Why Don't You Call Me What We Both Know I Am?

J'en ai encore sous la pédale, Il me reste quelques cartouches, quelques coups J'peux encore m't'enir debout sur ma chaise quand même J'ai pas encore fait la paix avec ma tête, avec les autres, avec mon coeur ni assez mis en sourdine ma colère et ma terreur.

[ljying]

[f4c3s]

[glitchartistscollective]

[pururin]

[wolverxne]

[teacoffeebooks]

My postcards from Shakespeare and Co. 

Photo by Assaf Shoshan

Photographer unknown, Skakespeare and Company Paris Archive

Photographer unknown, Skakespeare and Company Paris Archive

Photo by Christophe Laurentin

37 Rue De La Bûcherie 75005 Paris

[closerthanthepresenttense]

[infamousgod]

[fallenoutoffashion]

[travelingcolors-deactivated2020]

Canals of Venice | Italy (by Miguel de Guzmán)

[old-japanese-men]

[1000drawings]

[willwagna-deactivated20110314]

[veritasdico-deactivated20130420]

this woman’s beauty just doesnt fade

[fearlessnessxo]

She’s like “Fuck yeah, I can still pull this shit off bitches.”

[365revolution]

GIF 124 (08.01.2015) : je suis charlie

[niiick4]

[therhumboogie]

By Sunga Park, this dreamy set of watercolour illustrations are the stuff of wonder, using sweeping forms of colour to build structure that is dotted with stunning detail makes such fascinating architecture.

[thefinalact]

[citizenblake-blog]

Wassily Kandinsky, “Tanzkurven: Zu den Tänzen der Palucca,” Das Kunstblatt, Potsdam, vol. 10, no. 3 (1926)

Dancer and choreographer Gret Palucca (1902-1993) was a former student of Mary Wigman, the leading figure in German Expressionist dance. In 1925, Palucca opened her own dance studio in Dresden and developed close contacts with various Bauhaus instructors, many of whom greatly admired her dance style. Wassily Kandinsky’s four “analytical drawings,” which were based on photographs of Palucca by Charlotte Rudolph, illustrate how closely the dancer’s style coincided with the Bauhaus aesthetic. The drawings and photographs were published in the arts journal Das Kunstblatt in 1926. According to Kandinsky, Palucca’s “principal assets” were “1. Simplicity of the whole form, and 2. Construction of the large form.”