{"id":893,"date":"2022-09-18T14:57:55","date_gmt":"2022-09-18T12:57:55","guid":{"rendered":"https:\/\/en.lepeuplequimanque.org\/le-peuple-qui-manque-2"},"modified":"2023-10-27T20:13:40","modified_gmt":"2023-10-27T18:13:40","slug":"le-peuple-qui-manque-a-propos","status":"publish","type":"page","link":"https:\/\/en.lepeuplequimanque.org\/en\/le-peuple-qui-manque-a-propos\/","title":{"rendered":"A propos"},"content":{"rendered":"[vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_padding=”0″ constrain_group_1=”yes” bottom_padding=”0″ top_margin=”0″ constrain_group_7=”yes” bottom_margin=”0″ text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” 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le peuple qui manque<\/em> est une plateforme curatoriale bas\u00e9e \u00e0 Paris, fond\u00e9e en 2005 par Kantuta Quir\u00f3s & Aliocha Imhoff, qui \u0153uvre \u00e0 l\u2019intersection entre art contemporain et recherche.<\/h3>\n[\/vc_column_text][vc_column_text]\n
le peuple qui manque<\/em> est aussi producteur, distributeur et \u00e9diteur de films d’artistes. le peuple qui manque<\/em>\u00a0tire son nom d\u2019un texte\u00a0de Gilles Deleuze.<\/a><\/h6>\n[\/vc_column_text][nectar_cta btn_style=”see-through” heading_tag=”h6″ button_color=”default” button_border_thickness=”0px” link_type=”regular” alignment=”left” alignment_tablet=”default” alignment_phone=”default” display=”block” display_tablet=”inherit” display_phone=”inherit” link_text=”Equipe” url=”\/staff”][nectar_cta btn_style=”see-through” heading_tag=”h6″ button_color=”default” button_border_thickness=”0px” link_type=”regular” alignment=”left” alignment_tablet=”default” alignment_phone=”default” display=”block” display_tablet=”inherit” display_phone=”inherit” link_text=”\u00c9crivez-nous” url=”\/email”][nectar_cta btn_style=”see-through” heading_tag=”h6″ button_color=”default” button_border_thickness=”0px” link_type=”regular” alignment=”left” alignment_tablet=”default” 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column_border_style=”solid”][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

\u2013 Qui parle ? (pour les non-humains)<\/em><\/strong>\u00a0de Aliocha Imhoff & Kantuta Quir\u00f3s (PUF, 2022)<\/a><\/p>\n

\u2013 Les potentiels du temps<\/em><\/strong>,<\/em>\u00a0Aliocha Imhoff, Kantuta Quiros, Camille de Toledo,\u00a0Manuella Editions, 2016<\/a><\/p>\n

\u2013\u00a0G\u00e9oesth\u00e9tique<\/em><\/strong>, B42, 2014
\ncoproduction : Parc Saint L\u00e9ger, Ecole Sup\u00e9rieure d\u2019Art Clermont M\u00e9tropole, Ecole Nationale Sup\u00e9rieure d\u2019Art de Dijon, contributions de\u00a0Joaquin Barriendos,\u00a0Cuauhtemoc Medina, Piotr Piotrowski, Thomas DaCosta Kaufmann, Franco Farinelli, John Pickles, Maribel Casas & Sebastian Corrarubias, Bertrand Westphal, Beatriz Preciado, Pedro Lasch, Giovanna Zapperi, Jennifer Gonzalez, Guillermo Gomez Pe\u00f1a, Sandro Mezzadra et Brett Neilson,\u00a0Kantuta Quir\u00f3s & Aliocha Imhoff,\u00a0etc.<\/a><\/p>\n

\u2013\u00a0Histoires afropolitaines de l\u2019art<\/em><\/strong>, Revue Multitudes n\u00b053-54, automne 2013, \u00e9ditions Inculte, contributions de Olu Oguibe, Nana Adusei Poku, John Peffer, Chika Okeke-Agulu, Anitra Nettleton, Koyo Kouoh, Sandy Prita Meier, Malick Ndiaye
\n<\/a>
\n\u2013 \u00a0Direction de la \u00ab Mineure \u00bb\u00a0Cin\u00e9ma Queer<\/em><\/strong>,\u00a0Revue\u00a0Multitudes n\u00b035, hiver 2008-2009, \u00e9ditions Amsterdam.\u00a0<\/a>[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”769″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” img_link_large=”yes” img_link_caption=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” bg_color=”#000000″ animated_gradient_bg=”true” animated_gradient_bg_color_1=”#7a684a” animated_gradient_bg_speed=”1300″ animated_gradient_bg_blending_mode=”organic” scene_position=”center” top_padding=”3%” constrain_group_1=”yes” bottom_padding=”3%” text_color=”light” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” id=”articles” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][split_line_heading animation_type=”line-reveal-by-space” font_style=”h1″ line_reveal_by_space_text_effect=”default” content_alignment=”default” mobile_content_alignment=”inherit” link_target=”_self” text_content=”Articles” font_size=”8vw”][\/split_line_heading][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\u2013\u00a0Qui parle ?<\/em>\u00a0in Travelling Narratives,\u00a0Le Cube \u2013 independent art room<\/strong>, Rabat, 2020
\n\u2013\u00a0\u00ab Translating the Silence \u00bb, in Across Anthropology. Troubling Colonial Legacies, Museums, and the Curatorial<\/em>,\u00a0Leuven University Press<\/strong>, (dir.) Jonas Tinius et Margareta von Oswald, 2019<\/a>
\n\u2013\u00a0Spirals of Enunciation. Towards a Democracy of the Living<\/em>, in (dir.) Christian Alonso, Ana Maria Guasch, Indigenous Epistemologies and Artistic Imagination, MACBA,\u00a0University of Barcelona<\/strong>, 2020
\n\u2013\u00a0Chronopolitiques du futur\u00a0: Entretien avec Aliocha Imhoff et Kantuta Quir\u00f3s,\u00a0<\/em>par Nathalie Desmet,\u00a0Revue Esse \u2013\u00a0arts + opinions<\/strong>,\u00a0n\u00b0100, Canada, 2020
\n\u2013 De la suspension de l\u2019art, Ab\u00e9c\u00e9daire<\/em>,\u00a0revue Multitude<\/strong>, 2020
\n\u2013\u00a0De la suspension de l\u2019art \u2013 pour des \u00e9tats g\u00e9n\u00e9raux de l\u2019art<\/em>,\u00a0AOC<\/strong>, 3 juillet 2020<\/a><\/p>\n

\u2013 Extensions of the Potential Regime<\/em>, in (dir.) Alt Gar Bra, Tout Va Bien Series, Bergen<\/strong>, 2019
\n\u2013 Entretien par Isaline Vuille et B\u00e9n\u00e9dicte Le Pimpec, in slightly slipping on a banana skin, FMAC<\/strong>, 2018
\n\u2013 Traduire<\/em>, Ateliers M\u00e9dicis<\/strong>, 2018
\n\u2013 Extensions du r\u00e9gime potentiel<\/em>, HEAD<\/strong>, 2018, fran\u00e7ais\/anglais
\n\u2013 Questionnaire \u00e9l\u00e9mentaire<\/em> in (dir.) Yohann Thommerel & Sonia Chambrietto,\u00a0revue If<\/strong>, sp\u00e9cial g.i.g., 2018<\/a>
\n<\/span>\u2013 Les potentiels du temps, actes\u00ab Contemporary Visions of Future \u00bb, Standford University, EHESS, 2018, Bilingue fran\u00e7ais\/anglais.<\/a><\/span><\/p>\n

\u2013\u00a0L\u2019\u00e9criture est la peau de la pens\u00e9e<\/a><\/em>\u00a0in (dir.) Guillaume D\u00e9sanges et Fran\u00e7ois Piron,\u00a0L\u2019Esprit Fran\u00e7ais. Contre-cultures 1969-1989<\/em>, La Maison Rouge, La D\u00e9couverte, 2017<\/a><\/i><\/span><\/p>\n

\u2013\u00a0Politiques de l\u2019entre-lignes,<\/a><\/em>\u00a0in (dir.) Laurent de Sutter,\u00a0Le livre des trahisons<\/em>, Presses Universitaires de France, 2016<\/a><\/p>\n

\u2013 in (dir.) Sandra Delacourt, Katia Schneller, Vanessa Th\u00e9odoropoulou, Le chercheur et ses doubles, \u00e9ditions B42, 2016<\/a>
\n\u2013\u00a0For a Chronopolitical Approach to the Internationalisation of Art Collections,\u00a0<\/a><\/i>(dir.) Annie Fletcher, Diana Franssen,\u00a0Une r\u00e9publique de l\u2019art, From 80\u2019s to Today, 30 ans des FRAC, Van Abbemuseum, Plateforme, 2015.\u00a0<\/i>Bilingue Anglais-Fran\u00e7ais
\n\u2013\u00a0La possibilit\u00e9 m\u00eame de l\u2019avenir<\/a><\/i>, (dir.) Claire Moul\u00e8ne,\u00a0R<\/strong>evue Initiales AF<\/b>, 2015<\/a>
\n\u2013\u00a0Curating Research. Pour une diplomatie entre les savoirs<\/a><\/i>,\u00a0revue l\u2019Art-m\u00eame<\/b>, num\u00e9ro sur le Curating, Bruxelles, 2015<\/a>
\n\u2013 Pour une diplomatie entre les savoirs, revue Mouvement n\u00b075, nouvelle \u00e9dition, d\u00e9cembre 2014
\n\u2013\u00a0Pour une g\u00e9opo\u00e9tique europ\u00e9enne<\/a><\/em>, quotidien\u00a0Lib\u00e9ration<\/strong>\u00a03 octobre 2014<\/a><\/p>\n

\u2013 Intranquilles identit\u00e9s du Dr Josef Mengele. Les historiographies antid\u00e9tectivesques\u00a0de Fredi Casco<\/em>\u00a0in (dir.) Albertine de Galbertine,\u00a0La fascination des sir\u00e8nes<\/em>, Maison de l\u2019Am\u00e9rique latine, 2014. Fran\u00e7ais, anglais, espagnol.<\/p>\n

\u2013\u00a0Museum F(r)ictions<\/strong>, in (dir.) Emmanuelle Ch\u00e9rel et Fabienne Dumont,\u00a0\u201cHistoire de l\u2019art et postcolonialit\u00e9 en France : quels enjeux ?\u201d, Actes des journ\u00e9es d\u2019\u00e9tude \u00e0 l\u2019Ecole Sup\u00e9rieure des Beaux-Arts de Nantes M\u00e9tropole, Presses Universitaires de Rennes,\u00a02014<\/a><\/p>\n

\u2013 \u2018Ecriture de l\u2019histoire et politiques du futur.\u00a0 Notes sur quelques fictions historiographiques\u2019<\/em>. in (dir.) M\u00e9lanie Bouteloup,\u00a036 Short Stories, Anthologie B\u00e9tonsalon \u2013 Centre d\u2019Art et de Recherche 10 ans<\/em>, Co-\u00e9dition B\u00e9tonsalon et Beaux-Arts de Paris Editions, 2014 (Bilingue Anglais-Fran\u00e7ais)<\/p>\n

\u2013\u00a0Glissements de terrain<\/em>, introduction \u00e0 l\u2019ouvrage G\u00e9oesth\u00e9tique, \u00e9ditions B42, 2014<\/a><\/p>\n

\u2013\u00a0Entretien avec Jennifer Gonzalez, par Aliocha Imhoff & Kantuta Quiros, in\u00a0G\u00e9oesth\u00e9tique<\/em>, \u00e9ditions B42, 2014<\/a><\/p>\n

\u2013\u00a0Historiographies de l\u2019art, depuis\u00a0l\u2019Afrique<\/del>\u00a0(Fragments pour un chantier de traductions des discours africains sur l\u2019art)<\/em>, in revue Multitudes n\u00b053-54,\u00a0Histoires afropolitaines de l\u2019art<\/em>, automne 2013<\/a><\/p>\n

\u2013\u00a0Pratiques curatoriales et tournant \u00e9ducationnel. Entretien avec Koyo Kouoh,\u00a0<\/em>par Aliocha Imhoff et Kantuta Quiros in revue Multitudes n\u00b053-54, automne 2013<\/a><\/p>\n

\u2013\u00a0<\/em>Entretien avec Joaquin Barriendos\u00a0<\/a>par Aliocha Imhoff et Kantuta Quiros, in (\u00e9d.) Jean-Pierre Criqui, St\u00e9phanie Dadour, Mildred Duran, Sophie Orlando, Kantuta Quiros, N\u00e9m\u00e9sis Srour, Anabela Tournon,Les Cahiers du Mus\u00e9e National d\u2019Art Moderne n\u00b0122<\/strong>,\u00a0<\/em>(Hiver 2012-2013)<\/em>, num\u00e9ro sp\u00e9cial\u00a0\u201cArt et mondialisation\u201d :\u00a0Mondialis\u00e9es, globalis\u00e9es, contemporaines : pratiques, productions, \u00e9critures dans l\u2019art aujourd\u2019hui\u00a0<\/em><\/a><\/p>\n

\u2013\u00a0\u00a0\u00a0\u00a0\u00a0Antiphotojournalisme : strat\u00e9gies du visible et de l\u2019invisible<\/a><\/em>\u00a0(2011), in\u00a0<\/a>Mutations-Perspectives sur la photographie<\/strong><\/a>, Paris Photo\/ Steidl, (dir.) Chantal Pontbriand, traduit en anglais<\/em><\/a><\/p>\n

\u2013\u00a0\u00a0\u00a0Images documentaires : comment disloquer l\u2019autorit\u00e9 ?<\/em>\u00a0(2011), in\u00a0Cahiers du post-dipl\u00f4me<\/strong>,document et art contemporain#1<\/strong>,\u00a0(dir.) Erik Bullot,\u00a0<\/em>Ecole Europ\u00e9enne Sup\u00e9rieure de l\u2019Image, Poitiers\/Angoul\u00eame<\/a><\/p>\n

\u2013\u00a0\u00a0\u00a0\u00a0\u00ab\u00a0De nouvelles g\u00e9ographies visuelles<\/em>\u00a0\u00bb (2011), in Hors s\u00e9rie\u00a0Artpress 2<\/strong>\u00a0\u00ab Cin\u00e9mas contemporains \u00bb, (dir.)\u00a0Christophe Kihm<\/strong>, traduit en anglais<\/a><\/p>\n

\u2013\u00a0\u00a0\u00a0\u00a0Pour une arch\u00e9ologie du regard<\/em>\u00a0(2010) in\u00a0Catalogue de META Biennale de Bucarest<\/strong>, Traduit en roumain et anglais (\u00e9d. Mica Gherghescu))<\/a><\/p>\n

\u2013\u00a0\u00a0\u00a0 Catalogue patrimonial, Collection FILM,\u00a0Editions Centre Pompidou<\/strong>, 2009 \u2013 Textes sur Lionel Soukaz, Fran\u00e7oise Janicot, Bernard Heidsieck<\/p>\n

\u2013 \u00a0 \u00a0Art\/Cin\u00e9ma Queer, cartographie d\u2019un art politique contemporain\u00a0<\/em>in\u00a0Revue\u00a0Multitudes n\u00b035<\/strong>, hiver 2008-2009, \u00e9ditions Amsterdam.\u00a0
\n\u2013 \u00a0 \u00a0<\/em>Descolonizando el cuerpo<\/em>.\u00a0Vid\u00e9operformance f\u00e9ministe, queer, d\u00e9coloniale chicana et latinoam\u00e9ricaine\u00a0<\/em>in\u00a0<\/em>Revue\u00a0Multitudes n\u00b035<\/strong>, hiver 2008-2009, \u00e9ditions Amsterdam.
\n\u2013 \u00a0 \u00a0Entretien avec Rapha\u00ebl Vincent in Revue\u00a0Multitudes n\u00b035<\/strong>, hiver 2008-2009, \u00e9ditions Amsterdam.<\/p>\n

\u2013\u00a0\u00a0\u00a0\u00a0Mujeres creando, interventions f\u00e9ministes en Am\u00e9rique Latine<\/em>, revue\u00a0Offensive<\/strong>, 2007<\/p>\n

\u2013\u00a0\u00a0\u00a0\u00a0Andr\u00e9 Almuro, pour une cin\u00e9-graphie radicale<\/em>, site\u00a0Bref Magazine<\/strong>\u00a0(2009)
\n\u2013\u00a0\u00a0\u00a0\u00a0Entretien avec Yvonne Rainer<\/em>, blog\u00a0elles@centrepompidou<\/strong>, septembre 2009<\/a>
\n\u2013\u00a0\u00a0\u00a0\u00a0Entretien avec Sandra Monterroso<\/em>, blog\u00a0elles@centrepompidou<\/strong>, juin 2009<\/a>
\n\u2013\u00a0\u00a0\u00a0\u00a0Carl Gustav Jung, l\u2019\u00e9ternel de l\u2019imaginaire<\/em>, in Courants et pratiques psy, \u00e9ditions Larousse, 2007, (dir.) Marc Horwitz[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” animated_gradient_bg=”true” animated_gradient_bg_color_1=”#f4b76b” animated_gradient_bg_speed=”1300″ animated_gradient_bg_blending_mode=”organic” scene_position=”center” top_padding=”3%” constrain_group_1=”yes” bottom_padding=”3%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” id=”conferences” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][split_line_heading animation_type=”line-reveal-by-space” font_style=”h1″ line_reveal_by_space_text_effect=”default” content_alignment=”default” mobile_content_alignment=”inherit” link_target=”_self” text_content=”Conf\u00e9rences” font_size=”8vw”][\/split_line_heading][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

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