Radovan Radojčić, Slavoljub’s father, a railway employee and his mother Katarina, with three of their children (two daughters, Marija i Olga, and a son, Petar) live in Pančevo. The father does not want to cooperate with the occupiers and the family is exiled from Pančevo. They move to Belgrade and find a place to live in Prokop “inhabited mostly by railroad workers and immigrant Serbs who had fled from Croatia on the eve of and after the beginning of the Second World War”.
Slavoljub was born in Belgrade on August 30. The family will have two more girls, Milena and Ljiljana.
He enrolled elementary school “Vojvoda Mišić”, in Belgrade. It was a comfortable building, former shoe-polish plant so that the floor and wooden staircase smelled of shoe-polish.
He began to sculpt in the school, in the art section when pupils used to sculpt and paint with their teacher Paja, who held classes in handiwork.
After the fourth year the school moved in the building next to the Partizan Sports stadium and the Church of Archangel Gabriel in Humska Street. Slavoljub used to sing in the church choir.
The teacher of physical education was Ljuba Ivanović, a world-famous judo representative. He took some of his pupils, including Radojčić, to train wrestling in Partizan.
His father died.
He passed the entry exam for the Tenth Belgrade High-school in Topčider. His arts teacher is Bosa Beložanski, a “real angel” as Radojčić says. She would say “you see, children, how beautiful this is” fascinated by some works mostly with flowers. Girls used to paint flowers and boys painted cars, Flash Gordon, cowboys…
Radojčić went to school and returned home passing through a big park, called Hyde Park. In the spring, when the snow fell during the night, it was still to be seen in the morning on tree-branches. It was an unforgettable impression and Radojčić used to paint that. The professor did not fully understand it and could not accept it.
Then, for some time Pavle Radovanović, a sculptor, worked as replacement for professor Beložanski. He had just returned from Goli otok, and traces of his stay there were readily visible. Radovanović was finishing the special course in sculpting with the sculptor Sreten Stojanović. His pupils were fascinated by his knowledge of the Renaissance, Giotto, Masaccio, Fra Angelico and other painters. Some were so impressed that later they chose social studies and art as their career. Among them was Bogan Tirnanić, future journalist who enrolled History of Art. Radojčić went to the Academy of Fine Arts and Braca Ferenček to the School of Architecture.
Radojčić went to preparatory classes for the Academy in the School of Lala Subotički in Šumatovačka Street. There were not only those who studied for entry exams but also people from the so-called general public who wanted to learn about fine art techniques. Preparatory classes were also attended by: Milka Stojanović, Laza Šermetr, Boris Heljd, Dragoš Kalajić, Pavle Aksentijević, Marica Prešić. The atmosphere was fantastic since young people who were primarily interested in fine arts also came regularly. It was a circle where they worked, discussed, debated…
Slavoljub tried to enrol the Academy in Belgrade but failed the entry exam and returned to his high-school for another year.
Radojčić’s seven years elder brother, Petar, future specialist in Mechanical Engineering, was his idol. It could be perceived in many things, particularly because he was very tidy, in comparison with his younger brother who used to make chaos permanently. He also had golden hands and could make whatever he imagined. He was a good draughtsman and made excellent watercolours. His professor in the Second Boys High-school was Pavle Vasić. Petar used to shield his brother and after the death of their father he was the family protector. He spent a year in Germany and on his return brought along a television set and a Vespa. Since that was the only television set in the neighbourhood, half the street used to come to watch television. Radojčić was preparing for the Academy, watched television and drew.
Completes third year of high-school.
First year of university studies.
He applied to the Academy (it has been Faculty of Fine Arts since 1973) again, this time passed the entrance examination, as well as the exam necessary for testing the complete high-school education (for those who wanted to enrol the university without finishing high-school). He began his regular studies.
The first year was spent in the class of Stojan Ćelić, Docent at the time, and in Rajićeva Street students drew portraits and nudes in charcoal. Ćelić would enter, always had a few witty remarks, inspected their works and said to Radojčić: Mister Nose. At the end of the winter term there were individual conversations with the professor when students talked about their own works or works done by their colleagues. If someone went too fa, the professor would say: “do not prattle”.
Second year of studies.
Radojčić transferred to the Department of Sculpting (also in Rajićeva Street) in the class of Nikola Janković, Docent at the time. There was a disagreement between them since Radojčić began to produce abstract works and Janković did not like that. He sculpted in the morning and drew in the afternoon. Student had life drawing classes and the subject was taught by Aleksandar Luković, Docent at the time.
Third year of studies.
As a third-year student Slavoljub was able to choose his professor and he transferred to the class of Associate Professor Jovan Kratohvil; classes were held at Topčidersko brdo. The main subject was big nude after live model. It was not easy to do: the clay, structure, armature, proportions, movement, character – and the head had to fit into the whole.
In the summer, after finishing the third year of studies, Radojčić worked with his colleague on the restoration and conservation of St. Paul’s baroque church in the prison at Lepoglava. The administration was then organised by the Yugoslav Institute for the Protection of Cultural Monuments and therefore the team was mixed – there were Croatians and Serbs.
Fourth year of studies.
Because of a conflict with one of the class mates he left Kratohvil and transferred to Associate Professor Miodrag Miša Popović. Radojčić points out that the most significant skill he learned was what Popović appropriated from Marino Marini: sculpting in planes, slight bent but well linked. That was a new energy in the Sculpting Department.
Excursion to Zagreb. Visit to the Academy and the studio of Frano Kršinić. His whole class copied the works of their professor and Kršinić, noticing the astonishment of Belgrade students, said: the boys are very delicate.
Radojčić spent the summer working in monasteries: Visoki Dečani, repairing of small cupolas, works monitored by Radoman Gašić; Ravanica – cleaning of frescoes.
Fifth year of studies.
The last year of studies.
Excursion to Paris. Hotel Vandôme, in the vicinity of the famous Vendome square after which it was named. Leader of the group Zoran Pavlović, professor of Art History. Impressed by a specific angle of vision, from afar, of the monument to Maréchal Ney, close to the Triumphal Arch, several decades later Radojčić made his sculpture Marshal Ney (1983, plaster).
For his diploma he made a big male standing nude Nude Study of Murat (1965, plaster). He received the Academy of fine Arts award from the “Sreten Stojanović” Fund for the sculpture. Đorđe Kadijević, art historian and film director, said for this piece that it was “one of the most beautiful and mature student works in all generations!”
He spent the summer on reconstruction of the basilica in Heraclea – chiselling of parapet slabs in marble. Architect Milka Čanak monitored the works on architecture and Gordana Tomašević was in charge of archaeological digging.
Third Secretary of the American Embassy in Belgrade – Tom M.T. Nils – was delighted by our monasteries and used to visit them with Radojčić every Saturday and Sunday for several years. Later (1999) on when he was in charge of South-eastern Europe in the U.S. Department of State he advised Serbia to let NATO free passage and withdraw army troops from Kosovo.
Radojčić became a member of the Association of Serbian Artists (ULUS).
He took part for the first time in a group exhibition – in Belgrade, ion the Art Pavilion in Masarikova Street, at the Sixth October Salon (20 October – 20 November 1965) and in Slovenj Gradec, Art Pavilion, Yugoslav Exhibition “Peace, Humanity and Friendship Among Nations”. From then on he would participate in many group shows in the country and abroad.
He becomes acquainted with his future wife Mirjana Popović.
In the autumn he enrolled postgraduate studies with Professor Miodrag Miša Popović, his diploma mentor at the Department of Sculpture.
Marina Abramović often came to the class and once she wrote on the sculptor’s easel of his colleague Miša Tripković – Tao – inexorable fate/destiny.
Slavoljub now works in new figuration, makes experiments and pursues his own expression. He finished the year successfully.
He received the First Award at the competition of the Central Committee of the Youth of Serbia on the occasion of the Day of the Republic in 1966 and the National Award for sculpture for Yugoslavia in The Hague at the exhibition of small sculpture in Madurodam. Radojčić was not present when the award was granted.
After this exhibition, with Kolja Miunović he was engaged in Belgrade on preparations for the exhibition that was to be opened in Amsterdam in early 1967 (17 February-9 March) in Galerie d’eendt. Other exhibitors at the show were Ana Viđen and Milija Glišić. The author of the exhibition catalogue preface and organiser of the exhibition was Aleksa Čelebonović.
Slavoljub had the first solo show in the Cultural Centre Zapadni Vračar. He had more solo shows later on both in the country and abroad.
After the exhibition he stayed for a month in Amsterdam, at the Hotel Brower at Singel Canal.
Radojčić took part in the First Exhibition of Yugoslav Portrait in Tuzla and received the purchase award for his sculpture Murat (1966, patinated plaster). He will exhibit his works at the Exhibition of Yugoslav Portrait: at the Second Exhibition in 1971 when he presented the Portrait of Pavle Kovačević (1970, patinated plaster) and at the Fifth Exhibition in 1983, when he received the purchase award for his sculpture The Breakfast of S.Ć. (1981, bronze).
In the autumn he finished his postgraduate studies and went to Ljubljana to do his military service. Made drawings which have been preserved to the present day. His friends there were Balša Rajčević and Boža Babić (there were many anecdotes with Boža Babić) He stayed in the army for one year.
Having returned the equipment he left the army, boarded the train and came back to his family house in Belgrade.
He began to sculpt in the laundry room of his girl’s house Mirjana Popović, in Osmana Đikića Street (Professors’ Colony) and turned it into his studio.
His visitors in that improvised studio were art historians Đorđe Kadijević and Lazar Trifunović, artist Milija Glišić, skilled craftsman Voja Lazić. The collector, gallery owner and art dealer Čeda Edrenić also came frequently. Having seen the drawing Lenon (1968, India ink and pen on paper) he suggested to Radojčić to continue in the same fashion and he would sell everything. In that “studio” television director Jovan Ristić filmed a television movie with Radojčić.
He exhibited his works at several group shows in Belgrade.
The Republican Association for Culture granted Radojčić a studio in Franca Rozmana Street, on the thirteenth floor with three more studios (those occupied by Momčilo Antonović, Gradimir Petrović and Danica Antić). He lives and works in the studio.
Sends his works regularly to group exhibitions.
In St. Gallen (Switzerland), in the early days of the year, Radojčić’s exhibition of drawings and sculptures (from 7 January to 15 February) opened a new gallery. The gallery Dibi Dabi later became Gallery Wilma LOCK and Radojčić frequently exhibited there. The Gallery still exists.
Makes sculptures (Guest Workers) as direct response to what he had seen in the trains travelling in Germany, Switzerland, the Netherlands.
He receives a British Council grant and spends a month in London. The exhibition of Contemporary Yugoslav Sculpture was opened in Hayward Gallery (30 April – 31 May) and he exhibited the Hide of a Centaur (1970, plaster). On 7 July that year the Director of the Gallery Robin Campbell thanked Radojčić for his participation and wrote that many people were interested and that there were a number of important newspaper reviews. At the same time he said that he was happy Radojčić could come to London while the exhibition was still on and hoped that his stay was pleasant.
He went to visit Henry Moore and his studio outside London with the sculptress Olga Jevrić and the sculptor Oto Logo. In London Radojčić visited various places of interest and also a flea-market Petticoat Lane Market where he found a number of interesting things and bought tools and some equipment.
He married Mirjana Popović, who was then finishing her studies of Comparative Literature. Made changes in the studio and they lived in it for some years, even after their son was born. The space of the studio was turned into the flat and the working space was moved to a glazed balcony. It was very small and he continued to work in the laundry room but was forced to leave it soon.
In August he was elected a Teaching Assistant for Sculpting and Drawing at the Academy of Fine Arts in Belgrade. He was assistant to his former professors Miodrag Miša Popović and Jovan Kratohvil.
He took his students to the exhibition of Ivan Meštrović in Zagreb. They stayed only one day, arriving on a night train from Belgrade and returning again on a night train to Belgrade.
He took part in the Symposium SCULPTURE IN SAND STONE in Ostrožac (Cazin) and makes the sculpture Big Galicia (sandstone from Bihać). The subject matter of Galicia had obsessed him for a certain time, from 1972 when he made Small Galicia (bronze) until 1976 when he chiselled in Aranđelovac yet another Big Galicia.
It was he commemoration of his grandfather, his mother’s father, Stojan Marković, who he did not know and the only memory of him was a photograph, apart from the many stories he heard in the family. Grandfather was drafted into the Austro-Hungarian army and the photograph was from Baja (Hungary) before the army left for the Russian front in Galicia (Between Poland and Belarus). Grandfather lost his life there and his grandson dedicated to him his sculptures.
Beginning with Cazin, where Radojčić’s sculpture was left in open space, the artist would produce sculptures and wall applications (plaques and reliefs) for open and public spaces.
At the Symposium BELI VENČAC (WHITE MARBLE FROM VENČAC) in Aranđelovac Slavoljub chiselled Big Galicia (White marble from Venčac). He was assisted by Nikola Kovačević, a skilled chiseller who worked on the caryatids for Meštrović’s monument on Avala. Kovačević was elderly then and Radojčić mostly did everything himself.
He suddenly met there his godfather who he had almost forgotten. Namely, once, while he was chiselling there came Aleksandar Đonović, director of the Symposium with the Director of Bukovička Banja. “Here, I’ve found your godfather”, he said. Radojčić’s godfather was a descendant of voivode Arsenije Loma, whose arms makers were Radojčić’s ancestors. Everybody rejoiced.
Slavoljub was elected Docent, now at the Faculty of Fine Arts. Aleksandar Zarin, then Associate Professor was in charge of the first and second years and proposed that Radojčić should be his assistant. However, students wanted him to be in charge and it was decided that Radojčić would manage the first year and Zarin the second.
He received a grant for Germany under the programme of international cooperation and exchange of professors. He went to Cologne to visit the Gallery Veith TURSKE, then to Bonn to see Mr. Mueller who gave him funds for travel and maintenance for the first month. He arrived in Braunschweig over Kassel and stay for three months: October, November and December, as Visiting Professor. He worked on his sculpture in the class and talked to students, instructing them into the secrets of modelling and chiselling… cooked beans for them. He went to Kassel with the students and met Joseph Beuys. Radojčić saw him in a tavern, approached him and told him that he had intended to come to the Academy in Dusseldorf but Beuys was not there anymore. Beuys gave him his telephone number and told him to call.
Radojčić then travelled with his students to East and West Berlin. They stay fifteen days, sleeping in a hostel. Visited the Academy and several classes and marvelled at the equipment they had. Then, in a borrowed VW Slavoljub drove with four students to Dortmund; they stayed only one day.
He ate with the students in their canteen and when he was leaving they prepared a big party.
He returned to Belgrade towards the end of the year.
He travelled to Cologne with his wife Mirjana to the exhibition of drawings by artists sponsored by the Veith TURSKE Gallery. Those were: Franz Gartsch, Emil Schumacher, Rolf Iseli. Schumacher liked Radojčić’s drawings and the exhibition was later moved to the Landes hospital, a clinic for mentally disordered.
Slavoljub bought a building site in Mali Popović, the plot his brother’s found next to his own. There he assembled there a prefabricated metal garage.
He was in the winter Artists’ Colony in Karlovac (Croatia). He was met there by the already famous sculptor Ivan Kožarić. Radojčić was a guest in the Colony as the recipient of the award at the Yugoslav Biennial of Watercolours held in Karlovac early that year, for his watercolour Макар, 1970 (watercolour on paper).
In January he travelled to Zagreb for the exhibition Young Belgrade Artists, moved from the Art Pavilion Cvijeta Zuzorić in Belgrade to the Gallery Karas in Zagreb. The author of the exhibition was Irina Subotić, art historian.
Radojčić met again Ivan Kožarić. He showed the visitors a chest with his drawings in needle and thread, on linen. Kožarić commented that he liked to saw and vacuum; it calmed him perfectly.
The birth of Ivan, Slavoljub and Mirjana’s son. He is now independent and editor of NOIZ Portal.
An international was organised on the occasion of world championship in football in Madrid; Yugoslavia was a participant in the show and the commissary of the exhibition for Yugoslavia was Dr Kaća Ambrozić. Radojčić was among the selected artists.
Radojčić travelled to Tuzla for THE EXHIBITION OF YUGOSLAV PORTRAIT WHERE he received a purchase award. He was present at the festive dinner organised by the Gallery, and later visited the studio of Ismet Mujezinović, the painter.
He was elected Associate Professor.
At the exhibition SPACE ’86 at Ada Ciganlija, he exhibited his sculpture Swimmer, plaster. He received an award, then went to Danilovgrad to get the stone for sculpture, bringing along the dimensions, money for the stone and for transport. The stone arrive at Ada and began to chisel.
With his colleagues Associate Professors Branko Miljuš and Momčilo Antonović and the Faculty Secretary Vesna Jurić went to Budapest to the High-school of Fine Arts.
The family moved to a flat in Banovo brdo, in a street with no traffic so that their son can spend every day in the spacious courtyard.
The studio they had previously lived in was again turned into working space.
The jury consisting of Bogdan Bogdanović, Stojan Ćelić, Olga Jevrić, Miodrag Protić and the painter from Šabac, Marsenić, decided to give Radojčić the first award for his work Family Tree, 1987 (plaster). The veterans from Šabac (thought the sculpture could not represent their struggle from 1941, and therefore the monument was never erected (“veterans knew more than the academicians”).
At the last year of his undergraduate studies (1964/65) Radojčić began to apply to competitions for sculptures in open spaces. It was the competition for the monument to Moša Pijade. A lot of artists from Zagreb took part and one of them was Branko Ružić whose sculpture was placed in front of the Politika building (29, Makedonska Street formerly, now 1, Politika Square). Radojčić had made a portrait and a figure in plaster (destroyed. Only a photograph of the portrait has been preserved).
He also took part in the competition for the monument to Đura Đaković in Sarajevo. He did not receive an award but noted in his Red book: “I played the game that was not mine” and “Should one go on fostering this infantile semantics?” He also took part in the competition for a monument to Lenin, at Ušće, in front of the former Central Committee of the Union of Communists of Yugoslavia. At the competition for a monument to Prince Lazar (1971) Radojčić received the second award – the sketch is kept in the Museum in Kruševac.
He took part in the MAGNOHROM ARTISTS’ COLONY (Kraljevo). In the following years he would be in artists colonies where he worked, talked, enjoyed the company of other artists and always left a work.
In late December, her was elected Full Professor for the subjects of Sculpting and Drawing.
He finished the sculpture Swimmer and placed it by the Round Bathing Beach at Ada Ciganlija.
He moved from the laundry room where he still worked.
He sold the garage in Mali Popović and began to build a cottage – it would later become both a workshop and a warehouse. he would occasionally cast and do things he could not do in Belgrade, leaving plaster models he would not cast.
Professor Jovan Kratohvil was pensioned and Radojčić got his class as well as a few students who had not finished yet. Dragan Jelenković, Božica Rađenović, Dragana Ilić, Nina Kocić… come to his class; all of them became exquisite sculptors while Dragana Ilić and Božica Rađenović were elected Teaching Assistants at the Faculty of Fine Arts. Dragana Ilić is still at the Faculty as Full Professor. Božica Rađenović did not show up although elected because she had decided to stay on in Canada.
At THE NINTH YUGOSLAV BIENNIAL OF SMALL SCULPTURE in Murska Sobota (6 October – 6 November) in the Cultural Centre Gallery, and later in Ljubljana (20 January – 20 February 1990) in the Gallery of Cankarjev dom, Radojčić exhibited his sculpture Traveller to the West, 1985 (bronze) and was awarded for it by the Cultural Association of Slovenia. The award was presented to him in Cankarjev dom in Ljubljana. Having observed Radojčić’s sculpture, art critic Aleksandar Basin commented: he has produced a political provocation.
An exchange of professor from the Faculty of Fine Arts and the College of Art in Edinburgh. Slavoljub Radojčić and Momčilo Antonović, Full Professors, travelled to Edinburgh. They stayed only eight days and during the week they talked to students, visited museums, went to excursions. They also had an exhibition of their drawings, then went to Glasgow, by train, at night, returning via London. In London they stayed one day and visited the National Gallery and some exhibitions.
At his solo show in the Sebastian Gallery in Belgrade, the painter, Associate Professor Zoran Vuković and Ivana Simeonović Ćelić, then a librarian (Radojčić’s colleagues from FFA) made a video. Vuković filmed and Ivana Simeonović talked to Radojčić (documentation of the ZEPTER MUSEUM).
Radojčić participates in the Symposium at Svilajnac. Each sculptor got two cubic meters of oak wood, as a present from the forest authority of Despotovac. Radojčić did not know what to do with those logs, but having learned there was a sawmill in the town he decided to transport the wood there and ask for half-inch boards. He cut his Big Angel, 1998 (wood) from one of the boards and the sculpture was left in the former wine cellar, originally in the ownership of winery Mozer. The rest of the wood he had transported to Belgrade and made other angels from it.
Radojčić’s solo show TITANIC AND OTHER SCULPTURES was organised in March in the Gallery of the Cultural Centre of Belgrade. The exhibition was opened by Lorenzo Amberg, Swiss Ambassador to Serbia, who also wrote preface for the catalogue. This show was proclaimed the best exhibition in that year.
Lorenzo Amberg stayed in Belgrade for the entire period of NATO bombing and frequently met with Radojčić.
Apart from a number of awards for sculptured Radojčić received the Politika award as well, from the “Vladislav Ribnikar” Fund, for his exhibition in previous year.
The festivities at Politika were also attended by Bernard Štebler, Radojčić’s friend and a well-known architect from Switzerland, who had built houses for migrants in Serbia and reconstructed the building for the children with growing disorders at Sremčica.
The meeting of all Art Academy students from Orthodox countries (Belgrade, Moscow, Thessaloniki, Bucharest, Sofia) was organised in Didymoteicho in Greece. Radojčić went with four students and stay three weeks. They visited: Alexandropolis, where the mayor received them and enquired who would win the elections in two days. Radojčić replied: Koštunica. Then they went to Ser, Kavala, Sufle, where they made lace.
At the end of their stay they organised an exhibition of drawings and sculptures, also a fashion show. Owing to art history professor Stella Lava, who had been to Belgrade, the Faculty of Fine Arts in Belgrade established a contact with Didymoteicho some years ago. The colony lived for several seasons but was then extinguished.
In November and December Radojčić took part in the Contemporary Yugoslav Exhibition “Welcomed Understanding” in Bratislava. The author of the show was Ljubomira Slušna.
Radojčić participated in the Internat ional Art Workshop SCULPTURE IN GLASS in Pančevo. He worked in the big glass factory that would soon be closed and insolently privatised.
At the show THE BALKAN TRIENNIAL OF SMALL FORMAT in Thessaloniki and received the award for his sculpture The Banker, 1980 (bronze).
As a grantee of the Aristoteles’ University in Thessaloniki he stayed only twenty instead of thirty days, because his visa had expired. He took classes in New Greek language and stayed with his family in the camp of Aristoteles’ University in Possidi (each evening there were concerts, Radojčić held a course in sculpting for children and the topic was Noah’s Ark). When his family had left Radojčić moved to the flat of Stella Lava who was away on field work.
Professor Ljubomir Gligorijević published an important series of texts in three issues of Književni list: Okidač za humor u teškoj bronzi Slavoljuba Radojčića (Slavoljub Radojičić’s trigger for humour in heavy bronze).
Solo show in the ULUS Gallery and while it lasted the painter Radomir Reljić, who liked Radojčić’s drawings and particularly the one entitled Cheers, 2004 (combined technique on paper) (still in the sculptor’s studio), frequently came to see the exhibition. Since the ULUS Gallery is situated across the road from the Gallery of the Serbian Academy of Sciences and Arts (where at that time Mladen Srbinović had his exhibition), Miodrag Rogić, the painter occasionally visited Radojčić’s exhibition and said to the President of the Academy Nikola Hajdin: Sir, Srbinović paints, but Caja creates.
Radojčić was officially pensioned but stayed as honorary professors for another year.
At the Symposium MARBLE AND SOUNDS in Aranđelovac, he made the sculpture Aqua Viva, 2008 (marble) which remained in open space in front of the Water Factory.
Free from obligations at the Faculty, Radojčić spent every day in his studio, producing new sculptures and drawings and exhibiting them at group and solo shows.
The electrician Bata Obradović (“doctor for electricity”, as Slavoljub calls him) came to their house to repair something and while he was engaged in his work, Radojčić sculpted his portrait.
Radojčić became the third recipient of the award STOJAN ĆELIĆ, artist, theorist and critic, academician”, established by the ZEPTER MUSEUM in 2014 and rewarded every second year (former recipients were Bogoljub Boba Jovanović, the painter, and Milija Nešić, the sculptor).
On the 8 March Slavoljub Radojčić received the “Sava Šumanović” award in Novi Sad and on that occasion he addressed the numerous audience and journalists with remarks about his creative activity and memories of certain important facts from his biography.
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