the sky lit up


EMMANUEL / 17 / AUCKLAND


shihlun:

Francis Alÿs, The Green Line, 2004.

In 1995, Francis Alÿs realised an action in São Paolo called The Leak in which he walked from a gallery, around the city, and back into the gallery trailing a dribbled line from an open can of blue paint. This action was reprised in 2004 when he chose to make a work in Jerusalem. Using green paint, Alÿs walked along the armistice border, known as ‘the green line’, pencilled on a map by Moshe Dayan at the end of the war between Israel and Jordan in 1948. This remained the border until the Six Day War in 1967 after which Israel occupied Palestinian-inhabited territories east of the line.
Though palpably absurd, and greeted by onlookers with some bewilderment, Alÿs’s action of dribbling green paint behind him raised the memory of the green line at a time when the separation fence was under construction to the east of the green line. He later encouraged various commentators from Israel, Palestine, and other countries to reflect on his action, and their voices, sometimes sceptical, sometimes approving, can be heard while the video of his action is screened. Most importantly Alÿs wanted to ask what the role of poetic acts could be in highly charged political situations, while acknowledging that the relation of poetics to politics is always contingent.

shihlun:

Francis Alÿs, The Green Line, 2004.

In 1995, Francis Alÿs realised an action in São Paolo called The Leak in which he walked from a gallery, around the city, and back into the gallery trailing a dribbled line from an open can of blue paint. This action was reprised in 2004 when he chose to make a work in Jerusalem. Using green paint, Alÿs walked along the armistice border, known as ‘the green line’, pencilled on a map by Moshe Dayan at the end of the war between Israel and Jordan in 1948. This remained the border until the Six Day War in 1967 after which Israel occupied Palestinian-inhabited territories east of the line.

Though palpably absurd, and greeted by onlookers with some bewilderment, Alÿs’s action of dribbling green paint behind him raised the memory of the green line at a time when the separation fence was under construction to the east of the green line. He later encouraged various commentators from Israel, Palestine, and other countries to reflect on his action, and their voices, sometimes sceptical, sometimes approving, can be heard while the video of his action is screened. Most importantly Alÿs wanted to ask what the role of poetic acts could be in highly charged political situations, while acknowledging that the relation of poetics to politics is always contingent.

(Source: christyl-meth)

Plaid // Lilith (feat. Björk)

(Source: bobnintendo)

(26 plays)

kinyoubi:

Björk by Takashi Homma


I guess I’ll see you next lifetime

No hard feelings.

(6,451 plays)
tierradentro:

“The Eternal Evidence”, 1930, René Magritte.

tierradentro:

The Eternal Evidence”, 1930, René Magritte.

likeafieldmouse:

Man Ray - Lee Miller (1930)

likeafieldmouse:

Man Ray - Lee Miller (1930)

fluxile:

I saw this at the museum yesterday

fluxile:

I saw this at the museum yesterday

spring2000:

honestly when is america going to wake up

fifteen of my paintings are missing

i feel awful

dekonstruktivisme:

Raf Simons autumn—winter 1998—99.
Raf Simons organised his elaborately orchestrated show, called ‘RADIOACTIVITY’ in the Moulin Rouge in Paris on Friday January 23rd 1998. 
The collection was inspired by: Kraftwerk, Laurie Anderson, Vanessa Beecroft, Ceremony the 80’s New Wave and Punk. The show was a continuous alternation of classic and trash.Make-up and Hair: The head group of the models had dyed black hair and pale faces. The faces of the Kraftwerk part were made up in white, with bright red lips. Four spider-men appeared with a spider-web on their faces.
The silhouettes: Tight, strictly classical, shapes with influences of Punk, New Wave and historical costumes. The coats had a sharp form and shiny zippers. A group of female models appeared wearing slim classic jackets, bodysuits, tights and high heeled shoes and with shiny motorcycle helmets on their heads, all in black.Colours : Black, Grey and red (Kraftwerk shirts).

dekonstruktivisme:

Raf Simons autumn—winter 1998—99.

Raf Simons organised his elaborately orchestrated show, called ‘RADIOACTIVITY’ in the Moulin Rouge in Paris on Friday January 23rd 1998. 

The collection was inspired by: Kraftwerk, Laurie Anderson, Vanessa Beecroft, Ceremony the 80’s New Wave and Punk. The show was a continuous alternation of classic and trash.

Make-up and Hair: The head group of the models had dyed black hair and pale faces. The faces of the Kraftwerk part were made up in white, with bright red lips. Four spider-men appeared with a spider-web on their faces.

The silhouettes: Tight, strictly classical, shapes with influences of Punk, New Wave and historical costumes. The coats had a sharp form and shiny zippers. A group of female models appeared wearing slim classic jackets, bodysuits, tights and high heeled shoes and with shiny motorcycle helmets on their heads, all in black.

Colours : Black, Grey and red (Kraftwerk shirts).

someone at school stole all my paintings i feel homicidal

euo:

Behind the scenes of 2001: A Space Odyssey

euo:

Behind the scenes of 2001: A Space Odyssey

i always feel like i’m wasting my time no matter what i’m doing