inspiración

Julio César Barrita Sierra

"Fotografías realizadas en la mixteca de Oaxaca, una de las zonas más golpeadas por la migración a nivel nacional. Esta dinámica social ha fracturado a las familias de la zona, dejándolos en el abandono de algún ser querido, las imágenes están realizadas en las casas que construyen los migrantes, sus familiares, y la proyección del migrante.
Proyectar el retrato del migrante en el espacio en el que habitó es regresarle por un momento una añeja relación con los que han quedado y con el hogar que ha permanecido atrás, pero al mismo tiempo la imagen proyectada no puede separarse de su inmaterialidad construida a base de luz, esa inmaterialidad que viven también las personas que han partido. El juntar en una imagen el hogar abandonado, la familia que se ha quedado atrás y la proyección de un migrante que ha partido es un ejercicio de melancolía, un deseo por reconstruir las viejas relaciones, habitar nuevamente lo que se ha deshabitado, cancelar la espera del regreso por unos instantes

 

Photographs taken in the Mixtec region of Oaxaca, a zone hard hit by emigration on a national scale. This social dynamic has fractured families in the region, leaving them missing loved ones. The images are taken on houses that bring together the houses built by the emigrants, their families, projections of the emigrant.
Projecting the the migrant’s portrait on the space they once inhabited is to go back momentarily to the previous relationship they held with those who stayed behind and the household that remained behind, but at the same time the projected image cannot overcome its immateriality based in light, this immateriality that’s part of life for the people who are gone. Joining the image with the forsaken household, the family who remained behind and the projection of a departed migrant is an exercise in melancholy, a desire to reconstruct previous relationships, to re-inhabit that which has been forsaken, and to erase for an instant that expectation of homecoming."Migrare

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Behind The Wall: The Battle for LA's Murals

Spanish Lesson

Piel Canela By Eydie Gormé & Trio Los Panchos

Jay Silver: Hack a banana, make a keyboard!

creativity at it's best.

Never

 "They slipped briskly into an intimacy from which they never recovered." F. Scott Fitzgerald

Bachatera

 

The Skin I Live In- Pedro Almodóvar

There’s an early decisive moment in Pedro Almodóvar’s exhilarating film “The Skin I Live In,” when Robert Ledgard, a plastic surgeon and madman played with soul weariness by Antonio Banderas, gazes at the image of a woman on the wall of his bedroom. She’s bigger than life, this woman, and more beautiful. He calls her Vera (Elena Anaya), and she’s stretched out in the classic recumbent pose of the odalisque: that exotic Turkish harem dweller and Orientalist fantasy painted by the likes of Goya, Ingres and Manet, and given opulent new life and reverberant meaning by Mr. Almodóvar, a master of his art. 
In paintings of odalisques, the often naked women lie across the image like unwrapped gifts, exquisitely available to the men who paint them and to the patrons who value such female voluptuaries. There’s something different about Vera, though it’s initially difficult to pinpoint what. Ledgard lives in a mansion brightened with paintings of big nudes and blooms, and when you first see him looking at Vera, it’s as if he were viewing another canvas or a photo, or peering into a window. Yet this is no ordinary image; rather, it’s a surveillance video, and Vera has just tried to kill herself. Ledgard won’t stand for that and rushes in to save her, patching up a body that’s the centerpiece in an intoxicating, lush mystery. NYT

This is the worst trailer for this movie but, I just saw this and it's the strangest story I've seen in a while. Classic Almodóvar- definitely worth checking out. It will stay with you.

La fugitiva - Natalia Lafourcade feat. Lila Downs

Heavy Hearted

Keys N Krates - "Treat Me Right"

mi más bonita casualidad

Jay Leno gas pump prank

And they roll with it. awesome.

Andy Freeberg

I found the guards as intriguing to observe as the pieces they watch over. In conversation they told me how much they like being among Russia’s great art. A woman in Moscow’s State Tretyakov Gallery Museum said she often returns there on her day off to sit in front of a painting that reminds her of her childhood home. Another guard travels three hours each way to work, since at home she would just sit on her porch and complain about her illnesses, “as old women do.” Andy Freeberg

Anya Gallaccio

Anya Gallaccio is a Scotish artist who currently teaches at the University of California, San Diego.  The piece above is Red on Green (2012).  The instillation is the life and death of 10,000 red roses.  It is a simple idea but so beautiful.

"A core aspect of her work is change and transformation. Both the ephemerality and site-specificity of all her work make it notoriously difficult to document. Gallaccio is careful to discard all the material related to an installation once it has closed and resists photographic documentation; in this sense her work is anti-monumental, unconcerned with a legacy outside the memories of those who witnessed it." Tate

Along the border

This is a photo of Sonora and Arizona in the 70's or so It shows a volleyball tournament with one team in Mexico and one team in the USA with the net along the border.

Janelle Monáe - Q.U.E.E.N. feat. Erykah Badu

Wangechi Mutu + Santigold - The End of eating Everything

Wangechi Mutu

Jenny Seville

 
Jenny Seville is a British artist, known for her larger than life nudes of women.  At the ripe age of 22 the very well known collector, Charles Saatchi, bought her whole senior show.  He then offered her an 18 month contract where he supported her while she made a whole new body of work for his gallery in London.  Her work was influenced by a time she spent in Ohio, when she received a scholarship to the University of Cincinnati.  She spent quite a bit of time looking at obese fleshy women in shopping malls. In the mid 90s she also spent hours watching plastic surgery operations in NewYork, which had an obvious effect on her work.
I was first introduced to her paintings when she was in the famous Sensation exhibit in New York. She has since deviated from strictly nude women to transgendered, trauma victims, deformity correction, and disease states.