Baraka, ViaggImprobabili e altre visioni


Some selections from Decadent Dinners and Lascivious Lunches by Norma Ewalt.

You women: If your partner is less than prudish and proper, get a bottle of champagne and a bag of Burger Kings and go to a “friends and lovers” motel and watch x-rated movies from a water bed.


Tradition Meets Technology at the 2014 Eco Edo Nihonbashi Art Aquarium

For more photos and videos from the exhibition, explore the COREDO室町 (Coredo Muromachi) and アートアクアリウム2014 (Art Aquarium 2014) location pages and browse the #アートアクアリウム (art aquarium) hashtag.

The Eco Edo Nihonbashi Art Aquarium 2014 opened last Friday at the Nihonbashi Mitsui Hall in Tokyo, Japan. This exhibition features 17 fish tank installations designed by “art aquarist” Hidetomo Kimura, whose work brings more than 5,000 goldfish on display in 70 aquariums.

These extraordinary aquatic installations are decked with LED lights, projection mapping, music and even scents. While the technology involved is quite advanced, the aquarium designs are inspired by Japan’s Edo Period (1603–1868) and incorporate traditional motifs such as classic glass fish bowls, folding screens and lanterns.

Hidetomo’s works will be on view at the Nihonbashi Mitsui Hall until September 23, 2014.

Le suore di Trento hanno ragione. Per quale motivo un istituto scolastico cattolico, gestito da religiose, dovrebbe accettare un’educatrice omosessuale? Per chi considera l’omosessualità una devianza, una triste sventura, è del tutto legittimo porsi il problema di quanto un docente gay o una docente lesbica possa agire come esempio negativo sugli alunni e le alunne.
Il problema infatti non è delle suore, ma di uno stato laico e aconfessionale che finanzia le loro scuole e se ne vanta, affermando per legge (n. 62 del 2000) che quegli istituti fanno parte del sistema scolastico pubblico.

—Le suore di Trento - Internazionale - Opinioni (via dvel-tor)

(via dvel-tor)


Seeking Inspiration Midair with @manonwethly

To see more of Manon’s artfully captured images of #flyingstuff, follow @manonwethly.

For Dutch designer Manon Wethlij (@manonwethly), the contents of her arresting #flyingstuff photos are less important than the conversations they provoke. “People are free to see or feel whatever they want in the shapes,” Manon says. “I love that they make people talk to me and ask questions.”

“I studied architecture for two years, then graphic design, but the thing that has always made me happy is photography.” When she found Instagram, Manon says, “it was exactly what I needed to keep my photography enthusiasm alive. I was taking lots of photos every day and just storing them in my computer for no one to see.”

These days, it’s the response to her photos on Instagram that keeps Manon evolving creatively. “Everybody’s enthusiasm encourages me to try new things,” she explains, “It’s sort of addictive.”

In Vicino Oriente hanno torto tutti. E no, non è che “non ha ragione nessuno”, no: ognuno ha le sue ragioni, le può ostentare, le può argomentare, ma le ragioni di ognuno vengono soffocate in un torto generale, in un casino collettivo. “E’ una guerra tribale”, dice Toby in West Wing, “non può essere risolta”. Ed è quello che ha più ragione di tutti: non si può risolvere parteggiando per una delle due parti, perché qui è andato tutto oltre, troppo oltre. E certe cose, bisogna dirle forte.

—Gaza-Israele, ecco perché hanno torto tutti - Lungoibordi (via dvel-tor)

(via dvel-tor)

Raccontando di questa frustrazione ho scritto che “provare a contribuire in qualunque modo sensato alla discussione su Israele e Palestina è come aprire la porta di una stanza piena di gente che si urla contro, urlare «la penso così», e richiudere la porta”. Ho visto di recente uno sketch del Daily Show in cui Jon Stewart comincia a parlare di Israele e Palestina e viene assalito da diverse voci urlanti che lo sommergono. È proprio così.

—Perché parlare di Israele e Palestina è così difficile? - Distanti saluti (via dvel-tor)

(via dvel-tor)


Exploring Colors and Geometry with @stellamariabaer

To see more of Stella’s work and be a part of her creative process, follow @stellamariabaer on Instagram.

Stella Maria Baer (@stellamariabaer) grew up immersed in the tones and shapes of New Mexico’s high mountain desert. Her recent works, which explore color, geometry and the human form, reflect Stella’s upbringing in the American Southwest. “I tend to gravitate toward particular colors for a period of time, both in my paintings and in my life in general,” she says. “My Instagram feed maps the ebb and flow of my relationship with color.”

Instagram for Stella is not just about bringing people into her studio. She explains, “It’s become its own medium for me—a collage of things I make, places I travel and people’s interactions with what I create.” Stella seeks to inspire others with her work, but has also connected with other women artists who, she says, “inspire me daily to seek out what it is that I am uniquely meant to make.”


Going Back to the Roots with Henrique Oliveira’s Transarquitetônica

To see more photos and videos from Transarquitetônica, explore the MAC USP location page and browse the #henriqueoliveira hashtag.

Brazilian artist Henrique Oliveira invites spectators to step inside his latest artwork and explore a giant wooden maze at São Paulo Museum MAC. His largest installation to date, Transarquitetônica is a 70 meter (229.66 ft) interactive sculpture made of tapumes, a plywood material traditionally used for cheap housing in Brazil. As the piece’s name suggests, Oliveira’s work speaks to the concept of time and evolution. Spectators discover spaces of contrast, as certain areas reference today’s modern architecture while sprawling branches symbolize man’s first dwelling.