{"id":798203,"date":"2026-02-17T11:22:39","date_gmt":"2026-02-17T10:22:39","guid":{"rendered":"https:\/\/numero.com\/?p=798203"},"modified":"2026-02-17T11:22:43","modified_gmt":"2026-02-17T10:22:43","slug":"mep-the-united-states-finally-show-humanism-through-dana-lixenbergs-exhibition","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art-design\/photography\/mep-the-united-states-finally-show-humanism-through-dana-lixenbergs-exhibition\/","title":{"rendered":"MEP: the United States (finally) show humanism through Dana Lixenberg\u2019s exhibition"},"content":{"rendered":"\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a2d219667390&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a2d219667390\" class=\"wp-block-image size-full wp-lightbox-container\"><img decoding=\"async\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/02\/TribeCallQuest_&#xA9;DanaLixenberg_lo-res-scaled.jpg\" alt=\"Dana Lixenberg, Kamaal &#x201C;Q-Tip&#x201D; Fareed, Ali Shaheed Muhammad and Malik &#x201C;Phife&#x201D; Taylor (A Tribe Called Quest), 1997. &#xA9; Dana Lixenberg Courtesy of the artist and Grimm Amsterdam | London | New York. MEP exhibition.\" class=\"wp-image-797830\"\/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\">Dana Lixenberg, <em>Kamaal \u201cQ-Tip\u201d Fareed, Ali Shaheed Muhammad and Malik \u201cPhife\u201d Taylor (A Tribe Called Quest)<\/em>, 1997. \u00a9 Dana Lixenberg. Courtesy of the artist and Grimm Amsterdam | London | New York.<\/figcaption><\/figure>\n\n<h2 class=\"wp-block-heading\">Dana Lixenberg, the photographer of waiting<\/h2>\n\n<p class=\"wp-block-paragraph\">\u201c<em>Photography<\/em> <em>is like a slow dance<\/em>,\u201d the photographer declared. Far from being simply poetic or anecdotal, these words precisely sum up the method she has refined for over thirty years. A relational practice grounded in listening, patience, and trust quietly built with her subjects. To <strong>Dana Lixenberg<\/strong>, <strong><a href=\"https:\/\/numero.com\/en\/art-design\/photography\/the-meteoric-rise-of-photographer-tyler-mitchell-from-skateboarders-to-beyonce\/\">photography<\/a><\/strong> always begins with time. Not the hurried, productive time of a snapshot taken on the fly, but a <strong>stretched, almost stubborn temporality<\/strong> that requires waiting, watching for a long time before pressing the shutter.<\/p>\n\n<p class=\"wp-block-paragraph\">Born in Amsterdam in 1964 and based in New York since the late 1980s, the Dutch photographer has made the United States her <strong>primary field of observation<\/strong>. Yet, her approach is that of a lucid outsider watching from a distance and rejecting ready-made mythologies in favor of intimate narratives, faces, presences\u2026 Everything that composes a real America rather than a fantasized one.<\/p>\n\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a2d219667802&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a2d219667802\" class=\"wp-block-image size-full wp-lightbox-container\"><img decoding=\"async\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/02\/LilKim_&#xA9;DanaLixenberg_lo-res-scaled.jpg\" alt=\"Dana Lixenberg, Kimberly Denise Jones (Lil' Kim), 1997 &#xA9; Dana Lixenberg. Courtesy of the artist and Grimm Amsterdam | London | New York. MEP exhibition Paris\" class=\"wp-image-797834\"\/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\">Dana Lixenberg, <em>Kimberly Denise Jones (Lil&#8217; Kim)<\/em>, 1997 \u00a9 Dana Lixenberg. Courtesy of the artist and Grimm Amsterdam | London | New York.<\/figcaption><\/figure>\n\n<h2 class=\"wp-block-heading\">The United States, Dana Lixenberg\u2019s primary field of observation<\/h2>\n\n<p class=\"wp-block-paragraph\">Working almost exclusively with a <strong>4\u00d75-inch large-format camera<\/strong> &#8211; a slow and heavy device, which requires a tripod, a lot of preparation, and shared stillness &#8211; the photographer turns each session into a moment of silent negotiation.<br\/><br\/>An image is not stolen, but built together. This structural slowness produces portraits of remarkable precision, with rich details and textures. Nothing is spectacular, nothing is forced in her work. Everything appears controlled, measured, almost restrained, and it is precisely this restraint that gives her practice an ethical dimension, just like an act of care. Because it entails listening, returning, showing the images, allowing each person the time to feel at ease.<\/p>\n\n<p class=\"wp-block-paragraph\">On ne vole pas une image, on la construit \u00e0 deux. Cette lenteur structurelle produit des portraits d\u2019une grande pr\u00e9cision, riches en d\u00e9tails et en textures. Chez elle, rien n\u2019est spectaculaire, rien n\u2019est forc\u00e9 ; tout semble tenu, mesur\u00e9, presque retenu, et c\u2019est pr\u00e9cis\u00e9ment cette retenue qui conf\u00e8re \u00e0 son travail une dimension \u00e9thique, proche d\u2019un geste de soin. <mark style=\"background-color:rgba(0, 0, 0, 0);color:#000000\" class=\"has-inline-color\">Parce qu\u2019elle implique d\u2019\u00e9couter, de revenir, de montrer les images, de laisser \u00e0 chacun le temps d\u2019\u00eatre \u00e0 l\u2019aise.<\/mark><\/p>\n\n<h3 class=\"wp-block-heading\">Whitney Houston et Jay-Z c\u00f4toient une femme condamn\u00e9e \u00e0 mort<\/h3>\n\n<p class=\"wp-block-paragraph\">This slowness runs through both her commissions for publications, such as <strong><em>The New Yorker<\/em><\/strong>, <em><strong>The New York Times<\/strong> <strong>Magazine<\/strong><\/em>, and <em><strong>Vibe<\/strong><\/em>, and her long-term personal projects. In her world, there is no hierarchy. <a href=\"https:\/\/numero.com\/en\/culture-en\/movies\/whitney-houston-the-journey-of-an-icon-revealed-in-a-long-awaited-biopic-2\/\"><strong>Whitney Houston<\/strong><\/a>, <strong>Tupac Shakur<\/strong>, <strong>Leonard Cohen<\/strong>, <a href=\"https:\/\/numero.com\/en\/fashion\/kate-moss-and-chloe-sevigny-the-sultry-muses-of-saint-laurents-new-campaign\/\"><strong>Kate Moss<\/strong><\/a>, <strong>Jay-Z<\/strong>, and <strong>Iggy Pop<\/strong> stand alongside a woman on death row in Texas, sex workers in a Nevada brothel, or homeless families in a small town in Indiana. Nothing in the staging or composition distinguishes them from one another.<\/p>\n\n<p class=\"wp-block-paragraph\">\u201c<em>I am less interested in the image a person wants to project than in what is actually happening within them at the moment of the encounte<\/em>r,\u201d she explained in the press release for her exhibition at the <a href=\"https:\/\/numero.com\/en\/art-design\/photography\/the-meteoric-rise-of-photographer-tyler-mitchell-from-skateboarders-to-beyonce\/\"><strong>MEP<\/strong><\/a>. Stripped of overly explicit contextual cues, her portraits put aside any social category. Celebrities reveal their vulnerability, while anonymous subjects gain in intensity. <strong>George Pitts<\/strong>, former director of photography at <em>Vibe<\/em>, aptly summed up this reversal: \u201c<em>With anonymous subjects, she brings out their charisma and individuality. With celebrities, she unveils their vulnerability<\/em>.\u201d<\/p>\n\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a2d219667c3b&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a2d219667c3b\" class=\"wp-block-image size-full wp-lightbox-container\"><img decoding=\"async\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/02\/TupacShakur_1993_&#xA9;DanaLixenberg_lo-res-scaled.jpg\" alt=\"Dana Lixenberg, Tupac Shakur, 1993 MEP exhibition Paris\" class=\"wp-image-797844\"\/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\">Dana Lixenberg, <em>Tupac Shakur<\/em>, 1993. \u00a9 Dana Lixenberg. Courtesy of the artist and Grimm Amsterdam | London | New York.<\/figcaption><\/figure>\n\n<h2 class=\"wp-block-heading\">An emblematic portrait of Tupac Shakur<\/h2>\n\n<p class=\"wp-block-paragraph\">Her portrait of <strong>Tupac Shakur<\/strong>, taken in 1993 for <em>Vibe<\/em> magazine, remains emblematic in this regard. Photographed in Atlanta when he was only twenty-two, three years before his murder, the rapper appears in light rain, pensive, almost vulnerable. The image contrasts with the combative posture that pop culture remembers of him. The tilt of his head and the softness of his gaze suggest a complex inner world, that of a writer, a poet and a pop icon.<\/p>\n\n<p class=\"wp-block-paragraph\">This refusal of spectacle also runs through her documentary series. Between 1997 and 2004, <strong>Dana Lixenberg<\/strong> photographed the residents of a shelter in Jeffersonville, Indiana, without indulging in the misery. In <strong><em>The Last Days of Shishmaref<\/em><\/strong> (2008), in Alaska, she put the climate threat in the background and focuses her attention on faces. The melting of permafrost, the permanently frozen ground of Arctic regions, are not the main topics here.<\/p>\n\n<figure data-wp-context=\"{&quot;galleryId&quot;:&quot;6a2d219667dc9&quot;}\" data-wp-interactive=\"core\/gallery\" class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a2d219668016&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a2d219668016\" class=\"wp-block-image size-full wp-lightbox-container\"><img decoding=\"async\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" data-id=\"797842\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/02\/JustinDOUGEdwards_&#xA9;DanaLixenberg_lo-res-scaled.jpg\" alt=\"Photographie de Dana Lixenberg\" class=\"wp-image-797842\"\/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\">Dana Lixenberg, <em>Justin &#8216;Doug&#8217; Edwards<\/em>, 2000. \u00a9 Dana Lixenberg. Courtesy of the artist and Grimm Amsterdam | London | New York.<\/figcaption><\/figure>\n\n\n\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a2d219668356&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a2d219668356\" class=\"wp-block-image size-full wp-lightbox-container\"><img decoding=\"async\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" data-id=\"797836\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/02\/FredCharlieWeyiouanna_2007_&#xA9;DanaLixenberg_lo-res-scaled.jpg\" alt=\"Photographie de Dana Lixenberg\" class=\"wp-image-797836\"\/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\">Dana Lixenberg, <em>Fred Charlie Weyiouanna, Serpentine Hot Springs<\/em>, 2007. \u00a9 Dana Lixenberg. Courtesy of the artist and Grimm Amsterdam | London | New York.<\/figcaption><\/figure>\n<\/figure>\n\n<h2 class=\"wp-block-heading\">The Los Angeles riots: The birth of a long-term activism<\/h2>\n\n<p class=\"wp-block-paragraph\">It is with <strong><em>Imperial Courts<\/em><\/strong>, an ongoing series started in 1993, that <strong>Dana Lixenberg<\/strong>\u2019s activism fully takes shape. Sparked by the acquittal of four police officers filmed brutally beating <strong>Rodney King<\/strong> to death, the 1992 Los Angeles riots triggered six days of uprisings. More than fifty people died and thousands were injured, shedding a light on the city\u2019s deep social fractures.<\/p>\n\n<p class=\"wp-block-paragraph\">It was in this heavy context that the photographer chose to immerse herself over the long term in the <em>Imperial Courts<\/em> housing complex. For more than thirty years, <strong>Dana Lixenberg<\/strong> has returned to this public housing project in Watts, photographing residents across generations, bringing back prints, recording their voices, and gradually expanding the project to include sound and video. \u201c<em>I like to focus completely on what I\u2019m looking at, to silence the noise around the subject in order to truly see them<\/em>,\u201d she explained. When the media have often reduced the neighborhood to violence, she composes an archive of presences, paying attention to both continuities and absences.<\/p>\n\n<p class=\"wp-block-paragraph\">In an era of digital flows and instantaneous images, the Dutch photographer\u2019s work thus appears as a form of quiet resistance. An art centered on relationships, refusing simplification and affirming, image after image, the true value of each individual.<\/p>\n\n<p class=\"wp-block-paragraph\"><em>\u201cDana Lixenberg. American Images,\u201d exhibition on view until May 24th, 2026 at the Maison Europ\u00e9enne de la Photographie, 5\/7 Rue de Fourcy, Paris, 4th arrondissement.&#13;\nCurated by Laurie Hurwitz at the MEP and Marcel Feil at the MAPFRE.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Dana Lixenberg, the photographer of waiting \u201cPhotography is like a slow dance,\u201d the photographer declared. [&#8230;]<\/p>\n<p><a class=\"btn btn-secondary understrap-read-more-link\" href=\"https:\/\/numero.com\/en\/art-design\/photography\/mep-the-united-states-finally-show-humanism-through-dana-lixenbergs-exhibition\/\">Read More&#8230;<span class=\"screen-reader-text\"> from MEP: the United States (finally) show humanism through Dana Lixenberg\u2019s exhibition<\/span><\/a><\/p>\n","protected":false},"author":30,"featured_media":797827,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[78,76,76,1,3182,80,80],"tags":[10339,4310,10022],"class_list":["post-798203","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-en","category-art-design","category-non-classifiee","category-numero-art-en","category-photography","tag-dana-lixenberg","tag-exhibition","tag-mep"],"acf":[],"yoast_head":"<!-- This site is optimized 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