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"Tell the chef, the beer is on me."
When bright flowers bloom
Parchment crumbles,
my words fade.
Morpheus ( ? :) unverified)
Illustration: Rene Gruau
Working Women of Hanoi series,
C-type Photography
Ian Webb HERE
Part of a collection of images of the women who work the streets of the city selling and collecting goods. (Saatchi Art)
Ian Webb HERE
The decisive moment of a dance extension is a wondrous sight but it’s
over in an instant. What if this instant in time could be extended or
elongated? ‘extension’ was born of this idea.
Niv Novak Photography - Instagram @nivnovak
Dancer: Chengwu Guo
Post production assistant: Mark Scott
Production assistant: Sam Mcgilp
“ The sky grew darker, painted blue on blue, one stroke at a time, into deeper and deeper shades of night. ”—
Haruki Murakami
Although I too am within Amida’s grasp,
Passions obstruct my eyes and I cannot see him;
Nevertheless, great compassion is untiring and illumines me always.
Shinran Shonin
Drawing: Tibetan Gallery pinterest
Frontispiece, from the album Amours
Artist: Maurice Denis (French, Granville 1870–1943 Saint-Germain-en-Laye)
Publisher: Ambroise Vollard (French, 1866–1939)
Date: 1899
Medium: Color lithograph
Dimensions: sheet: 23 5/8 x 17 11/16 in. (60 x 45 cm)
Credit Line: Harris Brisbane Dick Fund, 1941
Accession Number: 41.19.3 (1) - The Metropolitan Museum of Art
More Maurice Denis Here
Springtime
Artist: Maurice Denis (French, Granville 1870–1943 Saint-Germain-en-Laye)
Date: ca. 1894–99
Medium: Oil on canvas
Dimensions: 31 ¾ x 38 ½ in. (80.6 x 97.8 cm)
Credit Line: Gift of David Allen Devrishian, 1999
Accession Number: 1999.180.2a,b - The Metropolitan Museum of Art
Description from the Metropolitan Museum of Art: "Springtime, with its associations of joyful new life, was a source of constant inspiration for Denis. This double-sided canvas presents two studies for his 1899 painting Virginal Spring (private collection), in which young women engage in a purification ritual evocative of Christian baptism and communion. The verdant setting is the Forest of Saint-Germain-en-Laye, near Paris, whose tree-lined glades and dainty wildflowers captivated Denis. He later reprised this composition in his mural series Eternal Spring (Musée départemental Maurice Denis, Saint-Germain-en-Laye), one of his most ambitious attempts at rejuvenating the practice of decorative painting in France.“
More Maurice Denis Here
Le bouquet matinal, les larmes, from the album Amour
Artist: Maurice Denis (French, Granville 1870–1943 Saint-Germain-en-Laye)
Editor: Edited by Ambroise Vollard (French, 1866–1939)
Date:1899
Dimensions: sheet: 21 ¼ x 16 1/8 in. (54 x 41 cm)
Credit Line:Harris Brisbane Dick Fund, 1941
Accession Number: - The Metropolitan Museum of Art
More Maurice Denis Here
Ce fut un religieux mystère, from the album Amours
Artist: Maurice Denis (French, Granville 1870–1943 Saint-Germain-en-Laye)
Editor: Edited by Ambroise Vollard (French, 1866–1939)
Date:1899
Medium: Color lithograph
Dimensions: sheet: 21 ¼ x 16 5/16 in. (54 x 41.5 cm)
Credit Line: Harris Brisbane Dick Fund, 1941
Accession Number:41.19.3(9) - The Metropolitan Museum of Art
More Maurice Denis Here
“ Life: a solitary butterfly—
swaying unsteadily on a slender stalk of grass,
nothing more. But so exquisite! ”
Nishiyama Soin (1605-82)
translated: Michael Burch
“ Borné dans sa nature, infini dans ses vocux, L'homme est un dieu tombé qui se souvient des cieux ”— Alphonse de Lamertine - from L'Homme, addressed to Lord Byron in 1819
The Weepers (Las Plañideras), Mantilla series, 2012, ink print on fabric (sublimation)
Antonio Briceño (
Caracas, Venezuela)
From the Photographer: “There is a sea made up of unfathomable waters: the sea of emotions. It is host to converging torrents, attacks, rages and intensities, which seem to be contained by the over-estimated dam of reason. However, behind the concrete bounds of our logical life, lies an ocean that is endlessly swelling.
These waters free themselves via many different escape routes. The liberation that crying provides is much more than a form of therapy; in essence, it is a connection, an unequivocal expression of a powerful emotion. In this sense, professional weepers have been the quintessential officiants of the merciful ritual of crying.
Nonetheless, the act of crying has been persecuted to such an extent that the very idea of a professional weeper is, in the best of cases, a cause of discomfort today. Since the beginning of humankind up until a few decades ago, all over the world these priestesses played their liberating, cathartic role. Their tears, which were sometimes collected in lachrymatories, were then buried next to the deceased as proof of the sadness left in his or her wake.
Now the crying has stopped and the weepers and lachrymatories have been forgotten, we have been left dry in a desert of self-inflicted exile, disconnected from our internal and external waters. We are anesthetized in an oasis that is nothing but a mirage, pursuing headlong towards evasion, pleasure, speed and power. Our emotions are imprisoned, condemned to be ignored and never to manifest themselves. There is no faucet for them.
However, in the remote desert of Sechura, in Peru, unquenched by water for a long time now, there are still some professional weepers along with the last tears. Although they do exist, there are not many of them and certainly not enough for all our tragedies, our silent pain, our hurt and losses. There are not enough tears for the world’s pain, for our pain.
Yet, they continue to exist and if during the dark night of the soul you hear their sobbing, do not ask the weepers for whom they weep. You will know they weep for you.“
Antonio Briceño
Description from Celeste prize - From the cathalogue of the exhibition, part of the text by the Curator Tomás Rodríguez: "Professional wailers always played a vital role in relation to
emotional blockages. These women, who are normally hired, are not only a
vehicle to heighten the pain of grief and the ritual staging of the
importance of the deceased, but also to channel relatives’ pain. Their
sobbing encourages others to let their pain out by providing them with a
mirror in which to see themselves.
Contrary to what some might imagine, the wailers do not fake pain, nor
do they con people with crocodile tears. Their role is closer to that of
tragic actors from Ancient Greece, when tragedy was a ritual
representation to pay tribute to Dionysus, who was an important god for
women. Dionysus was linked to the idea of resurrection and sacred
madness. In a sense, the wailers’ violent staging of pain and weeping
fits with what Aristotle identified as the key elements of tragedy:
mimesis (imitation) and catharsis (purification). Their empathy works as
a genuine incarnation of Pathos (emotion) that they experience as their
own pain, thus affecting mourners in a real sense and stimulating their
grief. These women, who invariably wear black mantillas (the works
magnify them on long and tremulous black shrouds), dramatize loss, turn
it into something transcendental, cut through time and reveal the
unalterable change that has occurred in our lives. ” via: celesteprize.com
Images via: Celesteprize and Photo Berlin
More about Antonio Briceño Here and Here
Mourner, suspected to represent Isis mourning Osiris. 18th dynasty, 1550 - 1295 BC. Terra cotta (photo credit: Rama, Cc-by-sa-2.0-fr)
"Tell the chef, the beer is on me."
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