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Rosalind E. Krauss

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Rosalind Krauss
Born
Rosalind Epstein

Washington, D.C., U.S.
EducationWellesley College
Harvard University
OccupationArt historian, professor, art critic
EmployerColumbia University

Rosalind Krauss (nwa Epstein; amụrụ na Nọvemba 30, 1941) bụ onye America onye nkatọ nka, onye nkatọ nka nakwa prọfesọ na Mahadum Columbia na Mahadum New York.[1] A maara Krauss maka agụmakwụkwọ ya na narị afọ nke 20 eserese, ihe ọkpụkpụ na foto. Dịka onye nkatọ na onye ọkà mmụta echiche, ọ na-ebipụta akwụkwọ ya mgbe niile kemgbe afọ 1965 na Artforum, Art International na Art in America. Ọ bụ osote onye nchịkọta akụkọ nke Artforum site na 1971 ruo 1974 ma bụrụkwa onye nchịkọta akụkọ nke October, akwụkwọ akụkọ nke nkatọ na ozizi nka nke oge a nke o hiwere na 1976.[2]

Na 2025, e nyere ya Ihe nrite Balzan maka ihe ndị o rụzuru n'ọgụgụ akwụkwọ ya na ọrụ ya dị mkpa n'ịhazi nka nke oge a dịka ngalaba nyocha.[3]

Ndụ mbido

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A mụrụ Krauss n'ezinụlọ ndị Juu nke Matthew M. Epstein na Bertha Luber[4] na Washington, D.C., ma tolite n'ógbè ahụ, na-aga ileta ebe ngosi ihe nka ya na nna ya.[5] Mgbe ọ gụsịrị akwụkwọ na Wellesley College na 1962, ọ gara Harvard University,[6] onye Ngalaba Nkà Ọma (nke bụ ugbu a Ngalaba Akụkọ Ihe Mere Eme nke Nka na Nhazi) nwere omenala siri ike nke nyocha siri ike nke ihe nka n'ezie n'okpuru nkwado nke Fogg Museum.

Krauss dere edemede ya gbasara ọrụ nke David Smith.[7] Krauss nwetara Ph.D. ya na 1969. E bipụtara edemede ahụ dị ka Terminal Iron Works na 1971.[6]

Na ngwụcha afọ 1960 na mmalite afọ 1970, Krauss malitere itinye akụkọ na akwụkwọ akụkọ nka dịka Art International na Artforum—nke, n'okpuru onye nchịkọta akụkọ nke Philip Leider, e si na California kwaga New York.[7] O bidoro site n'ide "Boston Letter" maka Art International, mana n'oge na-adịghị anya, e bipụtara akụkọ ndị a nabatara nke ọma na Jasper Johns (Lugano Review, 1965) na Donald Judd (Allusion and Illusion in Donald Judd, Artforum, Mee 1966). Nraranye ya na ihe osise pere mpe na-apụta, karịsịa mere ka ọ dị iche na Michael Fried, onye lekwasịrị anya n'ịga n'ihu nke nkọwa ọgbara ọhụrụ na Jules Olitski, Kenneth Noland na Anthony Caro. Edemede Krauss A View of Modernism (Artforum, Septemba 1972), bụ otu ihe ịrịba ama nke ezumike a.

Ọrụ

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Ntọala October

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Krauss enweghị afọ ojuju na Artforum mgbe n'akwụkwọ mbipụta ya nke ọnwa Nọvemba afọ 1974, o bipụtara mgbasa ozi peeji zuru ezu site n'igosi onye omenkà ahụ Lynda Benglis ka ọ na-eme ihe n'ike jide nnukwu latex dildo ma yi naanị otu ugegbe anya na-akwalite ihe ngosi nke ya na-abịa na Paula Cooper Gallery.[8][9] Ọ bụ ezie na a na-akpọ onyinyo Benglis ugbu a dị ka ihe atụ dị mkpa nke arụmọrụ nwoke na nwanyị n'ihe osise nke oge a, o mere ka a zaghachi ọtụtụ mmadụ mgbe ọ pụtara na mbụ.[10] Krauss na ndị ọrụ Artforum ndị ọzọ wakporo ọrụ Benglis na mbipụta nke ọnwa sochirinụ nke Artforum, na-akọwa mgbasa ozi ahụ dị ka nke na-erigbu mmadụ na nke na-eme ihe ike, ma n'oge na-adịghị anya, ha hapụrụ magazin ahụ ka ha wee chọta October na 1976.[7]

October e guzobere ya dị ka akwụkwọ akụkọ ndọrọ ndọrọ ọchịchị nke na-ewebata ndị na-agụ akwụkwọ Amerịka echiche nke French post-structualism, Michel Foucault na Roland Barthes mere ka ọ bụrụ ihe ama ama.[4] Krauss jiri October dị ka ụzọ isi bipụta edemede gbasara ozizi nka post-structuralist, ozizi Deconstruction, psychoanalysis, postmodernism na nkwado nha ụmụ nwanyị.[4]

Ndị hiwere ya gụnyere Krauss, Annette Michelson na onye na-ese ihe Jeremy Gilbert-Rolfe. A họpụtara Krauss dị ka onye nchịkọta akụkọ ya. Jeremy Gilbert-Rolfe kwụsịrị ọrụ ya mgbe ọ gachara naanị obere mbipụta ole na ole, ma ka ọ na-erule oge opupu ihe ubi nke afọ 1977, Douglas Crimp sonyeere ndị otu nchịkọta akụkọ. Na 1990, mgbe Crimp hapụrụ akwụkwọ akụkọ ahụ, Yve-Alain Bois, Hal Foster, Benjamin H. D. Buchloh, Denis Hollier, na John Rajchman sonyeere Krauss na Michelson.[11]

Agụmakwụkwọ

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Hunter College

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Krauss kụziri na Wellsley, MIT na Princeton tupu ọ sonyere ndị nkuzi na Hunter College na 1974. E buliri ya n'ọkwa prọfesọ na Hunter n'afọ 1977, a họpụtakwara ya dịka prọfesọ na Graduate Center nke CUNY. O ji ọkwa Prọfesọ a ma ama na Hunter ruo mgbe ọ hapụrụ isonye na ndị nkuzi Mahadum Columbia na 1992. Na 1985, otu akwụkwọ edemede nke Krauss dere, nke akpọrọ The Originality of the Avant-Garde and Other Modernist Myths bụ nke The MIT Press bipụtara.

Columbia University

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Na mbụ Meyer Schapiro Prọfesọ nke Nkà na Echiche nke Oge a na Columbia, na 2005, a kwalitere Rosalind Krauss n'ọkwa kachasị elu nke Prọfesọ Mahadum. O nwetala onyinye mmụta site n'aka John Simon Guggenheim Memorial Foundation na National Endowment for the Arts ọ bụkwa onye otu Center for Advanced Study in the Visual Arts na nke Institute for Advanced Study. O nwetara ihe nrite Frank Jewett Mather maka nkatọ site n'aka College Art Association na 1973.[12] Ọ bụ onye otu New York Institute for the Humanities kemgbe 1992, a họpụtara ya ka ọ bụrụ onye otu American Academy of Arts and Sciences na 1994, wee bụrụ onye otu American Philosophical Society na 2012.[13] N'oge na-adịbeghị anya, ọ natara akara ugo mmụta doctorate n'aka Mahadum London.

Onye Nlekọta

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Krauss abụrụla onye na-ahụ maka ọtụtụ ihe ngosi nka na ụlọ ihe ngosi nka ndị a ma ama, gụnyere ihe ngosi na Joan Miró na Solomon R. Guggenheim Museum (1970–1973), na surrealism na foto na Corcoran Museum of Art (1982–1985), na Richard Serra na Ụlọ ihe ngosi nka nke ọgbara ọhụrụ (1985–86), na na Robert Morris na Guggenheim (1992–1994). O kwadebere ihe ngosi maka Centre Georges Pompidou na Paris nke akpọrọ "Formlessness: Modernism Against the Grain" na 1996.

Ụzọ dị oke mkpa

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Omenala nke Greenberg

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Mgbalị Krauss mere iji ghọta ihe dị iche iche gbasara nka ọgbara ọhụrụ, n'akụkọ ihe mere eme ya, n'echiche ya, na n'ụzọ iwu kwadoro ya, emeela ka ọ gaa n'akụkụ dị iche iche. Dịka ọmụmaatụ, o nweela mmasị n'ịzụlite foto, onye akụkọ ihe mere eme ya—nke na-aga n'ihu dịka nke eserese na ihe ọkpụkpụ nke oge a—na-eme ka a hụ ihe ụfọdụ a na-eleghara anya na mbụ na "nkà dị elu", dị ka ọrụ nke akara indexical, ma ọ bụ ọrụ nke ebe nchekwa. O nyochakwala echiche ụfọdụ, dịka "enweghị ọdịdị", "amaghị ihe anya", ma ọ bụ "pastiche", nke na-ahazi omume ọgbara ọhụrụ n'ihe gbasara usoro nkọwa dị iche iche site na nke ọgbara ọhụrụ, ma ọ bụ avant-garde.

Dịka ọtụtụ mmadụ si kwuo, nkatọ e mere banyere Clement Greenberg dọtara Krauss, dị ka ihe megidere ụzọ e si eji [[Harold Rosenberg] eme ihe nke ukwuu. Ihe nlereanya uri na onye nkatọ ahụ dịgidere ogologo oge na mpaghara New York, site na ngwaahịa sitere na Frank O'Hara ruo Kynaston McShine ruo Peter Schjeldahl, mana maka Krauss na ndị ọzọ, ntọala ya na ngosipụta onwe onye enweghị ike ịkọwa etu usoro ihe osise pụrụ iche si akpata mmetụta onwe onye metụtara ya.

Ụzọ Greenberg si enyocha otu ihe nka si arụ ọrụ, ma ọ bụ otu esi ejikọta ya, ghọrọ ihe bara uru nye Krauss;[14] ọ bụrụgodị na ya na onye otu ya bụ "Greenberger", Michael Fried, ga-ebu ụzọ kewaa onye nkatọ ahụ meworo agadi, wee kewaa ibe ha, n'oge ikpe ụfọdụ, nkwanye aka nyocha iwu dị ka ihe dị mkpa ma ọ bụrụ na ọ bụghị ihe zuru oke nke nkatọ siri ike ga-anọgide maka ha abụọ. Afọ iri ka ya na Greenberg mechara kpakọrịta, Krauss ka ji echiche ya gbasara 'ihe osise' dị ka ihe na-akpali akpali maka mgbalị siri ike o mere iji mezuo ihe osise mgbe afọ 1980 gasịrị n'ụdị nke William Kentridge. Krauss ga-akọwapụta nkwa a nke ndị na-eme iwu n'ụzọ siri ike, megide mgbalị iji kọwaa ihe osise dị ike n'ihe gbasara echiche ndị fọdụrụnụ gbasara onye omenkà nwere ọgụgụ isi, dịka ọmụmaatụ na edemede "The Originality of the Avant-Garde: A Postmodernist Repetition" and "Photography's Discursive Spaces." Maka Krauss, nakwa maka ụlọ akwụkwọ ndị nkatọ ndị tolitere n'okpuru mmetụta ya, ihe nketa Greenbergian na-enye ụzọ kachasị mma isi kọwaa ọrụ nka site na iji ụkpụrụ ọha na eze na nke a pụrụ ịchọpụta.

Ịsụgharị ihe ndị na-adịghị adịte aka ka ọ bụrụ ihe e dere ede

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Ma ọ bụ gbasara (Cubist collage, Surrealist foto, ihe ọkpụkpụ Giacometti mbụ, Rodin, Brâncuși, Pollock) ma ọ bụ gbasara nka nke oge ya na ihe odide ya (Robert Morris, Sol LeWitt, Richard Serra, Cindy Sherman), Krauss sụgharịrị ihe ndị na-adịghị ahụkebe nke ahụmịhe anya na nke anụ ahụ ka ọ bụrụ Bekee doro anya, nke mere ka ọ sie ike dịka onye nkatọ. Ihe ọ na-emebu bụ ime ka ahụmịhe a ghọta ihe site n'iji edemede ndị e si n'ọrụ onye na-eche echiche sụgharịa n'èzí ọmụmụ nka, dị ka Maurice Merleau-Ponty, Ferdinand de Saussure, Jacques Lacan, Jean-François Lyotard, Jacques Derrida, Georges Bataille, ma ọ bụ Roland Barthes.[15] N'ezie, o sonyere na nsụgharị nke isi ederede Lacan "Television" nke e bipụtara n'ọnwa Ọktoba ma mechaa bipụtaghachi ya n'ụdị akwụkwọ site n'aka Norton. Ọrụ ya enyerela aka igosi ọnọdụ ndị edemede a n'ọmụmụ ihe nka, ọbụlagodi na ọ na-akpata nchekasị gbasara ihe iyi egwu nye nnwere onwe nke ngalaba ahụ. Ugbu a, ọ na-akwado mpịakọta nke abụọ nke edemede ndị a chịkọtara dịka ihe na-esochi The Originality of the Avant Garde and Other Modernist Myths (1986).

N'ọtụtụ oge, a na-akpọ Krauss onye ndu n'iwebata echiche ndị a iji metụta ọmụmụ ihe nka nke oge a. Dịka ọmụmaatụ, Passages in Modern Sculpture (1977) ya jiri ihe omimi Merleau-Ponty (dịka ọ ghọtara ya n'iche echiche banyere obere ihe osise) mee ihe dị mkpa maka ikiri ihe ọkpụkpụ ọgbara ọhụrụ n'ozuzu ya. N'ọmụmụ ihe ya gbasara foto Surrealist, ọ jụrụ mbọ William Rubin mere iji kewaa ihe n'usoro dịka nke na-ezughị oke, kama ịkwado ụdị "nrọ" na "akpaaka", nakwa echiche "nhazi asụsụ" nke Jacques Derrida nke "nhazi oghere." Lee "The Photographic Conditions of Surrealism" (October, oge oyi 1981).

Ihe osise Picasso

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Banyere nka Cubist, o weere ihe osise Picasso mere ka ọ bụrụ ihe a pụrụ ịkọwa n'ihe gbasara echiche Saussure gbasara mmekọrịta dị iche na enweghị ntụaka asụsụ, na-ajụ mgbalị ndị ọkà mmụta ndị ọzọ na-eme iji jikọta mpempe akwụkwọ akụkọ e dere na akụkọ ihe mere eme mmekọrịta mmadụ na ibe ya. N'otu aka ahụ, o chere na mmepe nke Picasso n'ihe osise Cubist bụ ihe sitere na nsogbu echiche dị n'ime nka, kama ọ bụ nsonaazụ nke ndụ ịhụnanya nke onye na-ese ihe. Mgbe e mesịrị, ọ kọwara otú Picasso si tinye aka na rappel à l'ordre ma ọ bụ laghachi n'usoro nke afọ 1920 n'okwu ndị yiri structuralist. Lee "In the Name of Picasso" (October, spring 1981), "The Motivation of the Sign" (in Lynn Zelevansky, ed., Picasso and Braque: A Symposium, 1992), na The Picasso Papers (Farrar, Straus and Giroux, 1998).

Ozizi Freudian

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Site na afọ 1980, ọ malitere inwe nchegbu karịa iji nghọta psychoanalytic nke draịva na amaghị ihe, n'ihi na ọ bụghị n'ihi echiche Freudian nke André Breton ma ọ bụ Salvador Dalí, nakwa n'ihi onye na-ahụ maka nhazi Lacan na "dissident surrealist" Bataille.[7] Lee "No More Play", edemede ya nke afọ 1984 maka Giacometti, yana "Corpus Delicti", e dere maka ihe ngosi nke afọ 1985 L'Amour Fou: Photography and Surrealism, Cindy Sherman: 1975–1993 na The Optical Unconscious (ha abụọ n'ime 1993) na Formless: A User's Guide ya na Yve-Alain Bois, katalọgụ maka ihe ngosi L'Informe: Mode d'emploi (Paris: Centre Pompidou, 1996).

Ịkọwa Pollock

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Afọ ole na ole ka oge ya na Artforum gasịrị n'afọ 1960, Krauss laghachikwara na eserese mmiri nke Jackson Pollock dị ka njedebe nke ọrụ ọgbara ọhụrụ n'ime usoro nke "foto easel", na ihe ọhụrụ nke meghere ụzọ maka ọtụtụ mmepe dị mkpa na nka ndị mechara, site na ihe omume Allan Kaprow ruo Richard Serra usoro nhazi nke isi na eserese oxidation (ya bụ, mmamịrị) nke Andy Warhol. Maka ntụaka, lee isiakwụkwọ Pollock dị na peeji The Optical Unconscious, ọtụtụ ihe atụ n'ime katalọgụ Formless, na "Beyond the Easel Picture", onyinye ya na ogbako MoMA nke sochiri nyocha Pollock nke afọ 1998 (Jackson Pollock: New Approaches). Ntuziaka a nyere nkwenye ọgụgụ isi maka ahịa Pollock na-agbawa agbawa; mana o mere ka mmekọrịta siri ike dị n'etiti ya na ihe ndị ọzọ na-akpali akpali n'ọmụmụ ihe anya/omenala, ndị nke ikpeazụ na-eto nwayọ nwayọ na-enweghị ndidi na akwụkwọ nka ọdịnala nke ọdịda anyanwụ na akụkọ ihe mere eme.

Na mgbakwunye na ide ihe gbasara ndị na-ese ihe n'otu n'otu, Krauss mekwara ihe ndị sara mbara, ọmụmụ ihe ndị e ji aka mee nke nyeere aka ịchịkọta ma kọwaa oke nke ngalaba omume ụfọdụ. Ihe atụ nke a gụnyere "Sense and Sensibility: Reflections on Post '60s Sculpture" (Artforum, Nov. 1973), "Video: The Aesthetics of Narcissism" (October, spring 1976), "Notes on the Index: Seventies Art in America", in two parts, October spring and fall 1977), "Grids, You Say", In Grids: Format and Image in 20th Century Art (exh. cat.: Pace Gallery, 1978), na "Sculpture in the Expanded Field" (October, spring 1979). A chịkọtara ụfọdụ n'ime edemede ndị a n'akwụkwọ ya The Originality of the Avant-Garde and Other Modernist Myths.

Ndekọ Akwụkwọ

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Akwụkwọ ahọpụtara

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  • Terminal Iron Works: The Sculpture of David Smith. Cambridge, Massachusetts: MIT Press, 1971.
  • The Sculpture of David Smith: A Catalogue Raisonné. Garland Reference Library of the Humanities, 73. New York: Garland, 1977.
  • Passages in Modern Sculpture. Cambridge Mass: The MIT Press, 1977.
  • The Originality of the Avant-Garde and Other Modernist Myths. Cambridge, Massachusetts: MIT Press, 1985.
  • L'Amour fou: Photography & Surrealism. London: Arts Council, 1986. Ihe ngosi na Hayward Gallery, London, Julaị ruo Septemba 1986.
  • Le Photographique : Pour une théorie des écarts. Translated by Marc Bloch and Jean Kempf. Paris: Macula, 1990.
  • The Optical Unconscious (1993)
  • Formless: A User's Guide (ya na Yve-Alain Bois) (1997)
  • The Picasso Papers (1999)
  • A Voyage on the North Sea: Art in the Age of the Post-Medium Condition (1999)
  • Bachelors (2000)
  • Perpetual Inventory (2010)
  • Under Blue Cup. Cambridge, Massachusetts: MIT Press, 2011.
  • Willem De Kooning Nonstop: Cherchez La Femme. Chicago: University of Chicago Press, 2016.

Edemede na isiokwu ahọpụtara

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  • MIT Press: selected articles by Rosalind Krauss
  • "Contemporary Criticism". Markham, Ont.: Audio Archives of Canada, 1979. 1 sound cassette: 1 7/8 ips.
  • Critical Perspectives in American Art, pp. 25–27. Introduction by Hugh M. Davies. Amherst: Fine Arts Center Gallery, University of Massachusetts, Amherst, 1976. Rosalind Krauss' text is followed by illustrations of works by Donald Judd, Robert Artschwager and Joel Shapiro. An Exhibition selected by Rosalind Krauss, Sam Hunter and Marcia Tucker. Fine Arts Center Gallery, University of Massachusetts/Amherst, April 10, 1976 – May 9, 1976, American Pavilion, Venice Biennale, summer 1976.
  • "Death of a Hermeneutic Phantom: Materialization of the Sign in the Work of Peter Eisenman". In Peter Eisenman's Houses of Cards, pp. 166–184. New York: Oxford University Press, 1987.
  • "Formless: A User's Guide" [excerpt], October 78, MIT Press, 1996.

Nyocha akwụkwọ

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  • "Man in a Mold". Nyocha nke James Lord, Giacometti: A Biography. na The New Republic, Disemba 16, 1985, pp. 24–29.
  • "Post-History on Parade". Nyocha nke akwụkwọ atọ nke Arthur Danto dere. Na The New Republic, Mee 25, 1987, pp. 27–30.
  • "Only Project". Nyocha nke Richard Wollheim, Painting as an Art. Na The New Republic, September 12 & 19, 1988, pp. 33–38.

Edensibia

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  1. ↑ Rosalind Krauss | Department of Art History & Archaeology | Columbia University.
  2. ↑ October | journal | Britannica (en).
  3. ↑ Balzan Prize 2025
  4. 1 2 3 Rosalind E. Krauss biography
  5. ↑ Rosalind Krauss. The Art Story. The Art Story Foundation.
  6. 1 2 The Real Thing: An Interview with Rosalind E. Krauss by David Plante at: http://www.artcritical.com/
  7. 1 2 3 4 (2009) Dictionary of Modern and Contemporary Art. Oxford: Oxford University Press. 
  8. ↑ (September 2002) "Challenging Art: Artforum 1962–1974". The Art Bulletin 84 (3): 535–538. DOI:10.2307/3177317. 
  9. ↑ Doss, Erika (2002). "Feminist Art and Black Art", Twentieth-Century American Art, Oxford History of Art. Oxford: Oxford University Press, 184. ISBN 0-19-284239-0. 
  10. ↑ Richmond, Susan. "KT press, KTpress.co.uk, n.paradoxa, feminist art, women artists, feminist art criticism, women's art practice, visual arts magazine, fine art magazine, contemporary art journal, feminist theory, 20th century art, e-journal, n.paradoxa individual volumes. Archived from the original on 2010-08-29. Retrieved on 2026-06-03." "Sizing Up the Dildo: Lynda Benglis' Artforum Advertisement as a Feminist Icon", n.paradoxa 15 (January 2005): 24-34.
  11. ↑ Mathias Danbolt, Front Room – Back Room: An Interview with Douglas Crimp. Trikster – Nordic Queer Journal #2, 2008.
  12. ↑ Awards. The College Art Association.
  13. ↑ APS Member History.
  14. ↑ Hughes, Robert (21 October 1993). "The Medium Inquisitor". The New York Review of Books 40 (17). 
  15. ↑ Chilvers, Ian & Glaves-Smith, John eds., Dictionary of Modern and Contemporary Art, Oxford: Oxford University Press, 2009. p. 385

Ịgụkwu ihe

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  • Yve-Alain Bois. "Rosalind Krauss with Yve-Alain Bois", The Brooklyn Rail, 2012.
  • Matthew Bowman, "Rosalind Krauss", Fifty Key Writers on Photography, Mark Durden deziri ya, pp. 149–194. New York: Routledge, 2013.
  • Matthew Bowman, "October's Postmodernism", na Visual Studies: A Journal of Documentation, vol. 31, nos 1–2, pp. 117–126. 2015
  • David Carrier. Rosalind Krauss and American philosophical art criticism. Greenwood Publishing Group, 2002. ISBN 0-275-97520-7, ISBN 978-0-275-97520-3
  • Anna C. Chave, "Minimalism and Biography", Art Bulletin, Maachị 2000.
  • Janet Malcolm, "A Girl of the Zeitgeist", Part II, The New Yorker, Ọktoba 27, 1986.
  • Scott Rothkopf, "Krauss and the Art of Cultural Controversy", The Harvard Crimson, Mee 16, 1997.
  • David Raskin, "The Shiny Illusionism of Krauss and Judd", Art Journal, Spring 2006.
  • Judy K. Collischan Van Wagner, "Rosalind Krauss", Women Shaping Art: Profiles of Power, pp. 149–164. New York: Praeger, 1984

Nyocha nke ọrụ Krauss

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The Originality of the Avant-Garde and Other Modernist Myths

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  • Bois, Yve-Alain. Art Journal (Oge oyi 1985), pp. 369ff.
  • Carrier, David. Burlington Magazine (November 1985), 127(992): 817.
  • Owens, Craig. "Analysis Logical and Ideological." Art in America (May 1985), pp. 25–31. Reprinted in Beyond Recognition: Representation, Power, and Culture, pp. 268–283. Berkeley: University of California Press, 1992.
  • List of reviews of The Originality of the Avant-Garde

The Optical Unconscious

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The Picasso Papers

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Art Since 1900

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Ihe izugbe

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