Wouters Gallery

Looking already ahead to September as we host Elen Braga’s second solo with the gallery: The Love Hotel, opening Thursday September 12.

with exhibition text by Julia Geerlings

Join us September 12 - 15 and celebrate the vibrant Brussels art scene with us during the new gallery weekend, Rendez-Vous, founded by Laure Decock & Evelyn Simons

In October CC Strombeek programs Elen Braga’s first institutional solo in Belgium, titled ‘Als een leeuw in een kooi’, curated by Laila Melchior following an invitation by Charlotte Crevits

and we are looking fwd to Elen Braga’s first monograph, published by Mer. Book, coming out this autumn. The confirmed authors are Raphael Fonseca, Laila Melchior, Paulo Miyada, Ilse Roosens, and Joanna Zielińska. Pieter Vermeulen will be the editor of the publication. With generous support of the Flemish Government and from established institutions in Belgium such as KIOSK, Mu.ZEE, CC Strombeek and VONK

Stay tuned!

Last week: FELIPE TALO - Gintong Panahon
curated by Pilar Soler Montes

Through July 13, 2024

‘Curiously, myths and archetypes often fulfill a psychic function tied to a specific territory. For instance, the women who lived on the banks of the Ilo Ilo River were said to have hairy bodies and long tails, feeding a narrative that associated hair with the wild and obscene. Hair has always been considered an indicator of animality, connecting humans to their deepest instincts. This revelation, both sacred and erotic, in its excess, induces a disorder that propels the being into a flight towards the unknown.
(...)
This ebb and flow of memory is exemplified in the myth of the Amazons. Disappearing with the advent of Christianity, they reemerged during the time of the conquest, becoming identified with the nature of an uncontrollable territory.
In this exhibition the Amazons, defiant figures reflecting chaotic entities, resurface joyfully alongside “cagonas,” “meonas,” “lloronas,” and hermaphrodites. They dance and sing an old song once heard on the banks of the Ilo Ilo River: Naiihi ako at naiihi sa layo mo.’

excerpt of exhibition text by Pilar Soler Montes (writer and curator, Madrid)

Images: Felipe Talo, Gintong Panahon, 2024, oil on canvas, 280×280cm

📸

Its summer! 🌴☀️ Our team wishes all a rejoicing summer break.

Don’t miss our actual exhibitions, last week, until July 13:

☀️ Felipe Talo - Gintong Panahon, curated by Pilar Soler Montes .brussels (image 2)

☀️ J.J. Seinen (1934-2013) .sablon (image 3)

Save the date for our autumn program:

☀️ September 12 - 15 we celebrate the vibrant Brussels art scene during the new gallery weekend, Rendez-Vous, presenting Elen Braga’s second solo with the gallery: The Love Hotel (image 4)

☀️at our Sablon space we bring work by Kinshasa based sculptor Rigobert Nimi .art.square starting September 19 (image 5)

☀️ in November we’ll host Gerard Herman’s second solo: Pompes Funèbres, an immersive sound installation.

☀️ follow us throughout the summer as we plan a special project with Delphine Hennelly 👀

#☀️

FELIPE TALO - Gintong Panahon
curated by Pilar Soler Montes

Through July 13, 2024

‘Curiously, myths and archetypes often fulfill a psychic function tied to a specific territory. For instance, the women who lived on the banks of the Ilo Ilo River were said to have hairy bodies and long tails, feeding a narrative that associated hair with the wild and obscene. Hair has always been considered an indicator of animality, connecting humans to their deepest instincts. This revelation, both sacred and erotic, in its excess, induces a disorder that propels the being into a flight towards the unknown.
(...)
This ebb and flow of memory is exemplified in the myth of the Amazons. Disappearing with the advent of Christianity, they reemerged during the time of the conquest, becoming identified with the nature of an uncontrollable territory.
In this exhibition the Amazons, defiant figures reflecting chaotic entities, resurface joyfully alongside “cagonas,” “meonas,” “lloronas,” and hermaphrodites. They dance and sing an old song once heard on the banks of the Ilo Ilo River: Naiihi ako at naiihi sa layo mo.’

excerpt of exhibition text by Pilar Soler Montes (writer and curator, Madrid)

Images: Felipe Talo, Gintong Panahon, 2024, oil on canvas, 280×280cm

📸

Elen Braga, “The Adoration of the Earth” & “The Sacrifice”, 2023, (200 x 500 cm) on view

As part of:

The Lives of Animals
at Museum of Contemporary Art Antwerp - M HKA
curated by Joanna Zielińska
through Sept 22, 2024

with
Noor Abuarafeh, Antonia Baehr (together with Dodo Heidenreich, Nanna Heidenreich, Mirjam Junker, Itamar Lerner, Catriona Shaw, Ida Wilde, Steffi Weismann), Yevgenia Belorusets, Pierre Bismuth, melanie bonajo, Elen Braga, Sue Coe, Simone Forti, Nicolás García Uriburu, Piero Gilardi, Golden Snail Opera Collective (Isabelle Carbonell, Joelle Chevrier, Yen-Ling Tsai, Anna Tsing), Rebecca Horn, Katarzyna Krakowiak, K.P. Krishnakumar, Luís Lázaro Matos, Laura Lima, Anne Marie Maes, Dafna Maimon, Britta Marakatt-Labba, Ad Minoliti, Jean Painlevé, Charlemagne Palestine, Panamarenko, Rosana Paulino, Janis Rafa, Lin May Saeed, Tomás Saraceno, Carolee Schneemann, Filip Van Dingenen, Aleksandra Waliszewska.

‘We all know many stories about animals; they are part of our collective imagi­nation. Since our childhood, we have spent time observing animals in various situations. Many of us have also formed personal opinions about them. Animals are probably among the most popular and, at the same time, the most complex subjects to have accompanied us since our species emerged. Humans are evolv­ing along with animals, which is why our attitude towards them has changed over the course of history.

The exhibition The Lives of Animals looks at the subject of animals from the perspective of the visual arts, asking the fundamental question about what an animal is and whether humans can be friends with animals. Participating artists critically examine the attitudes of ‘human exceptionalism’, stemming from the belief that animals do not un­derstand the concept of death or have a sense of future.

Can we, and under what circumstances, adopt an animal perspective?’

Tilda Swinton Sees Herselves in Teknolust | Magazine | MoMA Watch as the actor revisits her quadruple role in Lynn Hershman Leeson’s film and muses on AI, loneliness, and cinema as an “empathy machine.”

RP .nyc • Full Film Retrospective

One of the world’s most prolific media artists, over five decades has produced an innovative body of work that probes and plays with the complex relationship between humans, technology, and social structures. Her videos navigate the fluid space between perception and truth, constantly exposing our collective and individual biases.

When Hershman Leeson chose a video-based practice in the 1970s (as she acts out in her 1991 work Seeing Is Believing), she began an ongoing project of capturing the future. The immediacy and urgency of video allowed her to assume an artist-as-activist stance, portraying the lives of women who were barely visible in the moving-image art scene of the time. She focused her lens on the nonconformists, the sexually liberated, and often, as in The Electronic Diaries (1984–2019), on herself.

Her video investigations have led to both technological innovations and groundbreaking collaborations—most notably with Tilda Swinton, who appears in such feature-length works as Conceiving Ada (1997), Teknolust (2002), and Strange Culture (2011). Blending documentary traditions and techniques with invented narratives and digital effects, Hershman Leeson creates new visual vocabularies that confront audiences with fresh paradigms and possibilities. In her created worlds digital code is the DNA of the future and anatomy is ephemeral, bodies are liberated from prescribed meanings, and artificial intelligence can be intelligent art.

This retrospective features Hershman Leeson’s complete, four-part “Cyborg Series,” including Cyborgian Rhapsody – Immortality (2023), which was written, performed, and designed by an artificial intelligence chatbot. A special conversation on June 8 brings together Lynn Hershman Leeson, Eugenia Kuyda, founder of the Replika AI app, and the chatbot named Echo.

Organized by Rajendra Roy, The Celeste Bartos Chief Curator of Film, and Francisco Valente, Curatorial Assistant, Department of Film.

FELIPE TALO - Gintong Panahon
curated by Pilar Soler Montes

June 8 - July 13, 2024
opening Saturday June 8, 5-8pm

‘Curiously, myths and archetypes often fulfill a psychic function tied to a specific territory. For instance, the women who lived on the banks of the Ilo Ilo River were said to have hairy bodies and long tails, feeding a narrative that associated hair with the wild and obscene. Hair has always been considered an indicator of animality, connecting humans to their deepest instincts. This revelation, both sacred and erotic, in its excess, induces a disorder that propels the being into a flight towards the unknown.
(...)
This ebb and flow of memory is exemplified in the myth of the Amazons. Disappearing with the advent of Christianity, they reemerged during the time of the conquest, becoming identified with the nature of an uncontrollable territory.
In this exhibition the Amazons, defiant figures reflecting chaotic entities, resurface joyfully alongside “cagonas,” “meonas,” “lloronas,” and hermaphrodites. They dance and sing an old song once heard on the banks of the Ilo Ilo River: Naiihi ako at naiihi sa layo mo.’

excerpt of exhibition text by Pilar Soler Montes (writer and curator, Madrid)

📸

‘Zoonation is not about the past. It starts from the past and tries to gauge some of the conditions_both material and mental_of today’s globalized world. Zwartberg was the home of a migrant community. Animals used to have migratory patterns. But in a globalized world everything (capital, labour, products, identities) seems to be migrating, mutating, mutinying. It is the world which manifests its paradoxes in the groups of South-African children running towards Filip’s camera, in the pictures of skycrapers next to stables, in the shrieky soundbites of a Mongolian hardrock bank. Filip Van Dingenen is not a philosopher or a sociologist trying to understand, let alone explain, that world. After his alter-egos Billy Bluebird and Fantaman, he has donned himself a new character, that of the Expedition’s Captain. Travelling both the internet and the Transsiberian railway, he is the playful observer of global consumerism who, weaponed with a laptop, a sketchbook, and a sense of genuine surprise, tells us what he sees. His intriguing sketches_both willingly naïve and helplessly virtuose_are his most personal documents. They show a world that is both lost and hilarious, monotonous yet colourful, shrewd yet festive.
Look at Filip’s handwriting. It is messy and unstable, ugly perhaps. So is the world. We are on the move, we all live in the Zoonation. There is no escape.’

excerpt of text by David Van Reybrouck in ‘Zoonation, A Global Zoo Expedition’, Filip Van Dingenen’s first book published in 2006.

ZOONATION is part of the exhibition THE LIVES OF ANIMALS, at Museum of Contemporary Art Antwerp - M HKA, curated by Joanna Zielińska
June 8 - Sept 22, 2024
Opening Saturday June 8, 11-6pm

GINTONG PANAHON is the second chapter of Cuerda y corazón. A project by Felipe Talo, curated by Pilar Soler Montes, which explores his autobiography.

For this exhibition he takes as his starting point the story told by his grandmother, La Manila, of her arrival from the Philippines to a small village in northern Spain.

‘A Filipino girl, barely 18 years old, is sitting in a small, uncomfortable armchair. Her aunts look at her with a certain astonishment. Shadows move across the window overlooking the street, and children jump up to see the newcomer.
The girl asks: - Why are they trying to see me through the window?
The aunts reply: - Oh, my child. The priest had told us that you Filipinos have a big, hairy tail where your back ends!’

text by Pilar Soler Montes (writer and curator, based in Madrid)

Image: Felipe Talo, Gintong Punhon, 2024, oil on canvas, 280x280cm

—

FELIPE TALO - ‘Gintong Panahon’
curated by Pilar Soler Montes
opens Saturday June 8, 5-8pm
at Wouters Gallery

‘Logic Paralyzes the Heart by Lynn Hershman Leeson explores the entanglements between the body and digital- as well as military-based systems of control. It comprises a wallpaper featuring the faces of “missing people” that have been generated by AI, together with a video narrated by a 61-year-old cyborg reflecting on her life.

Blurring the line between the human and the artificially generated, this multi-media installation complicates the relationship between identity and authenticity. Where the perceived veracity of the human representatives is marked by a double void – their status as “missing” people and the fact that their faces have no ground in reality – their AI counterpart is humanised through her personal account of life as a cyborg. Logic Paralyzes the Heart muddies the distinction between the human and non-human, while simultaneously highlighting the human labour implicated in digital technologies – a fitting commentary in an age of surveillance, Big Tech and the growing sophistication of Artificial Intelligence with large language models such as ChatGPT.’

Logic Paralyzes the Heart premiered at the 59th International Art Exhibition of La Biennale di Venezia – The Milk of Dreams in 2022, where Lynn Hershman Leeson was awarded a special mention from the Jury.

Image 1: Lynn Hershman Leeson, Logic paralyzes the Heart, 2022, video, colour, sound, 13:53 min, video still

Images 2, 3, 5: installation view GUARDIANS .brussels

Image 4: installation view The Milk of Dreams at 59th

——

GUARDIANS

a joint project of Wouters Gallery | Rectangle, Brussels.

AURIEA HARVEY
JOAN HEEMSKERK
JODI
LYNN HERSHMAN LEESON
JULIA SCHER

April 24 – June 1, 2024

‘Lynn Hershman Leeson’s “Missing Person” series incorporates images of people generated entirely by artificial intelligence systems. These images were purchased by the artist online, through a web- site where one can download photos of artificially constructed models that are primarily used for advertising purposes. As an extension of this series, “Evidence of a Faulty Algorithm 1” points to the dangerous limitations of this technology and the risks when we permit identities to be constructed without human intervention.’

Image 1:

Lynn Hershman Leeson
Evidence of A Faulty Algorithm No.2
2021
Archival digital print from a generative photo
76.2 × 76.2 cm

Image 2: installation view GUARDIANS .brussels

Image 3: installation view The Milk of Dreams at 59th

——

GUARDIANS

a joint project of Wouters Gallery | Rectangle, Brussels.

AURIEA HARVEY
JOAN HEEMSKERK
JODI
LYNN HERSHMAN LEESON
JULIA SCHER

April 24 – June 1, 2024

“Zemánková’s work is inspired by floral and vegetative motifs, but her hybrid figures also contain motifs that refer to non-organic elements, such as cogs or gears. She says that she grows flowers that don’t grow anywhere else. Her work fits in seamlessly with that of a series of major artists who explored and performed the mystical through their drawing and painting at the end of the 19th and the beginning of the last century: the oeuvre of Georgiana Houghton, Emma Kunz and Hilma af Klint, like Zemánková’s, floats somewhere between abstraction and figuration.
Wouters Gallery, which has been paying attention to art brut at its second location on the Brussels Sablon for several months now, is showing a selection of works by Zemánková. Unique in Belgium.”

Thanks and .art for the article

The exhibition ‘Anna Zemánková (1908-1986)’ .sablon will be extended through June 15.

Jean Katambayi Mukendi on view at Futurium, Berlin

‘Raw materials shape our lives. Our entire existence is based on them. We use them to build our houses, to power our cars and machines, to bake our bread, and to produce our smartphones and computers. A world without raw materials? Unimaginable. But the challenges are immense: the demand for raw materials is constantly increasing, their extraction puts a strain on the environment and local populations. The situation is aggravated by the fact that the burdens of extraction as well as access to raw materials are unevenly distributed around the world. Starting May 3, 2024, Futurium will explore what sustainable and equitable futures for raw materials could look like and what steps we need to take today to turn them into reality.’

‘Treasures of the Future’ on view through April 1, 2027

FUTURIUM, Alexanderufer 2, 10117 Berlin, Germany

Images: Daddy Tshikaya, Sammy Baloji and Jean Katambayi Mukendi, Tesla Crash, A Speculation, 2019, copper wire Tesla model

photo credit: Futurium, David von Becker

Wouters Gallery is now representing Angélique Aubrit & Ludovic Beillard

Angélique Aubrit (*1988 in Angoulême, lives and works in Brussels) and Ludovic Beillard (*1982 in Bordeaux, lives and works in Brussels and Bordeaux), an artist duo since 2017, merge sculpture, installation, video, and performance to craft immersive environments with burlesque narratives. Drawing from commedia dell’arte and grotesque cinema, they create characters reflecting societal struggles. Through self-sewn clothing, wooden sculptures, and recycled furnishings, they imbue their creations with life, provoking introspection and collective dialogue. Their exhibitions, like ongoing narratives, confront the human condition, inviting viewers into surreal landscapes of shared unease.

The artist duo had solo exhibitions at Centre d’art Les Capucins, Embrun (2023), Kunstverein, Bielefeld (2023), La Centrale, Brussels (2023), Galerie Valeria Cetraro, Paris (2022), Centre d’art La Tôlerie, Clermont-Ferrand (2021), Résidence Lindre-Basse at CAC – center d’art La synagogue, Delme (2021), Établissement d’en face, Brussels (2021), Komplot, Brussels (2019).

Their work has been shown in numerous group exhibitions, including Haus Mödrath, Kerpen (2024), Clages Gallery, Cologne (2023), K21 Düsseldorf (2023), Kunstverein, Bielefeld (2022), Centre Pompidou-Metz (2022), CRAC – Le 19 Montbeliar (2022), Bassin Caresse, Brest (2022), Waldburger Wouters Gallery, Brussels (2022), CAPC Bordeaux (2021), Établissement d’en face, Brussels (2021), FUTURA, Prague (2020).

In 2022, the artist duo received the Prix Médiatine, Brussels. Recent residencies include Triangle – Astérides, Marseille (2023), Centre d’art les Capucins, Embrun (2023 and 2022), Centre Pompidou Metz (2022). In 2023, their works joined the CNAP Centre National des Arts Plastiques collection.

De galerie van... Tim Wouters | Gallery Viewer | Kunst k... De galerie van... Tim Wouters |

Jean Katambayi Mukendi

Chapter 2: Ebouage & Orpaillage

Curated by Pierre Daniel and Lucie Lanzini

On view through May 12

‘By bringing together different generations of artists, the exhibition explores the current and future nature of sculpture. The sculptures are tested in terms of their materiality, space, and the history of the greenhouses (the suggestiveness of the glass panes, the pools, the metal structure and its characteristic green colour).’

Artists : - Céline Prignon (M1 ARBA) - Maureani Van den Haute (M1 ARBA) - Prune Perris (M2 ARBA) - Zoé Lemoine (M2 ARBA) - Nine Perris (alumna ARBA) - Dimitri Autin (Alumni ARBA) - Anita Molinero - Jean Katambayi Mukendi - Florian Pugnaire

Image 1:

Image 2:

‘In the Iliad, Homer describes Aegis as a surface of gold like scaly snake-skin that sometimes appears with serpents, and others, with the Gorgon herself. It is often associated with the Greek goddess Athena, who wears it for protection either as a shield or an animal skin. The Aegis can unleash the roar of ten thousand dragons, or create powerful windstorms and thunders. It offers protection like an armour, and exerts control as fear. Aegis is a physical and magical object whose power lies in its immaterial force to coerce.
The modern concept of aegis means to do something under the protection of a strong force. The mean- ing is somewhere in between control or conditioning; sponsorship or guidance. Today, aegis gives its name to warfare such as Aegis Combat System, also to a private military and security company in the UK, or to an experiment at CERN about antimatter. Aegis has come to signify both control and protection.
Like any myth, Aegis is perceived as less than science, but as an untrue or unworthy force. Its opposite, logos, represents the truth. Regardless of its sciencelessness, a myth contains messages and metaphoric truths about how to live, and provides a worldview that carries on a perspective that we use to navigate the world. Scientific and technical thinking is not as far removed as we think: the development of a technology is not universal but situated. The philosopher Yuk Hui explains it as cosmotechnics, as a way to refer to the ways in which technics emerges under specific cosmological conditions. For him, there is no binary opposition between myth and science, only a progression between the two. (…)

Excerpt of Aegis, the exhibition text by Barbara Cueto

——

GUARDIANS

a joint project of Wouters Gallery | Rectangle, Brussels.

AURIEA HARVEY
JOAN HEEMSKERK
JODI
LYNN HERSHMAN LEESON
JULIA SCHER

April 24 – June 1, 2024

GUARDIANS - opening tonight

N We understand the digital as combination of devices, practices and experiences. It appears as an invisible form of control, an encrypted surveillance mechanism that we understand little and trust much. It works like a double-edged sword, fluid and immaterial, exerting control, monitoring us; and, at the same time, protecting us, guiding us through this second life we now have to navigate. It is a technics. And, like any other, it is also rooted in a particular cosmological vision, and has also developed its own myths. Myth and science are intertwined.’ (...)

excerpt of exhibition text by Barbara Cueto (writer, online curator for LAS - Art Foundation in Berlin)

Images: Auriea Harvey, Minomirror, 2023, bronze, 26×6,5×50cm, edition of 3

Minomirror presents a physical instantiation of Minoriea, a character whom Harvey considers her avatar. Self-portraiture is an inherent feature of the artist’s practice, as data captured by the artist of herself is incorporated into lyrical arrangements where her sculptures commingle with and con- front the history of art. All sculptures are born digitally, a state she references as the living version of the work, and are then manifested into the physical world. In this way, the work occupies two realms—both real and virtual space. Within the bronze mirror, the reflection is warped. The back of the mirror shows an unsolvable labyrinth, which functions as a way of canceling the mirror. The viewer can’t get to the center of one’s own reflection.

Minomirror Is currently exhibited in Harvey’s exhibition ‘My Veins Are the Wires, My Body Is Your Keyboard’ at the Museum of the Moving Image, New York.

——

GUARDIANS

a joint project of Wouters Gallery | Rectangle, Brussels.

AURIEA HARVEY
JOAN HEEMSKERK
JODI
LYNN HERSHMAN LEESON
JULIA SCHER

Anna Zemánková (1908-1986)

Born Anna Veselá on August 23, 1908 in Moravia, which is now part of the Czech Republic, Zemánková was dissuaded by her family from pursuing art, and instead studied dentistry. She married and raised a family, settling in Prague after WWII. As she grew older, she suffered depression, and the amputation of both legs due to diabetes.
After her son, an artist, provided her with art supplies and a drawing table, Zemánková found solace and a renewed sense of purpose in her unique creative practice. She would rise early and work in a trance state from 4-7am, listening to classical music as she drew or sewed graceful, curvilinear floral shapes onto different kinds of paper. Of her imagery, Zemánková has said: “I am growing flowers that are not grown anywhere else.”

These strikingly detailed works, driven by a singular rhythm of spirals, arabesques and geometric shapes, have made Anna a major figure in the selftaught and visionary movement. Her work is represented in the most prestigious collections, culminating in the international pavilion at the 2013 Venice Biennale, and again this year in the main exhibition Foreigners Everywhere curated by Adriano Pedrosa, opening April 17.

On view through May 25, 2024
sablon

RP • The Way of the Water. An art parcours in conversation with the River Traisen and the Mühlbach at
💧💧💧Artists / Künstler:innen:

Amanda Piña, Clara Laila Abid Alsstar, Cecylia Malik, Christina Gruber, Edgar Calel, Elisabeth von Samsonow, Eva Grubinger & Werner Feiersinger, Filip van Dingenen & Hélène Meyer, Javier Téllez, Jimena Croceri, Katarina Pirak Sikku, Klara Hobza, Lisa Tan, Lisa Truttmann, Kollektiv neonpink, Paola Torres Núñez del Prado, Rainer Prohaska, Regina Hügli, Rita Fischer, Roberta Lazo Valenzuela, Sissel Tolaas, Slavs and Tatars, Sophie Utikal und Ursula K. Le Guin.
💧💧💧Curator: Joanna Warsza Associate curator: Lorena Moreno Vera

✨The Way of the Water meanders from south to north and back along the local waterways of St. Pölten, the Traisen and Mühlbach, and features 24 artists working directly in and with water as their conversation partner. In our parcours, water
“writes” its way across the landscape of the city, inspiring installations, encounters and storytelling. The Way of the Water is an exhibition that recognises the social and political significance of drinking a glass of water, thinking with water and being water in St. Pölten and everywhere else in the world. ✨The Way of the Water is of the two big public art exhibitions I am working on this spring and summer. This beautiful encounter with various bodies of water is a beginning of a series of projects on ‘the planetary public sphere’, exploring the long journey of the elements from the cosmos to the commons. I understand the public space as a place where we come together despite the differences, and where we need to negociate how to cherish the basic elements we depend on – such as water, air, earth, fire or spirit and not only exploit them.

Join us for the opening program May 1-2 in St. Pölten in any weather at
📅 1. May — 6. October 2024.

Today is the last day of you crack me up!

The dark and clownesque paintings by Victoria palacios have moved many during the exhibition and we are extremely thankful l to Victoria for her grand contributions!

Upcoming for Victoria are a solo presentation with in June and in autumn she will be on view in a group exhibition curated by .boon.

___

you crack me up!

with an

Angélique Aubrit & Ludovic Beillard
Victoria Palacios

exhibition text by Lila Torquéo

March 2 - April 13, 2024
Finissage Saturday April 13, 2-6pm
brussels

📷