E-Issue 07 –– AUH
Winter 2023-24

January 29th, 2024

  1. Editor’s Note
  2. What’s On in Abu Dhabi/Dubai
  3. Cover Interview: Shaikha Al Ketbi on Darawan
  4. Rapport: Public Art in the Gulf and a Case Study of Manar Abu Dhabi
  5. Hashel Al Lamki’s Survey Exhibition Maqam Reflects on a Decade of Practice in Abu Dhabi
  6. “You Can’t Stand on a Movement”: Michelangelo Pistoletto Interviews Benton Interviewing Pistoletto

Winter/Spring 2024

Exhibition Review July 16, 2024
PAR See Me With Them Hands: Reviewing Giovanni Bassan’s “Private Rooms” at Sainte Anne Gallery

Curators Interview May 14, 2024
AUH Embracing Change through an Open System: Maya Allison and Duygu Demir on “In Real Time” at NYUAD Art Gallery

About ––

    What We Do
    Editorial Board

Interviews ––

    Selected Archive

Open Call ––

    E-08 Seoul

Newsletter ––

Chronological Archive ––

    Selected Archive

Artist Interview November 18th, 2016
AUH Raed Yassin in Abu Dhabi

Editorial March 1st, 2018
AUH Abu Dhabi Is The New Calabasas

Exhibition Listing May 22nd, 2018
DXB Christopher Benton: If We Don't Reclaim Our History, The Sand Will

Artist Interview June 15th, 2018
TYO An Interview with BIEN, a Rising Japanese Artist

Artist Interview July 17th, 2018
TYO Rintaro Fuse on Selfies and Cave Painting

Artist Interview August 28th, 2018
BER Slavs and Tatars: “Pulling a Thread to Undo The Sweater”

Artist Interview September 1st, 2018
NYC Shirin Neshat In Conversation with Sophie Arni and Ev Zverev

Artist Interview September 1st, 2018
PAR Hottest Spices: Michèle Lamy

E-Issue 01 –– AUH/DXB
Summer 2020

August 1st, 2020

  1. Editor’s Note
  2. What’s On in the UAE
  3. Pop(Corn): Hashel Al Lamki
  4. Tailoring in Abu Dhabi
  5. Rapport: Dubai
  6. Michael Rakowitz From the Diaspora

Fall/Winter 2020-21

Artist Interview August 23rd, 2020
LHR/MCT Hanan Sultan Rhymes Frankincense with Minimalism

Artist Interview August 24th, 2020
DXB Augustine Paredes Taking Up Space

Artist Interview August 26th, 2020
AUH Sarah Almehairi Initiates Conversations

Market Interview August 28th, 2020
AUH/DXB 101 Pioneers Ethical and Curious Art Collecting

Exhibition September 1st, 2020
DXB Alserkal Arts Foundation Presents Mohamed Melehi

Market Interview September 4th, 2020
DXB Meet Tamila Kochkarova Behind ‘No Boys Allowed’

Artist Interview September 7th, 2020
DXB Taaboogah Infuses Comedy Into Khaleeji Menswear

Artist Interview September 10th, 2020
LHR/CAI Alaa Hindia’s Jewelry Revives Egyptian Nostalgia

Curator Interview September 14th, 2020
UAE Tawahadna Introduces MENA Artists to a Global Community

Exhibition Review September 24th, 2020
MIA a_part Gives Artists 36 Hours to React

Artist Interview September 27th, 2020
AUH BAIT 15 Welcomes New Member Zuhoor Al Sayegh

Market Interview October 14th, 2021
DXB Thaely Kicks Off Sustainable Sneakers

Exhibition Review October 19th, 2020
DXB Do You See Me How I See You?

Exhibition October 22nd, 2020
TYO James Jarvis Presents Latest Collages at 3110NZ

Exhibition Review October 22nd, 2020
AUH Ogamdo: Crossing a Cultural Highway between Korea and the UAE

Book Review October 28th, 2020
DAM Investigating the Catalogues of the National Museum of Damascus

Exhibition Review November 13th, 2020
Kanye Says Listen to the Kids: Youth Takeover at Jameel Arts Centre

Exhibition Review November 16th, 2021
DXB Melehi’s Waves Complicate Waving Goodbye

Exhibition Review November 19th, 2020
DXB Spotlight on Dubai Design Week 2020

Exhibition Review November 21st, 2020
DXB 101 Strikes Again with Second Sale at Alserkal Avenue

Exhibition Review
November 23rd, 2020

AUH SEAF Cohort 7 at Warehouse 421

Exhibition Review December 9th, 2020
SHJ Sharjah Art Foundation Jets Ahead on the Flying Saucer

Curator Interview January 25th, 2021
DXB Sa Tahanan Collective Redefines Home for Filipino Artists

Exhibition Review February 21st, 2021
GRV MIA Anywhere Hosts First Virtual Exhibition of Female Chechen Artists  

🎙️GAD Talk Series –– Season 1 2020

November 1st, 2020
1. What is Global Art Daily? 2015 to Now

November 16th, 2020
2. Where is Global Art Daily? An Open Coversation on Migration as Art Practitioners

November 29th, 2020
3. When the Youth Takes Over: Reflecting on the 2020 Jameel Arts Centre Youth Takeover

December 20th, 2020
4. Young Curators in Tokyo: The Making of The 5th Floor

January 27th, 2021
5. How To Create Digital Networks in The Art World?

E-Issue 02 –– NYC
Spring 2021

February 21st, 2021

  1. Editor’s Note
  2. What’s On in NYC
  3. Pop(Corn): Zeid Jaouni
  4. You Can Take The Girl Out Of The City
  5. Rapport: NYC
  6. Kindergarten Records Discuss The Future of Electronic Music
  7. Sole DXB Brings NY Hip-Hop To Abu Dhabi
  8. Wei Han Finds ‘Home’ In New York
  9. Vikram Divecha: Encounters and Negotiations

Spring/Summer 2021

Exhibition Review March 3rd, 2021
DXB There’s a Hurricane at the Foundry

Exhibition Review March 7th, 2021
AUH Re-viewing Contrasts: Hyphenated Spaces at Warehouse421

Curator Interview March 21st, 2021
DXB Permeability and Regional Nodes: Sohrab Hura on Curating Growing Like a Tree at Ishara Art Foundation

Exhibition March 28th, 2021
DXB Alserkal Art Week Top Picks

Exhibition Review April 1st, 2021
DXB A ‘Menu Poem’ and All That Follows

Exhibition Review April 5th, 2021
DXB A Riot Towards Landscapes

Exhibition April 16th, 2021
RUH Noor Riyadh Shines Light on Saudi Arabia’s 2030 Art Strategy

Artist Interview April 26th, 2021
CTU/AUH/YYZ Sabrina Zhao: Between Abu Dhabi, Sichuan, and Toronto

Exhibition Review April 27th, 2021
TYO BIEN Opens Two Solo Exhibitions in Island Japan and Parcel

Artist Interview April 28th, 2021
DXB Ana Escobar: Objects Revisited

Exhibition May 9th, 2021
LDN Fulfilment Services Ltd. Questions Techno-Capitalism on Billboards in London

Artist Interview May 11th, 2021
BAH Mihrab: Mysticism, Devotion, and Geo-Identity

Curator Interview May 20th, 2021
DXB There Is A You In The Cloud You Can’t Delete: A Review of “Age of You” at Jameel Arts Centre

Market Interview May 26th, 2021
TYO Startbahn, Japan’s Leading Art Blockchain Company, Builds a New Art Infrastructure for the Digital Age

Exhibition June 11th, 2021
TYO “Mimicry of Hollows” Opens at The 5th Floor

Exhibiton Review June 20th, 2021
AUH “Total Landscaping”at Warehouse 421

Artist Interview June 30th, 2021
OSA Rintaro Fuse Curates “Silent Category” at Creative Center Osaka

Exhibition Review August 9th, 2021
DXB “After The Beep”: A Review and Some Reflections

E-Issue 03 ––TYO
Fall 2021

October 1st, 2022

  1. Editor’s Note
  2. What’s On in TYO
  3. Pop(Corn): Nimyu
  4. Ahmad The Japanese: Bady Dalloul on Japan and Belonging
  5. Rapport: Tokyo
  6. Alexandre Taalba Redefines Virtuality at The 5th Floor
  7. Imagining Distant Ecologies in Hypersonic Tokyo: A Review of “Floating Between the Tropical and Glacial Zones”
  8. Ruba Al-Sweel Curates “Garden of e-arthly Delights” at SUMAC Space
  9. Salwa Mikdadi Reflects on the Opening of NYU Abu Dhabi’s Arab Center for the Study of Art

Fall/Winter 2021-22

Market Interview October 6th, 2021
RUH HH Prince Fahad Al Saud Discusses Saudi Arabia’s Artistic Renaissance

Exhibition October 7th, 2021
RUH Misk Art Institute’s Annual Flagship Exhibition Explores the Universality of Identity

Curator Interview October 15th, 2021
IST “Once Upon a Time Inconceivable”: A Review and a Conversation

Exhibition Review October 16th, 2021
AUH Woman as a Noun, and a Practice: “As We Gaze Upon Her” at Warehouse421

Exhibition Review February 11th, 2022

Artist Interview February 26th, 2022
TYO Akira Takayama on McDonald’s Radio University, Heterotopia, and Wagner Project

Artist Interview March 10th, 2022
DXB Prepare The Ingredients and Let The Rest Flow: Miramar and Zaid’s “Pure Data” Premieres at Satellite for Quoz Arts Fest 2022

Exhibition March 11th, 2022
DXB Must-See Exhibitions in Dubai - Art Week Edition 2022

Exhibition Review March 14th, 2022
DXB Art Dubai Digital, An Alternative Art World?

E-Issue 04 –– IST
Spring 2022

March 15th, 2022

  1. Editor’s Note
  2. What’s On in IST
  3. Pop(Corn): Refik Anadol
  4. Rapport: Istanbul
  5. Independent Spaces in Istanbul: Sarp Özer on Operating AVTO

Spring/Summer 2022

Curator Interview March 21st, 2022

Market Interview March 28th, 2022
DXB Dubai's Postmodern Architecture: Constructing the Future with 3dr Models

Exhibition April 23rd, 2022
HK Startbahn Presents “Made in Japan 3.0: Defining a New Phy-gital Reality”, an NFT Pop-Up at K11 Art Mall

Exhibition May 6th, 2022
Istanbul’s 5533 Presents Nazlı Khoshkhabar’s “Around and Round”

Artist Interview May 13th, 2022
“We Are Witnessing History”: Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian On Their Retrospective Exhibition at NYU Abu Dhabi Art Gallery

Artist Interview June 13th, 2022
DXB “Geometry is Everywhere”: An Interview and Walking Tour of Order of Magnitude, Jitish Kallat’s Solo Exhibition at Dubai’s Ishara Art Foundation

Exhibition June 21st, 2022
DXB Art Jameel Joins The World Weather Network in a Groundbreaking Response to Global Climate Crisis

Exhibition June 27th, 2022
What’s On in the UAE: Our Top Summer Picks

Curator Interview July 9th, 2022
IST Creating an Artist Books Library in Istanbul: Aslı Özdoyuran on BAS

E-Issue 05 –– VCE
Fall 2022

September 5th, 2022

  1. Editor’s Note
  2. What’s On in VCE
  3. Pop(Corn): UAE National Pavilion
  4. Rapport: Venice
  5. Zeitgeist of our Time: Füsun Onur for the Turkish Pavilion at the 59th Venice Biennale
  6. GAD’s Top Picks: National Pavilions
  7. Strangers to the Museum Wall: Kehinde Wiley’s Venice Exhibition Speaks of Violence and Portraiture
  8. Questioning Everyday Life: Alluvium by Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian at OGR Torino in Venice

Fall/Winter 2022-23

Market Interview June 28th, 2022
How Pearl Lam Built Her Gallery Between China and Europe

Exhibition November 11th, 2022
“Atami Blues” Brings Together UAE-Based and Japanese Artists in HOTEL ACAO ANNEX

Exhibition December 2nd, 2022
TYO Wetland Lab Proposes Sustainable Cement Alternative in Tokyo

Artist Interview December 9th, 2022
DXB Navjot Altaf Unpacks Eco-Feminism and Post-Pandemic Reality at Ishara Art Foundation

Artist Interview January 8th, 2023
TYO Shu Yonezawa and the Art of Animation

Artist Interview January 19th, 2023
NYC Reflecting on Her Southwestern Chinese Bai Roots, Peishan Huang Captures Human Traces on Objects and Spaces

Exhibition Review February 9th, 2023
DXB Augustine Paredes Builds His Paradise Home at Gulf Photo Plus

Artist Interview February 22nd, 2023
DXB Persia Beheshti Shares Thoughts on Virtual Worlds and the State of Video Art in Dubai Ahead of Her Screening at Bayt Al Mamzar

E-Issue 06 –– DXB/SHJ
Spring 2023

April 12th, 2023

  1. Editor’s Note
  2. What’s On in the UAE
  3. Pop(Corn): Jumairy
  4. Rapport: Art Dubai 2023
  5. Highlights from Sharjah Biennial 15
  6. Is Time Just an Illusion? A Review of "Notations on Time" at Ishara Art Foundation
  7. Saif Mhaisen and His Community at Bayt AlMamzar

DXB Christopher Joshua Benton to Debut Mubeen, City as Archive at The Third Line Shop in Collaboration with Global Art Daily

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BIEN Opens Two Solo Exhibitions in Island Japan and Parcel

By Sophie Arni

Published on April 27th, 2021

        BIEN is an artist who does not do things halfway. This month, the artist did not open one, but two solo exhibitions at Island Japan and Parcel, two galleries located in Tokyo’s Shibuya and Asakusa districts. Entitled DAWNDUSKDUST, the two-part exhibition was an absolute success. With improved techniques, stunning pastel hues, and winning experiments with photography and installations, BIEN has matured ever since I last interviewed him three years ago for Global Art Daily. These two solo exhibitions have cemented his status as a conceptual artist with a flair. He is, in my opinion, one of the top young Japanese artists to look out for in Tokyo’s contemporary art scene.

1. BIEN "DUSKDAWNDUST" at ISLAND, BLOCK HOUSE, 19 March - 18 April 2021. Photo: KABO. Courtesy of ISLAND.

I first discovered BIEN’s wood panels in 2018 at BLOCK HOUSE – a unique venue located in the heart of Shibuya, Tokyo, which promotes experimental works by giving space for young artists to hold group and solo exhibitions. I later curated BIEN’s work for a large group exhibition, Count The Waves: Seeing Invisibility at the Chinretsukan Gallery at Tokyo University of the Arts in 2019. I commissioned him a work called Day for Night, which later got acquired by Takahashi Ryutaro, one of Japan’s foremost contemporary art collectors. The large wood panel is currently showing at WHAT Warehouse of Art Museum

2. Above: BIEN, Day for Night, 2019. Cutting sheet on wood. Installation views of Count the Waves: Seeing Invisibility, Chinretsukan Gallery, Tokyo University of the Arts, March 2019. Photo: Masataka Tanaka. Courtesy of Department of Arts Studies and Curatorial Practices, Graduate School of Global Arts, Tokyo University of the Arts.
Below: Installation view, Inside the Collector’s Vault Vol.1, Warehouse of Art Terrada (WHAT), Tokyo, Warehouse Terrada. Photo: Keizo Kioku. Courtesy of WHAT.

What first drew me to BIEN’s work is his ability to translate the complexity of today’s web media into a universal abstract language. From old mangas (both Japanese and American), BIEN got into figurines and later into the language of graffiti and street art in Tokyo’s urban maze. He is also very much an artist of the internet: active on social media, he often refers to the dense networks of images that flow through his screens. From these busy environments, BIEN distills pure lines. He fabricates his own language, instantly recognizable and understood by all. 

“Up until now, I have been thinking of the world as being separated into “fiction and non-fiction”. However, now that we carry around a “single light” called a smartphone, the world has become a simple “one to one” entity, and everyone is living in their world. With the Coronavirus clouding the future of the world and the individual physically isolated, reality has overtaken fiction and fiction has intervened into reality.”

- BIEN, DUSKDAWNDUST artist statement

Like many artists of his generation, BIEN comes from a background outside the traditional confines of the art world. He studied graphic design, and this influence is palpable throughout his work. His style of visual communication is clear, and he is able to present an attractive version of his concepts to an audience both in and out of the traditional art crowd. He cares about making his work accessible to all, often evoking a sense of place or search for direction – themes we can all relate to as we are slowly coming out of a year-long hiatus.

3. BIEN and Lucas Dupuy, in collaboration with Out of Museum, Parallel Archeology, 2020. Mixed media. First produced and exhibited at PARCO 2F Oil by Bijutsu Techo, Shibuya, Tokyo in July 2020. Designed with the help of Sounumata. Exhibited at "DUSKDAWNDUST" at Parcel Tokyo, 13 March - 30 April 2021. Photo: Sophie Arni

“The everyday scenes uploaded daily on Instagram throughout the world are like extensions of a scene from a movie.”

- BIEN, DUSKDAWNDUST artist statement

4. Above: BIEN "DUSKDAWNDUST" at ISLAND, BLOCK HOUSE, 19 March - 18 April 2021. Photo: KABO. Courtesy of ISLAND. Below: Detail view. BIEN "DUSKDAWNDUST" at Parcel Tokyo, 13 March - 18 April 2021. Photo: Sophie Arni

“I was taking a walk in my neighborhood on a day when the air was clear, during the stay-at-home period. As I was walking aimlessly, it was dusk, and from the sun falling in the west, everything standing there made a shadow in the same direction.”

- BIEN, DUSKDAWNDUST artist statement

5. BIEN "DUSKDAWNDUST" at ISLAND, BLOCK HOUSE, 19 March - 18 April 2021. Photo: KABO. Courtesy of ISLAND.

About the color palette, BIEN tells me that he was inspired by photographs he took during dawn and dusk, going back to the title of the exhibition. Colors of the skies, mixed with more striking oranges, yellows, blues, and deep purples that are reminiscent of his previous works in street art, speak of a balance between nature and city, between wilderness and the saturated street. He exhibits photographs next to his wood panels, offering the audience a glimpse into his inspiration.

6.  BIEN "DUSKDAWNDUST" at ISLAND, BLOCK HOUSE, 19 March - 18 April 2021. Photo: KABO. Courtesy of ISLAND.

“Up until now, I have been creating drawings inspired by “symbols” seen in anime, cartoon characters and letters. However, if fiction and reality are mixed, perhaps drawing fictional images is not only shaping an imaginary world, but also breaking the boundaries of the fictional and the reality by the lines I draw. Like the lines and floaters reflected in my eyes or the dust rising in the background, my drawings connect the fragments of light, the sun light, and the light from my smartphone.”

- BIEN, DUSKDAWNDUST artist statement

BIEN’s new solo show is titled DAWNDUSKDUST, a reference to the topic of light but also a reflection of our post-lockdown reality. The fact that this show is divided into two chapters is quite novel and interesting, an idea I recommend more artists to think about. Why limit yourself to activating one space when you can activate two? BIEN has something interesting to offer in both galleries.

We start at Parcel Tokyo, and enter gorgeous lavender rooms. The whole space feels afloat, like entering a dream stage. His major, bigger-size wood panels are exhibited there, breaking away the dream into subchapters. Some use starker colors, some use softer colors. His lines have rhymth, as if a song was playing in the background to illuminate the space as the eye travels from one panel to the next.

7. BIEN’s exhibition DUSKDAWNDUST at Parcel Tokyo, 13 March - 30 April 2021. Photo: Sophie Arni

BIEN’s lines are heavy in meaning: do not be fooled by their simple appearance. A lot of thinking and research goes into how each line is placed and how each panel is placed on the wall. A point in case, as his exhibition was ending, BIEN changed the layout of his panels to resemble something else. He expanded the shape of each panel, took one piece out, and left blank space in between. 

Again the idea of rebirth and renaissance comes through: BIEN manages to shift the meaning of his piece in the midst of his exhibition. Much like the digital world we live in, which requires constant updating, and constant new waves of content, BIEN changes the shape of his wood panels to provide new visual experiences. The result? Viewers visit the re-activated exhibition space again.

One of my favorite parts of the exhibition was seeing his artist books. Displaced on the mezzanine level, these self-made zines give another glimpse of the research and moodboard that goes behind the final products. I particularly enjoyed looking at one of the Google Maps itinerary from his big European trip. BIEN took a bus route from Switzerland to Germany, to France, to the UK. The bus route makes for an interesting shape. It is as if BIEN’s lines highlight his journey rather than the destination. 

8. BIEN’s notebook, exhibited at DUSKDAWNDUST at Parcel Tokyo, 13 March - 30 April 2021. Photo: Sophie Arni

We move to the second exhibition at BLOCK HOUSE’s Island Japan gallery. The tying element between the two exhibitions is the sandbag that the artist physically carried from one gallery to the next.

Taking the iconic JR Yamanote line which connects Tokyo in a perfect circle, BIEN’s took a sandbag from Parcel to Island: from one end of the city to the next, leaving a trail of sand behind him. If that’s not a beautiful metaphor for mark-making, I don’t know what is. One gets greeted at Island with the sand from Parcel, a fine trail and the sand bag that has been placed against a pillar. On an Ipad, a video of the artist traveling through the city shows the installation process. A poetic, inventive, and well-executed means to connect the two exhibitions together.

9. BIEN "DUSKDAWNDUST" at Parcel Tokyo and ISLAND, BLOCK HOUSE, 19 March - 18 April 2021. The last four photos: KABO. Courtesy of ISLAND.

I have spent most of the past year at home, like many, working and socializing remotely. Because of the pandemic, I have only seen BIEN’s works through the iPhone screen. It was a true pleasure to experience the physicality of his wood panels again. His technique – which previously consisted of cutting sheet stuck on wood panel, from which he would carve out his signature lines – has now evolved to painted wood blocks, constructed together like puzzle pieces with glossy carving finishes. His lines are still there: they are perhaps less busy than before and in this sense, reflect better the quiet storm that we have all gone through in 2020.

The most noticeable evolution in BIEN’s works is in the color palette. Acrylic paint offers endless more possibilities than cutting sheets: from pastel purple to greens and yellows, viewers could sense the awakening in his work. I personally felt like walking into a ikebana flower bouquet. BIEN created an explosion of spring colors, ready for contemplation, ready for rebirth.

From the impeccable presentation to his well-articulated artist statement, I can sense that BIEN has matured. His worldview is more complex than the young artist I met three years ago. He ponders over our digital existence with elegance and abstraction, and I can’t wait to see where his career and vision takes him next.

BIEN’s solo exhibition DUSKDAWNDUST ended on April 18th, 2021 at ISLAND, BLOCK HOUSE, and ends on April 30th, 2021 at Parcel Tokyo. 

BIEN (b. 1993, Tokyo) graduated from Tama Art University in 2017. He primarily uses drawing and painting to represent his abstract reaction to street culture and animation. Focusing on the forms created by fictional characters such as those in anime, as well as letters, and symbols, BIEN develops abstract expressions that dismantles and reassembles their forms and original meanings. In 2016, he participated in 'Living, Daylights, Room', group exhibition at Anagra Gallery. He also participated in SIDE CORE's project 'Road · Line · Figure' at Gallery TRAX, Yamanashi and 'Reborn-Art Festival' held in Ishinomaki (2017). Other group exhibitions include 'New Art Festival 2017: Loneliness of 150 years' in Iwaki, Fukushima prefecture (2017), ’Rebel Without a Cause' at the Watari Museum of Contemporary Art, Tokyo (2018). In 2018, he alsoheld his first solo exhibition at Block House, Tokyo entitled 'Woozy Wizard' where he presented his canvases, drawings as well as a large floor installation. Three years later, he held ‘DUSKDAWNDUST’, two solo exhibitions at Parcel and Island Japan (2021).

Follow BIEN on Instagram.

Island is a gallery based in Tokyo since 2010. Since opening its doors in 2010, gallery director Haruka Ito has been involved in a variety of activities, including holding exhibitions and participating in international art fairs, serving as the main director of Art festival “Tekkojima Festival” and “Tennoz Art Festival”, a mural painting program, as well as the art director of “101 Contemporary Art Fair”. In 2016, the gallery moved into a new phase with the relocation of the space to the modern architecture of BLOCK HOUSE in Shibuya.

Follow Island on Instagram

Parcel opened its doors in June 2019 in Tokyo’s Nihonbashi Bakurocho district, close to the traditional Asakusa area. Using its distinct former parking lot converted into a white cube, PARCEL aims to function as an existence in between a project space and a commercial gallery.

Follow Parcel on Instagram.

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