don't

s, 24

[yesoknvm]

every chance encounter is an possibility to encounter love

it always comes just as you think you have forgotten

[997]

WHERE IS THIS SCREENSHOT FROM WHY WAS ELYSIA ON THE NEWS

[lesbianchemicalplant]

A civilization that proves incapable of solving the problems it creates is a decadent civilization.

A civilization that chooses to close its eyes to its most crucial problems is a stricken civilization.

A civilization that uses its principles for tricky and deceit is a dying civilization.

The fact is that the so-called European civilization—“Western” civilization—as it has been shaped by two centuries of bourgeois rule, is incapable of solving the two major problems to which its existence has given rise: the problem of the proletarian and the colonial problem; that Europe is unable to justify itself either before the bar of “reason” or before the bar of “conscience”; and that, increasingly, it takes refuge in a hypocrisy which is all the more odious because it is less and less likely to deceive.

Europe is indefensible.

Aimé Césaire, Discourse on Colonialism, 1955 [text pdf: here]

[sartorsum]

Jun Togawa - Punk mushi no onna

this month’s mood: insect ladies

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guess i look like this now

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[yesoknvm]

DECODER, 1984

[fortuneaday]

[oscillate-deactivated20200402]

[gothhabiba]

Diversity initiatives don’t work, they just make things worse: the ideological function of diversity in the cultural industries

by Anamik Saha edited by Yasmin Gunaratnam Dev Patel might have won the award for Best Supporting Actor (that’s Dev Patel and not Riz Ahmed, Burberry), but when the nominees for the 2017 BAFTA Awa…

One of the most troubling outcomes of the commodification of diversity, as Leong outlines, is that it pressures individuals into performing their otherness in a way that meets with the approval of the dominant culture. As an example, in my research on British Asian theatre practitioners, my respondents would describe how they have to present their ‘diversity’ in a somewhat exaggerated, or at least assertive way in order to qualify for the money the Arts Council have ring-fenced specifically for ‘culturally diverse’ theatre companies. This is how diversity initiatives make race. It is despite, or indeed, because of diversity initiatives that representations of racialised minorities continue to be reduced to a handful of recognisable tropes, with little variation. As Gray puts it, ‘diversity is a technology of power, a means of managing the very difference it expresses’.

[tomorrowcomesomedayblog]

Visit Original Link

A fascinating album by a slightly subpar singer. Celia was one of the “festival” singers of the early 1970s who made her debut on television shows and in live, competitive festival performances. Her debut album features a wealth of talent as well as a very strong, very contemporary repertoire. Songs by up-and-coming composers such as Nelson Angelo, Ivan Lins, Joyce and Lo Borges are framed by the unmistakable kaleidoscopic pop of arranger Rogerio Duprat. +

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[dekonstruktivisme]

Anna-Nicole Ziesche, States of Mind and Dress, 2002. 

The fashion film States of Mind and Dress (2002) by Anna-Nicole Ziesche (b. 1972, Hamburg, Germany) opens with a shot of a naked man and woman standing with their backs to each other and with their arms in the air. A blue, hand-knitted sweater gradually grows on the body of the man and a green pair of jeans on the body of the woman. As soon as both garments are finished they glide back and forth from the one body to the other via the raised arms and over the heads of the man and woman. An exchange of garments between two bodies is thus created.

Ziesche’s aim with this film is to show that you can have just as intimate and complex a relationship with someone else’s clothes as with the other person him- or herself. States of Mind and Dress is an example of Ziesche’s later work, which focuses on the ambivalent relationship an individual has with his or her body and clothing. The film addresses how an individual’s personality can be expressed by means of the clothes one uses to dress one’s body.

Ziesche trained as a fashion designer at Central Saint Martins College of Art and Design in London. In her final year, however, she decided that she did not want to design actual clothing but devote herself to fashion photography and to making fashion films, installations and performances in order to express her ideas about contemporary fashion. The clothing that Ziesche designs only functions, then, within her performances and films. This conceptual approach, which she herself calls ‘fashion practice’, is a new way of creating a visual context for fashion. Ziesche’s work thus occupies a place between fashion and visual art.

Underlying all her work is the concept of endless repetition. Ziesche is fascinated by the countless repetitive movements and routines of everyday life. In her early work she investigated repeating patterns, forms, colours and details in the production process of clothing; her later work concentrates on repetition in the rituals that represent the relationship between body and clothing, such as the daily act of getting dressed and undressed.  

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