HEY! LOOK AT ME! I'M TOTALLY ENTANGLED WITH NOT-ME! 2023.8.13-2023.11.13 artist: gabriel rico The theme of this exhibition, I'M TOTALLY ENTANGLED WITH NOT-ME! , is derived from the quantum entanglement effect in physics. Despite being in Mexico, the artist's work and his way of thinking about the world are presented in parallel in the art museum in China. The arrows and mathematical symbols in the artworks make visual comparisons between different objects, suggesting an internal logic and provoking thought. The selection of these works and the design of the exhibition are inspired by Mayan myth as told in the Popol Vuh, illustrating the connection between technology and art with human knowledge through the myth of the "Twin Gods" of Mexican culture and Mayan civilization. Hunahpú and Ixbalanqué, the Twin Gods in the myth, had a legendary origin. They bothered the Lords of Xibalbá when playing at the court of the Mayan Ball Game their father had built and were called to visit the Underworld. They went through several trials and defeated the Ajawab of Xibalbá. After their victory in the Underworld, Hunahpú became the Sun and Ixbalanqué became the Moon. No podemos ver el interior del sol directamente , 2022, Brass, rock, neon and etc., 155×155×9 cm. Courtesy of the artist and Perrotin Sesenta y tres from the series - Reducción objetiva orquestada, 2022, Mixed media and neon, Dimensions variable. Courtesy of the artist and Perrotin The artist's decision to stage his first solo exhibition in China at the Beiqiu Museum of Contemporary Art is significant. Located in Huangya Catherine Plaza in Xuanwu District, Nanjing, Jiangsu Province, the museum is backed by Jilong Mountain and is a unique art museum set on a hill in the heart of the city. The BMCA features a collection, exhibition, research and development, and education of contemporary art. The art museum has been restored and reinforced over the years, and the interior of the concrete-poured pavilion presents a collision of industrial and primitive. History, nature, and reality intertwined, pioneers and traditions constantly tested, the localization, multimodality, and unpredictability of contemporary art are all addressed here. Located on the uppermost level of the last century's bunker, the art museum retains the original architectural structure from more than twenty years ago. The exhibition space has the sense of a cave or subterranean, comparable to the space where the Twin Gods defeated the Ajawab in Mayan mythology's Underworld. Both Mexico and China are ancient civilizations. Southeastern Mexico and Nanjing are geographically apart, but they share a rich history, culture, and art. The implication of the works and the location of the exhibition give rise to a coherence between time and place. Cynthia Gutiérrez, a close friend of Gabriel Rico and fellow outstanding Mexican contemporary artist, has written a beautiful text for this exhibition. Her poetic language leads the viewers into the world of Gabriel Rico's art. In the emptiness of the desert emerge cactus with golden pitayas and pencas made of ground and stuffed viscera. Thirst for gold. In the sky, a square sun. The loop is broken. History stops repeating itself. The wheel of nature does not turn. Spears of light piercing and illuminating the totem of the end of time. Consumed idols carrying dead nature in a sea of sand.Dazed and sad bird, giddy hare. Animals persist, but only as trophies. They look at us, still. They pose on worlds simulated by colored balls, elevated by golden rays emerging from rocks surrounded by rings of light. Holograms. Appearance. Death that looks at you. Illusory uprising. Artificial return. False landscapes do not deceive me. Let the birds fly in the dissected world! Has everything died? The shadow of the world is a plane. I walk it painting ghosts. Paths, paths, trajectories. The tireless search for knowledge. The absurd explanation of an inexplicable world. Ink that suffocates songs, that clouds the senses, that numbs our being. My head is a book. Silence, unbearable weight, monument to permanence, to immobility. My head is a stone. I have anticipated you VI (The object, constructor of the social, expelled from the social world, attributes to a transcendent world what is, however, not divine, 2021, Cedar wood carving with steel core, polychrome oil painting, gold-plated ceramics and etc. 210×90×90 cm. Courtesy of the artist and Perrotin I have anticipated you VI (The object, constructor of the social, expelled from the social world, attributes to a transcendent world what is, however, not divine), 2021, Cedar wood carving with steel core, polychrome oil painting, gold-plated ceramics and etc. 210×90×90 cm. Courtesy of the artist and Perrotin To compound the small differences, 2022, 100×100×6 cm, Courtesy of the artist and Perrotin gabriel rico Artist GabrielRico is regarded as one of the most talented artists of contemporary Latin America. Born in Lagosde Moreno, Mexico in 1980, he currently resides and works in Guadalajara, Mexico. His sculptures and installations have been shown in a number of international exhibitions, and in 2019, he participated in the 58th Venice Biennale. Being an architect by training, Rico has a strong affinity for natural elements and specializes in incorporating the min his creations. Through a combination of ready made and man-made objects,Rico explores the mesranging from intangible forms of sound spectrum to the production and consumption of everyday food, provoking us to think about our own culture through the asymmetry of things. He pays homage to the post-surrealist and poverty art movements through his use of neon, taxidermy, ceramics, stone, tree branches, and personal belongings. In this exhibition, Gabriel Rico combines the creation of natural and non-natural objects, inviting the viewer to reflect on the juxtaposition of the se elements of human civilization in a poet i can d humorous way.

guilty grounds 2024.4.4-7.6 artist：steffi reimers In collaboration with Foam, the photography museum in Amsterdam, Netherlands, the Beiqiu Museum of Contemporary Art is honored to present the sixth edition of the Tunnel Project, Guilty Grounds, the conceptual photo project by the artist Steffi Rermers. For the project, she travelled to Calabria, southern Italy, to explore the dark side of Calabrian history and the origins and kidnapping practices of the world's most powerful criminal organisation, the 'Ndrangheta. Reimers uses the concept of "Guilty Landscapes" to convey the complexity of this tragic history. She reveals the landscapes of Aspromonte National Park as silent witnesses to the pervasive influence of the 'Ndrangheta. Landscapes that were once untouched and peaceful now resonate with memories of events that have subtly left their mark. In a region where the mafia and its activities are often denied, Guilty Grounds is a powerful reminder of a shocking part of Italian history, confronting the viewer with the uncomfortable truth. In this project, Reimers' choice to exclude human figures from her images is evident, which emphasises the landscapes all the more as both 'guilty' and 'testifying' entities. Each image bears silent witness to the events in Calabria and invites the viewer to join in and make their own interpretations. The addition of a “prayer card” to the exhibition introduces a duality and highlights the role of faith and crime in the region. Although not the central theme, the prayer card serves to highlight the delicate balance between these two aspects and offers a narrative that invites deeper contemplation. As the geographical perspective of the works shifts from the mountainous regions of southern Italy to the mountain tunnel of Beiqiu, and as the exhibition travels from Amsterdam, Netherlands, to Nanjing, China, Reimers' photography will evoke even more imaginings that transcend time and space.

The Mountain Breathes Beyond Measure 2024.8.10-11.17 artist：chen jiacheng "The Mountain Breathes Beyond Measure" is a research action based on the phenomenon of wetness in the tunnel space of BMCA. In the meanwhile, it also reflects on the surveying and drafting techniques that develop in the modern era. It takes the remaining urban space anchored by the tunnel space as the starting point of investigation and initiates a spatial study of this "non-place". The "largest artificial waterfall in Asia" was once built on the mountain attached to BMCA, which was later demolished. After some repairs, a huge remaining space was left between the mountain and the urban interface, depleted with sunlight. It is what maintenance engineers call the "Back Mountain Canyon", the infrastructure of building infrastructures, like a sac that cannot heal after injury. The concrete roof on top exists like a scab that cannot be removed. The so-called "tunnel space" is regenerated on the mountain that has been dug up. Like a blind box, it is anchored on the long-abandoned landscape waterfall and has become the interior of the interior structure. The tunnel space is destined to play a role of speechlessness: the space possesses no construction in the disciplinary discourse of Architecture, and therefore is aphasic in academic discussions; engineers who normally use it do not speak out outside of maintenance tasks; for the audience who enter it, the muted scene they see through the window is fragmentary, often leading their imagination to be distorted. When located in this hanging blind box, we would start to fall into multiple "interiors" and are more or less bewildered.

"Someone Has Been Disarranging These Roses" On September 8, 2023, the dual exhibition of BMCA opened simultaneously, and the forum event was successfully held on the afternoon of the opening day. This forum focuses on the current exhibition "Someone Has Been Disarranging These Roses" in the museum and the second phase of the tunnel project exhibition "Inquisition Valley". Exhibition artists, curators, and guests are invited to "shuttle" through the geographical landscape of BMCA, discussing from "climate" to "valley", and concluding with an experimental performance. At the beginning of the forum, Yang Tiange, a consultant curator at BMCA , introduced the annual exhibition plan "Art and Geography" initiated by Beiqiu this year. This exhibition plan starts with "Someone Has Been Disarranging These Roses " and presents a group exhibition with a research-oriented theme every year. Together with the youthful and experimental "Tunnel Project", it will build the core of academic exhibitions and content production with unique institutional characteristics at BMCA.

someone has been disarranging these roses 2023.4.3-2023.6.11 Artist： yao cong After two months of open recruitment and internal discussions, Beiqiu Contemporary Art Museum is honored to announce that we will present the solo exhibition project of young artist Yao Cong, "A Mountain of Closeness" in the first phase of the "Tunnel Project" permanent exhibition hall. The exhibition "Infinitely Close to the Mountain" echoes the geographical characteristics of Beiqiu Contemporary Art Museum, and also has a spiritual connotation with the exhibition hall of the tunnel project, a long and narrow space suspended on the mountain cliff. During these years of the epidemic, Yao Cong lived in his hometown, staying with the mountains (Zhongnan Mountain in Xi'an), and often went to the northwest to touch the wild peaks. Here, the artist rethinks family relationships, reflects on the inextricable connection with the mountains, and also appreciates the mystery and sublimity in it from the perspective of human geography. Mountains not only serve as the carrier of personal memories, but also serve as the collision between civilization and nature, becoming an implicit or explicit connecting element in the artist's creation. The exhibition brings together some of the artist's images and photography, trying to sort out from "place" how motifs such as "landscape" and "flesh" overlap and grow in the context of the Anthropocene. The Square Reserve , 2020-2021, 4K 10-screen video 4K, Each video isaround 15 min. Image from Beiqiu Museum of Contemporary Art "A Mountain of Closeness", 2023. Image from Beiqiu Museum of Contemporary Art

testimony for the future 2024.3.30-2024.6.30 Artist：Gao lei, li nu curator: zhu zhu The concept of the exhibition is inspired by the difference between the space of Beiqiu Museum ofContemporary Art and that of the “White Box”. As an artistic space transformed from an air-raidshelter, the art museum retains the previous structural characteristics and sense of historical relicsas well as its geographic environment that is inseparable from the Jilongshan Mountain. The spaceof the "air-raid shelter" is treated as a place where Gao Lei and Li Nu store and exchange theirworks. One day, far in the future, upon looking back, the door of the “shelter” would be opened,displaying testimony for the collective memory and reflection of the two intersecting individuallives as well as of the present era. ,Li Nu, Warm/September , 2022, Nichrome wire, silica glass, electricity, 525×95×25cm, Courtesy of the artist and SPURS Gallery Gao Lei, The Door of Perception , 2016, Bronze, stainless steel, Overall: 225×284×23cm; Durian: 30×23×20cm; Hot Water Bag: 36×19.5×9cm, Private Collection In the specific structural arrangement of the exhibition, works of the two artists are organicallygrouped together to form direct thematic dialogues, superimposed visual tensions, or understandableinterconnections, weaving the two independent forms of individual creations into a bare thread inthe tunnel of time and space. In terms of their respective methodologies, Gao Lei's expression hasthe constant appearance of rational thinking, while Li Nu constantly shifts between lightness andheaviness, silence and explosion. Their works are both witnesses to reality and metaphysicalinquiries. Compared with the local conceptual artists of the previous generation, Gao Lei and Li Nuavoid excessively-symbolic production and respond to the common circumstances by focusing moreon art itself. The exhibition, for the first time, will be presented in both the main gallery and the tunnel sub-spaceof Beiqiu Museum of Contemporary Art. The duo exhibition will be unveiled on March 30, 2024,and closed on June 30, 2024. gao lei Artist Gao Lei’s art practice spans multiple media, including installation, sculpture, photography, and painting. Gao often adopts everyday objects and “standardized” industrial products as the essential component, whose works are manipulated through synthetic or abstract regulatory forms, in which the functions, properties, and meanings are tampered with or added through blurring transformation. Thus, they become a scale or model for measuring various domains such as the body, power, consumption, and religion. Through precise material testing and vectorization of graphics, Gao’s works, along with the objects they confront and the questions raised, alternate between spatial and conceptual dimensions, allowing the viewer to re-examine and remeasure our inherent boundaries with the world using a standard other than that of experience. Gao’s works have been the subject of solo exhibitions at White Space (Beijing, China), Arario Gallery (Seoul, Korea), Museum of Contemporary Art Taipei, etc. His works have also been exhibited in international art institutions including, Ullens Center for Contemporary Art, Minsheng Art Museum (Shanghai), Long Museum, Tank Shanghai, Hao Art Museum, Guangdong Times Art Museum, Singapore Art Museum, Institute of Modern Art (Valencia, Spain), Tinguely Museum (Basel, Switzerland), Ludwig Museum im Deutschherrenhaus (Coblence, Germany), National Museum of Modern and Contemporary Art (Korea), and others. li nu Artist Li Nu, graduated with an MA in sculpture from Royal College of Art, London, Li Nu won the RBS (Royal British Society of Sculptors) Bursary Awards in 2015 and is a member of the RBS. He currently lives and works in Beijing. Rooted in everyday life, Li Nu’s practice captures personal experiences and subjective feelings and thus reflects shared sentiments of the broader environment, individual’s mood swings, and the collective mental state in the social evolution. Drawn to the accidental, the unexpected, the present rather than techniques or forms, Li resists visual monotony as well as coherent, strategic, stylized methods pursued by many Late Modernists, and explores instead the potentialities of installation, contemporary sculpture, experimental video, events, etc. He subverts the perceived boundaries between documentary and fiction, representation and abstraction, transforming seemingly unpromising materials into metaphorical, piercing, humorous, poetic, and dramatic expressions with multiple connotations. ZHU ZHU Curator Zhu Zhu, a poet, curator, and art critic, was born in September 1969. He has been awarded the Anne Kao Poetry Prize, the Chinese Contemporary Art Award for Criticism (CCAA), and the Hu Shi Poetry Prize. He has authored numerous collections of poetry, essays, and art criticism, including the French edition of poetry collection "Blue Smoke" (2004, translated by Chantal Chen—Andro), "The Grey Carnival—Contemporary Chinese Art Since 2000" (2013, published by Guangxi Normal University Press' "Ideal Country" series, 2016, Taiwan's Eslite Press), "Only One Gram" (2017, Henan University Press), and the English edition of poetry collection "Wild Great Wall" (2018, published by Phoneme Media in the United States).

Visit MEMBERSHIP Invite you to join the BMCA Membership ！ Membership Plan Free Viewing of Regular Exhibitions Year-Round: Members can enjoy free viewing of regular exhibitions for 365 days from the activation date. Simply reserve your "visit time" in advance and enter with your membership reservation code. Daily Plus-One Free Entry: When visiting regular exhibitions, members can bring one guest for free (limited to one guest per day). Exclusive Discounts on Special Exhibition Tickets: Members enjoy an exclusive 20% discount on special exhibition ticket purchases. More Exclusive Benefits to Look Forward to: Priority Access to Exciting Member Events: Members get early access to sign up for exciting events. Priority Qualification for High-Quality Cultural Activities: Members have priority in obtaining registration qualifications for BMCA lectures, forums, opening receptions, and public courses, with the opportunity to enjoy one free experience. One Free Professional Guided Tour: Members can enjoy one free professional guided tour during their membership period (advance reservation required).

TEstimony for the future special exhibition artist：gao lei & li nu In previous exhibitions at BMCA, the tunnel space was used for young people to work on personal projects. However, this time, since we have two artists, and especially because Gao Lei is particularly interested in the tunnel, he has taken over the space. Although the tunnel may seem small in size, there are actually quite a few works displayed inside. The main focus is a commissioned creation of five pieces located close to the mountainside. The images depict objects, but they are metaphors for human experiences. The hanging method resembles the aesthetics of train windows. The entire exhibition leads up to the second-to-last piece, located down the steps of the tunnel. It is a work by Gao Lei , designed in the style of a mani stone pile. This piece is an organic fusion of natural and crafted materials that he collected around Shanghai, combined with materials gathered during his travels to Tibet. We know that in Tibet, mani stone piles usually appear on high-altitude plateaus, but this time, we have placed the work at the lowest point of the entire North Hill, creating a dual contemplation—both upward and downward—between this piece and Li Nu’s work.

The Impression of Deep Blue Starting from September 16th, BMCA will provide visitors with a "Deep Blue Impression" art experience. Take you through time and space, exploring the wonderful connection between Prussian blue and weather changes. Gain a deeper understanding of how this ancient way captures the magical light and shadow of nature.

beyond genius: picasso's passion and creation 2023.8.13-2023.11.13 artist: pablo picasso curator：wang chunchen Pablo Picasso (Málaga, Spain, 25 October 1881 - Mougins, France, 8 April 1973), is one of the great geniuses of 20th century art, with unlimited talent and a voracious need to create. His imagination feeds on everything around him. His inspiration finds its sources in ancient cultures, in distant civilizations, or in the environment that surrounds him. He takes the simplest forms of everyday life and turns them into art. This Picasso' Passion and Creation exhibition brings the visitor closer to the ingenious universe created by the artist through his paintings, etchings, ceramics and photographs. Picasso was equally skillful at all of these techniques; he worked on new approaches to Art that led to innovative creative processes and pioneer forms of expression.As a painter, he started out from Academicism, he created Cubism, and passed through Classicism,Surrealism and Expressionism in what was a constant process of change and rupture, in his never-ending quest for freedom. The human figure, or more specifically portraits, and still lifes were Pablo Picasso’s main themes throughout his career.His drawings and etchings are one of the most important parts of his career, perhaps because it depicted the restless and risky, tenacious and passionate spirit that characterised him. For Picasso, engraving provided the means with which to depict his most profound desires, emotions and thoughts. Everything imaginable and even everything he failed to acknowledge as imagined is reflected in his graphic works. The different personal and artistic obsessions that haunted him throughout his life find an escaperoute here and allow us to track him through each phase of his life and his creative art. Picasso’s graphic art comprises more than 2000 works. He frequently used a mixture of techniques, such as etching and drypoint, or etching and aquatint. As a ceramist, Picasso established an open dialogue with his sculptures. Ceramics allowed him to exercise his drawing skills, his extraordinary dexterity as a painter, and his subtle talent at modelling shapes. Itsplastic flexibility, together with an avant-garde spirit and his capacity for innovation, carry it beyondtraditional consideration of pottery as a craft to attain the category of Art. Picasso is undoubtedly the most revolutionary and tireless artist of the 20th century. With his creativeforce and his artistic potential, he challenged the norms of his day and broke new ground in the Historyof Art. pablo picasso Artist Pablo Picasso(25 October 1881 – 8 April 1973) was a Spanish painter, sculptor, printmaker , ceramicist , and theatre designer who spent most of his adult life in France . One of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture ,[8] [9] the co-invention of collage , and for the wide variety of styles that he helped develop and explore. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907) and the anti-war painting Guernica (1937), a dramatic portrayal of the bombing of Guernica by German and Italian air forces during the Spanish Civil War . wang chunchen Curator Professor, PhD supervisor, Doctor of Art History, art critic, and curator. Graduated from the Central Academy of Fine Arts, currently working at the Art Museum of the Central Academy of Fine Arts, engaging in research on modern art history and contemporary art theory and criticism. In 2012, appointed as a special curator by the Eli and Edythe Broad Art Museum at Michigan State University, where they curated an exhibition of contemporary Chinese art. Art in America magazine referred to them as "the first Chinese curator from mainland China to be appointed by an American art museum."

Myth, Fairy Tales, and Dream Tales On August 26, 2022, the 21st offline event of Cforabc was successfully held at BMCA in Nanjing. Xiang Shoujing, founder of Cforabc and partner of Star Space, had a conversation with Professor Zhang Weijie and artist Xu Maomao from the Spanish Language Department of Nanjing University, titled "Myth, Fairy Tales, and Dream Tales", to discuss Gabriel Ricco's artistic works and the cultural symbols contained therein. This conversation takes place in the exhibition space of the new exhibition "Gabriel Ricco: Look! I'm Entwined with Non Self" at the Beiqiu Contemporary Art Museum. Half an hour before the event starts, the audience gradually enters the exhibition hall to get up close and admire Gabriel Ricco's artworks. Starting from the respective backgrounds of the guests, this lecture provides three ways for the audience to understand art through the similarities and differences in the works of two artists. It explores the connections between different cultures from Asia to Latin America, from language to symbols, from material to soul, and from individual subconsciousness to collective unconsciousness. Cici starts with the theme of Gabriel Ricci's work itself, and by interpreting the most representative work "Ricci's Formula," it triggers discussions between guests and audiences about the meanings of various symbols in the work.

21ST CENTURY HERBAL 2023.4.3-2023.6.11 Artist: emma talbot curator: wells fray-smith This exhibition brings together paintings on silk, three-dimensional forms, animations and drawings made in the last three years that reflect on the power of the natural world and experiences of living in flux and transformation. Emma Talbot makes work that is about processing what it means to be alive, to think, to feel, and to notice the world in which we live. Her work is rooted in personal experience and fact, but often presents alternate realities or suggests ways to live differently. E mma Talbot, 21st Century Herbal, 2022, Acrylic on silk, Overall dimensions variable, Courtesy of the artist E mma Talbot, 21st Century Herbal, 2022, Acrylic on silk, Overall dimensions variable, Courtesy of the artist The central work in the exhibition, 21st Century Herbal, presents a figure experiencing the effects of eleven plants on her body while written text explains the magical or medicinal properties of those plants, and how they may help or harm us. Rosemary slows Alzheimers and dementia, while stinkweed is a toxic plant that produces amnesia and confusion. Across fourteen panels, Talbot takes us on a journey through nature of discovery full of truth, wisdom and hope, revealing that humans and the natural world are deeply connected and plants may be the key to our survival. Talbot is a storyteller with a distinctive painterly language that combines colourful, swirling lines and patterns, direct text, and a female figure who explores and navigates imagined landscapes and worlds. The figure in Talbot’s work faceless, acting as both an avatar of Talbot and a surrogate for ourselves. The imagery in Talbot’s work is direct and hand-drawn on silk, relating to her inner landscape of personal thought and emotional responses to subjects ranging from technological advancement and grief, to nature and aging. The central work in the exhibition, 21st Century Herbal, presents a figure experiencing the effects of eleven plants on her body while written text explains the magical or medicinal properties of those plants, and how they may help or harm us. Rosemary slows Alzheimers and dementia, while stinkweed is a toxic plant that produces amnesia and confusion. Across fourteen panels, Talbot takes us on a journey through nature of discovery full of truth, wisdom and hope, revealing that humans and the natural world are deeply connected and plants may be the key to our survival. E mma Talbot, 21st Century Herbal, 2022, Acrylic on silk, Overall dimensions variable, Courtesy of the artist E mma Talbot, Floral hangings, 2022, Acrylic on silk, Overall dimensions variable, Courtesy of the artist E mma Talbot, 21st Century Herbal, 2022, Acrylic on silk, Overall dimensions variable, Courtesy of the artist EMMA TALBOT Artist Emma Talbot (b. 1969, Stourbridge) lives and works in London. She studied at the Birmingham Institute of Art & Design and Royal College of Art. Working in drawing, painting, animation and sculpture Talbot often articulates internal narratives as visual poems or associative rumination, based on her own experience, memories and psychological projections. Incorporating her own writing and references toother literary and poetic sources, Talbot’s work considers complex issues such as feminist theory andstorytelling; ecopolitics and the natural world; and pertinent questions regarding our shifting relationshipsto technology, language and communication. Wells Fray-Smith Curator Wells Fray-Smith is Curator at the Barbican Art Gallery, London. Prior to Barbican, Wells held similar positions at Whitechapel Gallery, Pace Gallery, London and The Metropolitan Museum of Art, New York.At Whitechapel Gallery, she was the co-curator of Emma Talbot’s Max Mara Art Prize for Women winning exhibitionThe Age/ L’Età and was also the curator ofThe London Open(2022) and Helen Cammock: Che si puófare (2019). She was the curator of Real Life at Galerie Sofie Van de Velde in Antwerp, Belgium, for which she also wrote the catalogue. Wells writes extensively on modern and contemporary art, recently contributing catalogue essays on the artists Tess Jaray (2022), Secundino Hernandez (2022), Prabhavthi Meppayil (2022) and Fabienne Verdier (2020).