"Method of this work: literary montage. I have nothing to say only to show" --Walter Benjamin

Brueghel’s LVXVRIA (one of seven deadly sins series of prints)
To the bottom right there is a man performing a penectomy on himself.

Brueghel’s LVXVRIA (one of seven deadly sins series of prints)

To the bottom right there is a man performing a penectomy on himself.

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One lost winter, I read all issues of Domus magazine.
I found out about the Streamline Moderne building Centro de Oftalmología Barraquer (1941) in Barcelona and visited it a couple of years later. It’s a stunner and a must see for Art Deco freaks.
Next time I go to Barcelona I will be repeating a previous stroll. I will walk down the Ramblas, taking a right up to the Montjuïc Castle and descending it via the Jardí Botànic de Barcelona and the Palau Nacional (there used to be small tapa bars on the stairways there).
Last stop: the Barcelona Pavilion.

One lost winter, I read all issues of Domus magazine.

I found out about the Streamline Moderne building Centro de Oftalmología Barraquer (1941) in Barcelona and visited it a couple of years later. It’s a stunner and a must see for Art Deco freaks.

Next time I go to Barcelona I will be repeating a previous stroll. I will walk down the Ramblas, taking a right up to the Montjuïc Castle and descending it via the Jardí Botànic de Barcelona and the Palau Nacional (there used to be small tapa bars on the stairways there).

Last stop: the Barcelona Pavilion.

2 notes

The cover[1] of the French edition of Phantastica (1924) by Louis Lewin , with a preface by Jean Thuillier and a Rorschach-like inkblot on the cover. 

The cover[1] of the French edition of Phantastica (1924) by Louis Lewin , with a preface by Jean Thuillier and a Rorschach-like inkblot on the cover. 

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Citroën SM on Antwerpen Zuid.
Despite that the SM does not refer to SM, it still is one of the sexiest cars ever.

Citroën SM on Antwerpen Zuid.

Despite that the SM does not refer to SM, it still is one of the sexiest cars ever.

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Please allow me to cross-post.
Write-up:
The gaping mouths of Goya

Please allow me to cross-post.

Write-up:

The gaping mouths of Goya

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Grotesque mascaron from the bell tower of Santa Maria Formosa church in Venice via Les Difformes et les malades dans l’art.

Grotesque mascaron from the bell tower of Santa Maria Formosa church in Venice via Les Difformes et les malades dans l’art.

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Via Spheres comes this ostrich egg detail [1] frome the Brera Madonna depicting an apse which ends with a shell semi-dome from which an ostrich egg is hanging.

Via Spheres comes this ostrich egg detail [1] frome the Brera Madonna depicting an apse which ends with a shell semi-dome from which an ostrich egg is hanging.

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I finally own a copy of Sferen[1].

I received it as a birthday present from the same person that lent me the copy three years ago.

The backgrounds of the two photos are:

The Yayoi globe at the Middelheim Open Air Sculpture Museum. 

The globe at the Antwerp Expo (which has been there since it opened).

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I was at at the Kunstforum Würth Turnhout today where Tomi Ungerer graced an exhibition with his presence. At the end of the interview, Ungerer sang “Die Gedanken sind frei”.
He’d earlier said that he would rather stand on the barricades than be stuck in traffic (the play of words is lost from German).
Illustration: “Kiss for Peace”[1] (1967), a May 1968-type anti-Vietnam war poster by Tomi Ungerer. This drawing reminded me of Roland Topor's work for Amnesty International (Roland Topor pour Amnesty international 1976 “la liberté d’opinion est-elle mortelle?”[2] and “Poing dans la gueule” (1961)[3]).

I was at at the Kunstforum Würth Turnhout today where Tomi Ungerer graced an exhibition with his presence. At the end of the interview, Ungerer sang “Die Gedanken sind frei”.

He’d earlier said that he would rather stand on the barricades than be stuck in traffic (the play of words is lost from German).

Illustration: “Kiss for Peace[1] (1967), a May 1968-type anti-Vietnam war poster by Tomi Ungerer. This drawing reminded me of Roland Topor's work for Amnesty International (Roland Topor pour Amnesty international 1976 “la liberté d’opinion est-elle mortelle?”[2] and “Poing dans la gueule” (1961)[3]).

151 notes

An image of Buddhist sub-hell, depicting “Nyôfunjo (Dung Pit), or the shifunsho (place of excrement), one of the paintings in the Jigokuzôshi (Illustrated Stories of Hell).
I discovered this image via the excellent blog Dialogue on the Threshold[1] by Alistair Ian Blyth while researching the Malbrough theme, prompted by my reading of Rabelais and His World.
The “Malbrough theme" "(тема Мальбрука) is the term Mikhail Bakhtin uses to denote those instances in literature or folklore where the moment of death coincides with the act of defecation (испражнение) or breaking wind (испускание ветров).”[2]
I have been unable to find out why the theme is called “Malbrough.”
Anyone?

An image of Buddhist sub-hell, depicting “Nyôfunjo (Dung Pit), or the shifunsho (place of excrement), one of the paintings in the Jigokuzôshi (Illustrated Stories of Hell).

I discovered this image via the excellent blog Dialogue on the Threshold[1] by Alistair Ian Blyth while researching the Malbrough theme, prompted by my reading of Rabelais and His World.

The “Malbrough theme" "(тема Мальбрука) is the term Mikhail Bakhtin uses to denote those instances in literature or folklore where the moment of death coincides with the act of defecation (испражнение) or breaking wind (испускание ветров).”[2]

I have been unable to find out why the theme is called “Malbrough.”

Anyone?

271 notes