GORDON CHEUNG BREAKING TULIPS
GORDON CHEUNG BREAKING TULIPS
The Alan Cristea Gallery at 31&34 Cork St. London W1S 3NU Telephone +44(0)20 7439 1866 Email: info@alancristea.com Website: www.alancristea.com
GORDON CHEUNG BREAKING TULIPS
11 September – 6 October 2015
ALAN CRISTEA GALLERY
BROKEN PROMISES
Hans Bollongier, Floral Still Life, 1639. Oil on panel, 66 cm × 52.3 cm Courtesy Rijksmuseum, Amsterdam
A soaring display of tulips, striped blood-red on white, rises up out of a bulbous vase. Tall, pointed blooms – the type once favoured by Turkish Sultans – are arranged alongside those with feathery, irregular petals and others with rounder, blousier profiles. There are over a dozen in total, meticulously painted by the Dutch artist Hans Bollongier in 1639. The table on which the vase rests is non-descript, the wall behind painted in muted tones. Nothing is to distract from the eye-wateringly expensive tulips, grown from ‘broken’ bulbs that were traded for thousands of guilders each during the glory years of Dutch Tulipomania.1 ‘Broken’ bulbs produced the much-coveted striped flowers. The ‘breaking’ of single-colour tulips into striped ones was caused by a virus spread by aphids and it affected roughly one per cent of bulbs. In the seventeenth century, however, Dutch tulip connoisseurs didn’t know why particular bulbs suddenly grew striped flowers. This not only brought a certain frisson to gardening but it also added rarity. Rapidly the ‘broken’ bulb became a highly desirable commodity. Demand exceeded supply and prices soared. Bollongier’s tulip still life was completed two years after Tulipomania imploded. At a Dutch auction in Alkmaar in February 1637 exorbitant prices were paid for ‘broken’ tulip bulbs: sales totalled 90,000 guilders (around £6m today) for 99 bulbs. But the prices were unsustainable: soon after the futures-style trading of bulbs collapsed, driven by bankruptcy claims and unfulfilled payment chains.2 Bollongier’s painting therefore illustrates not only the fashionable blooms that were great status symbols, but it also serves as a timely vanitas, a reminder of the folly of mankind to be driven to such excesses, to risk everything for the sake of the perfect ‘broken’ tulip.
Gordon Cheung chose Bollongier’s tulip painting as one of six starting points for a new body of work rooted in Tulipomania. Cheung’s fascination with this period in history began over five years ago, while researching boom-and-bust economic markets. Since graduating from the Royal College of Art in 2001 Cheung’s work has reflected a deep-seated distrust of the financial speculation that fuels our post-industrial world. Recently his dystopic ‘techno-sublime’ landscapes have featured a cowboy (a trader) riding a bull (the market), and the four horsemen of the apocalypse who preside over the crumbling ruins of skyscraper cities as the sun sets on civilisation. Propelled in part by the catastrophic collapse of the subprime mortgage market in the U. S. in 2008, Cheung researched the history of economic bubbles and discovered that they had their roots in the tulip bulb brouhaha seen in The Netherlands nearly 400 years ago. Cheung’s first series to explore this subject was ‘Tulipmania’ (cats. 1-12), a set of 12 inkjet prints featuring single striped blooms, each flower based on a specimen advertised in Dutch seventeenth-century sales catalogues. The flowers appear to stand proud of the cascades of pink stock prices that tumble down the paper behind them. (Cheung has used the Financial Times’ markets pages as his ground for twenty years.) A convincing shadow propels each bloom towards the viewer, only for it to be flattened back on to the surface by thick stripes of acrylic paint that Cheung has added by hand to individual petal and leaf edges. These tulips have the iridescence of a dragonfly’s wings, hot pink and viridian alongside turquoise and yellow, and yet there is nothing natural about them. In The Netherlands nature was put to work in the name of a fast buck and tulips became false idols for a capitalist world. Cheung’s tulips are seductively coloured but with all the artificiality of a neon billboard promising free credit. Cheung has continued to be fascinated by the economic history of the tulip and regularly browses the Rijksmuseum’s digital archive of floral still lifes from the Dutch golden age, in which tulips often feature. ‘The genre of still life is all about the fragility of existence, the futility of materialism,’ he says,
‘and yet the background to these paintings was Holland’s immense trading power.’3 It is the complexity of meaning in these works – the cut flower as an allegory of the shortness of life, of death and vanitas, and yet also as a symbol of wealth, social status and power on earth – that led Cheung to complete a further three series of tulip prints and associated paintings. ‘New Order’ (cats. 19-30) and ‘Small New Order’ (cats. 31-42) use flower paintings from the Rijksmuseum as their starting point. Six paintings, including the Bollongier, have been manipulated using an image-altering algorithm that repositions individual pixels within the work.4 Cheung applied the algorithm thousands of time to each painting, glitching them as if they were being corrupted by a virus. Visually it looks as if the sands of time have eroded each painting: backgrounds meld with the stripes of tulips, roses are transformed into long digital stripes, vases fade to grey. The second law of thermodynamics states that everything tends towards entropy, that order will always move towards chaos. To a differing degree, each of Cheung’s prints – named after the artist of the original painting such as Hans Bollongier – tend towards an entropic state. The exceptional value placed on the tulip bulb in the seventeenth century, encapsulated in Dutch flower paintings, has been dissolved by the glitching algorithm under Cheung’s control, and the paintings have become as ephemeral at the flowers themselves. The red and white blooms of Bollongier’s tulips dematerialize in Hans Bollongier I (cat. 21), floating like disembodied heads as the background turns to sand around them. Boom always leads to bust, just as surely as dust returns to dust. But entropy can have its own intense beauty, as seen in the brooding clouds with a crimson flush that billow across Jan Davidsz. De Heem II (cat. 36), and the ribbons of colour like geological strata in Jan van Huysum II (cat. 24). Cheung’s other series based on Rijksmuseum flower paintings returns the physical touch of the painter to each print. In ‘Auguries of Innocence’ (cats. 13-18), named after William Blake’s poem from c. 1803, Cheung has printed
vases of flowers on to the Financial Times’ stocks and shares. Iridescent pulses of colour encircle the blooms, roses are solarised white with vivid pink edges, turquoise swirls across clusters of flowers like oil on water. Each vase appears to have been relocated to a lunar desert or frozen wasteland: Cheung has replaced the tabletop with a thickly textured application of sand and acrylic that streaks away into the distance. Above, nuclear auroras of white, orange and citrus flare over the relentless data streams. Cheung chose to replace the vases in the original paintings with Chinese examples from the Ming era in these prints. Ming vases represent another form of luxe collecting and wealth display. Cheung, a British artist of Chinese descent, sees China as the most likely centre for the next economic bubble, and his use of highly valued porcelain to house cut flowers points both to the overt display of wealth capitalism generates and the fickle waxing and waning of markets in luxury collectables. Such visible displays of wealth seem empty gestures when relocated to a lifeless landscape. In the apocalyptic afterglow, where’s the value in these objects if there’s no-one left to view them? Cheung’s series ‘Auguries of Innocence’ brings to mind the opening lines of Blake’s eponymous poem – ‘To see the world in a grain of sand / And a Heaven in a wild flower…’ – but it also contains echoes of the poem’s darker heart. Blake’s poem speaks of the consequences of deceitful behaviour and irrational greed, of woe caused by barbed truths. Tulipomania brought wealthy Dutch merchants a hefty dose of woe. Around the time of the 1637 auction and the subsequent cessation of trade in tulip bulbs, caricaturists were quick to ridicule the blinkered tulip investors, sketching them as monkeys with more cash than brains and pointing out that a fool and his money were soon parted.5 Cheung’s four tulip series point to the folly of economic bubbles and warn us all against being too easily seduced by gewgaws, whether Ming vases or tulip bulbs. We will be led into a state of financial and cultural entropy if we fail to listen. But just as we start to pay attention a glistening vase full of prized blooms catches our covetous eye… Charlotte Mullins, July 2015
1
In the first decades of the seventeenth century, culminating in the ‘mania’ years 1634-37, a ‘broken’ bulb would cost roughly the same as the best flower painting by Dutch master Jan van Huysum or a rather smart townhouse in Amsterdam. See Anna Pavord, The Tulip (London: Bloomsbury, 2000), 6-7
2
Pavord 2000: 154-155
3
Interview with the author, 30 June 2015
4
The algorithm Cheung used is Pixel Sorting by Kim Asendorf. It is freely available on the web: www.kimasendorf.com. The Rijksmuseum paintings in the series can we viewed at www.rijksmuseum.nl
5
Pavord 2000: 161, 131
Tulipmania 2012
A series of 12 archival inkjet prints with satin and UV glazes, each with hand-painting in acrylic, on Somerset Satin 330 gsm paper Paper 62.0 ⫻ 50.6 cm / Image 50.8 ⫻ 40.6 cm (each) Editions of 20 plus 5 artist’s proofs Signed and numbered in pencil, recto Printed by Coriander Studio, London Published by Alan Cristea Gallery, London
1. Tulipmania 1
2. Tulipmania 2
3. Tulipmania 3
4. Tulipmania 4
5. Tulipmania 5
6. Tulipmania 6
7. Tulipmania 7
8. Tulipmania 8
9. Tulipmania 9
10. Tulipmania 10
11. Tulipmania 11
12. Tulipmania 12
Auguries of Innocence 2013
To See a World In a Grain of Sand A Heaven in a Wild Flower Hold Inf inity In the Palm of Your Hand Eternity in an Hour A series of six archival inkjet prints on UV varnished newspaper collage, each with hand-painting in acrylic, sand and acrylic spray, mounted onto 300 gsm Snowdon Cartridge Paper Paper and image 82.0 ⫻ 57.4 cm (each) Editions of 20 plus 6 artist’s proofs Signed and numbered in ink, verso Printed and proofed at the artist’s studio Published by Alan Cristea Gallery, London
13. To See a World
14. In a Grain of Sand
15. A Heaven in a Wild Flower
16. Hold Inf inity
17. In the Palm of Your Hand
18. Eternity in an Hour
New Order 2014
Jan Davidsz. De Heem I & II Hans Bollongier I & II Jan van Huysum I & II Jan van Huysum I & II Rachel Ruysch I & II Jacob van Walscapelle I & II A series of framed archival inkjet prints on Hahnemßhle Photo Rag 308 gsm paper Sizes variable Editions of 4 plus 1 artist’s proof Signed and numbered, verso Printed by Andrew Turnbull, Digital Print Studio, London Published by Alan Cristea Gallery, London
19. Jan Davidsz. De Heem I Framed 153.2 â«» 102.5 cm
20. Jan Davidsz. De Heem II Framed 153.2 â«» 102.5 cm
21. Hans Bollongier I Framed 153.2 ⍝ 120.5 cm
22. Hans Bollongier II Framed 153.2 ⍝ 120.5 cm
23. Jan van Huysum I Framed 153.2 â«» 119.2 cm
24. Jan van Huysum II Framed 153.2 â«» 119.2 cm
25. Jan van Huysum I Framed 153.2 â«» 117.0 cm
26. Jan van Huysum II Framed 153.2 â«» 117.0 cm
27. Rachel Ruysch I Framed 153.2 â«» 126.2 cm
28. Rachel Ruysch II Framed 153.2 â«» 126.2 cm
29. Jacob van Walscapelle I Framed 153.2 â«» 120.0 cm
30. Jacob van Walscapelle II Framed 153.2 â«» 120.0 cm
Small New Order 2015
E J Eelkema I & II Rachel Ruysch I & II Jan Davidsz. De Heem I & II Hans Bollongier I & II Jan van Huysum I & II Jacob van Walscapelle I & II A series of 12 framed archival inkjet prints on Hahnemßhle Photo Rag 308 gsm paper Sizes variable Editions of 20 plus 5 artist’s proofs Signed and numbered, verso Printed by Andrew Turnbull, Digital Print Studio, London Published by Alan Cristea Gallery, London
31. E J Eelkema I Framed 81.6 ⫻ 60.7 cm
32. E J Eelkema II Framed 81.6 ⫻ 60.7 cm
33. Rachel Ruysch I Framed 81.6 ⫻ 65.7 cm
34. Rachel Ruysch II Framed 81.6 ⫻ 65.7 cm
35. Jan Davidsz. De Heem I Framed 81.6 ⫻ 56.5 cm
36. Jan Davidsz. De Heem II Framed 81.6 ⫻ 56.5 cm
37. Hans Bollongier I Framed 81.6 ⍝ 65.5 cm
38. Hans Bollongier II Framed 81.6 ⍝ 65.5 cm
39. Jan van Huysum I Framed 81.6 ⫻ 64.6 cm
40. Jan van Huysum II Framed 81.6 ⫻ 64.6 cm
41. Jacob van Walscapelle I Framed 81.6 ⫻ 64.5 cm
42. Jacob van Walscapelle II Framed 81.6 ⫻ 64.5 cm
BIOGRAPHY
1975
Born in London Lives and works in London
SELECTED SOLO EXHIBITIONS 2016 2015 2012 2011 2010
2009
2008
2007
2006 2004 2002
Gordon Cheung, Nottingham Castle and Art Gallery, Nottingham Breaking Tulips, Alan Cristea Gallery, London The Abyss Stares Back, Edel Assanti Gallery, London The Solar City, Edel Assanti, London The Light That Burns Twice as Bright, Alan Cristea Gallery, London Altered States: Paintings by Gordon Cheung from the Stéphane Janssen Collection, Arizona State University Art Museum, Tempe, USA The Sleeper Awakes, Other Gallery, Shanghai, China; touring to Beijing and Wenzhou in 2011 Gordon Cheung, ROOM Gallery, London Unosunove Gallery, Rome, Italy The Promised Land, Jack Shainman Gallery, New York, USA The Four Horsemen of the Apocalypse, The New Art Gallery Walsall, Walsall The Fall of the Rebel Angels, Alan Cristea Gallery, London Death by a Thousand Cuts, Chinese Arts Centre, Manchester Kirkby Gallery, Liverpool Wilderness of Mirrors, Galerie Adler, Frankfurt, Germany Technophobia, Harris Museum, Preston God is on Our Side, Unosunove Gallery, Rome, Italy Gordon Cheung – Paradise Lost: Laing Art Solo Award and Commission, Laing Art Gallery, Newcastle upon Tyne The 1000 Yard Stare, Aspex Gallery, Portsmouth Gordon Cheung - Recent Paintings, Djanogly Gallery, Nottingham Heart of Darkness, Thomas Cohn Gallery, Sao Paolo, Brazil Hollow Sunsets, Houldsworth Gallery, London Sprawl, DomoBaal Gallery, London
SELECTED GROUP EXHIBITIONS 2015
2014
Collateral Drawing, Rosalux Projects, Berlin, Germany Vita Vitale, Azerbaijan Pavilion, La Biennale di Venezia, Venice, Italy Summer Exhibition, Royal Academy of Arts, London TIME :: CODE: Video Art from the Present to the Past into the Future, Whitebox Art Center, New York, USA the lady with the x-ray eyes, Festival for Contemporary Art, Bulgaria Look at Me: Portraiture from Manet to the Present, Leila Heller Gallery, New York
2013
2012 2011 2010
2009
2008
How to Explain Pictures to a Dead Hare, Pristine Galerie, Monterrey, Mexico Show me the Money: The Image of Finance, 1700 to Present, Northern Gallery for Contemporary Art, Sunderland ‘/seconds’, Sharjah Art Foundation, UAE Here Today, The Old Sorting Office, London The Royal Academy of Arts in Yorkshire, Zilllah Bell Galleries, Thirsk, Yorkshire NOW PLAYING EVERYWHERE: a Survey of Social and Political Works from the Stéphane Janssen Collection, MCA Museum, Arizona, USA Currents: Recent Art from East Tennessee and Beyond, Knoxville Museum of Art, Tennessee, USA Cheer Up, It’s Not the End of the World, Edinburgh Printmakers, Edinburgh John Martin: Painting the Apocalypse, Millennium Gallery, Sheffield; touring to Tate Britain, London Negotiable Values, Chinese Arts Centre, Manchester; touring to 501 Art Space, Chongqing, China Dazed and Confused, New Loon Fung Restaurant, London Chaosmos 2010, (Independents Liverpool Biennial 2010), View Two Gallery, Liverpool SH Contemporary Art Fair, Shanghai, China Beijing International Art Biennale 2010, Beijing, China Eleven, Alan Cristea Gallery, London, UK Premio Lissone, Museo d’Arte Contemporanea, Lissone, Italy Double Interview, Artspace, HUE, Seoul, South Korea Painting the Glass House: Artists Revisit Modern Architecture, touring to USA museums: Yale School of Architecture Gallery, New Haven; The Aldrich Contemporary Art Museum, Connecticut; and Mills College Art Museum, Oakland The Other Mainstream II: Selections from the Collection of Mikki and Stanley Weithorn, Arizona State University Art Museum, Tempe, USA Phantakalifragilistigexpialigetisch, Galerie Adler, Frankfurt, Germany PS: Parsing Spirituality, Affirmation Arts, New York, USA Projections, Carré d’Art - Museum of Contemporary Art, Nimes, France Unfold, Nettie Horn Gallery, London Fault Line - Art in the Age of Anxiety, The Nunnery Gallery, Bow Arts Trust, London Drawing Biennale 2009, Drawing Room Gallery, London New London School, Galerie Schuster, Berlin, Germany Lure and Seducer, Galleri Christoffer Egelund, Copenhagen, Denmark R O O M Collaborators, Room Gallery, London Reconstructing the Old House, The Nunnery Gallery, Bow Arts Trust, London (touring UK)
2008
2007
2006
2005
The Art of Survival, Maddox Arts, London Fresh Out of the Box, The New Art Gallery Walsall, Walsall Future or Ruin, Charlie Smith Gallery, London Psychedelic, San Antonio Art Museum, Texas, USA Whatever the Weather, Sunderland Museum & Winter Gardens, Sunderland Jerwood Contemporary Painters, Jerwood Space, London LANDSLIDE: Gordon Cheung / Masakatsu Kondo / Sea Hyun Lee, I-MYU Projects, London The Summer Show, Maddox Arts, London Timbuktu, Pallas Contemporary Projects, Dublin, Ireland Recent Acquisitions, Hirshhorn Museum, Washington D.C., USA Near Dark, Donna Beam Gallery, University of Nevada, Las Vegas, USA Arrivals/Departures, URBIS Museum, Manchester The Newspaper, INDO Bar, 133 Whitechapel Road, London Blood Meridian, Michael Janssen Galerie, Berlin, Germany Dream Home, Novas Contemporary Art Centre, London New Life and the Dream Garden, Fieldgate Gallery, London Drawing 2007, Drawing Room Project, London Fash n Riot, The Photographers’ Gallery, London Drawing From History: Permanent Collection and Loans, Arizona State University Art Museum, Tempe, USA Detour, The Arts Director Club, New York, USA Second Life, Portman Gallery, London Summer Exhibition, Royal Academy of Arts, London Broken Romanticism, Standpoint Gallery, London Jerusalem, Dean Clough Galleries, Halifax Continental Breakfast, Umetnosta Galerija Maribor Museum, Slovenia The Sleep of Reason, The Embassy Gallery, Edinburgh Beyond the Grave, Sartorial Contemporary, London ASU Collection, Arizona State University Art Museum, Tempe, USA Stéphane Janssen: The Collector, Amarillo Museum of Art, Texas, USA Fresh! Contemporary Takes on Nature and Allegory, Museum of Glass: International Centre for Contemporary Art, Washington D.C., USA The Stars Down to Earth, Nunnery Gallery, London Crave, Rawspace, London I’ll be your Mirror, Gostin House, Liverpool Biennial, Liverpool John Moores 24, Walker Art Gallery, Liverpool We Have Lost the Hearts and Minds, E:vent, London Salon Connexions, Contemporary Art Projects, London Alan Cristea Gallery Editions, Alan Cristea Galley, London I’ll be Your Mirror, Gallery Primo Alonso, London Building Capacity, Storey Gallery, Lancashire Faux Realism, Royal Academy Pumphouse Gallery, London
2004
2003
2002 2001 2000
Pictionary Auction, Agency Gallery, London Art News, Raid Projects, Los Angeles, USA Lunchbox Auction, Wooster Projects, New York, USA New London Kicks, Wooster Projects, New York, USA NLK, Soho House, New York, USA Compendium, Castlefield Gallery, Manchester Peculiar Encounters, 187 – 211 St John’s Street, London Drawing 2000, Drawing Room Project, London Jerwood Drawing Prize, Jerwood Space, London and touring British Art Show 6, BALTIC, Gateshead and touring Caution: Uneven Surfaces, Temporary Contemporary, London Art News, Three Colts Gallery, London Grey Goo, Flaca Gallery, London Horizon of Expectations, The Empire, London Halbes Haus, Three Colts Gallery, London Thermo 04, Castlefield Gallery, Manchester; The Lowry, Salford Le Petit Paysage, Liverpool Biennial, Liverpool and touring Perspectives, Galerie Koch, Hannover, Germany Stray Show, Chicago, USA Apopalyptical, Houldsworth Gallery, London Collage, Bloomberg Space, London HALF LIGHT, Rockwell, London One Day, Gallery Corridor, Iceland Yes, I am a Long Way from Home, Nunnery, London; touring to Wolverhampton Art Gallery; Herbert Read Gallery, Canterbury; and Northern Gallery for Contemporary Art, Sunderland Vasl, VM Gallery, Karachi, Pakistan Intervention, John Hansard Gallery, Southampton Sense and Nonsense, Danielle Arnaud Gallery, London Drawing 100, Drawing Room Project, Tannery, London Trans-, Kyoto Art Centre, Kyoto, Japan ArtFutures, Contemporary Art Society, London Portal-, Studio J, Osaka, Japan Unscene, Gasworks, London Wellworth, Keith Talent Gallery, London CD1, Marlborough Fine Arts, London The Show, Royal College of Art, London Assembly, Stepney City, London (curator and organiser) Painting 2000, Royal College of Art, London Fakescape, Mellow Birds, Underwood Street, London
RESIDENCIES AND AWARDS 2015 2014 2010 2008
Clarks: Rebooted commission. In partnership with The HALO Trust Winsor & Newton Art Star Shortlisted for Premio Lissone in Italy Jerwood Contemporary Painters, Jerwood Space, Union Street, London
2006
2005 2004
2003
1999
1998
DeciBel Award Finalist John Moores 24 Painting Prize Finalist, Walker Art Gallery, Liverpool Laing Art Solo Award and Commission, Newcastle Braziers International Artists Hong Kong and China Research Trip Arts Council of England Individual Arts Award BOC Emerging Artist Award Finalist Pizza Express Prospects Prize Finalist, Tea Building, London Jerwood Drawing Prize Finalist, Touring exhibition Breathe Residency, Chinese Arts Centre, Manchester Triangle Arts Trust International Artist Fellowship Nominated by Gasworks Gallery VASL Residency, Pakistan - Nominated by Gasworks Gallery (cat.) Arts Council England International Art Award British Council International Arts Award Diffuse Asia, Kyoto Art Centre Residency, Japan Lexmark European Painting Prize Finalist, London Socrates Travel Award for Berlin John Minton Travel Award for Paris TI Travel Award for Budapest Paris Studio Residency, Cité Internationale des Arts, Paris The Gilchrist-Fisher Award Finalist, Rhg, London Space Studio Residency 98-99, Space Studios, London Arte Viva Residency and competition, Painting First Prize-winner, Italy
SELECTED COLLECTIONS UK
USA
British Museum, London Central Saint Martins University of Arts, London Government Art Collection, London Hiscox Collection, London The New Art Gallery Walsall, Walsall Royal College of Art, London UBS Collection, London Whitworth Art Gallery, Manchester Arizona State Univerity Art Museum, Tempe, Arizona Asian Art Museum, San Francisco Hirshhorn Museum of Art and Sculpture Garden, Washington D.C. Museum of Modern Art, New York Progressive Art Collection, Ohio San Antonio Museum of Art, San Antonio, Texas Speed Art Museum, Louisville, Kentucky
EDUCATION 1994-98 1999-01
Central St Martins College of Art and Design: BA (Hons) Fine Art Royal College of Art: MA Fine Art Painting
Alan Cristea Gallery and Gordon Cheung would like to thank Andrew Turnbull, Charlotte Mullins, Jay Patel and Kirsty Wood Cover image: Detail of Jan van Huysum I (cat. 23) Introduction ©Charlotte Mullins, 2015 Catalogue and images © Gordon Cheung and Alan Cristea Gallery, London 2015 Photography by Gordon Cheung and Peter White, FXP Photography Published by Alan Cristea Gallery on the occasion of the exhibition Breaking Tulips 11 September – 6 October 2015 Produced by fandg.co.uk All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. ISBN 978-0-9932485-1-1