[dearjasperfrancis]

EVERY NUN NEEDS A SYNTHI

[movieposters1]

[aarchval]

Vito Acconci, Notes on Movement, 1971.

[communicants]

La Hora de Los Hornos (Octavio Getino and Fernando Solanas, 1968)

[carmengonzalez]

“I’m very interested in emotions like sweetness, which have no place in the pantheon of educated concerns, and yet are very important to me. Sweetness is the opposite of machismo, which is everywhere — and I really don’t get on with machismo. I’m interested in sensitivity, and weakness, and fear, and anxiety, because I think that, at the end of the day, behind our masks, that’s what we are.”

— Alain de Botton (via brilaro)

[dobedooo]

[ssegundosombra]

Astronave: Panorámica de poesía mexicana (1985-1993)

[madriguero]

[madriguero]

Decided to reread Barthes' Camera Lucida after many years of it resting on my shelves collecting dust. I had forgotten the book had been a gift. Upon opening it I encountered some markings I didn't recognize as mine, I had forgotten that years ago I had lended it to a friend, too. Flipping through the pages I found a note of his, a year after he moved to Berlin he came back for a visit and brought me some rolls of 120 film as a gift, accompanied by the same lovely note. I put the rolls in the freezer and stopped shooting film for some time. Just picked up medium format again last year, when I finally shot those rolls I remembered him, wished we were still in touch so I could thank him, tell him I decided those would be the first I'd shot after staying away for too long. So much has changed, I stuck his note to my wall. I hope he's still creating in some way or another, too.

[madriguero]

Scene taken from In die Sonne schauen (2025) dir. Mascha Schilinski

[the-elegant-shrew]

Remedios Varo

[blubalum]

Yongxia Rao. Got the chance to chat with her and she was so lovely.

[madriguero]

[proustian-dream]

Antes del abrazo sexual, todavía somos eso "cerca" que se busca, esa boca que se adelanta, esas manos que quisieran sujetar, que se cierran espontáneamente como lo hacen las manitos de los niños en el seno mismo de su madre. Amar es aferrarse. Escribir es aferrarse. Porque todo cuerpo distinto en el espacio es una reliquia del antiguo cuerpo huésped —que no se sabe todavía materno, que no anticipaba ningún nacimiento. Introducimos un pulgar en nuestra boca y chupamos —chupamos, mordemos, tomamos, apretamos. Introducimos los dedos en los dedos y apretamos, cerramos, aferramos. Estrechamos esas puntitas de garras y de falanges lo más fuerte que les es posible a los músculos de los dedos. Nos adormecemos contrayéndolos todavía. Somos huellas de muertos que tienden a hacerse carne, a encarnar una pena, a hacer una como a través del pasado, a hacer volver lo antiguo y a incrementarnos con él, a hacerse carne en la sombra antes de esperar salir de la sombra.

Pascal Quignard, "Capitulo XXXI. El olor de lo anterior", El hombre de las tres letras. Último Reino XI

[diana-andraste]

Flight II, Gunārs Binde, 1992

[smsomah]

Cormorant fishing in Yangshuo near Guilin, Guangxi, China. Christian Vaisse

Cormorant fishing is an old tradition in which fishermen use trained cormorants to catch fish.

[romancestual]

Of appetite—of my own appetite—I recognize this: it flashes up, quicker than thought; it cannot be exiled; it can be held on leash, but only barely. [...] I am no fool, no sentimentalist. I know that appetite is one of the gods, with a rough and savage face, but a god all the same.

Upstream: Selected Essays, Mary Oliver.