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proposed an organization called âFriends of Art of the
University of Chicagoâ which could provide said funding. On April 20, 1915, ten professors of the university convened at the Quadrangle Club in an exploratory meeting; and subsequently, a larger meeting was held on June 3 in Harper Assembly Hall of Cobb Hall to garner broader support for this organization. There, âa committee of five chaired by J. Laurence Laughlin, professor and head of the Department of Political Economy, was appointed to consider the organization of the art society and draft a constitution.â The president of the University approved and worked to assist in the establishment of the society. However, it was not until April 24, 1916, that the next formal meeting was held in the Classics Building. Twelve women and fourteen men voted to accept the constitution that was drafted by the committee. They then elected a president and an all-male executive committee. A further three women were added as vice presidents to rectify the gender imbalance.
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their scholarly status to lead their community. Rather than take upon the duty of art education as non-professionals, they turned outward in the name of public service. The pervasive sense of idealism that underlies the
Society undoubtedly excluded educating its community about modernism in its first decade of programming. The original tenets included a sense of morality to "uplift humanity, a prescription that honored the art of the past, particularly that of the Renaissance, as well as the rigid aesthetic dictates of academic realism." To the academics, the modernists were radical in promoting self-expression in art-making rather. Thus, the Society attacked the artists of the early twentieth-century avant-garde, "bringing to the University some of the most beautiful things in the world."
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497:. Pope.Lâs new installation explored the demarcation of differences politically, economically, socially, and culturally. This show underscored Ghezâs commitment to refocusing the Society around SchĂŒtzeâs mission in becoming a laboratory for new art and ideas. Under her leadership the Renaissance Society developed an international distinction for its ground-breaking curatorial programming.
136:, with a focus on the commissioning and production of new works by international artists. The kunsthalle-style institution typically presents four exhibitions each year, along with concerts, performances, screenings, readings, and lecturesâall of which are free and open to the public. "The Ren" also produces publications in conjunction with many of its exhibitions.
443:âs eponymous show contrasted Kosuthâs approach by using language itself as material. Other artists exhibited during this period include Daniel Buren and John Knight. Exhibitions at the Renaissance Society in the 90s shifted from the larger institutional critique that dominated the 70s and 80s to more inward contemplation through site-specificity. In 1990, both
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of works with collect on delivery to the
Society in March 1935. Though Sweeney had met with LĂ©ger in Paris the summer prior and explained that SchĂŒtze had decided to hold a show for him, the exhibition date had not been set. Eva Watson SchĂŒtze died before the plans were complete. Eventually, the show would open at The Renaissance Society and then travel to the
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entity. In 1974, after operating under deficit debts financed by the
University, the Renaissance Society was cut off financially. The University erased its debt and let the Society remain in the space rent-free; however, all financial help and benefits were rescinded. As a result, the Society became an independent non-collecting museum located on the campus.
280:âwere included in the comprehensive catalog of which much material had never before been exhibited in the country. Building on the founding principles of the Society, SchĂŒtze initiated a publishing program to expand the Societyâs role as "an independent, experimental laboratory for search of legitimate meaning in art."
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In her ultimate act as president of the
Society, SchĂŒtze organized the 1936 exhibition of LĂ©ger, which she believed to be the institution's crowning achievement. The massive undertaking almost did not happen. In a feat of miscommunication, LĂ©ger had sent a costly, unauthorized, and uninsured shipment
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The impetus behind the cultural renaissance in
Chicago was the desire to improve society. For wealthy patrons, this aspiration drove philanthropy and the establishment of Chicagoâs most preeminent cultural and educational institutions. Similarly, the academics of The Renaissance Society wished to use
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Solveig ĂvstebĂž assumed Ghezâs position as
Director of the Society in 2013. Previously at Bergen Kunsthall Norway, ĂvstebĂž has since overseen the curatorial efforts at the Society. With a renewed focus on commissioning new works, allowing artists to a have a space where they are able to create works
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in the late 1920s to be president of the organization. She was elected in 1929 to become the
Societyâs first full-time staff person as exhibition director. SchĂŒtze made clear her progressive intent: "Part of the program of The Renaissance Society is to stimulate study of the art of the present time,
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The society would organize exhibitions, encourage gifts of art to the university, sponsor lectures on the arts, issue publications, and use other such means to accomplish its mission. Programming elements were open to the public (as is still the case now) in order to enrich the life of the community
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Throughout the 1920s, modernism was scarce in the city. Only a handful of exhibitions and few commercial galleries displayed avant-garde works. In the dearth of progressive leadership, The Arts Club, under the direction of Rue
Winterbotham Carpenter, became the Midwest center for the examination of
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The
Society was founded shortly after in 1915. Member and secretary of the University of Chicago Board of Trustees, James Spencer Dickerson, felt it would be a nice to have particular portrait of poet Robert Browning in Harper Library, but there was no fund for such an acquisition. Consequently, he
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Under SchĂŒtze, The Renaissance Society expanded its curatorial programming into other art forms. The 1930 exhibition of modern American architecture was a pioneering example of a visual art institution investigating this art form. And In 1933, two film series were presented on campus: "Movies of
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Having been established by professors as a part of the University of Chicago community, the Renaissance Society has always had its roots in the academic community. Formally, the institution is The Renaissance Society âatâ the University of Chicago, highlighting its unique autonomy as a separate
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In the last years of SchĂŒtzeâs leadership, curtailed by her failing health, the Society introduced Chicagoâs audience to avant-garde art that was seldom or never before seen before in the United States. Among the most groundbreaking exhibitions at The Renaissance Society, a solo show presenting
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of 1913 at the Art Institute, which had travelled to Chicago after its contentious time in New York. Then called the International Exhibition of Modern Art, the show was met with outrage and incomprehension in New York, leading to a similarly fervent uproar when it traveled to Chicago. In the
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The war years proved to be a prolific period for the Society. From 1941 to 1962, artist Francis Strain Beisel was director of the Renaissance Society, which became the "preeminent site for exhibitions in the Chicago area in the 1940s and 1950s." In 1939, the Society held the
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In February 2019, the Renaissance Society announced a $ 1 million gift from the Mansueto Foundation in support of its publications program. This gift secures the institution's publishing activities for 10 years and marks the largest single commitment in its history.
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The constitution ensured that the society would not become a collecting museum by stipulating that "all acquisitions of The Society, except money, shall become the property of the University of Chicago." The document stated the mission:
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explored a shift in the rhetoric of race and identity, exhibiting 26 black and non-black artists. After 40 years as Executive Director and Chief Curator of the Renaissance Society, Ghez ended her tenure in 2013 her final show
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361:. In October 1944, a second exhibition of African-American artists was held, organized out of the Hampton Institute and featured several artists then serving in the military. A significant show during this period was
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figure, Ludwig Mies van der Rohe, who was then teaching at the Illinois Institute of Technology, was shown in an architecture exhibition at the Society. The following year, he personally installed an exhibition of
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It shall be the aim of The Society to provide at the University such material means and personal influences as will contribute to the cultivation of the arts, and the enrichment of the life of the community.
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In 2015, the Society celebrated its centennial. Matthias Poledna removed the overhead truss grid that had defined the gallery space, giving future artists more spatial freedom than in previous decades.
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200:, who were originally maligned by the Armory Show. The shows proved popular, marked by a jump in membership during Galeâs brief tenure. The Renaissance Society recruited the important photographer
296:, before LĂ©ger was regarded as one of the most important abstractionists of his generation. Included in the exhibition was The Cityâwidely regarded as a revolutionary work from his mature period.
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In 1927, Agnes C. Gale was elected presidentâthe first woman and non-academic to hold this post. In the first of a five annual exhibitions of modern French paintings, Gale included pieces by
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365:, which opened April 12, 1942. Locally organized, the exhibition particularly drew upon the School of Designâs interest in practical art that responded to the present emergency.
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aftermath, it was clear that the city, and the American populace as a whole, were generally opposed to the post-impressionist, cubist, and futurist art that was presented.
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248:âs early mobiles was his first in the country. However, it was James Johnson Sweeney who presented the Societyâs boldest curatorial statements in his exhibition
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twentieth-century art. SchĂŒtze knew Carpenter and The Renaissance Society began to exchange programs with The Arts Club. In the 1930â31 season, the Club brought
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Susanne Ghez assumed role of Director in 1974. During her tenure, the Renaissance Society shifted its focus to conceptual art. Beginning with its exhibition "
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not possible in more traditional art spaces, the Renaissance Society has been programming exhibitions, lectures, performances, and other formats.
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became the Societyâs first show to prominently feature African-American artists. The next season, they showcased works by refugees from Europe in
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one of the "seven most influential curators in the country", as well as "one of the museum world's most talented essayists." Walker won the
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After SchĂŒtzeâs tenure, the Renaissance Society continued to pioneer groundbreaking exhibitions in her footsteps. In the 1936-37 season,
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in 2010, in recognition of his innovative curatorial work and his wide-ranging thinking and writing about contemporary art.
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After the war, the Society did not exhibit New York artists who emerged in the late 1940s; instead, it showed
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finally became the first New York artist to have a post-war solo exhibition at the Renaissance Society.
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Hamza Walker was Associate Curator and Director of Education from 1994 to 2016. He has been called by
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would become the next executive director and chief curator of the Renaissance Society.
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670:"Hamza Walker Appointed Executive Director of LAXART - News - The Renaissance Society"
459:. Some significant artists who showed at the Renaissance Society in the 1990s include
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Theo van Doesburg: Paintings, Drawings, Photographs, and Architectural Drawings
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Institute for the Study of Ancient Cultures, West Asia & North Africa
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Institute for the Study of Ancient Cultures, West Asia & North Africa
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American Humor: Cartoons from the Late Nineteenth Century to the Present
740:"Hyde Park museum gets its biggest gift ever, from Morningstar founder"
427:âwho was incredibly expensiveâand Arnold Schoenberg among many others.
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758:"ANNOUNCING MYRIAM BEN SALAH AS EXECUTIVE DIRECTOR AND CHIEF CURATOR"
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A History of The Renaissance Society: The First Seventy-Five Years
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A History of The Renaissance Society: The First Seventy-Five Years
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A History of The Renaissance Society: The First Seventy-Five Years
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A History of The Renaissance Society: The First Seventy-Five Years
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Fifteen American Sculptors and Contemporary American Lithographers
319:), exhibited for the first time in America in the month-long show
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Lectures often accompanied exhibitions. Most notably in 1957,
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Graham School of Continuing Liberal and Professional Studies
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Centennial: A History of The Renaissance Society, 1915-2015
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Centennial: A History of The Renaissance Society, 1915-2015
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Centennial: A History of The Renaissance Society, 1915-2015
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produced by the Federal Art Project of Milwaukee; in 1940,
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The Renaissance Society inaugurated the 21st century with
384:(who were already recognized as innovators) in its 1955
252:. Non-representational works by seminal abstractionistsâ
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The Renaissance Society was founded in the wake of the
240:. The Societyâs events also explored dance and music.
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Works by Chicago Artists Loaned by Chicago Collectors
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Spertus Institute for Jewish Learning and Leadership
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The Renaissance Society at the University of Chicago
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301:Paintings and Sculpture by American Negro Artists
250:A Selection of Works by Twentieth-Century Artists
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419:gave his only American lecture. That same year,
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226:Today and Yesterday" included D.W. Griffithâs
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1668:National Italian American Sports Hall of Fame
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657:. The Renaissance Society. 2015. p. 106.
451:exhibited in solo shows. The following year,
347:Book Illustrations by Modern American Artists
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615:. The Renaissance Society. 1994. p. 33.
601:. The Renaissance Society. 1994. p. 22.
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570:. The Renaissance Society. 1994. p. 14.
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715:"HAMZA WALKER WINS $ 100,000 ORDWAY PRIZE"
689:"The Curators: Discerning and Influential"
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222:and subsequently lent it to the Society.
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1101:Francis and Rose Yuen (Hong Kong) campus
883:Pritzker School of Molecular Engineering
386:Eleven Pioneers of the Twentieth Century
929:Chicago Project on Security and Threats
888:School of Social Service Administration
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1739:Pritzker Military Museum & Library
1658:Mitchell Museum of the American Indian
924:Center for Research in Security Prices
868:Harris School of Public Policy Studies
353:, the conceptually pioneering show of
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1065:Housing at the University of Chicago
528:In April 2020 it was announced that
56:5811 S. Ellis Ave. Chicago, IL 60637
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1616:Museum of Broadcast Communications
1495:Museum of Contemporary Photography
1475:Mary and Leigh Block Museum of Art
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1520:Ukrainian Institute of Modern Art
1229:Kenwood Astrophysical Observatory
914:Center for Middle Eastern Studies
349:; and three exhibitions in 1941:
343:Exhibition of Hand-Woven Textiles
122:http://www.renaissancesociety.org
1801:Barack Obama Presidential Center
1009:Sonia Shankman Orthogenic School
994:National Opinion Research Center
323:. A decade later, another great
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1868:1915 establishments in Illinois
1765:Field Museum of Natural History
1485:Loyola University Museum of Art
1295:University Athletic Association
1199:Cannon v. University of Chicago
1086:George Herbert Jones Laboratory
919:Center for Population Economics
321:Paintings by LĂĄszlĂł Moholy-Nagy
1853:University museums in Illinois
1780:Museum of Science and Industry
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1500:National Museum of Mexican Art
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1019:Toyota Technological Institute
536:Separation from the University
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1582:Bronzeville Children's Museum
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408:. It was not until 1964 that
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376:. The Society even ignored
336:War years through the 1960s
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674:www.renaissancesociety.org
668:Society, The Renaissance.
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309:and E. Misztrik de Monda
290:Art Institute of Chicago
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1628:Chicago Cultural Center
1606:American Writers Museum
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455:opened the season with
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294:Milwaukee Art Institute
175:Art in the first decade
130:The Renaissance Society
1709:Chicago History Museum
1285:LatkeâHamantash Debate
1096:Henry Crown Fieldhouse
964:James Franck Institute
954:Enrico Fermi Institute
205:the new renaissance."
1848:University of Chicago
1536:Charnley-Persky House
1304:Student organizations
1253:Sports and traditions
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826:University of Chicago
487:Black Is, Black Ainât
469:Kerry James Marshall
461:Felix Gonzalez-Torres
229:The Birth of a Nation
134:University of Chicago
1470:Arts Club of Chicago
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286:Museum of Modern Art
260:, Alexander Calder,
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1510:Renaissance Society
1360:Voices in Your Head
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1163:Rockefeller Chapel
1131:Regenstein Library
1106:Hutchinson Commons
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746:. 31 January 2019.
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313:LĂĄszlĂł Moholy-Nagy
202:Eva Watson-SchĂŒtze
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1566:Robie House
1350:Poetry Club
1178:Stagg Field
1158:Robie House
848:The College
485:. In 2008,
465:Kara Walker
311:. In 1939,
266:Jean HĂ©lion
151:Armory Show
145:Early years
87: /
62:Coordinates
45:Established
1837:Categories
1719:Hull House
1395:Law School
873:Law School
767:2020-04-22
545:References
495:: Forlesen
402:John Sloan
382:de Kooning
292:, and the
238:René Clair
184:Transition
104:Art museum
75:87°36âČ04âłW
72:41°47âČ21âłN
1340:Doc Films
834:Academics
370:Ben Shahn
270:Joan MirĂł
262:Juan Gris
209:The 1930s
1591:StoryBus
1575:Children
1265:Football
1029:Journals
959:Fermilab
475:(1998).
467:(1997),
463:(1994),
254:Jean Arp
110:Director
53:Location
1794:Planned
1753:Science
1702:History
1599:Culture
1402:Faculty
1260:Maroons
1189:History
1116:Library
841:Schools
724:17 July
698:17 July
378:Pollock
363:War Art
325:Bauhaus
140:History
118:Website
1810:Former
1480:Intuit
1385:Alumni
1376:People
1074:Campus
404:, and
357:, and
288:, the
276:, and
196:, and
897:Other
1365:WHPK
1311:Band
726:2013
700:2013
447:and
380:and
372:and
232:and
100:Type
48:1915
1458:Art
1839::
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20:.
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