The Documentary Film - Finding Vivian Maier Conveniently, without a release date as yet. [Waits (im)patiently...]
Sorry about the order of these pictors but l can’t be arsed to pick through html just now. Forgiveness purlease
Via mymodernmet Many people who live in New York City might believe that they have a ’small’ apartment. But, after seeing this photo series of cramped apartments, you might reconsider. And that’s exactly what the human rights organization Society for Community Organization (SoCo) was going for when they commissioned the project. In the middle of 2012, Hong Kong was ranked as one of the world’s most livable cities. But, the issue with these types of glamorous rankings is that, often times, a city’s major problems are pushed aside. In an effort to raise awareness about the inadequate housing concerns in Hong Kong, and about the percentage of people who survive in extremely tiny living quarters, SoCo developed this photo campaign that features an aerial view of incredibly crowded apartments. Often no bigger than a large cubicle, the apartments average about 40 square feet and are the result of dividing already small spaces into smaller, partitioned rentals. Each wide-angle photograph, shot from overhead, highlights individuals and families, along with their belongings, surviving in these very crammed and extreme conditions.
‘In 1967, Anders Petersen started to photograph the late-night regulars (prostitutes, transvestites, drunks, lovers, drug addicts) in a bar in Hamburg, Germany, named Café Lehmitz, and continued that project for three years. His photobook of the same name, published in 1978, has since become regarded as a seminal book in the history of European photography.
‘The people at the Café Lehmitz had a presence and a sincerity that I myself lacked. It was okay to be desperate, to be tender, to sit all alone or share the company of others. There was a great warmth and tolerance in this destitute setting.’
- Anders Petersen’
Friend & life-muse Tayana Nascimento
“French actress Judith Godrèche’s Hitchcockian heroine faces an imminent tragic demise in these ominous scenes from Alex Prager’s La Petite Mort, a surreal exploration of sexual ecstasy and mortality. “They say that orgasm is the one time in life you are closest to death because all your senses but one shut down. I really liked that poetic way of describing it,” explains Los Angeles-based Prager. Referring to the morbid impulse to treat tragedy as a spectator sport [Prager] interrogates the viewer’s passive complicity with pictures that mix extreme close-ups of melodramatic eyes with cinematic tableaux reflecting media coverage of natural disasters and premeditated violence. Says Prager: “I did not want to draw from specific events, but it was a way for me to deal with the hopelessness I was feeling about the world. Creating a parallel universe where tragedies happen but with a sense of lightness as well.””
Hope ya’ll see what I see!
Quote: “Working with volunteer models, bikes (INSA’s current preferred icon of commodified culture), and large scale painted walls INSA creates momentary installations in public spaces.
” [...] the viewer is instantly confronted with a series of subjects fighting for attention. INSA orchestrates a conflicting dialogue between all the elements and explicitly subordinates the value of his own street art to both the possessed object of the bike and the overtly sexualized female presence. Thus questioning our individual perceptions of the ownership of public space, of sexuality and of belonging(s).”
Translates to : “bums, bums, booty, ass, arse, bums.”
… is a self-portrait.”– Dorthea Lange.
Migrant Mother (1936)
I’m so into you #2 @Hedi Slimane
“I was once left in a car at a young age. I don’t know when or where or for how long, possibly at the age of four, perhaps outside Tesco’s, probably for fifteen minutes only. The details don’t matter. The point is that I wondered if anyone would come back. It seems trivial now but in a child’s mind it is possible to be alone forever.
Around the same age I began to feel a deep affinity with animals – in particular their plight at the hands of humans. I remember watching TV and seeing footage of a dog being put in a plastic bag and being kicked. What appalled me most was that the dog could not speak back. It’s muteness terrified me.
I should say that I was a well-loved child and never abandoned and yet it is clear that both these experiences arose from the same place deep inside me: a fear of being alone and unheard. Perhaps this is a fear we all share at some level, I am not sure…”
- Martin Usborne
Truly humbling stuff…
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