POWER! 100

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Artist-as-theorist, theorist-as-artist

๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ

Cerebral conceptual artist

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Theorist on science, technology and feminism

๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ

Artistic director of Documenta 14

๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ

The head of a New York, London and soon-to-be Hong Kong gallery empire

๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ

Artistic director of the Serpentine Galleries and instigator of global, networked art projects

๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ

Major gallerists with spaces in Zรผrich, London, New York, Los Angeles and Somerset

๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ

Director of the Studio Museum in Harlem

๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ

Philosopher and sociologist de rigueur

๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ

British-born gallerist now hopping between Harlem and Rome

๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ


Art Review descriptors

<h2>Hito Steyerl</h2>
<p>Artist-as-theorist, theorist-as-artist </p>

<h2>Pierre Huyghe</h2>
<p>Cerebral conceptual artist</p>

<h2>Donna Haraway</h2>
<p>Theorist on science, technology and feminism</p>

<h2>Adam Szymczyk</h2>
<p>Artistic director of Documenta 14</p>

<h2>David Zwirner</h2>
<p>The head of a New York, London and soon-to-be Hong Kong gallery empire </p>

<h2>Hans Ulrich Obrist</h2>
<p>Artistic director of the Serpentine Galleries and instigator of global, networked art projects </p>

<h2>Iwan & Manuela Wirth</h2>
<p>Major gallerists with spaces in Zรผrich, London, New York, Los Angeles and Somerset</p>

<h2>Thelma Golden</h2>
<p>Director of the Studio Museum in Harlem</p>

<h2>Bruno Latour</h2>
<p>Philosopher and sociologist de rigueur</p>

<h2>Gavin Brown</h2>
<p>British-born gallerist now hopping between Harlem and Rome</p>

 


Google Profiles

Hito Steyerl
German filmmaker
Hito Steyerl is a German filmmaker, visual artist, writer, and innovator of the essay documentary. Her principal topics of interest are media, technology, and the global circulation of images. Wikipedia
Born: 1966, Munich, Germany
Education: Academy of Fine Arts Vienna
Movies: How Not to be Seen. A Fucking Didactic Educational .MOV File, Lovely Andrea, In Free Fall, November, Abstract
Books

Duty Free Art: Art in the Age o…
2017

Beyond Representation
2016

Hito Steyerl: Too Much…
2014

What is a Photograph?
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Harun Farocki

Ryan Trecartin

Anton Vidokle

Trevor Paglen

Camille Henrot

Pierre Huyghe
French artist
Pierre Huyghe is a French artist who works in a variety of media from films and sculptures to public interventions and living systems. Wikipedia
Born: 11 September 1962 (age 55), Paris, France
Period: Contemporary art
Education: ร‰cole nationale supรฉrieure des arts dรฉcoratifs
Movies: Human Mask, A Way In Untilled, The Host and the Cloud, Pierre Huyghe Artist Spotlight
Awards: Hugo Boss Prize
Books
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No Ghost Just a Shell
2003

School Spirit
2003

Pierre’s Issue 01: Devoted t…
2016

Pierre Huyghe: Streamsi…
2005

One Year Celebration
2006
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Philippe Parreno

Dominique Gonzalesโ€‘Foerster

Rirkrit Tiravanija

Liam Gillick

Douglas Gordon

Donna Haraway
American professor
Image result for who is Donna Haraway
Donna J. Haraway is a Distinguished American Professor Emerita in the History of Consciousness Department and Feminist Studies Department at the University of California, Santa Cruz, United States. Wikipedia
Born: 6 September 1944 (age 73), Denver, Colorado, United States
Parents: Dorothy Maguire Haraway, Frank O. Haraway
Education: Yale University, Colorado College
Influenced by: Sandra Harding, Nancy Hartsock, G. Evelyn Hutchinson, Gregory Bateson
Awards: American Book Award
Books
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Simians, Cyborgs and Wom…
1991

Staying with the Trouble…
2016

When Species Meet
2008

The Companion Species…
2003

A Cyborg Manifesto
1984
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Rosi Braidotti

Bruno Latour

Judith Butler

Karen Barad

Sandra Harding
Awards: American Book Award

Adam Szymczyk
Art critic
Adam Szymczyk is a Polish art critic and curator. He is the artistic director of Documenta 14 in 2017 in Kassel and was director and chief curator at Kunsthalle Basel from 2003 until 2014. Wikipedia
Born: 1970, Piotrkรณw Trybunalski, Poland
Books
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Nevin AladaฤŸ

Energy Centre, Automobi…
2012

Bok
2013

Leonor Antunes: The Last…
2016

Films, paintings, and perfo…
2009
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Arnold Bode

Quinn Latimer

Carolyn Christovโ€‘Bakargiev

Annette Kulenkampff

Okwui Enwezor

David Zwirner
German art dealer
Image result for David Zwirner
David Zwirner is a German art dealer and owner of the David Zwirner Gallery in New York City and London. Wikipedia
Born: 23 October 1964 (age 53), Cologne, Germany
Education: New York University
Parents: Ursula Zwirner, Rudolph Zwirner
Organization founded: David Zwirner Gallery
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Suzan Frecon

Sherrie Levine

Rudolf Zwirner

Hans-Ulrich Obrist
Art curator
Image result for who is Hans Ulrich Obrist
Hans Ulrich Obrist is an art curator, critic and historian of art. He is artistic director at the Serpentine Galleries, London. Obrist is the author of The Interview Project, an extensive ongoing project of interviews. Wikipedia
Born: 1968, Weinfelden, Switzerland
Books
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Ways of Curating
2014

A brief history of curating
2008

Lives of the Artists, Lives of t…
2015

Everything You Always W…
2010

The Age of Earthquakes: A Guide t…
2015
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Julia Peytonโ€‘Jones

Philippe Parreno

Klaus Biesenbach

Daniel Birnbaum

Liam Gillick

Iwan Wirth
Iwan Wirth is President of Hauser & Wirth, an international gallery of contemporary art and modern masters, which he co-founded with his wife, Manuela Wirth and mother-in-law, Ursula Hauser in Switzerland in 1992. Wikipedia
Born: 1970, Zรผrich, Switzerland
Organization founded: Hauser & Wirth
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Nicholas Serota

Larry Gagosian

Glenn Lowry

Julia Peytonโ€‘Jones

Jason Rhoades

Image result for who are iwan and manuela wirth
Iwan Wirth is President of Hauser & Wirth, an international gallery of contemporary art and modern masters, which he co-founded with his wife, Manuela Wirth and mother-in-law, Ursula Hauser in Switzerland in 1992. Wikipedia
Born: 1970, Zรผrich, Switzerland
Organization founded: Hauser & Wirth
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Nicholas Serota

Larry Gagosian

Glenn Lowry

Julia Peytonโ€‘Jones

Jason Rhoades

Thelma Golden
Curator
Thelma Golden is the Director and Chief Curator of The Studio Museum in Harlem, New York City, United States. Wikipedia
Born: 1965, New York City, New York, United States
Spouse: Duro Olowu (m. 2008)
Education: Smith College
Awards: Glamour Award for The Fresh Eye
Books
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Black male
1994

Glenn Ligon: America
2011

Bob Thompson
1998

Lorna Simpson
2002

‘Lorna Simpson Photowor…
2003
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Lorna Simpson

Mickalene Thomas

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Adam Weinberg

Wangechi Mutu

Bruno Latour
French philosopher
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bruno-latour.fr
Bruno Latour is a French philosopher, anthropologist and sociologist. He is especially known for his work in the field of science and technology studies. Wikipedia
Born: 22 June 1947 (age 70), Beaune, France
Era: Contemporary philosophy
Award: Holberg Prize (2013)
Influenced by: Gilles Deleuze, Michel Serres, Gabriel Tarde, MORE
Alma maters: Institut de recherche pour le dรฉveloppement, Franรงois Rabelais University (Doctor of Philosophy)
Books
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We Have Never Been Mo…
1991

Reassembling the Social
2005

An Inquiry Into Modes of Existen…
2013

Laboratory Life
1979

Science in Action
1987
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Michel Callon

Steve Woolgar

Karin Knorr Cetina

John Law

Donna Haraway

Gavin Brown
Art dealer
Gavin Brown is a British art dealer, the owner of Gavin Brown’s Enterprise, the gallery he established in 1994 on Broome Street, in SoHo, and now at 620 Greenwich Street, New York City. Wikipedia


Art Review Write-ups

Artist-as-theorist, theorist-as-artist

Art is powerful. Or at least itโ€™s the construct of powerful forces, not always of the positive kind. This is something Steyerl recognises. โ€˜Contemporary art is made possible by neoliberal capital, plus the internet, biennials, art fairs, parallel pop-up histories and growing income inequalities,โ€™ she told The Guardian this year. โ€˜Letโ€™s add asymmetric warfare, real-estate speculation, tax evasion, money laundering and deregulated financial markets.โ€™ Steyerl makes the top slot on this list because she actively attempts to disrupt this nexus of power.

Her own art โ€“ characterised by research-heavy, narrative-led video (combining found, filmed and digitally animated footage) and installation, which took a prominent place in this yearโ€™s once-a-decade, era-defining Skulptur Projekte Mรผnster โ€“ is combined with dogged outspokenness and academic rigour through her writing, performative lectures and teaching, critically influencing agendas internationally.โ€จ She is slowly effecting change too. In September, for example, on discovering that an exhibition she was part of, Deutschland 8: German Art in China, spread across eight museums in Beijing, was sponsored in partโ€จ by Rheinmetall AG, a Dรผsseldorf-based manufacturer of tanks and military technology, Steyerl protested. As well as writing to the organisers and, on receiving no reply, drawing attention to the issue in the press, โ€จthe artist, alongside a number of the others in the show, was characteristically proactive, drawing up a standard exhibition agreement for artists that places an onus on curators and institutions to perform due diligence.

The Berlin-based artistโ€™s writings โ€“ restless, fast-moving speculations on digital culture, the politics of images and the state of human consciousness in the age of technologically advanced capitalism โ€“ have become go-to texts for a generation for which the lure of art and networked culture have lost their utopian promise. She writes in Duty Free Art, an anthology of essays published this year, โ€˜Contemporary art belongs to a time in which everything goes and nothing goes anywhere, a time of stagnant escalation, of serial novelty as deadlockโ€™. But rather than eschew a corrupt system, Steyerl has exploited the opportunity to occupy the platforms available with works that have become emblematic of the postcrash decade. And maybe itโ€™s indicative of the ascendance of โ€˜post-Internetโ€™, network-conscious art that Steyerlโ€™s art should be popping up around the globe. This year alone has seen solo appearances of her 2015 video installation Factory of the Sun (premiered in the German Pavilion at that yearโ€™s Venice Biennale) at New Yorkโ€™s Whitney Museum of American Art, Copenhagenโ€™s Kunsthal Charlottenborg, Dรผsseldorfโ€™s Julia Stoschek Foundation and coming up at the Fondazione Sandretto Re Rebaudengo in Turin, alongside a slew of presentations in institutional group shows from Helsinki to Vienna, and excursions to Sรฃo Paulo, Buenos Aires and Gwacheon. Lecture theatres are packed out for her talks, which then invariably circulate on YouTube. Being connected on both sides of the Atlantic helps โ€“ her profile in the Anglosphere is bolstered by strong relations with New York-based critical platform e-flux (at 45 in this yearโ€™s list) and its e-flux journal, and a network of political art luminaries such as Trevor Paglen (87) and Laura Poitras. December sees her 2014 installation Liquidity Inc. arrive at Bostonโ€™s ICA, and inclusion in Still Human at Miamiโ€™s Rubell Family Collection.

So, her work is everywhere, her ideas have urgency. In 2016 she wrote on how artโ€™s circulation outlines its operational infrastructure. โ€˜Could these structures be repossessed to work differently?โ€™ the artist asked. โ€˜How much value would the alternative currency of art lose if its most corrupt aspects were to be regulated or restructured to benefit artโ€™s larger communities?โ€™ Steyerl is on a mission to find out.

Cerebral conceptual artist

Huyghe, currently based in New York, has gone from strength to โ€จstrength in recent years, producing ambitious work with a perspective that goes beyond the human, whether in terms of thousand-year timescales or animal experiences. Along with major shows at the Espaces Louis Vuitton in Tokyo and Venice, and his win of the 2017 Nasher Prize (including $100,000), Huyghe sent work to Mรผnster that was the undisputed highlight of this yearโ€™s Skulptur Projekte: a postapocalyptic ecology within the rubble of an abandoned ice-skating rink featuringโ€จ bees, peacocks and algae. Sensors monitored the movement of theโ€จ animals, as well as the CO2 and bacteria levels, transmitting the information to an incubator containing cancer cells. The more vitality recordedโ€จ within Huygheโ€™s ecosystem, the higher the rate of reproduction catalysed in the petri dish. As Huyghe has stated, heโ€™s not interested in creating fictions, but new realities; the realities he has created have proved unsettlingly visionary.

Theorist on science, technology and feminism

Haraway maintains her tentacular presence in the artworld. Her writing, which is both academic and breezily poetic, and which ranges from โ€˜A Cyborg Manifestoโ€™ (1984), now regarded as a key text in discourses regarding identity and the rise of artificial intelligence, and Staying with the Trouble (2016), which tackles the Anthropocene, was cited, explicitly or implicitly, by any number of artists and curators as inspiration. She was namechecked this year in group exhibitions such as Past Skin at MoMA PS1, New York; The Dream of Forms at the Palais de Tokyo, Paris; Belgiumโ€™s Contour Biennale; and the Lofoten International Art Festival in Norway. Alongside her continued teaching at the University of California, Santa Cruz, she and her work were central to a conference held at the Stedelijk Museum, Amsterdam, and she delivered a keynote lecture at the San Francisco Art Institute.

Artistic director of Documenta 14

If anybody was unsure about the seriousness of Szymcyzkโ€™s ambition to dramatically up the stakes of what a โ€˜largescale exhibitionโ€™ can do in a period of political crisis, then his Documenta 14 โ€“ staged in both Athens and its usual Kassel home โ€“ confirmed he was prepared to polarise his audience. Drawing on every radical zeitgeist of marginality and resistance, from trans politics to indigeneity, from the migration crisis to various flavours of anticapitalism, Szymczykโ€™s show upbraided cultural tourism by confronting the audience with the contradictions of globalisation. In Athens there were accusations of disaster tourism; in Kassel (very) mixed reviews, particularly from the local press. Szymczykโ€™s fraught relationship with the German town came to a head in August when it was learned that the costs of the Greek adventure had overrun, landing Documenta a reported โ‚ฌ7m in the red. Szymczyk hit back, declaring that it was time to talk critically about the purpose of the mega-exhibition. You donโ€™t hire this curator for an easy ride.

The head of a New York, London and soon-to-be Hong Kong gallery empire

In addition to representing contemporary heavyweights such as Yayoi Kusama, Neo Rauch and Wolfgang Tillmans, Zwirner continues to hoover up artist estates: that of Felix Gonzalez-Torres (represented alongsideโ€จthe estateโ€™s executor, Andrea Rosen) being his most significant gain this year. A New York show of Gonzalez-Torresโ€™s work was, like so many others the gallery puts on, worthy of any museum. In February Pulitzer-winning critic Hilton Als curated a show of work by Alice Neel, and the galleryโ€™s interest in writers and writing was further reflected in the latest offers from Zwirner Books, among those French art-historian Jean-Claude Lebensztejnโ€™s Pissing Figures, a history of urinators in artworks through the ages. Outside the US, a new space in Hong Kong launches in 2018, while in London the gallery gave exhibitions to artists not (yet) on the roster, including octogenarian British painter Rose Wylie and young Brazilian artist Lucas Arruda. No wonder Zwirner invested in Arta, a price comparison startup for art shipping.
Artistic director of the Serpentine Galleries and instigator of global, networked art projects

There are not many people on this list (and not many people full stop) whose average day might include presenting lectures alongside astronaut Buzz Aldrin, novelist Chimamanda Ngozi Adichie, philosopher Bruno Latour and ecopsychologist Peter Webb. But then most donโ€™t employ an assistant to work from midnight to 6am transcribing and editing interviews, hundreds of which Obrist conducts a year. To describe Obrist as a curator therefore โ€“ and he does curate, of course, aside from the day job at the Serpentine: shows this year included Maria Lassnig at the Municipal Gallery of Athens and a group show featuring the likes of Philippe Parreno, Etel Adnan and Adriรกn Villar Rojas at Villa Empain, Brussels โ€“ undersells him. Information โ€˜nodeโ€™ might be a better description, moving incessantly from place to place (the interviews gathered from various trips to India were published this year). The Serpentineโ€™s two spaces hosted, among others, exhibitions by Rose Wylie, Wade Guyton and, most notably, Arthur Jafa. Obrist is also part of the core advisory team of Luma Arles, due to open in early 2019.

Major gallerists with spaces in Zรผrich, London, New York, Los Angeles and Somerset

Combining a nose for important artists with an understanding of art collecting as a lifestyle is key to the Wirthsโ€™ gallery strategy. Fondazione Piero Manzoni and the August Sander estate were added to Hauser & Wirthโ€™s roster this year; living artists joining the gallery include Jack Whitten and Geta Brฤtescu. The latter was just one of several of their artists with pavilions at the Venice Biennale, alongside Phyllida Barlow and Mark Bradford; and then there was the not-to-be-missed show of Philip Gustonโ€™s paintings at Accademia. Former Centre Pompidou curator Florence Derieux was recently appointed director of exhibitions, somewhat compensating for the moment in February when Hauser Wirth & Schimmel in LA suddenly became plain old Hauser & Wirth. Looking east, a Hong Kong space is to come, alongside offices in Beijing and Shanghai. The pair are also renovating a boutique hotel in Braemar, Scotland, no doubt to be filled with work by their artists โ€“ as is the guesthouse at their gallery in Bruton, Somerset.

Director of the Studio Museum in Harlem

The Studio Museum in Harlem celebrates its 50th anniversary in 2018. Golden, who returned to the institution in 2000 (after starting her career there in 1987), is now overseeing the building of a new home designed by David Adjaye, with ground due to be broken on the site of the museumโ€™s longtime headquarters next year (the museum is due to reopen in 2021). As one of the curators who has helped define what she and Glenn Ligon called โ€˜post-blackโ€™ art, in an era that continuously and tragically asserts the fact that race is still not a โ€˜postโ€™ issue, Golden has been at the forefront of African-American art for three decades. While committed to Harlem, she continues to shape museum policy and curatorial approaches in advisory roles at LACMA, the Obama Foundation (sheโ€™s helping to plan the presidential library) and New Yorkโ€™s Committee on Cultural Affairs.

Philosopher and sociologist de rigueur

Latour is arguably the artworld theorist of recent years, if we accept that much of the object-oriented ontology / speculative realism philosophy thatโ€™s driven recent art is crystallised by his thinking in volumes such as Reassembling the Social (2005). Equally crucially, the sociologist and philosopher Frenchman isnโ€™t hiding away in an ivory tower. His work directly connects abstract ideas and real-world crises: Gaia, the planet as a fragile interconnected organism (including people), is his avowed preoccupation now, as in his recent Facing Gaia: Eight Lectures on the New Climatic Regime (2017), a logical development of his thinking on the agency of the nonhuman and his conception of a โ€˜Parliament of Thingsโ€™. Latour also has a zealotโ€™s energy, maintaining a steady stream of lectures and essays: a public intellectual for the Anthropocene era. If heโ€™s the young artistโ€™s bedside companion, heโ€™s also โ€“ surprisingly for a philosopher โ€“ likely to make them get up and do something.

British-born gallerist now hopping between Harlem and Rome

If you locate your space outside the usual New York gallery neighbourhoods, youโ€™re either foolish or supremely confident in your exhibition game. Brown, weโ€™d assess, is the latter. Heโ€™s right to be so; staging Arthur Jafaโ€™s debut gallery show just after the US election proved a powerful gesture (The New Yorker noted that โ€˜Jafaโ€™s subject is bigger than politics โ€“ itโ€™s the matter of black life in the United Statesโ€™). Brown completed the refurbishment of his Harlem gallery (which complements a space in Chinatown and an outpost in Rome), and the rest of his programme has proved no less notable: solo shows for Joan Jonas, Rirkrit Tiravanija (who also hosted a fundraiser for Puerto Rico) and Rachel Rose (whose exhibition boasted 6pm โ€“ 6am openings hours). Brown does good business, but the gallery also acts with the spirit of an off-space: in February, he cohosted a minifestival of talks that attempted to formulate a collective response to the changing political and cultural landscape in America.

 


Wikipedia intro-Bio

Hito Steyerl
From Wikipedia, the free encyclopedia
Hito Steyerl (born 1966 in Munich) is a German filmmaker, visual artist, writer, and innovator of the essay documentary.[1] Her principal topics of interest are media, technology, and the global circulation of images. Steyerl holds a PhD in Philosophy from the Academy of Fine Arts Vienna.[1] She is currently a professor of New Media Art at the Berlin University of the Arts, where she co-founded the Research Center for Proxy Politics, together with Vera Tollmann and Boaz Levin .[1][2]
Pierre Huyghe
From Wikipedia, the free encyclopedia
Pierre Huyghe
Born 11 September 1962 (age 55)
Paris, France
Nationality French
Education ร‰cole Nationale Supรฉrieure des Arts Dรฉcoratifs
Known for Contemporary Art
Awards DAAD in Berlin, the Hugo Boss Prize, the Smithsonian Museumโ€™s Contemporary Artist Award and the Roswitha Haftmann Prize.
Pierre Huyghe (born 11 September 1962) is a French artist who works in a variety of media from films and sculptures to public interventions and living systems.
Donna Haraway
From Wikipedia, the free encyclopedia
Donna Haraway
Donna Haraway and Cayenne.jpg
Donna Haraway and her dog (2006); photograph by Rusten Hogness
Born Donna Jeanne Haraway
September 6, 1944 (age 73)
Denver, Colorado
Awards J. D. Bernal Award, Ludwik Fleck Prize
Academic background
Alma mater Yale University, Colorado College
Influences Nancy Hartsock, Sandra Harding, G. Evelyn Hutchinson, Robert Young, Gregory Bateson
Academic work
Main interests Feminist studies
Notable works “A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century”
Donna J. Haraway (born September 6, 1944) is a Distinguished American Professor Emerita in the History of Consciousness Department and Feminist Studies Department at the University of California, Santa Cruz, United States.[1] Haraway, a prominent scholar in the field of science and technology studies, was described in the early 1990s as a “feminist, rather loosely a postmodernist”.[2] She is the author of numerous books and essays that bring together questions of science and feminism, such as “A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century” (1985) and “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective” (1988).[3][4]
Haraway has taught Women’s Studies and the History of Science at the University of Hawaii and Johns Hopkins University. Haraway’s works have contributed to the study of both human-machine and human-animal relations. Her works have sparked debate in primatology, philosophy, and developmental biology.[5] Haraway participated in a collaborative exchange with the feminist theorist Lynn Randolph from 1990 to 1996. Their engagement with specific ideas relating to feminism, technoscience, political consciousness, and other social issues, formed the images and narrative of Haraway’s book Modest_Witness for which she received the Society for Social Studies of Science’s (4S) Ludwik Fleck Prize in 1999.[6][7] In September 2000, Haraway was awarded the Society for Social Studies of Science’s highest honor, the J. D. Bernal Award, for her “distinguished contributions” to the field.[8] Haraway serves on the advisory board for numerous academic journals, including differences, Signs: Journal of Women in Culture and Society, Contemporary Women’s Writing, and Environmental Humanities.[9][10][11]
Adam Szymczyk
From Wikipedia, the free encyclopedia
Adam Szymczyk (born 1970)[1] is a Polish art critic and curator. He is the artistic director of Documenta 14 [2] in 2017 in Kassel and was director and chief curator at Kunsthalle Basel from 2003 until 2014.
David Zwirner
From Wikipedia, the free encyclopedia
This biography of a living person needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (November 2016) (Learn how and when to remove this template message)
David Zwirner
David Zwirner portrait.jpg
Born October 23, 1964 (age 53)
Cologne, West Germany
Nationality German
Occupation Art dealer
David Zwirner (born October 23, 1964) is a German art dealer and owner of the David Zwirner Gallery in New York City and London (which opened in October 2012 with an exhibition by Luc Tuymans). Since 2012, Zwirner has consistently ranked in the top 5 of the ArtReview annual “Power 100” list, the magazine’s survey of most important figures in contemporary art.[1] Zwirner’s rankings were 4 (2010),[2] 5 (2012),[3] 2 (2013),[4] 2 (2014),[5] 3 (2015),[6] 4 (2016).[7] He has been on the list since 2003. In 2012, he was listed at number two in Forbes magazine’s “America’s Most Powerful Art Dealers.” [8]
Hans-Ulrich Obrist
From Wikipedia, the free encyclopedia
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Hans Ulrich Obrist
The Future of Art – Hans-Ulrich Obrist.jpg
Hans Ulrich Obrist (2010)
Born 1968 (age 48โ€“49)
Zรผrich, Switzerland
Nationality Swiss
Occupation Art curator
Notable work The Interview Project
Hans Ulrich Obrist (born 1968) is an art curator, critic and historian of art. He is artistic director at the Serpentine Galleries, London. Obrist is the author of The Interview Project, an extensive ongoing project of interviews. He is also co-editor of the Cahiers d’art revue.
Iwan Wirth
From Wikipedia, the free encyclopedia
Iwan Wirth (born May 1970, Switzerland) is President of Hauser & Wirth, an international gallery of contemporary art and modern masters, which he co-founded with his wife, Manuela Wirth and mother-in-law, Ursula Hauser in Switzerland in 1992. Hauser & Wirth is now a global enterprise, with spaces in Zurich, London, Somerset, New York and Los Angeles. In Spring 2018, Hauser & Wirth will open a gallery space in Hong Kong. Hauser & Wirth is also a publisher of art books with a backlist of over 100 titles.
Iwan and Manuela Wirth were jointly ranked as the number 1 most powerful and influential figures in the art world in ArtReview’s 2015 “Power 100”,[1] and were listed third in 2016.[2] Iwan Wirth was also listed third in 2014[3] and 2013.[4]
In 2016, Wirth was appointed to the Board of Trustees at CalArts, California and the Swiss Institute, New York.[5] He has served as a Trustee of the Royal Academy of Arts, London since 2014.[6] Wirth is a member of a number of committees including the Maria Lassnig Foundation, the Swiss Cultural Fund, the Frieze Masters selection committee, the Council of the Serpentine Gallery and the South Asian Acquisitions Committee at Tate. He was the 2007 Honoree at the Swiss Institute / Contemporary Art Benefit,[7] and in 2015, he was awarded a Doctor of Letters (Hons) from Bath Spa University.[8]
Wirth is a major benefactor of museums and international art projects, and contributes to a range of charities supporting the arts, architecture, the environment, conservation, community and education. Iwan and Manuela Wirth have been funding a teaching and research post at the Courtauld Institute of Art, London in the field of Asian modern and contemporary art since 2013.[9] They are ongoing supporters of the Reykjavik Arts Festival and the Bruton Museum situated on Bruton High Street, as well as the Holburne Museum in Bath where they made a contribution towards the museum’s contemporary programme with a gallery space named the Wirth Gallery.
Iwan and Manuela Wirth have partially funded the ongoing restoration of St. Margaret’s Church in Braemar, and contribute towards the River Dee Trust, Aberdeenshire and the North Atlantic Salmon Fund (NASF). They donated a 2-acre plot of land to the local council in Somerset as part of a community garden project, the Durslade Walled Garden. They are both supporters of the World Wide Fund for Nature (WWF), the Somerset Wildlife Trust, Human Rights Watch and NSPCC, and have an ongoing commitment to Christoph Schlingensief’s Operndorf project in Burkina Faso, through an annual donation allocated to education programmes, food and the building and running of a school.
Iwan and Manuela Wirth are co-founders of Highlands Hospitality, a hospitality group that encompasses the following projects: The Fife Arms hotel in Braemar, Scotland, currently undergoing extensive restoration and expected to reopen in 2018; Manuela restaurant at Hauser Wirth & Schimmel in the Downtown Arts District of Los Angeles, which has featured in the LA Times[10] and Eater LA;[11] Durslade Farmhouse at Hauser & Wirth Somerset, a six-bedroom, 18th-century guesthouse renovated by Luis Laplace, which was recently awarded Art Hotel of the Year 2016 by Leading Culture Destinations;[12] and the gallery’s onsite restaurant, Roth Bar & Grill, supplied directly by the Wirths’ farm. The Roth Bar & Grill is included in the Michelin Guide 2017[13] and was included in The Times’ “25 Best Places for Brunch” in 2014.[14]
Thelma Golden
From Wikipedia, the free encyclopedia
For other uses, see Thelma Golden (softball).
Thelma Golden
Born 1965 (age 51โ€“52)
Nationality American
Occupation Museum Director and Chief Curator
Years active 1987โ€“present
Thelma Golden (born 1965) is the Director and Chief Curator of The Studio Museum in Harlem, New York City, United States.[1] Golden joined the Museum as Deputy Director for Exhibitions and Programs in 2000 before succeeding Dr. Lowery Stokes Sims, the Museumโ€™s former Director and President, in 2005. She is noted as one of the originators of the term Post-Blackness.
Bruno Latour
From Wikipedia, the free encyclopedia
Bruno Latour
Bruno Latour in Taiwan P1250394 (cropped).jpg
Bruno Latour in 2017
Born 22 June 1947 (age 70)
Beaune, Cรดte-d’Or, France
Alma mater ORSTOM
Universitรฉ de Tours (Ph.D.)
Notable work Laboratory Life (1979), Science in Action (1987), We Have Never Been Modern (1991), Politics of Nature (1999)
Awards Holberg Prize (2013)
Era 21st-century philosophy
Region Western Philosophy
School Continental philosophy
Social constructionism
Actorโ€“network theory
Institutions Centre de Sociologie de l’Innovation
Mines ParisTech
Sciences Po
London School of Economics
University of Amsterdam
Notable ideas
Actorโ€“network theory, non-modernitรฉ (fr)
Influences[show]
Bruno Latour (French: [latuส]; born 22 June 1947) is a French philosopher, anthropologist and sociologist.[1] He is especially known for his work in the field of science and technology studies (STS).[2] After teaching at the ร‰cole des Mines de Paris (Centre de Sociologie de l’Innovation) from 1982 to 2006, he became Professor at Sciences Po Paris (2006-2017), where he was the scientific director of the Sciences Po Medialab. He retired from several university activities in 2017.[3] He was also a Centennial Professor at the London School of Economics.[4]
Latour is best known for his books We Have Never Been Modern (1991; English translation, 1993), Laboratory Life (with Steve Woolgar, 1979) and Science in Action (1987).[5] Although his studies of scientific practice were at one time associated with social constructionist[5] approaches to the philosophy of science, Latour has diverged significantly from such approaches. He is best known for withdrawing from the subjective/objective division and re-developing the approach to work in practice.[1] Along with Michel Callon and John Law, Latour is one of the primary developers of actorโ€“network theory (ANT), a constructionist approach influenced by the ethnomethodology of Harold Garfinkel, the generative semiotics of Algirdas Julien Greimas, and (more recently) the sociology of ร‰mile Durkheim’s rival Gabriel Tarde.
Latour’s monographs earned him a 10th place among most-cited book authors in the humanities and social sciences for the year 2007.[6]
Gavin Brown (art dealer)
From Wikipedia, the free encyclopedia
Gavin Brown is a British art dealer, the owner of Gavin Brown’s Enterprise, the gallery he established in 1994 on Broome Street, in SoHo, and now at 620 Greenwich Street, New York City.[1]

๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ๐Ÿ’ฏ

 

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