Un sarcófago lleno de plumas. Aesthetic, passionate and arbitrary.
Thursday 7/17/2014

(1 note)

"Well-run libraries are filled with people because what a good library offers cannot be easily found elsewhere: an indoor public space in which you do not have to buy anything in order to stay. In the modern state there are very few sites where this is possible. The only others that come readily to my mind require belief in an omnipotent creator as a condition for membership. It would seem the most obvious thing in the world to say that the reason why the market is not an efficient solution to libraries is because the market has no use for a library. But it seems we need, right now, to keep re-stating the obvious. There aren’t many institutions left that fit so precisely Keynes’ definition of things that no one else but the state is willing to take on. Nor can the experience of library life be recreated online. It’s not just a matter of free books. A library is a different kind of social reality (of the three dimensional kind), which by its very existence teaches a system of values beyond the fiscal."
Monday 7/7/2014

(17,979 notes)

zadie smith;

Pieces of a plane and a destroyed Rodin sculpture from the World Trade Center at Fresh Kills landfill, 2002. (Photograph: Kathy Willens/AP)
Monday 6/23/2014

(1 note)

kathy willens; 2002; auguste rodin;

Pieces of a plane and a destroyed Rodin sculpture from the World Trade Center at Fresh Kills landfill, 2002. (Photograph: Kathy Willens/AP)

"

Beauty can— and should— be something you create, not default to.

A lot of artists make music that’s pleasant mostly by virtue of subtraction and exclusion. Which is to say that the music soothes because it never does anything that might unbalance you. All of its elements are familiar, put together, and performed well, and brought down to a hush that feels reasonably beautiful— say, acoustic instruments, lilting melodies, cozy production, a charming voice. Plenty of terrific, moving music is made this way. But a lot of it risks leaving no impression; it serves a purpose and drifts away.

It’s possible, though, to make something beautiful by virtue of creation, (…)

"
"Lo más estúpido son las quejas. Siempre hay alguien por
quien sentimos rencor. Siempre hay uno u otro que se nos
acerca demasiado. Siempre éste o aquél ha sido injusto con
nosotros. ¿Por qué todo esto? ¿Qué significado tiene y por
qué no estamos dispuestos a aceptarlo? Esta mezquina absurdidad
nos ronda en la cabeza, mezquina porque nos concierne
sólo a nosotros mismos, de hecho a la parte más ínfima de
nuestra propia persona, la frontera siempre artificial. Con estas
quejas se va llenando la vida como si fueran palabras cargadas
de sabiduría. Proliferan como sabandijas, se multiplican
más rápidamente que los piojos. Con ellas nos quedamos
dormidos y con ellas nos despertamos; la “vida práctica” de
los hombres no está hecha de otra cosa."
Elias Canetti, Queja
Anoli Perera, Memory Keeper: Red Cupboard, 2014,Video, monitor, cupboard, fabric, ceramic cups, 183 cm x 140 cm x 76
Sri Lanka’s Anoli Perera materially grasps at notions of feminine time through her Memory Keeper: Red Cupboard (2014) in which a woman’s hands ceaselessly perform genteel chores, such as polishing china and serving tea behind a lace screen which itself sits atop a bulging wave of fabric balls and china cups, materially transposing memory onto reality.
Tuesday 5/13/2014

anoli perera; 2014;

Anoli Perera, Memory Keeper: Red Cupboard, 2014,Video, monitor, cupboard, fabric, ceramic cups, 183 cm x 140 cm x 76

Sri Lanka’s Anoli Perera materially grasps at notions of feminine time through her Memory Keeper: Red Cupboard (2014) in which a woman’s hands ceaselessly perform genteel chores, such as polishing china and serving tea behind a lace screen which itself sits atop a bulging wave of fabric balls and china cups, materially transposing memory onto reality.

getinthetardisbeatles:

Joann Sfar, Le Chat du Rabbin, 2002
Sunday 5/11/2014

(28 notes)

joann sfar; 2002;

getinthetardisbeatles:

Joann Sfar, Le Chat du Rabbin, 2002

(1,046 notes)

suheir hammad;

angryasiangirlsunited:

Suheir Hammad - Not Your Erotic, Not Your Exotic

don’t wanna be your exotic
some delicate fragile colorful bird
imprisoned caged
in a land foreign to the stretch of her wings
don’t wanna be your exotic
women everywhere are just like me
some taller darker nicer than me
but like me but just the same
women everywhere carry my nose on their faces
my name on their spirits
don’t wanna
don’t seduce yourself with
my otherness my hair
wasn’t put on top of my head to entice
you into some mysterious black voodoo
the beat of my lashes against each other
ain’t some dark desert beat
it’s just a blink
get over it
don’t wanna be your exotic
your lovin of my beauty ain’t more than
funky fornication plain pink perversion
in fact nasty necrophilia
cause my beauty is dead to you
I am dead to you
not your
harem girl geisha doll banana picker
pom pom girl pum pum shorts coffee maker
town whore belly dancer private dancer
la malinche venus hottentot laundry girl
your immaculate vessel emasculating princess
don’t wanna be
your erotic
not your exotic

Philip Galanter, Untitled (F091148), 2002
Friday 3/21/2014

(1 note)

philip galanter; 2002;

Philip Galanter, Untitled (F091148), 2002

"I think it’s important to note that just because a work is exploring complexity as a topic that doesn’t mean the piece itself has to be complex in the everyday sense of the word. My own bias is that complexity art may well reinvigorate minimalist values. After all minimalism was never about making a minimum of art, it was about making maximal art with minimal means. It’s not surprising that it lead to conceptual art because the stripped down nature of minimalism demanded precision, clarity, and focus to succeed."

(3 notes)

philip galanter;