Tag Archives: masterclass

Invisible In Plain Sight

Invisible in plain sight


Commissioned by Art Connects New York, Invisible in Plain Sight is an Augmented Reality exhibition developed specifically for Senior Planet in NYC with work by artists who are also members of Senior Planet: Menny Borovski; Amy Epstein; Erica Feld; Arthur Fornari; John Leicmon; Anna Link; Marilyn Pappas; Geraldine Scalia; Henry Soto. The exhibition was conceived in collaboration with Jeff Crouse and Sebastian Bach; works have been developed in collaboration with Jeff Crouse and Peter Lester; and Crouse had additionally developed the ArtConnectsAR app, built in the Unity game engine using the Vuforia AR platform, by which the exhibition is accessible.

The exhibition opens up a space to suspend disbelief and reimagine space in the built environment in New York City. Exploring the urban landscapes of the city including all of its nooks and crannies, Invisible In Plain Sight includes new ephemeral digital works specifically for the Augumented Reality app. Drawing on their experience as painters, photographers, sculptors, holographers, illustrators, and poets, the artists reimagine our cityscape.


Invisible in Plain Sight
A Permanent Exhibition for Senior Planet Exploration Center
Curated by Amanda McDonald Crowley

Opening Reception with the Artists:
Thursday, November 17
6 – 8pm
Senior Planet Exploration Center
127 West 25th Street, New York, NY, 10001


Here are a few of the targets for viewing the exhibition! In situ at Senior Planet. To view the works, got to the Apple app store on your iPhone or iPad, download the app (developed by Jeff Crouse, of See-through Lab LLC). Open the app and point the camera at these targets to see the artworks


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Kenya (Robinson): Six Thousand Is A Lot

In 2014, Kenya (Robinson) undertook a residency at Bemis Center for Contemporary Arts in Omaha, NE, as part of a series of residencies I realized for artists who were specifically invited to engage with the Omaha community.

Here’s a link to a video about what Kenya was working on in her studio at the Bemis Center.

For her workshops, Kenya specifically requested access to workshop participants who were under 5 years old. We worked with our colleagues at the Bemis Center’s north Omaha location, Carver Bank, to identify local Black American kids and with Heartland Family Services who connected us with local Burmese immigrant communities. Kenya’s six week curriculum took her students through a project of learning vocabulary through taste, sound, texture, smell, and visual thinking.

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Chloë Bass & Teal Gardner | Urban Design Lab

Urban Design Lab

UDL_roomshotUrban Design Lab
Bemis Center for Contemporary Arts, Omaha, NE
July 15 – November 1, 2014

In Summer 2014, I invited Chloë Bass and Teal Gardner to participate in the Bemis Center artist-in-residence program where they collaborated with 18 local researchers to shed new light on the nature of our urban landscape. Recruited from local high schools, the researchers first completed research for the Department of Local Affairs. Each teen filled out one of the templates listed below, sharing information about his or her experience of Omaha: making a map, designing a pamphlet, writing a review or offering advice. The shared information ranged from an account of where one student’s relatives lived in the context of her neighborhood to advice about how (and how not to) use particular parks for social activity.

Once trained in the Department of Local Affairs’ interactions and processes, researchers went into the community and asked local residents and workers to share information with the Department. One research day focused on the Old Market area, where teens engaged people at the Omaha Public Library, a coffee shop, an antique store and on the street. The second research day was focused in North Omaha, where teens collected information from people at Carver Bank, Love’s Jazz and Art Center and the Union for Contemporary Art.

Bass then organized the collected materials into a subjective guidebook. The Department of Local Affairs office installation is on view as part of the Urban Design Lab exhibition at the Bemis Center.

The Lab participants, who were recruited from local high schools, toured various parts of the city as field researchers and then synthesized their data in the Bemis’s gallery space, which consists of two parts: Chloë Bass’s The Department of Local Affairs and Teal Gardner’s Reading the City.

At the end of each week of data collection through Department of Local Affairs and Reading the City, the researchers worked as teams to develop as an intentional form of play. They were charged with the task of repurposing the sights and sounds they recorded into new tools and bodies of work, which will be offered to other visitors and participants in this space throughout the exhibition.

Taken as a whole, the Urban Design Lab provides deep, media-rich data about the city in which we live, as well as a new synthesis about the meaning of that data. As a place where new ideas and work are created, the Lab also echoes the ongoing creative processes that are at the heart of the Bemis Center’s internationally-recognized artist residency program.

The outcomes of research were shared at a Presentation Day on August 5, 2014

Department of Local Affairs
Reading the City workshops
Maker Days

Chloë Bass also realized her Department of Local Affairs over the summer of 2014 with the Laundromat Project, and also wrote a series of posts, Learning Omaha, on Hyperallergic during her residency.

“A laboratory experience,” by Casey Logan, Omaha World-Herald (behind pay-wall) and on Omaha.com (available online) September 2014.

About the Artists
Chloë Bass
In creating conceptual art (performances, situations, installations, publications), Chloë Bass’s goal is to investigate the potential of the everyday as a catalyst for intimacy. She is captivated by the common denominators of the human experience, such as the things that people always do, and she seeks to highlight the seemingly normal as a means of questioning its stability. Bass’s primary medium is people, and she uses performance as a metric to evaluate the successful function of interaction and engagement – person to person, and between people and their surroundings – rather than a spectacle for passive enjoyment. The artist has been a resident at POGON (Zagreb, Croatia), D21 Kunstraum/5533 art space (Leipzig, Germany and Istanbul, Turkey) and Eyebeam (NY, NY) and has shown her work at venues such as the Neuberger Museum (Purchase, NY), Künstlerhaus (Stuttgart, Germany), Kunstkammer AZB (Zürich, Switzerland) and the Contemporary Art Institute of Detroit (Detroit, MI). Selected profiles of her work have appeared in BOMB, Entorno, ArtInfo, Art Observed, the New York Times and Hyperallergic. She is the recipient of a 2013 Fellowship for Utopian Practice from Culture Push and a 2011 & 2012 Rema Hort Mann Foundation Individual Artist Grant Nominee. The artist earned her BA in Theater Studies from Yale University and an MFA in Performance and Interactive Media Arts (PIMA) from Brooklyn College.

Teal Gardner
Teal Gardner’s work centers around an interest in children’s play and the conceptual and physical spaces that are available for that play. The political, social, aesthetic and ecological facets of children’s play environments provide ample fodder for her investigation. Through a practice that is concerned with praxis, she utilizes social scenarios to bring about action. This can mean installing a show with children as collaborators or transforming a gallery space into a ‘free play zone’ and inviting the community to participate. Gardner binds together this work with writing, informed by research into pedagogy, design, landscape architecture, public policy, neuroscience, developmental psychology, ecology, philosophy and art history. A former fellow at the Union for Contemporary Art in Omaha, the artist attended the University of Nebraska, Lincoln, where she majored in Anthropology with minors in English and Art.

Lead Researchers
Nia Allison
Giovanni Barraza
Serenity Bryce
Hayley Danielson
Tori Dunston
Ta’Riance Harris
Michaela Hawkins
Cecilia Hoggatt
Tasheonna Lewis-Kent
Imani Murray
Eva Philips
Ana Pineda-Gutiewez
Daniel Pinto
Luis Salazar
Eros Shreve
Eva Taylor
Claire Tweedy
Brent Walker
Solomon Washington
Owen Zahm

The Urban Design Lab is generously supported by Lincoln Financial Foundation.

Chloë Bass talks about the Department of Local Affairs at Bemis Center
Teal Gardner talks about her residency at Bemis and her involvement in Urban Design Lab
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Curatorial Masterclass

Eyebeam Summer School: Curatorial Masterclass


An initiative of Eyebeam’s Summer School program, the Curatorial Masterclass was led by Eyebeam research partner Sarah Cook from CRUMB, the online resource for curators working with media art. The series provided an opportunity for emerging and established curators of art to get together within a focused period of time to learn from each other’s practice, and to develop a greater understanding of curating, open source methods, and working in the public domain.

The first hour of each day was structured as a formal conversation modeled on CRUMB’s tea-time chats, and featured established curators and artists. The second hour was a rigorous participant driven discussion that built upon the first hours of themes and insights. Following each presentation and workshop, participants had the opportunity to stick around for beer o’clock and conversation with presenters and fellow masterclass participants, as well as participants from other Eyebeam Summer School programs.

Lead Tutors and Program Management: Amanda McDonald Crowley, Anne Barlow, Dominic Smith, Fred Benenson, Hans Bernhard, Lize Mogel, Patrick Lichty, Rebecca Cittadini, Sarah Cook, Scott Burnham, Stephanie Pereira, Stephen Duncombe, Steve Dietz, Steve Lambert, Taeyoon Choi.

• Download the complete schedule, list of guest bios, and key references compiled by Sarah Cook here: CMSS_09_crumb_eyebeam.

Day 1: July 7, What open source is and what it means for art (Burnham, Smith, Benenson) | WATCH VIDEO
Day 2: July 9, Publication and Documentation (Mogel, Cittadini) | WATCH VIDEO
Day 3: July 14, Networking and Collaboration (Lichty, McDonald Crowley, Cohrs) | WATCH VIDEO
Day 4: July 16, Curating in the public domain (Dietz, McDonald Crowley, Choi) | WATCH VIDEO
Day 5: July 21, Evaluation and Audience Engagement (Barlow, Bernard, Duncombe) | WATCH VIDEO

Eyebeam Summer School, 2009

Summer School 2009 program also included:BBQ_IMAGE

Summer School @ Night, A series of free evening lectures open to the public led by hosts from Eyebeam’s Summer School program and friends of Eyebeam, programmed by Stephanie Pereira and Paul Amitai.

Digital Day Camp 2009, a summer program for open to NYC public high school students to engage in lectures and hands-on workshops focusing on art and technology tools, and relevant social and artistic topics, managed by Stephanie Pereira. Check out the DDC2009 Blog here for information on participants, tutors, and program. DDC activities are led by invited technology professionals, contemporary artists, and Eyebeam’s residents and fellows and was an annual program at Eyebeam from 2000 to 2011.

College of Tactical Culture, A think tank on creative activism led by Stephen Duncombe and Steve Lambert. Project Manager: Paul Amitai. Participants: Larry Bogad, Andrew Boyd, Rebecca Bray & Britta Riley, Ava Bromberg, Anne Frederick, Packard Jennings, Kristin Horton, Aaron Hughes,  Laura MacCleery,  Ricardo Miranda Zuniga, Eve Mosher, Brooke Singer, Ella Turenne.

Photos: Christine A. Butler courtesy of Eyebeam

Press release for the Summer School 2009 is available here: summerschool_PR_070109_FINAL

Further archive information about Summer School at Eyebeam.

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Alchemy: Masterclass for New Media Artists + Curators


In 2000 ANAT (Australian Network for Art and Technology) convened ALCHEMY: the International Masterclass for New Media Artists and Curators.

The Masterclass took place in Brisbane in May and early June 2000. 16 tutors and 42 participating artists and curators explored new media practices, critical concepts for cross cultural collaboration and generally had an extraordinary time exploring with and playing in the newly opened Brisbane Powerhouse – Centre for the Live Arts, who partnered with ANAT on the realisation of this project.

Participants had 24 hour access to the equipment and the building and the project provided participants with an incredibly rich learning environment, both technically and conceptually. The masterclass engaged with a diverse range of topics. Themes included: science discourse; curatorial practice; net art practice; Indigenous and regional Asia Pacific issues; and performance and hybrid practices.

Participants for Alchemy were selected from a call for proposals distributed internationally in late 1999. The participants were chosen through their proposals, with reference both to the thematics and with geographical and cultural considerations also taken into account.

Alchemy participants:

Brook Andrews (NSW) Caroline Farmer (SA) Christian Thompson (Vic)
Clare McGrogan (Qld) Dena Curtis (NT) Gongxin Wang (China)
Hartanto (Indonesia) Jenny Fraser (Qld) Jo Law (WA)
Keith Armstrong (Qld) Kim Machan (Qld) Mae Adams (Vic)
Megan Rainey (SA) Monica Narula (India) Patricia Adams (Qld)
Raewyn Turner (NZ) Rebecca Youdell (Qld) Sam James (NSW)
Sarah Neville (SA) Shilpa Gupta (India) Steve Bull (WA)
Bruce Gladwin (Vic) Chris Dempsey (Qld) Christiawan (Indonesia)
Deborah Lawler-Dormer (NZ) Edwina Bartleme (Qld) Grisha Coleman (NY)
Jane Schneider (Qld) Jernej Kozar (Slovenia) Kamal Krishna (Qld)
Kelli Mccluskey (WA) Lisa Anderson (Qld) Jernej Kozar (Slovenia)
Mari Velonaki (NSW) Mike Stubbs (UK) Partha Pratim Sarker (Bangladesh)
Peter Toy (WA) Raul Ferrera (Mexico) Rolando Ramos (NSW)
Sarah Ryan (Tas) Sheridan Kennedy (NSW) Sophea Lerner (NSW)
Vanessa Mafe-Kean (Qld)


Alexei Shulgin (Russia) Nina Czegledy (Canada) Mongrel (UK)
Geert Lovink (Aust and Netherlands) John Tonkin (Aust) Rea (Gamileroi/Wailwan)
Shudahabrata Sengupta (India) Sara Diamond (Canada) Marko Peljhan (Slovenia)
Tess de Quincy & Laura Jordan (Aust) Blast Theory (UK) Mike Stubbs (UK)

The project provided for an intensive and productive period for exploration, conversation and the generation of dialogue and new ideas. The masterclass included daily presentation and discussion periods, workshops, skillshares, and skills development opportunities. Weekly BBQ and performance events provided opportunities to network with local Brisbane artists and curators; evening events provided opportunities for lead tutors to present their work in public forums, and a performance evening at the conclusion of the masterclass provided participants with the opportunity to present work in progress to the greater Brisbane community. Technical Management: Martin Thompson; Project Management: Charity Bramwell; Project and Technical assistant: Tim Plaistead.

Please note these are historical sites – some links may no longer work

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National Indigenous School in New Media Art

Group photo2The inaugural ANAT National Indigenous School in New Media Art took place from 3 – 24 July, 1999 at Northern Territory University in Darwin. Brenda L Croft (Gurindji) Indigenous artist, curator, writer, lecturer and consultant co-curated and managed the project. Tutors were: Rea (Gamileroi/ Wailwan); Cameron Goold; Skawennati Tricia Fragnito (Mohawk First Nations, Canada). All the participants – participating artists, tutors and project staff alike – learned from each other as much as from the teaching aspects of the school. Many people in the Indigenous and arts/cultural communities in Darwin warmly welcomed the participants, and ended up participating in many of the activities as well as looking after and entertaining the group throughout the three weeks.

Whilst the artists focused on the development of skills, the sharing of knowledge, and their own artwork, a key aspect of this project was that artists were also influenced by their surroundings.

The fourteen artists selected to participate in this project were:
Kathleen Arbon, Arabunna, lives Darwin, NT
Sandy Carter, Ngarrindjeri, lives Renmark, SA
Jason Davidson, Gurindji, lives Darwin, NT
Jenny Fraser, Bundjalung, lives Brisbane, Old
Fiona Giles, Ngarrindjeri, lives Renmark, SA
Lindsay Haji Ali.Yawuru, lives Broome, WA
Joanne Hamilton, Wiradjuri, lives Sydney, NSW
Gordon Hookey, Waanyi, lives Sydney, NSW
Clara Inkamala, Western Arrernte, lives Hermannsburg, NT
Keith Munro, Kamileroi, lives Sydney, NSW
Carol Panangka Rontji, Western Arrernte, lives Hermannsburg, NT
John Smith Gumbula, Wakka Wakka/ Gurang Gurang, lives Brisbane, Qld
Karl Telfer, Nurrangga/Kaurna, lives Adelaide, SA
Christian Bumbarra Thompson, Bidjara, lives Melbourne, VIC

‘The workshops allowed for interaction between students which strengthened our class and living relationships. The school offered a strong creative base that is important for Indigenous people. All in all, NISNMA gave me the knowledge to comfortably venture into the exciting world of new media.”

Everyone who came through the school during the period remarked upon the terrific ‘vibe’ that the project created in the Fine Arts School of NTU. The participants skill level varied considerably, so whilst some were getting a ‘crash course’ in new software applications, others were getting a ‘crash course’ in simply using a computer to access telecommunications networks and generate and manipulate images and generally getting a feel for where they might be able to use these skills in the future. The project was unique in the incredible sense of sharing and community it developed and input from tutors and students alike was incredibly enthusiastic and enriching. The 1999 ANAT National Indigenous School was developed in partnership with the School of Fine Arts, Northern Territory University, Darwin, with enthusiastic support from Chris White.

Two residencies also resulted from the program:

  • Jason Davidson (NT) at 24Hr Art, Darwin
  • Christian Bumbarra Thompson (Vic) at Centre for Contemporary Photography, Melbourne.
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med•ia te: School for New Media Art Curation

med•ia te

med•ia te: the ANAT National School for New Media Art Curation, evolved out of a recognition that to nurture art which utilises technology, adequate education of curators and arts workers must also be undertaken. As new technologies become increasingly critical to art practices, it is important to provide skill-based education for curators wishing to extend their practice into this area, med•ia te was a world first in providing this type of training.

The school was held in association with Contemporary Arts Services Tasmania (CAST), in Hobart, Tasmania, 28 March -11 April,1999. Trained curators, technicians and theorists from Australia and overseas provided intensive training, in a two week masterclass teaching environment, that gave curators both a technical and a theoretical understanding of new media art exhibition practice.

The international tutors for the school were Sara Diamond, Director of Banff New Media Centre in Canada, and Tapio Mäkelä, a Finnish curator, artist and writer. Expert national tutors were Linda Wallace, Shiralee Saul, Peter Hennessey, Jason Gee and John Tonkin. Honor Harger was the med•ia te project manager.

Tasmanian artists and curators who gave artist’s talks or presentations about their work included PK Khut, Leigh Hobba, Sean Bacon and Matt Warren, and Martin Walsch.

A highlight of the school was a ‘school excursion’ to Bruny Island on the final day, where participants, tutors, members of the CAOs (Contemporary Art Organisations) network who were in town for a meeting, and local artists travelled to Cape Bruny to visit David Haines and Joyce Hinterding at the lighthouse, where they were spending three months tracking and capturing images and sound from weather satellites, sampling sounds from guy wires in howling gales and filtering radio frequencies emitted by the Southern Aurora to manipulate and develop into video and sound installations. The residency was initiated by the artists following Hinterding’s participation in the ANAT National Summer School in ’97.

Participating curators and artsworkers for med•ia te were: Sharon Pacey (QLD); Beth Jackson (QLD); Michael Dagostino (NSW); Brad Webb (NSW); Jacqueline Phillips (NSW); GeraldineTyson (NT); Adele Hann (SA); Jenny Aland (SA); Sally Rees (TAS); Tessa Dwyer (VIC); Kylie Message (VIC); Michelle Glaser (WA); Katie Major (WA)

Screen Shot 2013-02-01 at 1.12.39 PM


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ANAT National Summer School (1996 – 1999)

ANAT National Summer School

From 1996 to 1999 I managed the 7th to the 10th ANAT National Summer School. The School was unique in that it provided the only intensive training program in Australia devised specifically for practicing artists interested in gaining media and technology skills in a collaborative learning environment. Run as a three week residential intensive with 14-15 participants and several lead tutors, the program happened over the Australian summer and each iteration culminated with a public presentation and “open studio” event with participants, tutors, visiting lecturers and local artists.

1996 National Summer School

John Tonkin, These are the days, 1994

The NSS in Computer Generated Art and Interactive Multimedia for Artists was held at the Institute of the Arts Lab at the Australian National University in association with the Australian Centre for the Arts and Technology (ACAT).

Tutors for the school were Linda Dement and John Tonkin, two of Australia’s leading new media artists. Marciano Telese, from the Australian Centre for the Arts and Technology (ACAT) also conducted sound workshops during the School. Additional lectures: John Colette, Shu Lea Cheang, Lyn Tune.

Participants were: Elizabeth Abbott, Mt Gambier, SA; Alastair Page, Hobart, Tas; Phillippa Harvey, Sydney, NSW; Louise Paramor, Melbourne, Vic; Eliza Hutchinson, Melbourne, Vic; Shiralee Saul, Melbourne; Jeremy James, Canberra, ACT; William Seeto, Brisbane; Russell Milledge, Cairns, Qld; Laurens Tan, Woollongong, NSW; Ann Morrison, Sydney; Mark Themann, Melbourne, Vic; Tony Newport, Adelaide, SA; Trinh Vu, Adelaide, SA



1997 National Summer School in internet design and web authoring

Participating artists: Sean Bacon, Tas; Anita Kocsis, Vic.; Anne Robertson, SA; Rick Vermey, WA; Gillian Morrison, Vic; John McQeenie,Tas; Lisa Burnett, Qld; Di Barrett, SA; Cam Merton, WA; Damian Castaldi, NSW; Leesa Willan, NSW; Glen O’Malley, Qld; Martin Thompson, SA; Joyce Hinterding, NSW. Lead tutors were Lloyd Sharp, Josephine Starrs, and Jason Gee; with guest lecturers, Dave Sag, Leon Cmielewski, and Josephine Starrs. This was a particularly extraordinary cohort, who went on to establish the art collective nervous_objects. I’m still looking for documentation of the work they did online!

1998 National Summer School

ANAT’s ninth summer school focused on Internet Design and Web Authoring and was held at the IMAGO Multimedia Centre/ Film and Television Institute Digital Arts Studio in Fremantle from 13 – 31 January 1998. Tuturs were Lloyd Sharp, Francesca da Rimini and John Tonkin.

Participants: Keith Armstrong, Brisbane, QLD; Isabelle Delmotte, Sydney, NSW; Leah Irving, Perth, WA; Robyn Backen, Sydney, NSW; Joy Hardman, Alice Springs, NT; Jun-ann Lam, Melbourne, VIC; Di Ball, Brisbane, QLD; Timothy Hancox, Brisbane, QLD; Brian Martin, Hobart, TAS; Lisa Beilby, Darwin, NT; Simone Hockley, Adelaide, SA; Paul Thomas, Perth, WA; Tim Burns, Perth, WA; Teri Hoskin, Adelaide, SA; Trevor van Weeren, Darwin, NT.

1999 National Summer School in Science and Art

Rodney Berry, Feeping Creatures

This Tenth National Summer School, at Metro Screen, Sydney, NSW, 11 – 29 January, 1999 addressed the interaction between art and science as a key component of our research and investigation into this area. The school investigated the discourses surrounding sciences and media arts and encouraged the generation of unexpected and alchemic outcomes.

Tutors were: John Tonkin, Mr Snow, Horst Kiechle, Dennis Wilcox, Justine Cooper, Paul Brown, Sophea Lerner, Andrew Lyons, Suzanne Buljan, Stephen Jones, Ben Simons, Derek Kreckler, and Metro’s Digital Media Manager, Brad Miller. As well as the intensive program at Metro, the artists also participated in workshops at Sydney’s Vislab facilities, and contextualised their training with excursions, studio visits and outings to performances and radio shows by Triclops International, Gravity Feed, Skadada, and Zina Kaye.

To contextualise the school, a satellite event, entitled anamorphosis, combined a forum with an open day of the school, giving the public and media an opportunity to view the work-in-progress produced by the students. Paula Dawson, internationally renowned holographic artist, contextualised the science focus of the Summer School within the framework of her own practice. She made reference to the skills she developed as a participant of the Summer School in 1990; Rodney Berry discussed his artificial ecology, Feeping Creatures. Ionat Zurr and Oron Catts, artists from Perth, discussed the Tissue Culture and Art research project.

Participants: Rodney Berry, Sydney, NSW; Liz Hughes, Sydney, NSW; Geni Weight, Adelaide, SA; Melinda Burgess, Werri Beach, NSW; Solange Kershaw, Sydney, NSW; Jordan Wynnychuk, Melbourne, VIC; Lea Collins, Canberra, ACT; Gordon Monro, Sydney, NSW; Ionat Zurr, Perth WA; Adam Donovan, Brisbane, OLD; Stephen Poljansek, Hobart.TAS; Jeremy Yuille, Brisbane, OLD; Chris Fortescue, Sydney, NSW; Rea, Sydney, NSW


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