Pierattelli Architetture presents a project for the new stadium of Fiorentina Football Club, together with a
Masterplan able to upgrade the urban scenario of the city and offer new spaces and infrastructures.
Florence | The stadium of Fiorentina Football Club based in Florence (Italy) is a building of historical and artistic interest, built between 1930 and 1932. The Club belongs now to a new chairman, Rocco Commisso, an American-Italian businessman, which has put the need of a modern sport infrastructure as one of the strategic pillars of the club. In the public debate of the future of the old stadium, comes the proposal of the Florentine Studio Pierattelli Architetture, which has designed a project for the new Fiorentina football ground with a hallmark organic form and a metal mesh cover in the club’s colours – purple, white and red. The project takes the form of a Masterplan covering the redevelopment of an expansion area in the north-west of the city, Novoli’s district, and it would become a sign of renewal, growth and urban expansion. The project for the new stadium thus becomes an opportunity to upgrade the urban scenario of one of the most vital areas of the city. It redefines the relationship between architecture and context, resolving other critical issues weighing on the area through the arrival of the stadium. In fact, this also provides the opportunity to renovate the road network which is noteworthy today for its major infrastructural failings, redressing the balance and creating a new one with the Mercafir (the Florence fruit and vegetable market). The construction of artificial hills completes the project of creating a living, usable architecture with services always open to citizens. With its hallmark organic form, the particular conformation of the stadium, higher on one side than on the other, brings to mind a "Stone". A metal mesh in the club’s colours, purple, white and red, covers the outer structure. 16 entrances, 4 of them with turnstiles, with lifts and panoramic stairways, give access to 3 rings of grandstands, as well as to the shopping mall and catering area which are always open to the public. “The new stadium project certainly provides a unique opportunity for Florence”, says architect Massimo Pierattelli, “for rethinking the relationship between the building, its functions and the city, adding new meaning to the structure and creating added value for citizens, as well as for fans”. The new stadium designed by Pierattelli Architetture is therefore not only grafted on to the existing urban fabric, but becomes part of a new vision of the city, able to combine different functions and leaving areas that are active all year round as a legacy. A holistic vision of the relationship between architecture, urban planning and social life, able to optimise the relationship between city life and sport. read more »
submission date: 12/2/2019
Patrizia Di Poce, was born in Rome, where she lives and works.
Her artistic course manifests during the years with a creativity in continue evolution, she moves with enthusiasm from painting to ceramics, choosing even common rocks or logs smoothed by sea or river waters as materials for her creations, all different techniques that nurture and develop the sensibility of her artistic expression to finally arrive to marble sculpture.
During the 2006, driven by her quest for an intimate and profound realization, she arrives to Pietrasanta(Lucca) in the heart of Apuan Alps, where she stays on alternate periods in order to realize her creations.
Her marble sculptures are splinters of matter transformed in language.
“ I choose that block of different dimensions (big, medium or small), by instinct, or maybe it chooses me. From this magical encounter, the rhythm of an ancestral dance is born that later manifests with my creations. Like this, that piece become “my piece” because I own its Essence and it reflects my free soul. Presently, to sculpt the marble my way, marble that I feel as a matter of great energy, is simply the realization of a natural talent that I had as a gift. I know I have arrived to the center of my creativity and I feel great. My creations are visible translation of what I feel intimately, a profound perception to which I remain connected and which accompanies me beaming towards the future, with consciousness of a mature woman and joy and enthusiasm of a curious little girl.” read more »
submission date: 11/21/2019
Nov. 1st 2019 @Douglas Dunn Studio NYC.
"CONTEXT-ERE (In the frame of AMINA)".
Sardinia - New York - Sardinia 2019-2020.
curated by Fabio Acca.
AMINA>ANIMA (Soul) is a project created by 369gradi and directed by Valeria Orani to achive a contemporary prospective through the ancestral roots of Sardinia’s cultural identity and developed by the funds of European Union PO FESR 2014-2020 – RAS - Regione Autonoma della Sardegna. (view more at www.aminaproject.org )
"CONTEXT-ERE (In the frame of AMINA)" is part of Alessandro Carboni’s larger project "Context".
the research that the artist intends to develop within AMINA>ANIMA (Soul), draws from these assumptions and aims to activate a reflection on the idea of weaving and loom as a model of the cosmic mind, and on its relations with the visual arts, cartographic processes and the stage.
During the Open Studio Alessandro Carboni will show his work and will talk about how he is studying and relating the patterns and modular structures developed in the Sardinian textile production with geometric volumes and primary elementary units of American minimalism. As "topos" Alessandro Carboni choose the traditional design developed in the town of Nule in Sardinia, the "Nule's flame" given by the rhomboid shape of the drawing, which resembles precisely a flame.
Alessandro Carboni is a visual artist, performer and researcher, whose artistic and conceptual production revolves around the complex web of correlations and permutations that occur between space and its constituent elements (people, places, relationships, meanings), starting from the concept of cartography, intended as a "scaled-down/reduced representation of the earth's surface and the phenomena that take place and evolve on it". In this sense, in his performative and installation projects, the artist uses the stage as an actual projection screen from which arise reflections and criticalities related to the contemporary world. (more at https://www.alessandro-carboni.com/ )
submission date: 10/29/2019
On the occasion of the launch of the Enel project to digitalise the Vila Olimpia neighbourhood in São Paulo, Brazil,
Piuarch illustrates, in a public initiative, the concept that gives life to inclusive, participatory spaces.
São Paulo (Brazil), October 2019 - New places for meeting and participation that promote the construction of urban social networks: Piuarch's Espaço project is presented in São Paulo in conjunction with Enel's launch of the programme for the digital transformation of the city's financial and high-tech heart. The occasion is provided by the initiatives being activated by Enel Distribuição São Paulo to initiate the digitisation of the Brazilian network, starting with the Vila Olimpia neighbourhood of São Paulo, where Enel will create a digital, smart and sustainable infrastructure, to make energy distribution more efficient. A project in which innovation, sustainability and circularity are key values in the growth of megalopolises: a growth not only digital, but also social, able to redesign the urban scenario in the name of an inclusive and circular development of the area.
As the technological network is built up on avant-garde infrastructure, the social network develops, also, through public space. Piuarch's Espaço project was presented in the context of the Enel event as best practice for circular urban spaces: an installation that rethinks and redefines the city, and which represents the meeting point between social and environmental sustainability. Espaço grows out of a modular element in recycled plastic that, like a puzzle, can be combined in infinite configurations, customised to specific needs and place. The basic three-dimensional volume can be extruded at different heights to create walk-on surfaces, seats, tables, signage totems, urban vegetable gardens... The results are coloured spaces of aggregation that invite the community to live residual, urban spaces in participatory fashion.
Espaço was born with a strong urban and cultural identity, based on the study and interpretation of local historical, social and artistic factors. The form of the volumes recalls Mirthes dos Santos Pinto’s graphic design for the pavements of the city: geometric, repeatable and characteristic, it is a true São Paulo icon. The concrete art of Helio Oiticica and Alfredo Volpi’s study contributed to the inspiration and definition of the geometries and colours. Versatile and modular, Espaço was designed by Piuarch (together with Duda Mitidiero and with the contribution of Cornelius Gavril for the Landscape Design part) with the aim of stimulating grassroots urban regeneration and community growth.
A project whose social and educational value can be replicated in different parts of the city, creating a widespread system tailored to local needs. This is the social equivalent of the smart grids that Enel is planning to install in Brazil: smart electricity grids that allow energy to be rationalised and distributed efficiently, reducing waste of resources and cutting CO2 emissions. Following this presentation, the future might see the concept being applied on a large scale, contextual to the digitalisation of the megalopolis, with a view to creating a network of technological, green and play points aimed at developing the local community’s quality of life. read more »
submission date: 10/17/2019
Dressed and undressed, curvaceous and angular, sleeping and watching. Over seven decades the Spanish artist Pablo Picasso depicts the female body as a colourful metamorphosis – full of longing and willpower, desire and eroticism. The exhibition Beloved by Picasso – The Power of the Model looks at the relations between one of the greatest painters in world history and his models, and reinterprets Picasso’s depictions of women. The famous artist’s portraits of women raise issues that are highly topical today as more and more people are discussing gender, privileges and identity in the context of equality and feminism. ARKEN’s Picasso exhibition focuses on the women in the portraits, their significance for Picasso’s wild changes of style and the comedy of his dramatic stagings.
Erotic thirst and burning desire
Pablo Picasso is famous for his talent for artistic innovation and notorious for his uncompromising life. Picasso’s artistic development and new stylistic departures parallel his love life – and it does not go quietly. In groundbreaking and expressive paintings Picasso interprets his family life, children, fame, artistic identity, love and crises. To one motif in particular he returns again and again: the naked female body, alone or in interaction with the artist. With a starting point in one of the most iconic motifs in the history of art – the painter and the model – Picasso depicts the desire to see and be seen. He shows our erotic thirst and eternal fascination with one another’s bodies as well as the lustful insistent looks that arise in the interaction between the parties.
More than muses
Beloved by Picasso – The Power of the Model challenges the balance of power between the artist and his models and takes a fresh look at Picasso’s pictures of those he loved. Picasso renders the women’s strengths, emotional life, pleasure and anger with great empathy, and stages his own role as artist with self-irony and humour. For the first time ARKEN’s exhibition tells the stories of Olga Khokhlova, Marie-Thérèse Walter, Dora Maar, Françoise Gilot and Jacqueline Roque as more than Picasso’s muses and preferred subjects.
Masterpieces from Paris
ARKEN’s Picasso exhibition presents numerous masterpieces from the unique collection of the Musée national Picasso-Paris. The exhibition includes paintings, drawings, sculptures and prints as well as historical film clips, photos, poems and a photo album. A magnificent Picasso experience awaits the visitor in the autumn, when Beloved by Picasso – The Power of the Model takes over ARKEN’s galleries from 12 October.
New Picasso research
For the exhibition a richly illustrated catalogue will be published presenting new research on Picasso by Danish and international contributors. ARKEN’s Curator Naja Rasmussen’s peer-reviewed article explores the women’s partnerships with Picasso, his stylistic developments and the gaze applied to them and himself. Émilie Bouvard, former curator at Musée national Picasso-Paris where she was in charge of paintings (1938-72), research and contemporary art, and recently appointed director of collections at Foundation Giacometti, examines Jacqueline Roque’s significance for Picasso’s late art. Wendy Steiner, author and professor emerita at Pennsylvania University, addresses current viewer positions and the Picasso model as an idea. Writer, scholar and curator Harri Kalha analyses Picasso’s erotic and humorous (self-)staging and his eye for body and gender. read more »
submission date: 9/30/2019
submission date: 9/9/2019
Over the years, there have been many attempts in pursuit of creating a perfect man-made diamond. It wasn’t until the mid-1950s, when scientists created colored and colorless gems, according to the Gemological Institute of America (GIA). Because of British writer, H.G. Wells, scientists have been able to read about the technique of high pressure and temperature (HPHT) to continue research. Like art, scientists have been able to“master the illusion” of what we see as a traditional diamond by making a series of synthetic ones.
The process of creating synthetic gems, led to understanding the inner happenings of the diamond industry. In the late 1900s the diamond industry was under pressure when synthetic gems tried to enter the market. During the same time, more awareness was raised about blood diamonds on the market. Before 2003, 25% of the world’s diamonds were conflict. They were traded illegally, which in turn impacts profits, working environments and human rights. Around the world, innocent people were often exploited to collect conflict diamonds. With the HPHT method, scientists strived to recreate high quality, bright, timeless and valuable pieces of jewelry.
Creating The Right Diamond
Synthetic gems have become an alternative option to buyers. In fact, synthetic-diamond engagement rings are the most popular piece of jewelry in that field. As the lab-grown industry increases by 15% per year, the market has an ability to change in the years ahead. Creating a diamond is like perfecting a piece of artwork. Artists like Alexander Chubar emphasized we’ve come a long way with creativity and architecture. He observes that, “Art is the physical manifestation of the perceptions of the world as interpreted and organized by various groups of people.” The creation of the new diamond is like a combination of artistic lens and science, although they are distinctly different. Each stone has the same physical and chemical properties, but can still vary in size, shape and color.
The Difference Between Synthetic and Natural Diamonds
Diamonds grown in labs are identical to their mined counterparts except for one minor flaw; synthetic gems do not have impurities. Under “controlled conditions,” scientists are able to remove cracks, unnatural coloring and cloudiness, but buyers will often not be able to spot the difference from a regular diamond or an artificial one, except for its price. Synthetic diamonds are available at a more affordable rate than mined diamonds. They have been crafted to be environmentally friendly, ethical and without flaw. The creation of synthetic gems has significantly changed the diamond industry. Diamond labs are at the forefront of innovation with new geometric styles and colors; and though it will take time for the industry to accept synthetic gems, it leaves scientists time to design timeless pieces of artistic jewelry.
read more at www.gia.edu »
About the author
Karoline is a human rights activist and writer. She left her corporate job to pursue this more meaningful career.
submission date: 8/20/2019
Este video video esta dedicado al genial maestro de la pintura del siglo XX Bonifacio, va por él.
Este video a sido posible gracias a la amabalidad y gentileza de la ganaderia Aurelio Hernando, gracias a la Laura por su generosidad.
Melón Jimenez (Wiesbaden Novemeber 27,1986 )is a musician and composer. He has played guitar for Anoushka Shankar, Richard Bona, Enrique Morente, Niña Pastori between others. Melón has estudiad piano, sax and bass and specially brilliant on the guitar Moved to Madrid at the age of 2. Raised in a musical family, his father is a flamenco guitar from Jerez de la Frontera (Andalucía) and his mother is a classical piano player in her native Germany, introduce him in the music world very early and he showed skills for all kinds of music. When he was 10 years old was able to play sax, piano and guitar and start to write some tunes. Finally he decided to play flamenco guitar and start to play often in all kind of places when he turned 15. In the year 2010 played on Enrique Morente´s live recording: "El Barbero de Picasso". During 2011/13 performed with Anouskha Shankar around the world presenting her grammy award winner "Traveller" blend of Indian traditional music with flamenco.
Melón Jiménez es guitarrista flamenco. Afincado entre Madrid y Jerez de la Frontera comenzó a tocar la guitarra con tan solo 4 años, estimulado por su padre Miguel Jiménez, guitarrista flamenco y discípulo del maestro " Rafael del Aguila ". A partir de los 13 años toca profesionalmente con artistas como Armando Manzanero, Antonio Carmona, Pitingo, Niña Pastori y un largo etc. Sus trabajos más reconocidos los ha realizado junto a grandes artistas internacionales de la talla de Anoushka Shankar, Enrique Morente,Mulatu Astatke y Richard Bona entre otros. Las experiencias de alto voltaje junto a gigantes de la música se suceden una tras otra como un hecho habitual en su vida artística. Ha echo arreglos musicales con músicos como Javier Colina, Chuchito Valdes,Niña pastori, Enrique Morente, Richard Bona, Anoushka Shankar o Tino di Geraldo . read more »
submission date: 6/30/2019
“La Foresta dei Violini”: Piuarch's tribute to the lost forest From the 8th to the 19th April 2019 at University of Milan, an evocative installation showcases the relation between nature and music, the spruces and the arts which from that wood give life to emotional instruments
University of Milan, Interni Human Spaces - During Milan Design Week 2019, Piuarch presents “La Foresta dei Violini”: an installation sponsored by CityLife, which aims at representing the value of the spruces wood of Fiemme Valley (Trentino Alto Adige, Italy). On the 29th October 2018 a storm and a 200-km/h-wind ravaged a centuries-old natural balance, hitting more than 12 million trees on the Alps. Among these there is Paneveggio Forest, also known as Stradivari's Forest. A place renowned for the spruces growing there: their wood has extraordinary features, and it has been forever used to make the best acoustic violin sound cases, which master luthier Stradivari chose for his masterpieces. Based on a concept by Nemo Monti, Piuarch designed an evocative installation which will stand out in the Main Courtyard of the University of Milan within the INTERNI HUMAN SPACES event. The project is sponsored by CityLife, with the support of the Province of Trento and the Magnifica Comunità di Fiemme (Magnificent Community of Fiemme) as technical sponsors providing the wood used to build the installation.
CONCEPT “La foresta dei violini” is an evocative sign of the lost forest, and its absence. A tribute to the territory, to the forests, to the nature; to the communities that create their crafts thank to that natural environment, as well as to the wood supply chain born on those territories; to the arts that create those wooden instruments and to the artists that those instruments play to give back emotional music. Made of rough wood, using broken trees eradicated by the wind, “La Foresta dei Violini” represents a place of memories, witness of the violated nature, where architecture is both support and relief.
THE INSTALLATION Two large spruce trunks emerge from the loggia of Main Courtyard of the University of Milan: the roots suspended in the void overlook a balustrade on the courtyard, supported by an architectural easel made of worked red spruce wood. Disrupted trees, segments of memory, evidence of the infringed nature. Roots in the wind. Architecture remains in between. The easel is an elementary support, the essential structure, which follows the work in all its stages. The artifact is a bridge between things and ideas: a geometric shape that lies in the wood carving, in the intersection of straight forms, it is the sum of singularities. It bears the weight, connects different borders, has many names and functions in the human jargon. For these reasons it is the simplest, most common and universal symbol of the ancestral relationship between technique and nature, between raw material and transformation. Made of worked red spruce, it is the archetype of the craftsman work who repairs. The dimensions are amplified, the roles turned upside down, the priorities acknowledged. Nature comes first. “We want to celebrate the primordial architecture of the forest, respecting its structures and forms of intersection with the planet and its inhabitants. This project evokes the ability of nature to communicate with human beings, inviting them to tactfully observe its rules, taking care of it and following the natural order of the earth.” piuarch.
PANEVEGGIO FOREST, THE ACOUSTIC FOREST Paneveggio Forest is renowned because is where the spruce trees used to make the most elegant and precious instrument, the violin, grow. Spruce trees are almost the 90% of the trees in the forest, associated with silver firs at lower altitudes, larch and Swiss pine to the upper ones, while the undergrowth is made up of a carpet of black and red blueberry. And it is among these thousands of shades of green that master luthier Stradivari got lost looking for the most suitable trees for the making of his violins: the centuries-old red fir trees whose wood, thanks to its particular resonance capacity, provides the ideal raw material for the construction of sounding boards. This wood is characterised by a great elasticity that guarantees to better transmit the sound, and its lymphatic channels are like tiny organ pipes that create resonance. For this reason the trees are felled in the waning moon, between October and November, when in the trunk there is less quantity of sap. The best ones can be recognised for the very thin and perfectly concentric growth rings with straight and fine fibers and few knots. It was in this forest that the greatest violin makers of Cremona reached the perfection of sound and many of the specimens made with the spruce of this forest are still kept today in the Violin Museum of the city.
LA FORESTA DEI VIOLINI 8 - 19 April 2019 INTERNI HUMAN SPACES
Università degli Studi di Milano - Ca’ Granda ex Ospedale Maggiore Via Festa del Perdono 7, Milan, Italy read more »
submission date: 4/12/2019
Born in Cape Town, South Africa, under apartheid, he combines rhythmic influences of South Africa with jazz. After the notorious Sharpeville massacre of 1960, mixed-race bands and audiences were defying the increasingly strict apartheid laws, and jazz symbolized resistance, so the government closed a number of clubs and harassed the musicians and he left the country. None other than Duke Ellington produced an album on him in 1963 and in 1974, he recorded "Mannenberg Is Where It's Happening," an unofficial anthem for black South Africans; he performed at the 1994 presidential inauguration of Nelson Mandela. He has performed at Carnegie Hall and the Newport Jazz Fest, joined the Elvin Jones' quartet for a time, and made an album with Max Roach.
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submission date: 4/12/2019
I consider myself a visual composer who, with lightness, careless and without shame, utilises and mixes different techniques and visual arts.
I don’t go along or belong to any group, school or trend.
Groups and schools are prisons. Bounds are boundaries to the freedom, the freedom which is the base to try understand who I really am, who You really are.
Artistically I don’t have conscious influences. I usually improvise, in art so in life. I don’t use to prepare and organise things before to do something. It’s tedious and I don’t have enough discipline for it. In Italian I would say: Navigo a vista. Literally Dead Reckoning. My interest goes to people and their faces, that’s why only love figurative arts in every style or form I like to observe people which are the mirror of myself and the understanding of Myself in their daily activities and emotions, and I keep myself ready. Sometimes, for few seconds, it’s like I can experience their momentary emotions, especially if it is frustration or sacrifice. A stranger can make us feel emotions that don’t belong to Us. Empathy. And it is that vision, in which I transcend, that I want to translate into something real using Art as a device tool. I use the others. I then confront them with myself. It can be seen often in my art where my portrait is often the background layer, hidden or drowned under other’s emotions.
I was born in Bologna, Italy, the 8th of August 1973 in a middle-class family, basically formed by Teachers, Doctors and Economists. I was forced to follow my parents steps so I graduated in Economics. Meanwhile, I was 18, I met and get along with Massimiliano Valli, a talented Film director and peculiar person witch I still admire. He made Best Boy in his movies. That’s where my love and dreams for Cinema light up. In secret I attended a Cinema university, DAMS Bologna. During the university time in Urbino, I I get really well along with the Maestro Bruno Tontini, a contorted painter and sculptor, known in Urbino for being hot-headed alcoholic and untameable trouble maker. With him I spend 5 years of real friendship, interrupted by his incarceration.
Together we mostly experiment with the videocamera doing short videos using us as actors. He also teaches me the basic of sculpture and painting. I consider Bruno my first Maestro d’arte, even if his style didn’t influenced any of my works. Bruno is in prison and I get my graduation. Back to Bologna I start to work in my parent’s business as business consultant. After 6 month I buy a ticket to Shanghai and I quit the job. Since that day I still wandering around asia doing videos, photos, drawing and tattooing. Nick Suzuki (Nicola Suzzi)
submission date: 4/4/2019
The Italian Studio Vudafieri-Saverino Partners has designed four kindergartens in China, where the immersive and experiential architectural space becomes a stimulus for imagination and learning.
An ever closer relationship links architecture and pedagogy: school spaces play today a decisive role in the education of children, fostering their wellbeing and accompanying their learning process. This is the principle behind the project by Vudafieri-Saverino Partners, architecture studio based in Milan and Shanghai, for Gymboree Play & Music. The American brand – with 700 centres in more than 40 countries around world - offers courses for infants and children up to the age of 6, with the aim of developing their cognitive and relational skills in early childhood, through play activities based on listening to music, art classes, group activities and problem solving games. To translate Gymboree’s educational philosophy into architectural language, the architects have come up with the concept of the four schools - two in Shenzhen and two in Suzhou - designing places capable of arousing children's curiosity and also encouraging them to learn. The spaces are designed to interpret the theme of "travel" through shapes, colours and materials, with different areas recreating different environments: the ocean, the forest, the desert, the Arctic, the canyon and space. A magical, dreamlike context stimulates the children to use their imagination to live unique experiences and visit unknown worlds. Without leaving their classrooms they are able to rest in the shade of a tree in the middle of the forest; immerse themselves underwater with inhabitants of the ocean, run up and down dunes until they reach an oasis in the desert. The protagonists of this adventure are not only the children, but also their parents, who are able to relive the fun of childhood and develop their creative potential along with their children.
The inspiration for the design of the spaces, which stand out for their simple geometries, bold colours and different materials, derives precisely from this identification with the children. "We tried to interpret the environments through the eyes of children, creating a context that provided them with sensations rather than images, so as to leave them free to fly on the wings of their imagination. The imagination of children is pure and original, they see the world with the independence and creativity of their own thoughts. Imagination is more important than knowledge, since knowledge is limited, while imagination is the driving force behind progress and the source of the evolution of knowledge", say architects Tiziano Vudafieri and Claudio Saverino.
The concept finds its brightest expression in the school of Shenzhen Upper Hills, a space of over 2000 square metres, which accommodates the offices of Gymboree employees as well as the classrooms. Here the whole building - and not just the classrooms - is an immersive and highly experiential space. Colours, shapes and geometries become tools for giving life to an imaginative world, which characterises the corridors, transit areas, the reception, the bar, the common areas and the classrooms. The central garden with playground allows children to interact and play in the open air. The offices are located on the upper floor and accommodate the entire Gymboree team in Shenzhen with meeting rooms and training areas, bar and kitchen. The lavish programme of collateral activities - such as gymnastics and cooking classes - is also open to parents, who can enjoy themselves while their children are having fun in class. The Gymboree logo and its iconic orange colour characterise the facades, making the space immediately recognisable from the outside. read more »
submission date: 3/25/2019
It's myself art journey. Last 10 years to continue I am busy in myself search through the art and painting. For me painting is a language. It's need vision not any kind of texts ...
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submission date: 1/21/2019