CEE CONTEMPORARY ART COLLECTION

EGO Gallery
The concept of our gallery is refected in its name EGO. It promotes
the work of signifcant personalities on the contemporary art scene
with a strong artistic ego. The focus of our dramaturge is on known
young and middle-aged artists who are established as a brand of
artistic uality with works that ri!al renowned art around the world.
"e aim to deli!er an e#ceptional caliber of contemporary art to art
lo!ers$ and to be a guarantee of good fnancial in!estment for the
future. In the comple#ity and di!ersity of today%s art world we
pro!ide e#pert ad!ice$ speciali&ed and tailored ser!ices$ and
represent the interests of our clients in their collecting$ in!estment$
and philanthropic goals.
Kristna Jaroov 'EGO Gallery (irector' studied )* +ontemporary
*rt Theory at Goldsmiths ,ni!ersity$ -ondon. /istory of )odern and
+ontemporary *rt$ and *rt 0usiness at 1otheby2s Institute of *rt$
-ondon. and )* )arketing and +ommunication at +omenius
,ni!ersity$ 1lo!akia. "hile managing EGO Gallery since 3445$ she
has e#tensi!e e#perience working for among others 1otheby2s
international auction house$ and as an in!estment art ad!isor$
curator and an independent art 6ournalist for !arious international
maga&ines
7 8rices 9 artists2 biographies upon reuest
Ivan Csuai !"#$#%
"orking as a painter$ graphic artist and graphic designer$ known
also as a musician$ composer and songwriter. 1tudies: ;5<;=<> at
the *cademy of ?ine *rts and (esign in 0ratisla!a$ ;554=5; = G. !.
/erder=pri&e scholarship$ *cademy of ?ine *rts$ @ienna$ prof. *rnulf
Aainer2s studio. ;55B = *rtest study stay participant in the 0ICD B5
?oundation$ DErich$ 1uisse. E#hibitions = since ;5<F presented his
work in o!er F4 one man shows and in many participations at home
and abroad$ 344G represented in a trio participation the 1lo!ak
republic at the 3Fth international biennal in 1ao 8aulo$ 0ra&il. 1ince
344H full professor of the (epartment of 8ainting of the *cademy of
?ine *rts and (esign$ 0ratisla!a. 1ee more in: IpublicationsJ and
IdiscographyJ.
+onspiracy$ 344>
La&o Teren !"#'(%
* representati!e of the generation of 1lo!ak artists who entered the
scene with an a!ant-garde programme of KCew 8aintingK in the
second half of the ;5<4%s L(aniel 0runo!skM$ 1tano 0ubNn$ 1imona
0ubNno!N-Tauchmanno!N$ I!an +sudai$ 1!eto&Nr Ila!skM$ (an
Ourko!iP$ Oo&ef QramkaR. /e was one of the few to address the
cultural and social situation of the country at that time through his
humorous and aggressi!e paintings. /is attempt to escape grey
reality resulted in a spontaneous artistic e#pression in the spirit of
postmodernism and neo-e#pressionism.

)aniel *is&+er !"#$(%
*rtist: graphics$ painting$ installations$ drawings$ intermedia.
1tudied at *?*( L;5F<->G$ prof 8 )ate6ka$ T Ga6doSR in 0ratisla!a.
In ;5>4s he started to use computers. +ooperated with computer
engineers 8a!ol ?ischer and Igor TlaPanskM - mostly line drawings$
morphing one shape into another. 1ince ;554 teaches at *?*(.
-i!es in 0ratisla!a.
Mi&+al C,ine-e !"#.(%
The paintings of )ichal +&inege L;5<4$ 0ratisla!a'1lo!akiaR are a
somewhat unusual analysis of !isual perception. *t the beginning of
a painting$ he photographs interesting segments of reality$ the
camera representing an e#tension of his !ision and mind. Then
comes the analytical phase. ,sing a computer$ he transforms$ re-
forms$ de-forms and informs the indi!idual shots until e!entually
arri!ing at confgurations of things and fgures interesting enough
to show them in a new light. This preparatory process is followed by
the actual act of painting. Co$ not a mere mechanical
transformation of the computer product onto the can!as. It is a
creati!e process. 0asically$ the analytical e#perimenting on the
computer produces an initial sketch$ forming the basis of the
complete picture.)ichal +&inege has graduated as )aster of *rts in
8ainting from the *cademy of ?ine *rts and (esign in 0ratisla!a
under 8rof. I!an +sudai. /is work has been shown in many
e#hibitions across Europe.
*mnesia$ oil on can!as$ ;5H # 3F4 cm$ 344<
3H4 # 344 cm$ 344H
Mi&+al /ernu0 !"#.1%
In his work$ )ichal +ernusak e#plores current societal e!ents and
responds to problems with not infreuent political conte#t. In his
paintings$ the following themes resonate: the day-to-day dangers
and risks of political power$ global industry$ science and research$
new technology and$ not least$ the information o!erload of the
media$ which in many cases works with strategies of manipulation
and speculation. On !iewing the latest large-format paintings of the
artist$ the age-old truth appears to be that the greatest danger for
humanity is represented by its own species. +ernusak2s
monumental compositions are reminiscent of apocalyptic !isions in
which references to the past are mi#ed together with images of the
future.
*pocalypse$ oil on can!as$ ;54 # B<4 cm
8reacherman$ ;54 # ;H4 cm
+apitol$ 3G4 # ;54 cm
8romised land$ 3G4 # ;54 cm
Patr&ia Koyov !"#.$%
8atrUcia ToySo!N purposefully and intensely e#amines the
possibilities that can arise in her art through the application of new
painting techniues. 1he uses the words IlaboratoryJ and
IresearchJ to refer to her e#periments with the specifc features of
the tools she uses to create a painting. *s early as when she was
working on her uni!ersity thesis$ she asked herself whether today it
was still possible to create or disco!er new techniues for painting.
This uestion has remained with her$ and is refected in her
e#periments with three-dimensional reali&ations. The pictures she
paints using a compressor$ a !arnishing gun$ air brush$ or spatula
manifest fnally as abstract compositions with impressi!e !isual
eVects. (eparting from the modernist tendency to paint from the
artist2s inner world$ ToySo!N deliberately surrenders direct contact
with the painted surface$ lea!ing that to intermediaries$ to the tools
she uses. In this way$ she se!ers the line of interpretation otherwise
formed by the emotional contact between the artist and her
abstract creation.
)avi 2a3 !"#.(%
(N!id 0aW is uniue among the younger generation of 1lo!ak
painters. /e has been long and uite indi!idualistically e#ploring
the feld of abstraction in painting or$ in other words$ the creation of
IpureJ pictures. This has also made (a!id one of the most distinct
artists of the informal group of painters gathered around I!an
+sudai2s *telier I@ at the *cademy of ?ine *rts in 0ratisla!a.
0aW2s starting points are representational images of reality. /e is
mainly interested in the changeable structures of matter$ in the
spatially acti!e features of colours$ and the moulding ualities of
light$ all as can be e#pressed through a medium limited to two
dimensions. E!ery single element of his creati!e process is a result
of rational analysis$ e#ecuted with the support of digital media.
*lthough the results of his work appear close to those of abstract
e#pressionist painting$ as we know it from accounts of the history of
34th century art$ his strategy is the opposite of spontaneity or
action painting. (a!id constructs his pictures on the basis of a
thorough rethinking of how to build relationships within a picture.
Then he looks for points of tension in interactions$ deformations$
disintegrations$ and permeations of shapes.
Kristna R4 M5sro !"#."%
TristUna A. )XsNroS is one of a !ery strong group of young painters
that has appeared on the contemporary !isual arts stage o!er the
last decade. 1he is a graduate Lstudio of @. TolenPUkR of the
*cademy of ?ine *rts$ 0ratisla!a. Tristina disco!ered painting to be
her fa!ourite means of self-e#pression early$ during her studies at
the *cademy. In her artwork$ she prefers imaginati!e themes
e!oked by her own personal e#perience$ fnding inspiration$ often
e!en actual images$ in e#otic locations in distant countries. 1he also
IborrowsJ inspirational moments from historical photographs$ or
IhuntsJ for them among the apparently IordinaryJ aspects of her
e!eryday surroundings. /er works refer to the traditional imagery of
illustrati!e or symbolic painting$ and in them she is continually
e#amining the narrati!es of the relationships of the human to the
rest of nature. /owe!er$ the stories are blurred by the semantic
minimalism of her works$ and the seemingly settled poetics of their
scenes are always disturbed by subtle$ sub!ersi!e moments.
Milan 6ouser !"#7"%
0orn ;3.;3.;5>; in @ySko!. -i!es and works in 8rague and 0rno.
1T,(IE1;55B-3444 *kademie !Mt!arnMch umYnU$ 8raha*teliXr
monumentNlnU t!orby$ Skola prof. *leSe @eselXho;553-;55B
8edagogickN fakulta )asaryko!y uni!er&ity ! 0rnY;5<H-;5<5
1tZednU umYleckopr[myslo!N Skola ! 0rnY
1T,(ECT AE1I(EC+IE1;55< Tagoshima$ Oaponsko
*"*A(1344H 8ollock-Trasner ?oundation3444 +ena rektora *@,
3444 Oany a )ilana OelUnko!Mch
+O--E+TIOC1Cational gallery in 8rague
8ri!ate +ollections +&ech republic$ Germany$ Italy$ Oapan$ ,1*
Lu8o Mi0le !"#.1%
Mate9 *a8ian !"#7#%
1ince 3445 are the paintings of )ate6 ?abian characteri&ed with a
distinct e#pression$ which is distinguishable due to the dark
imaginery and the mystic of the choosen and represented moti!es.
These are the main reasons why the paintings of )ate6 ?abian are
diVerent from the works of his peers. /is work is defned with
certain kind of disturbance and constant way of seeking$ particulary
present through the choice of distincti!e themes and its unusual
!isualisation. /is straightforward approach is characteri&ed by some
sort of detachment and decent detachment from a world of \high
art%$ which is legible somewhere between the lines. This detachment
is not notable only in mode of painting approach = author is
en6oying the \physical% aspect of painting$ proces of creating the
picture$ work with material itself $ and its reactions on a surface
Linstead of accents of conceptual kindR$ but also in his ability to
choose a materials$ which are not such \artistic origin.%
1wampland$ 3B4 # B<4 cm

Tank in @egas$ ;54 # 3>4 cm
Oanggling Oack$ ;54 # ;H4 cm$ 34;;
Eva /in:alov !"#.1%
The dominant !isual uality at the heart of E!a ]inPalo!N2s L;5<3R
painting is inherent in the transformation of the digital image
through painting inter!ention. 0lurring$ fatness$ and unnaturally
contrasting !i!id colours in her pictures all refect an approach uite
typical of contemporary painting worldwide$ in which a picture is
processed se!eral times through use of a !ariety of media. E!er
since she was a student at the *cademy of ?ine *rts in 0ratisla!a$
E!a ]inPalo!N has been deliberately seeking motifs for her work in
painting genres located on the edge of clichX. /er work can be
characterised as an original symbiosis of motifs of traditional genre
painting on the one hand and the language of contemporary fne art
on the other. * signifcant turn in the work of this young artist
happened after her scholarship in Indonesia L0aliR. That e#perience
pro!ed a signifcant stepping-stone$ enabling her both to utili&e her
pre!ious e#periments and to more precisely form the content of her
artistic work. The main motif of her frst pictures after returning
from 0ali was a !iew into landscapes dominated by light sources
Llightning$ stars and other night featuresR$ with their dramatic
interactions with landscape elements Lwater$ sea$ mountainsR
playing an important role. 1he makes photos of tempestuous waters
or lightning o!er the landscape sub6ect frst to impersonal digital
processing$ and then to completion by her own emotionally dri!en
painting. This moment of confict in her pictures creates an
atmosphere of fantasy in a still familiar en!ironment$ presenting a
nai!e romanticism with an ironic detachment typical of
contemporary Ipost-popJ !isual arts sensibility.
Aot 6aas !"#."%
*cademy of fne arts and design L*?*(R (epartment of
Industrial (esign
*?*( (epartment of Transport (esign = Q. Tlein- 3443- 344B
*?*( (epartment of *pplied *rts = Glass (esign = O. Ga!ula-
344G - 344H
*?*( (epartment of 1culpture$ Ob6ect$ Installation = O. )eliS- 344G =
344>
-ight ob6ect ' <4 cm ' ple#iglass ' 3445
Mar0o 2la;o !"#71%
*wards:
344; ;.8ri&e$ OskNr ]epana *ward 344;$ 0ratisla!a$ 1lo!akia
344H 1pecial 8ri&e$ ;. 0iennale$ +aceres$ 1pain
344> ?inalist 1o!ereign European *rt 8ri&e 344>$ -ondon$ ,T
Mare0 Kvetan
;555 = 344; @Q@,$ 8rof. (. ?ischer
;444 (ollars$ 34;;$ ;> # ;F # 3 cm
Mar&el Mali !"#7.%
3445 - 34;B @Q@,$ prof. (aniel ?ischer
*wards: 34;B -aureate$ E11- *rt *ward +EE$ 1lo!ak republic34;;
fnalist$ 8ainting 34;;$ foundation @^0$ 1lo!ak republic34;4 fnalist$
8ainting 34;4$foundation @^0$1lo!ak republic34;4 nominee$
1trabag *rt award$ *ustria3445 fnalist$ /enkel *rt award$ 1lo!ak
Aepublic3445 fnalist$ 8ainting 3445$ foundation @^0
Ro8ert 2ieli0 !"#'<%
Aobert 0ielik is a fascinating e#ample of resilient indi!idualism on
the 1lo!ak art scene. /e was disco!ering his personal artistic
direction at a time when painting was marginali&ed$ sur!i!ing on the
edges of IhighJ art and art theory$ !iewed as an obsolete$ infe#ible
medium that did not merit consideration eual to that of other
forms in the art discourse of the time. *t a time when !ideo art and
post-conceptual mo!ements reigned$ he persistently worked with
oils$ de!oting himself to fgurati!e motifs$ without deliberate
a!oidance of sentiment and imagination$ painting with precision in
the realist style. ?or 0ielik$ this was$ and remains$ an authentic and
belie!able strategy$ despite the times in which his approach to
paintings originated. Thanks to his steadfast dedication to his
artistic path throughout the years$ his constancy in his means of
e#pression$ and his honing of old-master techniues$ 0ielik was at
last Ire-disco!eredJ as a painter$ oVering a serious alternati!e to
Iup-to-dateJ trends in painting. +urrently$ he is gradually taking a
lead among painters who ha!e been returning to the means of
e#pression and technical approaches of historical painting.
/owe!er$ 0ielik seems unperturbed by this new station$ and
continues to follow his uniue$ established path.
Aa= >a0ov? !"#.7%
*dam Qako!M is part of a new wa!e in 1lo!ak painting that again
poses uestions about the &one in which images emerging through
the medium of painting intersect with images created with
mechanical$ digital or other industrial media. In Qako!M2s case$ the
space for confrontation is pro!ided by the medium of photography$
which in its digiti&ed form turns a photograph into a formal pre-
image$ or the opposite$ of the painting. Today$ the !iewer2s
uncertainty about the techniue used to create a picture is not only
rele!ant to the domain of painting. in this time of computers and
B( modelling$ it is now almost constantly pro!oked in the realms of
photography and flm as well. Qako!M inhabits the media
en!ironments of both painting and photography with a confdence
deri!ing from his precise use of the techniues of illusion$ which
results in the mutual intertwinement of these media. It has become
the purpose of his artistic work to o!ercome the uniue problems
that arise when trying to use these media and technologies
together. /e deliberately induces doubt in the !iewer$ who wonders
whether she is looking at a painting of a photograph or a
photograph of a painting = or at both simultaneously. /owe!er$ this
artist2s playfulness is refected not only in his use of technical
anagrams and his testing of the !iewer2s capacity to distinguish
among !isual stimuli.
Co title$ B;4 # 344 cm
Co title$ airbrush on can!as$ ;<4 # ;G4 cm
B4 # G4 cm
Ale@ Aelina !"#..%
Tryptic minds$ ;<4 # ;H4 cm
Co title$ ;44 # >4 cm
Co title$ ;44 # >4 cm
Blasta C0ov !"#."%
@lasta _Nko!N is one of the most outstanding talents on the young$
contemporary 1lo!ak art scene. 1he creates uncon!entional and
inno!ati!e te#tile paintings by hand and machine embroidery. 0y
utilising a combination of !arious kinds of fabrics$ ribbons$ and laces
she creates a multi - dimensional space$ re!ealing her desire to
e#ceed the limits of the medium and enter a tangible reality.
Emotionally charged gestures and massi!e stitches resemble more
the strokes of a paintbrush than incredibly precise and meticulous
embroidery$ signifcantly pushing the boundaries of this medium.
The artist e#plores the psychological shades of the bohemian and
decadent nightlife of young people$ in this seemingly amusing world
we glimpse moments of helplessness$ pain and absurdity. The idea
of self-disco!ery and self-e#pression$ normally hidden within us as a
silent scream$ acts here as a persistant pressure inside the layers.
@lasta _Nko!N re!eals her turbulent primary fascination with human
characteristics that are soaked through the fabric of our li!es.
The impressi!e si&e of her works attracts us from afar with a
magnetic pull$ drawing us directly to the sophisticated details of her
imagination that absorb the !iewer into the !ibrantly laced stories
and sensory pleasures. The use of an automated sewing machine is
the author2s impetus for deeper relief$ and supplies her artworks
with a depersonali&ation and an ironic tone.
@lasta _Nko!N L 7 ;5<;R studied at the Technical ,ni!ersity of
Tosice$ ?aculty of *rts$ (epartment of @isual *rts and Intermedia
1tudio Graphics and e#perimental works L8rof. Audolf 1ikora $ *cad .
/ad . $ Dbynek 8rokopR L3444 = 344>R.
*wards
34;4 ' ]ED BBB$ CNrodnU galerie -@eletr`nU palNc$ 8rague' +D '
?inalist 3445 ' 1cooter 3 : 0iennial of 1lo!ak +ontemporary art$ O.
Toniarek gallery$ Trna!a' 1T ' 8rice of Oury344< ' ?inNle +eny ]ED
BBB$ CNrodnU galerie -@eletr`nU palNc$ 8rague' +D ' ?inalist344> '
+ena Egoart$ galXria 0astart$ 0ratisla!a' 1T ' ?inalist
0iennale:
344> ' 8rague0iennaleB$ Tarlin /all$ 8raha' +D344> ' 1cooter:
0iennial of 1lo!ak +ontemporary art$ O. Toniarek gallery$ Trna!a' 1T
1elected group e#hibitions:
,nlimited I.$ embroidery on te#tile$ ;G4 # 334 cm
In the 0lack ?orest$ GH # >Hcm
The 0irds are coming GH # >H cm$ te#tile$ 34;B
Mare0 Jarotta !"#..%
Anrea KoDe&0
Eyes$ oil on can!as$ ;>4 # 344 cm
Eri0 >ille !"#7.%
1ince his early work$ the !isual fascination of Erik Qille draws energy
from sources$ which are not uite usual for the medium of painting$
but thanks to his artistic acti!ities$ they settled in contemporary
1lo!ak paining uite well. The fact that Erik Qille cunningly
appropriates means of e#pression$ ob6ects$ methods$ and themes of
the so-called consumerist culture$ pop-culture or !isuality of the
electronic media is a clearly identifed attribute of his indi!idual
!isual language. "ithout any problems we recogni&e elements
known from the wild and mad !isuality of the present times: comic
book$ animated cinema$ internet$ computer games$ street art$
graWti$ tattoo$ package design$ iconography of ad!ertising and
entertainment business$ political propaganda all the way to the
design of serially produced plastic ob6ects including toys.
*wards 34;4$ aoung artist laureate of Tatra 0ank ?und34;4$ 1trabag
*rt *ward ' ;st place on the @^0 8ainting344F$ B. miesto na @^0
)abba ' Brd place on the @,0 8ainting344F$ Igora TalnXho *ward$ '
I@. DlUn aouth 1alon $ +D
8la!ba (una6om$ 34;G ' ;H4 # ;54 cm ' paintings
Cew error
3445 ' ;;4 # ;;4 cm ' lightbo#'drawing
MatE Lnyi !"#."%
+ar$ 34;G$ oil on can!as$ ;F4 # GH4 cm
Ja0u8 Re0en !"#.'%
Co title$ oil on can!as
Jn 6r:0a
8rop$ ;H4 # 3G4 cm
34;B' @illage$ ;H4 # 3G4 cm$ acrylic on 6ute
TreeF ;54 # ;H4 cm
Martin Ger8o& !"#7"%
;55;'5F - *cademy of ?ine *rts 9 (esign$ 0ratisla!a$ 1T
;553'5B - 1lippery Aock ,ni!ersity of 8ennsyl!ania$ ,1*
;55H - +ollege of (anish (esign$ Tolding$ (enmark
;55> - postgraduate study$ +ollege of (anish (esign$ Tolding$
(enmark
;55<$ 3443 and 344F - +itX Internationale des *rts$ 8aris$ ?rance
344;'4G - internal doctorate$ *cademy of ?ine *rts 9 (esign$
0ratisla!a$ 1T
)orota Gaovs0 L;5>BR
One of the key representati!es of contemporary 1lo!ak painting is
(orota 1ado!skN L;5>BR. 1he works with motifs uite rare in 1lo!ak
painting of the last decades$ motifs such as realistic nude studies$
monumental portraiture and +hristian iconography. "ithin this
framework$ she is acti!e not only in painting but also photography$
installation art$ the creation of ob6ets d2arts$ and !ideo. 1ado!skN2s
!ision of the human body is relie!ed of primary erotic meanings.
this can be seen in both her e#aminations of the !isual ualities of
body fragments Lphotographs of breasts deformed by hands$
unidentifable skin folds$ details of skin with hairs$ etc.R and her
depictions of saints Land other spiritual beingsR$ which in 1Ndo!skN2s
case go beyond the established canon.
*AR AHAYF GO CLOGE NO4 "I
3445$ 344 c ;G4 +)
Bi0tor *reo !"#7I%
2oris Gir0a !"#."%
0oris 1irka is the most easily recogni&able artist among young
1lo!ak painters. /is choice of genre and the options he keeps
disco!ering and mo!ing to new le!els are the characteristic features
of his artwork. In his works$ he repeatedly processes IdarkJ topics
inspired by literature or flm$ as well as by the urban legends of
!arious places and cultures. 1irka is fascinated by horror$ ghost and
other scary stories$ superstitions$ and an entire range of sub-
cultural motifs. /e oVers his interpretations of these for !iewing in a
highly aesthetic form$ thus blurring the diVerence between the
currently sagging le!els of creati!ity around us and so-called Ihigh
artJ. -ike some other painters$ he works in bounded and closed
cycles. *ny change in the program of 1irka2s work means a strict
transfer from one phase to another$ a sudden change in e#pression$
new notions$ and a new thematic feld. /e often borrows from the
motifs of Oapanese horror literature and cinematography$ or adopts
the atmosphere of a @ictorian no!el. *t other times$ he touches on
0aroue still life painting in terms of the I!anitasJ of human life.
+urrently$ his focus is on the motif of a free-hanging drapery$ which
he processes in a minimalist way and with the absence of a fgure
or other ob6ect. /e literally and simply IportraysJ the draperies.
that is$ he paints them as autonomous items in a neutral space.
,sing this approach$ ob!ious motifs and imagery of horror$ eeriness
and the frightening narrati!e disappear in fa!our of a subtler$
darker$ and less clearly depicted depth.

Katarna Jane:0ov !"#..%
)o=ini0 6lin0a !"#.#%
34;B Cominate Essl art award for 1lo!akia 34;B
34;; 1emifnalist 1trabag *rt*wards 34;;
Eri0 2iner !"#7I%
Peter Go90a
Jura9 Basil0o
344B-344H ?aculty of *rts ToSice$ 1lo!akia$ prof. A. 1ikora$ and doc.
*. 1&entpXtery
344B - ?ine *rts ,ni!ersity 0ratisla!a$ prof (. ?isher
344G - ?ine *rts *cademy$ 8rague$ doc. @. 1krepl
Bo9te&+ Kolen:0 !"#$$%
Mare0 Or=an0 !"#'.%
Anre9 Mar-o:
Ja0u8 Tra9ter
Mi&+al Gavula
2ar8ora Matrlov !"#.$%
Martin Meiner

Petr Ni0l !"#'(%
)avi /ern?
Blai=ir Ko0olia
Mar0us Pros&+e0
Ester Csur0a
Aurelia Grat,er
*lorian Lan-
Mi&+a PayerF Martin Ga8riel
GteJan Kreu,er
Anrei Bar-a
Aoe 2ylan
Peter Matyasi
Peter Na&+ti-all
)u0i& )e9an
Re=us Gre&u
Julian Lor8er
)i#ed media
Peter Gi=on Mu+l+auser
Jan Ger=ot
ROGELINE )E T6KLIN

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