Pisurwo developed his aesthetic skills by following the contemporary school of abstract art institution.

Jitendra P Suralkar, born in 1977, also known as “Pisurwo”, is an Indian origin artist descending from Kalkheda district in the State of Maharashtra,near Ajanta cave, India. During his course of 6 years, Pisurwo developed his aesthetic skills by following the contemporary school of abstract art institution. he handled subjects Yakshya-Yakshini, triangle,king and queens,ramayana- Mahabharata period,lady godia,last supper and other.

(Artist : Pisurwo )

 

Currently, Pisurwo is showcasing his abstract form of arts into unique masterpieces by portraying multiple human behaviors in his expressive artwork theme titled: King and His Six Queens. Behind every masterpiece comes an expression of how the King constantly adapts his behaviors to those of his counterparts. A reason why his themed art gallery projects the different stages and transitions of what the King have become today, according to Pisurwo. Stories cannot be told in narration, however, but can be envisioned on canvas, a reason why Pisurwo reflects human behaviors, characteristics and emotions before the eyes of the beholder.

(Artist : Pisurwo at GalleryChemould -Mumbai )

      Pisurwo done his past exhibition Paris( villa vasillief)- London ( show room)- Sri Lanka (shadow's) - Kuwait (rahem art gallery)-afrika (Dakar biennial) - New York (contemporary biennial)- Dubai (Dubai biennial),Ireland( private space) - India ( chemould Prescott,clark house,kalaghoda festival,jehangir and other places )

Pisurwo done 160 paintings yaksha yakshani year 2006 to 2009

Yakshini (Sanskrit: याक्षिणि, also known as Yakshi and Yakkhini in Pali) are mythical beings of Hindu, Buddhist, and Jain mythology. Yakshini (Yakshi) is the female counterpart of the male Yaksha, and they are attendees of Kubera, the Hindu god of wealth who rules in the mythical Himalayan kingdom of Alaka. They are the guardians of the treasure hidden in the earth and resemble fairies. Yakshinis are often depicted as beautiful and voluptuous, with wide hips, narrow waists, broad shoulders, and exaggerated, spherical breasts. In Uddamareshvara Tantra, thirty-six Yakshinis are described, including their mantras and ritual prescriptions. A similar list of Yakshas and Yakshinis are given in the Tantraraja Tantra, where it says that these beings are givers of whatever is desired. Although Yakshinis are usually benevolent, there are also yakshinis with malevolent characteristics in Indian folklore.

36 Yakshinis   

The list of thirty six yakshinis given in the Uddamareshvara Tantra is as follows:


A Yakshini. 10th century, Mathura, India. Guimet Museum.
Vichitra (The Lovely One): She bestows all desires.
Vibhrama (Amorous One)
Hamsi (The one with Swan): She reveals the whereabouts of buried treasure, and grants an unguent with which one may see through solid objects.
Bhishani (The Terrifying): The ritual is to be performed at the junction of 3 paths. The mantra is to be recited 10,000 times. Camphor and ghee are to be used as the offering. Om Aim Drim Mahamode Bhishani Dram Dram Svaha.
Janaranjika (Delighting Men): She gives great good fortune and happiness.
Vishala (Large Eyed): She gives the alchemical elixir.
Madana (Lustful): She gives a cure-all pill.
Ghanta (Bell): She gives the ability to enchant the world.
Kalakarni (Ears Adorned with Kalas):
Mahabhaya (Greatly Fearful): Protection from disease. She gives freedom from fear and the secret of alchemy, also freeing one from grey hair and signs of old age.
Mahendri (Greatly Powerful): Gives the person the ability to fly and go anywhere.One obtains Patala Siddhi.
Shankhini (Conch Girl ): Fulfilment of any desire.
Chandri (Moon Girl):
Shmashana (Cremation Ground Girl ): She gives treasure, destroys obstacles, and one is able to paralyse folk with a mere glance.
Vatayakshini: She also gives a divine and magical unguent.
Mekhala (Love Girdle):
Vikala: She yields the desired fruit.
Lakshmi (Wealth): She gives Lakshmi Siddhi, the secrets of alchemy, and heavenly treasure.
Malini (Flower Girl ): She gives Khadga Siddhi, which means being able to stop any weapon.
Shatapatrika (100 Flowers ):
Sulochana (Lovely Eyed): She gives Paduka Siddhi, enabling one to travel at great speed through the aethers.
Shobha: The Devi gives the power of full enjoyment and the appearance of great beauty.
Kapalini (Skull Girl): She gives Kapala Siddhi. She gives the power to go anywhere in the aethers in one's sleep, and also to go to any great distance away.
Varayakshini:
Nati (Actress): The Nati gives hidden treasure, an alchemical unguent, and the power of mantra yoga.
Kameshvari:
The text states these have already been described.
The text states these have already been described.
Manohara (Fascinating):
Pramoda (Fragrant):
Anuragini (Very Passionate):
Nakhakeshi:
Bhamini:
Padmini is said to be included in (35) below.
Svarnavati: She gives Anjana Siddhi.
Ratipriya (Fond of Love):

Like how a grand structure like the V. T. Station that once represented colonial power changed its meaning and became almost like the heart of the city and represented the aspirations of the people.

History Lab

 “It is about a process of understanding the history from the point of view of progress,
 

T.V. Santhosh is an artist based in Mumbai

 defined by industrial and technological advancement, and how these high points of advancement in turn become yardstick of measuring the extent of damage caused by man against its own kind and nature. History of war could be read as a parallel phenomenon, as how the weapons technology developed and how experiments were not just limited to confinement of laboratories alone, but multiple narratives of History selectively reorganised to support some propaganda in the name of truth.  And in that process, the history itself becomes a laboratory of conflict. Imageries emblematic of ideologies, power centres and time change their meaning in the course of changing times. Like how a grand structure like the V. T. Station that once represented colonial power changed its meaning and became almost like the heart of the city and represented the aspirations of the people.

                         

installation view at KMB (detail)          
wood, metal and LED timers
174” x 69” x 27” Image copyright T. V. Santhosh

 Like this how these smoke and fire spitting chimneys that were once the symbol of progress have changed their meaning if seen through new ecological perspective. In a way this work is an attempt of understanding last two centuries, reading through the high points of changes and events that eventually shaped our time.

The Protagonist and Folklores of justice        
installation view at KMB
watercolour on paper

60” x 40” (each)

Image copyright T. V. Santhosh

The Protagonist and Folklores of justice 

These works are part of my new watercolour series, extensions of my ongoing preoccupation with understanding history in relation to a process of enquiry into war and terror that shapes our perceptions of reality and ethics. Also, as a result of rediscovering my old days, when a few decades back  I used to make posters and be actively part of several street theatre productions for an organization involved in activities of political resistance.  It was one of the culturally intense phases in Kerala, in the mid 80's,  I started disbelieving in 'pure aesthetical/creative practices' and tried to meddle with the much discussed idea of art as a possible tool for social reconstructions. Now, I try to revisit those old days in order to understand it from a much larger perspective of endless ideological debate on the conflict between personal, social and political interrelationships. I started this series incorporating linguistic systems of graffiti and political posters addressing a set of questions. I call it 'eternal questions', which one can keep asking at any point of time in  history, yet, it would still be relevant. A question like "who is the real enemy?” is both philosophical and ethical in nature. In the process, works went through drastic change. Many apparent elements became obscure and the obscure became direct. Elements of posters are replaced by the elements of performance and studio photography. And images of herbal garden became the backdrop by problematizing the aspects of political posters. Like in a one-act play, the protagonist interacts with objects that determine the progress of its narrative, I meddle with the images to both subvert and uncover the intent of the questions juxtaposed with. The text that used to be an integral part of the works vanished and is replaced with lucid metaphors that can be understood by men in the street.

*   *   * 

Both the sculpture and the paintings talk about history of war and violence. While the sculpture is more about history, the paintings are more about our present. While the painting incorporate elements of political posters, graffiti and performances, or medicinal plants as backdrop as a reminder of solutions provided by nature to each issues created by man, sculpture has taken elements directly from history in a process to trace the errors committed by men against humanity.” – T. V. Santhosh
 

Born in Kerala, T.V. Santhosh received his Graduate Degree in painting from Santiniketan and Masters  in Sculpture from M. S. University,Baroda. Santhosh’s works have been shown widely in Museums and Biennales. Some of the museum shows include: Kochi-Muziris Biennale, 2016 curated by Sudarshan Shetty; 56^th Venice Biennale 2015  National Pavillion of Iran, The Great Game, Curated by Marco Meneguzzo and Mazdak Faiznia: Making History, Colombo Art Biennale, 2014; Heritage Transport Museum, curated by Priya Pall, New Delhi, 2013; WAR ZONE – Indian Contemporary Art, Artemons Contemporary,  Das Kunstmuseum, Austria, 2012; Critical Mass: Contemporary Art from India, curated by Tami Katz-Freiman and  Rotem Ruff, Tel Aviv Museum of Art, Israel, 2012; 11^th Havanna Biennial, 2012;  INDIA- LADO A LADO, curated by Tereza de Arruda, SESC  Belenzinho Sao Paulo, Brazil 2012;  India, curated by Pieter Tjabbes and Tereza de Arruda, Centro Cultural Banco do  Brasil in Rio de Janeiro, Brazil, 2011; Rewriting Worlds, 4^th Moscow Biennale of Contemporary Art,  curated by Peter Weibel, 2011;  In Transition New Art from India, Surrey Museum of Art, Canada, 2011; Collectors Stage: Asian Contemporary Art from Private Collections, Singapore Art Museum, Singapore, 2011;  Crossroads: India Escalate, Prague Biennale 5, 2011;  Empire Strikes Back, The Saatchi Gallery, London, 2010;  The Silk Road, New Chinese, Indian and Middle Eastern Art from The Saatchi Gallery at Tri Postal, Lille, France, 2010; Vancouver Biennale curated by Barry Mowatt, 2010;  Dark Materials, curated by David Thorp, G S K Contemporary show, at Royal Academy of Arts, London, 2009; India Xianzai, MOCA, Shanghai, China, 2009;  Passage to India, Part II: New Indian Art from the Frank Cohen Collection, at Initial Access, Wolverhampton, UK, 2009;  Aftershock, Conflict, Violence and Resolution in Contemporary Art,  Sainsbury Centre for Visual Arts, UEA Norwich, 2007;  Continuity and Transformation, Museum show promoted by Provincia di Milano, Italy, 2007.

                                                               

His select solo shows include Common Wall, Grosvenor Vadehra, London 2014, The Land, Nature Morte, Berlin 2011, Burning Flags, Aicon Gallery, London 2010, Blood and Spit, Jackshainman Gallery 2009, Living with a Wound, Grosvenor Vadehra, London 2009, A Room to Pray at Avanthay Contemporary, Zurich 2008, Countdown, Nature Morte, Delhi 2008 in collaboration with The Guild, Mumbai; Countdown, The Guild, Mumbai 2008.

Copyright © The Guild, 2016
All rights reserved

Things are vanishing before us - Premjish Achari

We live in a time when the digital and the physical are converging together in an unprecedented manner. The proliferation of screens and humanity’s addiction to it has flattened our sense of perception; it has irrevocably altered our visual experience.

( Premjish Achari )

 In our society, screens have become magical tools used by ‘augurers and haruspices’ or those who read omens in the stars, flights of birds and the entrails of animals, uncovering guilt and foreseeing the future. Through screens, we navigate the netherworld of imaginations. They have become our magic mirrors; it appears that we have formed a Faustian pact with the digital world. Software and digitised data are replacing the traditional physical dimensions of objects. We increasingly prefer Bitcoins and digitised banking rather than paper currency, digital images to printed photographs, e-books to paper books; we even seem to spend more money on our online personas. 

( Black Molasses by Aman Khanna)

Digitisation of objects, information, and emotions has irrevocably altered existing ways of knowing, doing and being. Will digital versions of objects such as artworks, photos, clothes, etc., render them obsolete? Will objects eventually shed corporeal form and become flat and virtual in the digital world? Will we define ourselves increasingly through what we consume and create in the digital space? Will our digital avatars overtake our physical selves? 

 The proposed exhibition attempts to analyse and perhaps even salvage the role of objects in our life, by paying particular attention to their ability to evoke the past through nostalgia and memory. Objects remind us of who we are, we often use them to demonstrate our identity. There is little difference between us and what we define as ours. The proliferation of software and digitised data are replacing the traditional physical dimensions of objects. In this passage of rites towards the virtual objects when things are vanishing before us I invite artists to contemplate on the function of objects, do they see this as a revolutionary paradigm shift, or do they prefer the old ways of possessing physical objects and its production more relevant in the preservation of memory and evocation of nostalgia. 

This exhibition is a key to unlock your memories. After entering this labyrinth laden with a series of objects to trigger your memories you will be able to reflect on how people interact with objects, how objects often symbolise something more than their intrinsic nature. 

-  by  Premjish Achari

Featuring:

Aman Khanna | Arti Vijay Kadam | Atul Bhalla | Chandan Gomes | Chinmoyi Patel | Dayanita Singh | Mansoor Ali| Muktinath Mondal| Nikita Maheshwary| Prajeesh A.D.| Riya Chatterjee| Roshan Chhabria| Sharmila Samant| Sumedh Rajendran| Umesh P K| Varunika Saraf| Waswo X Waswo

PIN POSTER:MUMBAI

Mumbai Gallery Weekend (MGW) is a unique initiative that commenced in the year 2012 by leading contemporary art galleries of Mumbai. Its prime objective is to engage not only existing but also potential collectors and supporters of the arts, in order to broaden the reach and relevance of contemporary art. Since its inception, the Weekend has featured an international level of art and conversation set within a diverse set of locations across the city.

Printmaking allowed her to edit and impose through the use of various surfaces and troughs created by deeper etches.

( TS/File photo/facebook/GalleryChemould )

In a society where gender decides on your freedoms a certain inhibition of one’s self manifests in a loss of self ownership. Many woman face such an existence in South Asia, their lives decided by male counterparts, most decisions forced, misogyny manifests mostly in violent forms of suppression.

Tejswini Sonawane born in a family of sisters, often lost the freedoms she enjoyed within her home once she stepped out on to the streets of Sholapur, her hometown. Encouraged by few for her uncles she joined the Sholapur Drawing College to pursue a career in art. She was unsure with her vocation and her practice until she enrolled for a Masters in Printmaking at the Sir JJ School of Art. Initially living in a hostel for girls she began to evaluate her life and the role of her father in her decisions. 

Then she began morphing self portraits by super-imposing images of animals. Printmaking allowed her to edit and impose through the use of various surfaces and troughs created by deeper etches. Sonawane dislikes animals but she uses their forms to distort human faces, she believes misogyny expresses and inhabits in our expressions through animal metaphors. Screeches of a cat became her expression of revolt against a patriarchal wish that disregarded her as an artist but rather wished she were married to man she did not know.

Graduating from the JJ School of Art she lost her place at the hostel and relocated to Dharavi to live among her relatives. Here she lived within the stink of putrid drying animal skin reminding her of Sholapur. Her community the Dhor, traditionally animal skin tanners who purchase skin from butchers, tanning them for cobblers. Within a small tenement living with her uncle’s family people were up-close throughout the day. Thats when she began working on her solo, sometimes etching scenes from her days babysitting her sister’s daughter entertaining her with conversations she strung up with a feral cat, or making portraits of a weeping younger sister - who was often ridiculed by others for her weight.

82 gum-bites, deep etches and dry points form the body of a solo debut using morphed animals that are surreally stretched. Portraits of cats, cows and dogs take on human anatomies while their expressions inhabit ours. Grisaille and rust renderings of colour remind us of the zinc and copper plates used to register these images, giving them a tonal quality that softens their dramatic content. The ‘Jatakas’ became popular in Maharashtra as tales that followed a courageous socio-political movement against caste exploitation. These Buddhist tales through animals reminded humans of their virtues and failings, Sonawane somewhere revisits these traditions to narrate stories of comic ignorance.

Sumeshwar Sharma

Clark House Initiative

OM PURI- 18 October 1950 – 6 January 2017 - RIP

(source image google /www.livemint.com)

Om Puri was born in Ambala to a Punjabi family. His father worked in the railways and in the Indian Army. As he had no birth certificate or records, his family was unsure of his date and year of birth, however his mother told him he had been born two days after the Hindu festival Dussehra. When he began his schooling, his uncle chose 9 March 1950 as his "official" birthday, however as an adult when he moved to Bombay, Puri looked up when Dussehra was celebrated in 1950, to establish his date of birth as 18 October

The Jehangir Nicholson Art Foundation the 12th of January 2017.

The Jehangir Nicholson Art Foundation and the CSMVS are delighted to present Kanu’s Gandhi in collaboration with Nazar Foundation opening on the 12^th of January 2017. The show gives people rare glimpses of Gandhi in unguarded moments, both in the personal and public space. Taken by his nephew Kanu who had rare access to Gandhi, these pictures were uncovered recently and give us a wonderful opportunity to study the Mahatma in solitude, at public events or during intimate moments he shared with his wife Kasturba.

The exhibition is the first of a two-part series on photography that the JNAF will present in 2017. This theme expands on the tremendous passion that the collector Jehangir Nicholson had for this medium and the archive of his work that is in the Foundation’s care. 

Do join us on the 12th of January at 6 pm at the Jehangir Nicholson Gallery . Tea will be served at 5.30 pm.

‘’ Love anything as it is, you cannot change love,but love can change you, you cannot change the one you love,

It was astonishing for me when I came across the book, Love Needed. The impression of the cover had enough to give eye balls too, it was definitely attractive. I read the name say, Zaara.A.Khan.  I wasn’t sure but was familiar with the name, flipping through the pages and  digging thoroughly gave me a insight to a new world.

The book Love Needed.

Love Needed is a novel that revolves in and around the capital city of India, Delhi. The book sounds just being a love story but reading the novel written by the young artist or author Zaara Alsabih Khan and we must say, her effort and hardwork is something that tells you much more realistic side of life.  

‘’The book is not just a complicated love story involving friends, it is about how parents fulfill their children's need sacrificing their own wishes, how they are treated with age.Encountering unexpected love,handling profession and family. What you may "SEE" may necessarily not be what you "SEE". Making you realise the real importance of time, money and death.How love melts a stone hearted person.With all the twists and turns in the life of a common man which leads him to a world beyond his thoughts.....’’

Author Zaara A. khan.

It is not surprising to mention that Zaara khan is a young inspiration to the new world . She is a medical student pursuing from Babu Banarasi Das, Lucknow. Apart,she is a certified Nutritionist and a Dietician. Her seminars attended by the youth are empowering, they are motivational and have a cause of expressions. In such short span of her journey she has readily worked in international (USA) based primary healthcare company, Sevamob as a camp co-ordinator and Nutritionist. She has given seminars to national and international organizations and institutions  like OXFAM, KVK and ICAR. Not only this, she sings and draws as well.

Zaara Alsabih Khan, happens to belong to Bhadohi which is located 45-50 kilometers from Varanasi,Uttar Pradesh India. Her father Iqbal khan is a businessman. And believe it or not she has travelled hours and hours daily just to study. She definitely breaks the stereotypical norms of belonging to a town, representing her city and state that’s what the vision and mission of a brighter and young India is.

Khan who is motivated by her mother,the doctor to be believes-  failing is a part of life if you don’t fail you never learn. She adds, One’s failure is an opportunity to success itself,but if something torments you mentally, you don’t need to be good at it,just leave.- zaara a. khan,love needed.

A part of the book stating about why Love Needed and why just not some other name?.

‘’ Love anything as it is, you cannot change love,but love can change you, you cannot change the one you love,for if you do ,you won’t love the new.If it’s given by any of the intentions above the other always feels good and right.If it builds you,always be ready to get destroyed. You can’t do without it,you can’t rid it, you will look for another, yet another, still with the pain, yet another. As intoxicating it goes, it won’t mind changing you from straight to homo, and if you don’t get it, you might end up loving yourself.

Hence, it proves that love has no boundaries,no limits,no time,no caste, no colour, no bar,no profession,no standards,no place,no age. That’s how one goes blind, deaf, mum, that’s how strong the power of cupid is and that’s how one pleads ''LOVE ME''. ‘’

 WHY?. BECAUSE

 ''LOVE NEEDED''.

-Love needed

- Review By Art Blogazine

Buy Book

http://www.amazon.in/Love-Needed-Zaara-Khan/dp/8192972887/ref=sr_1_1?ie=UTF8&qid=1483107251&sr=8-1&keywords=love+needed

PIN POSTER : Mumbai NGMA

Venue: National Gallery of Modern Art, Sir Cowasji Jehangir Hall, Mumbai
Inauguration: 23rd December , 2016, 6:00 PM
Open for Public from 24th December, 2016 till 31st January, 2017
Timing: 11:00 AM- 6:00 PM (Closed on Monday & Public Holidays)

”Mukha – The Intimacy” exhibition by Hesham Malik at Carpe Diem Art Gallery – Majorda. 7th Jan – 3rd Feb 2017

Art has been the very first language which we humans chose to communicate with. The symbols, signs and colours formed the basis of what we define as today’s languages. The future of the world art market is inextricably bound up with changes to our society and its role in the world. We all work towards art fundamentally becoming more than an award, a respected space for ideas and knowledge that enrich the rapidly changing societies in our world. 

Artist : Hesham Malik

 
As India embarks on the largest investment in the arts in this region, it takes the lead in opening up an exchange of ideas through the art markets between competitive countries, so art is not merely an inward, national-looking process. A plethora of artists take on the challenge of portraying our culture and history around the globe.

Hesham Malik is a leading contemporary artist of his time. Globally, he identifies himself as an Indian artist. Hesham currently holds the record for the most expensive painting sold by an Indian artist. Inspite of his consistent colossal success in the international art market, Hesham is a humble person who believes that art should not only be for the upper class but be made accessible to anyone.  A lifelong artist, Hesham painted both for personal satisfaction as well to help charitable organizations. Hesham as a young man was expected to follow in his father’s footsteps and take over the family business but once he moved back to Dubai after obtaining his degree in International Business at Seneca College in Canada, he continued painting to raise money for charities. As an individual who has had health issues that have controlled his lifestyle, Hesham understands and empathizes with differently abled people and has often worked with and supported organizations working in this field. Hesham Malik will be displaying 20 of his artworks in an exhibition titled “Mukha – The Intimacy”. 

“Mukhâ” has travelled from Beijing to Prague and from Prague to Goa, where one of the world’s most esteemed artists Hesham Malik has his roots intact. Mukhâ has made its way to be a part of the Carpe Diem Art Gallery – Majorda, Goa.
“Mukhâ” is a Sanskrit word which means Face. The artist aims to depict the connection of the energy within us which flows right to the heart and leads to a body or facial expression. The series being displayed has 20 art pieces which were created by the artist years ago. The series, on paper and on canvas portrays his style of abstract figurative with the intricate work on the subject and balanced by falling flakes.  

Many collectors state that when they experience Hesham’s bold colourful figures, they feel a hidden power and spirituality. On the other hand the artist himself states “As an artist I believe I should direct people to look at their sparkling hidden soul rather than our world’s harsh reality. Moreover, recognition for an artist is not as important as the work itself.”
“Mukhâ” was initially inspired through the Indian Spiritual practices – “which have been collectively known as Sanatana Dharma” states Hesham. It is evident that the artist has identified art and culture as a pillar of his identity and positions his art accordingly. This is not only demonstrated by the extensive display of his art but also his involvement in guiding young artists of the new generation. 

“Mukhâ” – the face is what we all see and is often the basis of many of our judgments about someone or something. The artist argues that the character and intention of people should play a larger role than the face. However, at the same time he views the face and expression as two different things.
Greatness in the work of art cannot be measured by its ability to be understood by the masses. Most artists spend more time looking and trying to figure out what the customer wants rather than what they seek to say. Hesham is one of the few artists who lives what he creates before his colours tell a tale.

It’s one thing to see Hesham’s paintings or sketches in a book or online, but to see it in person is quite a different experience, to stand in front of his pieces is like sharing the same heart with the artist. The interesting thing about this art exhibition is to see how people connect with the artist’s experience and declaration. 

Hesham has selected one artwork " 8 Griffions" to be auctioned. The proceeds will be donated to an NGO - “Sethu” - Centre for Child Development and Family Guidance who are based in Goa and who have been tirelessly helping thousands of children over the last several years. Sethu is a charitable trust based in Goa, India, which helps children get the best out of their lives as they grow and develop. Sethu’s mission is to be a bridge between children and their families, their schools and their communities to foster their complete development through assessments, therapy, educational initiatives, training, awareness and capacity building.

“There are 7 figurative angels on the painting but the painting is titled 8 Griffons as the 8th angel is the viewer and in our case it would be the children at Sethu's.” – Hesham Malik

“Mukha – The Intimacy” will open at Carpe Diem Art Gallery – Majorda Goa on the 7th of Jan’17 along with the auction for charity.  The exhibition will remain open till 3rd Feb’17.