Marta Traba, La pintura nueva en Latinoamérica (1961). p. 25

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Marta Traba, La pintura nueva en Latinoamérica (1961). p. 25

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england when it's time to play a meaningless game for consolation points:
PIER PAOLO PASOLINI
Accattone (1961) — Mama Roma (1962)
The Gospel According to St. Matthew (1964) — The Hawks and the Sparrows (1966)
Oedipus Rex (1967) — Teorema (1968)
Pigsty (1969) — Medea (1969)
The Decameron (1971) — The Canterbury Tales (1972)
Arabian Nights (1974) — Salò, or the 120 Days of Sodom (1975)
A trend on Twitter: four small tasteful stills from a film. There’s virtually no film you can’t make look good in this way. There are films I loathe or am wholly indifferent to that I still find quite breathtaking presented this way. Letterbox slivers. Tiny moodboard postings of ‘iconic’ stills from canonical films. Cine-fetishism. Image addiction. Micro-gaze. What began on the big screen reduced to glints on a flat tiny surface. Cinema turned into a digital stamp album.
Ian Penman | Fassbinder: Thousands of Mirrors
Mali

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Antología De Poesía Surrealista de la Lengua Francesa: “Los Poetas Negros”, Aldo Pellegrini
Radiant Che
Alfredo Rostgaard, 1969
Poster for the OSPAAAL (Organization of Solidarity with the People of Asia, Africa and Latin America)
I’m starting a gofundme to get a mojito

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call my dick the tower of babel the way god wont let me erect it
Splitting Gordon Matta-Clark 1974
Trinicon Colour Camera DXC-1610P, Sony, 1980s

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Sooty Heights - "Battle of the Bands"
via flickr