Flachau buy Ecstasy

__________________________

📍 Verified store!

📍 Guarantees! Quality! Reviews!

__________________________

▼▼ ▼▼ ▼▼ ▼▼ ▼▼ ▼▼ ▼▼

▲▲ ▲▲ ▲▲ ▲▲ ▲▲ ▲▲ ▲▲

Flachau buy Ecstasy

When she is not researching how Eastern Europe is seen through Western eyes or how leftist feminists in Eastern Europe imagine a better society, she can be found roaming the museums, reading novels, and playing with her cat. Deividas Vytautas b. Vytautas graduated from the Royal College of Art, London, in His multidisciplinary practice spanning moving image, performance, installation and print explores themes of freedom, transgression, youth culture and spirituality, engaging with the contemporary condition through a process of layering, recontextualizing and sampling elements of mass media, religion and pop culture. In the interview for The Good Neighbour Deividas Vytautas talks about what drives his practice, allowing himself to lean into recurring topics such as religious motives, elements of rave culture, sexuality, and reflects on intense experiences that influenced him. This exploration unfolds within spaces like the rave and the church — environments charged with a powerful transgressive and transcendental energy. Vilte Fuller is a young generation painter born in Klaipeda, Lithuania now living and working in London. In her figurative paintings characters, landscapes and motifs are intertwined with nostalgic science fiction imagery and personal experiences from her Eastern European heritage. Currently, her exploration is deeply rooted in her evolving relationship with the concept of work and productivity. The paintings take us back to the workplace of 80s and 90s — the epicentre of life, a promise of a better tomorrow, depending directly on hard work. Feelings of terror and false security are reflected in her paintings, through whose muted tones it is difficult to see a bright tomorrow. Technology and the human form are of the same hue, one day blending into the next. Her paintings lie in the uncanny valley, where Eastern European cultural imagery is entangled with Western cinema, video games, Lithuanian folklore and its horror tales. Her take on it is humorous and curious, as if inviting us to walk together among these nightmarish scenographies, accepting them for what they are. Her work has been exhibited at a variety of shows across London and Manchester. We, as spectators, find ourselves in front of two-dimensional bodies that expose themselves in various choreographies for as long as we want to explore them. The situation is familiar, we are used to commercials in which smooth, sleek bodies glistening in the sunlight of the studio try to convince us that we want to have what they have. In her works, women come first. Femininity is performed in a variety of forms and angles. She plays with the aesthetics of 80s magazines and posters, elements of bling culture and adult entertainment, mixing symbols from the Eastern and Western worlds. She is speaking to us while picking up the bones, stones and plastic pieces on the shores of the Thames and tinkering with acid in her London studio. There she continues her experimental approach, blending theoretical insights with sensory perception. From Mesopotamian personification of Ki to Incan Pachamama, to Greek Gaia — the narratives related to Earth — have often endowed the planet with human, often female features, behaviours and occurrences, including family tree, romantic relationships, personality, and other humanistic description. Yet these warnings have been left unheeded and the mechanisms of growing capitalism, global trade, displacement of humans, animals and plants, and military powers have continued to increase the exploitation of the earth. Johnston Sheard documented and edited a two-day performance over the 20 — 21st November at Whitechapel Gallery, London where over six performances Goda took participants on a journey, exploring geological time, living and dead fossils, the weather on the Adriatic sea, animal horror and the effects of stones on human eyes. Rosemary tea was served and enjoyed, which has the effect of enhancing focus and slowing down aging, bringing everyone present closer to the time of a stone. The video production is supported by Lithuanian Council for Culture. Her practice evolves around projects exploring the politics of historical narratives, the agency of dreams and imagination, and social conditions of creativity. Goda is based in Brussels. In the last three years, she has been developing methods of collecting and annotating symptomatic artistic practices that recognise their anxiety as a prerequisite state for criticality. Johnston Sheard is a London based Scottish artist. His work focuses on experimental film with scored song-cycles, and intricate sculptural constructions. He combines a baroque architectural sense with anti-digital aesthetics, creating sentimental narratives reflecting on a theological universe. Johnston Sheard is one of he founders on The Deep Splash, his artistic vision in helped to transmute the interview format into interpretive films, serving as works themselves. The video explores the relationships between the paintings and the layers, forms and shadows that these paintings inhabit. Produced by The Good Neighbour. Supported by the Lithuanian Council for Culture. Vika Prokopaviciute is a painter who lives and works in Vienna. Born in in Lithuania, she grew up in Russia, where she studied design and architecture and later worked as a graphic designer. Her abstract works develop from one to the next and form a repertoire, a system. The next painting begins where the preceding one ends. An acting-as-algorithm set of rules adjusts itself during the painting process and leads to a highly associative, poetic, yet mechanical and abstract image. The method becomes a motif. One day in three years when the light and the temperature are just right is a drowsy observation on constructed environments and bodies positioned there. The perception of slow-paced time merges with everlasting paradise space turning into a diminished unit of existence. One day in three years when the light and the temperature are just right also resembles the desktop-wallpaper-videos, where the view is un-constructed, the camera is still, and the very presence of oxygen is questionable. The frames in the film connect different moments from the lives of animal persons in the zoos. The melancholy penetrates through the images of beautiful paradise-like, yet somehow odd environments, where animals turn away from the viewer, frozen in the moments of forced slowness, in the unreality of the place as such. Lithuania, based in Berlin focuses on ways of transferring contemporary human emotions and feelings into visual digital culture and non-verbal codes. Taking the former as an emotional collective entity — non-organic, bloodless, and painless — she aims to detect gaps that expose it to reality and allow for influence. Urban materiality, textures, mundane compositions, merging of nature with technology — these things fascinate her and outline the aesthetic she continues to explore. Her prior artistic experience led to an expanded creative field situating her commercial and personal work between photography, video art, and art direction. Her work was first shown in Lithuania in , at Galerija in Kaunas and as part of Videograms festival in Vilnius. Ginte is currently based between London and Vilnius. Insula aims to dive into organic relations of space within and between bodies, where they meet complex identities, natures, movements, clothes and sounds. Transfiguring strangers are constantly defaced or obscured in dance. The space becomes a field of attention and the audience takes an active part in landscape dramaturgy. The bodies that we inhabit, made of seventy percent water, unstable materials and containers, are in constant shift. The fictional and natural merge into affective scenes to challenge the sense of physicality, belonging, the other and intimacy. In this conversation you will hear reflections about how does it feel to work together in an unfamiliar setting of pandemic-ridden city of Marseille, which in commemorates years since the deadly bubonic plague. Dovydas Strimaitis is a Lithuanian contemporary dancer, living and working in Marseille. In her work, she mainly explores physicality and materiality through choreography. She is also part of a performance collective Olmeulmad. Neringa, wie gehst du bei deiner Arbeit mit deinen Ideen und Materialien um und was ist dir dabei besonders wichtig? Welche Beziehung gibt es in deiner Arbeit zwischen dem Prozess und dem Ergebnis? Wie entscheidest du, wann eine Arbeit fertig ist? Ich kaufe Teile von verschiedenen Waren, oder schon fertige Produkte, die mir passen und nehme sie auseinander — ich dekonstruiere, um neue Konzepte zu schaffen, dem Objekt neue Bedeutungen zu geben. Das Endergebnis sehe ich immer erst ganz am Schluss beim Ausstellungsaufbau, da verwende ich oft das Eine oder das Andere, gebe ein paar Details dazu, oder nehme etwas wieder weg. Die Arbeit mit Glas hat mir geholfen, das Wesen anderer Materialien zu verstehen. Mit Glas durfte ich mir nie Fehler leisten. Aber ich wollte Fehler machen. Dadurch wurde dann eine komplett andere Bedeutung erschaffen, die ich nicht kontrollieren konnte. Dieses Endergebnis interessiert mich sehr. Die Haut ist funktionell das vielseitigste Organ eines menschlichen oder tierischen Organismus. Sie kann sehr viele Informationen tragen, da sie eine Reflektion der Umgebung ist. Ich benutze die Sozialen Medien als Inspirationsquelle — da finde ich sehr interessante Sachen, vor allem Narzissmus und Selbstobjektifizierung betreffend. Neringa, how do you treat your ideas and materials in your work, and what is particularly important for you in this? I combine theories from biology and technology in the content of my work. Essentially, I work with surfaces that are complex and multi-layered. These also interest me from a psychological point of view — as an expression of the inner life of a person or a body. My interest is in how the inner life connects with the outer life to form a whole, and traces are thus left behind. What is the relationship in your work between process and end result? I recall how you once said that beauty and perfection are not the same thing. How do you decide when a work is finished? Process is an important part of my work, in that I can at any moment change my mind or rethink something; this freedom I enjoy greatly. I buy items that suit my purpose — parts for different goods, or finished products — and I dismantle them; I deconstruct to create new concepts, to give new meanings to an object. The end result I never see until right at the end, when an exhibition is being put together; then I decide to use the one thing or the other, to add a few details or take something away. Even the form of the work can change as adrenaline gets released. Before adopting your current methods, you worked for 15 years with glass, getting to know this material and its technical aspects very well. What does this specialist craft knowledge give you, and what made you change course? How was the transformation for you and what point have you currently reached? The work with glass helped me to understand the nature of other materials. Glass is a material that one can admire — but, for me, the perfection that glass brings cannot necessarily be equated with beauty. With glass I could not allow myself to make mistakes. But I wanted to make mistakes. It would sometimes happen in group exhibitions that I had to make compromises to allow for how my work reflected something hung opposite it. This would then crate a completely different meaning for my work, over which I had no control. This is why I decided to create something spatial myself — something that, in its surfaces, would reflect itself. That was a logical step for me. Surfaces, synthetics, skins — how did these entities and their accompanying themes come about in your work and what do they mean for you? How do you respond with your work to the present, the present situation? Skin assimilates the body but also the environment in which it finds itself. The end product interests me greatly. Skin is functionally the most multifaceted organ of a human or animal organism. There are many meanings — layers overlapping one another like old stories. The theme of camouflage comes into play, too. This moment is very exciting for me, for the same can be said about fake hair extensions or artificial eyelashes — our clothes, our masks, our roles. I make space for a multiplicity of meanings, but I like to leave it until the very end before defining exactly what an object is going to look like. Sometimes it can be a human body, sometimes the skin of an animal, or it can be a fashionable jacket. But it is always about the surface, the carrier of pieces of information. I use social media as a source of inspiration. I find very interesting things there, especially in relation to narcissism and self-objectification. They formed as a by-product of the underground extraction of coal near the Nitra river. These wetlands have been created during the past forty years of coal mining. The landscape has changed: large sinkholes have been created affecting both housing and the natural environment. This change in the environment forced people to move away from the area, forming an unusual habitat as a way for nature to find balance with the radical change of the ecosystem. After several years the situation was made worse by a crisis at the still operating mine, when water was discharged from its flooded tunnels up to the surface. As miners began to pump this water into the nearby creek, it burned their skin. The mixture of ash and hydraulic emulsion managed to kill all life in the creek. The artists initiate, create, organise and exhibit group manifestations often inviting and giving space to other artists and theoreticians but they also operate individually. Video and editing by Marijn Degenaar. Vilnius, is a visual artist currently living in Berlin and Vilnius. She works with different materials, such as clothes, textiles, natural pigments, graphite dust, fabrics made by her grandmother, plants, and incorporates various mediums. Often presented in an anthropomorphic way, her works breathe their past into the present, becoming multidimensional artifacts extending not only into the space but also into time. How much private is this space and this state of mind? Without it I feel disoriented. My working process is very slow in a way, so I need my space all the time, everyday, even if just for a short moment. It is kind of a magic place. Sometimes it becomes a refuge where I disappear for two weeks, but then I also love to have guests over there. It is refreshing to have a change of routines and the studio is the place where I can do that. I share my studio with other artists from Sweden, New York and France. We all have different ways of working but it kind of blends together into a good atmosphere. In your work every detail resembles the whole. As if every moment in a painting similar to a drop of paint on the floor of the studio, is a part of the bigger canvas. It creates a feeling of a certain entity. It seems like you found your way of being and painting. When do you think this happened and how do you perceive it yourself? AJ: I guess I am still trying to find this. On the other hand, it is true that there was a certain period of time when I had put a lot of hours and effort without really thinking about it, just trusting my feeling and slowly going forward through the process of working a lot. After I came to Berlin it took me few years to slowly find my ways of doing things. You read a lot and visit many shows and events in Berlin. How did you decide to move here and how is this city affecting your creative routines? How do you feel part of the Berlin art space? AJ: Berlin has so many artists who want to be seen and at the same time just to have fun. I came here in and it had changed so much since then. I am still learning to navigate the complicated art waters. It is so easy to get lost in just being busy and not doing much of a creative work. So I am learning to take time and step back sometimes. Vilnius is a good place for me to reflect on what I did and what I want. Being in Berlin gives a chance to work with people that I really admire. My two recent solo exhibitions happened in a project space called Aesthetik 01, run by Kristina Nagel, who is one of these people. Preparing exhibitions together with her was very organic and intuitive, which I really love a lot. It is a wonderful project that connects and chronicles young creative underground in Berlin. Community is important to me. When one feels heard and understood in their creative surrounding, things tend to have a different speed and energy. Blue Carbon, Intertidal is an interstitial section of Hydrangea. Written by Holly Childs. Music by J. Voiced by Elif Ozbay. Film by Holly Childs. Originally commissioned by Runway Journal for Issue 39 Oceans. The Good Neighbour: I got a familiar feeling from watching this work. The voice seems to channel many meanings from subjective line to computerised self to poetic voice, and the images are very global, pointing to different parts of the planet. How did it all come together as a piece? This piqued my interest, and after researching coastal ocean ecosystems, I came to think of how much time I spend in intertidal zones, the areas that are underwater at high tide, and dry land at low tide, and to contemplate what records I had taken of these beach-and-other locations. In the summer in Auckland, and my routine was that I would work every day and when it was close to high tide, I walked or jogged depending on how hot the day was to beaches on Waitemata Harbour to swim. Each day, high tide occurred approximately 50 minutes later than the previous day creating a stretchy rhythm across weeks. I found no documentation of water from this period. The text, and the work in general, purposely invites various projections and interpretations. What qualities of the ocean as an idea, image, metaphor? HC: I grew up in proximity to the ocean, took it for granted and only later moved to landlocked regions where I experienced strange effects. In Moscow, every night I dreamt of beaches, and in the Netherlands, surrounded by water in every conceivable way, but with none hitting land in the satisfying beachy way I knew from home, for months I stopped dreaming. Blue Carbon, Intertidal is a poem, longer than the excerpt used in this video, that iterates like tides. Awareness that the edges will always change, iterating almost imperceptibly over a scale of days, while shifting dramatically over larger timescales. Some years ago, I stayed up a hill, overlooking a zone that was anecdotally and socially projected to be underwater in the near future due to the effects of climate change. Climate change creates a range of catchs, direct and indirect. What is at the core of Hydrangea, what kind of tools and thinking? The nature of the project is essentially a mystery, and we are happy to keep it that way for the moment. Holly Childs is an Australian writer and artist. Her most recent work, an evolving performance series for greenhouses made with J. Biberkopf, is Hydrangea, a myth about myths, in which every flower is a story in a forest of never-ending branching narratives. Her third novel Greenhouse Parking will be published in Biberkopf is an artist based in-between Amsterdam and Vilnius. They work within the fields of sound, documentary, performance, and installation. Their recent solo work and collaborations predominantly work to deconstruct the political imaginaries effective in the Western world. Saulius, or Sal as his friends from London called him, was a Dj, a passionate vinyl collector aswell as one of the creative minds behind the last. He was a universal restless character, a rebel, an anti-system, always part of collaborations and multiple creative projects, organizing parties and events, listening to music and gathering people. Saulius had passed away in It took Simona almost five years to find VHS tapes that Sal occasionally mentioned in their conversations after giving her a copy of his entire archive. She had filmed Sal performing with Terry Burrows and Laure Prouvost among others and made few projects based on his biography. She is currently editing a full feature on Sal and his life. His work received wide recognition: his books, written in French, were awarded prizes, and translated into Italian, Spanish, English, Romanian, Japanese and other languages. She explores how different technical qualities of the digital image act as separate memory systems and represent different contemporary political and economical values. She lives and works in Paris. Previously she had studied Culture Mediation in Sorbonne Paris 3 and wrote her masters on the research for documentaries. Currently she is doing an MA thesis about the construction of a documentary film. Currently I own quite a large collection of mushrooms consisting of specimens picked in Lithuanian forests in Mushrooms of these unknown species are presently found in almost all forests all around the world. Or perhaps these mushrooms grow in exactly the opposite climatic conditions…? I have no clue…. It is thought that these mushrooms reproduce via spores. It is also thought that spores are carried by animals in their stomachs. Andrej Polukord b. His painting, installation, performance, and video art create unpredictable environments and absurd situations that produce double meaning and ambiguity. Polukord is also a co-founder of Galerie Uberall, a mobile art gallery that is one of the first private mobile galleries, founded in Since then it has traveled and exhibited internationally including Vienna Contemporary , documenta 14 , Athens, Hoftallungen mumok, Vienna, Austria and more. Despite its fragility, related to its thingness, it acts as if it were space within a space, bigger on the inside, as if it is a portable black hole. It devours every-thing around it without consuming anything, transforming objects into time, creating cracks in the sameness of our days, letting us feel the futility of our everyday in the background of which we may encounter the richness of reality itself. To be rich, then, means to be able to appreciate a lack. It is a distant gaze, although a loving one — a gift that is being gifted both ways, forming a relation. A bond, where the ones bonded cannot touch, but nevertheless constitute each other. What is this excess dwelling inside a lack? Artworks, so it seems, just like us, are their own doppelgangers: double, dual — a movement between the first and the third person in a sentence, perpetually seducing us to entangle them in language, while at the same time constantly evading an explicit definition. An object craving for a gaze, though evaporating as soon as we think we start recognizing it as familiar. That is why exhibitions are peripatetic — more suitable for movement than observation. Move through the space, or better let the space move you and the path will bend accordingly to the steps you take. On your way, you will find a Station in Conversation lurking, waiting for the right moment, ready to catch the possibilities that are yet to be envisioned. This time becomes a space in Prototype of Dunes. On the other side there are three Nameless surfaces which came from the past and by which you possibly once passed, reflecting your present gaze back at you in the form of a memory or a wish. You will also find a piece, which is Not Yet Titled, but suspended in a state of eternal becoming; a thing patiently waiting for its word, anticipating a sense of belonging. Walk some more to find a shoelace dangling from the ceiling — an object of the everyday, standing before you Today. And if sometimes time ceases to pass in this space, can there still be any News? These appearances, as vivid as they may be, once touched will quickly melt away as if they were a kind of Sugar Entertainment — sweet to the eye, saturated for the tongue. An exhibition is a kind of promise that cannot be delivered. It is untouchable, yet fragile, a meeting point enabling a difference to be noticed, yet disenchanting any illusion of its realness. It is a lack, that needs to be addressed with love. Soothingly, there is no magic here. Antanas Gerlikas b. Bringing together brief periods of time in Paris, Vilnius and Marseille, Ieva Kotryna captures moments of ecstasy, social events and everyday life which are at times melancholic, weighty or consequential, from images of people dancing in the streets and at vogue ball parties, to art performances, and strikes. It is a document of her filmography so far, an exploration of the themes in her work, and a self-reflexive positioning of the artist inside her practice, culminating in a dance scene and blurring the boundaries between art and life. This, for a maker whose life and practice are marked by a sense of constant movement, is a most precious possession. Please read English interview with the artist below Neringa, wie gehst du bei deiner Arbeit mit deinen Ideen und Materialien um und was ist dir dabei besonders wichtig? ENG Neringa, how do you treat your ideas and materials in your work, and what is particularly important for you in this? Add to Phrasebook. I have no clue… It is thought that these mushrooms reproduce via spores.

Norwegian skier Atle Lie McGrath gets 1st World Cup win in night slalom race

Flachau buy Ecstasy

FLACHAU, Austria -- Atle Lie McGrath threw one of his poles and both gloves into the snow in a burst of joy after crossing the finish line of a night slalom, then took his helmet off and fired up the spectators with wild arm gestures. For someone who had never won a World Cup race before, the son of an American father and Norwegian mother knew how to put on a show during his celebrations. McGrath secured his first career World Cup win Wednesday in a race that produced the eighth different winner in nine slaloms this season. It's absolutely insane. I worked so hard for this moment,' said McGrath, who had to cut short last season with a knee injury and fractured his right thumb two months ago. It didn't prevent him from getting strong results. This was his fourth podium result, and second in slalom after finishing runner-up in another night race in Austria, in Schladming, six weeks ago. When Atle was two years old, the family moved to Norway, the home country of his mother, former cross-country skier Selma Lie. McGrath trailed leader Johannes Strolz by almost a second after the opening run, but the Austrian dropped to fourth following several mistakes in his final run. The rest of the field, led by Daniel Yule of Switzerland in third, was more than six tenths of a second off the lead. Britain's Dave Ryding, who was fifth after the opening run, straddled a gate and did not finish his final run. The battle for the slalom season title features two Norwegian teammates of McGrath's: Henrik Kristoffersen, the only racer with multiple slalom wins this season, and Lucas Braathen. With only the season-ending race at the World Cup Finals on March 10 remaining, Kristoffersen leads Braathen by 48 points. Linus Strasser, Manuel Feller, and Yule are left with slim chances to win the globe. Both favorites had disappointing showings on Wednesday: Kristoffersen only just qualified for the second run in 28th place, but posted the fastest second-run time to improve to 16th. Braathen failed to reduce the gap to his teammate in the standings when he dropped from seventh to 15th, earning just one point more than Kristoffersen. Luke Winters was fifth fastest in the final run as the American finished a career-best seventh, two months after earning his first top result at slalom in Adelboden. The Italian veteran, who turns 40 in June, clicked out of one ski at the end of his run and slid over the finish on his other ski while waving to the spectators. He took the globe for the best slalom skier in the season, and won medals at three different world championships, including silver in slalom in Flachau is an annual stop on the women's circuit but is stepping in to host a men's event for the second straight season. The race replaced a slalom from early January that was called off after 19 starters due to bad course conditions in Zagreb. The men's World Cup continues with two giant slaloms in Slovenia this weekend before the finals in France next week. Skip to main content Skip to navigation. Norway's McGrath wins slalom for 1st WC victory. De Rozario nets marathon silver, reveals father's death. Olympian suspended for trying to buy cocaine. Australia finishes ninth on Paralympic medal table. Aussies welcomed as heroes after best Games. Olympic flag arrives in L. Golden glory: Australia's historic medal haul in Paris. Aussies Richardson, Glaetzer medal in keirin final. Boxer files legal complaint over gender abuse. More gold glory as Parker wins para-cycling road race. Alexa Leary powers to Paralympic gold, WR. Turner conquers glandular fever to get m gold. Double silvers in boccia as Steelers net gritty bronze. Triathlon gold completes Parker's redemption. Beaten by 0. Clifford 'shattered' over DQ, de Rozario gets bronze. Cycling dominance keeps Australia high on medal table. Paralympics open to cap Paris' summer of sport. The shark attack survivor going for glory at Paralympics. Paris was undoubtedly Australia's greatest Olympic Games. Paris hands the Olympics over to LA. Opals celebrate momentous victory in the face of adversity. Smith's return crucial to delivering bronze to the Opals. Team USA wins 5th straight men's basketball gold. Paris' big risk: Was using the River Seine as a venue worth it? Historic and record-breaking: Australia amazes the world in five magical hours. Way-too-early Australian Boomers team for LA Boomers takeaways: Time for next-gen transition? Best coaching candidates. Trew beauty! T claims, records, and flops; Australia's Olympic swim meet had it all. High jumpers Olyslagers, Patterson share in year Aussie first. Opals Takeaways: Improvements made ahead of quarterfinal clash. How Aussie Nina Kennedy learned the art of pole vault -- and why she's a big medal hope. Aussie evening of history, redemption, and gold puts USA on notice. Boomers group stage takeaways: Positives, big question marks, and those turnovers. Ariarne Titmus' statement swim anchors Australia to relay glory. Brondello calls on Tolo and George to take the Opals home. Veterans breathe much-needed life into Opals campaign. Beaten but not defeated, Kyle Chalmers dazzles in m freestyle final As it happened: Day 5 brings more medals for Australia in Paris. Gustavsson exits Matildas after Olympic KO. Boomers takeaways: Giddey's value, does Australia have a go-to line-up? Don't forget about me! Kaylee McKeown sees Olympic gold again. The most important 29 seconds of Noah Lyles' life. Murray's lasting image is of man who refuses to quit. Can Erriyon Knighton be the fastest sprinter in the world again? From watching to winning: O'Callaghan tops Titmus in classic m final. Opals Takeaways: Horrific stat line underpins boilover. Lauren Jackson's greatness was evident from the outset. Heartbreak to ecstasy; Fox finally wins elusive Olympic K1 gold. Kumagai plays captain's role to perfection as Japan pull off miracle to beat Brazil. Canada's Olympic spying scandal: Everything you need to know. Buggered, relieved, untouchable: Ariarne Titmus' legacy grows with gold in m. Associated Press. Email Print.

Flachau buy Ecstasy