Real Surreal. Protagonist is a boiled egg.
NASA
will byers stan first human second
occasionally subtle
taylor price
almost home
YOU ARE THE REASON
cherry valley forever

祝日 / Permanent Vacation
Sade Olutola
ojovivo

PR's Tumblrdome
Xuebing Du

roma★

oozey mess
No title available

Discoholic 🪩
Keni

if i look back, i am lost

Love Begins
Show & Tell
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@corbleimy
Real Surreal. Protagonist is a boiled egg.
Bad Things That Could Happen
A series of unfortunate events in a subverted world where the mundane is made absurd. Particularly partial to the trauma of an underdone boiled egg. Story of my life.
'If two people wear the same suit, it's awkward.'
These wonderful, wise, well-dress dudes know what they're talking about. 'Sapeurs' the newest Made of More ad from Guinness and London agency AMV BBDO.
The spot shines a light on the Society of Elegant Persons of the Congo, better known as the Sapeurs. This impeccably stylish club, made up of blue-collar workers who dedicate their off time to colorful fashion and effortless savoir faire, has drawn international attention in recent years as a bellwether of peacetime optimism and confidence in the Republic of the Congo.
In the spot, we see real-life Sapeurs ending a day of hard work and transforming themselves into vibrant icons of the local nightlife. Though the ad was filmed in South Africa with the involvement of professional stylists, it's clear from the related behind-the-scenes video that the spot captures a vignette that's true to life.
"They have a simple philosophy: to defy circumstance and live with joie de vivre," explains the narrator in Guinness's "Sapeurs: a Short Documentary."
The ad itself succeeds on many levels, perhaps most of all by capturing the Sapeurs' commitment to personal style and expression rather than portraying their club as some hedonistic celebration of overpriced opulence.
Conclusion: Beautifully shot, beautiful shoes.
Finding Vivian Maier.
Vivian Maier’s photographs were seemingly destined for obscurity, lost among the clutter of the countless objects she’d collected throughout her life. Instead these images have shocked the world of street photography and irrevocably changed the life of the man who brought them to the public eye. This film brings to life the improbable saga of John Maloof’s discovery of Vivian Maie.
The Japanese Popstars - Let Go.
David WIlson concentrates on free-flowing stream-of-consciousness illustrations to create this psychedelic mindwarp. Mesmerisingly hypnotic. And pretty fucking weird.
Fluffy McCloud
Mr Finnegan's first instalment. This displays a mix of stop-motion, live action and hand drawn animation. Featuring a cotton wooled, happy go lucky cloud who bumbles along trying to do good. Is this EVEN better than Fear of Flying Doogle? Ek.
Fear of Flying
Stop-motion animation featuring a small, fluff,y red hat clad birdy called Doogle with a Fear of Flying. And a crush on Lucy.
Playfully blending live-action puppetry with 2D and 3D animation techniques, Conor Finnegan displays visual flair and quirky storytelling, and a wicked sense of humour: 'Let's get the flock out of here.'
Conor Finnegan you God.
Energy Flow App
A filmic dream rush of paintings in motion: Energy Flow is an immersive film experience that is unique every time it is played, exploring the complexity of how things are connected in our lives today - the fragile equilibrium between physical, political, and cultural tensions.
The bespoke algorithmic system of Energy Flow interlinks the stories into countless unique film experiences. From a quick dream rush to a meditative impression, each iteration of Energy Flow presents a different abstract narrative full of crosslinks and connotations; reflecting that there is never just one perspective on our complex world.
Jenny Holzer: Light Stream
Documenting the Neo-Conceptualist's Largest Kinetic Work in Hong Kong, New York artist Jenny Holzer’s LED slogans rise and fall to a John Cage soundtrack in today’s short from director Ringo Tango. Using an aesthetic that mixes Bladerunner’s visions of the postmodern megalopolis with The Matrix’s cascading waterfalls of code, Tang has constructed a video montage of Holzer’s latest polychromatic show Light Stream at Pearl Lam Galleries in Hong Kong. 'I want to share the way I feel about her work with more people,' says the filmmaker, 'and make them think more deeply about the value of the world.'
Holzer first rose to prominence in 1982 when she showed her text works on the massive Spectacolor screen at Times Square, becoming part of a highly influential generation of female artists including Barbara Kruger, Cindy Sherman and Louise Lawler.
Light Stream is her largest ever LED installation, comprising of three of her own classic texts—Truisms, Survival and Living—which appear in both English and Chinese and dance around her spiraling minimalist sculptures in eight-hour cycles of mechanical writing. 'I became addicted to electronics,' says Holzer of her attraction to working with LED. 'I just like looking at them, and making them do tricks.'
Funky.
Jackson and His Computerband - G.I. Jane (Fill Me Up) Official Music Video NSFW
In this erotic animation an anonymous female protagonist takes on a phallic army in Mrzyk & Moriceau’s erogenous epic for Jackson and His Computerband. Taking new single “G.I. Jane (Fill Me Up)” as their starting point, the French directing duo worked with a team of five animators for two months to create a chimerical world of sexual fantasy.
Ants, Ants, Ants in my Pants.
Exquisite execution vs. creepy crawly subject matter. What's not to like? It’s not hard to see that each piece is incredibly detailed and well-executed, making it strangely beautiful whilst simultaneously repulsive.
German artist Evelyn Bracklow of La Philie is the creator of these one-of-a-kind vintage porcelain dishes covered in hordes of hand-painted ants. Bracklow says of the pieces:
'The idea for this work resulted from pure chance, when the sight of a carelessly placed plate—by then wandered by ants—fascinated me so much that I felt the urge to simply conserve this image. Fear, disgust, fascination and admiration: this very interplay of feelings constitutes the charm of the work. Furthermore, to me, the ants symbolize all the stories that any formerly discarded piece of porcelain carries with it. Where one once dined and drank, today ants bustle in ever new formations, every single one applied with a great love for detail.'
ANIMATION + LEGO + D.BOWIE = THE DREAM.
Exploring how far the human human can stretch the imagination with ceramics, Lily Jencks and Nathanael Dorent got to work on the Pulsate project at tile retailer Capitol Designer Studio.Using tiles from top tile producer Marazzi, the pair decided on a herringbone pattern using four colours, which sounds simple enough but when meticulously realised in 3D does rather send the inner ear into a trippy surreality. Both collaborators have an award-winning architectural background, which they used when designing the sloping floors and cutaway benches – essential for giddy visitors to park themselves on while they get their bearings.
Who knew Picasso's guitar could be so sexy?
Clip from Milos Forman's black-humoured Czech gem Loves of a Blonde (1965
Pierre Molinier you dirty dog.
Inveterate seducer, staunch fetishist, unapologetic transvestite and accidental bisexual, Molinier was a virtually obscure French surrealist. He produced works featuring homemade godemiche (dildos) and casts himself as the star of the show. Typical.
Molinier endorses the fetishistic function of photography, allowing the viewer satisfaction through a fantasized object. His work portrays an array of objects which serve as fetishes for his photographic oeuvre and erotic stagings. Peter Gorsen documents how Molinier paid a great deal of attention to the crafting of his homemade godemiches (dildos), employed for anal-masturbation. These multiple perversions are compressed in Fig. 1 in a constellation of symbols, objects, and fetishes. A dramatically vignetted tableau, the image features a stockinged leg from the knee down clad in a high heeled shoe, bound to it by multiple leather straps. Extending from the heel is a sleek and erect phallic form; one of the artist’s self constructed godemiches. Almost in a stage-like setting, this leg, stiletto and godemiche composite is the protagonist Encircled in bright light, it alludes to the staging of an erotic performance.
The relocated phallus attached to a fetishized and feminine garment disrupts the system of binary oppositions by which we traditionally understand gender. Wayne Baerwaldt in his introductory essay on Pierre Molinier elaborates upon the idea of the godemiche claiming, ‘these became essential for his staged acts of transformation to the androgynous hermaphrodite.’ This was Molinier’s solution for attaining true androgyny; the godemiche could merely be brought up to the anus simple by bending back one’s knee, demonstrating an erotic self performance. He is both the seducer and seduced, the director, protagonist and antagonist in this proscenium of orgiastic narcissism.
His transformation utilizes surrealist strategies of defamiliarizing the female body towards the steps of remapping himself. Molinier documented extensively his posing and masquerade within the realm of an authentic transvestism. Fond of wearing his mother’s and sister’s stockings and shoes, he became a practicing transvestite by the age of eighteen. The visualization and aesthetic manipulation of transvestites in Molinier’s photomontages function as a negotiation of the social prejudices attached to the ambiguous sexuality and the effeminate male.
Molinier’s sexual, fetishistic kitsch is reminiscent of the Symbolist’s mythical chimera. In genetics, a chimera is defined as an organism, part female part male. Molinier’s efforts at transgression are what Laura Kipnis describes as the ‘prison- house of binary gender role assignment.’ Fig. 2 features a backlit hermaphroditic figure in high heels, stockings, corset, a garter belt and mask. Breasts and phallus are suggestively erect. By highlighting amalgamated structures of male anxiety and gender indeterminacy, the fragmented body’s hybridity raised questions of ideas of unity and coherence, defining a body associated with instability. Molinier successfully ‘destabilizes the viewers’s assumptions about the boundaries between apparently contradictory things: between conventional and “perverted” sex... and between men and women.’ Fig. 3 depicts two gender ambiguous figures are bound together. A strong theme of doubling, they appear to be identical replicas of one another. Do Molinier’s figures represent the ‘third sex,’ a reconciled androgyny? Was it possible for Moliner to reject gender specificity through these transformations towards the desire for a unified sexual being?
Feminists have argued that this assumed femininity demonstrates precisely what women lack: the phallus. Amelia Jones questions if this ‘feminized phallus’ simply operates ‘as a masculine strategy to define them as empowered in relation to a devalued feminine other?’ The man in drag is the phallus woman. Within this context, one can interpret Molinier’s feminine performance as a strategy to assert his own masculinity. However it is a comparison of the theories of Judith Butler and psychoanalyst Jacques Lacan which creates a contrasting argument surrounding this performed identity. Lacan, preoccupied with oppositional binary notion of gender, believed the masquerade to be the enactment of sexual difference; ‘the masculine ideal and the feminine ideal are represented in the psyche.’ However, Butler’s theories along with Molinier’s guise, overcome Lacan’s fixed binary, oppositional, phallus-centred gender theories situated around the masquerade, promoting the idea of drag as performance. Rowe Burns writes that ‘feminist Judith Butler has done much to highlight the problems inherent in Lacan’s psychoanalytic economy.’ Butler claims that drag is neither imitation nor copy of a prior and ‘true’ gender. The parody of drag is, for Butler, a significant way to resist the power structures which regulate our identity in society by ridiculing normative cultural expressions. Following Butler’s examination of gender itself as performative, one can interpret Molinier’s strategy of dressing as a woman as delineating sexual difference and emphasizing the fluidity between the two.
Through his feminine performance, Molinier expresses Butler’s theories, distorting the original notion of a primary gender. He does not imitate a true gender but exemplifies the impersonation that gender is. Along with Butler, Marjorie Garber questions Lacan’s structural framework of binary identity through her description of the ‘category crisis’ evoked by a disruptive ‘third term,’ embodied in the ‘figure of the androgyne, the transvestite, the transsexual and the cross-dresser.’ For Garber ‘one of the most important aspects of cross-dressing is the way in which it challenges notions of binarity, putting into question the categories of “female” and “male” whether they are considered essential or constructed, biological or cultural.’ Lichtenstein theorizes a bi-gendered position produced for the viewer by the artist’s interruption of traditional gender oppositions of spectatorship.
Exploring issues of forbidden lust through the vehicle of the informe and uncanny, Molinier transcends Surrealist practice. Exploiting its boundaries and limits, he exploits the idea of the manipulated female form. Indeed, initially integrated into the group, Molinier was later expelled from the movement by Breton who decided Molinier’s work was too provocative, even for him. His explicit focus on mutilated, deformed or dismembered female body represents the socio-political climate in which it was made. With intentions to shock, Molinier challenges the viewer to question orthodoxies of art and morality, daring one to discover their true erotic sensibility.