Leo Marz June, 2020 - Webflow
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Leo Marz June, 2020
Leo Marz July, 2020 Zapopan, 1979 Lives and works in Monterrey The origin of his ideas is abstract. A savage and chaotic stream that he accesses through artifacts, narratives, music and cultural products with ap- parent connections between them. The choice of the subjects he assesses is only a pretext to surrender himself to the flux of discontinuities that exist in the distance between great discussions about subjects of our time and all that we experiment in our daily lives but cannot manage to de- fine with words. His actions become visible through spacial montages that bring objects and subjects together, trying to tell stories. Leo Marz has an MFA in new media as part of the program by Transart Institute and Donau Universität in Krems, Austria. He has received sev- eral grants including: Programa Jóvenes Creadores del FONCA twice, Colección Jumex, Programa de Estímulo a la Creación y al Desarrollo Artístico (PECDA) and the third edition of the program Bancomer-MACG Arte Actual. He has shown his work at: the Biennial of Chechenia; the 2nd Biennial of Yucatán (honorary mention on installation), Palazzo delle Arti in Na- poli, South by Southwest in Austin, CMJ Music Marathon in New York, Center for Curatorial Studies Bard Hessel Museum in Annandale-on-Hudson, Espace Pierre Cardin in Paris; Steve Turner Contemporary in Los Angeles, Museo de Arte Moderno, Museo de Arte Carrillo Gil, Casa del Lago, MUCA Roma in Mexico City and Museo MARCO in Mon- terrey. He has given several workshops in museums such as Museo de las Américas in Denver; Museo de Arte Carrillo Gil in Mexico City and Museo de Arte Manuel Felguérez in Zacatecas. From 2008 to 2012 he was professor at CEDIM in Monterrey. He co-directed La conversación, a program focused on the transdisciplinary production of contemporary art. He was co-curator in the videoart program Círculos de Confusión: Caos Social y Ficciones Dominantes for Transitio_MX 04. He was resident curator in Object Not Found where he developed a series of exhibitions, video programs, conferences and created an online fo- rum on discussion and critic on emerging artistic practices in Nuevo León during the first decade of the XXI Century. He was local curator for the XII Bienal FEMSA. For three years he directed Lugar Común, a space for poetic production in Monterrey. He is currently the director of the UDEM’s art school.
Leo Marz Project selection July, 2020 Monolito The Monolito series begins with a cartoon that eventually turns into a series of geometric shapes and surfaces increasingly removed from their original context. As in White Ninja or #CC, the rationale of these works is based on sampling: an initial identifiable source that eventually blurs and fades away through iteration: the very same thing being gradually transformed. Monolito: banners, performances, books, paintings... This series premiered as a part of the Proyectos Impala program, an itinerant show by curator Alejandro Luperca Morales, consisting of a cargo truck traveling through several locations in Ciudad Juárez. Exhibitions and workshops were organized in the massive container of the trailer. Given this project’s nature at, Marz chose to use an icon recognizable by members of different generations that would serve as a sort of teaser for enter- ing the field of art. Using the most recognizable character in a Japanese cartoon series as a starting point, is similar to the use of horror in Trampa Macabra. It is about thinking, using these elements to build a narrative to make images flow and to communicate. The cartoon character is itself only an excuse to raise a number of questions and to get painting. The ultimate goal is to reflect on the world we live in. At this premiere, Monolito came to be through small-format paintings which could be rearranged each time the trailer arrived in a new part of town. Introducing a practice that would become commonplace in this series, the work invaded the streets through murals and public composi- tions created in the site where the trailer parked. Ever since, the pieces in this series have appeared in diverse formats and dimensions, ranging from smaller canvases to publications and even to large-scale pieces designed to interact with the architectural space. At MARCO Museum in Monterrey, for instance, the space itself was made up of large canvases, paintings, and interventions on the museum’s walls. There, Monolito evolved from being an object to become a setting or an at- mospheric installation of sorts. This display then turned into an ideal spot for selfies and both group and individual photos, once again mutating into images that started to circulate on the Internet and to have, as it happens in this medium, a life of their own.
Leo Marz Project selection July, 2020
Monolito, 2018
Installation view
Museo MARCO, Monterrey
Leo Marz Project selection July, 2020
Monolito (05/100100AL), 2017
Acrylic on linen
100 x 100 cm
Leo Marz Project selection July, 2020
Monolito (07/100120AL), 2017
Acrylic on linen
120 x 100 xm
Leo Marz Project selection July, 2020
Monolito (02/6048AL), 2017
Acrylic on linen
60 x 48 cm
Leo Marz Project selection July, 2020
Monolito, 2017
Installation view
Mural and bench
Acrylic on concrete and wood
600 x 2400 cm
Leo Marz Project selection July, 2020
Monolito (03/6070AL), 2017
Acrylic on linen
60 x 70 cm
Leo Marz Project selection July, 2020
Monolito, 2018
Installation view
Museo MARCO, MonterreyLeo Marz Project selection July, 2020
Monolito (03/4040AC), 2018
Monolito (01/4040AC), 2018
Monolito (04/4040AC), 2018
Acrylic on linen
40 x 40 cmLeo Marz Project selection July, 2020
Monolito (07/4040AC), 2018
Monolito (06/4040AC), 2018
Monolito (08/4040AC), 2018
Acrylic on linen
40 x 40 cmLeo Marz Project selection July, 2020
Monolito (04/200200AL), 2018
Acrylic on linen
200 x 200 cmLeo Marz Project selection July, 2020
Las batallas del display and #CC
Las batallas del display and #CC, in which Leo Marz moved away from film production to zero in —with spectacular lighting— on his pictorial
work.
It is worth stressing that both series originated in a digital field. While working from home to office, the artist searched and saved images to cre-
ate visual compositions using his computer and cell phone. In This way, he was able to create works that found their way into canvas and other
media, becoming a whole pictorial revolution.
The paintings included in Las batallas del display were created by superimposing layers of screenshots, resulting in geometric elements which
Marz reconfigured into abstract compositions. These pieces have been displayed on canvases as well as directly on the walls of the exhibition
room, emphasizing that the word “display” of the title refers not only to the virtual world of digital screens, but also to the possibility they have
to unfolding and reproduce itself in a tangible space.
As for the pieces of the #CC series, they were produced through saturating and superimposing digital images. This series, also known as laser
paintings —because they are printed using a laser printer, and then transferred to the prepared canvas— has a certain musical quality reminis-
cent of the loops, beats and samplers that Marz has produced as a professional musician —a career that has evolved over the years alongside his
work as a visual artist, especially with the White Ninja project.
In the timelessness of the digital era, these series of paintings -along with the one that lends its name to this publication- have transformed the
artist’s production process. The type of work they involve, the amount of time they take to conceive and dedicate to them are factors which
gradually transform each of the series. That is, more than the realization of the ideas, it is the day-to-day activities that have transformed them
throughout the years. Not the conceptual mechanism but the actual practice itself.
Yet, Leo Marz is neither a purist nor a proponent of specific media formats, so my suspicion is that one day there will be new footage filled with
fresh filming locations and new camerawork where pictorial reflection will no longer play the starring role. How will Christina Perez’s portrayal
be perceived and interpreted in fifteen years’ time? For the moment, in this image-saturated world, dominated by the unfiltered and never-end-
ing scrolling through mobile phones and the 4G Network, painting serves as a decelerating tool to stop time and reflect about images.
Leo Marz is an artist within historian’s glasses, hooked up to high-speed Wi-Fi 24/7.
Esteban KingLeo Marz Project selection July, 2020
La nueva onda del silencio, 2017
Installation view
El cuarto de máquinas, Mexico CityLeo Marz Project selection July, 2020
Batallas del display (01/140160AC), 2018
Acrylic on canvas
140 x 160 cmLeo Marz Project selection July, 2020
Las batallas del display, 2017
Acrylic on linen
80 x 80 cmLeo Marz Project selection July, 2020
Las batallas del display, 2018
Acrylic on canvas
160 x 260 cmLeo Marz Project selection July, 2020
Las batallas del display, 2017
Acrylic on canvas
80 x 60 cmLeo Marz Project selection July, 2020
Un buen final (de la serie Las batallas del
display), 2019
Acrylic on canvas
300 x 250 cmLeo Marz Project selection July, 2020
Las batallas del display, 2018
Installation view
MURA, GuadalajaraLeo Marz Project selection July, 2020
we have many, many folders (detail), 2017
Acrylic on canvas
Variable measuresLeo Marz Project selection July, 2020
we have many, many folders (detail), 2017
Acrylic on canvas
Variable measuresLeo Marz Project selection July, 2020
we have many, many folders (detail), 2017
Acrylic on canvas
Variable measuresLeo Marz Project selection July, 2020
we have many, many folders, 2017
Installation view
ESPAC, Mexico CityLeo Marz Project selection July, 2020
La nueva onda del silencio, 2017
Installation view
El cuarto de máquinas, Mexico CityLeo Marz Project selection July, 2020
#cc_200*01, 2018
Dry toner and acrylic on canvas
200 x 200 cmLeo Marz Project selection July, 2020
#cc (03), 2019
Dry toner and acrylic on canvas
60 x 60 cmLeo Marz Project selection July, 2020
Untitled from the series #cc, 2019
Dry toner and acrylic on canvas, wall in-
tervention
80 x 80 cmLeo Marz Project selection July, 2020
El viento (de la serie #cc), 2019
Dry toner and acrylic on canvas
160 x 480 cm
1977, 1978, 1979, 1980, 1981, 1982, 2019
Oil on canvas
65 x 60 cmLeo Marz Project selection July, 2020 Bailout A Million of Good Reasons to Become a Millionaire was a 2006 drawing project by Damián Ontiveros in which he depicted Adam Smith while performing actions to produce wealth. It consisted of 563 master drawings that were copied 1776 times (first print of The Wealth of Nations) by manual labor of people from different contexts: art students, blue collar workers, even communities of migrants. His intention was to complete a million of drawings each of them costing a dollar to create a million dollar art work. The production process, through which the foundations of modern capitalism and the mechanism of free market were satirised, clashed into a series of misfortunes, provoking its demise. Damián quit working on it in 2010. With Bailout, Leo Marz has gathered funds from Instituto Zacatecano de Cultura and CENART to rescue the project. He rearticulates the ma- chinery of A Million of Good Reasons to Become a Millionaire to talk about the collapse of the economic system, through a reenacment of the use of public funding to try to keep it running (TARP, Fobaproa, etc.)
Leo Marz Project selection July, 2020
Bailout, 2014
Installation view
Marble, drawings on paper, inkjet prints on
paper and gold painted metal cubes
Variable measuresLeo Marz Project selection July, 2020
Leo Marz Project selection July, 2020
Leo Marz Project selection July, 2020
Leo Marz Project selection July, 2020 CHATS Leo Marz has a deep interest in how new media modifies the way we represent ourselves and create our own public self with the multiplicity of fictions surrounding us. The same ones that had modified their own narrative structures thanks to platforms like Youtube and the different social networks. Phenomenon that, at the same time, alter the way we contextualize ourselves and create our own story / history. Departing from Pasolini’s idea about the unique capacity of cinema to reproduce reality, differentiating it from the other arts, and in that reality is constituted solely by multiple fleeting examples. It is to say by particular cases by means of which we are able to include / understand behav- iors, gestures and attitudes of our resemblances. We could assert that we can produce sense thanks to the understanding of therelations between these fragments of reality. CHATS is a video series based on actual MSN Conversations collected by José Jiménez Ortiz for his My Received Files project. They are per- formed by my family and close friends. Every episode deals with a different aspect affected during virtual interactions like time, space, language, identity, etc. Marz’s intention is to address this fragmentation and uncertainty. As Mario Pezzella says: “Movies express by nature of its technique and production the experience of the discontinuity that the ‘new machines’ introduce in every aspect of common life.”
Leo Marz Project selection July, 2020
CHATS E04, 2011
Video HD
10:51 minLeo Marz Project selection July, 2020
CHATS E03, 2011
Video HD
02:47 minLeo Marz Project selection July, 2020
CHATS E05, 2011
Video HD
01:49 minLeo Marz Project selection July, 2020
CHATS E01, 2011
Video HD
02:28 minLeo Marz Project selection July, 2020 Don’t Look Behind (Trampa Macabra) In Trampa Macabra a curator turns into a detective and starts the hunt for an assassin who removes and collects Dr. Lakra tattoos. The project is a reflexion about the life span of cultural products and, above all, of cult films in the post-internet era. The potential of the fullfilment of the movie is suspended to analyze their development in the mediatic resources offered by new technologies. Its deterioration, fragmentation, dis- memberment, recomposition, possible translations, dubbing, supports, etc. are recovered as creating platforms and to analyze an overflow of products generated by consumers of pop culture. Interested in the genre and of its production forms, Marz plays with aesthetic and conceptual elements that allow him to travel between produc- tion resources of 70’s cinema and the mediatic platforms and broadcasting nowadays.
Leo Marz Project selection July, 2020
Trampa Macabra, 2014
Brilliant white enamel on wall
300 x 1000 cmLeo Marz Project selection July, 2020
Trampa Macabra a.k.a. Don’t Look Behind,
2014
Acrylic and led sign
70 x 300 cmLeo Marz Project selection July, 2020
T
rampa Macabra, 2014
HD video projectionLeo Marz Project selection July, 2020
Trampa Macabra, 2014
HD video projectionLeo Marz Project selection July, 2020
Trampa Macabra, 2014
HD video projectionLeo Marz Project selection July, 2020
Trampa Macabra, 2014
HD video projectionLeo Marz Project selection July, 2020 Dead Ringers The paintings depict two nearly identical film stills from Alfred Hitchcock’s Vertigo. They portray the scene in which Scottie ( James Stewart) observes Madeleine (Kim Novak) sitting on a museum bench gazing at a portrait of Carlotta Valdes. Marz had two identical twins to create the paintings for him and they will be installed on opposite walls. A close comparison will show that although they differ slightly, the paintings de- pict the same scene. The twin paintings are accompanied by a slide projection showing brief texts that summarize the plots of other films. Scenic painters were hired to paint the texts on linen, then photographed the paintings, and then incinerated them so all that remains are their ashes. The plot summaries that he selected could easily be mistaken with that of Vertigo. The installation also includes two wooden boxes, one named Gimmick and the other Fake. Gimmick contains a certificate from Marz attesting to the fact that the two paintings were created by identical twins together with blood samples for possible future DNA testing. Fake houses the slides and the ashes from the burned paintings.
Leo Marz Project selection July, 2020
Dead ringers, 2012
Installation view
Two oil paintings on canvas 180 x 99 cm
each; wooden box containing certificate,
hair and blood samples of identical twins
who painted them; wooden box containing
slides and ashes from burned paintings and
slide projector (06:40 min)Leo Marz Project selection July, 2020
Dead ringers, 2012
Oil painting
180 x 99 cmLeo Marz Project selection July, 2020
Dead ringers, 2012
Oil painting
180 x 99 cmLeo Marz Project selection July, 2020
Dead ringers, 2012
Intallation detail
Wooden box containing slides and ashes
from burned paintingsLeo Marz Project selection July, 2020
Dead ringers, 2012
Installation detail
Wooden box containing certificate and
blood samples of identical twins
who painted themLeo Marz Project selection July, 2020 Yet Unnamed, three exercises on contextual materiality The history of ideas could be approached by relating them to that which makes them possible. This is because it has not been comprehended in terms of continuity, but rather in function of changes and transformations that follow time-space based data to be analyzed. Foucault says that the history of ideas truly starts when the multiple character of truth was understood. That is to say, ideas vary upon different cultures and, to no- tice it, it is precise to document the effects of rupture in history of the diverse ways of thinking of the actors and semantic variations of language which do not allow us to conceive a history of ideas homogenous and continuous. During Marz’s residency at PAN Studios Program he developed a project focused on the possible leaks existing between a museum and its ar- chive, generators of meaning, and its context. He interested in how these leaks, which are often presented as discussions, provoke the regenera- tion of signifiers and future context through dialogue. Poetically, this discussions may produce enough energy to create a symbolic big bang that would allow us travel in time letting us trace a memory for the future.
Leo Marz Project selection July, 2020
Ferrante Imperato Dell’Historia Naturale,
1599
Wikipedia version (left) and the original
image taken from the manuscript section
from the Naples Library (right).Leo Marz Project selection July, 2020
Archive Wall, 2010
Museum wall painted in layers with all of
the colors it has been historically painted
700 x 400 cmLeo Marz Project selection July, 2020
Big bang, 2010
Pigments used in neapolitan fireworks and
a selection of the top 10 discussions at Ra-
dio Pan about the City of Naples
250 x 250 cmLeo Marz Project selection July, 2020
Fantascienza Napolitana, 2010
Video HD
6:00 minLeo Marz Project selection July, 2020 Justin Case this is the end This exhibition is articulated through six projects. The name of the exhibition may suggest a wordplay; nevertheless it refers to a real person. Jus- tin Case is an actual character with whom Marz held an interview regarding the literal meaning of his name. Within the context of this exhibi- tion, this reference becomes a suggestion to lucubrated fictions on what “could happen” in case the world came to an end. The aesthetic dwellings proposed by the artist take off from apocalyptic imagery or the notion of “end” of culture, in order to confabulate fic- tional sceneries through Casa del Lago’s documents, biographical records, drawings, as well as postmedia projections and museographical mon- tages. Through this heterogeneous combination of formats and the collaborative methodology of “featuring”, this exhibition involves procedures common to contemporary art, such as archival simulation and institutional memory; the narrative potential of indexes, testimonies, and histor- ical documents; and the construction of false imprints through drawings and video footage. Such convolution traces temporary lines between ambiguous contexts and hypertextual resonances, unfolding narratives that incite us to make hypothetic speculations about the “end” as cultural logic.
Leo Marz Project selection July, 2020
Leo Marz feat. Oswaldo Ruiz
Portrait of Justin Case, 2010
Photo print
40 x 50 cmLeo Marz Project selection July, 2020
Leo Marz feat. Rubén Gutiérrez
NO ONE will become saved from eternal
damnation after Friday, 21, 2011
Cada lunes se acaba el mundo, 2011
Charcoal on paper and Video HDLeo Marz Project selection July, 2020
Leo Marz feat. Pablo Rasgado
La Historia como Espacio Negativo del Fu-
turo, 2011
Graphite dust on wallLeo Marz Project selection July, 2020
Index awaiting to be archived, 2011
Materials used to produce and mount the
showLeo Marz CV July, 2020
Leo Marz 2018 Mexico City, Mexico 2012
Zapopan, 1979 Las batallas del display, Alternativa Once, Los irrespetuosos, Museo de Arte Carrillo Gil,
Monterrey, Mexico #núcleo, Galería Hilario Galguera, Mexico Mexico City, Mexico
STUDIES City, Mexico
MFA in New Media, Transart Institute and 2017 Mitos oficiales, Laboratorio de Oaxaca, Oaxa-
Donau Universität, 2006 – 2008, Krems, Monolito, Proyectos Impala, Chihuahua, Mex- La imagen perdida, Museo de Arte Raúl An- ca, Mexico
Austria ico guiano, Guadalajara, Mexico
Los impolíticos, Espacio de Arte Contemporá-
Bachelor’s degree in History. UACH. Chihua- 2012 2017 neo, Montevideo, Uruguay
hua, Chihuahua Dead Ringers, Steve Turner Contemporary, Forma sobre fondo, Proyectos Monclova, Mexi-
Los Angeles, USA co City, Mexico 2011
Technical carrer in analog photography Escue- Tiempo de sospecha, Museo de Arte Moderno,
la Americana de Fotografía. Monterrey, Mexi- Realidad in Absentia, Muno, Zacatecas, Mexico La nueva onda del silencio, El cuarto de máqui- Mexico City, Mexico
co nas, Mexico City, Mexico
2011 2010
Bachelors degree in plastic arts, UDLA-P. Justin Case este sea el fin, Casa del Lago, Mexi- proxy, Atski Gallery; NODE Gallery y Studio Second Coming, Hessel Museum of Art, New
Puebla, Mexico co City, Mexico 7044, Helsinski, Finland York, USA
Diploma in world history of cinema. Cinete- 2009 2015 Los impolíticos, Palazzo delle Arti Napoli, Na-
ca Nuevo León. Monterrey, Mexico Cog. No-Automático, Monterrey, Mexico Visualizar, Ex-Convento del Carmen, Guada- ples, Italy
lajara, Mexico
SOLO SHOWS GROUP SHOWS 2009
2020 2020 Centro Cultural Tijuana, Tijuana, Mexico CHPPDNSCRWD, Yautepec gallery, Mexico
XIV Bienal FEMSA Inestimable Azar, Morel- If You Like This, You’ll Love That, Collar- City, Mexico
ia y Pátzcuaro, México works, Nueva York, EUA 2014
La voluntad de la piedra, Museo de Arte Car- RESIDENCIES
2019 2018 rillo Gil, Mexico City, Mexico 2019, Taller Los Guayabos, Guadalajara, Mex-
Aquellos mundos, Galería Hilario Galguera, Registro 05/Enfocar la mirada, Museo MAR- ico
Mexico City, Mexico CO Monterrey MX 2013
Toda la memoria del mundo, Casa del Lago, 2012, The Banff Center FONCA, Banff, Can-
Ficción y tiempo, Centro Cultural Tlatelolco, Mexico City, Mexico adaLeo Marz CV July, 2020
2010, PAN Studios, Naples, Italy Jóvenes Creadores, FONECA, Nuevo León, OTHER ACTIVITIES CONFERENCES
Mexico Curatorial activity 2017
2009, SPACES World Artist Program, Cleve- 2018 – Currently Fantasmas, Museo de Arte de Ciudad Juárez,
land, USA 2009 Director of the Curatorial Program of the Juarez City, Mexico
Jóvenes Creadores, Fondo Nacional de la Cul- CRGS-UDEM, Monterrey, Mexico
2008, SPACE INVADERS, Denver, USA tura y las Artes FONCA, Mexico City, Mexi- 2015
co 2018 Fantasmas, Feria del Libro Tijuana, Tijuana,
GRANTS AND AWARDS Twice-Told Tales, Peana Projects. Monterrey, Mexico
2018 – 2021 2008 Mexico
Sistema Nacional de Creadores, FONCA and La Colección/Fundación Jumex, Mexico City, 2014
CONACULTA, Mexico Mexico 2016 – 2018 Fantasmas, Feria Internacional del Libro Gua-
Artistic Director of Lugar Común, Monterrey, dalajara, Guadalajara, Mexico
2013 Jóvenes Creadores, FONCA, Nuevo León, Mexico Mexico
Acquisition prize Reseña, artwork Tunnel 2013
Mountain, Monterrey, Mexico 2007 2015 – 2016 El relato vence a la muerte, Documentaries
Emergency Chechnya Biennale Prize XII Bienal FEMSA local curator, Monterrey, Tour Ambulante, MARCO, Monterrey, Mexi-
Scholarship for abroad residencies, FONCA Mexico co
and CONACULTA, Mexico 2006
Jóvenes Creadores, FONECA, Nuevo León, 2011 2008
Jóvenes Creadores of FONCA and CONA- Mexico Círculos de Confusión: Caos Social y Fic- Metapong, American Association of Museums
CULTA, Mexico City, Mexico ciones Dominantes, Transitio_MX 04, Mexi- Annual Meeting, Denver, USA
XXVI Encuentro Nacional de Arte Joven, co City, Mexico
2012 Aguascalientes, Mexico 2006
Programa BBVA Bancomer-MACG Arte Ac- 2008 Metapong, Peggy Guggenheim Collection,
tual 2012 – 2014, BBVA Bancomer and Mu- Friends of Transart Institute MFA scholar- Mixtapers ‘R Us’, grade exhibition of the Tran- Venice, Italy
seo de Arte Carrillo Gil, Mexico ship, Stockdale, USA sart Institute 2006 – 2008 generation, O.K
Centrum für Gegenwartskunst, Linz, Austria TEACHING
2011 2004 2018 – Currently
Estímulo Fiscal a la Creación Artística Azúcar en la vía láctea, 2ª Bienal de Yucatán, 2005 – 2009 Bachelor of Arts’ Academic Director at Uni-
CONARTE-Bricos, CONARTE, Mexico Honored Mention, Yucatán, Mexico Curator at Object Not Found, Monterrey, versidad de Monterrey, Monterrey, Mexico
2010 MexicoLeo Marz CV June, 2020 2017 – 2018 Professor of the Bachelor of Arts at Universi- dad de Monterrey, Monterrey, Mexico 2013 – 2015 Co-director of the transdisciplinary program La Conversación, Museo Felguérez, Zacatecas, Mexico 2009 – 2012 Subject professor at the CEDIM, Monterrey, Mexico 2009 – 2011 Invited workshop facilitator, La Curtiduría Centro de Artes Visuales, Oaxaca, Mexico 2008 Workshop about prejudices and perception through the arts, Inside/Outside/North & South, Museo de las Americas, Denver, USA
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