Survival (1983–85) by Jenny Holzer
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Survival (1983–85) by Jenny Holzer
The really unfortunate thing about mental health progress is that sometimes you realize you've made it in the form of "wow, I haven't felt this bad in a fucking while"
On the one hand it's a bit of a pick me up in a dark place to know that this will pass because it has passed before on the other hand sometimes it isn't entirely a pleasant thought to go "wow, I used to feel like this all the time. That was pretty fucking bad. It's pretty bad right now too also."
Someday your current baseline will be the sort of thing you consider A Really Bad Day. It does get better.
Rising From the Ashes is a set of sculptures carved from burnt wood remaining/ regrowing in Northcliffe W.A by artist Kim Perrier.
The folklore character of Mavka exists in legends and art. As the author of the photo project Alena Grom says, it has now become a symbol of victorious femininity and ardent selfless love. The project depicts real women, residents of the Ukrainian village of Horenka, Kyiv region, which was on the front line and under constant shelling in March 2022. Women have organised the "Horenski Mavky" volunteer group to weave camouflage for the defenders that imitated natural colours. "Kikimori" is camouflage clothing for snipers and scouts, which makes the military less visible and saves lives. Women of different ages, professions, and social statuses are united by the desire to do something important together. Volunteers are convinced that camouflage products, woven with love and faith, have the power of protection.
Sources: Ukraine.ua, grom_alena / Instagram
speaking on chornobyl, the word chornobyl, lit. "black-weed", is one of ukrainian folk names for wormwood. there is a legend about wormwood, described in vasyl tovstyi's book "legends and myths of ukraine". in this legend, a girl got lost in the forest and fell into a cave with vipers, who didn't eat anything, but when they got hungry they licked a stone. so when the girl got hungry herself, she licked the serpent's stone too, and from now on she understood the language of herbs and beasts. and so she lived in the cave until spring, and when the spring came, it was time for the serpents to leave the underearth and into the human world, and so the cave opened and stairs appeared, and the girl could leave. but the serpent tsarytsia told her: "you now know the language of beasts and herbs, but never say the word "wormwood" (chornobyl), or you will forget all this in an instant". the girl was excited to return home and ran to her village, but then, a voice came from behind her, and asked: "what is this herb, with the leaves all black?" and the girl, lost in her longing for home, answered: "chornobyl". and so all her knowledge was lost. this is why, the legend says, chornobyl is also called "zabudka" or "zabudiok" (forget-weed).
Foggy Morning in Orquevaux - Chloe Chlumecky , 2024,
Canadian , b. 1999 -
Oil on wood panel , 60 x 84 in.
Natalia Motuzko - The Voice of Grass (1992)
to understand how fragile you are, after all those years of wearing an armor and pretending it is your skin, to be able to protect yourself, your free time, your energy, the way you do things, the way you react, the way your body curls up and aches and bends, your choices (silly? no — all of them gentle swings of a weapon), to be able to live on your own terms without having to explain and educate and behave and keep quiet and feel afraid, mostly not to feel afraid anymore
7 p.m. in the Dinning Room - Chloe Chlumecky , 2025,
Canadian , b. 1999 -
46 x 32 in.
I am attracted to ellipsis, to the unsaid, to suggestion, to eloquent deliberate silence.
— Louise Gluck, from essay titled "Disruption, Hesitation, Silence" in "Proofs & Theories: Essays on Poetry" (Ecco Press, 1994)
Light in the Studio - Chloe Chlumecky , 2024.
Canadian , b. 1999 -
Oil on wood panel , 36 x 24 in.
Enrique Martinez Celaya, Constellation (Woodrooms) (2002)
Natalia Motuzko - The Voice of Grass (1992)
A better part of being a gardener, too, is that plants don't care who you are. A more disappointing part of being a person is a world that does, rather than allowing each to exist loved and cared for as a generally existing being generally existing. I am against brittle, needy forms of selfhood, and really over "anne boyer" as a concept I am supposed to be attached to, which is not the same as not appreciating the life which gathers inside my memories and senses. But what we have handed to us as selves at the moment are often desperate, burdensome subjectivities mauled into competition and produced by this frantic, sputtering phase of capitalism and information-damaged life. It's like these people we are told we are have nothing to do with us at all. It's so exhausting, what they did to us in elementary school, and then every day after, filling out the paperwork again and again, getting notifications, everything saying "this is you" when we all suspect that there is really something else.
There is no volunteering out of this situation, but there is a dialectical relationship to it and with this, opportunities for resistance. You can at least beg[i]n to make a path by which your atrophied senses return to shape. There is a lesson in attempting (carefully) the flourishing of your sensitivity even among the brutality. There is a lesson also in observing the current social construction of yourself with the same productive inquiry in which you observe a passing Tesla or a passing cloud.
Anne Boyer, “the same, all-coordinating light,” Mirabilary
Sugur summer for untamed days
when you say you’re searching for your life’s purpose what you actually mean is you are searching for a box, an identity, a way to compress yourself so that you are more digestible for yourself and others. You don’t have a life purpose, you have identities and roles, you have a desperate desire to relate.
🎀🩰🪽🪷 - linlinradio's album cover for "disco inferno", fangs created by erjjek on ig