Landscape #280 - Saskia Boelsums
Ducht, b. 1960 -
Canson Infinity archival pigmentprint , 150 x 150 cm. Ed.of 3
Photography

Game Changer & Make Some Noise
KIROKAZE
untitled

Product Placement
★
todays bird

Kiana Khansmith
PUT YOUR BEARD IN MY MOUTH
No title available
Show & Tell
hello vonnie

Love Begins
No title available
Xuebing Du
art blog(derogatory)
Aqua Utopia|海の底で記憶を紡ぐ
taylor price
Jules of Nature
Claire Keane
EXPECTATIONS
seen from Germany

seen from Italy
seen from United Kingdom
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seen from Türkiye
seen from United States
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seen from United States

seen from Morocco
seen from Nicaragua
seen from Peru
seen from Switzerland

seen from United States
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@teganorsara
Landscape #280 - Saskia Boelsums
Ducht, b. 1960 -
Canson Infinity archival pigmentprint , 150 x 150 cm. Ed.of 3
Photography
Saskia Boelsums, Landscape#77
from here
awesome awesome interview with Emily Wilson
paywall-free version
Transcript:
Interviewer: There is something stereotypically masculine about the kind of chest-pumping, overly stylish translations of your predecessors.
Wilson: I’m really skeptical about any gender essentialism on that. Other women have published translations of Homer into Italian and into other languages I can’t read. I’ve read some of the French translation by Anne Dacier from the 17th century, and it’s fairly loquacious. Could you pick the translations of The Odyssey by a woman out of a lineup? Absolutely not. But journalists wanted it to be about that. I get that you’re trying to create a story, but I just don’t believe it.
Interviewer: Have you followed the online discourse about the film so far?
Wilson: It’s made-up controversy. Nobody’s seen this movie. It’s just the usual triggers about race and gender, and I just find it very tedious.
Interviewer: curious about what it would look like to make a feminist version of The Odyssey. It seems that could be a helpful framework to have ahead of Nolan’s movie.
Wilson: I’ve been watching a lot of Nolan movies in preparation for all of this, and it seems to me that we don’t know what the script’s going to be like. If it’s the usual Nolan plot of “A guy is on a quest far from home and struggling to get back to an objectified female character,” then I’m not sure I see that plot as inherently particularly feminist.
Interviewer: Looking at those two changes, it seems to me that your translation has a feminist function, whether it’s intentional or not.
Wilson: I think the bar should be higher for feminist translation. There are people whose project that is.
End Transcript.
POSSESSION (1981) dir. Andrzej Żuławski
ooooo exams finished forever ‼️‼️
falling in love is always a risk on game changer
Books with Tart Apples from Ciguera - Joseba Sánchez Zabaleta, 2026.
Spanish , b. 1970
Oil on panel, 35.8 x 25.6 cm
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Oil on canvas , 40 1/8 x 29 3/4 in.
OLIVIA RODRIGO photographed by Collier Schorr for Pitchfork
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Landscape CW #02 - Saskia Boelsums , 2025
Ducht, b. 1960 -
Canson Infinity archival pigmentprint , 150 x 150 cm. Ed.of 3
Photography
I don't need a back up, I'm going to Harvard. Legally Blonde (2001) dir. Robert Luketic
I wish I could eat the salt Off of your lost faded lips We can cap the old times Make playing only logical harm
Landscape #237 - Saskia Boelsums , 2020.
Ducht, b. 1960 -
Canson Infinity archival pigmentprint , 150 x 150 cm. Ed.of 3
Photography
📸 yvesmarix