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Andulka
we're not kids anymore.
2025 on Tumblr: Trends That Defined the Year
Misplaced Lens Cap

Discoholic 🪩
official daine visual archive

ellievsbear

trying on a metaphor
macklin celebrini has autism
Keni
Aqua Utopia|海の底で記憶を紡ぐ
taylor price
YOU ARE THE REASON

if i look back, i am lost
🩵 avery cochrane 🩵

pixel skylines

seen from Netherlands
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seen from Bangladesh
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seen from United States

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seen from Türkiye

seen from Spain
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@wetfordeath
via weheartit

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Chinese Eyes - Xiao Lu
ᴰᵉᶜᵉᵖᵗᶦᵛᵉ ᴸᶦᵖˢ
September

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“I wanted it so much. I don’t know why I wanted it so much.”
— Ernest Hemingway, Cat in the Rain (via naturaekos)
“You’re a woman, use it; bring every man you meet to his motherfucking knees”
— My mother (via leave-me-colourless)

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francis alÿs
tornado . 2000-2010
Final performance 💋
Charles Ray - Leak (1981-1985)
“People like to create the best image of themselves and then hide the shit, but my whole idea is to expose everything. Human beings have to be honest about themselves and others. It’s okay that we’re not perfect. It’s okay that we all have problems. It’s okay to cry, to show emotions.”
— Marina Abramovic, Performing Artist

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marina abramovic
balkan baroque
Marina Abramovic’s Balkan Baroque, like Annette Messager’s The Boarder’s Repose, addresses the complexities of individual loss within massive tragedy. Balkan Baroque was installed at the Venice Biennale in 1997. In this performance, Abramovic sits amidst an enormous pile of bloody cow bones, washing them one by one while singing folk songs from her childhood. The title, Balkan Baroque, cues viewers to approach the piece as a response to Abramovic’s war ravaged country, the former Yugoslavia. The installation includes three video projections that convey themes of violence and trauma. For four days the artist sits in the middle of the pile, scrubbing away at 1,500 fresh beef bones. Her dress becomes increasingly stained by blood as she sings folk songs and weeps.
Loving Care (1994), Janine Antoni