sau su savim

Colonization with Love, by Kristian Lukic, https://labs.rs/en/colonization-with-love/

Cliff at Ahrenshoop, 1911

Agnes Denes, Wheatfield, 1982

Still from Virgile Texier and Jules Theret’s Lost Paradise: A Smart Talk, 2016.

Ivan Bilibin. Illustration for the picture book, “The Tale of Tsar Saltan”, 1905.

still from The Forgotten Space, directed by Allan Sekula and Noël Burch, 2010 ‘The contemporary vision of an integrated, globalized, self-regulating capitalist world economy can be traced back to some of these axioms of the capitalist “spirit of adventure.” And yet what is largely missing from the current picture is any sense of material resistance to the expansion of the market imperative. Investment flows intangibly, through the ether, as if by magic. Money begets money. Wealth is weightless. Sea trade, when it is remembered at all, is a relic of an older and obsolete economy, a world of decrepitude, rust, and creaking cables, of the slow movement of heavy things. If Petty’s old fable held that a seafarer was worth three peasants, neither count for much in the even more fabulous new equation. And yet we would all die without the toil of farmers and seafarers.’ source: http://www.theforgottenspace.net/static/notes.html

‘The summer at Fleskum marked the start of a new chapter in Norwegian art history, and the works that emerged had a strong influence on the country’s artistic community. The “Fleskum painters” abandoned the ideals of realism and focused instead on painting en plein air and evoking nature’s many different moods.’  source: http://www.kongehuset.no/artikkel.html?tid=101284

Krzysztof Wodiczko, The Hiroshima Projection, 1999 ‘Inscribing on to the monument that which it hides or silences, Wodiczko unveils the complexity of its architectural, ideological or political subtexts, complicating a reading of the city’s signs. His projections, he suggests, serve to expose ‘meaningful silences which must be read. My projections are attempts to carve those silences into the monuments and spaces which propagate civic and dramatic fictions within the social sphere’ (Wodiczko and Ferguson 1992: 51–2).’ From book  site specific art: performance, place and documentation by Nick Kaye, p. 34

magical music by Kabloonak

John Buckland Wright. Three Bathers. 1951. wood engraving.

Vitas Luckus. From series „Pantomime“. 1968–1972.