Salman Toor (Pakistani, 1983), The Reader, 2022. Oil on linen, 18 x 24 in
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Salman Toor (Pakistani, 1983), The Reader, 2022. Oil on linen, 18 x 24 in
Every German Expressionist film I could find
Most links are to the internet archive. Other links go to either youtube or Wikipedia pages that contain the films.
Nerves (1919) Different from the others (1919) Algol (1920) From morn till midnight (1920) The Cabinet of Dr Caligari (1920) Genuine (1920) The Golem (1920) Destiny (1921) Shattered (1921) Nosferatu (1922) Phantom (1922) Dr Mabuse der spieler (1922) Raskolnikow (1923) The Tresure (1923) The street (1923) Schatten – Eine nächtliche Halluzination (1923) Die Nibelungen (1924) Waxworks (1924) The hands of Orlac (1924) New Years Eve (1924)
The student of Prague (1926)
Faust (1926)
Tartuffe (1926)
Metropolis (1927 )
Sunrise: A Song of Two Humans (1927)
The man who laughs (1928)
Asphalt (1929)
M (1931)
Vampyr (1932)
The Testament of Dr Mabuse (1933)
Reblogging so these get more attention!
🖤🖤🖤
[Notice: flashing images!] I wandered around San Francisco’s Chinatown this past week with tiny horse silhouettes to make this labor of love stopmotion. 🐎🏮 Happy Lunar New Year and Year of the Horse everyone! 🥰🧧 May the new year bring you lots of happiness and fortune. ❤️
Some behind-the-scenes: - Some aunties saw me taking photos and invited me to their Chinese New Year celebration next weekend. 😆 - I tried not to get in the way of any stalls or customers, so I didn’t take many photos inside the various markets or bakeries (although I did get a pineapple bun and tangerines while I stopped by)! - I texted Cuddly Potatoes to see if she had time to help me cut out horses on her die-cut machine, and she immediately said yes. ❤️ - I used tape on my phone screen to line up the paper in the same spot every time! I can finally remove it now! 🤣
It’s not like my usual comics, but this time, I just wanted to make art for art’s sake! ¨̮ ♡ I used to make stopmotions a lot years ago, and it was really satisfying to see this one come together. I hope you enjoy!
chúc mừng năm mới!
I wish you good health and fortune; may you be met with kindness in each passing day.
May this year treat you kindly, little horse
carrd🪻
These flying "Chang'an Flower" horses, each symbolizing different wishes and meanings, were created by 稻草daocao, inspired by Tang Sancai (Tang tri-color pottery).(Friendly reminder: OP is a 3D artist. Each piece takes a very long time to create and has proper copyright. Please don't casually dismiss this kind of 3D art as AI.)
Some of the cloudy skies lately, in Joburg.
Nkhensani Mkhari is just out and about writing banger after banger on Substack.
Vusi "Cat" Matlala and the Architecture of Credibility
Went to a spontaneous friendly gathering and saw my friend's artwork on display. Another artist in the space had written an essay I read that afternoon. It felt significant to know something about the people who contributed to the beauty of the place we were enjoying on a night out. Maybe I go here.
Went to a spontaneous friendly gathering and saw my friend's artwork on display. Another artist in the space had written an essay I read that afternoon. It felt significant to know something about the people who contributed to the beauty of the place we were enjoying on a night out. Maybe I go here.
1. Adilson De Oliveira’s “Death of a Salesman” operates as an essay the way Carolee Schneemann’s “Interior Scroll” operated as a reading.
This essay of Adilson De Oliveira's critical essay about the Johannesburg FNB Art Fair and subsequent drama is much more interesting than the essay itself, which is tickling me in all my favourite places.
NO, stop shuffling the lifecycle of a frog!
The Community Art Mobilisation Project at the Economy is Care public dialogue series developed a collection of artisanal stickers, posters and artifacts in collaboration/ consultation with participants and led live banner making as co-creation sessions with co-conspirators.
https://www.oxfam.org.za/what-we-do/research-and-publications/
I went to a dialogue event about the economy and there were many cool stickers that I'm sharing here.
I'm trying to stay off social media while watching television. I can't sit still so I make little collage mindmaps to occupy my thoughts and keep me off the digital streets muttering commentary.
I watched a limited series on Netflix called The Dead Girls. It's an adaptation of a fiction novel by Jorge Ibargüengoitia Antillón (January 22, 1928 – November 27, 1983) adapting details of the notorious real life Las Poquianchis case.
The book is called Las Muertas (1977).
While "All the characters are imaginary," as the author notes before the novel even begins, "Some of the events described herein are real."
The novel has been criticised for focusing on the media coverage of the sensational aspects of the 14-year-old criminal operation, and not enough on the victims of the crimes.
His book is constructed of pastiches of various kinds of journalistic media – from witness accounts to re-tellings, to official documents. At the end of the novel he presents a famous photo of Las Poquianchis and some of the other women at Rancho el Ángel, but mirrors the picture and erases all their faces.
Its complicated perspective attempts to satirise Mexican religious, political, and civil society that enable human trafficking, sexual exploitation, and form the theatre and audience to a predictable spectacle of violence.
The novel and series interrogate the portrayal of complicit behaviour, the construction of power relations, and survival strategies in extremely violent situations.
Luis Estrada's fingerprints are all over the liner notes of this production. He is a writer, director, and producer on four episodes of the six-episode miniseries. The first and last two episodes are deeply informed by his satirical work directed against the themes of the book: corrupt powerful authorities. This leaves space for the same criticism Las Muertas (1977) received upon its release. Reproducing oppression and exploiting the stories of the victims of human trafficking, forced enslavement, and rape to make a point about the corruption of power... Irony and observational wit can be quickly read as mockery or disregard for the vulnerable.
Is the masculine auteur's depiction of violent misogynistic abuse, using the tools of irony to illuminate its exploitation reproducing aesthetic oppression? Does The Dead Girls respect the humanity of the 90 known victims, 71 of them marginalised adolescents and women?
Prolonged scenes of sexual violence, and exploitation are noticeably, thankfully absent. The majority of sex scenes are depicted between consensual partners and do not fetishise or romanticise transactional and coercive sex. There are sex work scenes where the performers are acknowledged for their talents, beauty, and artistic skill. There are also clear indications that the story knows sex work is often and overwhelmingly exploitative to workers who are prevented from benefitting from their labour.
The performers of The Dead Girls are given the opportunity to explore the interiority of the people implicated in the Las Poquianchis case.
The episodes are not structured chronologically, instead flashing between interview sequences from prison, imitating the style of a documentary or reality TV confessional, and dramatic scenes from the past. The unreliable narrators of the scenes, colour the narrative to make their motives more clear.
The latter half of the season, episodes like "Blanca's Teeth" focus on the women's working conditions, their skills, talents, and how they use their social capital to survive. The portrayal could probe deeper than the simplistic insights: sex workers have inner lives, captives and exploited people find different ways to survive are framed with a salacious attitude. The show has a dispassionate affect when it comes to sentiment and presents every person as capable of corruption.
This posture is a difficult one, as the narrative demands the viewer think beyond simplistic portrayals of victims and offendors. The process of criminalising and punishing certain forms of violence over others is one of the most well illustrated themes. From the morality laws to the tiered austerity of prison, the points are drawn in bold strokes.
Good show. Lots to look at and think about.
We went to a restaurant on the beachfront and there was a sandcastle. The sandcastle was like a three-dimensional collage of animals and architecture elements. The artist made a tip box and message out of sand, in front of the VW Bug, the sand dragon, and the mermaid lying next to a sand couch. The message reading "Please support my hard work. Thank you" was scratched over.
"Are these individuals simply trapped in a materialistic cycle? Or is their devotion a creative expression of self in a society where space and individuality are at a premium?"
hat happens when passion for fashion consumes every inch of your home? Happy Victims by Kyoichi Tsuzuki reveals the stories of Tokyoites liv
It's a Cookbook Club day and this month's book was Dishoom: From Bombay With Love. I am so excited. I have been cooking since yesterday afternoon. Cooked a kilo of tomatoes and this morning, I'm going to luxuriate in deliciousness.