Per Hüttner

From Wikipedia, the free encyclopedia
Jump to: navigation, search
Unbalanced scales.svg
 A major contributor to this article appears to have a close connection with its subject. It may require cleanup to comply with Wikipedia's content policies, particularly neutral point of view. Please discuss further on the talk page. (September 2010)
This article is an autobiography, or has been extensively edited by the subject or an institution related to the subject. Please help edit it to conform to Wikipedia's neutral point of view, in line with the discussion on the talk page. (January 2011)
Per Hüttner

Per Hüttner in Copenhagen 2007
Born 11 February 1967(1967-02-11)
Oskarshamn, Sweden
Nationality Swedish
Field Installation art, photography, drawing, performance art, writing and curation
Training Konsthögskolan Stockholm, Hochschule der Künste Berlin
Movement Conceptual Art
Awards Maria Bonnier Dahlins Stiftelse, IASPIS, Konstakademien Stockholm

Putting Out the Fire with Gasoline, Used motor oil and chicken blood tempera on window, 2011

(In)Visible Dialogues, 2011, phosphorescent copies of J. Bolin's Chairs with catalogue, created by Abake (night)

(In)Visible Dialogues, phosphorescent copies of J. Bohlin's Chairs with catalogue, created by Abake 2011 (day)

Per Hüttner is a Swedish visual artist who lives and works in Paris, France. He graduated from Konsthögskolan in Stockholm 1993. He also studied at Hochschule der Künste in Berlin 1991-1992. He is mostly known for his photographic work[1] and for his interactive, changing and travelling exhibition projects.[2] A number of monographs about his practice has been published including Per Hüttner[3], 2003; I am a Curator[4], 2004; Repetitive Time[5] 2006, Xiao Yao You[6]2006, Democracy and Desire[7] 2007.[8] The Imminent Interviews 2010[9]and The Quantum Police 2011.[10]

Contents

[edit] Biography

Hüttner was born in Oskarshamn, Småland on 11 February 1967. His father Bengt, who was Jewish, died in a car accident in 1971[11] and he was brought up by his Protestant mother with his sister. He moved around Sweden until the age of 24 when he moved to Berlin to study. His life has since been marked by nomadism and constant movement where travel and international dialogues are core to his life and practice.[12] He lived in London and Los Angeles until he created his base in Paris in 2002. Hüttner was one of the founders of the non-profit galleries Konstakuten in Stockholm (1996–2001) and The Hood Gallery in Los Angeles (2001–2003),[13] the former was one of the first artist initiated galleries in the country and was important in creating a culture of self-organisation of artists in Sweden.[14] He is also the father of the experimental research group Vision Forum.[15]

[edit] Works

Quantum Police Installation, 2011
Installation at Cartel, London, Chinese and English copy of Franz Kafka's "The Trial", clamp and forensic evidence and mirror.
Quantum Police Installation, 2011
Installation at Cartel, London, Police badges and mirror
Quantum Police, 2011
Installation at Lambert Gallery, mirrors and halogen lamps.
Rebirth (Bucharest), 2006
Framed Colour Photograph Mounted on Dibond
Catharis (Amsterdam), 2007
Framed Colour Photograph Mounted on Dibond
Filling the City with Dreams, 2008
Performance documentation from Zendai MOMA, Shanghai, February 28, 2008.

Hüttner explores the ground rules for human communication and interaction by investigating the boundaries of knowledge and non-representation. He does so by provoking the curiosity and imagination in the minds of the visitor and by researching notions about time and corporality.[10] The work often deals with transformation, change or various forms of transgressions of boundaries or borders.[16] The artist is inspired by French philosopher Gilles Deleuze[10]and particularly interested in how the relationship between larger political, economical and social structures affect the individual and vice versa.[17] His work dialogues with the history of performance[18] and explores the genre in innovative ways.

In the late 1980s and 1990s much of Hüttner's installations used computers, video[19] and other new media.[20] He was one the first artists to create installations that used computers as a sculptural element and at the same time allowing them to present vast and complex information.[21] He also used contemporary medical science to develop work based on research on the human brain at the Pitt Rivers Museum in the UK. He also created exhibitions, publications and lectures with biochemist Elias Arnér that dealt with the relationship between art, science and the human body in Stockholm. In Begrepp - En Samling (Concepts a Collection) they together artists and scientists to dialogue about metaphysical questions.[22]

In the late 1990s Hüttner took his interdiscplinary experiences and implemented these into a series of exhibitions investigating the relationship between the art object and the exhibition.[23] In 2001 he co-curated an exhibition at Nylon with Goshka Macuga and Gavin Wade.[24] Other noteworthy exhibitions that dealt with these issues and that engaged the audience[2] in continuously reshaping the exhibition[25] include: I am a Curator[26] at Chisenhale Gallery in London[27] and Participate? at CEAC in Xiamen, China and at Basekamp in Philadelphia.[28]

Parallel to this activity Hüttner created a photography project entitled "Jogging in Exotic Cities" where the artist went jogging repeatedly in far away cities that remain exotic to a western audience.[29] In the photographs we see the artist dressed in white clothes[30] as he makes his way through bustling cities like Chennai, Mexico City and Lusaka.[31] The project remains one of Hüttner's most well-known to date. It has been shown in museums in the USA,[32] Spain[33] Poland,[34] Romania,[35] Austria,[36] China[37] and Sweden.[38]

In 2004 he developed the performative aspects in the above mentioned project and tied it back to a research about the limits of reality and documentary photography.[39] He developed a series of photographs where he created shrines of commemoration in busy street corners of urban centres around the world.[40] These impromptu sculptures suggested that an accident or act of violence had been committed in that specific place. The work provoked complex discussions about differences and similarities between documentary traditions and the fictional.[41] The work also shifted focus to portraying the inner life of human beings. In the catalogue text to his 2006 exhibition Xiao Yao You that displayed a large collection of the work at the Guangdong Museum of Art in Guangzhou the curator, Zhang Wei, writes:

"Ceaseless movement is not a way of gaining ever more exotic knowledge of the world; it is rather a way of cleaning out and rediscovering the self. This is what I see in Per’s work. When I face his images, the reality presented in them seems less a true physical reality than an invisible psychological one. I see a negotiation and dialogue between the artist’s inner and outer worlds. In this psychological landscape, he describes his worries, his pursuit of human sentiment, and his insistent rejection of a stylized or superficial life. It makes me think of the Chinese philosopher Zhuang Zi’s idea of xiao yao you or “moving carelessly.” This philosophy does not only detail how to move freely across physical space, but is also a metaphor for how humans can transcend different kinds of obstacles and achieve a freedom of the spirit."[42]

The journey into the human soul was further developed in another photographic series from 2006-07 entitled Democracy and Desire. The images were primarily shot at night with very long exposure times.[43] The relationship between the individual and its search for personal liberty from social conventions again comes to the forefront in the dreamlike photography.[44] In the catalogue text to the exhibition the work is discussed. In a typical style of the artist, it is hard to decipher who the author of the give text is and it even appears that the texts in different languages are written by different authors:

"The uninhibited mental and/or physical space is very individual and extremely hard to define. But it is even more complicated, because this freedom can never be safe-guarded by consumerism, legislation or democracy anymore than the self-confidence that feeds it can be defended by a law. As artists it is our prime responsibility to fight for the right to retain and enjoy this liberty for ourselves and others. This means that we need to have an extremely grounded belief in ourselves and the work that we do. Humanity will always be engaged in a battle to safeguard this freedom and maybe that is also a good definition of what an artist is – a confident defender of the aspects of the soul that cannot be defended any other way. It has always been like that throughout history.[45]"

From 2007, Hüttner has returned both to a dialogue with science[46] and to working with video. In a sequel to Begrepp - En Samling from 1992, Hüttner and Arnér created a project entitled (In)Visible Dialogues which focused on a series of dialogues between artists and scientists at Konstakademien.[47] He also returned to these issues in a less direct way in solo exhibitions in France,[48] China[49] and Sweden. Installations such as "Do not Go Gentle"[50] and "Imminent"[51] show eccentric people engaged in unexpected and surreal research that forces the visitor to reflect on the relationship between reality and fiction. But also how science plays an important role in shaping our everyday experience.[52] In her long text about the latter exhibition, curator Cecilia Canziani shows that this is an age old problematic:[9]

"In Plato’s Symposium, perhaps the best known of his dialogues, Aristofanes recounts that once upon a time, human beings had two heads, four arms, four legs, they were complete, a whole, a unity. Because of their arrogance they were punished by Zeus and divided in two halves: men and women. Since then, we look for completion in the other, and such- arguably - along as being a metaphor of love, also serves as a symbol of the dialectic between singularity and collectivity that informs the political organisation of society. In "Imminent" it is not just the narrative that is fragmented, but also the characters and their multiplied personae. Different actors are cast in the same role, sometime one character is transformed into another, reminding us of the quest for unity that Plato describes."

Parallel to these exhibition projects, the artist has also staged events that cross the boundaries of academic presentations, guided tours, performance and stand-up comedy. These have taken place at art institutions like MACRO in Rome, CAPC in Bordeaux, Tate Britain and Hayward Gallery[10] in London and as part of experimental projects like The Invisible Generation[53] and the international research group OuUnPo. These performance-based activities have also led to an ongoing collaborative research with the Turkish writer/curator Fatos Üstek that started like a creative writing exchange in the English-Austrian magazine Nowiswere and that have subsequently been presented in museums like the Nikola Tesla Museum in Belgrade and Tate Modern in London[54] as well as in public spaces in New York, Philadelphia and Athens.[10]

[edit] Selected Solo Exhibitions

  • (In)Visible Dialogues (with biochemist Elias Arnér), curated by Lena Boëthius, Konstakademien, Stockholm, Sweden (2011)[47]
  • Quantum Police, curated by Anne Klontz, Valerie Lambert Gallery, Brussels; DKTUS Stockholm and Putting Out the Fire with Gasoline, Manufactura’s Studio, Wuhan, China; The Old Police Station and Cartel in London(2011).[10]
  • >unknown at Zendai Contemporary Art Exhibition Hall, Shanghai, China (2010)[9]
  • Imminent, Fei Contemporary Art Center, Shanghai, China (2010)[9]
  • Do not Go Gentle, ERBA and Musée du Temps, Besançon, France (2009)[9]
  • Xiao Yao You, Guandong Museum of Art, Guangzhou, China (2006)[40]
  • Tundro, Contemporary Art Gallery, National Museum, Szczecin, Poland (2006)[43]
  • Repetitive Time, Göteborgs Konstmuseum, Gothenburg, Sweden (2006)[5]
  • Democracia y Deseo, Vacio 9, Madrid, Spain (2006)[7]
  • Per Hüttner, Xposeptember, Liljevalchs Konsthall, Stockholm, Sweden (2005)[55]
  • I Am a Curator, Chisenhale Gallery, London, UK (2003)[56]

[edit] Selected Group Exhibitions

  • Le choix de titre est un faux problème, CNEAI Paris, Paris, France[57] (2011)
  • Notes from a Grainy Surface (w. Fatos Ustek), A CLOCK THAT RUNS ON MUD, curated by Jennifer Teets, Nero Magazine, Italy (2011)[58]
  • Concrete Poetry, The Hayward Gallery, London (2011)[10]
  • The Invisible Generation (As “Private Contractors” w. Olav Westphalen), Les Kurbas Center; The National Museum of Art and artist street, Kiev, Ukraine (2010)[53]
  • "Crash – The other versions", with postautonomy.co.uk, Liverpool Biennial, Liverpool UK and various public venues in Zürich, Switzerland (2008)[10]
  • "Nothing to Declare", 4th. Oberschwaben Contemporary Art Triennial, Friedrichshafen, Germany (2008)[59]
  • "Filling the City with Dreams" (performance), Zendai MOMA, Shanghai, China.[60]
  • "Art is always somewhere else", International Biennial of Young Artists, Bucharest, Romania (2006)[61]
  • "20 Years!", Bonniers Konsthall, Stockholm, Sweden (2006)[62]
  • "Copy-Art.net", ICA, London, UK (2004)Per Hüttner:[7]
  • "BIDA 2003", Centro de Arte de Salamanca, Spain (2003)[33]
  • "Slowdive", Yerba Buena Center for the Arts, San Francisco, USA (2002)[7]
  • 3 in 1, Nylon Gallery, London, UK (with Gavin Wade and Goshka Macuga)[63]
  • "Fasten Seatbelts", Galerie Krinzinger, Vienna, Austria (1998)[7]

[edit] Selected Monographs

  • The Quantum Police, with texts by Anne Klontz; Johnny Ross and Willie Hansen (1969) and a short story by Wang Xiao Ping (in Chinese and English). Design by Erik Månsson, 96 pages in full coulour + 5 fold-out sheets. Published by Lambert Gallery and Vision Forum 2011, ISBN 978-91-978934-5-9.
  • (In)visible Dialogues, 2011, languages: English and Swedish, 240 pages, design by Åbäke. Published by Dent-de-Leone. ISBN 978-91-978934-3-5 and ISBN 978-0-9561885-5-7
  • The Imminent Interviews, 2010, 90 pages, languages: English and Chinese, published by Fei Contemporary Art Center, Shanghai and Vision Forum 2010, ISBN 978-91-978934-4-2
  • Per Hüttner: Democracy and Desire, 2007, 158 pages (A3) including 10 colour fold out pages. Languages: English, Swedish, Spanish and Rumanian. Design by Åbäke. Published by Vacio 9 and The Rumanian Cultural Institute. ISBN 978-91-633-0548-1.
  • Per Hüttner: Xiao Yao You, 2006, 96 pages including 10 fold out colour pictures and multi-foldout cover, texts by Bo Nilsson and Zhang Wei, languages: English, Swedish and Chinese, design by byboth. Published by Guangdong Museum of Art. ISBN 978-91-631-9345-3.
  • 'Per Hüttner: Repetitive Time, 2006, 116 pages including 30 colour plates, texts by Lena Boëthius, Laurent Devèze, Per Hüttner, Claire Canning and Stéphanie Nava, language: English, design by Henrik Gistvall. Published by Göteborgs Konstmuseum. ISBN 91-631-7127-9.
  • Per Hüttner: I am a Curator, 2005, 138 pages including 13 fold out colour pages, texts by Per Hüttner, Hannah Rickards, Celine Condorelli, Gavin Wade, Veronique Wiesinger, Duncan McLaren, Lisa LeFeuvre and Scott Rigby, language: English. Published by Chisenhale Gallery. ISBN 91-631-5132-4
  • Per Hüttner. Stockholm: Föreningen Curatorial Mutiny, 2004. ISBN 9163151316. With text by Duncan McLaren.

[edit] Selected Public Collections

  • Göteborgs konstmuseum, Gothenburg, Sweden.[7]
  • Guangdong Museum of Art, Guangzhou, China[7]
  • Contemporary Art Gallery, National Museum, Szczecin, Poland[7]
  • Bonniers Konsthall, Stockholm, Sweden[7]
  • Abecita konstmuseum, Borås, Sweden
  • Zendai Contemporary Art Exhibition Hall, Shanghai, China[10]

[edit] References

  1. ^ “A Western Runner,” Laurent Devèze, Mare Articum 1, p.58-63, 2002, Poland
  2. ^ a b Per Hüttner and Gavin Wade interviewed by Barnaby Drabble , Marianne Eigenheer (Hg.) Curating Critique, ICE Reader 1, 2008, ISBN 978-3-86588-451-0
  3. ^ Per Hüttner. Stockholm: Föreningen Curatorial Mutiny, 2004. ISBN 9163151316. With a text by Duncan McLaren
  4. ^ Per Hüttner: I am a Curator, 2005, 138 pages including 13 fold out colour pages, texts by Per Hüttner, Hannah Rickards, Celine Condorelli, Gavin Wade, Veronique Wiesinger, Duncan McLaren, Lisa LeFeuvre and Scott Rigby, language: English. Published by Chisenhale Gallery. ISBN 91-631-5132-4
  5. ^ a b Per Hüttner: Repetitive Time, 2006, 116 pages including 30 colour plates, texts by Lena Boëthius, Laurent Devèze, Per Hüttner, Claire Canning and Stéphanie Nava, language: English, design by Henrik Gistvall. Published by Göteborgs Konstmuseum. ISBN 91-631-7127-9
  6. ^ Per Hüttner: Xiao Yao You, 2006, 96 pages including 10 fold out colour pictures and multi-foldout cover, texts by Bo Nilsson and Zhang Wei, languages: English, Swedish and Chinese, design by byboth. Published by Guangdong Museum of Art. ISBN 978-91-631-9345-3
  7. ^ a b c d e f g h i Per Hüttner: Democracy and Desire, 2007, 158 pages (A3) including 10 colour fold out pages. Languages: English, Swedish, Spanish and Rumanian. Design by Åbäke. Published by Vacio 9 and The Rumanian Cultural Institute. ISBN 978-91-633-0548-1
  8. ^ List of publications by Hüttner at the Royal Library in Stockholm.
  9. ^ a b c d e Cecilia Canziani, The Imminent Interviews - Per Hüttner, Fei Contemporary Art Center, Shanghai and Vision Forum 2010, ISBN 978-91-978934-4-2
  10. ^ a b c d e f g h i The Quantum Police, with texts by Anne Klontz; Johnny Ross and Willie Hansen (1969) and a short story by Wang Xiao Ping (in Chinese and English). Design by Erik Månsson, 96 pages in full coulour + 5 fold-out sheets. Published by Lambert Gallery and Vision Forum 2011, ISBN 978-91-978934-5-9.
  11. ^ http://www.platform.fi/2002/huttner/index.html
  12. ^ “Med världen som arbetsplats,” Anders Olofsson, Konstperspektiv p.24-27; April 2002; Malmö, Sweden
  13. ^ Springhill Institute Report on Activities, p.110, The Springhill Institute, Birmingham, UK, 2007 ISBN 978-0-9556107
  14. ^ “How do we Keep on Meeting?,” 9-10 Ottobre 1999, Oreste at The Venice Biennale, Italy, 1999
  15. ^ The Invisible Generation ed. Gerrie van Noord, Published by Vision Forum, Stockholm, Sweden. Isbn: 978-91-978934-2-8
  16. ^ Intrude ART VS Per Hüttner, p.54-55, Intrude Art, Issue 04, 2008, published by Shanghai Zendai Museum of Modern Art [1]
  17. ^ Nick Muzyczka, Shanghai Global Times, Monday December 27, 2010
  18. ^ "Filling the City with Dreams", errors, deceits, mistakes no 3, 2008, p.72-82, Cneai, Chatou, France ISBN 9782912483607
  19. ^ Springhill Institute Report on Activities, p.32-39, The Springhill Institute, Birmingham, UK, 2007 ISBN 978-0-9556107
  20. ^ “Labyrinthen i Gdansk,” Daniel Birnbaum, MAMA, p.30-31, September 1994, Stockholm, Sweden]
  21. ^ Reflektionen und Reaktionen, p.42, published by Karl Hofer Gesellschaft, Berlin 1991
  22. ^ “Elias Arnér and Per Hüttner,” Tom Sandqvist, Siksi, January 1993, Helsinki, Finland]
  23. ^ Per Hüttner "It's good to Be an Artist Again" p.211 Yugoslav Biennial of Young artists Vrsac 2004, Published by Centre for Contemporary Arts - Belgrade ISBN 86-84273-01-3
  24. ^ Neal Brown, 3 in 1 Curatorial Mutiny, Part 4, Frieze, Issue 60, June - August 2001.
  25. ^ “O'Neill, Paul, Art Monthly; Apr2004, Issue 275, p7-10
  26. ^ C: International Contemporary Art, Wntr, 2004 by Fergal Stapleton
  27. ^ p. 111-164,p. 263-279 , Barnaby Drabble, Stop making Sense: The Ends of Curating and the Beginnings of the Exhibition, Thesis submitted to the Edinburgh College of Art in fulfilment Of the requirements of the Degree of Doctor of Philosophy 2010
  28. ^ A Tasty Treat, James Westcott, Zingmagazine 18; p.270-272; 2003; New York, USA ISBN 0-9723063-5-8
  29. ^ Tank Book, Thames & Hudson; 2002; London, UK
  30. ^ “TalePiece,” Caroline Smith, Creative Camera, p.50-51, April–May 1999, London, UK
  31. ^ “Artists on the Move,” Duncan McLaren, Contemporary (magazine), p.56-61; June-Aug 2002, London, UK
  32. ^ Yuerba Buena’s exhibition archive
  33. ^ a b “Pleasure and Pain all Rolled into One,” BIDA 2003 - Exhibition catalogue from the exhibition at Centro de Arte de Salamanca, Spain, p.110-113 ISBN 84-7949-127-2
  34. ^ Magdalena Lewoc, p. 5, City Matrix of Life, Exhibition catalogue - Metropolis, Contemporary Art Gallery, National Museum, Szczecin, Poland, 2005. ISBN 8386136545
  35. ^ Simona Nastac, "The Sublime overcoming of the UltimateFrontier of Art: Its Rediscovery" p. 111, Absent Without Leave (AWOL), Biennial of Young Artists, Bucharest 2006, Published by Meta and Goethe Institut Bukarest ISBN 973-86344-5-8
  36. ^ Realitäten,Fotogalerie Wien, Fotobuch nr. 35/2005 p. 34-35
  37. ^ “Gongzhen - Sport in Art” p. 88-91 Catalogue published by, Museum of Contemporary Art MoCA Shanghai ISBN 978-7-80703-744-6. The exhibition travelled to Museum of Guangzhou Art Academy; RCM Gallery, Nanjing; Shenyang, Museum of Lu Xun Art Academy; Sichuan Fine Arts Museum, Chengdu and Today Art Museum, Beijing.
  38. ^ Introduction to Hüttner's solo exhibition at Blå Porten at Liljevalchs Konsthall [2]
  39. ^ Interview with Hüttner in Art Review
  40. ^ a b “Per Hüttner”, Francesca Pagliuca, Tema Celeste 117, p. 102, 2006, Milano, Italy
  41. ^ Xiao yao you, Catalogue de 15e Biennale d'image, April 2008, Nancy, France - published by Gérard Louis ISBN 948-2-914554-93-1
  42. ^ Zhang Wei, Xiao Yao You, Xiao Yao You, p. 33, Guangdong Museum of Art, 2006. ISBN 978-91-631-9345-3
  43. ^ a b “Tundro, znaczy wolnosc” Marta Eloy Cichocka, Fotograficzny Biuletyn 09/2006 (58), p.48-50, Poland
  44. ^ “Joggaren har tagit en vilopaus”, Anna Brodow, Svenska Dagbladet, Kultur s.9, May 12, 2007, Sweden. Online link (in Swedish) here [3]
  45. ^ Per HüttnerDemocracy and Desire, p. 52, Democracy and Desire, 2007, Published by Vacio 9 and The Romanian Cultural Institute. ISBN 978-91-633-0548-1
  46. ^ Hüttner's contribution to "Has Man A Function in Universe?" ISBN 9781870699884
  47. ^ a b (In)visible Dialogues, Ed. E. Arnér and P. Huttner, Published by Dent-de-Leone. ISBN 978-91-978934-3-5
  48. ^ Press release at Kunstaspekte
  49. ^ Press release at Art in Asia
  50. ^ Nathan Delancey, Les Mutations Actives de Per Hüttner, p. 40-41, Novo Numéro 7, 03 2010, ISSN 1969-9514. Online version (in french) here [4]
  51. ^ Exhibition organized in collaboration with Sweden's participation in the Shanghai World Expo 2010.[5]
  52. ^ Excerpt on Youtube
  53. ^ a b The Invisible Generation, ed. Gerrie van Noord, design Marie Proyard, Published by Vision Forum, Stockholm, Sweden. Isbn 978-91-978934-2-8
  54. ^ Jean Matthee, p. 47-48 Space Matters, leaflet published by Tate Modern and NTNU’s Faculty of Architecture and Fine Art, 2011
  55. ^ Exhibition website
  56. ^ “I Am A Curator” Paul O’Neill, Art Monthly 275, p.7-10, 2004, London UK.
  57. ^ Event info on museum's website
  58. ^ Exhibition on website
  59. ^ Barnaby Drabble, Nothing to Declare, Verlag für Moderne Kunst Nürneberg, ISBN 978-3-940748-27-0
  60. ^ "Filling the City with Dreams", errors, deceits, mistakes no 3, 2008, p.72-82, Cneai, Chatou, France
  61. ^ Absent Without Leave (AWOL), Biennial of Young Artists, Bucharest 2006, Published by Meta and Goethe Institut Bukarest ISBN 973-86344-5-8
  62. ^ 20 År, p.36-39 Maria Bonniers Stiftelse ISBN 91-631-8973-9
  63. ^ “Curatorial Mutiny @ Nylon,” Lee Triming, Flash Art, p.79, May–June 2001

[edit] External links

Retrieved from "http://en.wikipedia.org/w/index.php?title=Per_H%C3%BCttner&oldid=478085855"
Personal tools
Namespaces
Variants
Actions
Navigation
Interaction
Toolbox
Print/export
Languages