in collaboration with Danny Baledamic, Laze Dunimagloski,

Danielle Pottberg, Wah-Ming, Sal Robinson and the Smack Mellon Gallery

Meet the artists: Saturday, September 26, 3-5pm


September 26-28, 2014

A la cart 1

The Fall is falling and for us who planted it’s a harvest time! Please join us this Saturday, September 27, from 3 – 5 pm for an informal gathering around our project Á la Cart at the Old Fulton Plaza in DUMBO to harvest and sample some very local goodies, meeting the participants and sharing ideas about the urban gardening and sustainable food production. Our gathering will take place as a part of the DUMBO Street festival 2014 that is happening all around Dumbo this weekend. The project Á la Cart, started in May 2014 and will finish this weekend. If you happen to be close don’t miss the last chance to see it !

Project Á la Cart is a participatory, edible workshop experiment, which started with the initial question: “If we are what we eat, who we are if we don’t know the origin and the context of the production of our food?” For this project, we invited members of the local community to actively engage in the process of growing ingredients for a single dish of their choice. Each participant submitted his/her favorite recipe and has cultivated all their ingredients in one of the 6 shopping carts filled with soil parked at Old Fulton Plaza. Originally created for Smack Mellon’s exhibition FOODShed: Art and Agriculture in Action, curated by Amy Lipton, Á la Cart serves as both a living sculpture and a platform for growing food. It is not meant to be a farm or a professional gardening course but rather a playground encouraging new experiences while reconsidering the limits of consumerism.

Special thanks to: Smack Mellon, Anthill Farm, DUMBO Improvement District, 7 Old Fulton Street Restaurant and all the participants involved.

See more at:

Location: Old Fulton St, Brooklyn, NY 11201






Artists Probe Urban Agriculture by Allison Meier on July 1, 2014

Reviewed about the show FOODshed at the Smack Mellon Gallery in DUMBO, Brooklyn,

featuring our installation À la cart

Andrea Reynosa: John Street Pasture

Andrea Reynosa’s “John Street Pasture,” a public project at 1 John Street in Dumbo, Brooklyn,

in collaboration with Brooklyn Grange, Alloy, & Smack Mellon (photograph by Etienne Frossard, courtesy of Smack Mellon)


While food culture has shifted to local production and sustainable farming, there’s also a vein of art taking these issues into projects that mix agriculture with activism. FOODshed: Agriculture and Art in Action, curated by Amy Lipton, opened last month at Smack Mellon in Dumbo, has 14 New York-based artists examining what we eat.

In collaboration with Smack Mellon’s FOODshed, Alloy real estate development, and Brooklyn Grange, artist Andrea Reynosa planted a 6,000-square-foot field with clover that is sprouting red flowers alongside the Manhattan Bridge. The space was formerly a parking lot. The flourish of vibrancy is temporary, but Reynosa is planning that through the clover, a site that might otherwise be an empty construction lot will have life that will in turn ameliorate the soil before a condominium moves in.

Similarly, much of the work in FOODshed is about improving the balance between urban and natural, while accepting that places like Brooklyn aren’t going to return to farmland anytime soon. Another of the neighborhood projects is from Brooklyn-based artist team Kristyna and Marek Milde. Called À la cart, the artists corralled some shopping carts into vegetable gardens at Old Fulton Street, and in Smack Mellon are coordinating food workshops focused on what can be grown collaboratively on the city streets.

Some of the projects are more whimsical, such as Jenna Spevack’s “domestic microfarms” that transform furniture and a record player into apartment-scale growing spaces. More conceptual is Rochester-based Leila Nadir and Cary Peppermint’s “OS Fermentation: Collaborative Hacks, with Fruits, Vegetables, and Microbes.” The EcoArtTech duo’s project has custom computer sensors monitoring the fermentation of organic material in realtime to show color levels, pH, and oxygen, generating a digital relay of the biological processes we often forget. Staten Island-based Tattfoo Tan, meanwhile, takes it to the extreme with his “NEAKA (New Earth Apocalypse Knowledge Advancement),” preparing for a devastating disaster by examining processes of dehydrating food waste into new material. (An accompanying giant metal catamaran arrived after my visit, emphasizing the scale of peril.)


Kristyna and Marek Milde, “Á la cart” outside Smack Mellon (photo by the author for Hyperallergic)

This Wednesday, Smack Mellon is hosting a panel discussion on creativity in urban and rural farming with some of the artists and members of the sustainable food community. As part of the current art and ecology trend, there is definitely a chance here for community engagement with agriculture in New York City with the diversity of projects and public programs. However, the strongest piece is still outside the gallery, that stretch of clover by the bridge offering some fleeting beauty in a reclaimed space before the high-rise, perhaps the best tact ecology has in a city that will not stop developing any time soon. Yet as a collaboration between real estate, park, and artist, it definitely offers hope in how greenery can be a component of the urban landscape.

See the whole article:





Curated by Amy Lipton

at Smack Melon Gallery

Artists’ reception: Saturday, June 7, 5pm-8pm

Exhibition Dates: June 7 to July 27, 2014

(John Street Pasture by Andrea Reynosa will close on July 13th.)

Artists; Joan Bankemper/Black Meadow Barn; Joy Garnett; Habitat For Artists Collective (Simon Draper, Michael Asbill, Carmen Acuna, Dan McGinley, Brandon Cruz, Jessica Poser, Lisa Breznak and Sean Corcoran); Natalie Jeremijenko; Kristyna and Marek Milde; Peter Nadin/Old Field Farm; Leila Nadir + Cary Peppermint (EcoArtTech); Andrea Reynosa, Brooklyn Grange and Alloy; Bonnie Ora Sherk; Jenna Spevack; Susan Leibovitz Steinman/Mona Talbott; Tattfoo Tan; Elaine Tin Nyo; Linda Weintraub

Food Shed postacrd

FOODshed: Agriculture and Art in Action focuses on sustainable agriculture, entrepreneurship, and artists’ use of food as subject matter or medium. The exhibition and programming include 14 exhibiting artists in the gallery at Smack Mellon, 3 public projects in the nearby DUMBO community, as well as public workshops in collaboration with the artists in the exhibition. The gallery exhibition features artworks and inventive projects around agriculture and food that address farming as both activism and art form. Many of the artists in this exhibition are known for bringing community-specific issues into their work and are exploring the real-world implications of small-scale farming and raising community awareness about our food systems. Their varied practices include growing food, cooking food, raising animals for food, and engaging communities around local food production as well as instigating new artist-based economies.

The artists working in New York State today in the realm of food and farming coincide with a larger cultural awakening regarding the ills of our present system, such as the distances food travels to supermarket shelves and the effects of shipping and transport on climate change. Brooklyn has become the epicenter for food activism and culinary explorations. Artists have joined food activists in focusing on environmental problems such as lack of biodiversity in mono-cultural farms, the loss of top soil and nutrient-poor soil, the abuse and poor conditions of feedlot and factory raised animals, the conversion of farmland into housing, and the waste of un-harvested crops. Artists are now farming not only to raise their own food in order to become self-reliant and to eat more healthily, but also to offer alternative and sustainable approaches within their local communities.

For the artists in FOODshed, the acts of cultivation, growing, and by implication educating have evolved to a deeper level of activism where the boundaries of real world and art completely disappear. Their projects present new paradigms regarding the growing, production, distribution and consumption of food. The artists in this exhibition advocate for an organic, regional and local approach, which they are manifesting in their own lives.

A la cart

À la cart, Kristyna and Marek Milde, 2014, site specific installation at the Old Fulton Plaza in DUMBO, Brooklyn, 6 shopping carts, soil, vegetable plants, tarp


by Kristyna and Marek Milde

at Manitoga

Homescape at Manitoga

Homescape, 2014, at Manitoga, NY
aluminum, insulation material, soil, moss, grass, ferns and stones,
29 1/2″ x 64″ x 32″ and 29 1/2 x 32″ x 32″

We are thrilled, that our installation Homescape will be on a long-term view at the Manitoga, The Russell Wright Design Center in Garrison, NY, since July 2014.

Homescape is a lounge environment created with moss and ferns transplanted from the forest at Manitoga that we made for our show Hills and Valleys of the Sofa Wilderness at the Sunroom Project Space at Wave Hill, Bronx. We highly recommend visiting, as the site is a natural and architectural gem and allows for hiking as well. The close proximity to NYC makes Manitoga ideal for a half-day trip. The lounge is located close to the Russells Wright house, which you can visit on a tour. For direction and tour reservation check the Manitoga website.

The Russell Wright Design Center in Garrison, NY

Kristyna and Marek Milde

Hills and Valleys of the Sofa Wilderness

solo exhibition at

Sunroom Project Space, Wave Hill, Bronx, NY

May 23–July 6, 2014

Meet the Artists: Sunday, June 22, 2014, 1:30 pm


 Homescape, at  the exhibition Hills and Valleys of the Sofa Wildernes at Wave Hill,  NY
2014, aluminum, insulation material, soil, moss, grass, ferns and stones,
29 1/2″ x 64″ x 32″ and 29 1/2 x 32″ x 32″

Kristyna and Marek Milde’s art examines the effects of architecture, design and interior space on how we see and relate to the outside world. In their practice, the Mildes create objects, situations and events that use both organic and artificially constructed elements to confront cultural views and fantasies about nature. Their projects often take the form of do-it-yourself home improvements, revisiting the role of furnishing and decorating. They believe that the interior-based culture prevalent today creates boundaries between the man-made and organic realms, producing a removed perspective of the world. To counteract this disconnect, the artists explore methods for transforming built spaces in ways that reconnect people to the larger environmental contexts of culture, geography and nature. Their work creates a shift when plant material from outdoors is placed inside the gallery space.

At Wave Hill, the Mildes create a lounge where visitors can experience the natural landscape from the comfort of the domestic interior. Their Sunroom Project, Hills and Valleys of the Sofa Wilderness, transfers a piece of woodland floor into containers that are shaped like a couch and a chair and filled with transplanted ferns, moss, grasses and stones from Manitoga in Garrison, NY. Visitors are encouraged to sit down, as they would in the forest, and experience the forms, texture, smell and feeling of the organic materials. While deconstructing the traditional use of plant motifs in interior design, Hills and Valleys amplifies the contrast between outside and inside, provoking questions about how to engage with the natural world in the isolation of urban dwellings.

Thanks to MANITOGA /The Russell Wright Design Center for their support of Hills and Valleys of the Sofa Wilderness.

View the invitationa s pdf


5 Homescape at Manitoga 72dpi



Con Edison Immigrant Artist Program Newsletter, Issue No. 57

Kristyna and Marek Milde from the Czech Center New York (CCNY)

Interview by Felicity Hogan

2 Beyond Cage 11-7-121 BNH


This month, IAP highlights the comprehensive and prolific activities of the Czech Center New York, interviewing Program Manager Kristyna Milde and Production Manager Marek Milde, who also collaborate as part of their artistic practice. In light of an upcoming exhibition at Wave Hill’s Sunroom Project Space, opening on May 23, we took theopportunity to learn more about both the CCNY and Kristyna’s and Marek’s collaborative process, with a focus on how each influences and interacts with the other.

Can you tell us about the mission and activities of The Czech Center New York?

The Czech Center New York (CCNY) is the official cultural institute of the Czech Republic, dedicated to promoting Czech art abroad and fostering interaction between Czechs, Americans, and the wide international community in New York City. The CCNY, established in 1995, is part of an international network of Czech Centers supporting artists, professionals, and cultural exchange in 23 countries on three continents. CCNY is located in the recently redesigned Bohemian National Hall (BNH) on the Upper East Side, on E. 73rd Street between First and Second Avenues, which is a five-story building, built in 1896. It is a rare survivor of the many social halls built in the nineteenth century for New York City’s immigrant ethnic communities. Our facilities include a gallery, cinema, performance hall seating 300 people, and a rooftop terrace.

Our team of four people creates programs of about 80–100 events per year. We host a wide range of mostly free events showcasing contemporary Czech art, together with international collaborations in music, fine art, and design, and feature annual film festivals and seasonal rooftop screenings.

We focus on presenting contemporary artists and projects, which are committed to engaging cultural discourse and addressing relevant cultural- and social themes. While we provide a platform for interaction and dialogue of Czechs with local and international artists, we encourage production of new works and are presenting concerts, screenings that are North American- or world premieres, and site-specific installations in our gallery.

Can you tell us about the mission and activities of The Czech Center New York?

The Czech Center New York (CCNY) is the official cultural institute of the Czech Republic, dedicated to promoting Czech art abroad and fostering interaction between Czechs, Americans, and the wide international community in New York City. The CCNY, established in 1995, is part of an international network of Czech Centers supporting artists, professionals, and cultural exchange in 23 countries on three continents. CCNY is located in the recently redesigned Bohemian National Hall (BNH) on the Upper East Side, on E. 73rd Street between First and Second Avenues, which is a five-story building, built in 1896. It is a rare survivor of the many social halls built in the nineteenth century for New York City’s immigrant ethnic communities. Our facilities include a gallery, cinema, performance hall seating 300 people, and a rooftop terrace.

Our team of four people creates programs of about 80–100 events per year. We host a wide range of mostly free events showcasing contemporary Czech art, together with international collaborations in music, fine art, and design, and feature annual film festivals and seasonal rooftop screenings.

We focus on presenting contemporary artists and projects, which are committed to engaging cultural discourse and addressing relevant cultural- and social themes. While we provide a platform for interaction and dialogue of Czechs with local and international artists, we encourage production of new works and are presenting concerts, screenings that are North American- or world premieres, and site-specific installations in our gallery.

While primarily supporting Czech culture, the organization is also open to ideas around current cultural or social themes and international projects. Can you point to recent examples of this?

While Czech Center New York’s mission is to Czech culture, it seems that in the interconnected world of today, the cultural presentation based solely on the national origin is fading. We think the art today, rather than present itself, needs to communicate and be aware of the international discourse. We are pleased that in the recent past ,we have be able to organize series of international collaborations in which the Czech was not just the label of the country of origin, but rather an element of driving cultural force.

CCNY is a member of European Union National Institutes for Culture (EUNIC), which includes European Cultural Institutes in New York, and representatives from the cultural departments of European Consulates and Embassies in NYC. We collaborate on events and festivals throughout the year. For example, the European Film Festival, which the Czech Center established 6 years ago, grew from a small collaboration of a few countries to a large 2 week festival with about 20 participants now called Panorama Europe. This year we partnered with the Museum of the Moving Image to enable the festival’s expansion.

Another recent example is an art criticism conference, which we organized together with Finnish, Polish, and Spanish cultural institutes and AICA International on April 27, called “Walking in the Air: Art Criticism in Europe.” We had five speakers talking about the current state of art criticism in their representative countries, and Hrag Vartanian as a moderator, who is the editor and co-founder of the influential arts blog Hyperallergic. We are hoping to establish this conference as an annual event as well.

Coming up at CCNY on May 27 at 7:00 PM is the US release of Mariusz Szczygieł’s newly published book, Gottland, translated to English, that deals with the Czech history from the Polish perspective and world premiere for a Czech film based on the same book. The event will include excepts from the film and is a collaboration with the Polish Cultural Institute and Melville House, the local publisher.

read  the whole interview at NYFA website





Abrons Art Center

466 Grand Street, at the corner of Pitt Street, Lower East Side, NYC

October 25-November 24, 2013

Opening Reception: October 25 | 6-8 pm

Artists Sol LeWitt, Kristyna and Marek Milde, Occupy Oakland, William Powhida, Lisa Ruyter, Catherine Tafur, and B. Wurtz.Organized by Kristian Nammack




ACTIVATE NY explores the relationship between art and activism, by facilitating a number of participatory events and by displaying relevant works of art in the gallery spaces. The first floor small gallery will host an installation called New York Exchange Library  by artists tandem  Kristyna and Marek Milde.  It takes a form of a free library, where visitors are encouraged taking and or bringing their own books to exchange exploring the concept of knowledge as a free resource versus a commodity.

ACTIVATE NY  will hosts series of participatory events in the Abron’s  Galleries including the launch of the100 hour Challenge, Artis Talk on Tuesdays at 7pm- pairing artists in the exhibit with activists relevant to the topic, Book Club on Wednesdays at 7pm led by art critic Andrew Russeth and open Discussion on Thursdays at 7pm facilitated by Kristian Nammack.

more info here:


Activate NY New York Exchange Library -01

Kristyna and Marek Milde, New York Exchange Library, 2013

 installation with books, garbage bins, table, chair, toys and various houshold objects, shopping cart,

shopping bags, cardboard boxes, bookcases

Generously supported by the Rosenthal Library at the Queens College and the Abrons Art Center.





Where Is My Home?

DOX Center for Contemporary Art

Poupětova 1, Prague 7, Czech Republic

October 11, 2013 – January 13, 2014

Opening October 10, 2013

Pozvanka KDM DOX


Artists:  Jiří David, Tomáš Císařovský, Tomáš Džadoň, Kristyna and Marek Milde, Karel Nepraš, Kristina Norman, Martin Mainer, Daniel Pešta, Jasanský a Polák, Kateřina Šedá, Oliver Kochta-Kalleinen and Tallervo Kalleinen, Jindřich Štreit Martin Zet, Krzysztof Wodiczko, among others.


The exhibition “Where Is My Home?” is dealing with the subject of home in its various meanings – home as a place, a town, a land, a region, a country. The project’s name, consisting of the first words of the Czech national anthem, contains a moment of doubt, personal as well as collective inquiry, which today is once again a topic due to the fact that today’s society is rife with uncertainty, dissatisfaction and feelings of frustration. If the idea of home is traditionally connected primarily with the feeling of certainty and security, it is logical that growing uncertainty and frustration from public life lead the public in no small affairs in creating a wider, shared home a city, province or region.


As part of this exhibition we show a project called “Home in a Home”, which is a site specific installation consisting of text on the wall and an office table with questionary. It is part of our an ongoing research project, where people are asked to list nonfunctional objects they have collected along with their stories, which create for them the personal layer of a home . The project, which works with the narratives of objects, started at our presentation and workshop Thoughts on the Living Room at the Museum of Modern Art in New York in November 2012 and continued as part of our solo exhibition Homescape in the Karlin Studios in December 2012. The visitors the exhibition Where Is My Home in DOX are encouraged to further contribute to the project with their ideas on the subject.

vice o projektu zde 









Kristyna and Marek Milde

Permanent installation at the Chateau Trebesice, Czech Republic, 2013

as part of the contemporary art collection curated by Alberto Di Stefano and Eugenio Percossi



in-tree-net ,Trebesice, 2013 - 003in-tree-net trebesice - 003    in-tree-net ,Trebesice, 2013 - 006


The site-specific installation In-Tree-Net at the Trebesice Chattou is made out of trees and branches attached to the walls with hardware fixtures to resemble pipes and wires of engineering systems that bring vital functions into the building. The installation spans vertically three floors of the castle and continues horizontally across the top third floor leading to a room, where it branches out as a tree top.

Trees and their complex interconnection present in the ekosystém of the woods are here reduced to a rigid model of a machine representing the mechanistic approach towards Nature. Pipes that in industrial settings are usually exposed while the architecture in civil buildings usually attempts to meticulously cover in order to create an intact environment. In the In-Tree-Net the pipes become alive pointing at the environmental dependency of the seemingly independent interior environment.

In-Tree-Net critically approaches culturally conditioned understanding of nature, which produces the perspective that nature as such has borders, beginning and end, similar to the architecture and urbanism. Nature here is an element that penetrates not only the walls, but also crosses artificial borders, that divide landscape without a context, cutting through the mountains and rivers. In the In-Tree-Net the organic systems represent an idea of bringing nature closer and the way of its estranged perception, implying a reconnection of a fragmented environment to a whole.

in-tree-net trebesice - 001

Chateau Třebešice

Since 2003 Czech and international artists have been invited to stay at castle Třebešice near Kutná Hora, Czech republic, in individual or group residences, from a few weeks to some months, they are invited to create artworks and site specific installations.The art collect

ion at Třebešice is always growing and there are already approximately 80 artworks accessible to the public inside the castle and gardens. For guided tour please make reservation in advance.










a visual art exhibition examining life as commodity

The Center for Strategic Art And Agriculture


Plant sale

Opening July 4, 2013 from 3 to 8pm in conjunction with CSAA’s Fourth of July Garden Party,open until August 4th, 2013

11 Stanwix Street at Bushwick Avenue in Bushwick, Brooklyn, located in the North Garage of Silent Barn.

 Plant Sale features work by Claire Wood, Cnaan Omar, Christina Kelly, Jason Gaspar, and Kristen Barry,

Kristyna and Marek Milde and more.


On July 4, 2013 from 3 to 8pm at the Center for Strategic Art and Agriculture is pleased to present Plant Sale, a group visual art exhibition that examines how we perceive plants in a contemporary context. It asks, who are we if the basis of our of food chain is an invisible commodity, patented sold on the stock market in the form of electronic data?  It explores the commodification of life, its effect on our society and ourselves.

The opening of Plant Sale coincides with CSAA’s Fourth of July Garden Party with performances by award winning Americana guitarist Glenn Jones and D. Charles Speer and the Double Helix. ($10 at the door.)








Examines themes, concepts and cultural fictions

dealing with environment and ecology

Poison Green 2013 cc web - 01



JUNE 26, 2013 – SEPTEMBER 2, 2013

OPENING: JUNE 25, 2013, 6:30PM – 8:30PM


Matej Al-Ali (CZ), Silvina Arismendi (Uruguay), Mark Dion (USA), Petr Dub (CZ), Mathias Kessler (USA), Tomas Moravec (CZ), Because we can (USA), Anne Percoco(USA), Katerina Seda (CZ), Klara Sumova (CZ), and Slavoj Zizek (Slovenia)

Dinner Garden: Vita Chase, Slavka Petrova, Marek Soltis, Filip Trcka, Nicole and Jan Zahour

Curated by Kristyna and Marek Milde


The exhibition project Poison Green interrogates and study the complexity of our environment. Rather than painting green and romanticizing nature, the artists and concepts, presented in the exhibition, examines the consequences of the urban, post-industrial, and virtualized reality we live in.  It seeks to demystify the ideologies inherent in our understanding of nature, reflecting on conventions and stereotypes, and looking for possible environmental models socially integrated into our daily lives and culture.

The exhibition Poison Green is incorporated in a series of installations and visuals that extends from the gallery of the Bohemian National Hall to its rooftop, where a community garden project Diner Garden accompanying the show is installed. Here participants and visitors have the opportunity to experience the process of how to grow food just enough food for one dish.

read more 

view photos from the show 

Poison Green 2013 cc web - 04

 Supported by the, Consulate General of the Czech Republic in New York, Bohemian Benevolent & Literary Association,

Tanya Bonakdar Gallery and the Vermont Compost Company.








We Eat, We Are

 one day exhibition project

as part of the

Bushwick Open Studios (BOS) 2013

June 1st, 2013, 12am (noon) – 10pm

1416 Willoughby Avenue, Brooklyn, NY 11237

 We eat, We are, BOS 2013  web


Keil Borrman, Mike Estabrook, Jamie Isenstein, Vandana Jain, Richard Jochum, Athena Kokoronis, Radka Kovacikova, Michael Merck, Kristyna and Marek Milde, Natalia Porter, Danielle Pottberg, Petra Valentova, Jan and Nicole Zahour

Curated by Kristyna and Marek Milde


An edible and participatory exhibition project examining the concepts and the culture of eating, cooking and food production as a realm in which identity and relationships to the environment are established.

If we are what we eat, who are we if we don’t know the origin and the context of the production of our food?

While today convenient and easy access to an abundance of food seems a matter of course, the source and the mechanism of its production remain largely out of sight. The glossy and uniform food packages seem to provide necessary information, however the product data put together with stories written about authenticity; endorsed by seals and marks, seem to divert one’s attention from the context and process of its creation, therefore making the modern food industry fit into genres such as mystery, ideology, sci-fi or political thriller.

“We Eat, We Are” presents a series of installations and events about or made with food. The makers of the project explore nourishment and engage awareness for the ways and methods of growing, cooking and sharing food, together with its social rituals inherently embodied in the community and culture.

 more information here

view photos from the events 

Needless Cleanup

Meet factory, International Center of Contemporary Art

Ke Sklárně 3213/15
150 00,  Prague 5, Czech Republic

5. June – 25. August 2013

pavla scerankova


Masaru Iwai (JP), Jan Nálevka (CZ), Kristýna a Marek Milde (CZ/US),

Pipilotti Rist (CHE), Janek Rous (CZ), Lucia Sceranková (CZ),

Curator: Karina Kottová

Cleaning and destruction can be seen as two basic principles within the duality of Apollonian and Dionysian, yin and yang. The key interest of this show is the transmission from one to another: from order to chaos, from serenity to uncontrolled passion. In Herman Hesse’s writings, these principles are often personalized, depicted as opposite forces, such as the rational Narcis and the emotional Goldmund, two monks in a medieval monastery, both in their own way longing to find the essence of life. While one decides to explore the realm of ratio within the safe fences of his sanctuary, the latter follows his urge to give in to his passions and live on the edge of life and death, beauty and horror. However, as the author explores further in his Steppenwolf, these characteristics rather meet in a single human mind, together with a number of other “souls” or principles that cannot be simply categorized. We are both rational beings and wild beasts, and while we often need to clean up the mess we made, we also long (or can’t help) to create it at the first place.
Works to be featured in this exhibition are looking for certain “in-betweenness”, for order that is reversed by a simple act, which disturbs the original cleanliness and opens a window into “the other world” of illogic behavior, obscurity, deviation or even madness.

 Photos from the show 

The Homescape

Solo Exhibition by

Kristyna a Marek Milde

Karlin Studios, Křižíkova 34, Prague 8, Czech Republic

Opening: Wednesday, December 19th from 6pm

Open until: January 13th, 2013

Homescape, 2012, exhibition view

Homescape, 2012, exhibition view

Please join us for the opening of our solo exhibition “The Homescape” opening December 19th at Karlin Studios in Prague.

The show investigates on the field of domesticity how architecture and postindustrial reality influences the way of understanding nature. It engages the dilemma between nature and architectural structures and its impact on the current environmental issues. It follows a phenomenon of a new special kind of species: “Homo Interius” a contemporary human, who spends most of its life inside of a white cube separated from the influence of the surrounding environment ultimately resulting in his interior perspective of the outside. “The Homescape” presents parallels between artificial constructs and nature positioning the alienated interior environment in larger context of nature and landscape.

More information and photos from the show

Czech version – Česká verze

MoMA Common Senses

Thoughts on the LIVING ROOM

Artists‘ talk  and workshop by  Kristyna a Marek Milde

Sunday, November 4th, 2pm

MoMa, Cullman Building, Mezzanine

4 West 54th Street between 5th and 6th avenues

 Photos and info from the workshop here

We are very pleased to be invited to o give an artists‘ talk and a workshop at the Mildred’s Lane and The Mildred Complex(ity) as  part of the exhibition project MoMA Common Senses  at the Museum of Modern Art.

If possible please bring a handful of dust sweepings from your apartment for the workshop with you.Just sweep it in a plastic bag before you go!

Brooklyn based artists Kristyna and Marek Milde present their projects engaging culture of living and domesticity . Looking at what is “swept under the carpet,” their work investigates how the comfortable interior environment of our homes produces a culture of alienation from nature. Their projects often take the form of DIY home improvements, and revisit the role of furnishing, cleaning and decorating and its function inside of a white cube to produce the feeling of home. Their work explores ways of transforming our spaces of dwelling, revealing its connection to a larger environmental context of culture, geography and nature.Participants at MoMA Studio will have the opportunity to share their ideas about the elements that contribute to their sense of home. Additionally, participants are encouraged to be part of a Do it Your Self project called “The Color of The Home” a workshop in which a colored wall paint pigmented by ordinary household dust will be made producing a color chart. If possible, please bring a handful of dust swept up in your home in a plastic bag.

MoMA Common Senses 

Organized in conjunction with the exhibition Century of the Child: Growing by Design, 1900–2000 (July 27–November 5, 2012), MoMA Studio: Common Senses is a multisensory environment at the intersection of education, design, and art that aims to foster our evolving relationships with nature, technology, and our everyday surroundings through community interactions and creative play. A series of drop-in activities, workshops, and ongoing projects for audiences of all ages integrates components such as light, nature, food, textiles, games, and technology. Artists, designers, and educators including Fritz Haeg, J. Morgan Puett of Mildred’s Lane and The Mildred Complex(ity), Karen Hewitt, Reggio Children, and others engage visitors in generative and sensory experiences from harvesting an edible garden and creating light-based scapes installations to engaging with an experimental school and playing with new and familiar toys and games. Visit for more information.

Mildred’s Lane and The Mildred Complex(ity)

“What is it that we need to learn in the 21st century?” J. Morgan Puett of Mildred’s Lane and the Mildred Complex(ity) poses this question to visitors of MoMA Studio in a series of events and a workshop space. Based in northeastern Pennsylvania, Mildred’s Lane is a working-living-researching environment made up of a community of artists interested in fostering new modes of social engagement with every aspect of life. From discussions to meals, interactions at MoMA Studio focus on our relations with each other and our environments, systems of labor, and aspects of holistic living as they relate to contemporary culture. Gleaning from her sense of aesthetics and design, Puett’s installation and living archive invites visitors to explore inventive forms of domesticity, tactile qualities related to textiles, and the natural states of food—gathered from Fritz Haeg’s Domestic Integrity Field Part A-1, also a part of MoMA Studio—while fellow artists invite the public to engage in their practice on frequent, impromptu visits.

Mildred’s Lane Swarming: 

These frequent visits by collaborating artists, writers, and critics at Mildred’s Lane invite the public to participate in collective tasks and discussions, from hosting food-related events to explorations of creative processes related to the visual arts, writing, biology, and more. All Swarmings take place at MoMA Studio: Common Senses on an impromptu basis during opening hours, unless otherwise noted.




November 7 – December 21, 2012

Talks + Reception | November 7, 5-8 PM| Queens College Art Center

Queens College Art Center, 2012. All rights reserved.

Please join us for the opening and talks at the Queens College Art Center

Talks + Reception | Wednesday, November 7, 5-8 PM
Curated by Suzanna Simor, Alexandra de Luise + Tara Mathison

Queens College Art Center|Rosenthal, Level Six | CUNY| 65-30 Kissena Blvd.
Flushing, NY 11367-1597| | 917.997.3770

Comprising art and commentary in all media contributed by Queens College alumni (the artists’ contemporary work drawing on their personal college history and recollection), this installation will speak to the school’s 75th anniversary, directly addressing what the Queens College experience has meant to students over three-quarters of a century.

Sponsors: Kupferberg Center for the Arts; Queens College; QC Alumni Relations Office; Art Department; the Libraries; Queens College Foundation, Inc.; CUNY; New York Community Bank.


Visit us at:

GO Brooklyn

Open Studio Weekend

September 8 – 9th, 11AM – 7PM

Come to our open studio! It is part of the Go Brooklyn, borough wide open studio project

organized by the Brooklyn Museum featuring works by local artists.

You can find us on the map under the number 1678.

our location:1416 Willoughby Avenue, Brooklyn, NY 11237

To view the map of the other studios go here.

Brooklyn is home to more artists than anywhere else in the United States, making it the creative capital of the art world.GO: a community-curated open studio project is a borough-wide initiative designed to foster personal exchange between Brooklyn-based artists, their communities, and the Brooklyn Museum.

During GO, Brooklyn artists will open their studios to the community, sparking a dialogue between artists and their neighborhoods. Newly informed by the artist about the artistic process, studio visitors will be empowered to nominate artists for inclusion in a group exhibition to be held at the Museum. Based on community nominations, Museum curators will create an exhibition to open on Target First Saturday in December 2012.

Organized by the Museum’s Managing Curator of Exhibitions, Sharon Matt Atkins, and Chief of Technology, Shelley Bernstein, GO is inspired by two established programs: ArtPrize, an annual publicly juried art competition in Grand Rapids, Michigan, and the long tradition of open studio weekends held each year in the Brooklyn neighborhoods of Williamsburg, Greenpoint, DUMBO, Gowanus, Red Hook, and Bushwick.



BOS 2012

Bushwick Open Studios

Sat. June 2nd, 1-10PM

1416 Willoughby Avenue, Brooklyn, NY 11237

The Bushwick open Studios are back! Come to join us for the show 8+, which will be open one day only on

Saturday, June 2nd, from 1pm to 7pm.

Opening party in the evening 7-10pm with music and DJ Nanoru. Outdoor screening in the garden after dusk. BOYB!

Exhibition 8+ presents works by Zeljka BlaksicMike EstabrookVandana JainRichard JochumTom Kotik,

Kristyna and Marek Milde, and Anne Percoco. Organized by Kristyna and Marek Milde.

More about the show and artists

To find out about the other events and view our profile visit the Arts in Bushwick website.

Family Talk/ Rodinne Promluvy

June 5th – August 26th, 2012

Futura Project in Prague

curator: Marco Antonini

Opening reception Tusday June 5th from 6pm

Futura Project, Holeckova 49, Praha 5

Watch video from the show filmed by! 

View photos form the installation here. 

Read a introduction to the exhibition by the curator Marco Antonini 

Flash Art

Lessico Famigliare

by Simone Ciglia,  published in the September issue in Italy

Read a interview with curator Marco Antoniny in the September issue of Flash Art in Itally

Social Sculpture

Workshop by Kristyna and Marek Milde

As part of the exhibition “The Life Instinct”by Anne Percoco at the  NURTUREart

Sat. May 12th, 3-5PM

NURTUREArt Gallery, 56 Bogart Street, Brooklyn NY

more photo from the workshop here

We would like to invite you to a workshop called Social Sculpture, we give at the Nurture Art  on Saturday May 12th from 3-5 pm.

The workshop  explores the consumerist cycle of disposal by reusing and redefining function of  common household objects.

We will build furniture with reclaimed materials, chairs and furniture, which should later serve public as a sitting area outside of the Nurture art.

The space is limited to 10 people, so please RSVP now to get a place

Please bring, if possible, some of the following items with you:

- found furniture pieces (such as chairs, pieces of chairs, tables, or anything which can be used for sitting)
– tools (such as a drill, saw, hammer, wood screws etc.)

This is to ensure that there will be enough materials to go around and that the workshop will not be slowed down if many people need to use the same tools at a time. NURTUREart has a limited tool selection, but will gladly share the resources available.

Join us, it will be fun!  

Amplify Action: Sustainability Through the Arts

Opening Reception
Saturday, April 21st, 4-6pm

Bedford Stuyvesant Restoration Corporation’s Skylight Gallery
1368 Fulton Street, 3rd Floor, Brooklyn, New York, 
A/C to Nostrand Avenue

 In-tree-net, 2012,  detail form the installation at the Skylight gallery, trees, plumbing hardware, 24×10 feet

The Amplify Action team is excited to introduce our participating artists for Amplify Action: Sustainability Through the Arts. This exceptional group of artists, both local and beyond, will present works that engage with a diversity of topics related to community sustainability, inspiring audiences to question, discuss, and take action. Explore the artists’ work by following the links below.

Participating Artists:

Elaine Angelopoulos | 
Jean Brennan | 
Adam Brent | 
Roberto deJesus |
Wolfgang Ryan | 
Barbara Ekström | 
Carrie Grubb |
TTK | 
Christopher Ho | 
YK Hong | 
Artcodex |
Bernard Klevickas | 
Michael Konrad | 
Mary Mattingly |
Kristyna & Marek Milde | 
Michael Millspaugh |
Simonetta Moro, Tattfoo Tan, and students of Eugene Lang College and New School for Liberal Arts | 
Antonia Perez | 
Kevin William Reed | 
Aya Rodriguez-Izumi | 
Vincent Romaniello | 
Andrew Scott | 
Robert Stephenson | 
Means & Ways: Radek Szczesny Jenny Way | 
Kioka Williams, Bed-Stuy Community Quilt Project |

All are welcome to join artists and community members in celebrating this occasion. Please RSVP here.

More info

Amplify Action: Sustainability Through the Arts

Panel Discussion

Thursday, March 29th, 2012

Myrtle Hall, Pratt Institute, Room 2E.3

As a prelude to Amplify Action, a panel discussion will be held as part of Pratt Institute’s Green Week to engage the audience in a dialogue on the power of art to influence community sustainability. The panel will feature Mary Mattingly, Kristyna Milde and Simonetta Moro, three of the participating artists in Amplify Action, discussing their work as an ongoing project of lifestyle change and as a campaign to shift perception toward sustainable practices.


Ann Holder, Associate Professor, History, Social Science & Cultural Studies, Pratt Institute


Mary Mattingly, Artist –

Kristyna Milde, Artist –

Simonetta Moro –

photo by Natalia Porter, 2012

Amplify Action biographies & Artist Statements


Ann Holder, BA-Hampshire College, PhD Boston College, fields of specialization US Social/Cultural History, US Women’s History, African-American History, Gender/Sexuality Studies, Urban History, Cultural Studies, European Intellectual History; Current projects: Citizenship in the Post-Bellum South; Fellow: WEB DuBois Center at Harvard University. Former coordinator of the Critical and Visual Studies Program at Pratt. Courses taught at Pratt: World History, The Sixties, Families and Others, Representing the Real, The Story of Freedom in the United States, CritViz Colloquium and American Studies/Visual Studies


Mary Mattingly was born in Rockville, CT. USA in 1978. She lives and works in New York City. Mattingly studied at Pacific Northwest College of Art, Parsons School of Design, and Yale School of Art from 1996-2002.

Recent solo exhibitions include:
Frontier, Galerie Adler, Germany 2007; Fore Cast, White Box, NY2006; Second Nature, Robert Mann Gallery, NY 2006; We Go Round and Round in the Night, Feldman Gallery, Portland, OR 2005.

Recent group exhibitions include:
Future Tense, Neuberger Museum of Art, Purchase, NY 2008; Video Visionen, O eins, Edith Russ Site for Media Art, Oldenburg, Germany 2008; Bivouac, Art Omi, Ghent, NY 2007; Other Worlds: Fact and Fiction, Mattatuck Museum, Waterbury, CT 2007; and the International Center of Photography’s Triennial, Ecotopia 2006.

Recent publications/articles include:
Le Monde Magazine, Village Voice, ARTnews, Aperture, A Public Space, Artforum, C Photo, New York Magazine, New York Press, Time Out New York, Photography Quarterly Magazine.

She has co-curated interventions called Waterways alongside the Venice Biennial and with the Istanbul Biennial. Currently, Mattingly is working on a project called the Waterpod, a floating sculptural living structure that will showcase new ideas, simple and effective technologies for water desalinization and purification, clean energies, and sustainable, autonomous living. It can be easily prototyped and remade in different environments, and with different available resources. It will launch in May 2009, showcasing the work of artists, scientists, humanitarians, and geologists as part of the Hudson River’s Quadricentennial Celebration.

Currently, Mattingly is an artist in residence at the Lower Manhattan Cultural Council and an artist in residence at New York University. She just completed teaching a Master Class at the International Center of Photography.

Flock House, 2011, Photograph, 16 x 20

Exhibition Piece: Flock House is a migratory, public space that will be choreographed throughout New York City’s five boroughs to predetermined locations including: city parks, public spaces, and unused city-owned lots. Constructed of materials including recycled and reprocessed vehicles including airplane interiors, car bodies, bicycles, and boat hulls, the shape and form of “Flock House” is inspired by data patterns of current global human migration, immigration, and pilgrimage.  Flock House promotes a city in which structures combine, separate, and recombine, reflecting the daily movements and relationships of modern metropolitan life. By augmenting and affirming local community resources through workshops, organized events, and online information, “Flock House” embellishes the etiology of civic folkways, offering new opportunities for collaboration, celebration, and invention.

Artist Statement: My work proposes a peripatetic world where populations depend on both migration and integrated communities. I focus on creating autonomous living/ traveling systems and the tools that accompany them, from wearable environments called Wearable Homes to water-based habitats that explore the intersection between autonomy and interdependence. In 2009, I completed a project called the Waterpod: a mobile, sculptural, autonomous habitat and collaborative public space atop a barge made to explore solutions for sea-level rise, lack of housing, and decrease of useable land.  Docking throughout New York City, artists lived onboard and tested the social, ecological, and technological ecosystems for the project’s duration. Formally contingent on mapping worldwide human migration patterns, my current projects are itinerant, small-scale architectural interventions called Flock Houses.  These capsules morph into preexisting underused urban structures, reflecting city dwellers’ movements while attempting to alter the autocratic effects of economic development.

Kristyna Milde, born in Prague, Czech Republic currently lives in Brooklyn, New York. Her work deconstructs cultural meaning to question traditional boundaries between archetypes and stereotypes. She employs a variety of media including photography, sculpture, and installation. She received Master of Fine Arts (MFA) from the Queens College, New York in 2007. Milde also studied painting from 1999 to 2003 at the Assenza Malschule, Basel, Switzerland. Kristyna Milde works for over a decade on a variety of interdisciplinary projects, on which she often collaborates with her husband Marek Milde. Her work has been exhibited in galleries and art centers in Europe and USA among others in the NURTURE art, Brooklyn, USA; Anna Wallace Gallery, New York, USA; Space Gallery, Pittsburg, USA; Futura, Prague, Czech Republic. Her work was featured in the New York Times, Brooklyn Rail, W+G News, Queens Tribune, Pittsburgh Tribune, BQE Media. She works as a Program Manager at the Czech Center NYC, a cultural institute of the Czech Republic.

In-Tree-Net, 2011, Site-specific installation made out of tree brunches mounted on the wall with plumbing hardware

Exhibition Piece (Kristyna & Marek Milde): The project In-Tree-Net engages the dilemma between systems of Nature and artificial structures. It investigates the influence of architecture on the understanding of Nature. The installation is site specifically made for the gallery settings out of tree trunks and brunches mounted on the walls with plumbing and electric hardware to resemble engineering systems of pipes and wires. Trees and their complex interconnection present in the ecosystem of the woods are here reduced to a rigid model of a machine representing the mechanistic approach towards Nature. Pipes which architecture usually attempts to cover in order to create an intact environment are here revealed to bring the outside inside pointing to the environmental dependency of the seemingly independent interior environment.  It follows the phenomena of a new kind of “Homo Interius”, a contemporary human, who spends most of its life inside of a white cube separated from the influence of the surrounding environment. In-Tree-Net critically approaches a culturally contingent understanding of the nature of Nature, which produces the perspective, that nature as such has borders, a beginning and its end, similar to architecture and urbanism. Nature here is an element that penetrates not only the walls, but also crosses artificial borders, that divide landscape without a context, cutting through the mountains and rivers. In the In-Tree-Net the organic systems represent an idea of bringing closer the nature and the way of its estranged perception, implying a reconnection of the fragmented environment to a whole. It is part of our larger body of work concerning themes of environment and mechanisms of culture creation.

Artist Statement (Kristyna & Marek Milde):  Our work engages themes of environmental alienation and mechanisms of culture. We use daily surroundings and everyday places such as the home or a public space to explore themes of identity and personal integrity in the environment. For our installations we use a combination of natural and artificially constructed elements placed in situations where cultural forms are being confronted. We are interested to uncover the principles of how culture determinates itself and to question the removed and alienated cultural views.

Simonetta Moro, My work exists in the space of memory, in the interstices between the real and the imaginary, the present and the past, the detail and the overview. Places and architecture influence my practice; history informs the content. My drawings and paintings emerge through a cumulative, layered process that takes advantage of the translucency and texture of the materials, such as mylar or rice paper. These materials contribute to creating an allusive, dream-like quality, and give depth to the resulting image. Contrasting images are seen all at once, implying the simultaneity of perception and the suspension of time.
Photographic processes also play an important role in composing the initial image on canvas or paper. Used more or less literally, reproductions are re-contextualized and transformed to respond to the particular situation I construct.
Representation and abstraction coexist in my work – often situated at their edges. I see the map-form as a synthesis of these two modes, a metaphor that allows me to expand on the politics and poetics of places, and to evoke the idea of journey. A personal history of wandering made me investigate issues of placement and displacement. As tools for traveling, maps can either transport us into other worlds, or make us aware of the unseen details of our current world.


Signs of Growth/Mobile Gardens map, 2009, ink on paper, 11×17″

Exhibition Piece: Signs of Growth/Mobile Gardens map – Collaborative project by Simonetta Moro, Eve Mosher, Tattfoo Tan and students of Eugene Lang College, The New School for Liberal Arts

Artist Statement: Signs of Growth: Urban Food, is a site-specific installation/ performance that took place in October 16 -18, 2009, in the context of Art in Odd Places festival, organized by Simonetta Moro, Eve Mosher and Tatfoo Tan with students at Eugene Lang College, The New School for Liberal Arts.The work entailed identifying and marking “green sites”—or places that potentially might support locally grown food—with signs along 14th street, from Union Square to 10th Avenue. The sites are diverse, idiosyncratic, even fantastical, including everything from scaffolding to rooftops, intending to encourage passers-by to think about urban agriculture and under-utilized public spaces.

The street action employed Tatfoo Tan’s Mobile Gardens – carts and found objects that students, working in collaboration with the artist, equipped with greenery and paraded along 14th street, while distributing maps of the Signs of Growth sites and brochures about urban window box planting. An example of text in the map reads: “Did you know?… At least 6000 tons of food must be imported into NYC daily. Unemployment would decrease with local food movements/production. Produce coming into NYC often has to travel over 1500 miles. Urban farming uses 1% of water needed for traditional field farming and absolutely no pesticides. Rooftop gardens can insulate buildings.”

In the exhibition that followed the performance, installed in the Skybridge Art Space at Eugene Lang College, a documentation of the public project was displayed along with maps, mobile gardens, a cookbook created by students, a greenhouse project, and an audio Soundscape.

This Month in Art October 2011

Kristyna and Marek Milde,”In Loving Memory” by Trent Morse

WG Williamsburg Greenpoint News + Arts, October Issues 2011, pg 6.

Perhaps the cheapest piece of furniture that one can buy is the plastic garden chair. It is ubiquitous on porches and in yards throughout the world, especially among folks with little disposable income. And, at a few dollars a pop, the chairs themselves are pretty much disposable. Artistic duo Kristyna and Marek milde found one of these chairs on a Chelsea sidewalk and decided to put it in an installation.

“In Loving Memory” solved a practical problem for NURTUREart. The gallery had a huge roof deck but nowhere for people to sit, so the Mildes hit the streets on New York and brought back a clashing collection of ten discarded chairs, which they cleaned and restored to working order. The chairs alone are a ramshackle and hideous bunch, but plaque – much like the plates affixed to park benches in dedication to deceased loved ones – that elevates them to objects of conceptual intrigue. There’s a ratty green lawn chair inscribed as “In Loving Commemoration of the Obsolete” a rounded red chair honoring the “Awkward”, a lifeguard chair memorializing the “Washed – Out”, and , of course, a white plastic garden chair for the “Uncool”.

This project was meant to demonstrate how, with a little elbow grease, a piece of garbage can be resurrected as a perfectly usable throne. But it also shows that, by labeling an object as uncool, it suddenly becomes cool. Such is the power of irony.

Click here to view the original article

To learn more about the project In Loving Memory click here


 Brooklyn Rail Article, September 2011, by Gail Victoria Braddock Quagliata


In Loving Memory, Kristyna and Marek Milde’s strangely sweet homage to the discarded, now permanently occupies NurtureArt’s rooftop space. Stepping out onto the gallery’s deck one scorching August afternoon and waiting for my eyes to adjust to the shocking sunlight, I initially thought this exhibition looked like any Brooklyn rooftop hangout, with mismatched, weather-beaten chairs strewn about the space in conversationally-logical groupings. My eyes adapted and I noticed, in a far corner, THE PANEL: that iconic, graphically subdued piece of common museum/government/historical site signage that screams “official informational document” or, plainly, “read this sign and understand why you’re standing here reading this sign.”….. read the rest  as a PDF

Click here to go to the original article

To learn more about the project In Loving Memory click here

Project In Loving Memory in NURTUREart Gallery

EXTENDED till October 31st, 2011

Directions: 910 Grand Street, Brooklyn NY, take the L train to the Grand Street


installation on the roof of the NurtureArt Gallery, NYC


Project IN-TREE-NET  in Gallery Califia

EXTENDED till September 12, 2011

as part of the Tik-Tak exhibiton

Directions: Horazdovice, Czech Republic



July 4th, 2011 – August 1st, 2011 

Gallery Califia

Opening Reception, Monday, July 4th, from 8 PM

Directions: Chateau  Horazdovice, 341 01 Horazdovice, Czech Republic


kliknete zde pro ceskou verzi


Learn more about our project IN-TREE-NET, which is part of the GREEN exhibition

In Loving Memory

June 21st, 2011 –  EXTENDED till October 31st, 2011

NURTUREart Gallery

Opening Reception and Roof Top Party, Tuesday, June 21st, 7-10 PM

Directions: 910 Grand Street, Brooklyn NY, take the L train to the Grand Street



In Loving Memory is an installation made of discarded outdoor chairs found in the garbage on the streets of New York.While the chairs serve their purpose as patio furniture on the roof of the NURTUREart, the installation addresses the issue of fast-paced cycles of the consumerism and the impermanence and the interchangeability of things, where actual ownership often represents a short-lived affair before rejection.Each chair has a plaque attached to its back. As memorial benches and chairs with inscriptions are erected to celebrate the honorable dead or living with a notion of monumentality, these plaques commemorate worn out, obsolete, and generally uncool characters recalling un-monumental aspects of everyday life. Whilst these may represent the reasons for the negation, together they create an inclusive monument questioning the mechanisms of the culture of disposal.

learn more


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