https://anthonyvine.com Anthony Vine Thu, 26 Mar 2026 01:03:35 +0000 https://anthonyvine.com en https://anthonyvine.com/Home-Image-Scroll Sun, 19 Mar 2023 23:21:58 +0000 Anthony Vine https://anthonyvine.com/Home-Image-Scroll <img width="1200" height="1600" width_o="1200" height_o="1600" data-src="https://freight.cargo.site/t/original/i/b4b72b34c9586949f272489f039363572ddcc723451a8a46755d0797c6d6af78/IMG_1461.jpg" data-mid="183096748" border="0" data-scale="41" src="https://freight.cargo.site/w/1000/i/b4b72b34c9586949f272489f039363572ddcc723451a8a46755d0797c6d6af78/IMG_1461.jpg" /> https://anthonyvine.com/info Sun, 19 Mar 2023 23:21:59 +0000 Anthony Vine https://anthonyvine.com/info Anthony Vine is a composer and artist living in Brooklyn, New York. His work consists of orchestral and chamber music, sound sculptures, installations, film scores, photography, artist books, and writing. His music has been presented in concert halls and art contexts alike, from Carnegie Hall to the Metropolitan Museum of Art. Across these different mediums, he explores the material and spiritual nature of sound, as well as the themes of archive, place, and time. His music has been performed by orchestras like the La Jolla Symphony and Chorus, Minnesota Orchestra, and St. Louis Symphony Orchestra, and chamber ensembles like Quatuor Bozzini, Longleash, and Yarn/Wire. He has co-created work with musicians like Gareth Davis, Madison Greenstone, and Jack Langdon, as well as archaeologists, architects, designers, and filmmakers. Recordings of his music have been released on Cassauna/IMPREC, Celestial Excursions, Kuyin, Cantaloupe, and Galtta Media, and his writing has been published by Blank Forms, Mutt Art Review, and Contemporary Music Review. He directs the imprint Bazetta University Press. Vine is the recipient of the 2024 Rome Prize in Musical Composition at the American Academy in Rome. In 2016, he received the Gaudeamus International Composers Award, where the jury noted, "Anthony Vine creates a solid, mature, beautifully crafted fragile sound world. He knows how to blur the identity of the different sources of sounds including the use of electronics in a very singular way." Other honors include fellowships and residencies from MacDowell,&nbsp; Bogliasco Foundation, Watermill Center, and Camargo Foundation; a 2022-24 Creatives Rebuild New York’s Artist Employment Program grant; the 2018 John J. Cali String Quartet Composition Award; a Salvatore Martirano Memorial Composition Award; and grants from the Jerome Foundation, New Music USA, NYSCA, and the Johnstone Fund for New Music. &nbsp; He holds a Ph.D. in Music from the University of California, San Diego, and teaches privately and at universities in and around&nbsp;New York City. <img width="2048" height="1366" width_o="2048" height_o="1366" data-src="https://freight.cargo.site/t/original/i/16b55223a89a221816d54c464ddd6ddcbd49d197f44c352f96facd8090674031/WhatsApp-Image-2023-11-15-at-18.48.32.jpeg" data-mid="202911082" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/16b55223a89a221816d54c464ddd6ddcbd49d197f44c352f96facd8090674031/WhatsApp-Image-2023-11-15-at-18.48.32.jpeg" />photo: Emily B. Frank https://anthonyvine.com/complete-list-of-projects Mon, 03 Apr 2023 15:43:38 +0000 Anthony Vine https://anthonyvine.com/complete-list-of-projects Chamber and Orchestral Music 2026 2026 2024 2022 2022 2019 2019 2019 2019 2018 2018 2018 2018 2018 2017 2017 2017 2017 2017 2016 2016 2016 2016 2016 2016 2016 2015 2015 2014 2013 Antiphon Cantus Worshipful Company Devotions The Song of St. Bazetta For Pierre SoulagesFluorescent StandardTerrainPrimaries and SecondariesWave RoomThe Innocence of TreesChaconneSoft Margins and Wide PeripheriesTibbetts WickMusic for an Apartment on Coles StreetCadwallader SonkRemainScrimBazetta Drifting, AglowIn Memoriam: Pauline OliverosLuminBetween BlueDistance/Absence NorthArr. of Rashad Becker’s ‘Themes IV’Grisaille TroostFrom a Forest of Standing MirrorsFor Agnes Martin piano, pipa, violin, cello string trio violin and piano harmonium, violin, cello b cl, electric guitar, orchestra string quartet bass clarinet and electric guitar violin and viola open instrumentation string quartet three string quartets flute and piano prepared piano voice, b cl, trumpet, trombone piano voice, flute, clarinet, trumpet, perc bass clarinet, violin, cello trombone and cassette tapes vln, db, e gtr, perc, and sine tones double bass and two perc violin and sine tones oboe, piano, percussion string quartet piano four hands and two perc two e gtr, sax, perc, piano, db chamber orchestra chamber orchestra two e gtr, sax, percussion perc., piano, and double bass fl, sax, two perc, piano, vln, cello Sound Art 2023 202320192017 Terrasong Visting HoursTape MusicBazetta Revisited sound sculpture sound installationsound sculpturesound installation and performance Collaborative Projects 2024 2023 2017-192014-16 Music for Isamu Noguchi’s Water Stone The Sound of a Place Hermetic Art Party Hallways chamber ensemble and fixed media chamber ensemble and fixed mediaclarinets, electric guitar, projectionselectric guitars and dancers Film Music 2025 20232019 Reliquary Grammar (Max Levin) Sound Spring (Catalina Alvarez) Crossroads of America (Gabrielle Muller) film set to music soundtrackmusic from “Remnants” Discography 2025 2024 2024 2024 2017 20172016 Reliquary Grammar The Generous Law Sound Spring Fluorescent Standard Remnants Trios Yarn/Wire Currents Vol. 4 Celestial Excursions Cassauna/Imprec KuyinCassauna/Imprec Galtta Media Cantaloupe MusicYarn/Wire Writing 2025 2025 2023 2023 2019 Devotional Music: Essays and Music on Spirituality, Voice, and Place The Anti-Ideal: Radigue and The Paradox of Recording (co-authored with Charles Curtis, Madison Greenstone) Dark Listening (liner notes for Daniel Fishkin’s “Dark Listening”) The Anti-Ideal: Radigue and The Paradox of Recording (co-authored with Charles Curtis, Madison Greenstone)Hermetic Art Journal Proquest Blank Forms Tripticks TapesContemporary Music Review Bazetta University Press Artist Books 2025 Visiting Hours Bazetta University Press https://anthonyvine.com/worshipful-company Mon, 29 Apr 2024 19:01:22 +0000 Anthony Vine https://anthonyvine.com/worshipful-company <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/cc455c7238b44eb1b5ded75d2654aa8deb769f911160354e75a209e8fb0285c8/IMG_7386.jpeg" data-mid="209967266" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/cc455c7238b44eb1b5ded75d2654aa8deb769f911160354e75a209e8fb0285c8/IMG_7386.jpeg" /> Worshipful Company / 2023a book of wordless chorales for violin and piano Written for the Bennardo-Larson Duo. Chorales are elemental. They are formed from a single melody, traditionally taken from a hymn or song, and supported by other voices which all move uniformly together. Due to their simple and rudimentary design, chorales are often used as pedagogical tools for young students to study part writing, harmony, and form. But the chorales written by Bach and other composers of the past were not conceived as exercises, but rather to communicate biblical texts, like psalms, in vernacular settings that were simple enough for large congregations of amateur musicians to sing. Chorales interest me because they are functional yet deeply aesthetic. They have what the potter and writer Alison Britton might call a “double presence.” The expression of "Worshipful Company” ranges from the solemnity of ancient liturgical music to the sentimentality of modern Catholic hymns to the innocence of music theory homework. Like the first chorales written by Martin Luther, they are structurally simple and immediate in expression. But they are without words, and not sung but rather bowed and hammered. Why this music for violin and piano registers as "sung" is a reminder that the voice is the substance of so many things. https://anthonyvine.com/terrasong Mon, 29 Apr 2024 20:42:02 +0000 Anthony Vine https://anthonyvine.com/terrasong <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/d5cd8e1bbbdb6333f25cde8b577c1cb3f3932fb65154d2480343727d0ea6dfc5/IMG_9063.jpeg" data-mid="209977303" border="0" src="https://freight.cargo.site/w/1000/i/d5cd8e1bbbdb6333f25cde8b577c1cb3f3932fb65154d2480343727d0ea6dfc5/IMG_9063.jpeg" /> terrasong / 2023sound sculpture audio︎ eight clay vessels (made by Ajay Manthripragada) with microphone feedback played on speakers and cassette tape players "terrasong" was created with the generous support of The American Academy in Rome. ‘terrasong’ starts from the elemental material of clay. The work develops from an interest in architectural terra cotta with ambiguous functions, such as medieval ceramic resonators used to amplify singing. The sculpture shapes and excavates sounds from wheel-thrown clay objects and plays them back on magnetic tape, a pliant and versatile material which can be cut and assembled like clay. These sounds are amplified with the unfired vessels from which they came, creating a sonorous world that is mimetic and self-similar, yet always changing. https://anthonyvine.com/fluorescent-standard Mon, 29 Apr 2024 20:55:01 +0000 Anthony Vine https://anthonyvine.com/fluorescent-standard <img width="1488" height="952" width_o="1488" height_o="952" data-src="https://freight.cargo.site/t/original/i/2446af88c963e468e8df9769f169f7216050c868783262829897caf908769dfd/IMG_9964.jpeg" data-mid="234300080" border="0" src="https://freight.cargo.site/w/1000/i/2446af88c963e468e8df9769f169f7216050c868783262829897caf908769dfd/IMG_9964.jpeg" /> Fluorescent Standard / 2024album (Cassauna Tape Company / Imprec) audio︎ Performed by Anthony Vine (electric guitar) &amp; Gareth Davis (clarinet) Mixed and mastered by Michael Hammond at Figure 8. “On Fluorescent Standard, guitarist Anthony Vine and clarinetist Gareth Davis present two luminous and serene worlds of harmonic sound. The duo entwine sustained tones, glowing with the resonant hues of their instruments, into enveloping and expansive atmospheres. Clarinet sonorities, swelling guitar chords, and tumbling elegiac piano fragments drift quietly through time in elusive cycles that subtly change and expand with each return. Every vibration is interconnected, aligned and fused attentively, causing the instruments to dissolve into themselves and emit residual vibratory energies, like fluorescence. What emerges is a music that invites quiet contemplation and rewards deep listening. While Vine and Davis met through the world of modern classical music, ‘Fluorescent Standard’ finds itself in the realms of drone, ambient, and new age. The music is grounded in early minimalist aesthetics of composers like La Monte Young and Phill Niblock, but also shares the sensibilities of contemporary artists like Fennesz, Sarah Davachi, and Stars of the Lid.” https://anthonyvine.com/visiting-hours Mon, 29 Apr 2024 19:33:52 +0000 Anthony Vine https://anthonyvine.com/visiting-hours &nbsp;<img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/7f9cc82222290f222f4ea233a7ccf449cba94383a3520c263ec1e2fac384ba0d/IMG_8596.jpeg" data-mid="246521234" border="0" src="https://freight.cargo.site/w/1000/i/7f9cc82222290f222f4ea233a7ccf449cba94383a3520c263ec1e2fac384ba0d/IMG_8596.jpeg" />Visiting Hoursinfo /&nbsp;installation / postcard box / sound https://anthonyvine.com/visiting-hours-installation Thu, 26 Mar 2026 00:33:00 +0000 Anthony Vine https://anthonyvine.com/visiting-hours-installation <img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/2ff9e54cdadd7d6ff7233c4222cd355c260921aa67a6414b0bdb47932528fa02/Winter-Open-Studios-2023_Installation-view_086.jpeg" data-mid="246521326" border="0" data-scale="99" src="https://freight.cargo.site/w/1000/i/2ff9e54cdadd7d6ff7233c4222cd355c260921aa67a6414b0bdb47932528fa02/Winter-Open-Studios-2023_Installation-view_086.jpeg" />Visiting Hours / 2023installation two-channel audio recordingssingle-channel digital video postcards pamphletsDecember 14, 2023 The American Academy in Rome, Rome, Italy Visiting Hours was created with the generous support of The American Academy in Rome. <img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/763bac9e94e72417712054b3b6fa3466df0b1d2cfccc7b0bca55a076bc57fdae/Winter-Open-Studios-2023_Installation-view_089.jpeg" data-mid="246521337" border="0" data-scale="99" src="https://freight.cargo.site/w/1000/i/763bac9e94e72417712054b3b6fa3466df0b1d2cfccc7b0bca55a076bc57fdae/Winter-Open-Studios-2023_Installation-view_089.jpeg" />&nbsp;<img width="4480" height="6720" width_o="4480" height_o="6720" data-src="https://freight.cargo.site/t/original/i/176eb8eeac795285420ff1d412b6b166dc5b7f6508a0c42e8e344660ff43f2a5/Winter-Open-Studios-2023_Installation-view_091.jpeg" data-mid="246521331" border="0" data-scale="46" src="https://freight.cargo.site/w/1000/i/176eb8eeac795285420ff1d412b6b166dc5b7f6508a0c42e8e344660ff43f2a5/Winter-Open-Studios-2023_Installation-view_091.jpeg" />&nbsp;<img width="4480" height="5973" width_o="4480" height_o="5973" data-src="https://freight.cargo.site/t/original/i/2102f85b38ec22fc913fa9dfd5eb68b5ae046166355722b9e438f0966f2a96d2/Winter-Open-Studios-2023_Installation-view_090.jpeg" data-mid="246521346" border="0" data-scale="52" src="https://freight.cargo.site/w/1000/i/2102f85b38ec22fc913fa9dfd5eb68b5ae046166355722b9e438f0966f2a96d2/Winter-Open-Studios-2023_Installation-view_090.jpeg" /> <img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/3dde5bf97630be0c8225e1feb85d0d2951b72ec9fd7bcc4c9703281dae986b1d/Winter-Open-Studios-2023_Installation-view_087.jpeg" data-mid="246521340" border="0" data-scale="99" src="https://freight.cargo.site/w/1000/i/3dde5bf97630be0c8225e1feb85d0d2951b72ec9fd7bcc4c9703281dae986b1d/Winter-Open-Studios-2023_Installation-view_087.jpeg" /> Text from the Visiting Hours pamphlet: Sound I stepped into San Giovanni della Pigna, an unassuming baroque church situated along the arterial streets near the Pantheon. Inside, looking at the gold adornments, striated marble, and shadowy frescoes a sort of double vision set in, causing everything to lose hold of its particularity and tumble into a blur of amber. From these walls, the sound of singing began to emerge. A recording of lugubrious liturgical chant was playing softly from white cylindrical speakers mounted in the marble. But instead of being sung, the chant line was played on flute, accompanied by a delicately strummed harp, and wrapped in a velvety synth pad, accentuating the candle lit mystique of the church. The primary aim of the music, it seemed, was to calm and comfort. Barely audible sacred sounds blanketed the austere emptiness of the church with an easygoing sheen, giving those who came to pray or look around the illusory feeling that someone or something was there. Wistful and tender, stripped of voice and sacred texts, the background music of San Giovanni della Pigna seemed to symbolize a lost sonorous past. The modern packaging of digital keyboards and computer sounds, and New Age expressions bridged the distant devotional past with our present. This sonorous world of reverent worship was synthetic and idealized yet rooted in something real. These looped recordings of gentle music echoed a time when the Liturgy of the Hours was incanted day and night, a time when churches sounded ceaselessly. The background music of the church also seemed to point to the future. The music was like an underpainting, a grisaille of wordless and voiceless melodic contours that would be "filled in" during the services to come.&nbsp;Background music helps us with waiting for the future, in elevators, grocery store queues, and here, for the liturgy, which in the Middle Ages was thought to be a moment of God’s literal arrival.&nbsp;Visiting hours, it reminds us, are liminal worlds. Light Inside Chiesa del Gesù, the mother church of the Jesuit order, stands an oil lamp. It is placed at the tomb of Pedro Arrupe, a renown former Superior General. Oil lamps play important roles in burial and memorial customs. Lighted lamps and candles are conduits for transcending time, symbolizing the eternal spirit of humans and gods, and prolonging the prayers and devotions said over them for as long as the flame burns. Fittingly, a kneeler for prayer is positioned near the oil lamp in the chapel of Pedro Arrupe. Filming the lamp from the kneeler, my phone clasped between my outstretched hands, I notice the oil lamp is doubly lit by a small LED lamp. Maybe it’s merely a garish design choice. But it also bolsters the containment, control, and constancy of this funerary light. In the prayer position, however, both light sources appear to flicker, my hands too; everything comes into humble alignment. Image B.N. Marconi provides "holy printing" services. Many of the postcards, leaflets, calendars, holy cards, and other printed matter found in the gift shops of Roman churches are produced at their facility in Genova. The photographs they shoot for churches are fortuitously in alignment with recent aesthetic trends. Moody rooms, flooded with direct flash, could easily be the backdrop for a Celine ad. I asked B.N. Marconi to make postcards from the photographs I had taken on my visits to churches in Rome. The images, like&nbsp;background music, are peripheral subjects. It's a collection of glimpses from under altars, in dormant niches, and inside entryways. An inscrutable beauty lies in this inbetweenness, where little is defined, finished, polished, or considered. Here, in these margins, waiting emerges again: an empty bulletin board awaiting an announcement, a veiled statue waiting for its feast day, a confessor anticipating reconciliation and forgiveness. These motifs, not fully realized, some unintentional, reveal fundamental&nbsp;impulses and feelings of the church that are buried beneath the overwrought marble and adornments, inside the carefully programmed ceremonies and narratives. Churches seem to speak more easefully and earnestly on the periphery. https://anthonyvine.com/visiting-hours-info Thu, 26 Mar 2026 01:03:35 +0000 Anthony Vine https://anthonyvine.com/visiting-hours-info <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/71acbd31d6e7e6650939ed652efbecdc5a61f46f9e8a0fe79927c2c3b86a4369/IMG_7071.jpeg" data-mid="246521634" border="0" src="https://freight.cargo.site/w/1000/i/71acbd31d6e7e6650939ed652efbecdc5a61f46f9e8a0fe79927c2c3b86a4369/IMG_7071.jpeg" />Visiting Hours / 2023-25 In Rome, background music (BGM) plays not only in elevators and doctor's offices, but also in churches. From speakers mounted in marble, sacred music coats these spaces with a peaceful patina, inducing tranquility and masking extraneous noise. These recordings, ranging from solemn liturgical chant to blissful New Age instrumentals, are often contemplative and saccharine in expression, evoking the past to soften the edges of the present. Listening closely, one may glimpse how a church understands its past and who it imagines itself to be now. From 2023 - 2024, I visited over seventy Catholic churches in Rome, making field recordings of the BGM I heard. The recordings were made by placing my phone against PA speakers and recording voice memos. Because BGM is generally played at low volume, the phone picked up details not heard otherwise, excavating what's hidden in this subliminally soft music. Due to the very colorful and vivid resonance of these large, vaulted churches, each field recording captures a strong sonic imprint of the church itself—its spatial volume, the presence of people, its goings-on—to such an extent, the recordings seem to transpose the very space where one is listening into the space emanating through the speakers. What was captured were singular moments. One morning at Chiesa di San Pietro in Montorio, for instance, a few crickets found their way into the vestibule, chirping along with recordings of Gregorian chant, stopping momentarily whenever someone entered. In Chiesa di Sant'Ignazio di Loyola, the whispers of big crowds assembled to look up at Andrea Pozzo's monumental illusory frescoes floated in a bed of sparse and sentimental electric keyboard music playing softly over the speakers. A few times, I returned to Chiesa di Sant'Ignazio di Loyola to re-experience what I recorded, to hear what else was on this ecclesiastical playlist, but I found nothing. Maybe the sacristan forgot to press play, maybe the church calendar had something to do with it. How the music was selected, where it came from, when and why it was played was unclear. But knowing, I feel, would demystify the whole thing. Seeking out church background music, I continually found myself in places that were nauseatingly garish and overwrought, manipulatively symmetrical and opulent. But they were also beautiful and beguiling, like the spiraling geometries of Borromini, as well as contemplative and heartfelt, like the piles of written prayers placed at the feet of statuary. What caught my eye again and again were the unremarkable and peripheral aspects of these churches—unkept corners, artificial plants, dingy candelabras, stacks of holy cards, empty bulletin boards, arrays of chairs and pews. When seen a certain way, at the right moment, these margins were unexpectedly sublime. I instinctually started taking photos, like any visitor to Rome, and an unforeseen collection began to take shape. The strong spatial presence in both the BGM field recordings and the photographs gave me the idea to stage them as an installation. The installation, Visiting Hours, was organized along three categories—sound, light, and image—and consisted of field recordings of church background music played on loop, a video projection of an oil lamp flickering in a church, and a selection of my photographs printed as postcards for attendees to take from a "gift shop." I also published a pamphlet with a “traveler’s guide” to church background music in Rome, and some writing about the installation. <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/40a74a56bb913339199afd2772ea14c818ffd398a2a3b1f99a37179a529f948e/IMG_8807.jpeg" data-mid="246521282" border="0" data-scale="98" src="https://freight.cargo.site/w/1000/i/40a74a56bb913339199afd2772ea14c818ffd398a2a3b1f99a37179a529f948e/IMG_8807.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/a6023274c9560d44d905c793fc3fbc0536714409e21fd07a01aed4a3faa62a69/IMG_8809.jpeg" data-mid="246521283" border="0" data-scale="98" src="https://freight.cargo.site/w/1000/i/a6023274c9560d44d905c793fc3fbc0536714409e21fd07a01aed4a3faa62a69/IMG_8809.jpeg" /> Visiting Hours is not just about the material, historical, and social contexts surrounding holy sites and tourism in Rome; it's also about the act of collecting, archiving, and excavating. As Italo Calvino writes in his essay Collection of Sand, “just like every collection, this one is a diary as well: a diary of travels, of course, but also of feelings, states of mind, moods… Or perhaps it is only a record of that obscure mania which urges us as much to put together a collection as to keep a diary, in other words the need to transform the flow of one’s own existence into a series of objects saved from dispersal, or into a series of written lines abstracted and crystallized from the continuous flux of thought.” https://anthonyvine.com/visiting-hours-postcard-box Thu, 26 Mar 2026 01:02:04 +0000 Anthony Vine https://anthonyvine.com/visiting-hours-postcard-box &nbsp;<img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/684ec05f221c06a0037f622616c3fc25884bfca5b053a6635a76f0cf70e76a86/vh_4.png" data-mid="246521469" border="0" src="https://freight.cargo.site/w/1000/i/684ec05f221c06a0037f622616c3fc25884bfca5b053a6635a76f0cf70e76a86/vh_4.png" />Visiting Hours / 2025postcard box Bazetta University Press, 2025edition of 50 clamshell boxes, 4 3/4” x 5 5/8” x 1 3/16”canapetta bookcloth covereach with 50 postcards, hand numbered, 5 15/16” x 1 3/16” photographs by Anthony Vinepostcards printed by B.N. Marconi in Genoa, Italybox design by Audris Waytondesign by Michael Dyer, RemakeVisiting Hours is in the collections of: The New York Public Library’s Artists’ Book Collection The American Academy in Rome Library The Ohio State University&nbsp;Library’s Special CollectionsAvailable for purchase. For inquiries, contact bazettauniversity@gmail.com. <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/d38367a9c4cfd61fcb5629fb2cb54b98a4f524e6b2b6af7ac1d554c54ff251c5/VH_1.png" data-mid="246521486" border="0" src="https://freight.cargo.site/w/1000/i/d38367a9c4cfd61fcb5629fb2cb54b98a4f524e6b2b6af7ac1d554c54ff251c5/VH_1.png" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/47a082f7ca3507ae49d6ec3f324c0f904cdaa33b1c8fd51136b8e582013cf30e/VH_2.png" data-mid="246521487" border="0" src="https://freight.cargo.site/w/1000/i/47a082f7ca3507ae49d6ec3f324c0f904cdaa33b1c8fd51136b8e582013cf30e/VH_2.png" /> <img width="5712" height="4284" width_o="5712" height_o="4284" data-src="https://freight.cargo.site/t/original/i/4cdd39855f72a5fa89bc95550a01caf284f44709b58d0834452f99682f4322a1/VH_3.jpg" data-mid="246521500" border="0" src="https://freight.cargo.site/w/1000/i/4cdd39855f72a5fa89bc95550a01caf284f44709b58d0834452f99682f4322a1/VH_3.jpg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/b673a6a8579f9dbac4fca454ecfe8af578edf49f40de17886761374d8903eafb/VH_5.png" data-mid="246521501" border="0" src="https://freight.cargo.site/w/1000/i/b673a6a8579f9dbac4fca454ecfe8af578edf49f40de17886761374d8903eafb/VH_5.png" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/2affb9b795291e49d38d8a60e5d92846d9383d2fa548eaec7016b4849b77a571/VH_7.png" data-mid="246521512" border="0" src="https://freight.cargo.site/w/1000/i/2affb9b795291e49d38d8a60e5d92846d9383d2fa548eaec7016b4849b77a571/VH_7.png" />