bit more compassion, a helping hand to those in need, coherent and practicable education for kids instead of statistics, health care, a little bit more ecologically friendly manners, electing smarter politicians etc. etc. – which doesn’t necessarily reflect my passion for the arts but enables me to support and promote those artists who have a broader cultural global understanding of life, politics and their art. It’s more about being pro-active than inactive and self-serving. Pro-active to the point where I would consider stepping on an American flag purposely laid down in front of me so I may leave my comments in a book to explain how I thought a US flag should be displayed? I’m not so sure, probably not.

(image: AP Photo/Charles Rex Arbogast)

I believe I would not for the simple reason that Scott should not be questioning those who already believe in the so called “American Way of Life” – and its American citizens, not for any particular patriotic feelings obliged or otherwise they might have, and not for any particular National pride and honor they might hold dear, nor their belief in God and Country, but because the “fight” is not with those who already believe, the faithless have already been converted so to speak, Americans already believe in the system and are not questioning their loyalty to their country nor the symbolism of the flag. THAT they question what that flag represents to other nations, that they question how their government represents them here and abroad, and for all the other reasons I mentioned earlier above are in my mind, the real questions Scott should have been asking as well as to our outer Atlantic neighbors. The real fight is not being fought here in this “golden land of opportunity” but is being fought on a daily basis in the streets of Baghdad, Kabul and in the dusty plains of Darfur not by its soldiers but buy its people in order to survive. The flag is as every bit a symbol as the art on the wall, everyone understands their meaning and usage, where it counts is how both the flag and the art are being used to foster change. Somehow seeing the portrayal of an American flag burning by South Korean students in the case of Scott’s work, in the sanctity of an art institute while standing on the flag, doesn’t quite have the same effect, not quite the same expressive need nor fervent anger as the actual flag burner some thousands of miles away. Notwithstanding the rather lackluster appeal of its aesthetic form and display.

Steve Marlin from the National Review, a biweekly magazine that reports on national, international and cultural affairs from a conservative point of view, offered an interesting perspective on Scott’s installation, one month after the controversy died down because he felt “although the media reported some of the ensuing furor, they did not provide a full description of Mr. “Dread” Scott Tyler's exhibit.” Marlin’s complete article can be found here. For further insight into Dred Scott’s work and to view other works by him, you can visit his website here.

A lot has been written on Dread Scott, once again Google comes to the rescue, and hopefully I am not naïve enough to think I’ve lifted yet another corner of this epic drama shedding light and titilating perspectives upon it, but I am intrigued by the interest and debate that Dread Scott’s work provoked at the time – coiencedently similar debates were being carried on in other parts of the country as the NEA was embroiled in a funding survival fight for its life amisdt Serrano’s Piss Christ and Mapplethorpe’s exhibition at the Cincinnati Contemporary Arts Center – to wonder where the brouhaha wasn’t for similar “offensive” pieces by Cavallaro and Cordero. Donahue is not exactly what you would call the voice of the American people, nor would you except a presidential candidate to swat away so easily like some annoying gnat, a charming and inoffensive albeit protected under the 1st Ammendment work of art. What I find disconcerting is the facility in which we can dismiss a work of art or champion it via the media as judge and jury and the inability of the artwork to rest in the everyday psyche of the people. Has art lost the power and prestige it once had in the strength of its convictions and persuasive language visual or otherwise? Has it become weak and ineffective? Purely decorative and nombrilistic? Can art still make a difference and to who? These are some of the questions I have or to put it another way, has art lost its faith?

Kevin Freitas

Spun by Art as Authority at 03:26 PM | Permalink | Comments (1)

Graffiti is, in theory, an open ended system. If you had multiple lifetimes and a vast squad of goons you could saturate every surface available with markings. But in reality it's all about what spots you hit and if you have enough respect not to get your spots ragged out and enough luck and skill to get a few that can escape the eye of the buff squad.

- KAI1

Police and academics in Cambridge are trying to find a graffiti artist who could be Britain's brightest vandal. The artist spray-painted part of a chemical component of DNA on the road outside a lab where the double helix was unveiled 50 years ago.

- BBC News

In molecular biology, "junk" DNA is a collective label for the portions of the DNA sequence of a chromosome or a genome for which no function has yet been identified. About 98% of the human genome has been designated as "junk" ... much of this sequence may be an evolutionary artifact that serves no present-day purpose.

- Wikipedia

The era of garage biology is upon us. ... A mere $1,000 will get you a set of precision pipettors for handling liquids and an electrophoresis rig for analyzing DNA. Side trips to sites like BestUse and LabX may be required to round out your purchases with graduated cylinders or a PCR thermocycler for amplifying DNA.

- DNA Hack (the website for Amateur Genetic Engineering)

Maybe bathtub biotech will be the next to capture the mindshare of the techie tinkerers. Maybe bioinformatics and the diffusion of genetic engineering technologies will inspire a new generation of bio-hackers. Certainly the technologies are there for those inclined to genetically edit their plants or pets.

- MAKE Magazine

Perhaps the recipient of the gift is a neophyte who does not have the knowledge or skill to decode the complex typography ... When you throw a bottle into the ocean it might not be discovered by its intended recipient. Would you be able to understand a message in a bottle written by someone in the past? How about someone in the future?

- KAI1

After testing his own DNA at the request of a distant cousin, Mr. Grieve was shaken to discover that he did not match any of his extended family, including his first cousin, the son of his father's brother. That could only mean an occurrence of what genetic genealogists call a "nonpaternal event."

- The New York Times

Spun by Richard Gleaves at 08:13 PM | Permalink | Comments (1)

More to come...

Spun by Art as Authority at 10:31 AM | Permalink | Comments (0)