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"I'm Dorothy Gale from Kansas"
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Jules of Nature

Love Begins
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2025 on Tumblr: Trends That Defined the Year
Aqua Utopia|海の底で記憶を紡ぐ

if i look back, i am lost

Game Changer & Make Some Noise
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r i t u a l b o d y | p o l i t i c a l b o d y

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Nomad Circle in Mongolia - Richard Long (1996)
Si parla continuamente di solitudine e di incomunicabilità tra gli uomini. Ma nel mondo di oggi ciò che ci manca è appunto la solitudine che è considerata la colpa maggiore, e siamo obbligati a stare sempre in linea di comunicazione; potessimo comunicare la nostra incomunicabilità! Che altro vale la pena di essere comunicato? Potessimo interrompere la comunicazione!
Andrea Emo, Quaderni di metafisica (via antiumanistica)
nico kok, curved picture, 1992
Courage consists, however, in agreeing to flee rather than live tranquilly and hypocritically in false refuges. Values, morals, homelands, religions, and these private certitudes that our vanity and our complacency bestow generously on us, have many deceptive sojourns as the world arranges for those who think they are standing straight and at ease, among stable things.
Deleuze and Guattari Anti-Oedipus: Capitalism and Schizophrenia

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SHXCXCHCXSH - LTTLWLF
This will be happening soon.
Otto Muehl - Mama und Papa, 1964

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Chris Burden. “Prelude to 220, or 110”. Still from Performance. 1971.
— Burden lay bolted with copper bands to a concrete floor, near two buckets of water in which live 110-volt lines had been submerged. Had anyone visiting the gallery chosen to spill the water, Burden would have been electrocuted. Such performances created a context in which it was possible (though not probable) that the artist would die. Fear or pain, Burden said, "energize the situation," and that energy was his subject. [ from C. Carr, «On Edge. Let's Make an Ordeal - Young Artists Recover the Conceptual '70s in the Material '90s» ]
The Venice International Performance Art Week, curated by VestAndPage, returns in its second edition "Ritual Body - Political Body" on December 13-20, 2014 at Palazzo Mora, Venice. [ EXHIBITION ] Vito Acconci, Alain Arias-Misson, Richard Ashrowan, Jelili Atiku, Joseph Beuys, Waldo Bien, Chris Burden, Terry Fox, Guillermo Giampietro, Allen Ginsberg, Tehching Hsieh, Zhang Huan, Waldemar Januszczak, Norbert Klassen, Sigalit Landau, Legend Lin Dance Theatre, Boris Nieslony & Gerhard Dirmoser, Omen Teatar, Gina Pane, Bob Raymond, Pedro Reyes, Rong Rong, Inder Salim, Carolee Schneemann, Gerry Schum, Ulay, Paul Wong. [ LIVE PROGRAM ] Andrigo & Aliprandi, Marilyn Arsem, Adina Bar-On, Bean, Tania Bruguera, Barbara Campbell, Shannon Cochrane, Angel Delgado, Norma Flores, Regina José Galindo, Melissa García Aguirre, Arti Grabowski, Andrea Hackl, Enrique Ježik, Sandra Johnston, Zai Kuning, La Pocha Nostra, Alastair MacLennan, Sarah-Jane Norman, Vela Phelan, Martin Renteria, Olivier de Sagazan, Benjamin Sebastian, Gianni Emilio Simonetti, Terry Smith, Alice Vogler, Julie Vulcan, Wen Yau | ART WEEK Fringe. ________ Image © Alperoa, "Tattoo for Venice" (2012)
Non ci manca certo la comunicazione, anzi ne abbiamo troppa; ci manca la creazione. «Ci manca la resistenza al presente».
Gilles Deleuze, Che cos’è la filosofia? (via antiumanistica)
Zdeněk Liška, How Unfortunate Are Those Who Die Unaware of the Beauty of Music / Lakmé’s Preparation, from the soundtrack of The Cremator (‘Spalovač mrtvol’), dir. Juraj Herz, 1969
A man must dream a long time in order to act with grandeur, and dreaming is nursed in darkness.
J. Genet

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Kurt Kren, 9/64 O Tannenbaum / 9/64 O Christmas Tree, 1964. 16mm, colour, silent, 2:56 min. Action by Otto Mühl.
In Aleksandr Rodchenko’s studio: Anton Lavinsky, Varvara Stepanova, Alexander Vesnin, Lyubov Popova and Ivan Sobolev, with Rodchenko’s mom in back, 1924