METRONOMICS – ANOTHER VACANT SPACE – BERLIN

metronomics/
synchronisation /
syncopation/
another vacant space

londonbiennale – berlin pollination 2016

november 2016
http://www.anothervacantspace.com/metronomics-1

is a London Biennale invitational and selection to media artists of all disciplines, to be screened , and installed, where works are overlapped in sound and visual experimentation to evolve in a disturbance and interruption of the regular flow of rhythm of a traditional screening, a unique independent visual and audio, screening, and installative sculptural and object based presentation. disparate and (in)cohesive, a fenced chaos built in a time based labyrinth of another vacant space.

the artists´ have created a large mosaic of independent exploration, utopics/ distopics, drug and medicinal culture, bio tech art, geology, tectonics, the cultures of science and physics, biodiversity, conservation, tectonics, climate change and organic or man made pollinations, cultural, agricultural or detris. and with evolving contributions, the concentric widen into an erratic cluster of a hightened pulse.

metronomics will source immersive new media, to analogue constructs, spatially suspended sculptural and object based works.

adam nankervis august 2016
curator

daniel kupferberg
co-curator

A.R.C. Art Research Center Group./A.R.C.Group
art headache
alina iakubenko
anatoly belov
dominik ritszel
dom sylvester houedard
denis salivinov
brion gysin
frank blum
ben carey
daniel kupferberg
klaas hübner
len lye
david medalla
mitya chrurikov
adam nankervis
vincent grunwald
jack the tab
mondrian fan club
t michael stephens
dirk sorge

list of artists: continues this coming fall

A.R.C. Group both historically and contemporaneously always a core of A.R.C. cadre/collective of 3-18 individual members and/or associates: artists, theoreticians, writers, composers, musicians, performers, designers, architects, scientists, technicians, et al. . .or combinations therefrom; who were/are directed toward particular experiments, perceptual and educational events/exhibitions/performances/presentations demonstrative of structural and abstract creative principles/models/exemplars; producing aesthetic objects/events for individual/public participation.

Thomas Michael Stephens is a US American constructivist artist who, together with Jon Brees Thogmartin, founded the The Art Research Center (ARC) in Kansas City, Missouri.

Biography
1963 Produced his first three-dimensional objects made of plastic, aluminium and steel.
1963 – 67 Travelled through the USA and Canada; met Naum Gabo and George Rickey among others.
1965 Founded the Art Research Center in Kansas City for architects, designers and fine artists.

David Medalla (born 1942) is a Filipino international artist. His work ranges from sculpture and kinetic art to painting, installation and performance art. He lives and works in London, New York City and Paris.

Medalla was born in Manila, the Philippines, in 1942. At the age of 12 he was admitted at Columbia University in New York upon the recommendation of American poet Mark van Doren, and he studied ancient Greek drama with Moses Hadas, modern drama with Eric Bentley, modern literature with Lionel Trilling, modern philosophy with John Randall and attended the poetry workshops of Léonie Adams.

In the late 1950s he returned to Manila and met Jaime Gil de Biedma (the Catalan poet) and the painter Fernando Zóbel de Ayala, who became the earliest patrons of his art. In the 1960s in Paris, the French philosopher Gaston Bachelard introduced his performance ‘Brother of Isidora’ at the Academy of Raymond Duncan, later, Louis Aragon would introduce another performance and finally, Marcel Duchamp honoured him with a ‘medallic’ object.

His work was included in Harald Szeemann’s exhibition ‘Weiss auf Weiss’ (1966) and ‘Live in Your Head: When Attitudes Become Form’ (1969) and in the DOCUMENTA 5 exhibition in 1972 in Kassel.

In the early 1960s he moved to the United Kingdom and co-founded the Signals Gallery in London in 1964, which presented international kinetic art. He was editor of the Signals news bulletin from 1964 to 1966. In 1967 he initiated the Exploding Galaxy, an international confluence of multi-media artists, significant in hippie/counterculture circles, particularly the UFO Club and Arts Lab. From 1974 to 1977 he was chairman of Artists for Democracy, an organisation dedicated to ‘giving material and cultural support to liberation movements worldwide’ and director of the Fitzrovia Cultural Centre in London.

In New York, in 1994, he founded the Mondrian Fan Club with Adam Nankervis as vice-president. [1]

Between 1 January 1995 and 14 February 1995 David Medalla rented a space at 55 Gee Street, London, in which he lived and exhibited. He exhibited seven new versions of his biokinetic constructions of the sixties (bubble machines; and a monumental sand machine). These machines were constructed after Medalla’s original designs, by the English artist Dan Chadwick. The exhibition also featured large-scale prints of his New York ‘Mondrian Events’ with Adam Nankervis, and five large oil paintings on canvas created by David Medalla in situ at 55 Gee Street. Another important feature was a monumental animated neon relief entitled ‘Kinetic Mudras for Piet Mondrian’ constructed by Frances Basham using argon and neon lighting after Medalla’s original idea and designs. [2] Medalla also invited artists to perform at the space.

David Medalla has lectured at the Sorbonne, the École des Beaux-Arts in Paris, the Museum of Modern Art of New York, Silliman University and the University of the Philippines, the Universities of Amsterdam and Utrecht, the New York Public Library, Simon Fraser University in Vancouver, Canada, the Universities of Oxford, Cambridge, Canterbury, Warwick and Southampton in England, the Slade School of Fine Art, St. Martin’s.

He was the founder and director of the London Biennale in 1998, a “do-it-yourself” free arts festival, which hosts work by Mai Ghoussoub, Mark McGowan, Deej Fabyc, Marko Stepanov, Adam Nankervis, James Moores, Dimitri Launder, Fritz Stolberg, Salih Kayra, Marisol Cavia, and many others.

David Medalla has won awards from the New York Foundation for the Arts and the Jerome Foundation of America.

Houédard was a leading exponent of concrete poetry, with regular contributions to magazines and exhibitions from the early 1960s onward. [1] His elaborate, typewriter-composed visual poems (“typestracts”) were scattered across many chapbooks, including Kinkon (1965) and Tantric Poems Perhaps (1966). [3] Among his best-known works is the poem Frog-Pond-Plop, his English rendition of a zen haiku by Matsuo Basho. [2][3]

Houédard cultivated an interest in multiple religious traditions; he wrote commentaries on Meister Eckhart and was a founder member of the Eckhart Society, as well as an honorary fellow of the Muhyiddin Ibn ‘Arabi Society.[4] He published a fair amount of literary criticism, often with eccentric typography, [3] and corresponded widely with leading poets, artists, theologians and philosophers of the day, including Robert Graves, Edwin Morgan, Allen Ginsberg, William S. Burroughs, Jack Kerouac, Mark Boyle, John Blofeld, Michael Horovitz and Ian Hamilton Finlay.[2] dom sylvester houedard (dsh) collaborated with Filpino poet and artist David Medalla in a modern ballet entitled ‘The Yellow Wrnkled Pea’, inspired by the life and scientific discoveries of the monk Gregor Johsn Mendel; the modern ballet, choreographed by David Medalla, was performed by members of the Exploding Galaxy at Middle Earth in Covent Garden, London, in 1967. dsh c0ntributed a poem to Signals,the avant-garde newsbulleti by David Medalla in the sixties. dsh, David Medalla and Antonio Sena exhibited together at the Lisson Gallery in London in 1967. David Medalla curated the first solo exhibition by dsh (dom sylvester houedard) at Artists for Democracy’s Fitzrovia Cultural Centre, 143 Whitfield street, London W1, in 1976.

Frank Blum
Since the 1990´s Frank Blum has worked at the interface between science and art.
Scientific curiosity and the desire to experiment are always the decisive impulse to deal with new theories and discoveries of science and in cooperation with research institutions like the Max-Planck Institute or German Heart Center to interpret these ideas artistically.
After his studies in photo-design, sociology and film, he works as a director, camera and editor for different music and tv productions (e.g. „pick-up“ and “rough mix”).
His short films, installations and sculptures has been exhibited at Kunstwerke (Berlin), Postfuhramt (Berlin), Kampnagel (Hamburg), Max Planck institute (Halle) and other renowned galleries, festivals and institutions. In that time he has involved himself in designing film sets and interior designs of Club’s (e.g. E-werk, Casino, Polar-TV).
From the year 2001 he has released several electronic music tracks and performing in Live-Acts.
In the year 2004 he worked with Klaus Emmerich. 2005 he was responsible for camera and music on the filmproduction “Hol sie der Teufel”. 2007 he has founded Studio Blum, where he is responsible for direction, camera and editing.

Leonard Charles Huia “Len” Lye (/laɪ/; 5 July 1901 – 15 May 1980), was a Christchurch, New Zealand-born artist known primarily for his experimental films and kinetic sculpture. His films are held in archives including the New Zealand Film Archive, British Film Institute, Museum of Modern Art in New York City, and the Pacific Film Archive at University of California, Berkeley. Lye’s sculptures are found in the collections of the Whitney Museum of American Art, the Art Institute of Chicago, the Albright-Knox Art Gallery and the Berkeley Art Museum. Although he became a naturalized citizen of the United States in 1950, much of his work went to New Zealand after his death, where it is housed at the Govett-Brewster Art Gallery in New Plymouth.

As a student, Lye became convinced that motion could be part of the language of art, leading him to early (and now lost) experiments with kinetic sculpture, as well as a desire to make film. Lye was also one of the first Pākehā artists to appreciate the art of Māori, Australian Aboriginal, Pacific Island and African cultures, and this had great influence on his work. In the early 1920s Lye travelled widely in the South Pacific. He spent extended periods in Australia and Samoa, where he was expelled by the New Zealand colonial administration for living within an indigenous community.

Working his way as a coal trimmer aboard a steam ship, Lye moved to London in 1926. There he joined the Seven and Five Society, exhibited in the 1936 International Surrealist Exhibition and began to make experimental films. Following his first animated film Tusalava, Lye began to make films in association with the British General Post Office, for the GPO Film Unit. He reinvented the technique of drawing directly on film, producing his animation for the 1935 film A Colour Box, an advertisement for “cheaper parcel post”, without using a camera for anything except the title cards at the beginning of the film. [1] It was the first direct film screened to a general audience. It was made by painting vibrant abstract patterns on the film itself, synchronizing them to a popular dance tune by Don Baretto and His Cuban Orchestra. A panel of animation experts convened in 2005 by the Annecy film festival put this film among the top ten most significant works in the history of animation (his later film Free Radicals was also in the top 50).

Lye also worked for the GPO Film Unit’s successor, the Crown Film Unit producing wartime information films, such as Musical Poster Number One. On the basis of this work, Lye was later offered work for The March of Time newsreel in New York. Leaving his wife and children in England, Lye moved to New York in 1944.

In Free Radicals he used black film stock and scratched designs into the emulsion. The result was a dancing pattern of flashing lines and marks, as dramatic as lightning in the night sky. In 2008, this film was added to the United States National Film Registry. [2]

Lye continued to experiment with the possibilities of direct film-making to the end of his life. In various films he used a range of dyes, stencils, air-brushes, felt tip pens, stamps, combs and surgical instruments, to create images and textures on celluloid. In Color Cry, he employed the “photogram” method combined with various stencils and fabrics to create abstract patterns. It is a 16mm direct film featuring a searing soundtrack by the blues singer Sonny Terry.

As a writer, Len Lye produced a body of work exploring his theory of IHN (Individual Happiness Now). He also wrote a large number of letters and poems. He was a friend of Dylan Thomas, and of Laura Riding and Robert Graves (their Seizin Press published No Trouble, a book drawn from Lye’s letters to them, his mother, and others, in 1930). The NZEPC (New Zealand Electronic Poetry Centre) website contains a selection of Lye’s writings, which are just as surprising and experimental as his work in other media. One of his theories was that artists attempt to reproduce themselves in their works, which he exposited in an essay complete with visual examples.
A 45m Wind Wand on the New Plymouth waterfront.
Lye was also an important kinetic sculptor and what he referred to as “Tangibles”. He saw film and kinetic sculpture as aspects of the same “art of motion”, which he theorised in a highly original way in his essays (collected in the book Figures of Motion).

Many of his kinetic works can be found at the Govett-Brewster Art Gallery in New Plymouth, Taranaki including a 45-metre high Wind Wand near the sea. The Water Whirler, designed by Lye but never realised in his lifetime, was installed on Wellington’s waterfront in 2006. His “Tangibles” were shown at MOMA in New York in 1961 and are now found worldwide. In 1977, Len Lye returned to his homeland to oversee the first New Zealand exhibition of his work at the Govett-Brewster Art Gallery. Shortly before his death in 1980, Lye and his supporters established the Len Lye Foundation, to which he gave his work.[3] The gallery is the repository for much of this collection, employing a full-time curator to ensure its preservation and appropriate exhibition.

Lye was a maverick, never fitting any of the usual art historical labels. Although he did not become a household name, his work was familiar to many film-makers and kinetic sculptors – he was something of an “artist’s artist”, and his innovations have had an international influence. He is also remembered for his colourful personality, amazing clothes, and highly unorthodox lecturing style (he taught at New York University for three years).

Daniel Kupferberg
* 1982 in Aalborg, Denmark.

Daniel Kupferberg is an artist and infuses curatorial practice within his ongoing dialogue. Daniel Kupferberg has exhibited in Berlin, including solo and group exhibitions in Berlin and Europe.

Current
—
Northern European language and litterature studies, music and media sciences, Humboldt University, Berlin (DE)

2010
Meisterschüler, UdK-Berlin (DE)

2006-07
Interdisciplinary Arts with Jaan Toomik, Estonian Art Academi, Tallinn (EE)

2004-10
Visual Arts studies, Universität der Künste-Berlin, in the class of Rebecca Horn and of Lothar Baumgarten (DE)

2003
FAKB and JUKS art schools, Berlin (DK)

2002
Grafisk Skole, Aarhus (DK)
2001-02
History of Art, Aarhus University (DK)

Lives + works in Berlin (DE) etc.
web: http://danielkupferberg.dk/
email: dsk@gmx.de

 

Sound sculptor, improviser and instrument maker Klaas Hübner has developed a body of work, which honors sound as a live-medium with which to craft, shape and play in real-time.

As an improvisor Hübner has developed a playful, Punk and Flux inspired practice, which ranges from installation based works, to live improv, to theatre and sound design. Examples which illustrate his approach include inviting audiences into a studio-flat, where Hübner submerged in a bathtub tries to playing various self-built instruments. Such examples thrive on the immediate tensions that arise between the body, the instrument, the site and the sound itself. Similarly Hübner’s improv collaborations literally see the artist ‘sweat’ as he teases out the sounds, which emerge from his modified instruments.

Hübner’s attention to the sound and its immediate experience within a space, is also reflected in his subtle understanding of how sound effects our perception and awareness. Such concepts have been refined in his more recent sculptural and theater based work where essentially, sound becomes the main ‘character’. These works are an exciting new move, demonstrating a progression and maturity in Hübner’s work, which he describes as ‘sound’ for theater but without the actors (or Hübner as performer). Instead within these works, the sound itself becomes the main character, resulting in new modes for ‘staging’ sound whereby the audience can enter into the sound, fully immersing themselves into its audio attributes. This treatment of the sound is also reflected in his gallery based installations, within which Hübner continues to refines such ideas, while all the time retaining a playful presentation, which demonstrates a commitment to sound in all its drama, guts and glory.

Teresa Dillon

 

 

 

Dominik Ritszel moves between film and video-art. He is inspired by human gesture: pure, repeatable and primal,sometimes just the gesture in itself. A theme that he often occurs in his works is discipline, shaping of authorities, critique of total institutions. His films are devoid of dialogue and silence prevails in them, creating an uneasy atmosphere of menace.The presented reality seems to be suspicious, and each of the heroes’ actions accidental.

While working on “Versus”, the artist wanted to employ a prearranged situation to capture the moments that go beyond the predictable convention of sport rivarly. The camera uses tight framing and close-ups to watch a group of young men during a sport traning. They are portrayed out of the context of the situation they are in, through close-ups of handshakes, of a hand sliding over the floor slippery with sweat,eyes meeting in a chalenging look. He uses extreme close-ups to look for flaws in a seemingly hard and smooth structure. There is no moment of fulfilment, competing does not lead to victory, instead of manifestations of force and endurance the camera makes us watch moments of hesitation, suspended looks, involuntary, anxious gestures.
Marianna Dobkowska

Dirk Sorge
Born in Berlin 1984.

Dirk Sorge lives and works in Berlin. As a visual artist he works with video, computer programs, installations, and also with texts. Digitally he often confronts and controls matter with analog and spontaneous actions. Themes from pop culture and science fiction, as well as their, ‘aesthetics are taken from him and broken with influences from minimal art and scientific contexts.

“This video collage shows Michael S. Rogers, Director of the NSA, giving a lecture on cyber security. It is combined with found footage from YouTube, pictures of the Apollo 11 mission and the song “ATLiens” by Outkast. The work raises questions about the theft of intellectual property, the credibility of digital media and the possibilities to manipulate it and be manipulated by it.”

Ausbildung an der Technischen Universität Berlin
seit 2012 Masterstudium „Philosophie des Wissens und der Wissenschaften“.

2010–2012 Bachelorstudium „Kultur und Technik“ mit dem Kernfach Philosophie.

Ausbildung an der Universität der Künste Berlin
2011 Meisterschülerabschluss in der Fachklasse von Prof. Michaela Meise. 2010

Absolventenabschluss mit außerordentlichen künstlerischem Erfolg; Beginn des Meisterschülerstudiums.
2007 In der Klangkunst-Klasse von Gastprofessor Tilman Küntzel. 2006 – 2010 In der Fachklasse von Prof. Lothar Baumgarten.

Vincent Grunwald
born and living in Berlin.

studied Art in at UdK Berlin and at IUNA, Buenos Aires (2006-2012)
his Professor were Angela Melitopoulos, Hito Steyerl, Eduardo Molinari and Magerita Paksa.

Founded the book publishing AKV Berlin in 2008 together with Kevin Kemter, Max Stocklosa, Anna Szaflarski.
His works were shown in various international and national exhibitions.

Recent exhibitions:
Group Show V, Gallery Alexander Levy, Berlin
Damaged Models, U10 Artist Space, Belgrade
Art Demo Day, Gallery Ruttkowski 68, Cologne
Black Energy, Bolzano, Italy
Eau et Gaz, South Tirol, Italy
Body Holes, Berlin Biennale 9, Berlin
Archivos Imposibles, Fundación Lebensohn, Buenos Aires, Argentina
WeicheWohnWelten WW, South Tirol, Italy
Staging Distance, Zeiss-Großplanetarium, Berlin

Today´s statement was made by the king of Ayodhya . Rama said (direct speech) “.. Coming soon you will see the sky darken from my arrows, planets stops , the moon disappears from sight, the fire and the wind die down .. sunshine go out. The mountain ranges turn into sand , the lakes dry up , vines and trees will be uprooted, and the ocean will disappear from the earth! They will be forced admit my prowess. No one in the universe does not find a refuge ……….. “He also noted that the (direct speech) ..” Flow of my arrows destroy worlds of gods, giants and demons. by my arrows I will break the resistance of the three worlds .. “…….
He did not have a head, and his mouth was at the stomach level. Covered with hair, big as a mountain, dark as a cloud, a terrible demon yelled at the whole forest, and his voice rumbled like thunder. He shone like a flaming torch, and seemed showered by sparks. One of his eyes with yellow lids opened on his chest, looked strange and disgusting. Beast licking their lips, revealing two rows of sharp teeth in a huge mouth. The fierce and ugly, it devoured boars, lions and birds, catching them with his huge big hands froma distance of four miles. By one movement it raking in flocks of birds and herds of deer and sent them into his mouth.Vishvamitra said today : ” .. due Sita.. the Lanka city with its temples and palaces glittering gemstones of all kinds.. is razed to the ground before your eyes…even innocent and pious, having touched will suffer from other evil deeds, like a fish in the lake teeming with snakes..

..those who by the grace of the winners will survive, along with their wives
will run in all directions, never finding refuge.. ”

Denis Salivinov
Kiev Ukraine 2016

at the heart of the creative nature of human there is some strange contradiction, which move to a self-destructive aggression. the reason of this conflict is so complex and multifaceted that is not understood many ages. this philosophical problem is well interpreted in the ancient Indian epic “Ramayana” having a basically symbolic description of illogical internal motivations of human nature that gives rise to a chain of dramatic events. gods and demons are in constant cyclical struggle that causes the universe to balance on the edge of total destruction.
most modern people watching civilizational processes through the mass media. like the character of the ancient epic, a messenger of the destiny of the world to become a newscaster. a face of newscaster – it is a mask of the medium who transmitting the dramatic events for the viewer.

in the video, a channel newscaster stands as an actor of Indian Theatre “Kathakali”, a feature of which consists in actor playing exclusively through facial expressions. declaimed text is a number quotations of characters of the Ramayana epic. this text sounds as comments to the video fragments of journalistic reporting in war zones in the countries of the east.

this work is a kind of multi-layered collage in visual – stylistic sense, which is a mix of the ancient theater and Mass media format. the content of this work is to display different angles of Eastern culture.

Denis Salivinov

concept:
Denis Salivanov´s work touches on many subjects, but in its basis there is a certain conceptual approach. it can be characterized as the work on the perception of the information. as a media artist of the most important for me are the issues associated with the information in its visual display.
the main part of my work is theoretical. in this work I formulate my approach in creating visual language capable of displaying reality more complete. at the base of this concept is the creation of different sorts of of structures from which is possible to create information-filled visualizations.

art-lab:
in addition to individual projects in the process of work I arrange art-laboratory. This format appears periodically and is being done for the study and collecting material. such art-laboratory includes bluescreen and video camera. for further analytical work used a computer and new scientific articles of physics of matter from the Internet.
usually recorded on the video movement of man. Video is processed by certain visual effects that change the speed, consistency, and the curvature of space. such effects allow you to see regularity, which can not be traced in real time. the next phase of the work associated with the creation of systems and charts that relate to the physical scientific evidence.

visualizations:
creation of visualization occurs on the basis of experiments with video recording. such visualizations are complemented by video effect that visualize processes that hidden from perception. as the basis of the work is the idea of a more complete display of reality is very important the method of their demonstrating. here it seemed natural follow the way of integration of visualization in real space as a simulation.
main idea is that the seen (recorded) process is returned back into the same space as a meaningful, complete, detailed and expanded. meaningful event embedded in reality on a visual level.

Anatoly Belov (b. 1977) – the artist lives and works in Kiev. He graduated from the Taras Shevshenko State Art School and the National Technical University of Ukraine in Kiev (Polytechnic Institute). He is a member of the artistic group R.E.P. His most famous works include: “The Most Pornographic Book in the World” (2008), ” The Most Pornographic Book in the World II” (2012), the manifesto “Super Art of Tolik”; works in public spaces: “How Much (Costs) Morality?,” “My porn – My right!,” “Homophobia Today – Genocide Tomorrow!” The artist’s most important exhibitions in recent years: “If” (Museum of Contemporary Art, Perm, Russia, 2010), “Journey to the East” (Arsenal Gallery, Białystok, and Mystetskyi Arsenal, Kiev, 2011), “Ukrainian Body “(Visual Culture Research Center, Kiev, 2012), “Ukrainan News” (CCA Ujazdowski Castle, Warsaw, 2013).

Adam Nankervis is an artist and curator who has infused social, conceptual and experimental practice in his lived-in nomadic museum, museum MAN, and his ongoing project ‘another vacant space.’. His immersion into the experimentation of social sculptural forms and aesthetic collisions are a trademark of his art.

His ongoing project ‘another vacant space.’, re-manifested in Berlin, Wedding in 2011, since first being found in an abandoned shoe shop on Mercer Street NYC in 1992. The project focuses on the re-emergence of the hidden in subject, content and theory, the ephemeral, exploring the art of creative destruction and reconstruction, inviting both contemporary artists and the historical.

His curatorial practice is infused within his own projects, and singularly, Johannesburg Biennale 1997,curated by Okwui Enwezor and Gerardo Meesquera, LIFE/LIVE Musée d’Art Moderne de la Ville Paris, curated by Hans Ulrich Obrist, Los Angeles Biennale 2001, curated by Koan Baysa, Museum MAN/ Blurprint of The Senses Liverpool Biennale, 2004/ 2006, aFoundation and Arts Council England. Centro Cultural Palacio de la Moneda, Santiago, Chile, curator, Isa Garcia. A Spires Embers, Arsenal Kiev 2009,’ iIsolation’, Izolyatsia Donetsk, Luba Mikhailova, Ukraine 2010, A Wake, Dumbo Arts Center, NYC November 2012.

Nankervis, in collaboration with David Medalla, formed The Mondrian Fan Club, & is the International Coordinator of the London Biennale 2000–2016 which was founded as a free-form artist initiative.

metronomics
synchronisation/syncopation

londonbiennale
berlin pollination
2016

september302016

londonbiennale2016
david medalla.
founder/director
adam nankervis.
international coordinator

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