segunda-feira, 25 de novembro de 2013


...também no Instagram 

sábado, 16 de novembro de 2013

quinta-feira, 14 de novembro de 2013

quarta-feira, 13 de novembro de 2013

Simone Decker_Shifting Shapes

  • Formejaune1_000

    Simone Decker: Shifting Shapes


    Simone Decker: Shifting Shapes

    Simone Decker: Shifting Shapes

    Simone Decker: Shifting Shapes
  • Formeorange2
    Simone Decker: Shifting Shapes


    Simone Decker: Shifting Shapes

terça-feira, 12 de novembro de 2013

Frédéric Bazille_ Pêcheur à l'épervier_1868

 + Frédéric Bazille

+ Bazille

Calder_Little Face_1943

© 2013 calder foundation / photo: nathan keay / alexander calder 

+ Calder

Andrej Dubravsky_I stopped when I began_Dust Magazine

+ Andrej Dubravsky

Hilma af Klint_1862-1944

"A artista sueca nasceu em 1862 e pintava sobretudo retratos e paisagens. Mas em segredo desenvolveu um alter ego abstrato que permaneceu escondido até depois da sua morte, em 1944. No seu testamento estipulou que a sua obra abstrata deveria permanecer em segredo por mais duas décadas."
Iris Muller-Westermann: “Podiam ter sido feitos na era pop, nos anos 60. Ou mesmo nos anos 80. Não parecem quadros com um século.”

Copyright © 2013 euronews
+ Hilma af Klint

We Make Carpets: A4 Carpet





+ We Make Carpets

Romain Laurent_One Loop Portrait a Week


+ Romain Laurent

segunda-feira, 11 de novembro de 2013

domingo, 10 de novembro de 2013

Axel Hoedt_ONCE A YEAR

ONCE A YEAR  . Axel Hoedt
ONCE A YEAR  . Axel Hoedt

The opening essay frames the book's intent as being one of experience rather than historical documentation, setting the images up to be reactive in their eeriness. Heike Geissler's In the Company of a Bear nimbly explores that line between the worlds of the day-to-day and the one of magical imagination evoked by these costumed characters, and manages to say a lot without being specific about anything. The tempered hand with which the essay was written is impressive, and creates a kind of odd counterpoint to the captions in the rear of the book which give a volume of specific information regarding the characters names and ages of costumes yet don't really say anything. I imagine a German audience long acquainted with the traditions and casts of these carnivals may have a different response. I knew next to nothing about what I was looking at, but figured that these costumes must have something to do with the Lenten season, some of the characters likely having roots in pagan tradition. A little research confirmed by guesses, but the book itself gives no explanation. But for the unaccustomed, the work achieves that state of otherness quicker, Hoedt's subjects being immediately unfamiliar. I am left with an overwhelming sense of that otherness, though it is not one entirely detached from what it is to be human.—SARAH BRADLEY


Ferdinad Hodler_Le Printemps III_1907-1910

+ Ferdinand Hodler

sábado, 9 de novembro de 2013

sexta-feira, 8 de novembro de 2013