ArtSlant - Current exhibits en-us 40 Jan Albers - 1301PE - March 15th - April 26th <p style="text-align: justify;"><span style="text-align: justify;">1301PE is pleased to announce its first solo exhibition with D&uuml;sseldorf-based artist Jan Albers. Albers utilizes a variety of primarily industrial materials and combines these elements into what can be described as both pictures and objects. Presented in this exhibition will be a new oeuvre of chainsaw massacres, wedge pieces, crumbled bicycles and apocalyptic landscapes.</span></p> <p style="text-align: justify;">&ldquo;Even if the attitude is that painting is over, I still keep on working on the idea of doing something new, by avoiding oil paint on canvas.&rdquo; &ndash; Jan Albers</p> <p style="text-align: justify;"><em>Henry Hurt vs. Holly Heal</em> is about the opposed ingredients that one needs for stimulation, hurting and healing, destruction and fixing, and chaos and order. All these contradicting binaries make one feel alive. Albers&rsquo; &ldquo;paintings&rdquo; oscillate between sites of destruction and repair.</p> <p style="text-align: justify;">Jan Albers was born in Wuppertal, Germany and grew up in Namibia. He lives and works in D&uuml;sseldorf, Germany. Albers was the recipient of the 2013 Dahlmann Prize in conjunction with his solo exhibition at the Leopold-Hoesch-Musuem in D&uuml;ren, Germany.</p> <p style="text-align: justify;">Other recent solo exhibitions include Up &amp; Down, Kunsthalle Giessen, Germany; parcOurs mOrtale, Langen Foundation, Neuss, Germany; and Kollekte, two person show with Jens Ullrich, cur. Stefanie Kreuzer, Museum Morsborich, Leverkusen, Germany. Selected group exhibitions include Transfer Korea-NRW, Seoul, South Korea; The end of the line: attitudes in drawing, organized by Hayward Touring, UK; Optical &amp; Visionary Art since the 1960s, San Antonio Museum of Art, San Antonio, TX and Memorial Gallery at the University of Rochester, Rochester, NY; and Non-stop beautiful ladies, Marfa, TX. Jan Albers was also given the Kaiserring Stipened Award in 2007 from the Museum Moenchehaus in Goslar, Germany.</p> <p style="text-align: justify;">For more information please contact Carmel Ni or Brian Butler 323.938.5822.</p> Wed, 12 Mar 2014 17:56:29 +0000 PATRICIA FERNANDEZ - 18th Street Arts Center - April 14th - June 28th <p style="text-align: justify;"><span style="font-size: small;">As part of 18th Street Arts Center&rsquo;s core program, the Artist Labs series, Spanish-born, Los Angeles-based artist <strong>Patricia Fern&aacute;ndez</strong> further develops her explorations of the geographic history that underpins generations of displacement and repression in Spain beginning with Franco&rsquo;s dictatorship. In her project <em>Points of Departure (between Spain and France)</em>, Fern&aacute;ndez investigates narratives from her land of origin through a series of walks over the Pyrenees.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Points of Departure (between Spain and France)</em> encompasses a series of walks, an archive, objects, and paintings. Fern&aacute;ndez&rsquo;s project began in 2012 with an initial walk over the mountain range of the Pyrenees, the border from Spain into France, following Jose Garcia Cinca in the footsteps of the thousands of Spanish Republicans that crossed the same border during the mass exodus after the Spanish Civil War called La Retirada (1939). In an attempt to retrace personal histories through the process of reading the landscape, Fern&aacute;ndez began to rewrite and reconstruct narrative from this point of entry, as she experienced both this metaphorical and historical boundary line. Taking Pierre Nora&rsquo;s idea of the historian as &ldquo;vehicle of transmission,&rdquo; Fern&aacute;ndez attempts to weave together a dynamic account of history through a series of paintings, objects and texts that re-present the sites and the persons that passed through them. Through this process of re-performing a path in history, Fern&aacute;ndez began to build not only her story but also Jose&rsquo;s, which is bound to the stories of the many others who walked.</span></p> <p style="text-align: justify;"><span style="font-size: small;">At 18th Street, Fern&aacute;ndez will use the Artist Lab as a working studio where she will continue to index the collection of objects based on her walks over the Pyrenees and translate writings from Spanish into English. The material ephemera and the oral histories that construct her narrative will be presented in an immersive installation, as a reconstruction of a space resembling the municipal archives of Bordeaux. Fern&aacute;ndez will present a collection of reconstructed and found objects informed by the individual stories of Republican exiles that fled Spain during the mass exodus in 1939 and first-hand accounts of those that remained during Franco&rsquo;s 36 year dictatorship. She will weave together the history of the permanent exiles and Spanish Republicans that fled to France through an archive fabricated from individual exiles&rsquo; memories standing in for the missing archives of their journeys that were lost during the Vichy regime. Finding gaps in time and information, Fern&aacute;ndez will recreate the archives from recollections of the Spanish exiles who have shared lived experiences and recalled memories of their journeys over the Pyrenees with her. Fern&aacute;ndez will engage in weekly performative lectures on the various subjects that build this archive, expanding her artistic investigations of these stories from objects to oral histories and thereby developing an emerging sphere of its expression through language and performance.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Patricia Fern&aacute;ndez&rsquo;s Artist Lab Residency at 18th Street Arts Center and all associated events have been made possible through the generous support of the Los Angeles County Arts Commission and The Andy Warhol Foundation for the Visual Arts.</em></span></p> Tue, 01 Apr 2014 05:38:01 +0000 - 18th Street Arts Center - April 14th - June 27th <p style="text-align: justify;"><span style="font-size: small;">18th Street Arts Center is pleased to present an exhibition curated by&nbsp;EZTV&rsquo;s Michael J. Masucci exploring the evolution of digital art in Los Angeles over two decades of recent history.&nbsp;EZTV, a pioneering video space founded in West Hollywood in 1979, has been part of the resident artist community at 18th Street Arts Center since 2000. The exhibition in the Atrium Gallery is a complement to the retrospective&nbsp;<em>EZTV: Video Transfer</em>&nbsp;on view at USC&rsquo;sONE Archives Gallery&nbsp;and Museum through June 1, 2014.&nbsp;<em>Hacking the Timeline v3.0: Digilantism and the LA Digital Art Movement (1985-2005)</em>&nbsp;includes artists Victor Acevedo, Rebecca Allen, Dave Curlender and David Goodsell, Kate Johnson, Shelley Lake, Vibeke Sorensen, and Michael Wright. Many of these digital art pioneers were associated withEZTV&nbsp;in the early days of the collective and the artistic medium. In an era before personal computing, these artists imagined a future of ubiquitous connectivity that we now find commonplace. They developed a visual and technical language to articulate the relationships between live action and virtual imagery, and between classical influences and new visual forms. Los Angeles has been home to much of this transformative arts movement, conceptually as well as technologically. Many of the seminal collaboration projects realized by artists and scientists in tandem through&nbsp;EZTV&nbsp;have transformed the world that we take for granted today. The role that such trans-disciplinary collaboration played at universities, governmental, and industrial sites as well as at the independent artist studio level will be investigated through examination of the work of these seven artists and one collaborating scientist.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Conceived in 1979 by John Dorr, and founded in 1983 as an ongoing space,&nbsp;EZTV( has continued to evolve under the direction of Michael J. Masucci (co-artistic director since 1986) and Kate Johnson (since 1993).&nbsp;EZTV&nbsp;was a pioneer in independent desktop video production, microcinema, self-distribution, artist-based curating, public practice, multimedia live performance and the use of video projection in exhibition settings. It created what were among the world&rsquo;s first theaters dedicated to video and among the world&rsquo;s first art galleries dedicated to digital art.&nbsp;EZTV&nbsp;was one of the earliest arts groups to articulate the transformative emergence of mobile communications.</span></p> <p style="text-align: justify;"><span style="font-size: small;">From the 1980s into the mid-1990s,&nbsp;EZTV&nbsp;also operated a community-based production and post-production facility where independent media makers had low and sometimes no-cost access to technology, prior to the proliferation of DIY tools and technologies. In addition to its literally hundreds of gallery shows, site-specific performances, television and video screenings,&nbsp;EZTV&nbsp;became a major Southern California location for the online digital revolution. As of 2013,&nbsp;EZTV&nbsp;is now an online video gallery and resource to artists, historians, scholars, and anyone interested in the development and evolution of independent video and digital media.</span></p> Fri, 04 Apr 2014 07:03:17 +0000 - 2nd Cannons - January 31st - May 8th <p style="text-align: center;">Frenetic Happiness <br /> <br /> Proudly presenting a selection <br /> of our fantastic printed matter<br /> <br /> Vernissage <br /> 31 jan &ndash; 19:00 - 22:00 <br /> <br /> A Crash Course in <br /> Self Obsessed Behaviour</p> Wed, 09 Apr 2014 19:26:39 +0000 Group Show - 2nd Cannons - March 22nd - May 10th <p>**</p> <p>&nbsp;</p> <table width="747" border="0" cellpadding="0"> <tbody> <tr> <td style="text-align: center;" align="center" valign="top" width="743" height="351"><iframe src="" frameborder="0" width="640" height="360"></iframe>&nbsp;</td> </tr> </tbody> </table> <p>&nbsp;</p> Wed, 09 Apr 2014 19:29:18 +0000 - A + D Museum - April 11th - May 11th <p style="text-align: justify;">2x8 is an annual exhibition sponsored by the AIA|LA, showcasing exemplary student work from architecture and design institutions throughout California. Each of the participating academic programs selects two projects that exemplify its core vision. The students' work will be judged by a noteworthy panel of architects and designers who will then announce the winners at the exhibition opening and convene in a forum to discuss the award-winning work.&nbsp;&nbsp;&nbsp;</p> <p style="text-align: justify;">A competition to design the exhibit for 2x8: evolve was held earlier this year and the AIA|LA academic outreach committee selected &lsquo;Cellular Complexity&rsquo;, a project by UCLA lecturer Julia Korner in collaboration With Marie Boltenstern and Kais Al-Rawi, as the winning entry.</p> Tue, 18 Mar 2014 15:24:48 +0000 - A + D Museum - April 11th - May 11th <p style="text-align: justify;"><span style="font-size: small;">This first of its kind exhibition looks at the architecture and technology that created a new kind of space-age recreation center and reinvented the sport of bowling in the 1950s. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Through rarely seen photographs, drawings, and original artifacts, take a peek into this lost world of extreme architecture- a time when one in four Americans considered themselves bowlers, when glitzy 50-lane pleasure palaces were open 24 hours a day, and experience the leisure lifestyle of Bowlarama.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibition is curated by Chris Nichols. Nichols is a longtime preservationist who has worked to save historic mid-century buildings for 25 years. He is former chairman of the Los Angeles Conservancy Modern Committee and is currently on the board of Hollywood Heritage. He is an editor and columnist at Los Angeles magazine.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibition is sponsored by Bowlmor AMF, PINZ Bowling Center, International Bowling Industry magazine, and the Bowling Centers of Southern California.</span><br />&nbsp;</p> Sun, 06 Apr 2014 09:41:17 +0000 Gary Lang - Ace Gallery- Beverly Hills - March 27th - April 30th <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-size: small;">Since the early 1980&rsquo;s Lang has explored his Circles in concert with his Word Work, begun in the early 70&rsquo;s. This exhibit is the first time the Words will be installed along with Lang&rsquo;s Circles in a gallery. The Circles and the Words combine seemingly opposing elements: the rational and the emotional, the harmonic and the dissonant, and a high degree of controlled randomness.</span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-size: small;">Lang is deeply devoted to the physical act of painting: that creative period when he focuses exclusively on the subtle interaction of brush, hand, paint and canvas. Lang states, &ldquo;I ensure a free mind while applying paint to surface.&rdquo; From a distance, all of his works appear to be precisely painted, almost machine-made, but up-close they are distinctly hand-made. In planning and executing the Circle Paintings, Lang first selects his palette, devising a chart to determine, or to use Lang&rsquo;s word &ldquo;navigate&rdquo;, their sequence within the composition. &ldquo;I do this preliminary work to eliminate the burden of mind while touching the surface with pigment.&rdquo;</span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-size: small;">Using these charts, simple mathematical models, and logic at the preparatory stage thus frees Lang to be &ldquo;hyper-present&rdquo; when painting. The process introduces a degree of chance and the unexpected into his works, which Lang relates to both musical compositions (especially the works and writings of John Cage) and the ambient sounds we hear everyday. When he was in his late teens, Lange began taping the random sounds he heard at home and while traveling. Seeking to depict in paint those indiscriminate passages of sound and silence, he invented numerous ways to introduce chance, lyricism, textures, and rhythms into his painting&ndash; a process that can extend over many months on a given work.</span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-size: small;">Lang&rsquo;s concepts relate most closely to marks and symbols that Paul Klee used in his paintings and drawings during the early 20th century, and the origins of trance works witnessed in the primal marks and geometry of Paleolithic sites in Europe and petroglyphs in California.</span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-size: small;">The tradition of circle paintings is indelibly linked to the symbolism of the circle itself. As a sign of perfection, unity, wholeness, infinity, and cosmic order among many other associations, circle paintings date from pre-historic times. The circular composition or tondo became common in the fifteenth and early sixteenth centuries, when artists (particularly Botticelli and Raphael) utilized the shape to focus the viewer&rsquo;s attention on center.</span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-size: small;">&ldquo;The Words help me unravel and process the horror and magic of people. The Circles have always been a vehicle for drawing the future my way while expanding the present&hellip; a kind of tow rope to eternity.&rdquo;</span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-size: small;"><em>&nbsp;</em></span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Auratic Absolutism: Gary Lang&rsquo;s Tondos by Donald Kuspit</strong></span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-size: small;">It is, no doubt, a strange association, but I suggest there is a deep, if not immediately evident, affinity between Gary Lang&rsquo;s tondos, composed of concentric circles of varying colors and widths, and the domes of Hagia Sophia, built between 532 and 537, for the Emperor Justinian, and St. Peter&rsquo;s, designed in 1505, almost a millennium later, by Bramante for Pope Julius II. These heavenly domes are also composed of concentric circles, each circle a sort of halo or aura, ceremonially circumambulating and mystically containing a center&mdash;a sort of spiritual center, for it is the &ldquo;site&rdquo; of transcendence.</span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-size: small;">The dome was the heaven in which God mysteriously lived, its harmonious structure suggesting his creative precision and deliberateness. Lang&rsquo;s tondos continue the tradition of mystical architecture, but in the medium of paint rather than stone, and with an intensity and urgency that the more inwardly serene and balanced domes have no need of.</span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-size: small;">Lang&rsquo;s grand tondos breathe fresh spiritual and symbolic life into the modernist icon, rescuing it from abstract reduction and absurdum, and adding a &ldquo;conceptual&rdquo; richness and depth to their perceptual assertiveness. One might go so far as to say that Lang&rsquo;s tondos, with their hypnotically repeated circles and vigorous colors, some radiantly bright, others imbued with shadow, all dramatically interacting&mdash;<em>Baroque</em>, 2009 and <em>Rock and Bang</em>, 2010, as well as <em>Imperial</em>, make the point clearly--are updated or modernized religious icons, indeed, altarpieces.</span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-size: small;"><strong>The Materialization of Studio Thoughts By Janet Koplos</strong></span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-size: small;">In this combination of word and substance, Lang intuitively engages the realm of concrete poetry.</span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-size: small;">The &lsquo;Word Pieces&rsquo; can only be described as poetic, yet they avoid the labored and off-putting formality of language that strives to sound poetic. Rather, the economy and concision of the statements give them a Zen-like quality of reduction to essentials. And since at the same time they communicate feelings rather than flat observations, they can at best have the power of an arrow to the heart.</span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-size: small;">There is a rhythm to the texts, but it&rsquo;s not one of conventially poetic iambic pentameter or the like; instead each word seems to be intoned. You can imagine a sonorous chant. Meanwhile the motion of the letters on paper pulls and stops and throbs and recedes, pulsing in form and, especially, in Lang&rsquo;s beloved polychrome. It&rsquo;s a richly satisfying poetic and artistic invention: intellectually verbal, implicitly aural, seductively visual. <br /></span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-size: small;">Born in Los Angeles in 1950, Lang attended the California Institute of the Arts. He received an MFA from Yale University in 1975, and a Fulbright/Hayes Travel and Research Grant to live in Barcelona for two years prior to settling in New York City. Lang has had more than seventy solo exhibitions in the United States, Austria, France, Japan, The Netherlands, and Spain. He now lives and works in Southern California.</span></p> Mon, 03 Mar 2014 15:47:20 +0000 Bernar Venet - Ace Gallery- Los Angeles - March 3rd - April 26th Tue, 18 Mar 2014 15:29:54 +0000 Mary Corse - Ace Gallery- Los Angeles - March 3rd - April 26th Tue, 18 Mar 2014 15:30:02 +0000 Charles Fine - Ace Gallery- Los Angeles - March 3rd - April 26th Tue, 18 Mar 2014 15:30:08 +0000 Phil Frost - Ace Gallery- Los Angeles - March 3rd - April 26th Tue, 18 Mar 2014 15:30:21 +0000 Daniel Cummings - ACME - March 22nd - April 19th <p style="text-align: justify;"><span style="font-size: small;"><strong>ACME.</strong> is pleased to present a solo exhibition of new work by <strong>Daniel Cummings</strong>. Never limited to one material, the show will feature the artist's drawings, large-scale paintings, and a site-specific sculptural work installed on the fa&ccedil;ade of the gallery building on Wilshire Blvd. Using simple, gestural drawings as a starting point &ndash; lyrical, curvilinear sculptures and bold, feverish paintings emerge.&nbsp;</span><br /><br /><span style="font-size: small;">Daniel Cummings (b.1980) lives and works in Los Angeleles. He received his BA from Bard College, and his MFA from the University of California, Los Angeles. This will be his third solo exhibition at ACME. Recent exhibitions include ACME., Los Angeles, CA; Inman Gallery, Houston, TX; Cultural Arts Center in Longview, MO; and the Santa Monica Museum of Art.</span></p> Sat, 15 Mar 2014 09:28:11 +0000 Ray Eames - Alyce de Roulet Williamson Gallery - February 25th - May 4th <p>**</p> <p><img style="display: block; margin-left: auto; margin-right: auto;" src="" alt="" /></p> <p>&nbsp;</p> <p>&nbsp;</p> Wed, 26 Feb 2014 03:25:14 +0000 Grant Barnhart - AMBACH & RICE - March 22nd - April 19th <p style="text-align: justify;"><span style="font-size: small;"><strong>A&amp;R</strong> is pleased to present <strong><em>Miracle Hour 5112</em></strong>, a selection of new paintings by <strong>Grant Barnhart</strong>. The occasion marks the artist&rsquo;s second solo exhibition in Los Angeles.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The genesis for this body of work occurred during a visit to a Navajo reservation in New Mexico. While there, Barnhart absorbed Navajo culture, its artifacts and mythology. Following his participation in a series of ceremonial sweat lodges, Barnhart began to have vivid recurring dreams marked by a repeating <em>portal </em>image in the shape of a circle pierced by a trifurcated form. The trip took place during a sabbatical from art making and marked the start of a creative renewal for the artist.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The visions Barnhart experienced on the reservation would eventually take shape in the form of a series of opaque drawings comprised of oil stick on canvas. He discovered an affinity for this medium out of necessity as oil sticks proved easy to transport while nomadically exploring the American Southwest. These works encompass the symbiotic relationship between life and decay and correspond to Barnhart&rsquo;s interest in Navajo sand paintings. Employed to heal the sick, these patterned compositions are completed in one sitting by a medicine man and subsequently destroyed following the completion of the ceremony.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The oil stick drawings segued into Barnhart&rsquo;s most recent tarp paintings, which are central to the exhibit. These works represent the mental and physical landscapes that lie beyond Barnhart&rsquo;s &ldquo;portal&rdquo; compositions. Their muddled surfaces are interspersed with feverish mark making and floating geometry to manifest a billowy cosmos. The two most monumental tarp paintings, <em>Where We Live </em>and <em>Miracle Hour</em>, function as palimpsests, a journal of destruction and creation that is both confiding and foreboding.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Grant Barnhart was born in Topeka, Kansas in 1978. He lives and works in upstate New York.</span></p> Wed, 09 Apr 2014 19:29:34 +0000 Margo Wolowiec - Anat Ebgi - April 19th - May 31st <p style="text-align: justify;"><span style="font-size: small;"><strong>Anat Ebgi</strong> is please to announce <strong><em>Margo Wolowiec</em></strong>, a solo exhibition of new works by Margo Wolowiec opening April 19 and on view until May 31, 2014.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Wolowiec&rsquo;s woven pieces are complex canvases comprised of digital images that the artist has culled from social media sites. Each selected image is printed onto strands of thread pixel by pixel through a dye-sublimation ink process and hand woven to create a solid textile. Wolowiec creates the intricate compositions through rigorous formal concerns pulling each image from her digitally-sourced archive. Her earlier work features images in gridded compositions that reference the lattice-like process of weaving.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibition marks an evolution in Wolowiec&rsquo;s practice. Referencing patterns of traditional Navajo rugs and Bauhaus weavers, the large-scale works in this exhibition move fluidly in and out of various geometric structures, breaking a strictly gridded logic and allowing for a more painterly approach. Wolowiec freely inserted her own hand in the appropriated images, heavily manipulating them throughout her process. In this new body of work, the source images are re-scaled, re-colored and subjected to the artist&rsquo;s formal decisions. Along with digital manipulation of the images, Wolowiec paints directly onto the interlocking threads of the weavings. The interventions Wolowiec has taken with these images provides another layer of abstraction and distance from their original sources.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Traditional Navajo woven rugs are known for their direct relationship between the weaver and their culture. In the same way, Wolowiec&rsquo;s weavings are a tangible manifestation of the image-saturated digital culture of social media outlets that dominate today&rsquo;s society. The material translations and anxiety-ridden abstractions of these ephemeral images literally ties them to physical reality like the bonds between the threads themselves.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Margo Wolowiec</strong> lives and works in San Francisco, CA where she earned her MFA from California College of the Arts in 2013. Recent exhibitions include a solo presentations at Johansson Projects in Oakland, CA. Wolowiec has lectured at Maryland Institute College of the Arts, Baltimore, MD, San Francisco State University, San Francisco, CA, and was a visiting critic at the Textile Arts Center, Brooklyn, NY.</span></p> Thu, 10 Apr 2014 08:00:18 +0000