Jakszyna.

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March 20, 2025 - People across Türkiye clashed with riot police as they defied the protest ban, after the AKP had Erdoğan's main political rival Imamoğlu arrested. [video]

— Mary Shelley, from a letter to Marienne Hunt c. April 1827

“The Blonde Witch” (1956) - André Michel

The tiny skull of a thylacine joey, part of the collection of the Smithsonian National Museum of Natural History. Prior to her premature death, this individual lived alongside her mother and two siblings at the Smithsonian National Zoological Park. [ x ]

Hideo Azuma, scanned from the Mushroom Manga Anthology

Camazotz or Camazot was an entity worshiped by members of the Mesoamerican civilization that developed for 18 centuries in southeastern Mexico, Guatemala, Belize, El Salvador, and the occidental part of Honduras. There are many references from this character and the descriptions agree on it being half-human, half-bat, and that it represented the killer god of life, and death.

Photo by Jesse Nusbaum

Travertine (Egyptian alabaster)

Young Berber woman. Imilchil, High Atlas region, Morocco, google search

Christiane Löhr, ‘Löwenzahnkissen’, 2009, dandelion seeds

Henning Rogge’s photographs of landscapes at first appear as quiet, pastoral scenes of the German forest and countryside. Titled with their locations, they read as serene portraits of specific places whose import is unclear. As the viewer learns more information, however, the works’ meaning grows more complex. These are sites where World War II bombing has left its mark, once-decimated areas that now blend into their surroundings. Rogge began photographing such craters after randomly encountering one in the forest. “I was amazed by its size and clear, circular shape,” he says. “After doing some research, I found out that many similar-looking holes still exist all over the country.” The artist scours the German landscape to find them, often consulting aerial photographs and relying on complex mapping techniques. Little evidence exists of the violence that created such craters. They are often filled with water, like makeshift ponds, and overgrown with trees. Rogge’s photographs point to this disconnect — the way violent histories can later appear as placid landscapes. “The craters are special to me because they don’t come across as dramatic like other sites connected to war,” he says. “They are more abstract. This sense of disconnection reflects my own position toward this period of German history, which is almost unimaginable to me.” (source)

Diatom