coeval-magazine

[coeval-magazine]

Mark Rothko

oil on paper mounted on panel 48 by 40 ½ in. 121.9 by 102.9 cm. executed in 1969

[coeval-magazine]

Linus Leonardsson

Linus Leonardsson is a London based designer who's ready to shake up the industry with his fantastical designs and sustainable visions. Daring to pursue is fascination and imagination, Linus moves and pushes the boundaries of freedom. Whether it's breaking social constructs or individual discovery. His work is a celebratory of personal exploration and free of self-definition. With an activistic mindset ready for change, Linus is off to a fabulous but conscious future.

To those not familiar with your work, can you briefly introduce yourself and what you do? I am a Master graduate from the Royal Academy of Fine Arts Antwerp from Stockholm and currently based in London. It is important to me to centre my work around serious social issues. However, I try to incorporate as much fantasy, glamour and fun into my collections as possible to keep it appealing to all the senses. Erasing gender roles within fashion is especially important to me, as well as paving a way for a more sustainable industry.

What was the vision behind your latest collection? What message did you want to make come across? "See you in the fog" tells an autobiographical story of a young boy experiencing who he is for the first time at a summer night forest rave in Stockholm. The feeling of being young in a surrounding that is way more mature is the foundation of the looks, they reference a fear of not fitting in while trying to find out who you are. Eventually, the collection is celebratory of personal exploration and free self-definition. Another point I am making is about preserving nature whilst enjoying it. A downside of forest raves is the damage it inflicts on local nature, and as a reaction, I tried to make the collection as resourceful and environmentally friendly as possible, whilst still keeping it glamorous.

To what sources of inspiration do you find yourself moving back to? Since an early age, I have been fascinated by how people express themselves outside of the norm. In later years I have started to look with more focus into the idea of gender as a social construct. Although the topics and inspirations for my collections vary, this is the one strongest commonality. Also, I am always intrigued by ridiculous things! In my opinion, fashion needs to be more fun; spontaneous emotions are extremely underrated in today's industry.

Your sunglasses in collaboration with Komono look amazing! How did this collab take place? What was your shared vision? So happy you like them! Komono approached a few others of my classmates and me at the Antwerp Academy with the quest to make a creatively free capsule collection of eyewear with us. It got me very excited, and I started to look at nature and to specific trees for shapes. I was going for a strong contrast between artificial acetate sunglasses and natural inspiration. The colours reference sunlight peeking through the forest, meeting the harsh strobe lights of the party scenery.

In your creative process, what do you do to get out of your comfort zone? I love meeting new people and getting to know what they are about and their perspectives on the world. This is something that automatically influences the way you work and adds new ideas to the creative process.

I see a lot of futuristic references in your work. How do you see the future of fashion? Fabulous but conscious! As of today, the industry is totally unsustainable both for the planet and for the people working within it. I think we need to find a way to love and enjoy what we do, without harming the environment. It is what I have tried to do with this collection. Most of the fabrics and materials I have used are leftovers from people in my surroundings, which I have spent time with and love in order to upcycle and adjust them to being fun and lovely to look at. As an example, I got some leftover rope from an Antwerp knitting company that I crocheted into a top and other garment details, and interwove with metal chains for some sparkle and fun.

If you could go back in time, where would you go? The future is bright and I look forward to living it, which is what I focus on rather than feeding into nostalgia. I like to think back to political change, which minority groups pushed for, such as the Stonewall protests. But I am also very happy that we are already past those points in history, although there is still much left to fight for. However, what I wish I could have experienced, are early ballrooms, raves and disco clubs which are things I draw inspiration from today.

If you could design your own world what would it look like? Sparkling! Champagne rivers, rainbows everywhere and flowers meadows all over. In my utopia, people are encouraged to express themselves completely freely and fearlessly. Right now my collection is my imaginative dream world, my fantasy scenery is that rave party in the forest, where everyone is accepted for who they are, mother nature is cared for and people are enjoying and expressing themselves to the fullest.

What can we expect from you in the near future? I just relocated from Antwerp to London and I am going to explore the fashion scene here. Because I have had some very positive responses on the collection, and I am working on pushing it further and making it available to the world in one way or another.

clothing LINUS LEONARDSSON

@linusleonardsson

photography LINETA LIDUMA styling LINUS LEONARDSSON hair and make up DOROTHY VANDEMAELE models JELLE DE BEER and LISAH ADEAGAH set assistance MARTINS ROZENFELDS

words ANIEK STROEKEN

@vera__ann

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[coeval-magazine]

Kedr Livanskiy

The opening of Kedr Livanskiy’s Your Needtwinkles into audibility—a breathless mist, an upbeat shift. Quickly, it’s back down to earth, leveled by warm, warbling vocals. But for a minute, it’s pure pop, effervescent teenage girlhood cut, deliciously, with a little winking excess. Yana Kedrina—the artist behind the nom de plume—is radiant, unfathomably long platinum hair echoing the yellow stripe down the side of Your Need’s album cover. This second album, the Bandcamp copy tells us, is “a celebration of life and rebirth”—a high-energy jaunt, clubby and cavorting with peaks like “Bounce 2” and the focused, grainy build of the penultimate “City Track.” 

We’re eating hummus in the back of a Persian grocery store in London when Lawrence tells me he has a surprise. It’s embargoed but Really Exciting; he needs my passport and won’t tell me why until I guess the spot. He holds up a photo of the Stanislavsky Electrotheatre, and my dumb American sensibility is like, uhh, I don’t know, it’s some grungy former Eastern Bloc destination that, five years down the line, guys in Carhartts will describe as the Bushwick of the East? Maybe, in a manner of speaking. The depth of my Russian cultural knowledge is really nil, pathetic, so he humanely cuts me off to answer. Moscow. We’re going to Moscow.

Aside from some half-retained undergrad lectures about early Soviet film montage, Kedr Livanskiy is the beginning and end of my insight into the Russian avant-garde. I stream her debut EP, January Sun, on repeat while I wait for my visa to get approved, wandering around Berlin and relaxing into the titular track’s metered, melancholy flow. I’m kind of down about a bunch of impending change so January Sunand Audrey Wollen’s Sad Girl Theory are propping me up while I twitch around the cramped apartment block where I’m staying for a filmmaking residency, in which I learn that I actually really, really don’t want to be a filmmaker. The early EP, released in 2016, has a lo-fi grit about it that perfectly suits Berlin’s much-maligned maxim, “Poor but Sexy,” with its reverberant hum. 

Landing in Moscow, I’m allayed, for a second. Compared to Berlin, everything’s immaculate—pastel confections of buildings sit low on the horizon; a glass of complimentary champagne is stuffed in my hand when I check into Hotel Richter. My room! It has a fucking fresco on the ceiling! But within a day, the smoothness sours into homesick disorientation. In line for the bar one night, I watch a lethargic progression of gallery totes, screen-printed with Cyrillic sans-serif. Vacillating into and out of elation,Your Needturns out to be perfectly suited to my first trip to Russia. Grounded by slower moments like “LED” and “Why Love,” the albumflutters into occasional severity, recalling the coarse, foggy rhythms that magnetized me to January Sun.

Of course, it matters that I don’t speak any Russian. In my total alienation from lyrical meaning, Livanskiy’s songs come to me as pure structure—texture and affect and the granular nuances of each tiny build and fall, fully divorced from signification. I feel kind of icky and preposterous as I fumble towards interpretation, so it’ll suffice to offer a personal read, here. If January Sun scored a month of depressey self-searching, Your Need, released at the beginning of May, came right as the clouds began to clear, all while retaining a sense of the meticulous depth that made Kedrina’s early work so haunting. 

Lawrence shows his movie one night at a cinema club that was founded by Sergei Eisenstein. Lights up after and it’s really well-received by a crowd comprised entirely of plausible Gosha models. An angelic blonde with pigtail braids is the first to find him in the front row, before most have risen from their seats. “It was so great! I loved it!” He thanks her warmly. She rushes out. I elbow him, giggling. “That,” I hazard through a dumb starstruck grin, “was Kedr Livanskiy.”

Later I fall into some party at Strelka, the architecture-school-cum-cultural-hub that’s hosting a NTS showcase sponsored by the British Embassy. Beatrice Dillon—another favorite from the Cult of Domesticity playlist, dedicated to Women in House, where Kedr takes up residence in my Spotify library—takes the stage. Dancing mechanically, I catch a glimpse of platinum in my peripheral. I ask my newish buddy, probably an appropriate source of journalistic guidance because he has a monthly Vice column, whether it would be bullshitty to approach her. It’s loud so I don’t really know how he answers. 

I try to put it out of my mind. I keep grooving. Eventually, my dedication to hardcore reporting outweighs my sense of personal self-preservation, so I shuffle towards her and yell over the music.

—“Hey, I love your new album!” 

Graciously, she smiles. Magnetic.

 —“I’m writing a review for this online fashion magazine—want to talk to me about Your Need?” 

—“What?” 

 Yelling now, I’m so hyper-conscious of my shrill American valley-girl affectation, I want to unzip my skin and leave my body on the dancefloor. Mortified, I still persist, pressing on in service of Journalism. 

 —“I’m writing about Your Need! Is there anything you want my readers to know?” 

She’s stilted, no recognition. 

—“Uhh….. maybe later.” 

 Is that a scoop? Whatever. I still give this album five stars.

courtesy KEDR LIVANSKIY

@kedr_livanskiy

words ADINA GLICKSTEIN

@addieglickstein

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[coeval-magazine]

2066

‘2066’ is a collaboration between interdisciplinary artist Jesse Clark and Fear Safe - styled and modeled by Clark themself, and photographed by Tristan Kallas. According to Fear Safe themselves, they recycle clothing items they find by revamping an item’s ‘nostalgic origins into forward thinking one-off pieces.’Through these garments, the editorial presents ‘everyday visions of a future lifestyle’. To embody this, the model became ‘an avatar-effortlessly switching between skin patterns and facial structures’ - with glamour shots, compositions reminiscent of fitness ads and moments of leisure met with surrealist influence. The series is meant to visually comment on ‘the endless digital scroll we have started to integrate effortlessly into our everyday style and presentation’- focusing on‘the ways our presentation feeds off of these ideas while continuing to explore diverse modes of presentation’.

clothing FEAR SAFE

@fear_safe

photography TRISTAN KALLAS styling makeup and modeling JESSE CLARK

words AUDRY HIAOUI

@barbratheartist

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[coeval-magazine]

Rui Ho

RUI HO’s music is a map of herself. Her two past EP:s are time capsules to the emotional state she was in at the time - they are rough, painful as well as reflective and bright. What unifies her sound is the melodic influences of her Chinese heritage. 

In her upcoming EP ‘In Pursuit of the Sun逐日’, to be released on August 16th, the rave inspired tracks follow the narrative of a famous Chinese folklore where the giant Kua Fu is chasing the sun from East to West - which results in his death.

If you had to choose one adjective, verb and substantive that best described you as a person - what would they be? Instinctive, move, passion.

  What's your relationship to music?  I don't come from a musical background, but I have always enjoyed it and spent a lot of time listening to music. It was also an escape from reality when I was in school and was getting bullied and isolated because of being queer. I started doing music myself when I was in high school. Now it's my primary form of artistic expression.

Mixing current club sounds with traditional Chinese music is one of your trademarks, how did you find your sound and in what words would you describe it? I'm interested in exploring all forms of electronic music with a Chinese sensibility in it. The Chinese melodic elements are the roots that keep me grounded, and then I can have fun with all these other interesting styles. Without the roots, I would be lost. I would describe my sound as melodic, emotional, current, rich and hybrid.

Compared to your debut EP 'Tales' your latest release 'Becoming is an Eventful Situation' is more melodic, what do these two EPs represent to you? Sound-wise and personally? The EPs came from two different states of mind. Tales' Chinese title is戰記, which basically means "tales of wars". When I was writing that EP, I was going through a lot of transitions in life. I was disappointed with Paris after living and studying there for nearly four years, had recently moved to Berlin, had gotten in contact with the Shanghai scene and my amazing residency at Berlin Community Radio as well as the continuation of discovering of my sexuality and gender identity. There was a lot to process at that moment. So the EP was rough, smashing, painful, sad and bright - in a way very messy.'Becoming' is more of a reflective piece of work. I was going through the preparation of my transition at that time, so this EP is more introspective.Most of the drum structure was stripped to more simple ones, giving the melodies the leading role.

As a producer, what would you say defines a good track? Anything that is emotional or has an opinion of its own. Personally, I prefer keeping the musicality even when it's very experimental but still innovative in its own way.

Could you tell me more about your alter-ego DJ Ruan?  It's a fun DJ moniker I created to do edits, mashups, remixes and mixes. RUI HO is going in the direction of a full stage performing experience, whereas DJ Ruan is going to be just fun, spontaneous and party-ready.

How would you describe the feeling you get when playing a gig? I'm not really a party person, to be honest, but when I’m playing I get very excited. I can't stand a boring set, so I do all sort of extra shit like jumping genres, switching bpms and cutting tracks.  I’m quite "naughty" behind the booth; I love seeing people getting surprised by my set. But when the magic didn't happen, I can feel quite down and guilty about it. But I know I can't do anything about it, so I let it go and enjoy the journey as it is.

What's your best DJ memory?  Hmmm, the most amazing moment would definitely be when I was touring with my Genome 6.66 Mbp fam in Barcelona, and Arca, who I've been a huge fan for ages, came through to my set! I only found out after the party and was honestly shocked. It was so nice meeting her and knowing that she had been having fun dancing to my set.

  You’re based in Berlin - what do you think is the most exciting happening in the music scene there right now? The fact that more and more people in Berlin started exploring different ways of performing and playing music other than just DJing. In the future, I think Berlin will develop quite a variety of different styles and types of artists.

courtesy RUI HO

@rui_hooo

words VERONICA JONSSON

@v_rotica

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[coeval-magazine]

The Witch Twins

Transmitted from a college dorm room, Robi and Alen Predanič use performance art to create “mysterious VHS tapes you find in the attic of the old house you have just moved in to”.

Let’s start by you introducing yourselves and how you started working together  Alen: We are Robi and Alen Predanič aka The Witch Twins and we are from Slovenia. We are twins, 25 years old and we’ve been living in the same college dorm room for five years. This is where we created our own world. We make our own surreal, eccentric and colourful costumes and perform and pose in them, usually in our dorm room. I mostly shoot and edit the photos and Robi focuses on recording and editing the videos. When we’re finished we post it on Instagram. Robi went to college one year before me. We started listening to a lot of music from the 60s and 70s. We loved the warmness of the sound and visuals of the era. Inspired by that and other stuff like Harry Potter, we transformed our totally white room into a warm, psychedelic looking place. Throughout our childhood we were always in our bubble, creating something and escaping from real life.

Robi: We don’t take life very seriously and we like to challenge man-made social constructs such as gender norms. Two years ago, we came out. Shortly after, we started watching RuPaul’s Drag Race and because of that show we were inspired to experiment with wigs and DIY clothes. Our dorm room really played an important role in all of this, because it represented (and it still does) a safe, cosy and magical place where we could be authentic and creative. We actually used to dress up in women’s clothes when we were in kindergarten and when we were home alone. We stopped, because we realised that boys were not supposed to dress like that. Through the years we used to be terribly embarrassedabout our ‘weird’ past and our sexuality. It’s really liberating that the same thing that used to be such a burden, now makes us happy and proud. 

What made you choose the medium of performance art to concentrate on? Robi: The reason I filmed myself in the first place was because of the cool VHS phone app. I realised I am comfortable in front of the camera while I’m in drag… it feels very natural to me. When I perform, I naturally gravitate towards randomness, humour and exaggeration. There are no rules in performance art, and I like that. Nobody is limiting me, I can express myself how I want to without being afraid of making mistakes. 

Alen: Robi once asked me to join him in one of his videos. It was fun and it naturally became our thing. We also started doing photoshoots together. Performance art is not something that I was originally interested in, but it has become something that allows my costumes and fantasy to come to life. 

Your work together has a very distinct aesthetic. How did this evolve?  Alen: We both like to be dramatic and ‘’larger than life’’. We are expressing ourselves freely and we just do whatever feels natural. Renovation of our dorm room has helped us to figure out our aesthetic. We developed a colour palette that was very 60s and 70s inspired and we customised everything in the room accordingly, it came out psychedelic, and colourful. We continued that vibe with our costumes, videos and photos. When we buy fabrics for our costumes, we like them to have interesting textures and beautiful colours. Right now, we are into looking like trippy life size toys - colourful and not too complex. We also like to believe that we are undercover aliens hiding our big alien heads underneath our headpieces. We both love dramatic silhouettes and big headpieces.

Robi: When it comes to our drag, we like unusual combinations. If we feel like combining facial hair with long painted nails or a short skirt with a headscarf, we just do it. I enjoy making genderless creatures. I like to make my hips, shoulders, “hair” and accessories big. I like to transform myself; to create the most fabulous version of myself and confuse people in the best way possible… When I edit the videos, I like to combine footage of us with the footage of mysterious buildings and beautiful nature. The videos we make can be described as mysterious VHS tapes you find in the attic of the old house you had just moved in.

I interpret your work as very spiritual. Is spirituality something that’s important or influential to you as individuals and/or your work? Robi:I love combining art and spirituality, because that’s the way to make meaningful art. I think by being authentically and fearlessly ourselves we send a message that is very much spiritual. I like my work to radiate a peaceful vibe and we do that through music we use in our videos for example. We also include messages of peace and love in our work by using symbols such as heart, sun and flower in our costumes, videos and dorm room décor. The warm edit of the pictures and the videos adds to the welcoming and peaceful fantasy, as well. My work is also spiritual for me, because it feeds my soul. I really enjoy what I do. 

 Alen: I love spirituality. I am determined to fulfil the highest and truest expression of myself and I know I can do that through art.

What has made you label yourself as a witch? Can you tell me a bit about this side of your creativity and how/if this influences your work as a duo? Alen: Witches fit perfectly in a great fantasy. I’ve always loved witches. We both love magic, mysterious things and places. For me, a witch represents that. I often do magic and fly on a broom when I sleep, in my dreams and I love it. Not to mention, that when we were about 8 years old, we used to believe that we were magicians. We made a secret alphabet, special objects and we performed special rituals. 

Robi: We naturally adopted this label, but we don’t take the label very seriously. We also sometimes say that we’re aliens. We love creating fantasies and by labelling ourselves as witches or aliens we do just that. A witch also represents a metaphor for an unconventional person. We are modern day witches in that sense.

You use very pronounced, textural silhouettes and there is a strong sense of fantasy through theatre. A visualisation of your combined imaginations maybe... can you introduce us to this alternative world you have created? What feeds this? Robi: We are very compatible when it comes to working together creatively. Our work is heavily influenced by movies with exquisite fantasy worlds. Such worlds are mysterious, dreamy, magical and visually stunning. They consist of trippy characters, stunning costumes, detailed set designs, mysterious places and soul touching music. We’re talking about movies such as Shrek, Spirited Away, Alice in Wonderland, A Series of Unfortunate Events, The Wizard of Oz, Harry Potter, Charlie and The Chocolate Factory and Titanic. Also, horror movies such as The Ring and The Hills Have Eyes. I’m very inspired by operas and musicals as well, because of the dramatic body movements and the dramatic vibe. 

Alen: Yes, what we do in the videos and the photos is visualisation of our combined imaginations. A lot of stuff that inspires our world is from our childhood. From a young age we were very aware of beautiful and magical things that surrounded us. Our kindergarten teachers were very creative and really made sure that we experienced a lot of magical moments. We were also encouraged to be creative by our grandma. Her house was always well decorated and we used to draw, make jewellery and decorative napkins from paper when we were at her house. We loved fantasy and magic and we still love it as much as we used to when we were kids. Major influence from many years ago are sticker albums and beautiful illustrations from children’s books. 

When it comes to forming new concepts or beginning a new creative venture, how do you normally begin? Alen: We usually start with a colour palette, or with ideas about our headpieces. We then draw a sketch of the full costume. Sometimes we have a concept about the universe our costumes and characters come from, but most of the time, each of us just does our own thing and at the end it works out.

Can you tell us anything about what you’re working on right now? Robi: I am making a music video for an artist. We will soon start working on some of our last costumes in our college years era.  We are moving out in three months.

Alen: I am working on my music. I am also a singer and I’m looking forward to finally sharing my music. We are also working on prints of our work.

What does the future hold, where would you like to see your work in 5 years? Robi: I want to continue filming with my phone app and make costumes and short movies. I’m also interested in performing live. Alen and I want to make an exhibition and publish a picture book of our work.

Alen: I definitely see myself on stage, singing in crazy outfits. Robi and I will continue to collaborate creatively on different things, because we love to work together.

courtesy ALEN PREDANIC and ROBI PREDANIC

@alenpredanic

@robipredanic

words KATE KIDNEY BISHOP

@sashasadies

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[coeval-magazine]

Joviale

Informed by tone and emotion she serves a purity in her music and accompanied by lush aethetics Joviale evokes the tempting coyness of our drama dreams. Tune in and don’t forget to watch her music video for ’Ride away’, speaking o lush!

You are based in London, right? What do you think of the art and music scene there? Yeah! It's popping off. When and how did you get into music? I've been into music all my life. Only got into making my own stuff 3 years ago. What do you do besides music? I'm a teaching assistant at an SEN school (Special Education Needs)

When did you find your sound and how would you describe it? I'm still trying to figure that out. I’m also curious about the latest single Ride away, what that does this track represent for you? The fun in danger...also growth, it's one of the first demos I ever made. Sources of aesthetic and artistic inspiration? Catwalks, Musicals, Opera's...In fact, I don't know anymore, we are exposed to so much content that surely we are al being inspired by the same things.

Can you tell us more about recording with your producer Bullion and the process of working with him? Nathan ! He's a G. I'm lucky to be working with him. The process... is still developing. But there's a lot of mutual excitement between each session. What can we expect from you this year? I'm still trying to figure that out haha !

courtesy JOVIALE

@guccipoison

interview REBECCA LOVGRENS

@rebeccalovgrens

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[coeval-magazine]

🛠 @tishkbarzanji interviewed by @rebeccalovgrens today on #coevalmagazine https://www.instagram.com/p/Bs5McpIBGEb/?utm_source=ig_tumblr_share&igshid=jhhgr3eavld7

[coeval-magazine]

Artist @tishkbarzanji creates spatious architectural sceneries and interiors with impossible shadows and staircases, all with substantial emotions hidden in the atmosphere. Check Link in Bio! 🏗🏘 https://www.instagram.com/p/Bs5MTPaBd6O/?utm_source=ig_tumblr_share&igshid=19fyyi9eyzlye

[coeval-magazine]

💮💮 Meet artist, observer and master of space @tishkbarzanji today on #coevalmagazine 💮💮 https://www.instagram.com/p/Bs5Lw6Ph01x/?utm_source=ig_tumblr_share&igshid=1kh2rtq3iiktb

[coeval-magazine]

This breathtaking portrait show us a repertoire of looks, faces, habits and the simplicity of human behaviour void of any trace of luxury , but full of deep dignity.  "Chung Kuo, China" today on #coevalmagazine 🇨🇳🇨🇳 https://www.instagram.com/p/Bs3PwX2hUcy/?utm_source=ig_tumblr_share&igshid=15hio2pjrl5k4

[coeval-magazine]

Michelangelo Antonioni travels for 22 days, thousands of kilometers -along a strictly established path set by Chinese authorities- to film the three-and-a-half-hour TV documentary "Chung Kuo, China" today on #coevalmagazine 🎥🚶🏻‍♂️ https://www.instagram.com/p/Bs3PcMmhGRf/?utm_source=ig_tumblr_share&igshid=1su6pw4m9wqb3

[coeval-magazine]

"Chung Kuo, China" (1972) directed by Michelangelo Antonioni today on #coevalmagazine words: @art__albertina https://www.instagram.com/p/Bs3O7IUBPQZ/?utm_source=ig_tumblr_share&igshid=xlgq576amxga

[coeval-magazine]

@sarahelleberg discusses her way to wear herself and to apprehend fashion and art in an interview with @lrclea today on #coevalpeople 🍌🎨 https://www.instagram.com/p/BssRmcXBLVR/?utm_source=ig_tumblr_share&igshid=18z02oihe7xtt

[coeval-magazine]

Meet 23 yo artist and model from Norway: @sarahelleberg today on #coevalpeople 🎊🎊 https://www.instagram.com/p/BssRQQJBD_Y/?utm_source=ig_tumblr_share&igshid=zvipg78lwkfu

[coeval-magazine]

@sarahelleberg 🌹 interviewed by @lrclea today on #coevalpeople https://www.instagram.com/p/BssRBZ2hVyA/?utm_source=ig_tumblr_share&igshid=m1xum9cxcf9a

[coeval-magazine]

@path_by_janinegrosche interviewed by @lrclea today on #coevalmagazine 🕶💥 https://www.instagram.com/p/Bsp4CQpBuRR/?utm_source=ig_tumblr_share&igshid=1otqkke572cyk