Fig.4 Chris Ofili Detail of Mono Turquisa (Turquoise Monkey) from The Upper Room, showing the white priming, graphite pencil design, acrylic paint of background foliage, drips of turquoise oil paint, dyed resin and dots of oil paintPhoto © Tate, From the surface of each of the thirteen paintings in The Upper Room protrudes a ball of elephant dung, a medium that Ofili incorporated into his art after experimenting with its use on paintings while attending the Pachipamwe International Artists’ Workshop in Zimbabwe in 1992.6 The dung balls he used for The Upper Room were sourced from London Zoo, until a tragic accident in which a keeper was killed led to the elephants being relocated to the more spacious grounds of Whipsnade Zoo in Bedfordshire. The Upper Room: Mono Rosa. He acknowledged that the artwork, originally conceived as a triptych, had had the potential to be monotonous to produce as it developed in scale. Half of each canvas was masked to measure colour change in the dark – albeit at elevated room temperature – before being added to the light box for comparable ageing. After eight years of natural ageing the replica and mock-ups are equally unchanged. Edward Jean Steichen (March 27, 1879 – March 25, 1973) was an American photographer, painter, and art gallery and museum curator. Made at a similar time to The Upper Room, Sigmar Polke’s Untitled (Triptych) 2002 (fig.8) employs resin on a transparent fabric to act as the surface for a painted image. The Upper Room: A Study of Materials and Stability, https://www.tate.org.uk/research/publications/tate-papers/29/the-upper-room, ‘Men thinking, and women tranquil’: John Gibson’s Portraiture Practice, John Gibson’s Friendship with Charles Eastlake and its Importance in Securing Gibson’s Reputation in London, Via della Fontanella 4: John Gibson’s Workshop in Rome, Museum Studies as Critical Praxis: Developing an Active Approach to Teaching, Research and Practice, The 1957 Rehang of Tate’s Modern British Gallery: Displaying the Contemporary ‘British School’ in the Context of John Rothenstein’s Later Career, Socially Engaged Art and Affective Pedagogy: A Study in Inter-Faith Understanding, Diffractive Analysis: Embodied Encounters in Contemporary Artistic Video Practice, John Gibson and the Anglo-Italian Sculpture Market in Rome: Letters, Sketches and Marble, Developing the Practitioner-Researcher Within the Art Museum, http://www.tate.org.uk/art/artworks/ofili-no-woman-no-cry-t07502, Five 20 x 25 cm primed canvases were painted out with stripes of primer, fifteen examples of acrylic paint, five examples of oil paint and two examples of felt-tip pen. your own Pins on Pinterest One of the mock-ups, by then naturally aged for seven years, was maltreated, mimicking the accident, until its dung ball detached. Penjimatan besar untuk tempahan hotel di Santa Teresa Beach, Costa Rica secara online. Discussing work accessioned into the Tate collection with contemporary artists is an activity that started in the 1980s and continues to reap benefits today. Ofili states the work is not intended to be offensive, but rather to contrast the harmonious life of the monkeys with the travails of the human race. We considered ways to reinforce the attachment of the dung balls to the canvases but all ideas were rejected on the grounds that intervention meant risking damage. Natasha Walker is a freelance paintings conservator and former Paintings Conservator at TateJoyce H. Townsend is Senior Conservation Scientist at Tate. Compara preços e encontra a melhor oferta para o California. These are predictable changes too for this material, and they are smaller than the loss of colour from the amber resin. ... Hotel Mono Azul. Mixtures of these dyes would tend to lose colour as rapidly as the most light sensitive component, leading to significant shifts in tonality that could potentially disrupt Ofili’s carefully planned colour scheme. It’s supposed to be this kind of magic thing.12. This was alleviated by using a freestyle approach to painting the foliage designs, altering them on the canvas to create more pleasing colour juxtapositions, or playing with effects such as scratching through layers to reveal different paint colours beneath. The calculation of the colour difference between a coloured surface before ageing and a coloured surface after ageing can take account of the viewing conditions and lighting type. You entered the wrong email. They have not been required for pre-treatment tests following damage to a Tate collection painting, while we are aware of propagated cracks and the detachment of dung balls from three Ofili dung ball/resin paintings in other collections. Based on the known chemistry of the other materials tested, we were also concerned that the titanium white combined with many of the stable, modern, organic colourants in the oil and acrylic paints would drastically reduce their stability to light, and that the polyester resin would have reacted chemically with some of these paints before it set, leading to a yellow appearance for some colours. "[10] The Times said, "Victoria Miro, Mr Ofili’s dealer, appears to have driven a hard bargain with the Tate, which is the job of a clever dealer. The drooping dung ball on Mono Naranja (Orange Monkey), and the circular fractures in the resin of Mono Azul (Blue Monkey) appear unaltered. These differences, however, were all far less dramatic than the colour change in the warm-toned dyed resins. This was not a greatly accelerated test, possibly only by a factor of 2–4 due to increased temperature. We were also aware of Ofili’s thoughts on the subject. [1], On 14 August 2005 The Sunday Telegraph published an article by their arts correspondent, Chris Hastings, with the heading, "Chris Ofili said artists should give work to the Tate for nothing... so why has he accepted £100,000 for one of his dung pictures?" Nagyszerű árak és rengeteg szabad szoba. In July 2005 this was publicly announced as part of the new BP-sponsored rehang of Tate Britain. To this end we sourced products used by Ofili, starting with the most obscure and seemingly least attainable in the UK. Ofili agreed that the hardwood panelling be treated with a fire retardant substance, that safety signage and benches for visitors could be placed within the room and that instead of physical barriers a gallery assistant could be stationed in the installation.3 The artist’s original concept was for visitors to approach the space by climbing a steep staircase before reaching an ‘upper’ room. Discover (and save!) On curing, the resin secured the dung balls in place. We sought evidence for how they might be packed, handled and displayed, in order to make them accessible to the public now and in the future. Limiting the artwork’s exposure to light would seem beneficial to reduce the fading of light-sensitive materials, such as felt-tip pen, as well as resin discolouration. Tate specification transit frames, of the type used to protect display frames and unframed paintings when they are being moved between sites, were made to store two of the small test canvases. Already the amber resin has been found to lose some colour, while the turquoise-coloured resin has not, probably because it contains the more stable green or blue resin dye (fig.18). It was bought by the Tate gallery in 2005 from the Victoria Miro Gallery and was the cause of a media furore[1] after a campaign initiated by the Stuckist art group[1] as Ofili was on the board of Tate trustees at the time of the purchase. Furthermore, Ofili had commissioned a paint manufacturer to make gold paint incorporating mica – a silicate mineral that has a shiny appearance similar to glitter – to make the surface appear pearlescent, which turned out to be slow to form a dry paint film, leaving Mono Oro (Gold Monkey) particularly vulnerable to dust retention early in its lifetime. These were applied by removing the bristles of a paintbrush and using its ferrule – the metal part that usually holds the brush hairs in place – to create the dots. It is known from studies in other museums that dust capture is worst within a metre or so of the areas in which gallery visitors can move around.18. The composition is based on a 1950s collage by Andy Warhol in which a monkey, with his tail curled up in the air, plays a cup and ball game (fig.3).1 In Ofili’s paintings the ball is a piece of elephant dung adhered to the canvas above the painted cup. There was no discernible colour change in the dyed resins kept in the dark for twenty months at elevated room temperature, but after this time the yellow dye began to lose colour perceptibly. These treatments have shown that stabilising dung balls on Ofili’s paintings may not require the major interventions first discussed at Tate, and this would certainly influence our approach should treatment be deemed necessary in the future. [19] The Stuckists have also pointed out that, during the period of the negotiations, works by the artist had suffered a decline in price, but had doubled after it. This information is considered here in relation to the rhythm of museum display allowing for a more reflective and evidence-based, rather than rule-based, approach to their conservation. [20] It ruled the Tate had broken charity law (but not the criminal law)[19] over the purchase and similar trustee purchases, including ones made before Serota's Directorship. Freedom. With no specific lighting requirement given by the artist, it is always displayed at 80 lux rather than the 200 lux recommended for oil paintings. Fig.8 Sigmar Polke Untitled (Triptych) 2002 Polyester resin and acrylic paint on fabric Tate T11855 © The estate of Sigmar Polke/DACS 2018Photo © Tate, Fig.9 Sigmar Polke Detail of Untitled (Triptych) showing branched cracks in the resin coatingPhoto © Tate, Fig.10 Chris Ofili Detail of Mono Azul (Blue Monkey) from The Upper Room, showing circular fractures in the resin coatingPhoto © Tate. In 2005 The Upper Room entered Tate’s collection at which point Ofili gave clear instructions regarding the aesthetics of the display.2 Installation of the artwork was deemed possible at all of the Tate sites with the exception of Tate Liverpool, whose structural columns were, to the artist’s regret, considered too distracting to retain the integrity of the artwork. This appears to give an acceleration factor of 12 over Ofili’s lighting, but display lighting would only be used for 10 hours per day, every day, increasing the factor to 30. We asked to be moved to an upper room and was accommodated with the bell staff making the change for us with us only having to redo minimal packing. There were two objectives for the drop tests. Fig.2 Chris Ofili Mono Gris (Grey Monkey), from The Upper Room Photo © Tate, Fig.3 Andy Warhol Monkey 1950s © Andy Warhol Foundation Source: Traditional Fine Arts Organization. Now that we understand better the vulnerabilities of The Upper Room, we can balance protection and access for the other Ofili elephant dung/resin paintings in the Tate collection. The Upper Room is an installation consisting of thirteen large paintings displayed in one room, each depicting a rhesus macaque monkey. Afrodizzia (1st version) Affrodizia (2nd version) Nude Study in Blue. The room is approached through a dimly-lit corridor, which is designed to give a sense of anticipation. "[19], "How Ageing Art Punks Got Stuck into Tate's Serota", "Tate rejects £500,000 gift from 'unoriginal' Stuckists", "Stuck Inn VI: What is Wrong With Sir Nicholas Serota? Mock-ups were made with the artist’s materials in three sizes to use for three distinct purposes: Fig.13 Chris Ofili Mono Rosa (Pink Monkey) from The Upper RoomPhoto © Tate, Fig.14 Conservator Natasha Walker applying the Tate logo in oil paint dots to the full-scale mock-up of Mono Rosa (Pink Monkey) to distinguish it from the original Photo © Tate, Fig.15 Two of the striped test panels, the left with amber-dyed resin and the right with undyed resin, during accelerated ageingPhoto © Tate. Knowledge gained from the study will determine the ways that Tate displays and stores Ofili’s dung ball/resin canvases in the future, in order to slow down changes as much as possible. Any of these scenarios could lead to great visual changes to The Upper Room paintings, either through loss of a key colour from many canvases or through patchy yellowing of all of them. Each painting depicts a monkey based around a different colour theme (grey, red, white etc.). This is undoubtedly because of the strong message it carries20 and perhaps because it does not have expensive installation costs, in contrast to The Upper Room. Tate Papers (ISSN 1753-9854) is a peer-reviewed research journal that publishes articles on British and modern international art, and on museum practice today. Low prices across earth's biggest selection of books, music, DVDs, electronics, computers, software, apparel & accessories, shoes, jewelry, tools & hardware, housewares, furniture, sporting goods, beauty & personal care, groceries & just about anything else. View Hotel . [6], There followed a series of articles in The Sunday Telegraph, as well as other newspapers, over the following few months, detailing more aspects of the purchase. No Woman, No Cry has substantial areas of amber as well as pale turquoise-coloured resin. [12] The Art Newspaper pointed out that work by every serving artist trustee had been acquired during Serota's tenure. However, this might not itself prevent all colour change, because the possibility existed that storing the paintings in the dark at typical room temperature could still lead to irreversible colour changes and chemical deterioration. Fig.7 Chris Ofili Detail of Mono Naranja (Orange Monkey) from The Upper Room, showing the attached elephant dung ballPhoto © Tate. It is likely that accumulated light exposure would eventually render the medium either invisible (the more likely option) or else permanently visible in all lighting conditions. The first was to assess the strength of the dung ball’s attachment to the canvas by dropping the canvases at progressive heights until the dung ball detached. The installation was designed in collaboration with the British architect David Adjaye. The twelve smaller paintings show a monkey from the side and they are based on a 1957 Andy Warhol drawing. Moreover, with the prospect of other elephant dung/resin paintings travelling to London for the exhibition, we were obliged to recommend methods of handling, transport and storage to lenders that would mitigate risk. Untitled (Afromuse) Views. When this fell through, Ofili's dealer Victoria Miro then organised a consortium of five benefactors to donate half the purchase price, whilst also buying their own Ofili work privately. Allpainters.org created by people who sincerely passionate world of creativity. The only thing I didn't like was the lower level rooms, no privacy unless curtains are closed completely and then you are in a dark room. There is nominally an external inspector, but in practice there are very few checks. Ugodne cene in razpoložljivost. Tate Papers, no.29, Spring 2018, Chris Ofili's term of office as a trustee expired in November 2005. An exhibition is the result of your experiments, but the process is never-ending. This tends to suggest that mechanical failure is controllable and largely preventable with careful handling, storage in transit frames and customised packing procedures in place. It was bought by the Tate gallery in 2005 from the Victoria Miro Gallery and was the cause of a media furore after a campaign initiated by the Stuckist art group as Ofili was on the board of Tate trustees at the time of the purchase. The Upper Room as a whole is described by the Tate as an "installation". [a], He applied to the Tate under the UK Freedom of Information Act 2000, and the museum was forced to release previously-confidential trustee minutes relating to the purchase, as well as revealing that £100,000 had been donated by Tate Members towards it. Colour change is not yet noticeable with the human eye even on close examination, but if a side-by-side comparison were possible, then these changes would be fairly obvious. The drooping dung ball on Mono Naranja (Orange Monkey), and the circular fractures in the resin of Mono Azul (Blue Monkey) appear unaltered. Contemplando la imagen de Nuestra Señora de Guadalupe pue… When asked in a 1997 interview if he had ever felt any pressure to ensure the physical stability of his paintings, Ofili replied: ‘I’ve done all that I can, all that I know. It was unclear whether this was due to its natural asymmetrical shape or the result of forces exerted by the ball’s weight gradually distorting it. Oct 4, 2018 - This Pin was discovered by Shwarga Bhattacharjee. Biblioteca en línea. The room we were in did have a light smell of dampness. Sequences of paintings which together function as a unified work broaden the range of considerations relevant to their conservation. Amazon.com Books has the world’s largest selection of new and used titles to suit any reader's tastes. In the same week as announcing the purchase,[1] the Tate rejected a donation of 160 Stuckist paintings valued at £500,000 and was accused of "snubbing one of Britain’s foremost collections", the Walker Art Gallery, where the work had been in The Stuckists Punk Victorian show. The minutes showed that the Tate had begun negotiations with Ofili's dealer to purchase to The Upper Room when an unnamed American collector was going to enter into a joint purchase with the museum. ... we stayed at room 11. The Tate should buy it. The Upper Room: Mono Morado – Chris Ofili. Inside, visitors are free to wander around the space and soak up the atmosphere as they might a chapel or highly charged environment such as the Rothko Chapel in Houston. After eight years of natural ageing the replica and mock-ups are equally unchanged. As accelerated light ageing of the replicas continued, the colour loss in some dyed resins looked patchy where the thickness of the resin varied – as can be seen in the orange resin in fig.17.17. in Every Room: Neighbors App Real-Time Crime & Safety Alerts Amazon Subscription Boxes Top subscription boxes – right to your door: PillPack Pharmacy Simplified: Amazon Renewed Like-new products you can trust: Amazon Second Chance Pass it on, trade it in, give it a second life The NACF allowed the Tate to keep the grant. Rather than aboriginal art, the dotted paint application refers to an artistic practice found in prehistoric cave painting in Africa which Ofili saw when visiting the San caves in the Matobo Hills, Zimbabwe.7, Fig.5 Chris Ofili Detail of Mono Amarillo (Yellow Monkey) from The Upper Room, showing one of the dung ball supports bearing the title of the paintingPhoto © Tate, Fig.6 Chris Ofili Detail of Mono Amarillo (Yellow Monkey) from The Upper Room, showing one of the dung ball supports bearing the title of the paintingPhoto © Tate, To match the colour of its dyed resin coating, each monkey was painted in a single oil colour, save for the multi-coloured fingernails, toenails, beard and waistcoat buttons. The obvious step to gain a better understanding of the vulnerabilities of paintings made from non-traditional artists’ materials is to make mock-ups and subject them to greater stresses than they would meet within a display period. "[12], In December 2005, Serota admitted that he had filled in with false information an application form to the Art Fund (NACF) for a £75,000 grant towards buying the work. Unprepared for what might be found at the end of the corridor, the visitor turns into an enclosed room clad on all sides with walnut wood panelling which gives off a distinctive spicy smell. Having collected information from the artist, studies were designed to help understand the vulnerabilities of these extraordinary paintings. Tate Papers However, by 2009 the type of primed canvas Ofili had used for The Upper Room was found to be discontinued. Since acquisition in 2005, several conservation treatments to re-attach partially or fully detached dung balls have been carried out on similar artwork in private conservation practice. We thank Chris Ofili, whose engagement, donation of canvas and help in sourcing materials proved invaluable; Laura Homer, former Paintings Conservator, Tate, who helped make the mock-ups and take light readings; Kevin Miles, head of the conservation workshop, who made stretchers and transit frames for the replica and mock-ups and assisted with the resin application; Whipsnade Zoo for donating the elephant dung. I don't think many people realise how the Tate is run—I certainly didn't. Compare prices and find the best deal for the California. One was wrapped in black polythene to mimic long-term storage in a wooden crate and the build-up of volatile products from wood and adhesives that this implies, while the other was left unwrapped, to act as a visual indicator of dust pickup and its effect on appearance. The good thing is that the water was clean, we stayed at room 11. Contemplating the image of Our Lady of Guadalupe can help us meditate on the mysteries of the rosary. Find best-selling books, new releases, and classics in every category, from Harper Lee's To Kill a Mockingbird to the latest by Stephen King or the next installment in the Diary of a Wimpy Kid children’s book series. We were delighted when Whipsnade Zoo agreed to supply us with five elephant dung balls. Mono Naranja (Orange Monkey) had a different issue: it was noticed on acquisition that its dung ball drooped forwards (fig.7). One 183 x 122 cm canvas was made, an exact replica of. Hotel Mono Azul. The rooms were quite generous in size. Oct 10 – Grand Rapids, MI @ The Upper Room – Looming (No Sleep Records) at The Upper Room Oct 11 – Detroit, MI @ TBA Oct 12 – Bloomington, IN @ The Void – 10/12 Looming at The Void feat. Some acrylic paints with pure, deep colours were unchanged, as was the white priming on the canvas, while some colours that were lightened with titanium white did indeed lose colour as predicted after only eight months of ageing, diarylamide yellow with titanium white being the worst. [17] In addition to the problems concerning the purchase of the work, difficulties were also found in the display of the work. For the first display of The Upper Room at Tate in 2005, conservators recommended measures to minimise risks to the artwork while on display. A large walnut-panelled room designed by architect David Adjaye holds the paintings. Serota, as the director, chooses the trustees, and the trustees are then responsible for reappointing the director. If proven to occur, this would make regular display of the installation in the first decades of its existence the most appropriate option. Of interest to conservators were the materials he had replaced with ones that better suited his requirements. The idea for the Spanish titles derives from a visit the artist made to Cayo Santiago, Puerto Rico, a research field station at which rhesus macaque monkeys are studied.8. The Upper Room: Mono Marron Кріс Офілі • 2002. The Upper Room is a reference to the Biblical Last Supper of Jesus and his disciples, hence the thirteen paintings. 468 reviews. https://www.wikiart.org/en/chris-ofili/the-upper-room-mono-azul-2002 https://www.tate.org.uk/research/publications/tate-papers/29/the-upper-room, accessed 2 April 2021. The Stuckists then led a media campaign over the Tate's purchase of The Upper Room. He was the most frequently featured photographer in Alfred Stieglitz' groundbreaking magazine Camera Work during its run from 1903 to 1917. With the canvas resting on a horizontal plane the dung balls were positioned and polyester resin, dyed a different colour each time, was poured on top, coating the entire painting surface. View Hotel . No Woman, No Cry is a painting very frequently requested for display at Tate sites and for loan to galleries worldwide. Ofili’s other materials – primer, graphite pencil, felt-tip pens, map pins, acrylic paints, oil paints and polyester resin – were readily available with sufficient information about their constituents from the manufacturer, so little materials analysis was necessary. The Upper Room: Mono Blanco Кріс Офілі • 2002. He attributed this to "a failing in his head". Once dry, the dung balls were flushed with white spirits to kill any remaining organisms and were soaked in resin according to the artist’s practice. The Upper Room: Mono Verde – Chris Ofili. Rates from C$ 262. Chris Ofili’s The Upper Room consists of thirteen paintings displayed in an environment especially designed by the architect David Adjaye.When it was first publicly exhibited in 2002, critics commented on the chapel-like qualities of the space and its lighting. A few colours changed perceptibly in the one enclosed in black polythene, simulating dark storage, already described as being at greater risk of alteration. The same behaviour was seen in the mock-ups. Dirt pickup and retention was a concern as it dulls the surface of the paintings. These titles are a play on the word ‘monochrome’, and consist of the Spanish word mono meaning monkey, followed by the painting’s colour reference – for instance Mono Amarillo, meaning ‘Yellow Monkey’ (figs.5 and 6). Join us! Reproducible and reliable colour specification can be done with a hand-held spectrophotometer, on a spot that is 3 mm in diameter (fig.16).15 The results are expressed in terms of three different quantities: red-green representing fading of colourant, yellow-blue representing yellowness due to chemical deterioration and/or loss of blue colour, and light-dark indicating dulling due to dust retention. If one assumes that light ageing successfully mimics real gallery conditions (a position rather difficult to justify chemically for all materials, if they are reacting together), then noticeable loss of colour would be expected in large areas of some of the canvases of The Upper Room after ten to twelve years of cumulative display. The lighting that was such an integral part of the design of The Upper Room produced an illuminance of 1,000 lux, which is between five and seven times stronger than would normally be specified as appropriate gallery lighting for an artwork made from oil or acrylic paint. Paint stripes on the two test canvases in transit frames, undergoing natural rather than accelerated ageing, altered much less. Fig.1 Chris Ofili The Upper Room 1999–2002 Installation view at Tate Britain, London, 2005 Oil paint, acrylic paint, glitter, graphite, pen, elephant dung, polyester resin and map pins on 13 canvases Support, each: 1832 x 1228 mm, support: 2442 x 1830 mm Tate T11925© Chris OfiliPhoto © Tate. This study has enabled us to say with confidence that The Upper Room and works by Ofili in similar materials are far more light sensitive than a simple listing of their constituent materials might suggest. We recommend to stay in an upper room, maybe the issues are related to the room location. Free delivery on millions of items with Prime. The Upper Room: Mono Amarillo Chris Ofili • 2002. [12] David Lee, editor of The Jackdaw magazine, showed that the Tate had acquired work by six serving artist trustees, in one case 50 works. ‘The Upper Room: A Study of Materials and Stability’, In July 2006 the Charity Commission completed an investigation into The Tate's purchase of Ofili and other trustees' work, censuring the gallery for acting outside its legal powers. When adding the surface of the Canary and Baleares Islands to Spanish territory, the total area amounts to 196,000 square miles. The magazine collage elements also used on both these paintings faded visibly during light ageing although their printing was too uneven for accurate repeat colour measurements to be made. The total sale price of The Upper Room was £705,000, costing the Tate £600,000 as VAT could be reclaimed. Initially the Tate had attempted to reduce the price, but Miro refused: she said she had lowered it from the price she originally wanted of £750,000 to £600,000 (making £705,000, including VAT).[7]. The painting has been monitored with colour measurements of these areas over twenty months of display at different Tate sites. [13] Official DCMS guidelines caution against commercial transactions with trustees: "even the perception of a conflict of interest in relation to a board member can be extremely damaging to the body’s reputation. ", "Tate paid £700,000 for trustee's work 'after being told he needed the money'", "How Tate got the bargain of the century", "Tate pays its own trustee £600,000 for ape paintings", "Tate Disregarded Official Advice in Buying Trustee Art", "It's a shed, it's collapsible, it floats and (with help from a bike) it's the winner", "Revealed: the fading glory of Ofili's elephant dung paintings", "Tate broke charity laws by buying art from its trustees", "Tate's Ofili purchase broke charity law", "How the Tate broke the law in buying a £600,000 Ofili work", Article by Charles Thomson on the purchase, List of Turner Prize winners and nominees, Everyone I Have Ever Slept With 1963–1995, The Physical Impossibility of Death in the Mind of Someone Living, https://en.wikipedia.org/w/index.php?title=The_Upper_Room_(paintings)&oldid=1006754451, Articles with unsourced statements from December 2012, Creative Commons Attribution-ShareAlike License, This page was last edited on 14 February 2021, at 16:49. 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