navisis:

Ad-percipere, 2012
Lúa Ocaña
galasai:

Ana Mendieta
Flowers on Body, 1973

blue-voids:

Zerkalo (The Mirror), 1975 - dir. Andrej Tarkovskij

Sarajevo, Bosnia, 1993, printed 1997Gilles Peress (French, born 1946)
“French photographer Gilles Peress’ work in Bosnia stems from a lifelong interest in capturing the harshness and reality of life. This interest has taken him from a French coal-mining village to Northern Ireland, Iran, and Rwanda, among other troubled locations. He spent three months in Bosnia during 1993 and created several unflinching images of the death, destruction, and pain caused by the war there. This photograph starkly portrays a body in a morgue, its materiality likened to the tiles on the wall and the cement of the floor. Peress’ intention is to cut through the indifference of viewers inundated by reportorial photographs: “My point is that we, in the comfort of our lives, must question our role in the history of Bosnia, which is also our history.” This print was originally published in Peress’ 1995 book Farewell to Bosnia, in which the photographs are accompanied by his commentary.”
rafsimonsredux:

* July 2001: publication Woe onto those who spit on the fear generation… the wind will blow it back, published by Detlef bvba, Antwerp. Stills from video shoot by Willy Vanderperre, assisted by Els Voorspoels and team.
taken by me from raf simons redux

Joel Tettamanti

Paradise: Hope (2013), dir. Ulrich Seidl
vroomheid:

Meejin Yoon, 2000
The Defensible Dress seeks to reinscribe notions of personal space. The Defensible Dress is a response to the increasing breakdown and encroachment on personal space in everyday life.  Inspired by the porcupine and the blowfish, the Defensible Dress marks the wearer’s personal space by activating a physical projection around the body; when infrared sensors detect someone approaching, a series of mechanical pines bristle to prevent encroachment.