E...

...também no Instagram 
renault_a

Atriz! Maria Casarès + Diretor: Bresson... alegria!

Atriz + música = Piaf!

Fauno Barberini + Ron Mueck_Untitled (Big Man)_2000

+ Ron Mueck

+ Barbierini Fauno

Nina Horta_Atala erótico

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Sir Cecil Beaton_1904-1980

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+ Cecil Beaton

Murakami

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Van Damme + Volvo Trucks

Simone Decker_Shifting Shapes

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  Simone Decker: Shifting Shapes
  
  
  
  
  
  Simone Decker: Shifting Shapes
  
  
  

  Simone Decker: Shifting Shapes
  
  
  
  Simone Decker: Shifting Shapes

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  Simone Decker: Shifting Shapes

  
  

  

  
  

  Simone Decker: Shifting Shapes

  
  

  + Simone Decker
  

  
  

  
  

  
  

  
  

Frédéric Bazille_ Pêcheur à l'épervier_1868

+ Bazille

Calder_Little Face_1943

© 2013 calder foundation / photo: nathan keay / alexander calder 

+ Calder

Andrej Dubravsky_I stopped when I began_Dust Magazine

+ Andrej Dubravsky

Hilma af Klint_1862-1944

"A artista sueca nasceu em 1862 e pintava sobretudo retratos e paisagens. Mas em segredo desenvolveu um alter ego abstrato que permaneceu escondido até depois da sua morte, em 1944. No seu testamento estipulou que a sua obra abstrata deveria permanecer em segredo por mais duas décadas."

Iris Muller-Westermann: “Podiam ter sido feitos na era pop, nos anos 60. Ou mesmo nos anos 80. Não parecem quadros com um século.”

Copyright © 2013 euronews

+ euronews

+ Hilma af Klint

We Make Carpets: A4 Carpet

+ We Make Carpets

Romain Laurent_One Loop Portrait a Week

+ Romain Laurent

Polybius_James Houston, Julian Corrrie & Bold Yin

+ aqui

Axel Hoedt_ONCE A YEAR

The opening essay frames the book's intent as being one of experience rather than historical documentation, setting the images up to be reactive in their eeriness. Heike Geissler's In the Company of a Bear nimbly explores that line between the worlds of the day-to-day and the one of magical imagination evoked by these costumed characters, and manages to say a lot without being specific about anything. The tempered hand with which the essay was written is impressive, and creates a kind of odd counterpoint to the captions in the rear of the book which give a volume of specific information regarding the characters names and ages of costumes yet don't really say anything. I imagine a German audience long acquainted with the traditions and casts of these carnivals may have a different response. I knew next to nothing about what I was looking at, but figured that these costumes must have something to do with the Lenten season, some of the characters likely having roots in pagan tradition. A little research confirmed by guesses, but the book itself gives no explanation. But for the unaccustomed, the work achieves that state of otherness quicker, Hoedt's subjects being immediately unfamiliar. I am left with an overwhelming sense of that otherness, though it is not one entirely detached from what it is to be human.—SARAH BRADLEY

+ blog.photoeye.com

Ferdinad Hodler_Le Printemps III_1907-1910

+ Ferdinand Hodler

Ruy Castro_Quadro em branco

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Casa Brasileira_reprises