(Source: phantombabe)
(Source: ilovebapiambaby)
(Source: rilakkumagifs)
Schoolgirls Look Out onto China’s Alienating Urban Landscapes
In his beguiling photo series “Sitting on the Wall: Haikou V,” Chinese artist Weng Fen captures young women and new cities on the precipice of change. The backs of the young women face us, giving no hint of a personal identity, save for their slightly varied school uniforms. Meanwhile, the booming new buildings dominate the background, their postmodern facades signifying an increase of investment and oncoming changes throughout Chinese cities. Read more!
Final Fantasy artist Yoshitaka Amano will open his first solo exhibition in Singapore at Mizuma Art Gallery (Gillman Barracks) on June 7th! Details here.
and I’m interviewing him on the 6th of June for Vulture Magazine! I am sooooooooooo pumped.
AVENGE ME HAMLET
FOR I WAS KILLED BY YOUR UNCLE, AND MY BROTHERA MOST FOWL AND UNNATURAL MURDER
(Source: hoppip)
men at large feel like they are being robbed of something when an attractive woman with a 90% chance of developing breast cancer gets a double mastectomy
what better illustration of the male sense of sexual entitlement do you need
i rlyyyyyyyyyy miss my boyfriend agh
we are both ugly
i have medicine to help me remember to do things and i have to take it but
i fucking forgot where i put it
Tian Yi by Oliver Stalmans for Elle Vietnam May 2013 wearing Prada.
Alud (Landslip)
Performance, 2011 (video here)
Regina José Galindo
the artist’s words:
Water runs.
The body is there, dirty.
The public’s position as observer is replaced by the action of participating and cleansing the body. Motivated, perhaps by some empathy for the unknown individual, hidden behind the mud.
Nadav Kander - Yangtze: The Long River (2009-12)
“Finishing Yangtze: The Long River required three years and five trips to China, ‘a place that is moving and changing so fast that it can only be unnatural,’ [Kander] said.
In 2005, around the time Mr. Kander started thinking about the project, he was intrigued by China’s rapid growth and constant change. ‘It was a place that I wanted to stand in,’ he said.
The Yangtze, flowing nearly 4,000 miles from Qinghai Province to the East China Sea, seemed a natural yet challenging path to trace.
‘I love the metaphor of water,’ Mr. Kander said. ‘Like life, like humanness, it becomes a cloud. It’s an ever-changing cycle. I find it comforting.’
Because what he was seeing wasn’t so much about China — grand structures or tourist vistas — as it was about compassion. He saw a beauty in the moments he witnessed, as people lived out their daily lives and traditions in circumstances so much different from his own.
‘It’s much more about what you don’t show than what you do show,’ he said. ‘I think work that asks you to question what more there is is much more interesting.’”
