Kunstpelz tragende Damen mit Federhüten

exhibition-ism: Installations done right by Adel Abdessemed

Wed, 22 May 2013 07:11:11 +0200

exhibition-ism:

Installations done right by Adel Abdessemed

darksilenceinsuburbia: Sonja Vordermaier. Street Lamp...

Wed, 22 May 2013 07:06:17 +0200

darksilenceinsuburbia:

Sonja Vordermaier. Street Lamp Forest.

Website

nevver: Don’t You Understand, I’m an Artist!

Tue, 21 May 2013 22:05:59 +0200

nevver:

Don’t You Understand, I’m an Artist!

"Someday, somewhere - anywhere, unfailingly, you’ll find yourself, and that, and only that, can be..."

Tue, 21 May 2013 19:58:55 +0200

““Someday, somewhere - anywhere, unfailingly, you’ll find yourself, and that, and only that, can be the happiest or bitterest hour of your life.””

- Pablo Neruda (via razorshapes)

Foreign Words We Could Use in English

Tue, 21 May 2013 19:58:43 +0200

Foreign Words We Could Use in English:

nevver:

Kummerspeck (German)
Excess weight gained from emotional overeating. Literally, grief bacon.
Shemomedjamo (Georgian)
You know when you’re really full, but your meal is just so delicious, you can’t stop eating it?
Tartle (Scots)
The nearly onomatopoeic word for that panicky hesitation just before you have to introduce someone whose name you can’t quite remember.
Mamihlapinatapai (Yaghan language of Tierra del Fuego)
This word captures that special look shared between two people, when both are wishing that the other would do something that they both want, but neither want to do.
Backpfeifengesicht (German)
A face badly in need of a fist.
Iktsuarpok (Inuit)
You know that feeling of anticipation when you’re waiting for someone to show up at your house and you keep going outside to see if they’re there yet?
Pelinti (Buli, Ghana)
Your friend bites into a piece of piping hot pizza, then opens his mouth and sort of tilts his head around while making an “aaaarrrahh” noise. The Ghanaians have a word for that. More specifically, it means “to move hot food around in your mouth.”
Greng-jai (Thai)
That feeling you get when you don’t want someone to do something for you because it would be a pain for them.
Mencolek (Indonesian)
You know that old trick where you tap someone lightly on the opposite shoulder from behind to fool them? The Indonesians have a word for it.
Faamiti (Samoan)
To make a squeaking sound by sucking air past the lips in order to gain the attention of a dog or child.
Gigil (Filipino)
The urge to pinch or squeeze something that is irresistibly cute.
Yuputka (Ulwa)
A word made for walking in the woods at night, it’s the phantom sensation of something crawling on your skin.
Zhaghzhagh (Persian)
The chattering of teeth from the cold or from rage.
Vybafnout (Czech)
A word tailor-made for annoying older brothers—it means to jump out and say boo.
Fremdschämen (German)
; Myötähäpeä (Finnish)
The kindler, gentler cousins of Schadenfreude, both these words mean something akin to “vicarious embarrassment.”
Lagom (Swedish)
Maybe Goldilocks was Swedish? This slippery little word is hard to define, but means something like, “Not too much, and not too little, but juuuuust right.”
Pålegg (Norweigian)
Sandwich Artists unite! The Norwegians have a non-specific descriptor for anything – ham, cheese, jam, Nutella, mustard, herring, pickles, Doritos, you name it – you might consider putting into a sandwich.
Layogenic (Tagalog)
Remember in Clueless when Cher describes someone as “a full-on Monet…from far away, it’s OK, but up close it’s a big old mess”? That’s exactly what this word means.
Bakku-shan (Japanese)
Or there this Japanese slang term, which describes the experience of seeing a woman who appears pretty from behind but not from the front.
Seigneur-terraces (French)
Coffee shop dwellers who sit at tables a long time but spend little money.
Ya’arburnee (Arabic)
This word is the hopeful declaration that you will die before someone you love deeply, because you cannot stand to live without them. Literally, may you bury me.
Pana Po’o (Hawaiian)
“Hmm, now where did I leave those keys?” he said, pana po’oing. It means to scratch your head in order to help you remember something you’ve forgotten.
Slampadato (Italian)
Addicted to the UV glow of tanning salons? This word describes you.
Zeg (Georgian)
It means “the day after tomorrow.” OK, we do have “overmorrow” in English, but when was the last time someone used that?
Cafune (Brazilian Portuguese)
Leave it to the Brazilians to come up with a word for “tenderly running your fingers through your lover’s hair.”
Koi No Yokan (Japanese)
The sense upon first meeting a person that the two of you are going to fall in love.
Kaelling (Danish)
You know that woman who stands on her doorstep (or in line at the supermarket, or at the park, or in a restaurant)
cursing at her children? The Danes know her, too.
Boketto (Japanese)
It’s nice to know that the Japanese think enough of the act of gazing vacantly into the distance without thinking to give it a name.
L’esprit de l’escalier (French)
Literally, stairwell wit—a too-late retort thought of only after departure.
Cotisuelto (Caribbean Spanish)
A word that would aptly describe the prevailing fashion trend among American men under 40, it means one who wears the shirt tail outside of his trousers.
Packesel (German)
The packesel is the person who’s stuck carrying everyone else’s bags on a trip. Literally, a burro.
Hygge (Danish)
Denmark’s mantra, hygge is the pleasant, genial, and intimate feeling associated with sitting around a fire in the winter with close friends.
Cavoli Riscaldati (Italian)
The result of attempting to revive an unworkable relationship. Translates to “reheated cabbage.”
Bilita Mpash (Bantu)
An amazing dream. Not just a “good” dream; the opposite of a nightmare.
Litost (Czech)
Milan Kundera described the emotion as “a state of torment created by the sudden sight of one’s own misery.”
Luftmensch (Yiddish)
There are several Yiddish words to describe social misfits. This one is for an impractical dreamer with no business sense.

"Knowing how to be solitary is central to the art of loving. When we can be alone, we can be with..."

Tue, 21 May 2013 06:09:40 +0200

“Knowing how to be solitary is central to the art of loving. When we can be alone, we can be with others without using them as an escape.”

- Bell Hooks (via mishproductions)

Photo

Tue, 21 May 2013 00:16:49 +0200

Photo

Tue, 21 May 2013 00:15:18 +0200

welzenis: Jan Willem van Welzenis Untitled,...

Mon, 20 May 2013 14:00:30 +0200

welzenis:

Jan Willem van Welzenis

Untitled, 2006

Website | Tumblr

monovary: Robert Gligorov

Mon, 20 May 2013 13:57:35 +0200

monovary:

Robert Gligorov

A Poem A Day: 34 Excuses for Why We Failed at Love

Sun, 19 May 2013 09:27:54 +0200

A Poem A Day: 34 Excuses for Why We Failed at Love:

apoemaday:

by Warsan Shire

1. I’m lonely so I do lonely things
2. Loving you was like going to war; I never came back the same.
3. You hate women, just like your father and his father, so it runs in your blood.
4. I was wandering the derelict car park of your heart looking for a ride home.
5. You’re a…

likeafieldmouse: Cy Twombly - Scenes from an Ideal Marriage...

Fri, 17 May 2013 21:09:06 +0200

likeafieldmouse:

Cy Twombly - Scenes from an Ideal Marriage (1986) - Acrylic and pencil on paper

7knotwind: Origo coffee shop - Lama Arhitectura via We...

Fri, 17 May 2013 16:10:25 +0200

7knotwind:

Origo coffee shop - Lama Arhitectura

via We Heart by way of lustik

bollykecks: “Amelie has no boyfriend. She’s tried once or...

Thu, 16 May 2013 21:54:51 +0200

bollykecks:

“Amelie has no boyfriend. She’s tried once or twice, but the results were a let down. Instead, she cultivates a taste for small pleasures: dipping her hand into sacks of grain, cracking creme brulee with a teaspoon, and skipping stones at St. Martin’s canal.”
—Jean-Pierre Jeunet, Le Fabuleux destin d’Amélie Poulain

actegratuit: Personality disorder, Arik Levy

Thu, 16 May 2013 19:07:24 +0200

actegratuit:

Personality disorder,

Arik Levy

artruby: Photography / prints by Wolfgang Tillmans.

Thu, 16 May 2013 19:05:03 +0200

artruby:

Photography / prints by Wolfgang Tillmans.

1000reasonsnottostartmakingart: artdawdlings: Bruce Mau’s...

Thu, 16 May 2013 18:51:59 +0200

1000reasonsnottostartmakingart:

artdawdlings:

Bruce Mau’s Incomplete Manifesto for Growth. Currently at 43. Very cool - I mean interesting.
Allow events to change you.
You have to be willing to grow. Growth is different from something that happens to you. You produce it. You live it. The prerequisites for growth: the openness to experience events and the willingness to be changed by them.

Forget about good.
Good is a known quantity. Good is what we all agree on. Growth is not necessarily good. Growth is an exploration of unlit recesses that may or may not yield to our research. As long as you stick to good you’ll never have real growth.

Process is more important than outcome.
When the outcome drives the process we will only ever go to where we’ve already been. If process drives outcome we may not know where we’re going, but we will know we want to be there.

Love your experiments (as you would an ugly child).
Joy is the engine of growth. Exploit the liberty in casting your work as beautiful experiments, iterations, attempts, trials, and errors. Take the long view and allow yourself the fun of failure every day.

Go deep.
The deeper you go the more likely you will discover something of value.

Capture accidents.
The wrong answer is the right answer in search of a different question. Collect wrong answers as part of the process. Ask different questions.

Study.
A studio is a place of study. Use the necessity of production as an excuse to study. Everyone will benefit.

Drift.
Allow yourself to wander aimlessly. Explore adjacencies. Lack judgment. Postpone criticism.

Begin anywhere.
John Cage tells us that not knowing where to begin is a common form of paralysis. His advice: begin anywhere.

Everyone is a leader.
Growth happens. Whenever it does, allow it to emerge. Learn to follow when it makes sense. Let anyone lead.

Harvest ideas.
Edit applications. Ideas need a dynamic, fluid, generous environment to sustain life. Applications, on the other hand, benefit from critical rigor. Produce a high ratio of ideas to applications.

Keep moving.
The market and its operations have a tendency to reinforce success. Resist it. Allow failure and migration to be part of your practice.

Slow down.
Desynchronize from standard time frames and surprising opportunities may present themselves.

Don’t be cool.
Cool is conservative fear dressed in black. Free yourself from limits of this sort.

Ask stupid questions.
Growth is fueled by desire and innocence. Assess the answer, not the question. Imagine learning throughout your life at the rate of an infant.

Collaborate.
The space between people working together is filled with conflict, friction, strife, exhilaration, delight, and vast creative potential.

____________________.
Intentionally left blank. Allow space for the ideas you haven’t had yet, and for the ideas of others.

Stay up late.
Strange things happen when you’ve gone too far, been up too long, worked too hard, and you’re separated from the rest of the world.

Work the metaphor.
Every object has the capacity to stand for something other than what is apparent. Work on what it stands for.

Be careful to take risks.
Time is genetic. Today is the child of yesterday and the parent of tomorrow. The work you produce today will create your future.

Repeat yourself.
If you like it, do it again. If you don’t like it, do it again.

Make your own tools.
Hybridize your tools in order to build unique things. Even simple tools that are your own can yield entirely new avenues of exploration. Remember, tools amplify our capacities, so even a small tool can make a big difference.

Stand on someone’s shoulders.
You can travel farther carried on the accomplishments of those who came before you. And the view is so much better.

Avoid software.
The problem with software is that everyone has it.

Don’t clean your desk.
You might find something in the morning that you can’t see tonight.

Don’t enter awards competitions.
Just don’t. It’s not good for you.

Read only left-hand pages.
Marshall McLuhan did this. By decreasing the amount of information, we leave room for what he called our “noodle.”

Make new words.
Expand the lexicon. The new conditions demand a new way of thinking. The thinking demands new forms of expression. The expression generates new conditions.

Think with your mind.
Forget technology. Creativity is not device-dependent.

Organization = Liberty.
Real innovation in design, or any other field, happens in context. That context is usually some form of cooperatively managed enterprise. Frank Gehry, for instance, is only able to realize Bilbao because his studio can deliver it on budget. The myth of a split between “creatives” and “suits” is what Leonard Cohen calls a ‘charming artifact of the past.’

Don’t borrow money.
Once again, Frank Gehry’s advice. By maintaining financial control, we maintain creative control. It’s not exactly rocket science, but it’s surprising how hard it is to maintain this discipline, and how many have failed.

Listen carefully.
Every collaborator who enters our orbit brings with him or her a world more strange and complex than any we could ever hope to imagine. By listening to the details and the subtlety of their needs, desires, or ambitions, we fold their world onto our own. Neither party will ever be the same.

Take field trips.
The bandwidth of the world is greater than that of your TV set, or the Internet, or even a totally immersive, interactive, dynamically rendered, object-oriented, real-time, computer graphic–simulated environment.

Make mistakes faster.
This isn’t my idea — I borrowed it. I think it belongs to Andy Grove.

Imitate.
Don’t be shy about it. Try to get as close as you can. You’ll never get all the way, and the separation might be truly remarkable. We have only to look to Richard Hamilton and his version of Marcel Duchamp’s large glass to see how rich, discredited, and underused imitation is as a technique.

Scat.
When you forget the words, do what Ella did: make up something else … but not words.

Break it, stretch it, bend it, crush it, crack it, fold it.

Explore the other edge.
Great liberty exists when we avoid trying to run with the technological pack. We can’t find the leading edge because it’s trampled underfoot. Try using old-tech equipment made obsolete by an economic cycle but still rich with potential.

Coffee breaks, cab rides, green rooms.
Real growth often happens outside of where we intend it to, in the interstitial spaces — what Dr. Seuss calls “the waiting place.” Hans Ulrich Obrist once organized a science and art conference with all of the infrastructure of a conference — the parties, chats, lunches, airport arrivals — but with no actual conference. Apparently it was hugely successful and spawned many ongoing collaborations.

Avoid fields.
Jump fences. Disciplinary boundaries and regulatory regimes are attempts to control the wilding of creative life. They are often understandable efforts to order what are manifold, complex, evolutionary processes. Our job is to jump the fences and cross the fields.

Laugh.
People visiting the studio often comment on how much we laugh. Since I’ve become aware of this, I use it as a barometer of how comfortably we are expressing ourselves.

Remember.
Growth is only possible as a product of history. Without memory, innovation is merely novelty. History gives growth a direction. But a memory is never perfect. Every memory is a degraded or composite image of a previous moment or event. That’s what makes us aware of its quality as a past and not a present. It means that every memory is new, a partial construct different from its source, and, as such, a potential for growth itself.

Power to the people.
Play can only happen when people feel they have control over their lives. We can’t be free agents if we’re not free.

Here it is again, the yearly reblog of the manifesto by Bruce Mau

artruby: Photography / prints by Wolfgang Tillmans.

Thu, 16 May 2013 08:54:06 +0200

artruby:

Photography / prints by Wolfgang Tillmans.

likeafieldmouse: Ryan Hancock Artist’s statement: “The world...

Thu, 16 May 2013 08:07:12 +0200

likeafieldmouse:

Ryan Hancock

Artist’s statement:

“The world seems to me increasingly incomprehensible, and there are times when I feel there isn’t anything that I know for certain. For me, making photographs (or painting, or whatever) is necessary to translate the unintelligible reality of being into a more coherent form. Or at least to illustrate my best guesses. There is vastly more nothing in the universe than something, and I try to create images that recognize the grace by which anything at all exists.”

varietas: Dora Maar: Les yeux, 1932-35

Thu, 16 May 2013 08:04:13 +0200

varietas:

Dora Maar: Les yeux, 1932-35