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work consisting of ink on paper referred to three figures who changed the world order: Muslim prophet Mohammed, German philosopher Karl Marx and Cambodian dictator Pol Pot, all of whom attempted to purify the structure of human existence. 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Conijn, \u003Ci>Airplane\u003C\u002Fi>, 2000 © Joost Conijn\u003C\u002Fp>\u003Cp>Video \u003C\u002Fp>\u003Cp>In 1999 the Dutch artist Joost Conijn built an aircraft. He exhibited it on the roof of De Fabriek in Eindhoven and planned its first flight for late 1999 in the middle of the Sahara desert. The entire process from the aircraft’s design to its installation on the rooftop of De Fabriek as well as the testing of its functions, its transportation and finally the first flight tests, was recorded by the artist on film.\u003C\u002Fp>",[930],{"id":931,"nationality":382},1316,[],{"sortKey":934,"id":443,"documentId":444,"names":445,"collectiveName":66,"annotation":66,"richText":66,"locale":8,"images":66,"nationalities":935,"localizations":938},"d",[936],{"id":937,"nationality":916},1330,[],{"sortKey":934,"id":439,"documentId":440,"names":441,"collectiveName":66,"annotation":66,"richText":940,"locale":8,"images":66,"nationalities":941,"localizations":945},"\u003Cp>Josef Dabernig, \u003Ci>Wisla\u003C\u002Fi>, 2000 © Manifesta 3 \u002F Josef Dabernig \u003C\u002Fp>\u003Cp>Video \u003C\u002Fp>\u003Cp>This film by Austrian artist Josef Dabernig had two male actors playing the role of coaches following the progress of a fictional football match. The camera focused on them exclusively, as they sat in the coach’s box at the stadium of Wisla, gesticulating like two men involved in a conflict and from time to time approaching the sideline and trying to interfere in the game. The actors’ gestures became a metaphorical and ambivalent expression of conflict and impotence. \u003C\u002Fp>",[942],{"id":943,"nationality":944},1354,"AT",[],{"sortKey":947,"id":447,"documentId":448,"names":66,"collectiveName":449,"annotation":66,"richText":948,"locale":8,"images":949,"nationalities":1000,"localizations":1003},"e","\u003Cp>The Scandinavian artist duo Elmgreen and Dragset created a commercial gallery within the context of the Manifesta 3 biennial programme as an autonomous act. The shows of the gallery were not organised by the curatorial team of the biennial but by a team of young local gallerists. The gallery itself became a sculptural object when it was transferred into the existing exhibition hall of Ljubljana’s Museum of Modern Art. \u003C\u002Fp>",[950,975],{"id":951,"name":952,"alternativeText":66,"caption":953,"width":954,"height":955,"formats":956,"hash":968,"ext":745,"mime":748,"size":969,"url":970,"previewUrl":66,"provider":762,"provider_metadata":66,"createdAt":971,"updatedAt":972,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":973,"documentId":974,"publishedAt":767},2105,"A.M3.13.ex.01.png","Michael Elmgreen and Ingar Dragset, Powerless Structures, fig. 88, 2000. Photo © Manifesta 3 \u002F Cankarjev Dom",556,815,{"xsmall":957,"thumbnail":963},{"ext":745,"url":958,"hash":959,"mime":748,"name":960,"path":66,"size":961,"width":962,"height":751},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M3_13_ex_01_1bbc452628.png","xsmall_A_M3_13_ex_01_1bbc452628","xsmall_A.M3.13.ex.01.png",138.01,205,{"ext":745,"url":964,"hash":965,"mime":748,"name":966,"path":66,"size":967,"width":146,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M3_13_ex_01_1bbc452628.png","thumbnail_A_M3_13_ex_01_1bbc452628","thumbnail_A.M3.13.ex.01.png",39.6,"A_M3_13_ex_01_1bbc452628",268.83,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M3_13_ex_01_1bbc452628.png","2023-12-03T15:42:21.026Z","2023-12-03T15:42:58.469Z",{"en-US":953},"q8f8haacaokc7a6fc0ashg16",{"id":976,"name":977,"alternativeText":66,"caption":953,"width":978,"height":979,"formats":980,"hash":993,"ext":745,"mime":748,"size":994,"url":995,"previewUrl":66,"provider":762,"provider_metadata":66,"createdAt":996,"updatedAt":997,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":998,"documentId":999,"publishedAt":767},2106,"A.M3.13.ex.02.png",695,538,{"xsmall":981,"thumbnail":987},{"ext":745,"url":982,"hash":983,"mime":748,"name":984,"path":66,"size":985,"width":751,"height":986},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M3_13_ex_02_132129bf63.png","xsmall_A_M3_13_ex_02_132129bf63","xsmall_A.M3.13.ex.02.png",159.57,232,{"ext":745,"url":988,"hash":989,"mime":748,"name":990,"path":66,"size":991,"width":992,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M3_13_ex_02_132129bf63.png","thumbnail_A_M3_13_ex_02_132129bf63","thumbnail_A.M3.13.ex.02.png",74.91,202,"A_M3_13_ex_02_132129bf63",204.8,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M3_13_ex_02_132129bf63.png","2023-12-03T15:42:21.610Z","2023-12-03T15:43:03.992Z",{"en-US":953},"nwsl3d1nesohyjmv58d60jyj",[1001],{"id":1002,"nationality":775},1370,[],{"sortKey":1005,"id":451,"documentId":452,"names":453,"collectiveName":66,"annotation":66,"richText":66,"locale":8,"images":66,"nationalities":1006,"localizations":1011},"f",[1007,1009],{"id":1008,"nationality":922},1441,{"id":1010,"nationality":260},1442,[],{"sortKey":1013,"id":455,"documentId":456,"names":457,"collectiveName":66,"annotation":66,"richText":66,"locale":8,"images":66,"nationalities":1014,"localizations":1017},"g",[1015],{"id":1016,"nationality":944},1451,[],{"sortKey":1013,"id":615,"documentId":616,"names":66,"collectiveName":617,"annotation":66,"richText":1019,"locale":8,"images":1020,"nationalities":1071,"localizations":1074},"\u003Cp>Installation at Šumi Bar\u003C\u002Fp>\u003Cp>The old Šumi Bar was the historical meeting place for artists, actors and political activists in Ljubljana during the 1970s. Closed for years and awaiting demolition, it was made accessible again to the public by Italian architects collective Gruppo A12. All the spaces and the existing furniture were painted white, while the access was through one of the windows. Inside, strobe lights and the sound of a local radio station created an alienating atmosphere. \u003C\u002Fp>",[1021,1046],{"id":1022,"name":1023,"alternativeText":66,"caption":1024,"width":1025,"height":1026,"formats":1027,"hash":1039,"ext":745,"mime":748,"size":1040,"url":1041,"previewUrl":66,"provider":762,"provider_metadata":66,"createdAt":1042,"updatedAt":1043,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1044,"documentId":1045,"publishedAt":767},2108,"A.M3.01.ex.02.png","Gruppo A12, empty \u002F SUMI, 2000. Photo © Manifesta 3 \u002F Cankarjev Dom",698,447,{"xsmall":1028,"thumbnail":1033},{"ext":745,"url":1029,"hash":1030,"mime":748,"name":1031,"path":66,"size":1032,"width":751,"height":640},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M3_01_ex_02_09a112e59b.png","xsmall_A_M3_01_ex_02_09a112e59b","xsmall_A.M3.01.ex.02.png",146.38,{"ext":745,"url":1034,"hash":1035,"mime":748,"name":1036,"path":66,"size":1037,"width":1038,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M3_01_ex_02_09a112e59b.png","thumbnail_A_M3_01_ex_02_09a112e59b","thumbnail_A.M3.01.ex.02.png",97.36,244,"A_M3_01_ex_02_09a112e59b",233.74,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M3_01_ex_02_09a112e59b.png","2023-12-03T15:45:00.659Z","2023-12-03T15:45:15.627Z",{"en-US":1024},"jtcxk6m3e5d0eps3w8qtp9gi",{"id":1047,"name":1048,"alternativeText":66,"caption":1024,"width":1049,"height":1050,"formats":1051,"hash":1064,"ext":745,"mime":748,"size":1065,"url":1066,"previewUrl":66,"provider":762,"provider_metadata":66,"createdAt":1067,"updatedAt":1068,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1069,"documentId":1070,"publishedAt":767},2109,"A.M3.01.ex.01.png",705,462,{"xsmall":1052,"thumbnail":1058},{"ext":745,"url":1053,"hash":1054,"mime":748,"name":1055,"path":66,"size":1056,"width":751,"height":1057},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_A_M3_01_ex_01_dee9a3d0fb.png","xsmall_A_M3_01_ex_01_dee9a3d0fb","xsmall_A.M3.01.ex.01.png",160.46,197,{"ext":745,"url":1059,"hash":1060,"mime":748,"name":1061,"path":66,"size":1062,"width":1063,"height":111},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_A_M3_01_ex_01_dee9a3d0fb.png","thumbnail_A_M3_01_ex_01_dee9a3d0fb","thumbnail_A.M3.01.ex.01.png",101.62,238,"A_M3_01_ex_01_dee9a3d0fb",237.21,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FA_M3_01_ex_01_dee9a3d0fb.png","2023-12-03T15:45:01.718Z","2023-12-03T15:45:19.695Z",{"en-US":1024},"xsavfds3ox4mjhr9wqp6gv73",[1072],{"id":1073,"nationality":246},1463,[],{"sortKey":1013,"id":463,"documentId":464,"names":465,"collectiveName":66,"annotation":66,"richText":66,"locale":8,"images":1076,"nationalities":1113,"localizations":1117},[1077],{"id":1078,"name":1079,"alternativeText":66,"caption":1080,"width":1081,"height":463,"formats":1082,"hash":1106,"ext":745,"mime":748,"size":1107,"url":1108,"previewUrl":66,"provider":762,"provider_metadata":66,"createdAt":1109,"updatedAt":1110,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1111,"documentId":1112,"publishedAt":767},2107,"Grano.png","Veli Granö. Photo © Manifesta 3 ",1924,{"small":1083,"medium":1089,"xsmall":1095,"thumbnail":1100},{"ext":745,"url":1084,"hash":1085,"mime":748,"name":1086,"path":66,"size":1087,"width":799,"height":1088},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_Grano_713e7c46a5.png","small_Grano_713e7c46a5","small_Grano.png",676.59,630,{"ext":745,"url":1090,"hash":1091,"mime":748,"name":1092,"path":66,"size":1093,"width":806,"height":1094},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_Grano_713e7c46a5.png","medium_Grano_713e7c46a5","medium_Grano.png",2358.56,1288,{"ext":745,"url":1096,"hash":1097,"mime":748,"name":1098,"path":66,"size":1099,"width":751,"height":893},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_Grano_713e7c46a5.png","xsmall_Grano_713e7c46a5","xsmall_Grano.png",95.75,{"ext":745,"url":1101,"hash":1102,"mime":748,"name":1103,"path":66,"size":1104,"width":818,"height":1105},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_Grano_713e7c46a5.png","thumbnail_Grano_713e7c46a5","thumbnail_Grano.png",1203.47,868,"Grano_713e7c46a5",563.25,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FGrano_713e7c46a5.png","2023-12-03T15:44:03.467Z","2023-12-03T15:44:23.572Z",{"en-US":1080},"k4z2apb3t4tgj6bunu4uc5we",[1114],{"id":1115,"nationality":1116},1465,"FI",[],{"sortKey":1013,"id":459,"documentId":460,"names":461,"collectiveName":66,"annotation":66,"richText":66,"locale":8,"images":66,"nationalities":1119,"localizations":1123},[1120],{"id":1121,"nationality":1122},1482,"IL",[],{"sortKey":1125,"id":467,"documentId":468,"names":469,"collectiveName":66,"annotation":66,"richText":66,"locale":8,"images":66,"nationalities":1126,"localizations":1130},"i",[1127],{"id":1128,"nationality":1129},1548,"BG",[],{"sortKey":1132,"id":487,"documentId":488,"names":489,"collectiveName":66,"annotation":66,"richText":66,"locale":8,"images":66,"nationalities":1133,"localizations":1136},"j",[1134],{"id":1135,"nationality":233},1556,[],{"sortKey":1132,"id":471,"documentId":472,"names":473,"collectiveName":66,"annotation":66,"richText":66,"locale":8,"images":66,"nationalities":1138,"localizations":1142},[1139],{"id":1140,"nationality":1141},1563,"HR",[],{"sortKey":1132,"id":475,"documentId":476,"names":477,"collectiveName":66,"annotation":66,"richText":66,"locale":8,"images":66,"nationalities":1144,"localizations":1147},[1145],{"id":1146,"nationality":916},1573,[],{"sortKey":1149,"id":495,"documentId":496,"names":497,"collectiveName":66,"annotation":66,"richText":66,"locale":8,"images":66,"nationalities":1150,"localizations":1153},"k",[1151],{"id":1152,"nationality":358},1588,[],{"sortKey":1149,"id":491,"documentId":492,"names":493,"collectiveName":66,"annotation":66,"richText":66,"locale":8,"images":66,"nationalities":1155,"localizations":1158},[1156],{"id":1157,"nationality":781},1596,[],{"sortKey":1149,"id":479,"documentId":480,"names":481,"collectiveName":66,"annotation":66,"richText":1160,"locale":8,"images":1161,"nationalities":1332,"localizations":1336},"\u003Cp>Installation in public space at Tromostovje\u003C\u002Fp>\u003Cp>At the Slovenian border, the Bosnian artist Šejla Kamerić had to use the entrance with a sign saying \"Others''. 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J. Starling, \u003Ci>Rescued Rhododendrons (Production Stills)\u003C\u002Fi>, 2000; \u003Ci>Sonnenschein, Ljubljana, 2000\u003C\u002Fi>; Plečnik Union, 2000 © Manifesta 3\u002Fxxx\u003C\u002Fp>\u003Cp>Five C-type prints on aluminium\u003C\u002Fp>\u003Cp>\u003Ci>Rescued Rhododendrons (Production Stills) \u003C\u002Fi>consists of five colour photographs which document a journey made by the artist Simon Starling from the north of Scotland to the southernmost tip of Spain. The journey inverted one made in 1763 by a Swedish botanist, Claes Alestroemer, who discovered Rhododendron Ponticum growing in the hills between Gibraltar and Cadiz and was the first to introduce it into cultivation in Britain. Discovering that a number of Ponticum plants were to be destroyed in order to protect the Scottish ecosystem, the artist set out to return these plants to their ancestors. \u003C\u002Fp>\u003Cp>Starling’s work \u003Ci>Sonnenschein, Ljubljana 2000\u003C\u002Fi> was similarly concerned with geographical shifts. It had as its starting point a small man-made hill used by the pioneering aviator Otto Lilienthal to launch his experimental gliders in the 1890s. Starling made regular pilgrimages to this site where he would harness solar power in a battery, then transport the battery by plane to various locations around the globe and use it to illuminate a lightbulb, thus creating a web of connections to the birthplace of aviation.\u003C\u002Fp>",[1646],{"id":1647,"nationality":922},1918,[],{"sortKey":1643,"id":583,"documentId":584,"names":585,"collectiveName":66,"annotation":66,"richText":66,"locale":8,"images":66,"nationalities":1650,"localizations":1655},[1651,1653],{"id":1652,"nationality":358},1955,{"id":1654,"nationality":182},1956,[],{"sortKey":1643,"id":567,"documentId":568,"names":569,"collectiveName":66,"annotation":66,"richText":66,"locale":8,"images":66,"nationalities":1657,"localizations":1661},[1658],{"id":1659,"nationality":1660},1988,"EE",[],{"sortKey":1643,"id":551,"documentId":552,"names":553,"collectiveName":66,"annotation":66,"richText":1663,"locale":8,"images":66,"nationalities":1664,"localizations":1669},"\u003Cp>Anri Sala, \u003Ci>Nocturnes\u003C\u002Fi>, 1999 © Manifesta 3\u002FAnri Sala\u003C\u002Fp>\u003Cp>Color video installation\u003C\u002Fp>\u003Cp>This short poetic film was a metaphorical expression of the 1990s Balkan conflict that had profoundly affected Albanian-German artist Anri Sala. The film presented two intertwining stories, one about a man who lives alone among some two thousand pet fish and another about a young former UN soldier who served as a peacekeeper in Bosnia.  \u003C\u002Fp>",[1665,1667],{"id":1666,"nationality":1527},1990,{"id":1668,"nationality":233},1991,[],{"sortKey":1643,"id":555,"documentId":556,"names":557,"collectiveName":66,"annotation":66,"richText":1671,"locale":8,"images":1672,"nationalities":1724,"localizations":1728},"\u003Cp>Bülent Sangar is an artist who makes photography-based installations. The works fall into roughly two categories; the first, distanced images and recomposed scenes of the strangely organised megalopolis of Istanbul, and the second, tableaux vivants where he uses himself, his partner, and his family in serial images. The employment of the intimate, the private and the familial is ambiguous. The figures migrate between their roles even within a given series to imply associative meanings; a man, a son, the artist the son, Bülent Sangar the son, and so forth … In subjecting his nearest and dearest to soft fictions of domestic\u002Fpublic and sporadic violence and melodramas, Sangar circumnavigates between brutality and hospitality, victim and perpetrator, force and tenderness, the lie and the truth, the ideal and the actual. The works are based on distillations from sensationalist media; keen observations of local traditions transformed and reinvented in new urban spaces; and the never-ending tension between the private and the public. This tension lies not only between intimate and social spaces, but also in how those are regulated in Muslim and secular traditions that remain radically opposed. The gap between the home and the street, hence the difference between Bülent Sangar's works done in interiors and the city images, is doubled by the fact that the people living in apartments have short histories in the cities, and produce a bizarre urbanism where the street is a no man's land. As for the interiors, the home becomes a radicalised container held together by inherited and internalised tradition.\u003C\u002Fp>",[1673,1699],{"id":1674,"name":1675,"alternativeText":66,"caption":1676,"width":1677,"height":1678,"formats":1679,"hash":1692,"ext":745,"mime":748,"size":1693,"url":1694,"previewUrl":66,"provider":762,"provider_metadata":66,"createdAt":1695,"updatedAt":1696,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1697,"documentId":1698,"publishedAt":767},2118,"A.M3.44.ex.03.png","Bülent Sangar, Untitled, 1996-2000. 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They brought thousands of soccer balls to the heart of Ljubljana, on which there were written the names, stories and desires of those who line the borders of Europe. \u003C\u002Fp>",[1739],{"id":1740,"nationality":246},2012,[],{"sortKey":1643,"id":559,"documentId":560,"names":561,"collectiveName":66,"annotation":66,"richText":66,"locale":8,"images":66,"nationalities":1743,"localizations":1746},[1744],{"id":1745,"nationality":1116},2018,[],{"sortKey":1643,"id":579,"documentId":580,"names":66,"collectiveName":581,"annotation":66,"richText":1748,"locale":8,"images":66,"nationalities":1749,"localizations":1753},"\u003Cp>Members: Dragan Protia, Mileta Poštia, Tijana Moraea, Peter De Bruyne, Djordje Balmazovia\u003C\u002Fp>",[1750],{"id":1751,"nationality":1752},2031,"RS",[],{"sortKey":1755,"id":587,"documentId":588,"names":589,"collectiveName":66,"annotation":66,"richText":1756,"locale":8,"images":66,"nationalities":1757,"localizations":1760},"t","\u003Cp>Nasrin Tabatabai,\u003Ci> Old House\u003C\u002Fi>, 1999 ©Manifesta 3\u002F xxx\u003C\u002Fp>\u003Cp>Video\u003C\u002Fp>\u003Cp>This video was made by the Iranian artist Nasrin Tabatabai at the request of Haci Ceyhan, a Turkish shop owner from Rotterdam, who wanted to show the city in which he lived to his family back in Turkey. Ceyhan instructed the artist to record his tour. The video became a topography of the city of Rotterdam through the eyes of a Turkish immigrant. \u003C\u002Fp>",[1758],{"id":1759,"nationality":382},2054,[],{"sortKey":1755,"id":591,"documentId":592,"names":593,"collectiveName":66,"annotation":66,"richText":1762,"locale":8,"images":66,"nationalities":1763,"localizations":1766},"\u003Cp>Sarah Tripp, \u003Ci>Anti-Prophet\u003C\u002Fi>, 1999 © Manifesta 3\u002Fxxx\u003C\u002Fp>\u003Cp>Video\u003C\u002Fp>\u003Cp>The British artist Sarah Tripp presented a documentary film that explored the topics of religion, faith and beliefs. The artist embarked on a pilgrimage from one interview to another through various social groups and communities, \u003Cu>asking people to answer the central question of the film: \"What do you believe in?\" \u003C\u002Fu>The film was based on these interviews in which people shared their thoughts about what they passionately believed in, \u003Cu>whether secular or religious\u003C\u002Fu>. \u003C\u002Fp>",[1764],{"id":1765,"nationality":922},2055,[],{"sortKey":1755,"id":595,"documentId":596,"names":597,"collectiveName":66,"annotation":66,"richText":66,"locale":8,"images":66,"nationalities":1768,"localizations":1772},[1769],{"id":1770,"nationality":1771},2066,"PT",[],{"sortKey":1755,"id":599,"documentId":600,"names":601,"collectiveName":66,"annotation":66,"richText":66,"locale":8,"images":66,"nationalities":1774,"localizations":1777},[1775],{"id":1776,"nationality":288},2076,[],{"sortKey":1779,"id":603,"documentId":604,"names":605,"collectiveName":66,"annotation":66,"richText":1780,"locale":8,"images":1781,"nationalities":1825,"localizations":1828},"x","\u003Cp>Performance at Železniška postaja Ljubljana and Video installation \u003C\u002Fp>\u003Cp>The Kosovar artist Sislej Xhafa enacted his performance in the railway station of Ljubljana. Looking at the notice-board of departures and arrivals, he announced the information about the trains in the style of a stockbroker on the floor of a busy stock exchange. A video of this performance was shown on the day of the opening of the biennale, together with a new performance. \u003C\u002Fp>",[1782],{"id":1783,"name":1784,"alternativeText":66,"caption":1785,"width":1786,"height":1787,"formats":1788,"hash":1818,"ext":1790,"mime":1545,"size":1819,"url":1820,"previewUrl":66,"provider":762,"provider_metadata":66,"createdAt":1821,"updatedAt":1822,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1823,"documentId":1824,"publishedAt":767},2270,"M3_Xhafa, Stock Exchange, 2000, performance.JPG","Sislej Xhafa, Stock Exchange, 2000. 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