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sighkingu:

日本侠花伝(Nihon Kyokaden)(1973; Kato Tai)

sighkingu:

日本侠花伝
(Nihon Kyokaden)
(1973; Kato Tai)

(Source: cinema.pia.co.jp, via harakirichamber)

chromet:

Nike Air Max Lunar90 SP “Moon Landing”Infinite grail

chromet:

Nike Air Max Lunar90 SP “Moon Landing”

Infinite grail

shihlun:

Margaret Bourke-White (1904–1971) perches on an eagle head gargoyle at the top of the Chrysler Building and focuses a camera, New York, 1935.

shihlun:

Margaret Bourke-White (1904–1971) perches on an eagle head gargoyle at the top of the Chrysler Building and focuses a camera, New York, 1935.

(via kihi)

qurty:

Mary Heilmann
Installation shot 2013

qurty:

Mary Heilmann

Installation shot 2013

(via maritstar)

shihlun:

Francis Alÿs, The Green Line, 2004.

In 1995, Francis Alÿs realised an action in São Paolo called The Leak in which he walked from a gallery, around the city, and back into the gallery trailing a dribbled line from an open can of blue paint. This action was reprised in 2004 when he chose to make a work in Jerusalem. Using green paint, Alÿs walked along the armistice border, known as ‘the green line’, pencilled on a map by Moshe Dayan at the end of the war between Israel and Jordan in 1948. This remained the border until the Six Day War in 1967 after which Israel occupied Palestinian-inhabited territories east of the line.
Though palpably absurd, and greeted by onlookers with some bewilderment, Alÿs’s action of dribbling green paint behind him raised the memory of the green line at a time when the separation fence was under construction to the east of the green line. He later encouraged various commentators from Israel, Palestine, and other countries to reflect on his action, and their voices, sometimes sceptical, sometimes approving, can be heard while the video of his action is screened. Most importantly Alÿs wanted to ask what the role of poetic acts could be in highly charged political situations, while acknowledging that the relation of poetics to politics is always contingent.

shihlun:

Francis Alÿs, The Green Line, 2004.

In 1995, Francis Alÿs realised an action in São Paolo called The Leak in which he walked from a gallery, around the city, and back into the gallery trailing a dribbled line from an open can of blue paint. This action was reprised in 2004 when he chose to make a work in Jerusalem. Using green paint, Alÿs walked along the armistice border, known as ‘the green line’, pencilled on a map by Moshe Dayan at the end of the war between Israel and Jordan in 1948. This remained the border until the Six Day War in 1967 after which Israel occupied Palestinian-inhabited territories east of the line.

Though palpably absurd, and greeted by onlookers with some bewilderment, Alÿs’s action of dribbling green paint behind him raised the memory of the green line at a time when the separation fence was under construction to the east of the green line. He later encouraged various commentators from Israel, Palestine, and other countries to reflect on his action, and their voices, sometimes sceptical, sometimes approving, can be heard while the video of his action is screened. Most importantly Alÿs wanted to ask what the role of poetic acts could be in highly charged political situations, while acknowledging that the relation of poetics to politics is always contingent.

(via maritstar)

royalboiler:

& since it’s Bode’s B-day 

royalboiler:

& since it’s Bode’s B-day 

(via u0o)

avgirls:

椎名ゆなと桜井あゆの旅ビアン

avgirls:

椎名ゆなと桜井あゆの旅ビアン

(via sinyasiki)

(Source: melpaget, via mezzzzo)

sighkingu:

日本侠花伝(Nihon Kyokaden)(1973; Kato Tai)

sighkingu:

日本侠花伝
(Nihon Kyokaden)
(1973; Kato Tai)

(Source: cinema.pia.co.jp, via harakirichamber)

chromet:

Nike Air Max Lunar90 SP “Moon Landing”Infinite grail

chromet:

Nike Air Max Lunar90 SP “Moon Landing”

Infinite grail

shihlun:

Margaret Bourke-White (1904–1971) perches on an eagle head gargoyle at the top of the Chrysler Building and focuses a camera, New York, 1935.

shihlun:

Margaret Bourke-White (1904–1971) perches on an eagle head gargoyle at the top of the Chrysler Building and focuses a camera, New York, 1935.

(via kihi)

qurty:

Mary Heilmann
Installation shot 2013

qurty:

Mary Heilmann

Installation shot 2013

(via maritstar)

(Source: themambocat, via maritstar)

shihlun:

Francis Alÿs, The Green Line, 2004.

In 1995, Francis Alÿs realised an action in São Paolo called The Leak in which he walked from a gallery, around the city, and back into the gallery trailing a dribbled line from an open can of blue paint. This action was reprised in 2004 when he chose to make a work in Jerusalem. Using green paint, Alÿs walked along the armistice border, known as ‘the green line’, pencilled on a map by Moshe Dayan at the end of the war between Israel and Jordan in 1948. This remained the border until the Six Day War in 1967 after which Israel occupied Palestinian-inhabited territories east of the line.
Though palpably absurd, and greeted by onlookers with some bewilderment, Alÿs’s action of dribbling green paint behind him raised the memory of the green line at a time when the separation fence was under construction to the east of the green line. He later encouraged various commentators from Israel, Palestine, and other countries to reflect on his action, and their voices, sometimes sceptical, sometimes approving, can be heard while the video of his action is screened. Most importantly Alÿs wanted to ask what the role of poetic acts could be in highly charged political situations, while acknowledging that the relation of poetics to politics is always contingent.

shihlun:

Francis Alÿs, The Green Line, 2004.

In 1995, Francis Alÿs realised an action in São Paolo called The Leak in which he walked from a gallery, around the city, and back into the gallery trailing a dribbled line from an open can of blue paint. This action was reprised in 2004 when he chose to make a work in Jerusalem. Using green paint, Alÿs walked along the armistice border, known as ‘the green line’, pencilled on a map by Moshe Dayan at the end of the war between Israel and Jordan in 1948. This remained the border until the Six Day War in 1967 after which Israel occupied Palestinian-inhabited territories east of the line.

Though palpably absurd, and greeted by onlookers with some bewilderment, Alÿs’s action of dribbling green paint behind him raised the memory of the green line at a time when the separation fence was under construction to the east of the green line. He later encouraged various commentators from Israel, Palestine, and other countries to reflect on his action, and their voices, sometimes sceptical, sometimes approving, can be heard while the video of his action is screened. Most importantly Alÿs wanted to ask what the role of poetic acts could be in highly charged political situations, while acknowledging that the relation of poetics to politics is always contingent.

(via maritstar)

royalboiler:

& since it’s Bode’s B-day 

royalboiler:

& since it’s Bode’s B-day 

(via u0o)

avgirls:

椎名ゆなと桜井あゆの旅ビアン

avgirls:

椎名ゆなと桜井あゆの旅ビアン

(via sinyasiki)

Why is Israel attacking hospitals and schools?? Just curious.
Survive style 5+ (good/weird movie)

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