Mar 2, 2020
seen from China
seen from Malaysia
seen from Hong Kong SAR China
seen from South Korea
seen from Australia
seen from Sweden
seen from United States
seen from United States
seen from China
seen from Brazil
seen from China
seen from China
seen from United States
seen from United States
seen from United States
seen from Russia
seen from Malaysia
seen from Thailand
seen from Iraq
seen from France
www.DirtyFreshSociety.tumblr.com
ACHOO x HOET
guys. these two characters are Hot. egyptian and oni spirit look very good i can say as my personal favorite. what are their names uhm.
"darkgale" and "hoet" is two name.
I just saw it and was interested in what it was like. the name of the game.
"Warhaven." free to play this!
you know cool skin is not always free... :p
little funny XD
(we need now drawing relationship between them is a drawing) X3
Hoet. Warhaven.
Jan Vercruysse (1948-2018)
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From the balcony. That doorway leads to a small auditorium with a stage & one ugly sofa!#abandonedorphanage #doorway #auditorium #stage #hoet #balcony #uglysofa #urbex #urbexphotography #riseofthelykins (at New Orleans, Louisiana) https://www.instagram.com/p/B0LTH1HgN_7/?igshid=44om3vp1ukok
The first Guillaume Bijl installation/exhibition i visited was the Guillaume bIjl installation he had made for the Witte de With venue in Rotterdam. It was the opening exhibition in 1990 for which Bijl had made . It was Für Garderobe keine Haftung .
In light of the newly created exhibition space at Witte de With, Bijl’s show could be seen as a critique of the spectacular and inflationary nature of fine art production as well as an ironical poke at the profusion of exhibitions and exhibition spaces. Guillaume Bijl’s exhibition at Witte de With presented a survey of his installations and objects from the eighties, in the form of a shopping mall.
Guillaume Bijl (1946) has been testing the relationship between art and consumer society since 1979, when he made his Art Liquidation Project. This work took the form of a mock government commissioned report in which he concluded that, in light of the proven uselessness of art, all areas devoted to the arts should be made suitable for more practical purposes. Since then, Bijl has been transforming museums and art galleries into fitness centers, lamp shops, carpet stores, travel agencies, driving schools, and so on. His imitations of spaces not traditionally associated with the arts are caught up in a perplexing interplay between fiction and reality. Even more confusion is caused by Bijl’s imitations of art spaces, such as his fictive exhibition Four American Artists (1987), or his fictive commercial fair installed at the art fair of Lyon in 1986, which also included an art store selling his paintings.
Bijl ironically points out the connection between the display of goods in shop windows and showrooms and the exhibition of objects in museums and galleries. In his installations, consumer items and museum objects seem interchangeable. Bijl’s logic assumes the complete abolition of real differences in the commercial rhetoric of consumer society.
http://www.ftn-books.com has some nice Guillaume Bijl publications available.
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Guillaume Bijl (1946) The first Guillaume Bijl installation/exhibition i visited was the Guillaume bIjl installation he had made for the Witte de With venue in Rotterdam.