deQuicio.

There was earth inside them, and they dug.
bombmagazine:

Donna Tartt: “It’s the narrator’s business to betray, whether he’s aware of it or if he wants it to be or not. That’s his function in any novel.”

bombmagazine:

Donna Tartt: “It’s the narrator’s business to betray, whether he’s aware of it or if he wants it to be or not. That’s his function in any novel.”

A veces se le ha reprochado a Stephen King que solo escriba historias de terror, a lo que él siempre responde: “¿Y qué le hace a usted pensar que está en mi mano decidir una cosa así?”
http://www.nytimes.com/2013/10/21/books/donna-tartt-talks-a-bit-about-the-goldfinch.html?pagewanted=all&_r=0
True signs at last

True signs at last

exogins:

-

exogins:

-

(Source: mpdrolet, via greenteaandmint)

tonsilproject:

EXHIBITION - “Urgent Action” at Fundación Proa, Buenos Aires

Show the different creative activism mechanisms used by South American colectives

http://www.revistaenie.clarin.com/arte/protesta-bellas-artes-activismo-calle_0_1183082066.html

szendergo:

notwo:

last night i had a strange dream

ez egy elég szomorú kép

szendergo:

notwo:

last night i had a strange dream

ez egy elég szomorú kép

(via greenteaandmint)

It is June.
I am tired of being brave.
Partizaning interviews Harmen de Hoop
"For almost three decades, Harmen de Hoop has anonymously but consistently been intervening in public space. Whether critical or joking, he has made his ideas felt in cities around the world. This is a brief conversation with the artist—perhaps theoriginal urban interventionist—and will be part of a mini-series of posts on various aspects of his work. But first, in case you are unaware, check out a sampling of his urban interventions—they are pretty influential on the projects we do.”

http://eng.partizaning.org/?p=5003

Partizaning interviews Harmen de Hoop

"For almost three decades, Harmen de Hoop has anonymously but consistently been intervening in public space. Whether critical or joking, he has made his ideas felt in cities around the world. This is a brief conversation with the artist—perhaps theoriginal urban interventionist—and will be part of a mini-series of posts on various aspects of his work. But first, in case you are unaware, check out a sampling of his urban interventions—they are pretty influential on the projects we do.”

http://eng.partizaning.org/?p=5003

Alternative Art Spaces
KARAT, Cologne, Germany
Karat is situated in 14 display cases, or former advertising light boxes, in the outer wall of a multi-storey car park in the centre of Cologne.
http://karatistdraussen.tumblr.com/

Alternative Art Spaces

KARAT, Cologne, Germany

Karat is situated in 14 display cases, or former advertising light boxes, in the outer wall of a multi-storey car park in the centre of Cologne.

http://karatistdraussen.tumblr.com/

"Galería Chilena (GCH) promotes the work of young artists through the organization of exhibitions and talks. The main feature of GCH is the lack of a physical space. Our shows have happened mostly in commercial locations that are dealt directly with the estate agents through mutual benefit agreements, “cultural visibility trade” or simple diplomatic manoeuvres within an entrepreneurial disguise. Originally, the nomadic strategy of GCH worked as a critique, question and expansion to the Santiago contemporary art circuit, which in the late 90’s was composed mostly of either very traditional commercial galleries or government funded non-profit spaces (with unclear curatorial decisions). GCH’s nomadism was as much an economical solution as it was a takeover of the growing condition of Santiago in the years of transitional democracy and macro economic wealth –we used new/unused spaces that where left behind. By now, GCH’s mobility and economy of mediums has evolved, and moved away from the gallery frame to become more of a collaborative instance for group experimentation and encounters; a non-place for discussion, a non-place for joining forces."
Excerpt from CONDOROS/MISTAKES press release, London 2004

"Galería Chilena (GCH) promotes the work of young artists through the organization of exhibitions and talks. The main feature of GCH is the lack of a physical space. Our shows have happened mostly in commercial locations that are dealt directly with the estate agents through mutual benefit agreements, “cultural visibility trade” or simple diplomatic manoeuvres within an entrepreneurial disguise. Originally, the nomadic strategy of GCH worked as a critique, question and expansion to the Santiago contemporary art circuit, which in the late 90’s was composed mostly of either very traditional commercial galleries or government funded non-profit spaces (with unclear curatorial decisions). GCH’s nomadism was as much an economical solution as it was a takeover of the growing condition of Santiago in the years of transitional democracy and macro economic wealth –we used new/unused spaces that where left behind. By now, GCH’s mobility and economy of mediums has evolved, and moved away from the gallery frame to become more of a collaborative instance for group experimentation and encounters; a non-place for discussion, a non-place for joining forces."

Excerpt from CONDOROS/MISTAKES press release, London 2004

It’s not a question of being against the institution: We are the institution. It’s a question of what kind of institution we are, what kind of values we institutionalize, what forms of practice we reward, and what kind of rewards we aspire to.

(Source: maliara, via thatkindofwoman)

Ryan’s first movie

theme