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Etruscan Bronze Cista Handle, 4th-3rd Century BC

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baadbaadnotgood

‘Distributore di incenso, LSD, marijuana, oppio e gas esilerante’ [Dispenser of incense, LSD, marujana, opium and laughing gas], 1972 By Ettore Sottsass

pasticciaccio

Folleggiarono e viaggiarono, e bisticciarono, e volarono di nuovo l'uno nelle braccia dell'altra.

Vladimir Nabokov, Ada o ardore (via pasticciaccio)

vintageanchorbooks

Do not complain. Work harder. Spend more time alone.

Joan Didion, Blue Nights (via vintageanchorbooks)

artchipel

Sagmeister & Walsh | Stefan Sagmeister - Deitch Projects, Banana Wall

At the opening of our exhibition at Deitch Projects in New York we featured a wall of 10,000 bananas. Green bananas created a pattern against a background of yellow bananas spelling out the sentiment: Self-confidence produces fine results.

After a number of days the green bananas turned yellow too and the type disappeared. When the yellow background bananas turned brown, the type (and the self-confidence) appeared again, only to go away when all bananas turned brown.

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artchipel

Sagmeister & Walsh - Here for good

Typographic approach throughout Asia, Africa and the Middle East for Standard Chartered

consonanza

Arte: parola elastica Tutto ciò che stimola può essere arte

Andrea Pazienza

apreslude

#gottfriedbenn

kiss | 2017

#selflove #conception #dance

nowavepoetry-deactivated2016072

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speciesbarocus

To think is always to follow the witch’s flight.

Deleuze and Guattari, What is Philosophy? (1991). (via speciesbarocus)

br-e-a-t-h-e

jes68

Henri Matisse (1869-1954), Seated Figure in Persian Dress, 1932.

libsocalliance-blog

“The spectacle is not a collection of images, but a social relation among people, mediated by images.” - Guy Debord, Society of the Spectacle

neo-catharsis

Inge Morath, Untitled. (from the Mask Series of Saul Streinnberg), 1962

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fratur

Per fare una DERIVA, andate in giro a piedi senza meta od orario. Scegliete man mano il percorso non in base a ciò che sapete, ma in base a ciò che vedete intorno. Dovete essere straniati e guardare ogni cosa come se fosse la prima volta. Un modo per agevolarlo è camminare con passo cadenzato e sguardo leggermente inclinato verso l’alto in modo da portare al centro del campo visivo l’architettura e lasciare il piano stradale al margine inferiore della vista. Dovete percepire lo spazio come un insieme unitario e lasciarvi attrarre dai particolari

Guy Debord, Théorie de la dérive, in Les Lèvres nues, n. 9, novembre 1956, Bruxelles; ripubblicato senza le due appendici in Intenationale Situationniste, n° 2, dicembre 1958, Parigi; trad.it. Internazionale Situazionista, Nautilus, Torino (via fratur)

lafilleblanc

Wintersun, 2012

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