{"id":14199,"date":"2025-05-15T19:02:58","date_gmt":"2025-05-15T17:02:58","guid":{"rendered":"https:\/\/profesordefrancesenmadrid.com\/?p=14199"},"modified":"2025-06-04T12:25:25","modified_gmt":"2025-06-04T10:25:25","slug":"photo-espana-2025","status":"publish","type":"post","link":"https:\/\/profesordefrancesenmadrid.com\/index.php\/2025\/05\/15\/photo-espana-2025\/","title":{"rendered":"Photo Espa\u00f1a 2025"},"content":{"rendered":"\n

La s\u00e9lection de profesordefrancesenmadrid de lieux d’expositions singuliers (le plus souvent gratuit) pour Photo Espa\u00f1a 2025.<\/strong><\/p>\n\n\n\n

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Dora Maar au Museo L\u00e1zaro Galdiano<\/a><\/strong><\/h3>\n\n\n\n

Dora Maar<\/strong> (n\u00e9e Henriette Th\u00e9odora Markovitch<\/strong>, Paris<\/strong>, 1907\u20131997<\/strong>) est une artiste de renom du mouvement surr\u00e9aliste. Elle partage des relations professionnelles et une amiti\u00e9 avec Andr\u00e9 Breton et d\u2019autres intellectuels et artistes de l\u2019\u00e9poque.<\/p>\n\n\n\n

Dora Markovitch<\/strong> a commenc\u00e9 \u00e0 prendre des photos \u00e0 la fin des ann\u00e9es 1920<\/strong>. Elle ouvre un studio \u00e0 Paris <\/strong>en 1931<\/strong>, o\u00f9 elle r\u00e9alise des portraits du milieu culturel parisien, en plus de commandes de mode et de publicit\u00e9. Lorsque sa carri\u00e8re professionnelle a commenc\u00e9 \u00e0 d\u00e9coller, elle a d\u00e9cid\u00e9 de signer ses \u0153uvres sous le nom de Dora Maar<\/strong>.<\/p>\n\n\n\n

Cette exposition se concentre principalement sur ses photographies de rue et ses dessins relativement inconnus d\u2019une p\u00e9riode br\u00e8ve mais prolifique de sa longue carri\u00e8re.<\/p>\n\n\n\n

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Museo L\u00e1zaro Galdiano<\/strong><\/h3>\n\n\n

Le mus\u00e9e L\u00e1zaro Galdiano<\/strong> est un mus\u00e9e espagnol d\u2019\u00c9tat, situ\u00e9 \u00e0 Madrid<\/strong>, au 122 de la rue Serrano<\/strong>, et qui \u00e9tait \u00e0 l’origine priv\u00e9. Il abrite une grande collection h\u00e9t\u00e9rog\u00e8ne \u00e0 vis\u00e9e encyclop\u00e9dique dans les arts et les techniques.<\/p>\n\n\n\n

Parmi ses \u0153uvres les plus pr\u00e9cieuses, on note surtout sa collection de peintures, dessins et gravures de Goya, avec des pi\u00e8ces de renomm\u00e9e mondiale. Se d\u00e9tachent \u00e9galement des \u0153uvres de Bosch<\/strong>, Lucas Cranach l’Ancien<\/strong>, El Greco<\/strong>, Murillo<\/strong>, Zurbar\u00e1n <\/strong>et Luis Paret<\/strong> et un rouleau miniature de Giulio Clovio<\/strong> ainsi que deux statuettes de Giambologna<\/strong>. Mais l\u2019\u0153uvre la plus singuli\u00e8re du mus\u00e9e reste sans doute la peinture sur bois dite du Sauveur dans sa jeunesse, ex\u00e9cut\u00e9e dans un style proche de L\u00e9onard de Vinci<\/strong>.<\/p>\n\n\n\n

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Dora Maar
Jusqu’au 14 septembre 2025
\u2192 Museo L\u00e1zaro Galdiano (plan)
Serrano, 122<\/strong><\/p>\n\n\n\n

Horaires :
Du mardi au vendredi de 9h30 \u00e0 15h et de 16h30 \u00e0 19h30
Samedi et dimanche de 9h30 \u00e0 15h
Ferm\u00e9 le 25 juillet et le 15 ao\u00fbt<\/strong><\/p>\n\n\n\n

Tarifs : 8 euros (5 euros – tarif r\u00e9duit)<\/strong><\/p>\n\n\n\n

Gratuit du mardi au vendredi de 14h \u00e0 15h<\/strong><\/p>\n\n\n\n

\u2192 + D’informations<\/a><\/strong><\/p>\n\n\n\n

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“Despu\u00e9s de todo” \u00e0 Espacio Cultural Serrer\u00eda Belga<\/a><\/strong><\/h3>\n\n\n\n

Dans un nouveau lieu d’art au centre de Madrid<\/strong>, l’Espacio Cultural Serrer\u00eda Belga<\/strong> pr\u00e9sente une s\u00e9lection de la collection Helga de Alvear<\/strong> avec des photographies de : Eug\u00e8ne Atget<\/strong>, Bernd & Hilla Becher<\/strong>, Mario von Bucovich<\/strong>, Janos Frecot<\/strong>, Andreas Gursky<\/strong>, Axel H\u00fctte<\/strong>, Hugo Schm\u00f6lz<\/strong>, Josef Stoffels<\/strong>, Cami Stone<\/strong>, Sasha Stone<\/strong>, Thomas Struth<\/strong>, Frank Thiel<\/strong>, Paul Wolff<\/strong>.<\/p>\n\n\n\n

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Espacio Cultural Serrer\u00eda Belga<\/strong><\/h3>\n\n\n
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“Despu\u00e9s de todo”
\u2192 Espacio Cultural Serrer\u00eda Belga (plan)
<\/a>Jusqu’au 13 juillet 2025
Calle de la Alameda, 15<\/strong><\/p>\n\n\n\n

Horaires :
Du mardi au vendredi de 11h \u00e0 20h
Samedi de 12h \u00e0 20h
Dimanche de 12h \u00e0 18h<\/strong><\/p>\n\n\n\n

Gratuit<\/strong><\/p>\n\n\n\n

\u2192 + D’informations<\/a><\/strong><\/p>\n\n\n\n

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“Europa 1966-1967” de Joel Meyerowitz au Fern\u00e1n G\u00f3mez – Centro Cultural de la Villa<\/a><\/strong><\/h3>\n\n\n\n

En 1966<\/strong>, \u00e0 l\u2019\u00e2ge de vingt-huit ans et peu apr\u00e8s avoir quitt\u00e9 son emploi dans une agence de publicit\u00e9 pour se consacrer \u00e0 la photographie, Joel Meyerowitz<\/strong> (New York<\/strong>, 1938<\/strong>) s\u2019est lanc\u00e9 dans un voyage sur la route qui l\u2019aurait emmen\u00e9 \u00e0 travers l\u2019Europe<\/strong> pendant toute une ann\u00e9e. Il a parcouru plus de 30000 kilom\u00e8tres \u00e0 travers dix pays et pris environ 25000 photos. Pendant cette p\u00e9riode, il s\u2019installe \u00e0 Malaga <\/strong>pour six mois et se lie d\u2019amiti\u00e9 avec les Escalona<\/strong>, une des familles traditionnelles flamencas de la ville.<\/p>\n\n\n\n

Cette exp\u00e9rience unique, qui a donn\u00e9 lieu \u00e0 un extraordinaire dossier photographique de l\u2019Espagne<\/strong> en pleine dictature franquiste, a \u00e9t\u00e9 une \u00e9norme influence pour Meyerowitz<\/strong> et a eu un impact durable sur son style photographique caract\u00e9ristique. Aujourd\u2019hui, l\u2019auteur am\u00e9ricain est reconnu comme l\u2019un des photographes les plus remarquables de sa g\u00e9n\u00e9ration, car il a red\u00e9fini la fa\u00e7on de capturer et de communiquer la r\u00e9alit\u00e9 avec un appareil photo. Apr\u00e8s son retour \u00e0 New York<\/strong>, il expose pour la premi\u00e8re fois au MoMA<\/strong> en 1968 <\/strong>et inclus quarante photographies prises pendant son voyage \u00e0 travers l\u2019Europe<\/strong>.<\/p>\n\n\n\n

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Fern\u00e1n G\u00f3mez – Centro Cultural de la Villa<\/strong><\/a><\/h3>\n\n\n

Situ\u00e9 Plaza de Col\u00f3n sous les Jardins de la D\u00e9couverte, Fern\u00e1n G\u00f3mez – Centro Cultural de la Villa a \u00e9t\u00e9 inaugur\u00e9 le 15 mai 1977.<\/strong><\/p>\n\n\n

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“Europa 1966-1967″ de Joel Meyerowitz au Fern\u00e1n G\u00f3mez. Centro Cultural de la Villa
\u2192 Fern\u00e1n G\u00f3mez. Centro Cultural de la Villa (plan)
<\/a>Jusqu’au 13 juillet 2025
Plaza de Col\u00f3n, 4<\/strong><\/p>\n\n\n\n

Horaires :
Du mardi au dimanche de 10h \u00e0 20h
Samedi 5 juillet et mercredi 9 juillet l\u2019exposition sera ouverte de 10h \u00e0 14h<\/strong><\/p>\n\n\n\n

Gratuit<\/strong><\/p>\n\n\n\n

\u2192 + D’informations<\/a><\/strong><\/p>\n\n\n\n

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“Un tiempo para mirar (1970-2020)” de Marisa Fl\u00f3rez Sala – Canal de Isabel II<\/a><\/strong><\/h3>\n\n\n\n

Cinq d\u00e9cennies de m\u00e9tier soutiennent le travail de la reporter-photographe Marisa Fl\u00f3rez<\/strong> (Le\u00f3n<\/strong>, 1948<\/strong>) et une carri\u00e8re professionnelle reconnue avec plusieurs prix – Prix National de Journalisme Graphique<\/strong> (1981<\/strong>), le Prix Piedad Isla<\/strong> (2015<\/strong>) ou le Prix de Culture de la Communaut\u00e9 de Madrid<\/strong> (2024<\/strong>)-, qui a commenc\u00e9 en 1971 <\/strong>dans le journal Informaciones <\/strong>et d\u00e9veloppe dans El Pa\u00eds<\/strong> entre 1976-2012 comme photorreporteur, r\u00e9dactrice en chef et \u00e9ditrice graphique, o\u00f9 elle a su combiner avec \u00e9l\u00e9gance et simplicit\u00e9, en parfait \u00e9quilibre, la cr\u00e9ation artistique et le sens documentaire de la photographie.<\/p>\n\n\n\n

Les 185 <\/strong>images qui composent cet \u00e9chantillon, quelques-unes in\u00e9dites, s\u00e9lectionn\u00e9es dans l\u2019archive personnelle de l\u2019artiste, r\u00e9v\u00e8lent un style photographique ainsi qu\u2019une mani\u00e8re de voir et de cr\u00e9er r\u00e9solument contemporaine qui s\u2019ajoute \u00e0 une volont\u00e9 in\u00e9branlable d\u2019explorer une autre fa\u00e7on de raconter ce que l\u2019on regarde et ce que l\u2019on vit. L\u2019exposition r\u00e9unit un itin\u00e9raire photographique qui fonctionne comme des constellations o\u00f9 aller d\u00e9couvrir, d\u2019une part, la richesse expressive et formelle de Marisa Fl\u00f3rez<\/strong> et, d\u2019autre part, la vari\u00e9t\u00e9 th\u00e9matique : politique, activisme, chronique sociale, art et culture.<\/p>\n\n\n\n

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Canal de Isabel II<\/strong><\/a><\/h3>\n\n\n

Cette salle, sp\u00e9cialis\u00e9e dans la cr\u00e9ation photographique et audiovisuelle contemporaine, est situ\u00e9e dans un site singulier : un ancien r\u00e9servoir d\u2019eau sur\u00e9lev\u00e9, \u00e0 d\u00f4me saisissant, cr\u00e9\u00e9 au d\u00e9but du XXe si\u00e8cle<\/strong> par le Canal Isabel II<\/strong> dans la zone de Chamber\u00ed<\/strong>, qui en 1986 <\/strong>a \u00e9t\u00e9 restaur\u00e9 et am\u00e9nag\u00e9 en salle d\u2019exposition.<\/p>\n\n\n

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“Un tiempo para mirar (1970-2020)” de Marisa Fl\u00f3rez
Jusqu’au 20 juillet 2025
Canal de Isabel II
Calle Santa Engracia, 125<\/strong><\/p>\n\n\n\n

Horaires :
Du mardi au samedi de 11h \u00e0 20h30
Dimanche de 11h \u00e0 14h<\/strong><\/p>\n\n\n\n

Gratuit<\/strong><\/p>\n\n\n\n

\u2192 + D’informations + plan<\/a><\/strong><\/p>\n\n\n\n

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\u201cNosce Te Ipsum: Membrum Fantasma\u201d de Ayana V. Jackson<\/strong><\/a><\/h3>\n

Ayana V. Jackson<\/strong>\u00a0(East Orange, New Jersey, 1977<\/strong>) a commenc\u00e9 sa pratique photographique dans les premi\u00e8res ann\u00e9es du\u00a0XXIe si\u00e8cle<\/strong>. En\u00a02016<\/strong>, elle a attir\u00e9 l\u2019attention de la communaut\u00e9 artistique internationale avec la s\u00e9rie\u00a0Archival Impulse<\/strong>, dont le titre, inspir\u00e9 par les th\u00e9ories du critique\u00a0Hal Foster<\/strong>, faisait appel \u00e0 la n\u00e9cessit\u00e9 de confronter l\u2019archive pour cr\u00e9er de nouveaux syst\u00e8mes de connaissances.<\/p>\n

Les s\u00e9ries successives de l\u2019artiste, qui travaille actuellement entre les\u00a0\u00c9tats-Unis<\/strong>, l\u2019Afrique du Sud<\/strong>\u00a0et le\u00a0Mexique<\/strong>, abordent les collections historiques comme des dispositifs permettant d\u2019\u00e9valuer \u00e0 la fois l\u2019impact du regard colonial et le r\u00f4le de la photographie dans la perp\u00e9tuation des hi\u00e9rarchies, strates et d\u00e9s\u00e9quilibres sociaux. \u00c0 travers une exploration qui revisite les mythes de la diaspora africaine,\u00a0Jackson\u00a0<\/strong>s\u2019approprie des images coloniales pour les recr\u00e9er comme moyen d\u2019\u00e9mancipation du corps noir. Ses portraits puissants, lib\u00e9r\u00e9s de l\u2019\u00e9tatisme et des st\u00e9r\u00e9otypes du r\u00e9f\u00e9rent historique, ouvrent un espace pour repenser la photographie et en faire un instrument de r\u00e9sistance critique face aux constructions de race, de genre et de classe qui nous entravent encore.<\/p>\n\n\n

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Museo Nacional de Antropolog\u00eda<\/strong><\/a><\/h3>\n

Le\u00a0Mus\u00e9e national d\u2019anthropologie<\/strong>\u00a0a \u00e9t\u00e9 le premier mus\u00e9e consacr\u00e9 \u00e0 cette science en\u00a0Espagne<\/strong>. Sa fondation est due \u00e0 l\u2019initiative personnelle du m\u00e9decin s\u00e9govien\u00a0Pedro Gonz\u00e1lez Velasco<\/strong>. Il a \u00e9t\u00e9 inaugur\u00e9 en\u00a01875\u00a0<\/strong>par le roi\u00a0Alfonso XII<\/strong>\u00a0comme mus\u00e9e anatomique ou anthropologique.<\/p>\n

La collection originale du docteur s\u2019est enrichie avec les objets apport\u00e9s par diff\u00e9rentes exp\u00e9ditions organis\u00e9es par les institutions scientifiques espagnoles dans les derni\u00e8res ann\u00e9es du\u00a0XIXe si\u00e8cle<\/strong>\u00a0et avec les fonds mus\u00e9ographiques de ce type qu\u2019avait le\u00a0Mus\u00e9e des sciences naturelles<\/strong>, y compris la collection ethnographique qui a fait partie de l\u2019Exposition sur les Philippines<\/strong>\u00a0organis\u00e9e en\u00a01887\u00a0<\/strong>dans le\u00a0Parc du Retiro<\/strong>, la derni\u00e8re grande exposition coloniale de l\u2019empire espagnol. Elle a ensuite continu\u00e9 de cro\u00eetre gr\u00e2ce \u00e0 des dons et acquisitions d\u00e9j\u00e0 r\u00e9alis\u00e9s par la\u00a0Direction g\u00e9n\u00e9rale des beaux-arts<\/strong>, dont elle d\u00e9pend depuis les ann\u00e9es soixante.<\/p>\n\n\n

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\u201cNosce Te Ipsum: Membrum Fantasma\u201d de Ayana V. Jackson
Jusqu\u2019au 31 ao\u00fbt 2025
\u2192 Museo Nacional de Antropolog\u00eda (plan)
<\/a>C. de Alfonso XII, 68<\/strong><\/p>\n

Horaires :
Du mardi au samedi de 9h30 \u00e0 20h
Dimanche de 10h \u00e0 15h<\/strong><\/p>\n

Entr\u00e9e g\u00e9n\u00e9rale : 3 euros
Gratuit les samedis \u00e0 partir de 14h et les dimanches de 10h \u00e0 15<\/strong>h<\/p>\n

\u2192 + D\u2019informations<\/a><\/strong><\/p>\n\n\n

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\u201cMadrid metr\u00f3poli \u2013 El sue\u00f1o de Antonio Palacios\u201d au CentroCentro<\/strong><\/a><\/h3>\n

Cette exposition est un projet de recherche et de vulgarisation autour du concept de m\u00e9tropole qu\u2019Antonio Palacios<\/strong>\u00a0a con\u00e7u pour la ville de\u00a0Madrid<\/strong>. Elle offre une r\u00e9flexion sur ce qui a \u00e9t\u00e9 construit \u00e0 partir de ce r\u00eave de l\u2019architecte et les caract\u00e9ristiques et les valeurs les plus remarquables des b\u00e2timents conserv\u00e9s aujourd\u2019hui. L\u2019exposition permet \u00e9galement de conna\u00eetre la vie d\u2019Antonio Palacios<\/strong>, les caract\u00e9ristiques de son architecture singuli\u00e8re et des \u0153uvres les plus embl\u00e9matiques de sa production madril\u00e8ne.<\/p>\n

Depuis sa premi\u00e8re et embl\u00e9matique \u0153uvre du\u00a0Palais de Cibeles<\/strong>, cette exposition parcourt\u00a0Madrid\u00a0<\/strong>sur les axes qui ont articul\u00e9 le travail de construction d\u2019Antonio Palacios<\/strong>\u00a0: la rue d\u2019Alcal\u00e1<\/strong>, les abords de la\u00a0Puerta del Sol<\/strong>, la\u00a0Castellana<\/strong>; sans oublier le parcours souterrain marqu\u00e9 par la construction du m\u00e9tro et ses connexions avec la surface.<\/p>\n\n\n

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CentroCentro<\/strong><\/a><\/h3>\n

CentroCentro\u00a0<\/strong>est situ\u00e9 dans l\u2019un des b\u00e2timents les plus embl\u00e9matiques de\u00a0Madrid\u00a0<\/strong>: le\u00a0Palais de Cibeles<\/strong>, ancien\u00a0Palais des T\u00e9l\u00e9communications<\/strong>, construit au d\u00e9but du\u00a0XXe si\u00e8cle<\/strong>\u00a0comme si\u00e8ge de la\u00a0Poste<\/strong>.<\/p>\n

Les architectes\u00a0Antonio Palacios<\/strong>\u00a0et\u00a0Joaquin Otamendi<\/strong>\u00a0ont con\u00e7u un b\u00e2timent \u00e9minemment fonctionnaliste qui exaltait \u00e0 la fois l\u2019importance des services \u00e0 fournir et son emplacement privil\u00e9gi\u00e9, au carrefour des deux principaux axes n\u00e9vralgiques de la ville. Les travaux commenc\u00e8rent \u00e0 la fin de\u00a01907\u00a0<\/strong>et dur\u00e8rent\u00a012\u00a0<\/strong>ans, pour \u00eatre officiellement inaugur\u00e9s le\u00a014\u00a0mars\u00a01919<\/strong>.<\/p>\n

Connue \u00e0 l\u2019\u00e9poque comme la cath\u00e9drale des communications, ces\u00a012207 m2<\/strong>\u00a0construits en pierre, fer et verre ont marqu\u00e9 un avant et un apr\u00e8s dans l\u2019urbanisme madril\u00e8ne, devenant un paradigme de modernisation pour une ville en progr\u00e8s. Pendant pr\u00e8s de cent ans, il a \u00e9t\u00e9 le centre n\u00e9vralgique du syst\u00e8me de communications qui couvrait toute l\u2019Espagne<\/strong>. Le b\u00e2timent a \u00e9t\u00e9 d\u00e9clar\u00e9 bien d\u2019int\u00e9r\u00eat culturel avec la cat\u00e9gorie de monument en\u00a01993<\/strong>.<\/p>\n

Incorpor\u00e9 au patrimoine municipal en\u00a02003<\/strong>, il a commenc\u00e9 son processus de transformation pour devenir le si\u00e8ge de la mairie de\u00a0Madrid\u00a0<\/strong>et d\u2019un nouveau centre culturel, le\u00a0CentroCentro\u00a0<\/strong>inaugur\u00e9 en\u00a02011<\/strong>.<\/p>\n\n\n

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\u201cMadrid metr\u00f3poli. El sue\u00f1o de Antonio Palacios\u201d
Jusqu\u2019au 6 juillet 2025
\u2192 CentroCentro (plan\/mapa)
<\/a>Plaza de Cibeles, 1<\/strong><\/p>\n

Horaires :
Du mardi au dimanche de 10h30 \u00e0 19h<\/strong><\/p>\n

Gratuit<\/strong><\/p>\n

\u2192 + D\u2019informations<\/a><\/strong><\/p>\n\n\n

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\u201cSi es legal no es grafiti\u201d de Luc\u00eda Lamata et SMOL<\/strong><\/a><\/h3>\n

Les journ\u00e9es de surveillance et les courses sur les quais pour peindre les pi\u00e8ces les plus mythiques du graffiti espagnol, de\u00a02008\u00a0<\/strong>\u00e0 aujourd\u2019hui, sont pr\u00e9sent\u00e9es dans cette exposition \u00e0 travers des photographies in\u00e9dites de\u00a0SMOL\u00a0<\/strong>et\u00a0Lamata<\/strong>.<\/p>\n\n\n

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95 ART GALLERY<\/strong><\/a><\/h3>\n

Ce nouvel espace culturel situ\u00e9 \u00e0 proximit\u00e9 du m\u00e9tro de\u00a0Oporto\u00a0<\/strong>s\u2019ajoute \u00e0 la vague croissante de galeries d\u2019art qui, depuis quelques ann\u00e9es, accueille le quartier de\u00a0Carabanchel<\/strong>. On peut y voir les \u0153uvres de plus de 200 artistes et cherche \u00e0 devenir une r\u00e9f\u00e9rence de l\u2019art urbain.<\/p>\n

Ce projet, initi\u00e9 par l\u2019artiste madril\u00e8ne\u00a0Sfhir<\/strong>, est un espace de dialogue et d\u2019expression artistique o\u00f9 les cr\u00e9ateurs peuvent donner libre cours \u00e0 leur imagination. Dans ses\u00a0900 m2<\/strong>\u00a0accueille plusieurs expositions temporaires d\u2019artistes nationaux et internationaux, ainsi que vous pouvez profiter d\u2019un \u00e9chantillon permanent de peintures murales cr\u00e9\u00e9es sur leurs propres murs, r\u00e9alis\u00e9s par des artistes tels que\u00a0Chalo Moca<\/strong>,\u00a0Taquen<\/strong>,\u00a0Sea<\/strong>,\u00a0Selva Duo Amazonas<\/strong>,\u00a0Rafael Blanco<\/strong>,\u00a0Colectivo Licuado<\/strong>,\u00a0Berbo<\/strong>,\u00a0Max 501<\/strong>,\u00a0Ze Carrion<\/strong>,\u00a0Chais\u00a0<\/strong>et\u00a0El Reina<\/strong>.<\/p>\n\n\n

\n\n\n
\n
\"La<\/a><\/figure>\n<\/div>\n\n\n
\n\n\n

\u201cSi es legal no es grafiti\u201d de Luc\u00eda Lamata et SMOL
Jusqu\u2019au 31 juillet 2025
\u2192 95 ART GALLERY (plan)
<\/a>C\/ \u00c1lvarez Abell\u00e1n, 23<\/strong><\/p>\n

Horaires :
Les vendredis de 16h \u00e0 20h
les samedis de 11h30 \u00e0 14h30<\/strong><\/p>\n

Gratuit<\/strong><\/p>\n

\u2192 + D\u2019informations<\/a><\/strong><\/p>\n\n\n

\n\n\n

+ de Cultura francesa<\/strong><\/a><\/h3>\n\n\n
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