File - Image Factory
Transcripción
File - Image Factory
The Image Factory Art Foundation is a contemporary art institution dedicated to the promotion, exhibition and documentation of Belizean art. Established in 1995, thefoundationisanot-for-profitorganizationthatcollaborates withlocalandinternationalartistsandinstitutionstofoster greaterparticipationandproductionprimarilyinthevisualarts. During the last five years of the 20th century and the first five of the 21st,asmallartspaceonNorthFrontStreetin BelizeCityemergedasastaginggroundformultiple nationalandinternationalartprojects.Atthisjuncture, ten years on, we at the Image Factory Art Foundation see ourselvesaspartofafragmentedcontemporaryartworld. Onthisoccasionweconfidently declare that in Belize there are stillideasanddreamsworthpursuinginthearts.Thiscatalogue is a capsule. It holds a few images and words that map the first 10yearsofanot-for-profitartfoundation.Itattemptstobesexy and thrill. It tries to be smart and clever. It aspires to be modern and bold. It wants affection and appreciation for a time well spent. It is a product of pride. It is a statement of stamina, dedication and focus. It is random but reasonable. It is mild in arrogance but grateful. It is putting the last ten years to rest so we can get on with other things, pursuits, pains and pleasures: art is for the spirit! Yasser Musa director ImageFactoryArtFoundation santiago cal landings/1st 2004 la cuartería cross-o-ver 2004 la cuartería cross-o-ver 2004 On average 400-600 students come to the exhibits. It has become tradition that shows open at 7 pm on Friday nights with much pre-publicity from the media and the cultural supplement, INtransit, in The Belize Times. richard holder we 2003 santiago cal milk clouds 2001 It seemed contradictory that while we pursued a rigorous timetable of international shows from Barcelona to Caracas, we were in the most remote villages of Belize attempting to bring greater access to the market for artists and artisans. This duality has become policy at the Factory, as one road tells the world who we are, and the other keeps the soil fertile at home. We went to rural communities and townships and engaged teachers trying to institute the teaching of basic visual arts in the Primary School system. Parallel to that, we started the Art For the People mobile exhibit involving 70 artists in 1999 that was an introduction of sorts to people outside the Factory space. Prior to 1995 there was little material available on the visual arts. So it became our priority with INtransit and FactoryBOOKS (the publishing arm of the foundation) to ensure that our programs and activities would be documented. sean paul taegar face 1998 IMAGE FACTORY INT (PAG 12) 21.59 X 27.94 ARTURO The pursuit of opening the Belize Center for Art Education and Cultural Understanding in May 2002 was to ensure that Belize had an experimental space geared to foster new ideas and experiences concerning contemporary life. It is to be another space from where a next generation of artists will emerge. IMAGE FACTORY INT (PAG 14) 21.59 X 27.94 ARTURO jeremy spooner latta pichaz 2005 Each exhibit has its own spirit. Working with artists and other institutions leading up to opening night has always been a ride of rigorous ideas and deadline panic. After each exhibit, we tried to see how we could avoid the chaos and confusion of installing a show, but we are convinced now that it is a necessary process of working with artists. michael gordon zero nova arte do belize 2002 yasmin hage tamarindpopesoccerbulletwood 2004 yasmin hage tamarindpopesoccerbulletwood 2004 IMAGE FACTORY INT (PAG 16) 21.59 X 27.94 ARTURO IMAGE FACTORY INT (PAG 17) 21.59 X 27.94 ARTURO sarah estephan latta pichaz 2005 Whether it is the history of fires or hurricanes, the Maya of Moho, or the history of photography in Belize, it has always been our intention to bring another segment of the society into the Factory, in part, to make our case to them for supporting the visual arts. richard holder landings/1st 2004 la cuarteria cross-o-ver 2004 sean gibson zero nuevo arte de belice 2002 richard holder landings/1st 2004 IMAGE FACTORY INT (PAG 20) 21.59 X 27.94 ARTURO IMAGE FACTORY INT (PAG 21) 21.59 X 27.94 ARTURO ZERO new belizean art became a brand. It was the platform for our emerging contemporary artists. It was our foot in the international door, a peak into a world unknown to us. santiago cal new dose 2003 IMAGE FACTORY INT (PAG 22) 21.59 X 27.94 ARTURO IMAGE FACTORY INT (PAG 23) 21.59 X 27.94 ARTURO Landings, a contemporary celebration of art from Belize, the Caribbean, Central America and Mexico is an even more ambitious branding effort. It is the boldest manifestation of art politics and identity peddling on the global stage. IMAGE FACTORY INT (PAG 24) 21.59 X 27.94 ARTURO e-conversation Yasser Musa and Jules Vasquez from July 7 to August 11Yasser Musa and Jules Vasquez went on a back and forth viathewebandconductedaconversation on the 10 years of the Image Factory Birth of the Factory richard holder muse 2002 YasserMusa:Gilvanowasajuniorcollege studentofMrs.MichelePerdomo.Heand Sergio Hoare were best friends. The first painting I saw of Gilvano was of a Jaguar he was painting for his sister. I had just started working at SJC, having returned from LSU in July 2004. At the end of my firstyearteachingwestartedtheFactory upstairs of 91 North Front Street with the show The Young Realists - Gilvano Swasey and Sergio Hoare. The months before I remember we were going to Anthony McCoy O’Ferral’s home often. a public and art cognoscenti that cared only enough to dismiss the factory crew as too cute for its own good and too talent-less to earn remark or rebuke. But - without putting too fine a point on it - it had a sense of being I think what you calledaneutronmoment,withnohistorical precedentorontogenicreferent;therewas no reason for this space to exist. Other thanthevainimaginationofa24year-old enfantterriblewhowassurethathecould bebothMaryBooneandBasquiat,witha knowing wink to Warhol. JulesVasquez: I was there for that young realistsshowtocoveritforthenews. And I remember that the space (then on the secondfloor)hadthesenseofbeingasort of cathedral in the sand. Just going on guts,dubiousinstinctandraw“witeman” energy,youandTonysetupthisspacethat wethoughtwascompletelyglamorousand aestheticallyonparwithanycontemporary artspaceinNYC. (Iguessifwehadknown betterwewouldhavenotdoneanything, so don’t curse us for our ignorance.) But while it was glam, it also had the sense ofbeingsomewhatesoteric,maybeeven cabalistic,apublicspace,but,whatPrince might call“a private joy,”the joy of pulling off - with (what we felt was) impossible cool - this droll, almost cheeky, prank on The Factory and the world Part 1 YM:SometimearoundFeb.1994Imetwith JoanDuraninNewOrleans.Ihadtofinish my thesis, which was on him. He had set upameetingwithLewThomasthecurator of the Contemporary Art Museum (CAC) inNewOrleans.Thomaswasabookartist from the 1970’s, a small man who didn’t take kindly to Duran’s aggressive brow beatingapproach.ButLewlikedtheidea ofhavingacontemporaryshowfromBelize and he engaged us. That was the first showoutsideBelize,whichopenedin....as Minus5.Wetookournewwiveswithusup totheopeningandstayedwithourfriends theCastillo’s.Itwasanincrediblefewdays of setting up the show, drinking endless coffeeandtryingtofigureouttheworkings oftheCAC.Duranhadhisownshowgoing on the second floor. He put me and his son Ivan on the first, as the father, the son andholyghost.Theopeningwentwellwith several streets in the warehouse district closedtotrafficandothergalleriesopening shows at the same time. We checked the Times Picayune to see if theycoveredtheshow,andwereexcited they had something. JV: My recollection of that event is far less magical. I remember Duran as a prowling,manicbeast,possiblyatextbook case of adult ADHD (attention deficit hyperactivitydisorder)withalltherestraint andtactofahyenawithalivinglamb’sleg clenched between his jaws. But he was amangeneticallyprogrammedtothrive andconquerinaworldwherefraudsand weaselsrunfree;heshredsthemwiththe charm of a bulldozer and the savvy of a ruthless card shark. And while we took in the spectacle of Duran as he “turned and burned” in the CAC,formethethrillwasnotsomuchthe show,buttheentireimposterishnatureof the enterprise. I mean that not to sound dismissive, but I somehow felt that we weregettingawaywiththiscollectivefraud internationally - and the boys at the CAC didn’t know or care. I later found out that whatIthoughttobemanifestlyfraudulent or, at best, demonstrably vapid, was real, good currency in the art world where art and artifice is interchangeable. This lesson,andthedeparturefromsqueamish hagglingoverform,intentandsubstance would liberate us, and enable you to embrace art in a far freer sense, able to be disconnectedfrommeaning,arambling, free-associativejourney,thatmayaswell as it may not have destination. YM: There are three ideas that stick out in my mind as it relates to how the visual artsstartedtoconnecttotheoutsideworld. objectivestandardsdisconnected.Butit hasaplannedmistakeattitudetoitIenjoy. The first is the 1999 exhibit in Taiwan at theFineArtsMuseumofTaipei.Duetoour relations withTaiwan, the show was well organized and went off without a hitch. The second is the infusion of energy and artistsbyAdrianBarronintothePoustinia Land Art Park in Benque, with Luis Ruiz’s vision of an eco-art park. And third the opening of ZERO new belizean art in Mérida,Yucatán in 2000.To my mind the threethingsaresoconnected,yetfromall JV: They are all connected in the sense that a group of no more than a dozen peoplewereawareofthemwhiletheywere happening. They were duly publicized post-event, but there’s no denying that these events never came out of any collective communal acclaim... it is 1:30 brio I am beat, will finish this tomorrow... Art and Politics What do they have in common? It has come down to this. Hard to say. And for us, me as a Prime Minister’s son, you as a superjournalist,gonegonzomaniconthe world-bi-polaropposites.Itradeinhope you in grope. Red and blue. Merchants in timemanagementandcrisiscircuses.But somewhereartcomestoplay.Theendless coverage on Channel 7 for all things Factory.Theendlessinterviewsonelasting so long you fell asleep, and the tape ran out.Itmustbethepost-modernfumes we sniff. The Factory has a space on television.Icontendifthefactoryhadcome toplayinthe1970’sorearly80’swewould have closed after one year. It is the false feelings of joy and accomplishment that comesfromtheelectronichit,whichmakes usallmadwithperversepreservation.The globalcommunityofcablewehaveinsists onaneveningofdespairandmorningsof hapless repair. So we live from 9:30 am to 6:25 pm each day in a fool’s paradise. But theFactorywallsmuststayfullofdreams. Exhibit after exhibit, show after show - it staggers at the pace of perverts. Who knowsthepsychologyofitall?Butartand politics are good together. The Factory and the NGO’s Just before 2000, Susana Rochna from theDutchhumanitarianorganizationHivos paid a visit to the Factory. I recall I had metaHivosrepresentativein1996when I was still living at Hunters Lane. Susana came with hope and we sat in the small ally behind the factory and mapped out a strategy to take art to the people. Thus started our relationship with Hivos first as a travelling exhibition called Art For The People, then as a series of projects called Art Comes Alive and now we are in themiddleofCultureInAction.ThisNGO connectionhasbeenimportanttousfrom afinancialstandpointandhasallowedus to venture into other areas such as the new Factory store and bookshop. I want to think that we are now on a new ride to push the literary arts as we did the visual arts. The Factory Tomorrow Tomorrow is so sexy because today and yesterdayaresocompromised. Butwhat does an art institution do when it has a record behind it? Well, I’ve told Gilvano thatinorderfortheFactorytocontinuewe need to abandon and reject the first ten years,andmoveonfresh.Westartedwith allthefevertobreakdownstereotypesof art and tradition, and I hope not to make up new ones. Two big things emerged in the first ten years from an ideological standpoint. Ontherightofme,IhadJoan Duran with all his high standards and super global quality approaches to the art thing. Then on the left, I had Gilvano Swasey who is emotionally tied to the state,thestateofthingsontheground.His energyandcharismafrompeople,thereal andtheraw,thethingsthathappeninreal time. But those matters are operational. New blood needs to be poured in, blood disconnectedfromthe“factory”tradition. How do we remain, yet get out of the way so a new generation can emerge? YM timeline key exhibits 1995 June4:ImageFactoryArtFoundationopensupstairsatthe91NorthFrontStreet,BelizeCitywiththeexhibitionTheYoungRealistsfeaturingGilvano Swasey and Sergio Hoare July:YasserMusaandAnthonyO’FerralllegallyestablishtheImageFactoryArtFoundationasanon-profitartinstitutiondedicatedtothevisualartsin Belize September: The Image Factory launches INtransit, a cultural supplement in The Belize Times focusing on art, culture and ideas 1996 August:MinusFouropenswiththevideoTheBelizeCityPoem.ThismarksthebeginningofFactoryBooksthepublishingarmoftheImageFactory Art Foundation 1997 February:AnexhibitionofFolkloricArtopens.TheImageFactoryestablishesacloseworkingrelationshipwithMegCraig(anoutstandingcollectorof a wide range of cultural materials on Belize) April:TheMayaofMohoanarchaeologicalexhibitionopens.ThelateLeonardDieckman,S.J.whocollectedtheartifactsbecomesaspiritualguru and inspiration to many of the Factory artists 1998 Benque House of Culture opens November: Zinc Lion opens. It is the first comprehensive look at the art of established Image Factory icon Michael Gordon 1999 May: Controversy erupts in the local art community when sixteen year old art student Sean PaulTaegar is accused of copyright violation for appropriatinganimagebyphotographerNorrisHall.Taegarmadealinocutprintbasedonthe1970’soriginalphotographbyHall.Hisworkwas exhibited at Identities-Artists of Latinamerica and the Caribbean in Paris, France August: Belizean Art exhibits at Museum of Fine Arts, Taipei, Taiwan October: Image Factory launches website December:ThegalleryspaceoftheImageFactoryisremodeledandrenovated.Introduction-theartofJoanDuran1949-1999isthefirstshowto open in the new modern space 2000 March:ZER0newbelizeanartispresentedinMérida,YucatánattheCentroCulturaldeMéridaOlimpo.ItisthefirsttimecontemporaryBelizean visual art is given such a platform. Some 17,000 visitors attend the three-month exhibition 2001 March: Belize Center for Art Education and Cultural Understanding opens on the campus of St. John’s College in Belize City September: Belize Celebrates 20 Years of Independence. Image Factory hosts special 20/XX exhibit November: Yasser Musa, awarded gold medal at the Fifth Biennial of the Caribbean in Santo Domingo, Dominican Republic 2002 February:MuseumofBelize,BelizeCityopens.FirsttwoexhibitionsBelizeCity:ThenandNowandMayaMasterpiecesorganizedandcuratedbythe Image Factory Art Foundation April: ZERO new belizean art opens 3 shows simultaneously in Guatemala September: Banquitas House of Culture, Orange Walk opens 2003 July: Culture In Action Project is signed with Hivos. It is a three-year project involving international and national art shows, art education and development of the art market August: Commencement of the National Institute of Culture and History (NICH) November: Renovated House of Culture opens Belize participates in the 8 Havana Biennial, Cuba Belize co-awarded best curated participation at the Sixth Biennial of the Caribbean in Santo Domingo, Dominican Republic The House of Culture, Belize City, renovated 2004 February : The Image Factory Shop opens March: The Bliss Centre for the Performing Arts in Belize City opens April: The National Collection of Art is established November: The Gulisi Garifuna Museum opens in Dangriga 2005 January: Preparations for the 10th anniversary begins September:@10–celebratingtheImageFactoryopens.TheImageFactoryArtFoundationcollaborateswithStonetreeRecords,alsocelebrating their 10th anniversary. Ten contemporary works of art are donated by the Image Factory to the National Collection of Art 1995 The Young Realists / Gilvano Swasey and Sergio Hoare Above and Below / Luz Hunter and Demi Meir Underwater Photography Fragments / Group Exhibit The Clothes Line Project / Yasser Musa Primary Mind with Secondary Intentions / Gilvano Swasey 1996 Minus 4 / Yasser Musa, Gilvano Swasey andJules Vasquez Passionate Visions / Benjamin Nicholas 1997 Folkloric Art / from the Craig Family Collection The Maya of Moho / archeology exhibit by Leonard Dieckman, S.J. St. John’s College Art Show 1998 Cultural Proflexions Minus 2 / Yasser Musa and John Colt Mixed Messages / group exhibition on Belize City Zinc Lion / Michael Gordon 1999 Cutting Edge / Mercy Sabal and Michael Gordon Bowand’s 14th annual Women Art Exhibition The Color of Lamb / Joan Lamb Life Underwater / a natural history exhibition by Leonard Dieckman, S.J. Fire / a history of fires in Belize Art for the People / a traveling exhibition of over 70 artists Introduction: the art of Joan Duran 1949-1999 2000 Multiples / printmaking artists from Australia, Taiwan and Belize Eclectic / an exhibition from the Meg Craig and Leonard Dieckman, S.J. Collection V Style / Jeannie Shaw 2001 SHE / exhibit of 30 women artists Milk Clouds / Santiago Cal Brazilian Printmaking 20/XX / celebrating Belize’s 20th Anniversary of Independence 2002 Proyecto Móvil / Omar Said Charruf Mystic Soup / Pamela Braun, Sandra March, Mary O’Conner and Mercy Sabal Art Comes Alive / ceramic exhibition New Works / Nelson Young To A New Level / Damian Perdomo Poustinia: Land Art in Belize 2003 Lonely Planet / Kim Baranowski Art Now / new art in Belize We / Richard Holder 2004 tamarindpopesoccerbulletwood / Yasmin Hage cross-o-ver / La Cuartería - new art from honduras Biodrawings / Elsoca & Fabián - new art from cuba 2005 Belize Creative / new art from master artisans and artists Latta Pichaz from small country – Belize 1895-2005 bibliography (selection) ACEITUNO, Luis, Zero Nuevo Arte de Belice, El Periódico (Guatemala) El Acordeón, April 7, 2002 ACERO RUÍZ, Carlos, Arte contemporáneo de Belice, El Caribe (Santo Domingo) Pasiones del Arte, October 20, 2002 ALFONZO-SIERRA, Edgar, Aires de creación urgente soplan desde Centroamérica - Belice hace arte contemporáneo desde Zero, El Nacional (Caracas) Cultura, June 15, 2002 CORTÉS ANCONA, Jorge, Contra viento y marea, Por Esto! (Mérida) Cultura, March 21, 2000 BARCOTT, Bruce, And You Thought Art in New York Was a Jungle, The New York Times (New York) Art, May 9, 2004 BOSCO, Roberta, En la Capella de Barcelona, en busca de su expresión, El Periódico del Arte (Madrid) no. 50, December 2001 CASTELLOTE, Alejandro, Mapas Abiertos, Mapas Abiertos / Fotografía Latinoamericana 1991-2002, Lunwerg Editores (Barcelona) 2003 CASTRO FLÓREZ, Fernando, Agorafobia, ABC (Madrid) Cultural, February 16, 2002 CAZALI, Rosina, Zero a partir de cero, Artnexus (Bogotá) no. 46, 2002 CAZALI, Rosina, Zero Nuevo Arte de Belice, El Periódico (Guatemala) El Acordeón, April 7, 2002 DARDÓN, J.P., Banana Boy arriba al país, Siglo Veintiuno (Guatemala) Vida y Cultura, April 11, 2002 DE LA HOZ, Pedro, Belice, espejo del Caribe, Granma (La Habana) June 7, 2001 DE LEÓN, Raúl, La vanguardia de Belice llegará a Santo Domingo, El Caribe (Santo Domingo) September 5, 2002 DE TOLENTINO, Marianne, La revelación del arte contemporáneo de Belice, Hoy (Santo Domingo) Vivir, October 5 and 12, 2002 DURAN, Joan, Zero and we’re four down…, Atlantica (Las Palmas de Gran Canaria), no. 31, Winter 2002 DURAN, Joan, Los útimos diez años: de Minus 8 a Zero + 10, Blanco Móvil (Mexico), no. 88, Winter 2002/2003 DURAN, Joan, Zero y Sigue - Creando el hábito de ver y pensar, Artes en Santo Domingo (Santo Domingo), October/December, 2003 HERRERA YSLA, Nelson, Islas en la Isla, Casa de las Americas (La Habana) Artes Plásticas, no. 229, October/December, 2002 HUGHES, Henry Meyric, Quinta Bienal del Caribe - El punto de vista de un jurado, Artes en Santo Domingo (Santo Domingo) April/June 2004 LEMUS, Juan Carlos, Belice bajo Zero, Prensa Libre (Guatemala) Buena Vida: Cultura, April 8, 2002 LOBO, Paula, Ossos, poemas e computadores, Diário de Notícias (Lisboa) Artes, February 22, 2002 MACEDO, Paula, Vinte anos depois chegou o ‘Zero’, A Capital (Lisboa) Cultura & Lazer, February 22, 2002 MOLINA, Margot, Belice irrumpe en el presente, El País (Madrid) Babelia, no. 525, December 15, 2001 MONTALVÁN COLÓN, Eugenia, El nuevo arte de Belice: espíritu y cerebro en marcha, Columba (Mérida) no.11, April 2000 MONTALVÁN COLÓN, Eugenia, Zero, nuevo arte de Belice, Noticias de Arte (New York) no. 270, June/July/August 2000 MONTALVÁN COLÓN, Eugenia, La Frontera Olvidada, Barro Sur (México) no. 31, April 2002 MONTALVÁN COLÓN, Eugenia, Young Belizean Artists, Not Young Belizean Art, Atlantica (Las Palmas de Gran Canaria) no. 31, Winter 2002 MONTALVÁN COLÓN, Eugenia, Menos bolero y más electronic sound - Santiago Cal instalado en otra atmósfera, Por Esto! (Mérida) Cultura, June 19, 2003 MONTALVÁN COLÓN, Eugenia, Art in Belize = Export Quality? , ARCO contemporary art (Madrid) no. 35, Spring 2005 MONTALVÁN COLÓN, Eugenia, El Poustinia donde la naturaleza marca la pauta, Artmedia (San José) no. 5, 2005 NOCEDA FERNÁNDEZ, José Manuel, UnTexto Infinito - El Caribe y Centroamérica en la Octava Bienal de La Habana, Atlantica (Las Palmas de Gran Canaria) no. 37, Winter 2004 RONDÓN GUTIÉRREZ, Denisse, Con el nuevo arte de Belice, Casa de las Américas (La Habana) Artes Plásticas, no. 224, July/September 2001 SCOTT FOX, Lorna, Zero - Belize, Impacts and Dilemmas, Atlantica (Las Palmas de Gran Canaria) no. 31, Winter 2002 STEINHAUER, Andrew, Belizean Arts: Going Global, Contemporary Belizean Visual Art, Taipei Fine Arts Museum (Taipei) 1999 STEINHAUER, Andrew, On Zero, Ciphers and Tales of Ordinary Madness, Cariforum (Santo Domingo) no. 2, August 2000 TORRES, María Dolores, Arte en Centroamérica, 1980-2003 - Últimas tendencias, La Prensa (Managua) November 20, 2004 VIDAL, Jaume, El arte de Belice, El País (Barcelona) Cataluña, January 2, 2002 WOLGAMOTT, Kent, Reviews-Central, Art Papers (Atlanta) no. 4, July/August, 2005 ZAYA, Antonio, La 4a Bienal del Caribe en Santo Domingo: la renovación, Artnexus (Bogotá) no. 44, 2002 ZOUNAIN, Zaidy, Zero: trece artistas de Belice, La Información (Santiago de los Caballeros) Santo Domingo Social, October 7, 2002 -------------- L’art de Belize s’exposa a la Capella de l’Antic Hospital de la Santa Creu, Avui (Barcelona) Cultura, December 1, 2001 -------------- See and Belize, Barcelona Metropolitan (Barcelona) no. 60, January 2002 -------------- Los Paises - Belice, Cariforum (Santo Domingo) no. 7, February 2002 -------------- Últimas tendencias artísticas - Arte del Caribe en Sala Mendoza, El Universal (Caracas) Tiempo Libre, June 23, 2002 -------------- El Nuevo arte de Belice en el MAM, Listín Diario (Santo Domingo) Cultura, October 3, 2002 acknowledgements The Belize Times, Channel 5, Channel 7, Meg Craig, Leonard Dieckman, S.J., Ivan Duran, Joan Duran, Michael Gordon, Omar Habet, Richard Holder, Joel Lipman, Eugenia Montalván Colón, Pamela Musa, Joan and Said Musa, Margaret Nunez, Anthony O’Ferrall, Michele Perdomo, Susana Rochna, Christopher Roe, William Skinner, Andrew Steinhauer, Gilvano Swasey, Charles Tsai, Jamuna and Jules Vasquez, Mary Vasquez and all the other artists and collaborators who have worked closely with us over the past 10 years. publisher Image Factory Art Foundation concept and layout Joan Duran graphic design William Skinner text Yasser Musa bibliography Katie Usher photography Belize Archives Department, five-o-one art projects, Richard Holder and Image Factory Archives with the support of five-o-one art projects ISBN 976-95131-4-8 1000 copies, August 2005