BjĂśrk (1993) Ph: Jean-Baptiste Mondino

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@reliefofpsyche
BjĂśrk (1993) Ph: Jean-Baptiste Mondino
+ BjĂśrk by Ellen Von Unwerth (1993)
Playboy, Feb. 1994
Designing with Tile, Stone & Brick, 1995
acadiana en juillet
The Los Angeles House: Decoration and Design in America's 20th-Century City, 1995
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HOUSE OF THE DRAGON 1.05 // 3.04
leg show magazine special 1995
"Diver," 2026. Photo transfers onto cotton, freshwater pearls, fish hook, thread, colored pencil, gloss medium, gloss gel. dimensions: slightly smaller than my hand :)
how to be optimistic about the healing of your psyche (simply to a place of tolerance!!) when you have your period steadily approaching
âStandard sacrificial ritual was organized around a practice of erotics, signified by charis (âgrace,â âresponse-inducing delightâ). The participants (who could include women, usually in subordinate positions) sought to create charis for the god by enacting a complicated presentation as both lovers and beloveds. Through procession, music, song, dance, costume, male nudity in athletic competition, they offered a bodily display of beauty, opulence, or athleticism, privileging the outside of the body as an object of pleasure for the god. At the same time, they brought gifts: the âperfectâ animal, the odor of cooking foods, sometimes a robe or statue or other âdelightâ (agalma). Thus humans collectively both seduced and solicited the god. In keeping with its insistence of beautiful surfaces, sacrificial ritual required participants to observe euphemia (âspeech of good omenâ) [âŚ] The sensuous atmosphere could give rise to a feel of communities in which the crowd projected the god as spectating from near at hand, located above or behind the altar or present in the form of a statue, but separated from the human participants. This is a visual and sensuous economy in which humans seek to experience the godâs desire for the them and constitute themselves as objects of the godâs gaze in order to win the godâs favor in exchange of charis.â
â Eva Stehle, âThesmophoria and Eleusinian Mysteries: The Fascination of Womenâs Sacred Ritualâ in Finding Persephone: Womenâs Rituals in the Ancient Mediterranean, Maryline Parca and Angeliki Tzanetou, eds.
spoilers for the beginning of hangsaman... i just finished rereading the first chapter. i feel like talking abt it would reduce it. i don't even know what to say, there's so much there. it's orchestral... all these instruments tuning up and then playing together and then playing against each other so terrifyingly. natalie, and the detective in her head merging with the man in the garden; natalie has done the crime, she is the crime, natalie has erred. the whole chapter she is picturing a detective questioning her. and then she is at her father's party, in the garden with the man who will rape her:
"Thinking what about yourself?" the man asked. Said the detective, leaning forward, "Have you given any thought to the extreme danger of your position? What about the knife?" "About how wonderful I am," Natalie said.
and later it is said that this is her "final statement" as if given to the police. the whole chapter, she has been playing the game of guilt, the game of talking to this detective who is trying to find her out, and it is real to her, and it is pretend, it is an imaginary layer to an equally imaginary world.
the chapter seems to work backwards. before she is raped she thinks something wonderful will happen to her today, but at the very beginning of the chapter:
"Of course you remember," the detective said impatiently. "No one can live through such things and not remember them."
and it is natalie's crime, the crime the chapter works towards, the one she can't remember, because it hasn't happened yet. or it has already happened. she's already being shaped. her father wants her to write about him. at the beginning of the chapter, she submits to him a character sketch about him.
but just before she's raped - she's thinking about how wonderful she is for succeeding in a conversation with a man. for using words fluently, fluidly. her crime is to be the killer and the body both. she is at fault for both her own assertion and her failure to assert herself. "is he going to touch me?" but she doesn't say it. she feels so wrong when she wakes up the next morning. something terrible has happened. in the land of her childhood, where she used to play knights among the trees, something terrible has happened.
Linda Evangelista Vogue UK (1994) ph. Glen Luchford
Jennie Baptiste, Butterfly Queen, 1994
natalie waite i love you