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@WeHeartIt /entry/251100852

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SOS: Pictures from the 70s show its former glory. Today, the Motorway Restaurant âGoldene Bremmâ is empty, overgrown by bushes and the roof has a hole, even if the building is heritage protected.
Walter Schrempf: Motorway Restaurant âGoldene Bremmâ, SaarbrĂźcken, Germany, 1969
http://sosbrutalism.org/cms/19544196
Photos: Š Walter Schrempf ca. 1970 / Š Wolfgang Zwietasch, Murr ca. 1970 / Š Mriro ca. 1970
âIt was when I later visited, one after the other, the exhibitions of these artists that my enthusiasm began to fade, and in some cases disappear, as if the works I had seen were not these, nor even produced by the same hands. Torn from their context, their âenvironment,â they had lost their meaning and died, to be reborn as forgeries. I did not immediately understand what had happened, nor why I felt so disillusioned. One thing was clear, however: deception. More than once I revisited certain artists, and each time the gap between studio and gallery widened, finally making it impossible for me to continue my visits to either. Although the reasons were unclear, something had irrevocably come to an end for me.â
â Daniel Buren, âThe Function of the Studio,â 1971
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âShe was as easy to find in that crowd as a rose among nettles. Everything was made bright by her. She was the smile that shed light on all around her.â
â Leo Tolstoy, Anna Karenina
Maja Dlugolecki.Â
Tree of Life from Palace of Shaki Khans, AzerbaijanÂ

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Je deviens plus difficile, plus insociable, de plus en plus misanthrope
Frances Kearney : Five People Thinking the Same Thing III. 1998
âHome is in my hair, my lips, my arms, my thighs, my feet and my hands. I am my own home. And when I wake up crying in the morning, thinking of how lonely I am, I pinch my skin, tug at my hair, remind myself that I am alive. Remind myself to step outside and greet the morning. Remind myself that itâs all âŚchange. Itâs all aboutâŚfreedom.â
â Diriye Osman, Fairytales for Lost Children (via wnq-anonymous)
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