ERROR

vista da instalação no espaço Sótão em Caldas da Rainha
cortesia do artista



ERROR





Tiago Margaça
10 MAR » 10 ABR 2010
Inauguração no dia 10 de Março às 21:30

http://error.creare.pt

PerFormas – estúdio de artes performativas
Teatro Avenida, Largo do Mercado, 1
3800 – 223 Aveiro

curadoria de Jorge Reis


Press-release



«O maior erro que se pode cometer, é o de ficar o tempo todo com medo de cometer algum.» (William Shakespeare)

ERROR é a primeira intervenção produzida pela organização cultural de Aveiro CREARE no edifício do antigo Cine-Teatro Avenida em Aveiro, com o apoio e co-produção do estúdio de artes performativas PerFormas.

Em ERROR as paredes internas do edifício são a ’folha de papel vazia’ de Tiago Margaça, jovem artista plástico de Aveiro. A ausência dos limites apela a um preenchimento arbitrário das paredes com os desenhos a tinta-da-china do artista. Os desenhos propagam-se pelas paredes do edifício numa sensatez do traço natural e espontâneo. O erro acontece por haver um controlo excessivo para que ele não aconteça.



Informação prática








T. 234 192 331 | 234 192 780
E. performas@performas.org
S. http://performas.org



organização CREARE








T. 234 189 672
E. geral@creare.pt
S. http://creare.pt

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Maurizio Cattelan

Maurizio Cattelan, Untitled, 2003
Courtesy Rachofsky Collection, Dallas, TX
© Maurizio Cattelan Photo: Michael Bodycomb



Maurizio Cattelan
February 12 – August 15, 2010

The Menil Collection
1515 Sul Ross Street
Houston, Texas 77006
Tel 713-525-9400
Fax 713-525-9470

http://www.menil.org

Curated by Franklin Sirmans



Press-release

Contemporary Italian artist Maurizio Cattelan (b. 1960) is known for his witty embrace of semantic shifts that result from imaginative plays with materials, objects, and actions. In his work, contradictions in the space between what the artist describes as softness and perversity wage a sarcastic critique on political power structures, from notions of nationalism or the authorities of organized religion to the conceit of the museum and art history. Like the traditions established by Dada and Surrealism, his uncanny juxtapositions uproot stable understandings of the world around us. For Cattelan ev

en the banal is absurd. As he has said, “Comedians manipulate and make fun of reality. Whereas I actually think that reality is far more provocative than my art.”

The exhibition at The Menil Collection, organized by Franklin Sirmans, curator of modern and contemporary art, will be the artist’s first solo show in Texas. The exhibition will focus on recent large-scale works that premiered in Europe in 2007 and will feature sculptures that range in tone from the melancholic and politically contentious to the decidedly irreverent. It will include the monumental and unsettling memento mori, Untitled, 2007, a suspended taxidermied horse with its head buried in the wall, and Ave Maria, 2007, a series of saluting arms that extend from the wall. The translated title “Hail Mary” remains intentionally ambiguous, much like the various cultural meanings conjured up by gestures of allegiance.

Cattelan will also realize additional works for the exhibition in response to site visits to The Menil Collection campus and the museum’s world-famous collection of Surrealist works. Significantly, these pieces will also mark the artist’s return to sculpture-based practice. For the last five years his work has largely centered on publishing and curating. Projects have included the founding of “The Wrong Gallery” in 2002 and its subsequent display within the collection of the Tate Modern from 2005 to 2007; collaborations on the publications Permanent Food, 1996– 2007, and Charley, 2002–present (the former an occasional journal comprising a pastiche of pages torn from other magazines, the latter a series on contemporary artists); and the curating of the Caribbean Biennial in 1999 and the Berlin Biennial in 2006.



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folhas, páginas e outros desenhos…

34 - 35alta resolução
www.isabelbaraona.com



ISABEL BARAONA
“folhas, páginas e outros desenhos”
exposição individual & lançamento do livro azul

14 de Novembro e 12 de Dezembro de 2009 | de 19 de Janeiro a 6 de Fevereiro de 2010
De 3ª a Sáb. das 15h às 19h. (Encerra: Dom., 2ª. e Feriados)
Rua Dr.Cândido Guerreiro, 26-30, Faro.

Inauguração: 14 de Novembro de 2009, Sábado, das 18h às 20h30.
Apresentação no Pátio de Letras: 13 de Novembro de 2009, sábado às 22h.

As obras apresentadas servem-se do desenho como forma privilegiada de investigação e inventariação de si na sua condição de jovem mulher. Logo aí, o manuseamento da tesoura, da agulha, da linha e a mancha vermelha no tecido, investigam códigos de separação dos sexos, sobretudo os que socialmente determinam o feminino. Depois, assumida plenamente a condição adulta, ainda que não abandonando o recorte e a colagem, é sobre o papel bidimensional que o lápis, o aparo ou o pincel, se impõem como meios de exteriorização de um mundo improvável, fantástico, terno e terrível, em que a maravilha da fábula se confronta com a crueldade e o medo, e em que o sonho é sempre perturbado pela crua realidade.

Na Artadentro, Isabel Baraona apresentará um vídeo e desenhos originais, destinados a publicação, integrando a série “os Livros de cores”, que compreende os títulos: “grafite”, “vermelho”, “negro”, “azul” e o desdobrável “is this me?”. Logo após a inauguração desta mostra na Artadentro, a autora fará uma apresentação da sua obra, ás 22h00, no Pátio de Letras, onde os seus “livros de artista” estarão à disposição do público.



Artadentro,
Vasco Vidigal



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The Subjecters

alta resolução
Subjecter
Thomas Hirschhorn em la casa encendida – Sala A



Thomas Hirschhorn
“The Subjecters”
la casa encendida – Madrid
até dia 05 de Janeiro de 2010

Comissário: Ignacio Cabrero



“The Subjecters”, primeira exposição individual do artista Thomas Hirschhorn em Madrid, é, segundo o artista, um “comentário sobre o mundo em que vivemos, esgotado, caótico, cruel, mas por sua vez também harmonioso e encantador”. Podem-se ver instalações, esculturas, e montras com manequins no seu interior.

O trabalho de Thomas Hirschhorn (Berna 1957), caracteriza-se por ser uma reflexão comprometida sobre a realidade contemporânea. Fazendo uso das distintas disciplinas, como a escultura, o vídeo ou a instalação, Hirschhorn desenvolve um trabalho que se liga à crítica social e política.

Através da utilização de materiais do quotidiano, como a fita adesiva, o cartão, fotocópias, ou, neste caso, manequins, representa situações universais de forma transversal e directa. Através dos manequins que nos apresenta Hirschhorn em jeito de representação do “Nós”, fala-nos de uma “ferida universal”, que quer dar forma à afirmação “Eu sou responsável por todas as feridas”.

O artista produziu duas novas peças: “Tool Vitrine” e “Subjecter”, que dá título à exposição. Na vitrina “Tool Vitrine” um manequim parece querer acertar-nos com um martelo, mas também poderia estar simplesmente a cumprir com o seu trabalho, rodeado por todo o tipo de ferramentas. São utensílios familiares aos habitantes das zonas industriais como Aubervilliers, de onde se encontra o estúdio do artista. No meio das ferramentas, como se de uma manual de instruções se trata-se, está a “Ética” de Spinoza, um dos livros favoritos de Thomas Hirschhorn. Na obra “Subjecter”, um só manequim completamente perfurado com pregos, aparece fora das vitrinas, como uma representação fetichista de uma figura humana.

Nas obras se pode observar que os manequins estão “conectados” com a sociedade, e através das tatuajens sobre a superfície de “4 women”, e através das revistas que enfatizam o cuidado do corpo na vitrina “Mono Vitrine (Interview)”, dos livros de arte sobre Goya que nos recordam os desastres da guerra em “Mono-Vitrine (Goya)”, as ferramentas na peça “Tool Vitrine”, o os bonequinhos manga em “INGROWTH”. Completa-se a exposição com duas instalações situadas no centro da sala, “Black & White Hemisphere” e “The One World”.



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Comício-Instalação




30 September > 11 October



“COMíCIO-INSTALAÇÃO”, in english, “COMISSION-INSTALLATION”, is an installation event that occupies all the three floors upstairs to Estúdio PerFormas in the marvellous city of Aveiro in Portugal, in a spot with a wonderful view to the water canals, reminding Venice.

“COMISSION-INSTALLATION”, reuse the political propaganda posters surrounding the urban area these days. The aim is to empty rhetoric of these posters media, both graphic and text, printing an urgency and immediacy of reflection on the political process that is eminently. This is a community project that have his own irony. The event cover all ages and invite them to write what’s on their mind.



Artistic and technical
collective design and implement | technical support and light by Joana Oliveira |
executive production and graphics by Pedro Fonseca

Prices
Free entrance

Rating
For all ages

Address
Estúdio PerFormas |
Teatro Avenida |
Largo do Mercado, 1 |
3800 – 223 Aveiro

performas.org

Contacts
234 192 331 |
performas@performas.org



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Remade in Portugal

jardim de Eden - Joana Vasconceloshigh resolution

photo by Rita Burmester

Joana Vasconcelos
jardim de Eden
dimensões variáveis



Remade in Portugal
EXHIBITION of ECO-DESIGN AND FINE ARTS



for this weekend in Lisbon – ends 13 September
Museu da Elecrticidade



press | PT



Remade in Portugal, is a production of the Portuguese Agency for the Environment in collaboration with the Cremascoli, Okumura e Rodrigues arquitectos, lda.. This exhibition transports you to the museum of electricity where are mentality inventive use of materials used to make parts of eco-design and construction work art, contemporary practices ill-suited to raise public realizing that small gestures of everyday life can have a major influence in building a better future. These practices are divided into 2 fields: pre-consumer and post-consumption. For pre-consumer means the recycling of waste from industrial production that is normally assumed by the industry itself, for post-consumption means the recycling of packaging waste and domestic waste.

The title was influenced by the original project Remade in Italy. This project was created in 2004 by the architect Marco Capellini in collaboration with the Italian organization “Regione Lombardia” and among others, the Ministry of Environment and the various consortia to recycling. The success of the initiative led to the internationalization and, currently, the concept “Remade” is already implemented in several countries in Europe and Latin America.

Allied to this project is the philosophy of the need to change habits for the prevention and slowing down the growing danger of climate change caused by humans. The sensitivity to this issue has to be worked and why not bring the idea to the public by presenting the problem and the solution of the same? 2050 will be the year when humanity will have already fulfilled their Millennium promises, reduction of carbon dioxide, the end of the trap of extreme poverty, to bet in new sustainable technologies, and changing attitudes. All this for the sake of future generations. So cooperation in all modes of expression and communication should serve the purpose of preventing student. The task is difficult but not impossible!



Practical information

> Timetables
10h – 18h | Tuesday to Sunday (closed on Mondays)

> Address

Av. de Brasília, Central Tejo
1300-598 Lisboa

Tel. 21 002 81 90
Fax. 21 002 81 04 / 39

E. fundacaoedp@edp.pt
www.fundacao.edp.pt
www.remadeinportugal.pt/default



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All Bodies Fall at the Same Speed

Kunsthaus Bregenz, Austria
Photograph by Markus Tretter

Antony Gormley
CRITICAL MASS II, 1995
Cast iron 60 lifesize elements,
size variable
Installation view 3rd floor



Antony Gormley
Kunsthaus Bregenz
On view until – 04 October, 2009



Kunsthaus Bregenz presents four major installations made by the artist Antony Gormley over the last fifteen years in which we can trace a constant dialogue with the nature and dynamic of the sculptural project, the way that it investigates and occupies space, and the way that it invites us to re-orient ourselves, our perceptions and the terms of our self-knowledge. Refusing the fetishization of the object, Gormley’s work continually tests the limits and syntax of sculptural expression and the attention of the viewer, calling for ever greater participation and engagement.

The exhibition brings together four key series from Gormley’s oeuvre. Allotment and Critical Mass approach the collective body in dialectically different ways: body-forms falling or dropped, forming a chaotic and abject field, and void concrete cases arranged in a strict city grid. In contrast to these opposed masses and spaces Clearing creates a dynamic field: a drawing that acts like a web or nest to entrap and entrance the viewer, confusing and contradicting the clearly defined volumes of Zumthor’s architecture while remaining open to atmospheric changes of light. This sensation is contrasted by the results of a contained explosion where the physical meets the incommensurable in the seven tonnes of rusting iron that make up Body and Fruit.

These, the first works encountered on entering the KUB, are two of Gormley’s Expansion Works, made between 1990 and 1994. The skin, or sensory limit of the body, is extended through the application of consistent spars radiating from nodal points at the extremities of the body. These are linked together at their outer ends to form a continuous surface. Body (1991– 93, cast iron, 6 t) and Fruit (1991– 93, cast iron, 1.25 t) are derived from a body-mould in a clasped diving position. The hanging of these two sculptural objects sets up a relational field reconciling the human and planetary body and engaging the viewer in a gravitational field in which these large heavy objects hang just a few centimetres from the floor.

Replacing the biological body with “the second body of architecture” on the first floor of KUB, Gormley presents Allotment II, made in 1996 in Malmö, Sweden. A total of three hundred people – men, women and children aged from one and a half to eighty years – were measured following a set of thirteen strict body measurements provided by the artist. The resulting data defines the height, width and depth of the body; the location of the head; the dimensions of the mouth, nose and ears; and the height of the shoulders, anus and genitals from the floor. From these detailed measurements the ar tist constructed three hundred reenforced concrete cases (each 5 cm thick), translating the individual shape of the respective person’s body into the form of a modernist bunker. All body openings (mouth, ears, anus and genitalia) are transcribed into the concrete box according to the individual’s measurements. The reinforced concrete case is the minimum space necessary to accommodate a particular body. Evocatively called “Rooms,” collectively they resemble a city and refer to a sense of community which transcends the individual subject. The smaller constructions of heads upon the plinth-like concrete columns resemble water tanks or plant rooms on high-rise tower-blocks while at the same time, in their proximities and apartness, play out family relations. Displayed in juxtaposition, a sense of the individual characteristics of these intimate architectures emerges. As well as through obvious variations in size and height, some subtle transfer of the character of the original subject is displayed through small differences and shifts in proportions. The geometrical grid and arrangement of the individual works into blocks with streets and squares provide a labyrinth in which the viewers can lose and find themselves, literally and in ghost form, by measuring their own heights and girths against those of absent subjects.

Since the early 1980s the artist has been developing works in which he has reflected upon the phenomenology of spatial experience and the limits of the empirical horizon beyond the physical boundaries of the body. In the Domain series, for example, the interior sensations of the subject’s body-space are evoked from a welded matrix constructed from lengths of stainless steel bar. In the Feeling Material series the energy field surrounding a body-space is generated by a continuous unbroken line. These experiments are linked to Clearing V (2009), which is presented on the second floor of KUB: an endless metal line that describes its own tensile capabilities while springing twelve kilometers of raw aluminum tubing from floor to ceiling and wall to wall. Gormley’s intention here is to create a three-dimensional drawing in space: “I am trying to destroy the fixed coordinates of a room and make a space/time continuum that is both a thing and a drawing.” The complex field of spirals and sine waves takes on its own autonomously formal character, determined by both the framework of the architecture and the inherent qualities of the material. Here, as in all the installations, the viewer is an integral part of the work, becoming the subject of a constantly renegotiated visual field.

In the third floor Gormley presents Critical Mass II (cast iron, 1995, commissioned for the StadtRaum Remise, Vienna); an installation of sixty figures cast from moulds taken of his body – squatting, sitting, kneeling or bowed in mourning – which develop from a low crouching position and ascend to an upright standing position with the head tilted upward: a syntax of twelve body-postures that are here muddled and tumbled. Some works are suspended, most are earth-bound, all are at rest, evoking different readings depending upon which way they are orientated (for instance, the kneeling figure, when fallen backwards, becomes an arch of hysteria; when inverted, the mourning figure with its head bent becomes an acrobat). Their weight is actively engaged. To quote Gormley: “The suspensions are vital. Maybe there are two things identified here: Firstly, bearing witness to torture and execution, the worst destiny of the dispossessed. Secondly, through an arrested fall, activating a gravitational field” (these forms have ten times the density of an ordinary human body of the same size). As with the works Body and Fruit, exhibited on the ground floor, the artist wishes to re-enforce the connection between body and ground: “The use of this material – iron – is associated with the deep underground that lies beneath our feet and emphasizes that our body is on temporar y loan from the mass of matter constituting the planet and to which, in some way, we give shape.”



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Les Voisins

high resolution

Courtesy of Ermida de Belém



LES VOISINS
Ricardo Jacinto
until the 30th of August
at Ermida de Belém – LISBON



press-release – PT |



Les Voisins. That’s what Ricardo Jacinto is bringing to the Hermitage of Nossa Senhora da Conceição, in Lisbon. They’re not exactly his neighbours, they’re the inhabitants of the Marta Pinto Alley where the cultural venue is located. From 18th July until 30th August the Portuguese artist shows the world that surronds him, a world which is strangely familiar to viewers, through fragments, games of visual slopes and sound.

The exhibtion Les Voisins is strongly defined by the space it’s being shown, and finds in the Hermitage its last phase. It all started in April 2006 in the Calouste Gulbenkian Foundation in Paris, an 18th century building. Last year, the “neighbours” were in the space Culturgest, in Oporto, for about six weeks.

Les Voisins’ visitors will act as spectactors in action, and not only for the opening, when a small performance will take place. Works from the first two exhibitions together with others created specifically for the closing of the cycle in the Hermitage will define an unique environment in which interior and exterior meet.

For the Travessa da Ermida (Hermitage Alley) project, Les Voisins will be a strong statement in its approach to a cultural and artistic promotion with special focus on contemporary artists, among which Ricardo Jacinto’s work is one of most interesting and acclaimed in Portugal.



Practical Information:

Exhibition Hours:
Tuesday to Friday: 11h00 to 17h00 (closed for lunch from 13h00 to 14h00)
Saturday and Sunday: 14h00 to 18h00 (closed at Mondays and day off)

Address:
Travessa do Marta Pinto, 21
1300-390 Lisboa

Contacts:

T. 00351 213 637 700
E. Coordinator Fábia Fernandes
ermida@ermidabelem.com

www.ermidabelem.com



Translation made by Maria José Anjos



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Control Z

09yonamine01high resolution



Yonamine
CONTROL Z
Galeria Cristina Guerra
on view until September 19th, 2009



press-release – PT |



We have nothing of our own
Except time
Enjoyed precisely
By those who have nowhere

Anon. Graffiti on a wall in Lisbon



As a whole, we might term the works by Yonamine (b. 1975) as diaries or even archaeologies. On time, on the past and the present (on the re-invented, re-updated), on life. His and that of the world. The title chosen for this exhibition is perhaps so significant due to this fact. Control Z is a computer language that allows one to “undo” or go back, but here it almost becomes a manifesto about the accumulating of experiences from which we can truly take a lesson.

In this exhibition now on show at the Cristina Guerra Gallery we see a momentary crystallisation of this ephemeral set of references, from the history of art, covering politics and the artist’s everyday life, which allow us to reflect, through his “aesthetics of proposal” on a set of current and past concerns that we may consider to be eternal. In this manner there is an attempt to stand up to forgetfulness. As is shown in (I shoot can, 2009) the spiral, impressionist movement of the artist’s footprints serves to remind us that we are all in the crosshairs. The way he constructs the work (in puzzle) and its process of accumulation and random fragmentation, almost surrealist, can tell us a great deal about how today we all are fragmented identities, broken mirrors. Ongoing, flowing, frail identities, subjected to several different types of violence.

In his modus operandi Yonamine proposes a universe that coincides more with the authentic aspect of life, going against the most machine-like and homogenous view of a world that nowadays one wants to be “hygienic” and perfect. As is shown by some of the symbols in his works, here it is forbidden to wash, iron or tidy up. Unlike other artists we may evoke here, like Basquiat, the whole process here is, however, drawn up within a greatly humorous Pop language. As if laughter, in its derisory understanding, were the best weapon of catharsis. Perhaps this is why he invites us to chill out on sandbags that remind us of the beach on which (peacefully or not) George W. Bush socializes with the picture of the Kinguilas (women who change money in the streets).

This ambivalence between the serious and the playful provokes interpretative short-circuits in the spectator, as this installation can also be likened to a treacherous trench in which we are all invited to share the above-mentioned guilt over our fatal and inevitable humanity. It is also a reference to our capacity for opting between an exercise in reflection and a form of pure contemplation.

Yonamine brings together a set of situations that oscillate between a past, a present and a possible future, offering a concept of time that escapes limitation. Like in the language of Reggae DJs, in his work we may think about the concept of rewinding, and at the same time we are located within today. The evoking of his past is done in several different ways, form African tradition (as can be seen in the reference to the drawings in the sand by the Quiocos from Northwest Angola) to the memories of Angola with a search for a type of blue (Kind of Blue, 2009), in the style of Yves Klein, inspired by the different “personalized” tones used on the kandongueiros (taxis), or also through the use of old photographs taken from newspapers found in the Lisbon Feira da Ladra flea market. He gives these a new life in a new context.

In High Tech Retro, 2009, we find another manner of re-updating. The “Last Supper”, painted by Da Vinci, simultaneously serves as a springboard for a reflection on the history of art revisited and as a “political” and ironic commentary in telling us about the current financial crisis, which has in fact existed since 1975, when our “messianic” hegemony starts to crumble, among other factors, through Angolan independence. The flies on the canvas thus verify the stating of a certain parasitical mentality that is present to this day in Portuguese culture.

All this is saying little about such a rich and complex world that this artist’s work becomes. His canvases, just like this text, need “physical” yet not necessarily limiting containment. Through his vast and labyrinthine set of subjects and forms, Yonamine grants us the possibility of travelling beyond the physical space of the canvas. “If I weren’t a painter, I would be a writer, or even a musician … That’s it … For me it’s all about communication”.

Impossible to do CONTROL Z… Just as well.

Carla de Utra Mendes

CONTROL Z is slow, sliding over the natural disorder of things until it
weaves and waits, and we want slow sliding on the unnatural order of things,
because thinking hurts.

Kalaf Ângelo



Practical Information:

Visiting hours:
Tuesday to Friday from 11 am to 8 pm
Saturday from noon to 8 pm
Closed Monday

Address:
Rua Santo António à Estrela, 33
1350-291 Lisboa Portugal

T. +[351] 213 959 559
F. +[351] 213 959 567
E. Cristina Guerra Director
Inês Teixeira Administration / Sales Enquiries

www.cristinaguerra.com



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Music Lessons Vol. II

high resolution

Flying Saucer
1991

Vinyl record (LP), pan cover, photography tripod.
97 x 66 x 66 cm
Collection Pedro Cabrita Reis, Lisbon

this object is not on display in the gallery



JOÃO PAULO FELICIANO
Lições de Música, Vol. II
On view until 30th July, 2009



press-release – PT |



Following its last exhibition in 2008 in Galeria Cristina Guerra (Lisbon), entitled Lessons in Music, João Paulo Feliciano (JPF) continues to explore the metaphor of music as a learning process of developing an artistic language.

As in previous exposure, JPF cross references to their own history and experience with musical and artistic ideas and quotations more or less ironic the idea of culture as an unbroken chain of transmission of knowledge.

However, this “Music Lessons Vol. II” , the artist goes beyond a certain formality and restraint purposely made in the previous exhibition, showing works where the impulsive gesture, the disruption, the breaking of rules, the failure, the ineptitude, the abandonment , limitations, and even a certain brutality takes an expressive and creative urgency.

In the Music Lessons Vol. II, João Paulo Feliciano presents us videos, photographs, and sculptures / objects in a variety of records that is characteristic of his work.



Practical Information:

Exhibition Hours:

Tuesday to Friday
10h00 > 12h30 and 15h00 > 19h30

Monday to Saturday
15h00 > 19h30

Address:
Rua Miguel Bombarda, 526 / 536
4050 – 379 Porto – Portugal

Contacts:
T. +351 22 606 1090
F. +351 22 606 1099
E. geral@galeriafernandosantos.com

www.galeriafernandosantos.com



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