happy violentines

[happy-violentines-blog]

an artist’s life manifesto

marina abramovic

1. an artist’s conduct in his life:

. an artist should not lie to himself or others 

. an artist should not steal ideas from another artist

. an artist should not compromise for himself or in regards to the art market 

. an artist should not kill other human being

. an artist should not make himself into an idol 

. an artist should not make himself into an idol 

. an artist should not make himself into an idol 

2. an artist’s relation to his love life: 

. an artist should avoid falling in love with another artist (i made twice)

. an artist should avoid falling in love with another artist 

3. an artist’s relation to the erotic: 

. an artist should develop an erotic point of view on the world 

. an artist should be erotic 

. an artist should be erotic 

4. an artist’s relation to suffering: 

. an artist should suffer 

. from the suffering comes the best work 

. suffering brings transformation 

. through the suffering an artist transcends his spirit 

. through the suffering an artist transcends his spirit 

  5. an artist’s relation to depression:

. an artist should not be depressed 

. depression is disease and should be cured 

. depression is not productive for an artist

. depression is not productive for an artist 

6. an artist’s relation to suicide: 

. suicide is a crime against life 

. an artist should not commit suicide 

. an artist should not commit suicide 

. an artist should not commit suicide 

7. an artist’s relation to inspiration: 

. an artist should look deep inside himself for inspiration 

. the deeper he looks inside himself, the more universal he becomes 

. the artist is universe 

. the artist is universe 

. the artist is universe 

8. an artist’s relation to self-control: 

. the artist should not have self-control about his life 

. the artist should have total self-control about his work 

. the artist should not have self-control about his life 

. the artist should have total self-control about his work 

9. an artist’s relation with transparency: 

. the artist should give and receive in the same time 

. transparency means receptive 

. transparency means to give 

. transparency means to receive 

10. an artist’s relation to symbols: 

. an artist creates his own symbols 

. symbols are an artist’s language 

. the language must then be translated 

. sometimes, is difficult to find the key 

. sometimes, is difficult to find the key 

. sometimes, is difficult to find the key 

11. an artist’s relation to silence: 

. an artist has to understand silence 

. an artist has to create a space for silence to enter his work 

. silence is like an island in the middle of turbulent ocean 

. silence is like an island in the middle of turbulent ocean 

12. an artist’s relation to solitude: 

. an artist must make time for long periods of solitude 

. solitude is extremely important 

. away from home 

. away from studio 

. away from family

. away from friends 

. an artist should stay for long period of time at waterfalls 

. an artist should stay for long period of time at exploding volcanoes 

. an artist should stay for long period of time looking at the fast running rivers 

. an artist should stay for long period of time looking at the horizon where the ocean and sky meet 

. an artist should stay for long period of time looking at the stars in the night sky 

13. an artist’s conduct in relation to work: 

. an artist should explore life and work only when idea comes to him in a dream or during the day, as a vision that arises as a surprise 

. an artist should not repeat himself 

. an artist should not overproduce 

. an artist should avoid his own art pollution 

. an artist should avoid his own art pollution 

. an artist should avoid his own art pollution 

  14. a list of artist’s friends: 

. an artist should have friends that lift the spirit

. an artist should have friends that lift the spirit

. an artist should have friends that lift the spirit 

15. a list of artist’s enemies: 

. enemies are very important 

. the dalai lama said it is easy to have compassion with friend but much more difficult to have compassion with enemies

. an artist have to learn to forgive 

. an artist have to learn to forgive 

. an artist have to learn to forgive 

16. different death scenarios: 

. for an artist, it is not only important how he lives his life but also how he dies 

. an artist should look at the symbols of his work for the signs of different death scenarios 

. an artist should die consciously without fear 

. an artist should die consciously without fear 

. an artist should die consciously without fear 

17. different funeral scenarios: 

. an artist should give instructions before the funeral so that everything is done the way he wants it 

. the funeral is the artist’s last art piece before leaving 

. the funeral is the artist’s last art piece before leaving 

. the funeral is the artist’s last art piece before leaving 

[happy-violentines-blog]

Suehiro Maruo

[happy-violentines-blog]

On Children

Your children are not your children. They are the sons and daughters of Life's longing for itself. They come through you but not from you, And though they are with you yet they belong not to you.

You may give them your love but not your thoughts,  For they have their own thoughts. You may house their bodies but not their souls, For their souls dwell in the house of tomorrow,  which you cannot visit, not even in your dreams. You may strive to be like them,  but seek not to make them like you. For life goes not backward nor tarries with yesterday.

You are the bows from which your children as living arrows are sent forth. The archer sees the mark upon the path of the infinite,  and He bends you with His might  that His arrows may go swift and far. Let your bending in the archer's hand be for gladness; For even as He loves the arrow that flies,  so He loves also the bow that is stable.

Kahlil Gibran

[rape-garden]

[happy-violentines-blog]

"People are so suffocated, so malnourished in their souls, that they don’t realize they have this sensibility in them. It’s all about permission. If you want to go ahead and pour paint on your head, go ahead… I make myself vulnerable to an unknown process, too. For me it’s a battle between freedom and control. I’m telling people they can do anything while at the same time my head is saying: You’ve got to know what you’re doing. I just tell myself to follow the gesture rather than the idea. I get a lot of inspiration from painter Francis Bacon, who talked about the importance of making a brushstroke and finding where it goes. The point is, if I knew what I was doing, why would I bother doing it?"

Bill Hayward 

[heracliteanfire]

[happy-violentines-blog]

"Hideyuki Nakayama's glass globe doorknob refracts the scene on the other side of the door in its depths, giving you a preview of what's going on in the next room before you turn the knob."

[happy-violentines-blog]

"People don’t need enormous cars; they need admiration and respect. They don’t need a constant stream of new clothes; they need to feel that others consider them to be attractive, and they need excitement and variety and beauty. People don’t need electronic entertainment; they need something interesting to occupy their minds and emotions. And so forth. Trying to fill real but nonmaterial needs — for identity, community, self-esteem, challenge, love, joy — with material things is to set up an unquenchable appetite for false solutions to never-satisfied longings. A society that allows itself to admit and articulate its nonmaterial human needs, and to find nonmaterial ways to satisfy them, would require much lower material and energy throughputs and would provide much higher levels of human fulfillment."

- Donella Meadows

[darkgirlswirl-deactivated201611]

[happy-violentines-blog]

"Commissioned by Danish performance group Hotel Pro Forma to write the music for their opera based on Charles Darwin and his book ‘On the Origin of the Species’, The Knife decided to make this a collaborative process, working with artists Mt. Sims and Planningtorock for the first time, to capture the huge width of the Darwin and evolution theme."

[dinnerwithannawintour-deactivat]

[happy-violentines-blog]

Issey Miyake S/S 1991

[happy-violentines-blog]

Singular

Temporarily closing the doors. I want to go deep unto a single photograph kept warm against my chest. There is a boundless mutation from my eye that commands it's surroundings through personal magick. A large object that keeps getting larger still. White fruit, spherical mind. A threatening voluptuousness. Aim strait at the world dam. 

[happy-violentines-blog]

Devastee FW12

[happy-violentines-blog]

Four Billion Years of Choke

What a shame it is that someone will always get hurt, that even the most conscientious agendas will have their bias. Some people lose, and nobody wins. This eternal ebb and flow of rippling crash and height. Momentarily illuminated carbonation of self-absorbed laughter, that falls unto itself and dissolves in dark sunk. How cruel the internal ticking by which we are all bound, by which we pursue with eyes wide, shut. Even the truth protects it's vengeance with a light. Four billion years of choke they said, the best we can do.

[likeafieldmouse-deactivated2015]

[happy-violentines-blog]

Harland Miller

[happy-violentines-blog]

Muller Van Severen

“ Whereas design mostly finds its origin in plasticity and form, we consider material to be the source from which a piece of furniture grows. This furniture battles with minimalism and uses it at the same time. The surprise comes from the combination of colours, materials, functions and – especially – the commonness. "

[cat-osaur]

[happy-violentines-blog]

Yuki Ogura, Japanese Bathers (1938)

[spring2000]

[happy-violentines-blog]

serien°umerica FW12