I drew the cover for this week’s New Yorker.
Frida Kahlo on a boat in Xochimilco,Mexico City (1936)
"Sólksinsbrjóst" wool sweater I made for Salvör!
this is what dreams of mine look like sometimes. i mean, real dreams. the kind you have when you are asleep.
“I’ve never been certain whether the moral of the Icarus story should only be, as is generally accepted, ‘don’t try to fly too high,’ or whether it might also be thought of as ‘forget the wax and feathers, and do a better job on the wings.’”
Alejandro Jodorowsky’s - The Dance Of Reality
this movie will haunt me for a while. i believe that’s a good thing.
Photo by René Maltête (French, 1930-2000)
Artist David Bowen is known for his kinetic sculptures that are driven by real-world data from natural phenomenon. For his work “Tele-Present Water,” first exhibited at the National Museum in Wroclaw, Poland, Bowen pulled real-time wave intensity and frequency data from the National Oceanic and Atmospheric Administration (NOAA) buoy station 46246 (49°59’7″ N 145°5’20″ W) located in the remote Shumagin Islands of Alaska. This information was scaled and transferred to a mechanical grid structure, resulting in an uncanny live simulation of the movement of water from halfway around the world. The piece, along with Bowen’s other works, speaks to the way technology and telecommunications can both alienate us from and unite us with the natural world. While technology has enabled us to control and model phenomena with unprecedented precision, it may also provide a means to understand the world in a more intimate, visceral way.
another version of this currently hangs in the CCCB in barcelona. i like it a lot.
Throwback: before most cables ran underground, all electrical, telephone and telegraph wires were suspended from high poles.
The Centrifuge Brain Project, a 6 minute short film by Till Nowak.
this is one of the most wonderful things i have ever seen. i have been quoting parts of it to friends all day. gravity is a mistake.
Imagine a small village in which women and girls have an unheard-of amount of power, where females bear the family name and are expected to foster their continuing bloodline. Located near the Indian boarder, this place is called Mawlynnong, and it is known as the community where “girls rule the world.”
The photographer Karolin Kluppel travelled to Mawlynnong, explored its 92 households, and documented the lives of its girls. With their great power comes great responsibility. From as young as the age of 8, young females are tasked with caring for entire houses and 3 generations of family members.
Kluppel’s series Mädchenland (Kingdom of Girls) powerfully evokes the weight of these women’s lives and duties. Shot beside still bodies of water and ornamented in intricate jewelry, these children are seen with the utmost reverence. While the images capture a magical sense of matrilineal authority, bathed in rich yellow light, they also allow for moments of play and childhood abandon. The beautiful tension between the worshipful treatment of these girls with their young age, lost teeth, and tender naps results in an unprecedented view of girls of power. Through Kluppel’s Western lens, however, it’s difficult to rely on these images to tell the stories of these young women without idealization; what do you think?