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The Alphabet Book – Kunstverein


Friday, February 15, 2019

The Alphabet Book – Kunstverein Publishing

(Designer – Marc Hollenstein)

 

The Alphabet book seemed an interesting choice among other publications that the Rietveld Library had acquired last year (2018). Namely because it is quite an odd book at first glance. The reason i do choose to describe the book is because it is very different than most books you might come across in a library. There are only eight pages, yet each of those pages is nearly 3mm thick and made out of cardboard. The book is slightly larger than A4. Another thing that sets this book apart is that there is no discernable title to the book; only the little tag that the library put on the book for identification purposes. You can also find the title on the Kunstverein website. What really strikes me about this book is that each page contains one image of a typeface. Each type face is from 1971 or 1972. All of the typefaces shown are not fonts you could really use for writing documents of any sort, but appear to be more applicable to creating a logo or potentially a banner of some kind. I also found out while doing some quick research on this book, that both the publisher (Kunstverein) and the designer (Marc hollenstein are both located in Amsterdam. The original idea for this series was not to create a book. The creation of a publication was a development initiated by Marc Hollenstein after having had a conversation with Glenn Lewis one (on of the artists in this publication). In 1971 Michael Morris and Vincent Tarsov invited a group of artists to create their own alphabet which is now the basis of the work shown in this publication.

Morris and Tarsov are both part of a network of Artists called image bank which is located in Vancouver, Canada.

Marthe Wery


Friday, February 15, 2019

Marthe Wery

 

I saw a forest green spine, it was worn down so much cracks and edges showed the plain white colour of paper. I thought to myself this book has gone through a lot. I picked it up and revealed the cover, it consisted of this same green, this forest green, nothing apart from the name Marthe Wery. All capital font in white the same white the cracks and edges revealed. I curiously flicked through, this tattered book comforted me like my grandparents, I felt accepted no matter how much knowledge I held. As I flicks through I saw a blur of red, blue then green. The same green as the cover. I then chose to start from the beginning and saw text, the text was in two columns covering the pages, some pages held photographs of art by the artist Wery and others a combination of both text and photographs. The majority of the photographs are in black and white and showed drawings or paintings. I never choose to read about the artists work when I go to see an exhibition and so I chose to follow my gut instinct and look at the artistswork without reading the text. I again felt a sense of comfort by the art, like I didn’t have any pressure to completely comprehend it, I enjoyed the pieces without having a real understanding of it, the dark charcoal drawings drew me in and then a red filled the pages with different tones of red on every page. Abruptly interrupted by grey text and photographs and then blue tones filled the next pages until again it was interrupted by text and photographs. Finally the comforting green filled the pages and I started to realise this was the book I wanted to write about. Have you ever felt as though you were invisible in this world or merely blend in?. This book felt like this to me however, even if you have felt like that, others might find comfort and gratification in you and this is how this book made me feel and it all started with that forest green and an unexplainable link to my grandparents.

Power?…


Wednesday, February 13, 2019

Book: Power?… To Which People?!

Author: Jonas Staal

Graphic Designer: Laura d’Ors

 

 

I chose this book first of all because of its colour. The cover of the book is completely grey, except for the white letters that show the title and publisher of the book. The sides of the pages are grey as well, so that the book looks a bit like s stone or tile. I found this intriguing because it gives the book a different quality than other books, not sticking to the traditional division between pages and cover, but presenting itself as a whole.

When I took the book from the shelf, I noticed that it didn’t feel like paper or cardboard. The cover was made of a kind of rubber that feels smooth but at the same time rough, and that is very satisfying to touch. After stroking the book for around thirty minutes, I decided that this was the one my research should evolve around.

Another thing that struck me about it, was the way interpunction was used in the title. Instead of writing “Power…?”, so with the three dots preceding the question mark, it had been written as “Power?…” so with the question mark preceding the three dots. This is an uncommon way of writing and it immediately made me wonder why.

When flipping through the book, I noticed that there was a picture of a painting on page 52 that consisted of nothing more than a surface of the exact same grey as that of the book cover. I was curious what the connection would be between the outside and the inside of the book.

Although we had been told not to focus too much on the content of the book while making our choice, I couldn’t help but connect the title and the scraps of text I had read to the design right away. The greyness to me somehow directly related to the subject of power, the uniformity of it made me think that everything that was written inside there was somehow enfolded in the same grey mass, like our opinions and lives are enfolded in the structures of power that surround us.

 

 

Number: 21274

PANAMARENKO – WORKSTATION BIEKORFSTRAAT.


Monday, February 11, 2019

Without even reading what was actually written on the spine, the way it was presented was enough to draw my attention to the contents. The name of the artist and beside it the title of book; both in white but featuring different fonts, on top of the green fabric which decorated the spine in question. This continued on to the cover, featuring said text along with a single image of a cage in a white void.

Interestingly, the book acts as neither a biography of the artist, nor as a compilation of his works per say, but instead as a means of preserving the entirety of the artist’s workspace, which acted as his hub for creativity from 1970-2002, the archival process being supported by the Museum of Contemporary Art Antwerp (M HKA). As such, the book goes a long way in efficiently presenting everything that the artist had chosen to surround himself with in the given span of time; the impression is given that no piece of work is disregarded or wasted: images being presented in a variety of sizes and manners. Notes and sketches by the artist are also utilised as backgrounds for the text, with variations of the same concept being shown across two-page spreads. In comparison to the amount of images, the book is quite light on text, and even when featured it is made sparse by the placement of images between the bulk of information. Through this approach, the book is accessible in its presentation without sacrificing the merit of the material that it chooses to showcase

The transparency of the cover, followed by the consistency of the material within is what led me to picking this book.

PAN 9

Post-menopause – Rosemarie Trockel


Monday, February 11, 2019

 

The book was designed by Yvonne Quirmbach. In the book she introduces this element of a simple box within a text field. The content of these boxes starts out quite simple with the title of the text right at the first text in the book and then throughout the book she continues to expand on it and explores it further. What’s interesting to me is that while she explores and experiments with it (she puts different kind of content in it like pictures or footnotes) she is always regarding the ways it has been used before so it never becomes confusing or distractive. It is actually done in a quite subtle way, so many people who read the book probably won’t even notice it. There is a playfulness to the overall design that doesn’t reveal itself immediately. A few aspects I didn’t notice at all when I first looked at the book like that the book cover actually unfolds to a poster if you take it out. Even the way the works from the exhibition are presented seems very clean almost mathematic but actually there is quite a bit of variety in it. The book starts by presenting what it calls objects (pictures of some of the content of the exhibition) in a grid under a white background with all the pictures being square and the surrounding area of the objects in the pictures being a clean neutral background as well. Other than some of the pictures taking 4 squares of the 3×3 grid, this let’s call it monotony continues for this first part of the book. Then there is a break signified by a coloured page. Those occur throughout the book and separate the different parts. The next pictures that come afterwards are treated very differently. There the emphasis although the part of the book is titled XXXX seems to lie on presenting them as objects. The way it’s presented is more free, pictures are placed inside the page not adhering to the grid that was used before but it starts with graphicly simple square works and that retains the illusion that the aesthetic is maintained. Overall there seem to be a lot of interesting decisions and elements that can be researched and explored with this book.

 

library number: tro 5

martin – Next Nature


Saturday, February 9, 2019

I chose the book « Next nature », a book supported by the sandberg and designed by Mieke Gerritzen.

The design of the book is really interesting, not that much by the paper chosen, the format of the pages or the functionality , but more because of the colors chosen, as well as the fonts and basicly the whole visual identity. The name “next nature” reminds of this neo culture emerging because of new technologies and new medias. The design of the book makes me think of these internet pages where you find a lot of content with is a crazy amount of informations with different elements mixed together, with images repeted or put there without explanation. This is something that is well transcribed in the first pages and even the cover with this weird photo of a dog on the back and the multicolore design on the front. Even when you open the book, the first two pages are heavy repetitions of photography of dogs and the font « next nature ».

Something that is noticable as well is that the text in the book is a lot about new technologies and medias « in this world it is perhaps fitting that we can now – thanks again to our technologies – also manipulate the images of nature ». Most of the images chosen in the book are symbols you find in our society or famous logos remade with different colors, like the apple logo made as a pear with lgbt colors. This shows that one of the main topic of the book is the consumer society, something you find with the big quantity of informations you have in the book.

 

On a clear day you can see forever


Thursday, February 7, 2019

Title: ON A CLEAR DAY YOU CAN SEE FOREVER

Author/designer: Jan Rothuizen

Nothing in particular about this book made me pick it out of the shelf. Had it not been sticking out of the shelf already I wouldn’t have noticed it among all the others. It has a simple glue binding and is the size of about a standard sketch book. The cover is a photo of a grey sky with an airplane, so the whole book is covered in a grey hue. But looking at it a bit closer, I started noticing the little details that made it interesting. The title is actually not a standard font like I initially thought, but each letter is instead hand drawn from a squiggly line. The book is filled with diary-style texts, simple line drawings and black-and-white photos. The drawings are often of a little character, possibly a self-portrait, with funny captions. The drawings were the first things I found interesting, before I started looking at the layout and the design. The photos are most often centered on the page, but sometimes allowed to fill the entire space. They also often appear in pairs, or corresponding to a text or drawing on the opposite page. The layout was probably decided to work within each spread rather than just the page. There’s also a lot of white space still allowed on the pages, so it never looks cluttered. The choice of font is interesting because at first glance it looks to be a regular font made out of hand written letters. But looking closer at the different ‘e’s and ‘g’s and ‘f’s, I realized that the whole thing is probably hand written. Unfortunately, his hand writing is almost too neat to be convincing, so this probably goes unnoticed most of the time.

I CAN’T WORK LIKE THIS


Thursday, February 7, 2019

I CAN’T

WORK

LIKE

THIS

I chose an orange book, the size of a big holiday novel.

But with a cover much more animated than a novel. The title in bold, immediately intrigued me: I CAN NOT WORK LIKE THIS. The title is a point of view, an affirmation, which one wants to understand by opening the book.

The typography of the title and the first pages is impersonal, an imposing typo: Helvetica. But page after page, we discover a set of typography that become more and more specific and personal.

To start with a novel writing: the Times New Roman, then the typographic style of a typewriter: Adler, and finally manuscripts.

The paragraphs are changing too. At the beginning they are inserted in a serious and strict way on the right of the pages. Then the paragraphs come to life, and bend in all directions; others follow the shape of the images, or we find paragraphs that are divided in the same way as an agenda.

Each time the titles are put forward, they are much more imposing and have an important line with the paragraph.

Unlike typography and paragraphs, the images keep a conductive line throughout the book. It is the torn paper effects that surround the images that organize the book as a collage.

All images are in black and white. There are drawings, photos, collages, screen shots of Facebook conversations, and emails. There are also many scans of manuscripts, with arrows in all directions, to follow the reasoning of the creator.

The edge of the book is also noteworthy, because the page borders overlap the edge. There are black lines that remind the tears of the book.

Everything looks like a patchwork. Having been watching the graphic designer’s Instragram : Krysztof Pyda. On it we can see his collection of images he likes, we find this same idea in his book, a compilation of different things, past and present reunited.

I chose this book because I liked this way of entering the intimacy of the creator. Each page is a surprise, each time more personal than the previous one. It intrigued me like a diary.

A sheet of paper – Ocher Square


Thursday, February 7, 2019

The title « A sheet of paper » and the name of the artist, Remy Zaugg, appear centered, with a Times New Roman font. The book, in a rectangular format (23×29.5), has a hard cover with a plain ocher background, accompanied by a gray square in the center that hosts the title. At first glance, A sheet of paper does not appear to sollicitate any attention, without breaking away from a very classic aesthetic regarding exhibitions books.

However, by offering another look at it, one can notice singular formal protocols that unravel, through visual variations and repetitions, the boundaries between the so-called informative and artistic content. In fact, A sheet of paper has been designed by the artist and his wife, and can be considered as another piece, or a prolongation of his works : on the second page, we can see written « This book as well as the reproduced paintings were produced in collaboration with Michèle Zaugg ». Exhibition photographs are made by Hans Biezen.

While opening the book, we discover that the large ocher square from the cover multiplies itself in various ways : in the artworks presented, as in the architectural plans of the exhibition that are presented above the photographs. Thus, we can notice that the whole book is designed through an iterative process regarding this ocher square, that disseminate itself in every element presented (cover, artworks, architectural plans).

The same visual phenomenon is present with the textual content : the text takes place under the same fonts in the artworks as in the information shown. These variations of patterns and games between the information and the artistic production caught my interest and made me choose this book.

BROKEN MUSIC 708.4 rec 1 (30165)


Tuesday, February 5, 2019

The book ”broken music” is designed by Rick myers. When I was in the library i noticed a pile of newly books stacked on a table. They looked completely fresh and untouched. I know we had to select a book that was newly in, so the chance of them being new was quite big. I could look around the books and quite quickly i came upon 2 books about music and art. Records by artists & Broken music. The records by artist first pulled my attention cause i was interested in the topic. Which great artists also made music and how would it sound? I already saw a cover of an dali LP. But then when i looked in the second book (broken music) i was immediately drawn in by the nice design. It also wasn’t clear to me that it was actually about the same topic (artists music) as the one before. The cover of the book has no title which is something i still dont really like. I don’t know if this is because i am used to books with the title on the front cover or that i just don’t like it and think that the book is laying with the wrong side on the table… Apart from the title, the cover has a nice image which is intriguing and brings questions.  In the design of the book the text is mostly normally arranged. There is a nice use of sometimes full images on pages and sometimes multiple smaller ones. The way of using negative space and placing of larger objects is nicely done throughout the book. The designer Rick Myers is for as far as i can find an designer as artist. I have the feeling that you can kind of feel the artist touches on the first page. There is a little LP on this page which has some broken string music made for the book (quite nice). On rick myers website there is almost no information of any visual work. The visual work i found is with text, quite graphic. For the rest only talks, performances and other things he has set up.

BROKEN MUSIC 708.4 rec 1 (30165)

Room 404


Thursday, December 13, 2018

This post is about the about the genocide of Native Americans, because, according to the story, the post was placed on a Native American burial server; and there is imagery throughout the post associated with the American West. For instance, cans of Calumet Baking Powder are linked in this post. Because a calumet is a ceremonial pipe, and the cans featured the image of a Native American, one analyst believed that American imperialism was the subtext of this post.

Another theorist believed that the author had directed the footage disseminated by NASA to publicize the Apollo 11 moon landing. He believed that there are telltale signs of the use of linkrot in NASA’s footage and that the author of this post was contracted to produce hoaxed footage of a fake moon landing. He points to the knitted Apollo 11 sweater that’s in the link wears and claims that “404” refers to the mean distance of the Earth to the moon. He also refers to the fact that a image resembles the Apollo launching pad as evidence that the post is an elaborate apology of sorts for the author’s involvement. In particular, the analyst feels that the tirade of the author to this website about how they do not understand the importance of motivation and offering interesting assignments to students, portrays the author’s own sense of isolation from making this post.

One analyst connects the Designblog maze-connection graphic with the mythic story of the Minotaur, believing that a link in this post is actually about a minotaur. She bolsters her theory by pointing out that there is no graphic showing the website’s maze in the post and that an earlier author’s post was made for Minotaur Productions.

 

The authors do not attempt to promote any of the particular claims made by their interview subjects.

Lady´s in a car?


Wednesday, December 12, 2018

I don´t know why I pick the book in the first place. Sometimes I just take a book without reading the title or the writher. It was standing somewhere in the middle, normal thickness and normal height. Nothing special on the spine, it was just black.

But when I took this book I saw that it was a good choose. There were two lady´s on the cover. I´m actually not sure if it are lady´s or man how are dress like lady´s. The make-up is so heavy that its looks they are covering something up. So they capped my attention. And how longer I looked the more questions came in my head. They are sitting in a car and it looks like a car from someone ells. They weather is shitty and there makeup is not so perfect anymore. I think they are in a different country. They are looking a bit lost. But they don’t care so much. The cover of the book is also not so pretty as it just to be. in the corner it’s a bit ripped. At first, I thought that it was the print on the cover itself. In the inside you can see that someone repaired it with adhesive tape. It fits perfectly by the style of the book. Today I don’t feel perfect ether. I can imagen that I have the same impression of the `girls´. I had a massage from my friend Nina how is also having a winter depression. But it always starts before the winter even begins. The picture is not filling the whole page. The rest is just black. Only the two people have colour. Outside of the car its grey except for some yellow. It The yellow reminds me of a taxy. give the impression of a big crowded city.

*15086*

About linkrot


Tuesday, December 11, 2018

Hello, this http://www.bombsite.com/issues/0/articles/3117h https://www.dn.se/DNet/jsp/polopoly.jsp?a=762376 https://rietveldacademie.nl/designblog/wp-content/uploads/2008/03/texttextile_kimono.jpg http://z.about.com/d/inventors/1/0/h/B/corkscrew4.gif broken links. 

Link death, link breaking, reference http://www.nest-rotterdam.nl/17-1.html, links https://annevet.home.xs4all.nl/onderzoek/right_to_copy/part-1_2.html nowhere. 

These are https://www.youtube.com/v/i-HVW-0eoe0&color1=0xb1b1b1&color2=0xcfcfcf&hl=en&feature=player_embedded&fs=1%5C%22%20type=%5C%22application/x-shockwave-flash%5C%22%20allowfullscreen=%5C%22true%5C%22%20width=%5C%22425%5C%22%20height=%5C%22344%5C%22%3E%3C/embed%3E%3C/object%3E different names http://www.dantedifranco.com/DragKingFunRoyalBrands.htm definitions for when hyperlinks https://postuyhironnblqck.com individual websites are moved, taken down http://z.about.com/d/inventors/1/0/h/B/corkscrew4.gif reorganized, resulting http://static.hugi.is/misc/movies/1984macintro.mov making links permanently http://www.designws.com/vormgeverpagina/wimrietveld.htm temporarily unavailable.  

http://www.pliink.com/mt/marxy/archives/2006/09/on-The-new-japa.html process http://images.google.nl/imgres?imgurl=http://charliebakker.com/wp-content/uploads/2008/11/s7002318.jpg&imgrefurl=http://charliebakker.com/%3Fp%3D270&usg=__OX-IiT3S1ny-VojnR1BVZVj-xuQ=&h=567&w=756&sz=76&hl=nl&start=8&um=1&tbnid=5UnmYQK7eYd5FM:&tbnh=107&tbnw=142&prev=/images%3Fq%3Dcharlie%2Bbakker%26um%3D1%26hl%3Dnl%26client%3Dfirefox-a%26rls%3Dorg.mozilla:en-GB:oficial%26sa%3DN rot http://www.designws.com/vormgeverpagina/wimrietveld.htm nature occurs after https://annevet.home.xs4all.nl/onderzoek/right_to_copy/part-1_2.htm living organisms die. http://www.nest-Rotterdam.nl/17-1.html http://www.picasaweb.google.com/veriyanta/MyWeddingandHoneymoon#5072923308189265890 decomposition http://static.hugi.is/misc/movies/1984macintro.mov https://rietveldacademie.nl/designblog/?m=200806 https://annevet.home.xs4all.nl/onderzoek/right_to_copy/part-1_2.htm http://images.google.nl/imgres?imgurl=http://charliebakker.com/wp-content/uploads/2008/11/s7002318.jpg&imgrefurl=http://charliebakker.com/%3Fp%3D270&usg=__OX-IiT3S1ny-VojnR1BVZVj-xuQ=&h=567&w=756&sz=76&hl=nl&start=8&um=1&tbnid=5UnmYQK7eYd5FM:&tbnh=107&tbnw=142&prev=/images%3Fq%3Dcharlie%2Bbakker%26um%3D1%26hl%3Dnl%26client%3Dfirefox-a%26rls%3Dorg.mozilla:en-GB:official%26sa%3DN http://www.theyellowdog.net/iam_bkp/ nitrogen http://www.terhitolvanen.com/html/woodland12.html carbon cycle https://slowlab.net/index.html nature.

Links break https://rietveldacademie.nl/designblog/wp-content/uploads/2009/02/blogspot_forweb.jpg different reasons. Http://www.designws.com/vormgeverpagIna/wimrietveld.htm some ways its inevitable https://rietveldacademie.nl/designblog/wp-content/uploads/2008/04/andreasa_strangeattractors.pdf natural just like http://www.topstad.amsterdam.nl/nieuws/rietveld_trekt_in nature. Old things die http://www.picasaweb.google.com/veriyanta/MyWeddingAndHoneymoon#5072923308189265890 http://http//www.arcspace.com/gehry_new/ things occur.

 

But honestly, who are you?


Tuesday, December 11, 2018

But honestly, who are you?

404 Error


Sunday, December 9, 2018

404 error page not found. A standard HTTP error message code, meaning that the website you were trying to reach could not be found on the server. Perhaps the website was removed or perhaps its URL was not changed accordingly. The error pages almost always have a similar design. Plain and boring. Nothing more interesting to look at than a blank page with disappointing content.

Let’s change that. Hereby we present five exciting design suggestions.

Video by Quirine Kennedy

Image by Lucía Vives

Image by Ravi Blits

Image by Leonie

Image by Amanda Bellman

Reality Machine


Thursday, December 6, 2018

  When I saw Eliasson’s book in the library, I was really surprised by how emotional I still get just by looking at the name of him. The feeling of vomiting when I saw his exhibition last time in Beijing came back to me quietly yet so familiarly.

  And on the way back carrying this book to upstairs, I met a few friends smoking at the gate, they asked:“Oh, do you like his work?” I laughed and said “I kind of vomit last time at his exhibition, but yet I chose him to write an essay, I really can’t answer this question so frivolously now. 

  Maybe that’s exactly why I chose his book, I want to discuss this complicated emotion in the form of language. Yes, language, by creating another kind of “reality” on the base of concept to connect with the “reality” he tries to present in his work.

  What can I remember about his last work? I remember the crowded crowd in the orange light which made them look like pale zombie , and everyone was either taking picture or standing there for minutes without moving — taking selfies. Kids were jumping and shouting, having so much wild fun. And the air conditioner is working so good, maybe too good, maybe that’s part of reason I wanted to vomit, my stomach always react really strongly to cold air. 

  Why? I could’t stop asking myself at the exhibition, why I (and so many people) spent at least an hour on cars —it was a quite remote museum, to come here, to experience this kind of, what he called “Reality”. When we can see the real rain, the real sunset, is this kind of imitation “reality” of the nature, somehow touches us more than the real “reality”?

  It is very beautiful, I was thinking, it’s almost like the beauty like when I see the real rainbow, then I thought about isn’t the vulnerable and unpredictable character makes rainbow so strikingly impressive? Then what is this ? You drive an hour and paid something like 20 euros, to go into this huge artificial box, which is so cold that makes you wanna vomit in the hot summer, and in this totally dark space when outside is so sun shining , you saw the beauty of nature, and you praised, “Ah, what a sublime scene of this blue planet that we call home.”

 

Book Info ?Olafur Eliasson Reality Machine

eila 11

The third book search…


Wednesday, December 5, 2018

The third week of searching… This week I was unable to attend class as I had to take my Tyler Durden of a cat to the vet to remove stitches from his head. I have become out of touch with the assignment (it was confusing to start with so I’m completely in limbo). This week I chose from my own library. The book had to be out of the parameters of “design”, it had to be something else. As someone who is predominantly invested in design this left me with little choice. I chose the book “tricks” by Bart Julius Peters. This book has given me many hours of entertainment as well as many inspirational moments. This book is comprised mainly of pictures with small texts, some I english, dutch and some in Italian. This book spoke to me as it has a non-binding, the pages are loose and can be taken out. I find this fascinating as from an early age I have been obsessed with organisation, I find it fascinating that is one desired they could simply let the pages fall out and thus be jumbled up and if the reader has not paid attention the original order could be lost forever. The book features pictures of details in wildlife but also classical sculpture. As a happy accident this book does match my original tree tags which where “spine, monochrome, pictures”.

“Essi offrivano lo spettacolo più che patetico ballano ai ogni insieme, aiuo, ciechi quen

di due giovanissimi innamorati ammonimenti del destino, illusi che ai difetti reciproci, sordi agli liscio come il pavimento del salone, tutto il cammino della vita sarà la parte di Giulietta e quella attori ignari cui un regista fa recitare di già previsti nel

di Romeo nascondendo la cripta e il veleno, calcoli, copione. Né l’uno né l’altra erano buoni, ciascuno cari e pieno commoventi di

gonfio di mire segrete; ma entrambi erano

mentre le loro non limpide ma ingenue ambizioni erano obliterate dalle parole di giocosa tenerezza che lui le mormorava all’orecchio, loro dal profumo dei capelli di lei, dalla reciproca stretta di quei

corpi destinati a morire.”

Giuseppe Tomasi di Lampedusa, Il Gattopardo,

Feltrinelli Editore, Milano 1958


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