2008. DISCUSSION PANELS PROGRAMME
Place: La Casa Encendida (Ronda de Valencia No. 2, Madrid)Date: 7th and 8th FebruaryTime: From 17.00 to 21.00 h.
Continuing the practice established in the last editions, this year the debate tables are organised once again in collaboration with La Casa Encendida. As in previous editions, on the one hand, the debate tables will present the projects produced for Madrid Abierto and, on the other, they will introduce different initiatives developed within the sphere of art in the public space.
The round tables will include the active participation of the commission set up last year to debate the model of Madrid Abierto. The commission's co-ordinator, Rocío Gracia, and its members, Cecilia Anderson, Guillaume Désanges, Jorge Díez, Ramón Parramon, María Inés Rodríguez and Fito Rodríguez, together with this edition's organisers, the collective DEMOCRACIA.
For the artists’ presentations, the event's organisers have established three groups, although aware that the groups may be pervious and that one same project may meet several of the established premises. On the one hand, we will have the projects that make the contemporary class conflict visible, as well as a temporary suspension of the exclusions generated by this conflict, on another hand, those that employ elements or the propagandistic language of the urban scene, and lastly, those more closely associated with forms of urban culture.
The artistic experience developed in the public space faces the complex task of intervening in a saturated and hyper-aesthetized space with few fissures. The temporary and ephemeral nature of these artistic practices often places obstacles in the way of the dissemination and development possibilities of many interesting proposals that would require more time, with respect to the prior investigation and the subsequent production of the interventions as well as the desirable convergence with other projects and other social and cultural agents. In light of this, the opening of new spaces is needed to encourage other forms of production and dissemination, as well as the creation of networks of information and collaboration between this kind of artistic practices. For this reason, every year Madrid Abierto aims to give exposure to other similar experiences. In this edition, Nelson Brissac and Vit Havranek will be responsible for presenting invited projects, offering their experience in the debate on the strategies applied to the city and the territory from an artistic perspective, with more or less emphasis on experimentation, multi-discipline, the process and interaction with the public.
THURSDAY 7TH FEBRUARY
17:00-18:15 Presentation of Madrid Abierto projects
Hell is coming/World ends today. Andreas Templin
Not for sale/No se vende. Alicia Framis
Welcome On Board. Guillaume Ségur
Gran Sur. Fernando Prats
Chaired by: Cecilia Andersson; Democracia
18:15-19:30 Presentation of Madrid Abierto video projects
Arturo-Fito Rodríguez introduced by Rocío Gracia
20:00-21:00 Vít Havránek, introduced by Guillaume Désanges
FRIDAY 8TH FEBRUARY
17:00-18:15 Presentation Madrid Abierto projects
Speculator + Empty World. Todo por la praxis
Construye tu casa en una azotea. Santiago Cirugeda
Explorando Usera. La Hostia Fine Arts
Videointervenciones móviles en contextos urbanos específicos. Fernando Llanos
Moderan: María Inés Rodríguez y Democracia
18:30-19:30 Presentation Madrid Abierto projects
Estado de excepción. Noaz/Dier
Proposal Nr. 19 + Gift. Anno Dijkstra
No more no less + La hucha de los Incas. Jota Castro
La guerra es nuestra. Immi Lee/Annamarie Ho
Moderan: Ramon Parramon y Democracia
20:00-21:00 Nelsson Brissac, introduced by Jorge Díez
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Cecilia Andersson is curator and director of Werk Ltd., a curatorial agency established in Stockholm. Werk collaborates internationally in the organisation, production, promotion and publication of contemporary art.
Her recent projects include SuperSocial, social events set up in different cities; a series of conferences and seminars in collaboration with Francesco Jodice; On Cities, an exhibition organised in Stockholm’s Museum of Architecture and an itinerant programme of Chinese video.
Cecilia is an independent consultant for Disonancias, an interchange platform between artists and companies in San Sebastián and is part of the Madrid Abierto Commission.
Nelson Brissac is a philosopher whose works is related to art and urban-planning issues. Since 1994, he is organiser and curator of Arte/Cidade www.artecidade.org.br, an urban interventions project in São Paulo.
Guillaume Desange, is curator, art-critic and co-founder of Work Method, an agency based in Paris dedicated to the production of artistic projects. As member of the Trouble publishing committee, he regularly collaborates with the magazines Exit Express and Exit Book (Madrid). From 2001 to 2007 he co-ordinated the artistic projects of Laboratoires d'Aubervilliers. He organised the exhibitions Pick-Up en Public>, Paris 2004, Untouchable, The transparency Ideal in Villa Arson, Nice and the Patio Herreriano Museum, Valladolid, in 2006-2007, Jiri Kovanda Vs rest of the World in the agency gallery gb, Paris; De Appel, Asmterdam; Centre d'Art Santa Monica, Barcelona, and has worked with Thomas Hirschhorn in the projects The 24h Foucault project and Musée Précaire Albinet. In 2007-2008 he is an invited curator at Centre d'Art Contemporain La Tôlerie. He is a lecturer at Ecole des Beaux-Arts de Clermont-Ferrand and is part of the Madrid Abierto Commission.
Vit Havranek is a theorist and a producer established in Prague. Since 2002 he works as Project Manager for the contemporary art initiative tranzit /www.tranzit.org/ sponsored by the Erste Bank Group. He has worked as curator in Prague’s Municipal Gallery and National Gallery. He is a lecturer at the Prague College of Applied Arts. His most recent projects, some of which in collaboration with others, include A CDEFGHIJK MNOP STUV Z, part of Societe Anonyme, Le Plateau, Paris, 2007; tranzit – Auditorium, Stage Backstage, Frankfurter Kunstverein, Frankfurt 2006; I, series of exhibitions in three acts: Secession Vienna; Futura Prague; tranzit workshops Bratislava, 2006. He has written articles for several magazines, such as, among others, Springerin, Artist and Flash Art.
Ramon Parramon, directs and manages projects within the area of contemporary art and creation. Since 1998, he directs the art project IDENSITAT. In addition, he has organised several projects, such as Territorios Ocupados, 2000; Barcelonas, 1999 and Visiones Periféricas, 1994-97. He has given conferences and seminars at the Polytechnic University of Valencia, the Polytechnic of Milan, the University of Vigo, the University of Granada, the International University of Seville, the University of Barcelona and the Barcelona Higher College of Architecture. His work evolves with a marked interest towards interdisciplinary projects and the roles that art can play in specific socio-political contexts. He is part of the Madrid Abierto Commission.
María Inés Rodríguez is an exhibitions curator. She has organised exhibitions and research projects on the public space appropriation strategies in different contemporary art spaces which relate art, design, architecture and urban-planning. In 2004, she created Tropical paper editions to develop the editorial projects of artists. In 2007, she developed the projects Habitat/Variations, BAC Geneva, La Casa Encendida, Madrid, Bermuda Triangle, Êcole de Beaux Arts de París, and was co-curator of MDE 07 Encuentro de Medellín. She is part of the Madrid Abierto Commission.
Arturo-Fito Rodríguez,member of Fundación Rodríguez, an artistic production collective that organises and co-ordinates projects associated with contemporary culture and new media, such as Tester and Intervenciones TV. He is part of the Madrid Abierto Commission.
Rocío Gracia is an art historian, member of RMS La Asociación, an agency established in 1998 in Madrid dedicated to organising, producing, promoting and disseminating contemporary art projects, and which has recently developed such projects as MadridProcesosRedes and ON SITE TOUR/TALK. The agency will shortly present a preview of Archivo VEO within the project Old News of CGAC and is preparing the exhibition Sur le dandysme for the Centro Huarte de Arte Contemporáneo.
Jorge Díez, director of Madrid Abierto and co-director of the MBA in Cultural Management, Santillana/Salamanca University. In 2007 he has co-curated with José Roca (Colombia) Cart[ajena] public art project promoted by SEACEX, developed within the IV Congress of Spanish at Cartagena de Indias, Colombia. He has lectured in the Spain-Japon Forum at Nagasaki, Actual experience in Public Art at the 16º Arts Symposium at Porto Alegre, Brasil and, Contexts and projects in Public Art. Ephemera models of intervention, at the MARCO.
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2008. ARTISTS / INTERVENTIONS / LINKS
Alicia Framis + Michael Lin Not for sale/No se vende www.aliciaframis.com Andreas Templin Hell is coming/World ends today www.andreas-templin.blogspot.com www.worldendstoday.wordpress.com
Dier + Noaz Estado de excepción www.vdier.com www.noazmadrid.blogspot.comwww,flirck.com/photos/noazmadrid/
Anno Dijkstra Proposal Nr. 19 + Gift www.annodijkstra.nl
Fernando Llanos Videointervenciones móviles en contextos urbanos específicos www.fllanos.com
Guillaume Ségur Welcome On Board
Fernando Prats Gran Sur www.fernandoprats.cl
Jota Castro No more no less + La hucha de los Incashttp://www.jotacastro.eu/
LaHostiaFineArts (LHFA) Explorando Usera www.lahostiafinearts.es
Santiago Cirugeda Construye tu casa en una azotea www.recetasurbanas.net
Todo por la Praxis Speculator + Empty World www.todoporlapraxis.com
Santiago Sierra Bandera negra de la república españolawww.santiago-sierra.com
Annamarie Ho + Inmi Lee La guerra es nuestra www.annamariecho.comwww.inmilee.net
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2008. Annamarie Ho + Inmi Lee. LA GUERRA ES NUESTRA (theoretical data)
We propose to create a large sign with the statement “La guerra es nuestra” spelled out in black, back-lit lettering and attach it to the façade of the Círculo de Bellas Artes. The sign will utilize a format that is most often seen on storefronts and is also common in advertising—the viewer may initially overlook the sign, as we are often indifferent to new information and media constantly being introduced to us, but a second glance may procure a very different reaction. Moreover, the placement of such a sign on a well-known cultural building leads to a juxtaposition of the political onto the beautiful.
We are particularly concerned how to bring the political back to art. For almost two decades, art has often steered away from some of the controversial topics it had previously investigated, such as feminism in the 1970s and AIDS activism in the 1980s, in favor of an exploration of aesthetics; however, in the past couple years politics has returned to art. This return is closely tied to the political climate we are currently experiencing, namely the war in Iraq, and most of this new work is a reaction against the policies of many nations, particularly that of the United States.
Political art does effect change and it can do so in many ways—it can effect change in everything from governmental policy to a shift in perception in a viewer’s mind. For example, Act Up’s campaign to make the AIDS crisis more visible in 1987, which culminated in posters bearing pink triangles labeled with the bold statement SILENCE=DEATH, had massive effects. The six men who collaborated in the campaign were artists and designers, and their talents contributed to the success of the campaign. They worked through every detail from the phrase (their initial choice was “gay silence is deafening”) to the color choice to the font.
One would be naïve to think that aesthetics are not relevant—everything is perceived from an aesthetic point-of-view as well as other points-of-view. In choosing to propose a political artwork, we had work out what phrase to use (we wanted something that was as simple as possible for the maximum effect), what format to showcase our sign (we considered options like a billboard, an LED sign, and neon lettering but, in the end, we decided the type of sign we picked—what is called “channel lettering”—would be most efficacious for the cost), what font to use (our choice is Times New Roman because it is well-recognized and it references the font used in many texts), what color to use (we decided black because of the seriousness and the gravity of our message), and where to place the sign (the Círculo de Bellas Artes is a public building on a well-traveled street, which has a large and diverse public audience).
The initial reference in the statement “La guerra es nuestra.” is, of course, the war in Iraq. But the statement is also open-ended; the “war” or the “guerra” can refer to anything that incites passion and concern in the viewer. In Madrid, this might be the activities of the Basque group Euskadi Ta Askatasuna or the need for more affordable housing within the city. Our goal is to show that everyone is a voluntary participant in the political. Indifference is a statement, as much as waging a war or being involved in activism.
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2008. Annamarie Ho + Inmi Lee. LA GUERRA ES NUESTRA (location)
Círculo de Bellas Artes Façade
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2008. Annamarie Ho + Inmi Lee (Cv)
ANNAMARIE HOSAN DIEGO, CALIFORNIA, USA, 1980LIVES AND WORKS IN NEW YORK WWW.ANNAMARIEHO.COM
INMI LEESEOUL, KOREA, 1979 LIVES AND WORKS IN KUTZTOWN, PENNSYLVANIA, USA; NEW YORK WWW.INMILEE.NET
WORK EXPOSED IN MADRID ABIERTO: LA GUERRA ES NUESTRA
ANNAMARIE HOEDUCATION2005· MFA, Digital Media. Rhode Island School of Design, Providence, RI· Sheridan Center for Teaching and Learning, Collegiate Teaching Certificate I. Brown University, Providence, RI2003· BA, Interdisciplinary Studies. University of California at Berkeley, Berkeley, CA· Minor, Industrial Engineering and Operations Research
EXHIBITIONS2007· The Armory Show (under the auspices of Socrates Sculpture Park), Pier 94, New York, NY· Festival of Women's Film and Media Arts, National Museum of Women in the Arts, Washington, DC· ColLABorations, The Lab, New York, NY (curated by Peter Dudek)
2006· Emerging Artist Fellowship Exhibition, Socrates Sculpture Park, Long Island City, NY· Entrapment, Amelie A. Wallace Gallery, SUNY College at Old Westbury, Old Westbury, NY (curated by Hyewon Yi)
2005· MFA Thesis Show, Rhode Island School of Design Museum, Providence, RI· Other Nature, Boston Cyberarts Festival, Boston, MA· Selected Graduate Works, Sol Koffler Gallery, Rhode Island School of Design, Providence, RI· Concepts Translated, Sol Koffler Gallery, Rhode Island School of Design, Providence, RI
2004· Visual AIDS: Postcards from the Edge, Brent Sikkema Gallery, New York, NY· For Pleasure, Priska Juschka Fine Art, Brooklyn, NY (curated by Daniele Balice and Ryan Schneider)· A La Carte, Pond Gallery, San Francisco, CA· Under Construction, The Space at Alice, Providence, RI· Digital Media Graduate Exhibition, Sol Koffler Gallery, Rhode Island School of Design, Providence, RI
2003· Id/Entity: Portraiture in the 21st Century, SF Cameraworks, San Francisco, CA· (curated by Christine Yang and Marisa S. Olson). Collaborative project with lead artist Ken Goldberg· Rock the Projects, Pacific Film Archive, University of California at Berkeley, Berkeley, CA
2002· Teleopolis, Exploratorium, San Francisco, CA. Collaborative project with lead artist Ken Goldberg
· <http://www.boingboing.net/2006/09/19/annamarie_hos_beteln.html>, 19 September 2006
CURRENT EMPLOYMENT· Studio Manager, Amann + Estabrook Conservation Associates, New York, NY· Contributor, Mousse Magazine, Milan, Italy
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INMI LEEEDUCATION· 2005 MFA in Digital Media, Rhode Island School of Design, Providence, RI· 2001 BFA in Visual Communication, The School of the Art Institute of Chicago, Chicago, IL
EXHIBITION2006· Dual Realities, The 4th Seoul International Media Art Biennale (Media_City Seoul, 2006) Seoul Museum of Art, Seoul, Korea (curated by Yuko Hasegawa, Lev Manovich, Iris Mayr, Pi Li)· Fragmented Show, ViaFiarini, Milan, Italy (curated by Anna Daneri, Roberto Pinto)· Corso Aperto, ex Ticosa, Fondazione Antonio Ratti, Como (curated by Cesare Pietroiusti)· Entrapment, Amelle Wallace Gallery, NY (curated by Hyewon Yi) 2005· Pixilations V.2 (Firstworksprov Festival), a showcase of digital media and interactive· performance, Providence, RI· M.F.A. Thesis Show, RISD Museum, RI· Other Nature, CyberArts Festival, Boston, MA· d i s p l a c e, RISD Museum Site-specific Installation, Providence, RI (curated by Lisa Tung)
2004· Sabara Sutra Sanja, Graduate Digital Media Show, Sol Koffler Gallery, Providence, RI
1998· Conflict, KOFA( Korean Organization of Fine Arts in University of New South Wales),· Sydney, Australia
AWARDS/GRANTS/RESIDENCIES2007· Making a Difference Recognition, Kutztown University, PA 2006· Fondazione Antonio Ratti, Como, Italy, Advanced Course in Visual Arts
2005· Professional Development Grant, Kutztown University, PA· RISD Museum, Rhode Island School of Design· Grant Awarded in Juried Competition, Sitings· d i s p l a c e, Selected for Installation Exhibition at the RISD Museum· Installation Proposal "Exercise in Futility- Interactive Wallpaper" Selected as Finalist
2004· Presidential Scholarship, Rhode Island School of Design, RI
2001· Recognition of Leadership and Effort Award, Art Institute of Chicago, IL
BIBLIOGRAPHY· "Dual Realities: The 4th Seoul International Media Art Biennale", Seoul Museum of Art, Seoul, Korea, 2006· Chang-yong Yim, "When Technology Meets Art," Korea Daily, Seoul, Korea, October 26, 2006· Aileen Jacobson, "Film hits high note in the Hamptons," Newsday, New York, October 15, 2006· "Fragmented Book," Advanced Course in Visual Arts, Fondazione Antonio Ratti, Como, Italy, 2006· Stewart Dearing, "'displace' takes innovative approach to study of immigrant identity,"· The Brown Daily Herald, Providence, Rhode Island, April 8, 2005· Chloe Malle, "Tune Falls Flat for Audio Poetry," The College Hill Independent, Providence, Rhode Island, April 7th, 2005
TEACHING EXPERIENCE· 2005, Assistant Professor in Art Education and Crafts Department, Kutztown University, PA
CONTRIBUTIONS· 2007, Mousse magazine, Milan, Italy. Contributor
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2008. Annamarie Ho + Inmi Lee. LA GUERRA ES NUESTRA (published text)
Our piece is a large sign with the statement “La guerra es nuestra.” spelled out in black, back-lit lettering, which is attached to the façade of the Círculo de Bellas Artes.
The sign utilizes a format that is most often seen on storefronts—the viewer may initially overlook the sign, as we are often indifferent to new information and media that is constantly being introduced to us, but a second glance may procure a different reaction. Moreover, the placement of such a sign on a well-known cultural building leads to a juxtaposition of the political onto the beautiful and the historical.
The initial reference in the statement “La guerra es nuestra.” is, of course, the war in Iraq. But the statement is also open-ended; the “war” or the “guerra” can refer to anything that incites concern in the viewer. In Madrid, this might be the activities of the Basque group Euskadi Ta Askatasuna or the need for more affordable housing within the city. Our goal is to show that everyone is a voluntary participant in the political. Indifference is a statement, as much as waging a war or being involved in political activism.
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2008. VIDEO OF THE EDITION
VIDEO OF THE 2008 MADRID ABIERTO EDITION: INTERVENTIONS + AUDIOVISUAL WORKS + SOUND WORKS
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2008. Annamarie Ho. THE DIVINE, 2005
THE DIVINE, 2005Installation
In this piece, I re-created the funeral scene of the protagonist, a transvestite prostitute named Divine, from Jean Genet’s Our Lady of the Flowers (1942). Rather than illustrating the scene as Genet had meticulously described, I decided to merge details from Divine’s funeral with Pope John Paul II’s funeral. Ultimately, The Divine suggests neither funeral but alludes to a dialogue between an existential, individualized morality and an institutionalized religion.
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2008. Annamarie Ho. EVERY INTIMATE APPAREL STORE IN MY NEIGHBORHOOD, 2007
EVERY INTIMATE APPAREL STORE IN MY NEIGHBORHOOD, 2007Multimedia
My current project considers fifteen intimate apparel stores located in an eight-square-block area in my neighborhood in the Lower East Side, Manhattan, New York. Stores like this have existed for a hundred years, and are not ‘sexy’ compared to their contemporary counterparts, like Victoria’s Secret. With the piece, I plan to manifest my relationship to my neighborhood and to these stores, and to reveal what I personally consider to be their anomalies.
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2008. Annamarie Ho. UNTITLED (SPY ROCKS) AND UNTITLED (SPY STUMP), 2006
UNTITLED (SPY ROCKS) AND UNTITLED (SPY STUMP) 2006Outdoor installation
I referred to an incident from January 2006, when Russian authorities discovered that British agents had placed a ‘spy rock’—a fake rock with a hidden transmitter that they then used to upload classified information onto their PDA’s—in a Moscow park. I created six spy rocks, each with different functions, and a spy tree stump and placed them within the confines of Socrates Sculpture Park in Long Island City, Queens, New York. These spy objects, however, did not actually perform their surveillance functions but rather raised political questions to viewers.
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2008. Annamarie Ho. BONLANG SHI SHR / BETELNUT GIRLS, 2006
BONLANG SHI SHR / BETELNUT GIRLS, 2006Installation and performance
With this piece, I looked at a practice occurring only in Taiwan—the selling of the addictive substance betelnut by scantily-clad girls in glass booths—and decided to recreate aspects of it. I created my own booth with such elements as sexually suggestive signage, and then I hired an actor to perform as the betelnut girl.
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2008. Inmi Lee. WHEN TIME SPLITS ITS HUSK, 2006
WHEN TIME SPLITS ITS HUSK, 2006Single channel video installation / 10 min / loop
In this piece, the giant pyramid melts into the nature - returning once more to its source. The juxtaposing the pyramid, the ultimate icon of immortality and preservation, with the transience, fragility, and effervescence of ice, the piece illustrates the vulnerability of the human monument, making us aware of our own fleeting place in the balance of time.
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2008. Inmi Lee. ZERO / performance art, 2004
ZERO / performance art, 2004
This piece talks about state of entropy that exists in our society. The pseudo-balance is created by the perpetual cycle of production and destruction. This act alone has no destiny, progress and development and therefore it has no accumulating past. This questions what we are actually doing to sustain ourselves from this confinement.
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2008. Annamarie Ho + Inmi Lee. LA GUERRA ES NUESTRA (technical data)
ASSEMBLY SYSTEM AND TECHNICAL NEEDS
The production of our piece occurs in two steps: (1) the fabrication of the sign itself and (2) the installation of the sign onto the Círculo de Bellas Artes.
FABRICATION OF THE SIGN
Our sign will be made from channel letters, where every letter of the phrase La guerra es nuestra. will be individually constructed in black Plexiglass and lit with LED lights. Each letter will be 0.6 meters tall, 0.6 meters wide, and 0.5 meter deep. The letters will then be mounted to a raceway—a long, aluminum channel—which also houses the transformers and the high-voltage wiring for all the letters in a single unit. The raceway will be painted a color to match the exact color of the building’s façade. The entire sign, including the raceway, should be approximately 0.6 meters tall, 12.8 meters wide, and 1 meter deep. Please refer to La_guerra_es_nuestra_04.jpg as a reference.
Our preliminary research in the United States indicates that a sign similar to the one we propose would cost approximately 4000 euros and take three to five days to complete, depending on the vendor. To reduce transportation costs, we plan to have our sign manufactured locally in Madrid.
INSTALLATION OF THE SIGN
The raceway of the sign will be attached to the front wall of the Círculo de Bellas Artes. Our research indicates the type of sign we have chosen to make is quite simple to install. First, the vendor manufacturing the sign creates a mounting pattern specific to façade. For safety, we then plan to hire an electrician for half a day for consultation to ensure we use a proper power supply and that we are to code. Next, we would hire a crew to install the sign itself—first they drill holes for hanging the raceway as well as for running electricity through the wall and then they mount the sign using thru-bolts and backer-plates, both which are supplied by the vendor manufacturing the sign. The actual installation requires two or three men one day to complete.
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