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House of Ebataは、東京都国立市にあるインデペンデント・プロジェクトスペースで、アーティストやキュレーターに、オープンで制約のない実験のための空間と時間を提供し、2013年にオープン以来、インスタレーション、パフォーマンス、彫刻、絵画、映像などのプロジェクトを発表しています。深い緑に囲まれた母屋は戦前、プロジェクトスペースとして使用している離れは60年代に建てられ、アーティストがミニ・レジデンスのような状況でプロジェクトを準備するための臨時のワーキングスタジオとしても機能しています。

House of Ebata is an independent project space, located in Kunitachi, Tokyo. It offers artists and curators space and time for open and unconstrained experimentation.The space opened in 2013. Since then it has presented projects including installation, performance, sculpture, painting and video. Surrounded by a wild garden, sited in a small house originally built in the 1960s with a main house from before the War, the space also functions as an occasional working studio where artists can prepare projects in a mini-residency context.

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塩 | SALT

House of Ebata


13-19 Sun 29 Jan 2022

House of Ebata, Tokyo 

*アクセスにつきましてはお問合せいただきますようお願いいたします。Please ask the organiser for the access directly.

Viktor Belozerov ビクター・ベルゾエロフ

Kyoko Ebata 江幡京子

Mako Fukuda 福田真子

Kana Kimura 木村佳奈


トーク Talk "Anti-war vacation: life and death in art and politics of Russia"

Viktor Belozerov ビクター・ベルゾエロフ

ミーティングID: 845 0546 8122  パスコード: 840298


The dialogue with Viktor began when Russia invaded Ukraineand Viktor invited Japanese artists to write anti-war statements for a letter campaign called "Letters for Peace". Does loving someone also mean that you will lose that person eventually? Do we start a fight to prevent the loved one from getting hurt? We don't really know what the future holds, but we believe that now we can love more people and understand each other more.

*ビクターさんは国外からオンラインで参加になり、トークは英語で行われますが、日本語でのサマリーや通訳のサポートを行います/ The talk will be held in English. Language support for Japanese  will be provided on an as-needed basis.

18:00 〜

涙で梅干しを作る Making plum pickles with teas 

Mako Fukuda 福田真子/ Kana Kimura 木村佳奈 With Kyoko Ebata 江幡京子

月の沙漠 | The Desert Moon

江幡京子 Kyoko Ebata

2020-2022 Digital Video

スクリーニング screening

*スクリーニングは予約制で2月末までご覧いただけます。open by appointment until the end of February.

* 詳細 more info

涙で梅干しを作る Making plum pickles with tears 






House of Ebata was the home of Kyoko Ebata's grandparents. A few years ago, pickled plums that seemed to have been made by Ebata's grandmother some half-century ago were found in the barn. Dried plums have long been a popular preserved food and food medicine. Preserved food is an ongoing living memory and a family history that is passed on. In screenings for the film "The Desert of the Moon", which is about Ebata's father's death-watch, Kana Kimura and Mako Fukuda suggested that we should use the pickled plums in the ritual of "eating them together, crying together, making salt with a large quantity of forcibly collected tears, and using the salt to dip the newly grown plums in the garden tree", so that even in mourning, we can practise not forgetting to find strength in life and a sense of humour.

The idea of preserving food without allowing it to spoil is itself an attempt to 'resist death'. Waking up the dried plums in our bodies, which have been sleeping for a long time in a dream, defying death, is an act of synchronising the dried plums with our time axis and making life and death in continuity. The dream is then activated by our tears and crystallised into salt. Salt is indispensable for living beings, but at the same time it can kill all living things, if we use too much of it. By using the salt, our bodies meet the plum tree, which bears new fruit again this year, and together we pass it on to the next generation.

*The pickled plums were tested by Food Microbiology Centre Inc. and found to be safe for human consumption.


ビクター・ベルゾエロフ| Viktor Belozerov

インディペンデント・リサーチャー。ロシア国立人文大学(モスクワ)美術史学部卒業。ロシアにおける現代日本文化の普及を目的とした教育プロジェクト「Gendai Eye」を立ち上げる。現在、日本研究室J100Rの主任研究員として、1920年代から現在までのロシアにおける日本の現代美術に関する思想を研究している。

Viktor Belozerov is an independent researcher. Graduated from the Art History Faculty of the Russian State University for the Humanities (Moscow). Created the educational project Gendai Eye, which aims to promote contemporary Japanese culture in Russia. Currently the lead researcher of the Japanese Laboratory J100R, which focuses on ideas about contemporary Japanese art in Russia from the 1920s to the present. 

江幡京子|Kyoko Ebata 

アーティスト。ゴールドスミス卒。日常で目にする様々な事柄をテーマにそこで生活する者の目線から時代を表現する。現在はプロジェクトスペースHouse of Ebataを運営しつつ、国内外で発表している。

Kyoko Ebata is an artist, graduated from Goldsmiths’ College. She expresses the times from the perspective of a person living in everyday life. Currently runs the project space House of Ebata, while exhibiting widely.

福田真子|Mako Fukuda 

ドイツ在住。ウェブマガジン「ヴァルナブルな人たち」、Zineイベント「ZINEFEST Leipzig」を運営。ライプツィヒのコミュニティスペース「日本の家」の活動に関与するなど、中間共同体に関心を持ち活動を続ける。

Lives and works in Germany. Runs the webzine 'vulnerable people' and the Zine event 'ZINEFEST Leipzig'. She pursues her interest and activities in intermediary communities, including involvement in the community space 'Das Japanische Haus e. V.” in Leipzig. 

木村佳奈|Kana Kimura 

アイスランド芸術大学ファインアート学科卒業。 文化人類学的側面から、内外在な関係性の変遷を観察し制作する。一時性やそこで起こる力学的運動に注目し、プロジェクトやワークショップなどを試み「儀式的制作」と呼ぶ。ウェブマガジン「ヴァルナブルな人たち」を運営。

Kimura has graduated from Fine Art BA, Iceland University of the Arts. From a cultural anthropological perspective, the artist observes and produces the transition of internal and external relations. Focusing on transience and the dynamic movements that take place there, she attempts projects and workshops, which she calls 'ritual production'. She run a web magazine “vulnerable people

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Open from 14:00 on Monday 14 February


Closing Talk on London 11:00-12:00/Tokyo 20:00-21:00 Sunday 13 March on Zoom +Talk Screening (open from 14:00) 

3月13日(日) 20:00-21:00 クロージングトーク(Zoom) + トークの上映会(14時から開場)

Documentation of the talk​ 記録映像

Open by appointments for other days (Max 2 people per slot, can be consulted)

Contact House of Ebata to make an appointment and for the direction



*Booking: houseofebata(a)

ジョン・チルバー|John Chilver 

江幡京子|Kyoko Ebata 

岩竹理恵|Rie Iwataki 

サイモン・ウィレムス|Simon Willems 

ディアナ・ズルニク|Diana Zrnic 

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Pharmacie, 1914, Marcel Duchamp
Nocturne: Blue and Silver - Cremorne Lights 1872, James Abbott McNeill Whistler
Morning Mist at Anderlys, 1917, Felix Vallotton
The Blue Room, 1901, Pablo Picasso
Two women sitting at a bar, 1902, Pablo Picasso
The Old Guitarist, 1903/1904.Pablo Piccaso
Dance - Work 1 copy_edited.jpg
'Untitled (Dance/Work) 2, 2021, Simon Willems,25 x 40cm, Oil on Linen
Atopon;No place|場所をもたない,2019, Rie Iwatake, archival pigment print on paper, 75 × 60 cm
Time Does That, 2022, Diana Zrnic
John_Chilver_Jan_013 1_edited.jpg
Pharmacie, 1914, Marcel Duchamp
Pharmacie, 1914, Marcel Duchamp


House of Ebata happily presents the group show ‘Green’.

The focus of the show is painting and especially the problem of how to start a painting.

House of Ebata strictly specifies that all works in the exhibition will be green. The choice of green may be arbitrary. And the starting point of a painting may also be arbitrary.  

[As in the example of Duchamp’s Pharmacy] painting at its most elemental and elementary was a colour decision. But the implications of any colour decision – given due weight –are emotionally and ontologically intense.

If green is a decision, the exhibition asks what kind of decision it can be: as the determinant of the mood, feel, image, symbol, chemical and associations. Is green a unity or an infinite subdivision? Is the monochrome the ghosted polychrome? Is green sacred or salted? Proper primary or sneezing secondary? Is green there to calm our nerves? Or to get tuned up for an afterimage that will follow that we’ll say is red?  

‘Green’ combines works by experienced painters (John Chilver, Rie Iwatake, Simon Willems and Diana Zrnic) with a novice painter (Kyoko Ebata).

John Chilver










Special Thanks: 岡本大河|Taiga Okamoto, 中島 ふみえ|Fumie Nakashima, John Tran, Hana Sakuma|サクマ ハナ, 大久保怜央|Leo Okubo, 大久保あり|Ari Okubo, 片岡純也|Junya Kataoka, 宮川知宙|Tomohiro Miyakawa, モンノカヅエ|Kazue Monno, 宇都宮聖子|Shoko Utsunomiya, 宮崎直孝|Naotaka Miyazaki, 奥誠之 | Masayuki Oku,

森田 浩章|Hiroaki Morita, 冨木愛| Ai Tomiki

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John_Chilver_Jan_013 1_edited.jpg


Starting a painting is no harder and no easier than starting any other kind of artwork: it begins with a sense of something lacking, which provokes a desire for something to be made and seen. This making doesn’t resolve the lack in any real way, but - if things go well - it alters its pressure.

In ‘Pharmacy’, Duchamp tried to reduce painting to a pure decision: just get any vaguely romantic landscape image and add 2 coloured dots. This was a negation of sorts. But it still feels like an affirmation. It’s a decision but interestingly for Duchamp it was still a decision about color.

Colour is transorganic, meaning it is of the mind and simultaneously of the world. It is also radically contingent and radically discontinuous. For example, we see brown as a colour, yet brown is nowhere to be found in the rainbow. In scientific terms, brown is a corrupted orange. But in the visual world we see brown and orange as equals. 

Duchamp’s lesson in ‘Pharmacy’ was perhaps that painting at its most elemental and elementary was a colour decision. But the implications of any colour decision - given due attention - are emotionally and ontologically intense.







John Chilver is an artist and writer. His work orbits around painting, understood as a stage for scenes of agency and dispute, and styles of subjectivity. He invokes image-making as an unstable site of inquiry. Since the late 1990s he has exhibited and published widely. He studied philosophy at the University of Reading and art at Goldsmiths College, London. He lives and works in London. Recent solo exhibitions have included Xero Kline and Coma, London, 2018;The Near Abroads, Atlas House, Ipswich, 2019; and The Scene of Instruction, Coleman Projects, London, 2021.

アーティスト/作家。レディング大学で哲学を、ゴールドスミスカレッジ(ロンドン)で美術を学んだ後、1990年代後半から、幅広く展示や出版を行い、ロンドンを拠点に活動している。作品は、主体性や争いの場面、主観性のスタイルの舞台として理解されている絵画を中心に展開され、イメージの制作を不安定な探究の場として様々なアプローチを試みている。近年の個展に「Xero Kline and Coma」(ロンドン、2018)、「The Near Abroads」(アトラスハウス、イプスウィッチ、2019)、「The Scene of Instruction」(コールマン・プロジェクト、ロンドン、2021)など

The Case of T&S 2020; Good Bye My Father, 2021~, Kyoko Ebata, digital video 11:41 and still pictures





























When I was very young, I had made some paintings,

and looking back they were selfies and also copying a sight which I see on photographs,

so I would say I was taking pictures or performing rather than painting. 

I enjoy looking at paintings very much

and I would like to look into the world of painting at least once in my life.

However, when I wanted to paint, I didn't know where to start.

I drew a red circle on paper, but then I had to decide what to do next.

I felt it was too much responsibility.

Usually when I make a piece of work, I have an image or a concept in my head,

or something just appears in front of me, and I feel a pang.

Then it usually becomes a work of art.

So I have decided to start by 'exploiting' the sincere friendship of the participant, John Chilver,

as I always do in other works.

I had once seen a piece of his work on a mobile and thought it was wonderful,

without realizing that it was only part of the work.

This time, I'm going to try to enter the world of painting by copying the part of that painting.

I tried to draw a bit, but unlike photography, it's very hard to exploit.

The wet-on-wet approach is similar to a way of life.

I think it is also similar to housework.

In housekeeping, you have your own standard,

"this place should be kept like this",

and you always work to maintain it.

In painting, you have to work at a certain time and in a certain way

in order to match your image of what the painting should look like.

If I wait until I'm in the mood, the paint will harden. I can't wait until I feel motivated.

You have to move even if you don't feel like it.

In a way, it's like a habit to live a healthy life.

It's contradictory to my way of making things, which reacts to external stimuli.



環境問題、家族、愛情など身近なテーマを生活者の目線から時代を表現する。現在は国立市の庭付古民家をプロジェクトスペースに、制作やキュレーションを行いつつ、国内外で発表している。主な展覧会・賞与に「横浜トリエンナーレ2020」、「Volcana Brainstorm展」、「The Perfect Day to Fly」(ギャラリー・ハシモト、2018)、「あいちトリエンナーレ2010 現代美術展企画コンペ」、「現代美術地中海ビエンナーレ2010」、「カルチャー・オブ・フィアー、Halle 14」(2006)、「MEDIARENA:日本の現代美術」(the Govett-Brewster Art Gallery、2004)、「ヤング・ビデオ・アーティスト・イニシアティブス」受賞(森美術館準備室、2002)がある。

Kyoko Ebata is a Tokyo based artist, studied in Geneva and Oxford for high schools, and graduated from Goldsmiths’ College. Ebata works on diverse projects in various mediums around her everyday life including global society, life in metropolis, war and peace, design and taboo, memory and place, aging society, the Great East Japan Earthquake, environmental issues, family and love. Currently, Ebata runs a project space at an old Japanese house in Tokyo showing a contemporary international programme. She has exhibited widely and received prizes as an artist. Key exhibitions include: Volcana Brainstorm, Yokohama Triannual 2020; The Perfect Day to Fly, Gallery Hashimoto, 2018,; Aichi Triennale 2010 Curatorial Exhibition Competition, Culture of Fear, Halle 14, 2006; The First Mediterranean Biennial of Contemporary Art, MEDIARENA: contemporary art from Japan, the Govett-Brewster Art Gallery, 2004; Young Video Artist Initiatives, Mori Art Museum, 2002

Atopon;No place|場所をもたない,2019, Rie Iwatake, archival pigment print on paper, 75 × 60 cm


The title of the work, Atopon (having no place), is a Greek word meaning a strange thing (moment) between motion and stillness.

By dividing an image of a landscape into sections and changing the size of the print particles in each section, the effect of combining images with different perspectives is created. The point of view is not a fixed point, but represents a fluid visual experience of time and distance.

There is a parallel relationship between the image space and the art material space on the same screen, with the landscape appearing as you move away and reducing to ink and paper as you approach.

Forests of trees with green leaves appear blue from a distance. When you get closer and enter the forest, you cannot see the whole picture. The impression of an object is different when you look at it from a distance and when you get closer to it.

The outline of a phenomenon is always unstable and tentative, even if you try to capture it by moving closer or further away.

To be able to see/to see/to be able/ see, observing and perceiving complement and interfere with each other. In the interlocking flow of seeing and looking, there is a visual experience that only the subject who is looking can see/see.






近年の展覧会に 瀬戸内国際芸術祭2022、「MOTアニュアル2020 透明な力たち」(東京都現代美術館、2019)、「二つの心臓の大きな川」(アーツ千代田 3331、2017)、「BankART U35 Junya Kataoka+Rie Iwatake」(BankART Studio NYK、2017)、「PyeongChang Biennale 2017」(韓国、2017)など

Rie Iwatake lives and works in Kanagawa, Since graduating from M.A. Art and Design Science, University of Tsukuba, Ibaraki in 2006 and B.A. Textiles, Department of Craft, Kanazawa College of Art, Ishikawa,

she has traveled to make works in many locations including Peru, Paris, Yokohama and Taiwan.Iwatake often works as a unit with Junya Kataoka, combining kinetic and two-dimensional works in a spatial composition that creates a narrative in the encounter of materials and designs, and in which the subject matter of each work is gently echoed.

Recent exhibitions include

Setouchi Triennale 2022, “MOT Annual 2020 Invisible Powers” Museum of Contemporary Art Tokyo, Tokyo in 2020;

Big Two- Hearted River, 3331 Arts Chiyoda, 1F 3331 Gallery, Tokyo in 2019;

“BankART U35, Junya Kataoka+Rie Iwatake” BankART Studio NYK, Yokohama,

“Pyeong Chang Biennale 2017” Gangneung, South Korea in 2017, 

‘Untitled (Dance/Work) 1, 25 x 40cm, Oil on Linen 2021

SIMON WILLEMS|サイモン・ウィレムス

Green (Expand Monochrome)

Cast your eye to the left and the colour

hovers between snooker table felt and AstroTurf,

a brief entry of artifice that shouldn’t really work.

Rebelling in the lower region of the painting,

the riverbank in Morning Mist at Anderlys

is a curious proposition: pitching green against green.

It’s not just the colour, willing itself towards neon that appeals,

when the cartoon graphics so characteristic of Felix Vallotton

elsewhere (anticipating Hopper and Katz), accentuate this tension.

Move to the right and the surface

fogs - like Whistler’s Nocturnes - Green Earth and White stilling the river

through a yellowing glaze.

Except there’s a bluing in the mix, a mineral effect,

and it’s hard to discern whether Oxide of Chromium or Pthalo are to blame.

Either way, lime holds sway (Cinnabar Green, to be precise),

marshalling the trees in the mid-distance.




<<Morning Mist at Anderlys>>の下の方にある川岸は、











Afterthought: Picasso’s Blue Period strikes a chord not so much

because blue is the signature, as to how this is achieved.

Whether you’re looking at The Old Guitarist, Two Women at a Bar, or The Blue Room,

what is primary is not the idea of monochrome as a point of singularity,

so much as a space of difference, fuelled by the possibility

that blue is a range as much as a given pigment.

All hues are up for grabs, that is the point:

monochrome doesn’t have to mean Gerhard Richter or Mark Tansey.

Navigate the surface of any one piece and you’ll find Cerulean, Prussian and Cobalt,

not to mention complementary earths, in all manner of applications.









Simon Willems is a London-based artist. He is currently a British Academy Postdoctoral Fellow at the University of Reading (UK), where he completed a practice-based PhD in Fine Art in 2019, having graduated from the Painting School at the Royal College of Art in 2000. He has shown widely in both solo and group exhibitions throughout Europe and North America, including solo exhibitions at Torrance Art Museum (Los Angeles), FRAC Auvergne (Clermont-Ferrand), Elephant West (London), Galerie Polaris (Paris) and Wallspace (New York) His work has featured and been reviewed in Flash Art, Art Review and Elephant Magazine amongst other publications, and was included in the survey painting publication, A Brush with the Real:Figurative Painting Today (Laurence King Publishing). Willems has written and published articles in the Journal of Contemporary Painting, the Journal of Organizational Aesthetics and the painting journal Turps Banana.

ロンドンを拠点に活動するアーティスト。2000年にロイヤル・カレッジ・オブ・アートのペインティングスクールを卒業し、現在はレディング大学(イギリス)のブリティッシュ・アカデミー博士研究員として、2019年にファインアートにおける実践ベースの博士課程を修了。トーランス美術館(ロサンゼルス)、FRAC Auvergne(クレルモンフェラン)、Elephant West(ロンドン)、Galerie Polaris(パリ)、Wallspace(ニューヨーク)での個展をはじめ、ヨーロッパと北米の各地で発表している。作品は『Flash Art』『Art Review』『Elephant Magazine』などの出版物で紹介され、絵画の研究書『A Brush with the Real: Figurative Painting Today』 (Laurence King Publishing) で紹介された。また『Journal of Contemporary Painting』『Journal of Organizational Aesthetics』、絵画専門誌『Turps Banana』に執筆している。

Diana Zrnic_Green.jpg

DIANA ZRNIC|ディアナ・ズルニク

Is painting an overly chewed bubble gum that lost its flavour?

It became almost radical to push  the pigment over the flat surface in the last few decades,

criticized as old-fashioned,  commodifying, or irrelevant.

The fact that painting is in its most usual form flat like the screens  in our pockets

and on our tables makes one wonder whether the oldest art form,

questioned to  the point of crucifixion unlike any other,

is in fact the most relevant in relation to the context  of vast digital networks.

Often contrasted rather than compared for the obvious physical/digital  differences,

paintings and screens are, all in all, both portals offering the clashing of realities

in the strong illusory conjunction between real and projected spaces.

Simultaneously shrinking and stretching space of the mind and the surroundings,

painting and  the Internet pose a question of where we see things being real.

In constant search for bits of  that real,

even in the unreal, we are looking for something that resonates

or vaguely resembles  our sense of existence, genuineness, relevance, and importance. 

While offering spaces we cannot touch or step into, paintings and screens are still excellent  hosts.

Although physically fragile, they have the strength to put up with any content we lay on them.

Resilient to stories, figures, crazy ideas, good or bad antithesis,

they testify to there being  no actual or absolute truths by offering a variety of possibilities. 

With painting, the key notion is that of the frame and what fits inside.

Constraints are essential to the very existence of painting

as it depends on the limits of the object it inhabits and the architecture it becomes a part of.

Contemporary painting means pushing against some constraints while working along with others.

While a rejection of the weight of painting in the  80s

was an inspection of what painting is and what taking pleasure in the paint is,

today, it is not so much about rejection as it is about arriving and departing in different directions.  

Although always present, stripped of its prominence by consciously holding onto its own materiality,

painting is coming back, and the world is flat once again!




























Diana Zrnic, born in 1995 in Zagreb, is an emerging artist living and working in the UK. She  completed her postgraduate degree MFA Fine Art at Goldsmiths, University of London, in  2021 after graduating from the Academy of Fine Art in Zagreb in 2018. Zrnic attended three  residency programs; in Barcelona, Berlin, and Lapua, which resulted in group and solo  exhibitions. Most recent shows include Grads Now at Saatchi gallery in London and the 6th Biennial of Painting at HDLU in Zagreb. Mainly working with paintings and sculptures, her  latest work explores notions of hybridity, simultaneity, and displacements of our lives and  world. Imagery seen in her work deploys experiences of disparate forces, the reality of being  implicated in an excessive number of processes at various scales and how, in a material sense,  the body is the co-processor of digital information.






近年の展覧会に「Grads Now」(サーチ・ギャラリー、ロンドン)、

「第6回Biennial of Painting」(HDLU、ザグレブ)などがある。

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with ヘンドリック・ウィットコフ|Hendrik Wittkopf

記録 Documentation:

Film still 2_Wittkopf.jpeg

東京 Tokyo20:00-21:00/ロンドン London 11:00-12:00 

3月13日(日)on Sunday 13 March, 2022



 Talk Screening、House of Ebata、Tokyo (Open from 14:00)

* トークは英語で行われますが、所々に要約をチャットに入れます。質問等チャットに書き込んで下さい。時間があれば通訳いたします。ぜひご参加下さい。

 * The talk will be in English with some Japanese support on chat. If you have a question, please write to the chat .



 *White food and beverage will be welcome to bring in as it is a day before the White Day, but please strictly cooperate with us to prevent crowding and close contact to prevent the spread of infection of Covid-19.

Hendrik Wittkopf | ヘンドリック・ウィットコフ

ロンドン在住のドイツ人アーティスト。Artist b. Germany lives and works in London

主な展示|Selected exhibitions; 2018 18th Bangladesh Biennale, Dhaka; 2014 New work, Gallery Du Monde, London;2011 Treignac Projet (solo); 2008 Hello, I’m not here, Frankfurt, curated by Jakob Hoffmann;2007 Climate of Change, London, curated by Marc Hammond;2006 Á Rebours, Berlin, curated by Michael Schultze; 2005 Gallery Chitrak, Dhaka (solo); 2005 Land, Frankfurt, curated by Jakob Hoffmann; 2001 Emmanuel Walderdorff Galerie, Cologne (solo); 1998 ‘How will we behave?’ Robert Prime, London, UK, curated by Wolfgang Tillmans

* Image: Film still 2, Hendrik Wittkopf, Acrylic on paper, 40x60 cm, 2017        

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