Viscerrealista
Viscerrealista
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Robert Mapplethorpe's 'Waves', 1980.

Robert Mapplethorpe's 'Waves', 1980.

Robert Mapplethorpe's 'Waves', 1980.
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chamanka:

grupaok: Theodor Adorno, Himself in a Mirror, Frankfurt, 1963
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aureastra:

El pensamiento no nace en la boca, nace en el corazón del corazón - Nicanor Parra
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nevver:

See you next summer
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interrogativepoint:

 1. Art is not the sublime descent of the infinite into the finite abjection of the body and sexuality. It is the production of an infinite subjective series through the finite means of a material subtraction.
2. Art cannot merely be the expression of a particularity (be it ethnic or personal). Art is the impersonal production of a truth that is addressed to everyone.
3. Art is the process of a truth, and this truth is always the truth of the sensible or sensual, the sensible as sensible. This means : the transformation of the sensible into a happening of the Idea.
4. There is necessarily a plurality of arts, and however we may imagine the ways in which the arts might intersect there is no imaginable way of totalizing this plurality.
5. Every art develops from an impure form, and the progressive purification of this impurity shapes the history both of a particular artistic truth and of its exhaustion.
6. The subject of an artistic truth is the set of the works which compose it.
7. This composition is an infinite configuration, which, in our own contemporary artistic context, is a generic totality.
8. The real of art is ideal impurity conceived through the immanent process of its purification. In other words, the raw material of art is determined by the contingent inception of a form. Art is the secondary formalization of the advent of a hitherto formless form.
9. The only maxim of contemporary art is not to be imperial. This also means: it does not have to be democratic, if democracy implies conformity with the imperial idea of political liberty.
10. Non-imperial art is necessarily abstract art, in this sense : it abstracts itself from all particularity, and formalizes this gesture of abstraction.
11. The abstraction of non-imperial art is not concerned with any particular public or audience. Non-imperial art is related to a kind of aristocratic-proletarian ethic : Alone, it does what it says, without distinguishing between kinds of people.
12. Non-imperial art must be as rigorous as a mathematical demonstration, as surprising as an ambush in the night, and as elevated as a star.
13. Today art can only be made from the starting point of that which, as far as Empire is concerned, doesn’t exist. Through its abstraction, art renders this inexistence visible. This is what governs the formal principle of every art : the effort to render visible to everyone that which for Empire (and so by extension for everyone, though from a different point of view), doesn’t exist.
14. Since it is sure of its ability to control the entire domain of the visible and the audible via the laws governing commercial circulation and democratic communication, Empire no longer censures anything. All art, and all thought, is ruined when we accept this permission to consume, to communicate and to enjoy. We should become the pitiless censors of ourselves.
15. It is better to do nothing than to contribute to the invention of formal ways of rendering visible that which Empire already recognizes as existent.

Alain Badiou,
Fifteen Theses on Contemporary Art
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"2 de agosto. Alemania ha declarado la guerra a Rusia. - Tarde, escuela de natación,"
Franz Kafka, Diarios. (1914)
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visual-poetry:

"art is opium" by fred lonidier
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"La vida, vista a través del prisma del suicidio, adquiere su color justo y su importancia verdadera. El mito de la naturaleza es relegado a la supersticiosa trastienda de la que nunca debió salir. Pensar en el suicidio es tranquilizarse: por fin se toca fondo, casi sería sacrilegio estropear que tan hermoso tema de meditación con la autosupresión pura y simple, motivada por cualquier vulgaridad como una deuda o una correría amorosa contrariada. Este es un campo en el que siempre debe exigirse más."
Savater, F. (1992). Ensayo sobre Cioran. Madrid: Espasa-Calpe., p. 151 (via getzemanigonzalez)
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azurea:

Octavio Paz via Guardagujas. S/d del autor.
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f-r-u-s-t-a-t-e-d:

#QUEUE
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aboywithapersonalitycrisis:

Glam
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"Me duele funestamente el corazón. Tanta soledad, tanto deseo. Y la familia rondándome, pesándome con su horrible carga de problemas cotidianos. Pero no los veo. Es como si no existieran. Siento, cuando se me acercan, una aproximación de sombras fastidiosas. En verdad, casi todos los seres me fastidian. Quiero llorar. Lo hago. Lloro porque no hay seres mágicos. Mi ser no tiembla ante ningún nombre ni ninguna mirada. Todo es posible y sin sentido."
Alejandra Pizarnik  (via pecadosmortales)
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"Volver a ser de repente tan frágil cómo un segundo."
Violeta Parra  (via miss-catastrofes-naturales)
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