Artist (old blog)

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[black-sweet-blood-mouthfuls]

[papierteufel]

Let it be here as well.

[albarrancabrera]

Albarrán Cabrera

‘This is you’, #46. Pigments, gampi paper and gold leaf.

Next solo exhibition opening in Barcelona SAT 21 May 2016 in Valid Foto BCN at 11:00 AM

[thunderstruck9]

Franz Gertsch (Swiss, b. 1930), Schwarzwasser I, 1990/91. Woodcut, 234 x 181 cm.

[arsarteetlabore]

Edvard Munch - The Island

[papierteufel]

ROXANNE JACKSON Medusa, 2012. Media. Ceramic, glaze, rhinestone tooth, teardrop tattoo. 33 x 18 x 18 inches

[theyvcreation-deactivated202401]

[rawforms]

Yoko Ashikawa Butoh dance

[inneroptics]

George S. Zimbel

[papierteufel]

Schiele

[les-sources-du-nil]

Alix Strachey by Barbara Ker-Seymer and John Banting, 1930’s

(© reserved; collection National Portrait Gallery, London)

[erudite-eye]

Venetian Glass Jars, 15th and 16th Century.

[criterioncollection]

Part of the film’s brilliance is its ambivalence about whether its topography is psychological or spiritual, which allows the film to linger with both religious and secular audiences. But purgatory, by its very nature, exists as a means of addressing spiritual ambivalence. As Mary grows more frantic throughout the film, she becomes desperate to “make contact,” finally acknowledging that she is afraid to be alone. In reality, however, she has no lifeline. There is no one to bring her back, no one who would even care to. In her dying seconds, it is this that she ruminates on, with all of us as witnesses to her existential despair.

Read Kier-La Janisse on Herk Harvey’s elegiac horror classic CARNIVAL OF SOULS

[papierteufel]

Scene in the cinema with the extract from Dreyer’s “La passion de Jeanne” d'Arc (1928).

[papierteufel]

Günter Brus

[papierteufel]

[zzzze]

George Krause, Angels, Philadelphia, 1961

[huariqueje]

Abstract  -   Reika Iwami  1972

Japanese b.1927-

Woodcut