Professional Documents
Culture Documents
SUPERFRONT
SUPERFRONT
1. ArtSlant Los Angeles, "Exhibition Detail", September 18, 2009, event listing for opening of SUPERFRONT LA with Perry Hall: Painting,
Time, and Material Intelligence, http://www.artslant.com/la/events/show/65099-painting-time-and-material-intelligence.
2. Architectural Record, "New Brooklyn Gallery Catalyzes Avant-Garde Architecture", profile of V. Mitch McEwen and SUPERFRONT on
architectural magazine, August 26, 2009, http://archrecord.construction.com/news/daily/archives/090826brooklyn.asp.
3. Examiner, "Design Loves Art at the Pacific Design Center", August 21, 2009, mention of SUPERFRONT as part of reprogramming of
Pacific Design Center after the recession, http://www.examiner.com/x-21201-LA-Contemporary-Art-
Examiner~y2009m8d21-Design-Loves-Art-at-the-Pacific-Design-Center.
4. Cohen Design Centers, "Fine Art & Architecture Programs: Summer-Fall 2009", Summer 2009, Programming bulletin for Cohen Design
Centers mentioning SUPERFRONT LA at Pacific Design Center.
5. Cohen Design Centers, "Archeography: Architecture Does Dance",Summer 2009, Programming bulletin for Cohen Design Centers about a
talk at Decoration & Design Building by Ms. McEwen.
6. Nostrand Park: Crown heights' Virtual Town Square, "The Other Line Opens at SUPERFRONT",July 10, 2009, event announcement on
community blog site, http://www.nostrandpark.com/home/2009/7/10/the-other-line-opens-at-superfront.html.
7. The Movement Research Spring Festival 2009: ROLL CALL, "Archeography IV: Biba Bell and Live Architecture Network",April 30, 2009,
announcement on website mentioning event at SUPERFRONT, http://movementresearch.org/rollcall/?p=1279.
8. NY Arts Magazine, "Short and Sweet", mention of SUPERFRONT as venue for work exhibition and discussion, July-August 2008,
http://www.nyartsmagazine.com/index.php?option=com_content&task=view&id=274341&Itemid=752.
9. DIVA Magazine, "Starchitect", September 2007, profile of V. Mitch McEwen and SUPERFRONT in Lesbian lifestyle magazine.
10. VelvetPark Magazine, "Curator's Corner: Mitch McEwen", Winter 2007, profile of V. Mitch McEwen.
11. New York Times, "Dept of Inspiration: Writers at Work",May 23, 2005, article on making spaces for writers including design by V. Mitch
McEwen.
13. SUPERFRONT, "The Other Line", June 2009, flier for SUPERFRONT event
14. SUPERFRONT, "Recession Fair at SUPERFRONT", June 11, 2009, announcement on SUPERFRONT website
15. SUPERFRONT, "Cash + Carry Design Expo 2008",December 28, 2008, event announcement on SUPERFRONT website,
http://newyork.superfront.org/2008/12/cash-carry-design-expo-2008/.
16. SUPERFRONT, "Drawing Atmosphere", event announcement on SUPERFRONT website, December 28, 2008,
http://newyork.superfront.org/2008/12/drawing-atmosphere/.
17. SUPERFRONT, "Now You See It | Now You Dont", December 28, 2008, event announcement on SUPERFRONT website,
http://newyork.superfront.org/2008/12/nowyouseeit/.
18. SUPERFRONT, "Something About Rooms and Walls", December 28,2008, event announcement on SUPERFRONT website,
http://newyork.superfront.org/2008/12/something-about-rooms-and-walls/.
Publications
19.Amazon & Lulu, "The Archeography Project Series", SUPERFRONT Publication, http://www.amazon.com/ARCHEOGRAPHY-PROJECT-
SUPERFRONT/dp/B002AD2MGA/ref=sr_1_2?ie=UTF8&s=books&qid=1253599964&sr=8-2.
20. Amazon & Lulu, "Something About Rooms and Walls", SUPERFRONT Publication, http://www.amazon.com/Something-about-Rooms-
Walls-SUPERFRONT/dp/B002ACZN4E/ref=sr_1_1?ie=UTF8&s=books&qid=1253600017&sr=8-1.
RESUME
V.Mitch McEwen
ArtSlant - September 18th - December 18th, SUPERFRONT LA, Perry Hall 9/22/09 12:59 AM
Search events:
Exhibition Detail
Perry Hall
Painting, Time and Material
Intelligence
SUPERFRONT LA
Pacific Design Center (PDC)
8687 Melrose Avenue, STE. 208
West Hollywood, CA 90069
> DESCRIPTION
SUPERFRONT LA, a new offshoot of the Brooklyn-based experimental architecture gallery, is proud to present the work of
experimental artist PERRY HALL.
Perry Hall, a multi-disciplinary artist experimenting with analog materials to produce groundbreaking results, shows work made
of paint and sound. The project is exhibited as both physical paintings and filmic works that Hall refers to as “sound drawings”.
Hall’s work has been shown in exhibitions at the Williams College Museum of Art, The Smithsonian's Cooper Hewitt (National
Design Museum) in New York, and internationally.
Re-envisioning paint as a material that holds the capacity to self-organize, Hall has developed a set of techniques where paint
is pressurized, vibrated with sound, or chemically enhanced in order to improvise with the inherent material intelligence of
paint, itself. Questioning the traditional pictorial authority as painter, Hall's process presents paint as a body of emergent,
unexpected forms that change over time. The results take the form of physical paintings and digital films, which are striking and
confounding in their rich complexity.
Rivaling the digital experimentation of hyper-formalist contemporary architecture, his work has found resonance with architects
http://www.artslant.com/la/events/show/65099-painting-time-and-material-intelligence?print=1 Page 1 of 2
ArtSlant - September 18th - December 18th, SUPERFRONT LA, Perry Hall 9/22/09 12:59 AM
internationally, with Hall lecturing both at Columbia University's Graduate School of Architecture Planning & Preservation
(GSAPP) and the Southern California Institute of Architecture (Sci-Arc) where he has taught young architects the concepts
behind his unique approach.
The exhibit will be paired with a panel featuring architecture and media theorists from the Los Angeles area on October 29th.
Please reference losangeles.superfront.org for further information.
Copyright © 2006-2007 by ArtSlant, Inc. All images and content remain the © of their rightful owners.
http://www.artslant.com/la/events/show/65099-painting-time-and-material-intelligence?print=1 Page 2 of 2
Optimize your webpage for print. Save your webpage as a PDF. 9/22/09 1:19 AM
By Sebastian Howard
V. Mitch McEwen earned an M. Arch from Columbia’s Graduate School of Architecture, Planning, and
Preservation in 2006, and scored a job at the Manhattan office of Bernard Tschumi Architects. As an
architectural planner for the firm, she has worked on master plans in Singapore and Abu Dhabi, as well as a
museum in Maryland. Her day job keeps her plenty busy. But several years ago, the 31-year old started
conjuring up visions of her own project: a “laboratory to experiment” with the intersection of architecture
and other art forms.
So in the spring of 2007, she rented a 950-square-foot storefront in Brooklyn’s Bed-Stuy neighborhood—a
location chosen for its dear place in McEwen’s heart (“I love Brooklyn,” she professes), and for its
relatively affordable $1,700-per-month rent, which was reduced to $1,400 after McEwen and an intern
renovated the space. After months of work, the shell was transformed into the SUPERFRONT gallery. It
opened in January 2008 and has continued to gain traction—and grow. A second gallery, SUPERFRONT
LA, will open on September 18 in West Hollywood.
McEwen thinks the time is right to be giving serious thought to the melding of architecture and other
http://www.printfriendly.com/print?url=http%3A%2F%2Farchrecord.construction.com%2Fnews%2Fdaily%2Farchives%2F090826brooklyn.asp Page 1 of 2
Optimize your webpage for print. Save your webpage as a PDF. 9/22/09 1:19 AM
creative mediums. She’s observed that lately—and increasingly—visual “artists have become obsessed with
program and space. It seemed like a weird reversal, and I wanted to play with that.” A recent show in the
Whitney’s satellite gallery, the Park Avenue Armory, confirms her analysis—a massive biomorphic
installation by Ernesto Neto bridged the gap between architecture and art, and received rave reviews.
In planning SUPERFRONT’s programming, McEwen aims for the unorthodox. In May, for instance, the
Brooklyn gallery presented an installation executed in conjunction with the contemporary dance group,
Movement Research, where dancers interacted with temporary, architectonic forms designed by Live
Architecture Network and curated by McEwen. Other events have included a June 11 presentation by local
high school students working in collaboration with Brooklyn’s storied Weeksville Heritage Center, and the
inauguration of SUPERFRONT’s first artist-in-residence, Sienna Shields, who is living and working in the
space from July 15 through September 12. Another exhibition, by French Architecture duo PLANDA, was
canceled due to problems with the neighbors who were wary about the proposed backyard installation.
SUPERFRONT is nothing if not lean. There are no paid staff members. Exhibitions are constructed largely
from donated materials, and a barbecue was held on Memorial Day to raise funds. McEwen is currently
applying for her “first big grant” of around $6,000 from the arts advocacy organization The Cowles
Charitable Trust; the money would cover two-thirds of the cost of a six-month architect-in-residence
program and three exhibitions produced in correlation with it.
While McEwen has no plans to leave her current job at Bernard Tschumi Architects, she hopes that
SUPERFRONT will eventually become big enough to merit a permanent curator. But, she adds, “that full-
time position wouldn’t be for me. I like to build things.”
Correction: V. Mitch McEwen earned an M.Arch from GSAPP, not a B.Arch as was originally stated. She
did not promptly get a job at Bernard Tschumi Architects after graduation; rather, she first worked at the
Department of City Planning in Queens. The gallery opened in January 2008, not the summer of 2008.
Subscribe to Get Free Architectural Record newsletter | Architectural Record in print | Back Issues |
Manage your subscription | Get Architectural Record digitally
http://www.printfriendly.com/print?url=http%3A%2F%2Farchrecord.construction.com%2Fnews%2Fdaily%2Farchives%2F090826brooklyn.asp Page 2 of 2
Design Loves Art at the Pacific Design Center
Thankfully, creative thinking prevailed amidst the long hot summer of the great recession at the Pacific Design Center
with the creation of the Design Loves Art project – an invitation for locally and nationally known galleries to use un-
leased spaces in the center to expand their art markets, remixing areas within the complex and spotlight young artists in
order to attract a new demographic of art and design lovers into the building. Playing off the presence of the Museum
of Contemporary Art’s branch gallery at the complex – which has featured emerging artists, designers and architects
there since 2001 – organizers and management at the PDC realized they could capitalize on the community already
there and continue to grow by embracing contemporary work too.
Carl Berg Projects, Kopeikin Gallery, Brooklyn N.Y.’s SUPERFRONT, Diana Thater Projects among others are
already setting up satellite branches inside the center and most will be open by September 24th – the Design Center’s
opening bash to celebrate its new, more arty (and edgy) temporary tenants. More opening receptions each month will
follow (on last Thursdays), including installations, artist talks sponsored by Art Catalogues, multimedia events,
screenings, and music.
- Nostrand Park 9/21/09 9:42 PM
Credit: SUPERFRONT
Gallery
Continuing on in their efforts to showcase the dialectical relationship between design and art
SUPERFRONT gallery opens a new exhibit this saturday by Sienna Shields Horton. This
latest iteration of Shield Horton's, The Other Line, is a timely meditation on transportation and
streetscapes, two concepts at the forefront of many debates taking place in public policy circles
around New York. Opening a few short weeks after the MTA's recent fare hikes, Shields
Horton's work provides a unique opportunity to step back from some of the tedious aspects of
our city's transportation malaise in order to reconsider what precisely does it mean to toe or ride
the line in 21st Century New York? And most importantly if your line ain't enough, do you
have an other?
This second question is particularly relevant because The Other Line arrives only weeks after
the much celebrated arrival of the Highline. Manhattan's latest gem is a model design
alternative for unused rail space-and a stark contrast from the plight that has befallen Atlantic
Avenue's rail yards. While city residents gush over the wonder of the Highline, Atlantic's rail
yards remain a contested space in what has now become a long running battle between the city,
developers and area residents. While the highline reveals the magesty that is possible when
these constituents are in concert, Atlantic's rail yards-the other line-represents the torment that
conflicting fractions are engender.
http://www.nostrandpark.com/home/2009/7/10/the-other-line-opens-at-superfront.html?printerFriendly=true Page 1 of 2
- Nostrand Park 9/21/09 9:42 PM
In particular, Shields Horton has focused her process upon the railroad
viaduct that defines the industrial character of Atlantic Avenue, the broad
street that forms the border between Bed-Stuy and Crown Heights.
Studying this transportation infrastructure through her concerns for color
and collage, Shields Horton produces a reimagining of the streetscape. The
work provokes a reconsideration of architectural image-making, whether
in its striking contrast to conventional architectural photography or its
accidental relationship to collage as a design strategy.
http://www.nostrandpark.com/home/2009/7/10/the-other-line-opens-at-superfront.html?printerFriendly=true Page 2 of 2
Mitch McEwen, Director of SUPERFRONT
Perry Hall: Painting, Time, and
Material Intelligence
No wonder, then, that the most ardent practitioners of
21st century digital architecture have collaborated with Hall
in academia, exhibition, and design. Whether in appropriat-
ing animation software or adopting the tactics of software
programming for building design, architects at the forefront
of digital experimentation have explored the digital as mate-
rial. Until the advent of digital fabrication, this exploration
demanded that the subject of the investigation - digital pro-
cesses - also performed as the medium of presentation. Like
Hall, designers at the van-garde of this moment have worked
Perry Hall: Painting, Time, and Material Intelligence pres- with digital matter as simultaneously system and subject.
ents the work of artist Perry Hall as an ongoing interdisciplin-
ary - perhaps, even, antidisciplinary - project. The exhibit col-
lects paintings and digital films produced from paint in order The artist has taught architecture students in workshop
to expose the artist’s exploratory process. Hall handles paint format at the Southern California Institute for Architecture
like an alchemist, exploiting potentials of its liquidity, surface (SCI-Arc) and lectured at other architecture programs, includ-
tension, color and luminosity. Ironically, it is his fluency with ing the Columbia Graduate School of Architecture Planning
this process of material exploitation, the sophistication of his and Preservation (GSAPP). His collaborative work with archi-
material experiments, that has made his work relevant to a tecture collective SERVO has been exhibited at the Cooper
generation of hyper-digital architects. Hewitt Design Museum.
Educated at Berklee College of Music and the University The work included in this exhibit spans physical paintings
of California at Santa Cruz, Hall is both a visual artist and a and filmic works that Hall has produced over the past 6 years.
musician. Hall’s first experiments in films of live paint began The Decalcomania series of acrylic on board explores a range
after his work in Hollywood for special effects in film (“What of movements recorded in thick paint. Despite emerging in
Dreams May Come,” starring actor Robin Williams). From this the 18th century as a term for the ‘mania’ around the trend of
experience, Hall created his first Livepaintings. A selection ceramic pattern transfer, the term and practice of Decalcoma-
of this series is projected in this exhibit. Recorded in real nia was brought into the realm of conceptual art in the first
time and edited without digital manipulation, this series of half of the 20th century. The surrealist artist Oscar Domín-
time-based paintings captures what the artist calls ‘the self- guez referred to his work as “decalcomania with no precon-
organizing nature of paint.’ ceived object” - a material transfer with no prior form.
It is tempting to read Hall’s work as a cross-breeding of Hall’s series of Decalcomania takes this game of the decal
multiple disciplines and multiple media. However, the com- one step further, where the decal emerges as the material ef-
plexity in the work is not derived from cross-referencing fields fects of the act of making the decal. This produces a decal of
of practice. There is no ‘mash up’ here. Rather, Hall’s work is force itself - of the gesture of twisting or pulling - and a decal
rigorously agnostic with respect to discipline. It is all about of the properties of paint - its stickiness and luminosity, color
the paint. Paint dried on a panel, paint moving in response to and consistency.
sound, paint mixing with other chemicals, paint bubbling up
in an experiment on photo-paper. Paint becomes not a me-
dium to depict something - a figure, a field of color, or even
Shown here:
a concept - but rather a medium deployed to investigate its Material Study, 2006
own behaviors. In the artist’s oeuvre, paint is both the labora- Paint and ferro fluid filmed live in High Definition Video
tory and the experiment. Aproximately 10:00
Perry Hall:
Painting, Time, and
The groups of digital film pieces - Livepaintings and Material Intelligence
Sound Drawings - continue this concern for discerning the
properties of paint through movement. In the artist’s experi-
ments, certain behaviors of paint are prioritized and exam-
ined at close range. Liquidity and movement produce a kind 18 September - 18 December 2009
of special effects of surface tension. The high definition ren-
ders excessive details of surface effects, such that the digital Opening Reception:
camera acts as both microscope and aesthetic strategy. Thursday, September 24, 2009 5PM - 8PM
SUPERFRONT
promoting contemporary architecture
for an interdisciplinary world
SUPERFRONT gallery
is proud to present
THE OTHER LINE
a show of the
Artist-in-Residence
Sienna SHIELDS HORTON
SUPERFRONT presents DRAWING ATMOSPHERE, curated by regular SUPERFRONT bartender (and Cooper
Union student), Tomashi Jackson. This show brings together some of the student work in Advanced Drawing at
Cooper’s architecture school. Opening Saturday March 1st 7-9pm with after party 9-midnight. Panel with Professor
Emerita Sue Ferguson Gussow Sunday March 2nd afternoon.
SUPERFRONT » Blog Archive » Now You See It | Now
You Don’t
SUPERFRONT PRESENTS… NOW YOU SEE IT | NOW YOU DON’T
VISITING CURATOR ETO ORO (ES ORO), OGECHI CHIEKE, GRISHNA COLEMAN, JUNG EUN KIM,
HARRY SANCHEZ
3 MAY - 4 MAY, 2008
SUPERFRONT, a storefront architecture gallery and project space, presents NOW YOU SEE IT | NOW YOU
DON’T, a one-weekend exhibit curated with visiting curator Eto Oro of es oro polymedia project space in Jersey City,
in conjunction with CityTech’s conference on Race and New Media. This exhibit consists entirely of projected works
and tangentially implies that digital media may constitute a material architecture of social identity (however fleeting).
Opening 5/3 with reception 7pm -9:30 (Following CityTech Conference 5/3 9am - 6pm)
Sunday 5/4 from 1pm - 6pm.
SUPERFRONT » Blog Archive » Something About
Rooms and Walls
SUPERFRONT PRESENTS
SOMETHING ABOUT ROOMS AND WALLS (click for catalogue)
ANTHONY GROSS, FARRAH KARAPETIAN, ARIANE LOURIE, MITCH MCEWEN, PROXY, COKE
URBANO
7 MARCH - 25 APRIL, 2008
SUPERFRONT, a storefront architecture gallery and project space, presents SOMETHING ABOUT ROOMS AND
WALLS, an exhibition of recent work in various media by Anthony Gross (London), Farrah Karapetian (LA), Ariane
Lourie (New York), Mitch McEwen (SuperFront), Coke Urbano (Madrid), Proxy (New York). This group show of
built prototypes, works on paper, and architectural media is on view from March 7 through April 25 at Superfront in
Brooklyn, NY.
Can walls think? Are rooms obsolete? What can architecture and art teach each other about rooms and walls?
The subject of rooms and walls serves here to stake out a territory without disciplinary boundaries. In architecture, as
the formalism of the past 15 years has concerned itself primarily with topology and continuous space, rooms and walls
have become almost passé. Yet, in art’s return to installation and object-oriented work, we see the physical space of
the gallery revisited as a contemporary concern.
As contemporary currents in art revisit built architecture as a concern, echoing the 1960s and 1970s, young architects
look to theoretical unbuilt architecture of the same time period. These tensions - between built and unbuilt, material
and theoretical, art and architecture - underpin the works presented here. Proxy’s wall protoype, digitally generated
from New York City 311 complaint data, points to the capacity of building material to store and communicate
information. Farrah Karapetian’s photogram installation investigates a similar notion of storage and transfer with
entirely analog tactics.
Anthony Gross, an architect by training, founded the temporarycontemporary art space in London. This is his first
show in New York. Ariane Lourie teaches at Yale School of Architecture and is working on several publications with
Eisenman Architects. Mitch McEwen, curator of the group show, teaches Visual Studies at Columbia’s Graduate
School of Architecture, Preservation and Planning and practices urban design. Coke Urbano, an artist trained as an
interior designer and member of the Collectivo Casablanca in Madrid, converts the walls here into a child-like game of
interactivity.
Whether a game that becomes a wall or a computer script that becomes a tool of fabrication, these works develop
conceptual play that encounters and reconfigures the materials of building. Opens evening March 7, 2008 6pm - 8pm.
Amazon.com: The ARCHEOGRAPHY PROJECT Series: SUPERFRONT 9/22/09 2:05 AM
Close Window
http://www.amazon.com/gp/product/images/B002AD2MGA/sr=8-2/qid…ref=dp_image_0?ie=UTF8&n=283155&s=books&qid=1253599641&sr=8-2 Page 1 of 1
Amazon.com: Something about Rooms and Walls: SUPERFRONT 9/22/09 2:06 AM
Close Window
http://www.amazon.com/gp/product/images/B002ACZN4E/sr=8-1/qid…ref=dp_image_0?ie=UTF8&n=283155&s=books&qid=1253599707&sr=8-1 Page 1 of 1
!"#$%&'(#$')*)+
!"#$%&'()($#*&(+&$,-$!$.'))/01(2$34$55!67$! $7879-:59-:65
;<=>?@A+B&'C')(=D)'E$!$FFFDA+B&'C')(=D)'E$!$;>&F&(@E;G<0D>);
),-'.&%/+
'/0-$1%.#-+%!)23%&45#63.77## +)*#4/285#+4
HD$#'>?2$IJK$L&00)F$M!66:N2$OD#D$M4)0G(P&$QG(<&0A2$!668$9$!667N HG1$!667
(.2!.2,#'/00)6) '.$12%,6)5#$.
#D.D$<($K)><G0$K=+P<&A2$!"#$%&"'($<($C<&0P2$IR#$5!DST5: U+(&$!666
)&*+&*'$,*-#./0$1*2.$VP<=)'2$5""S9!666
3/21/++)5#-+%!)23%&4#/9#7.2%3 7.2%35#92.+')
K=+P<&P$R?<0)A)B?1$G(P$V>)();<>$W<A=)'1$M>0GAA&A$>)(P+>=&P$<($L'&(>?N KB'<(E$5"""#
):7)2%)+')
1)2+.2,#&3'(-$%#.2'(%&)'&3# +)*#4/285#+4
13,)456,57318$19:$73;19$:6<4=963 !66X$9$B'&A&(=
• H&&=$F<=?$>0<&(=A$G(P$P&*&0)B$>)(>&B=A$C)'$G'>?<=&>=+'&$G(P$;GA=&'9B0G($B')Y&>=AD
• Q<GE'G;;&P2$>)(>&B=+G0<Z&P2$G(P$>G0>+0G=&P$Q&*&0)B;&(=$[)(=')0$I+<P&0<(&A$C)'$#\+$
Q?G\<]A$=F)C)+':8$;&P<G$Z)(&$G(P$K<(EGB)'&]A$H&P<GB)0<A$F<=?<($=?&$)(&9()'=?$P<A='<>=D
3-7)292/+&#;#.2'(%&)'&-2)#6.00)24#.+,#72/<)'%.')# 12//804+5#+4
>?79:63$19:$:436,5?3 !66X$9$B'&A&(=
• R')*<P&$\)=?$&^&>+=<*&$G(P$G'=<A=<>$0&GP&'A?<B$C)'$()(9B')C<=$G'>?<=&>=+'&$EG00&'1D
• R0G($B')E'G;;<(E2$>+'G=&$&^?<\<=A2$P&A<E($G(P$;G(GE&$'&()*G=<)(A$)C$52666$A_$C=D
+)*#4/28#'%&4#,)7.2&$)+&#/9#70.++%+6 =-))+35#+4
1<<?,4156$73;19$:6<4=963@$A7669<$;?3?7=)$?>>4,6 !667$9$!66X
• Q<GE'G;;&P$B')Y&>=&P$P&*&0)B;&(=2$<(>0+P<(E$UG;G<>G$`+&&(A$-7X9\0)>/$'&Z)(<(ED
• #(G01Z&P$A<=&A$C)'$[<=1$P&*&0)B;&(=2$_+G(=<=G=<*&$A<=&$B0G((<(E$C)'$W+(=&'A$R)<(=D
'/0-$1%.#-+%!)23%&45#62.,-.&)#3'(//0#/9#.2'(%&)'&-2)#>#70.++%+6 +)*#4/285#+4
1:B79,5$1<<4<5195$C3?>6<<?3 !66S$9$!66X
• Q&*&0)B&P$G$%<A+G0$K=+P<&A$>)+'A&$&(=<=0&P$RG'G;&='<>$a)(<(E$V(*&0)B&D
• OG+E?=$-Q$A>'<B=<(E$A='G=&E<&A$=)$b'\G($Q&A<E(2$R0G((<(E2$G(P$HD$#'>?$A=+P&(=AD
'/0-$1%.#-+%!)23%&45#3'(//0#/9#%+&)2+.&%/+.0#?#7-10%'#.99.%23 +)*#4/285#+4
=6?=31C)4,18$49>?3D154?9$<E<56D<$>688?F K+;;&'$!66:
• c&A&G'>?&P$=?&)'1$G(P$GBB0<>G=<)($)C$IJK2$B')P+>&P$;GBA$G(P$B)A<=<)($BGB&'$)($
'&P&&;G\0&$FGA=&D
'/0-$1%.#-+%!)23%&45#-21.+#&)'(+%'.0#.33%3&.+')#72/<)'&# +)*#4/285#+4
13,)456,57318$495639 K+;;&'$!668
• H)P&0&P$G(P$'&(P&'&P$&^<A=<(E$\+<0P<(EA2$B')P+>&P$P<GE'G;A$G(P$;GAA<(E$;)P&0AD
• Q&*&0)B&P$A='&&=A>GB&$&0&*G=<)(A$C');$)(9A<=&$B?)=)E'GB?1$G(P$R?)=)A?)B$>)00GE&D
• HGBB&P$='G(AB)'=G=<)($G(P$\+<0P<(EA$C)'$;GA=&'$B0G($<($WG'0&;2$A+'*&1&P$A<=&AD
3&)!)+3#>#.33/'%.&)3# 3.+#92.+'%3'/5#'.
:6<4=9$1<<4<5195$G$:436,5?3$?>$D13H6549= d<(=&'$!665
• e)>G=&P$B')Y&>=A2$\+<0=$BG'=(&'A?<BA$=?')+E?$B')B)AG0A$G(P$;G'/&=<(E$>G00AD
• R'&BG'&P$>)(A='+>=<)($AB&><C<>G=<)(A2$'&A&G'>?&P$;G=&'<G0A$G(P$A+A=G<(G\0&$)B=<)(AD
3)0)'&),#7-10%'.&%/+#>#72)33
KfbeK2$g#$c&*<&F$)C$O?&$V=?<>A$)C$JP&(=<=1$\1$hFG;&$#(=?)(1$#BB<G?i2$JAA+&$!$!66Sj$[)0+;\<G$
IK#RR$#\A='G>=$!6682$!66:2$!667j$J(=&'(G=<)(G0$L&A=<*G0$)C$#'>?<=&>=+'&$G(P$H&P<GkA$<I/2$/0$
<!J//%.$&^?<\<=<)($<($L0)'&(>&2$J=G01$MK=GZ<)(&$e&)B)0PGN$!66:j$#'>?<=&>=+'G0$c&>)'P$gJC$4)+$.+<0P$
J=2$O?&1$d<00$d'<=&i$U+012$!66:j$3&F$4)'/&'$gd'<=&'A$G=$d)'/i$HG1$!-2$!66:j$3&F$4)'/$O<;&A$
gd)+0P$4)+2$[)+0P$4)+$J($G$.)^l$Md'<=&2$O?G=$JADNi$HG1$"2$!66:j$Q$[GAG$,88:$gW)B&$W)+A&$7$
R')E&==<$B&'$<0$Q)B)$OA+(G;<i$MF<=?$#'m$hG\+0N$#B'<0THG1$!66: