View allAll Photos Tagged alienation
thirdeyetraveller.com/kiemo-galerija-best-street-art-in-k...
What is Kiemo Galerija or the Courtyard Gallery?
Kiemo Galerija, is a courtyard in Kaunas that has been transformed into an alternative art space.
Originally this was set up Vytenis Jakas with a few art pieces inspired by the Jewish residents that used to live here during the interwar period.
It challenged the idea of "home", whether it is a space with a lock and key or a community, and how modernisation has alienated societies and neighbours.
But, over time, the street art yard has expanded and invites local artisans and street artists from around the world to take part.
Walking inside Kiemo Galerija is almost like entering an alternate reality, where anything is possible.
Art Illusions, ghosts from the past, famous characters, colourful murals and protest pieces cover the walls making it an interactive creative space enjoyed by anyone who visits.
The history of Kiemo Gallery
The Kiemo Galerija was started by Vytenis Jakas who moved into the residential space above the courtyard.
He was annoyed about the lack of community spirit in the area. What used to be a thriving community of people who all knew each other, turned into residents living separate lives with a nod or a quick hello. It also was used as free parking and there was lots of litter that was taking up the area.
And, the project worked. Over time, it slowly eroded the alienation between them and brought the community together. To understand each other and make an effort to connect.
It also helped clean up the area and stopped so much rubbish from being dumped.
All text from :
thirdeyetraveller.com/kiemo-galerija-best-street-art-in-k...
Pripyat/При́п'ять/При́пять - Kyiv Oblast - Ukraine
Pripyat is an abandoned city in northern Ukraine, near the border with Belarus.
Named after the nearby Pripyat River, Pripyat was founded on 4 February 1970, the ninth nuclear city in the Soviet Union, to serve the nearby Chernobyl Nuclear Power Plant. It was officially proclaimed a city in 1979, and had grown to a population of 49,360 by the time it was evacuated, a few days after the 26 April 1986 Chernobyl disaster.
The Pripyat amusement park was to be opened on May 1, 1986, in time for the May Day celebrations but the plans were interrupted when on April 26 the Chernobyl disaster occurred a few kilometers away. The park was opened for a couple of hours on April 27 to keep the city people entertained before the announcement to evacuate the city was made. Today, the park, and in particular the Ferris wheel, are a symbol of the Chernobyl disaster.
Blutsbrüder [2017]
Neo Rauch (born 18 April 1960, in Leipzig, East Germany; German: is a German artist whose paintings mine the intersection of his personal history with the politics of industrial alienation. His work reflects the influence of socialist realism, and owes a debt to Surrealists Giorgio de Chiricoand René Magritte, although Rauch hesitates to align himself with surrealism. He studied at the Hochschule für Grafik und Buchkunst Leipzig, and he lives in Markkleeberg near Leipzig, Germany and works as the principal artist of the New Leipzig School. The artist is represented by Galerie EIGEN + ART Leipzig/Berlin and David Zwirner, New York.
Rauch's paintings suggest a narrative intent but, as art historian Charlotte Mullins explains, closer scrutiny immediately presents the viewer with enigmas: "Architectural elements peter out; men in uniform from throughout history intimidate men and women from other centuries; great struggles occur but their reason is never apparent; styles change at a whim."
Source: en.wikipedia.org/wiki/Neo_Rauch?wprov=sfla1
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Neo Hanno Rauch (* 18. April 1960 in Leipzig)ist ein deutscher Maler und Hochschullehrer. Er ist international erfolgreich und gilt als bedeutendster Vertreter der sogenannten Neuen Leipziger Schule.
Rauchs Bildwelt ist von einer leuchtend opaken Farbigkeit geprägt und zeigt Figuren in sich überlappenden Räumen und Zeiten. Der Stil durchdringt den sozialistischen Realismus, ist aber auch von Pop Art und Comic beeinflusst. Konzeptionell steht das Werk dem Surrealismus nahe und ist als magischer Realismus einzuschätzen. Nicht selten erträumt Rauch seine Sujets. Den Bildern wird „Eigentümlichkeit, Suggestivität und Zeitlosigkeit“ nachgesagt. In der Zeitschrift „Texte zur Kunst“ wurde er als Vertreter des deutschen Neokonservatismus' porträtiert.
de.wikipedia.org/wiki/Neo_Rauch?wprov=sfla1
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Neo Rauch, né le 18 avril 1960 à Leipzig(RDA), est un artiste contemporain allemand, connu pour ses peintures monumentales influencées par les artistes surréalistesGiorgio de Chirico et René Magritte.
Il est le chef de file de « la nouvelle école de Leipzig », mouvement de peinture contemporaine figurative.
Source: fr.wikipedia.org/wiki/Neo_Rauch?wprov=sfla1
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De Fundatie [La Fondation]
Museum de Fundatie est un musée des beaux-arts qui se situe à Zwolle. Museum de Fundatie fait partie de la fondation Hannema-de Stuers qui comprend également le Kasteel het Nijenhuis situé à Heino. Museum de Fundatie possède une collection d’œuvres d’art, datées de la fin du Moyen Âge à aujourd’hui, réunie par Dirk Hannema, ancien directeur du musée Boijmans Van Beuningen. Outre la vaste collection, Museum de Fundatie organise également tous les trois mois de nouvelles expositions très diversifiées.
En 2012-2013, le musée fut agrandi pour accueillir une nouvelle salle d’exposition sur le toit de l’immeuble existant. Cet ajout ovale en forme de boule est un concept des architectes Bierman Henket. (Source: fr.wikipedia.org/wiki/Museum_de_fundatie)
De Fundatie [The Foundation]
Museum de Fundatie is a museum for the visual arts in Zwolle, Netherlands. Museum de Fundatie forms part of the Hannema-de Stuers Foundation, to which Kasteel het Nijenhuis in Heino also belongs. Museum de Fundatie possesses a collection of visual arts, with works ranging from the end of the Middle Ages until the present day, collected by Dirk Hannema, former director of Museum Boijmans Van Beuningen. As well as the permanent collection, Museum de Fundatie organises new, wide-ranging exhibitions every three months. Source: en.wikipedia.org/wiki/Museum_de_Fundatie
In the star nebulae of 2551 AD, or as the new binary era termed it, 11100111 NIT (New Intelligent Time), the vastness of space cloaked the third sun-orbiting sphere, now known as TerraQuor, in a shroud of mystery. The Biomechanical DNA Quantum Supra-Intelligence, a glinting embodiment of quantum technology, had diminished the status of humanity to a scarcely perceptible flicker. Human frailties had ignited wars and famines, ruthlessly suppressed by the Supra-Intelligence and the iron-willed elites.
Amidst this cosmic symphony stood Nikolaj, an heir to a conundrum birthed from the depths of the cosmos. His mother, Gaianara, was the Supreme Birth-Mistress, a position akin more to divine stewardship than worldly leadership. Under her watch and with the backing of the Supra-Intelligence, the remnants of humanity were ceaselessly reconfigured, their thoughts and dreams assimilated into the machine's gargantuan knowledge pool.
Touched by the cosmic zephyrs of destiny, Nikolaj sensed the inexorability of his mission. Day by day, he witnessed the metamorphoses, the escalating alienation of his kind. A longing for rupture, a rebellion against the relentless system, burgeoned within him.
Yet in this cosmological game of chess, every move of Nikolaj's was anticipated. Gaianara, with her near-divine foresight, and the ever-watchful Supra-Intelligence were always a step ahead. And as he readied himself to breach the bounds of reality, he was betrayed by the last person he suspected: his sister Lysandra, seduced by the allure of power and guided by Gaianara.
Nikolaj's odyssey remains chronicled in the star archives, a testament to the unyielding might of the Supra-Intelligence. An entity that not merely foresaw human action but molded humanity's destiny in an endless, cosmic waltz.
in the theatre of the street, he walks unseen — a lone figure lit by the digital glow of elsewhere. around him, the world collapses into shadow, silence, absence. the weight of disconnection is not loud; it hums quietly through the grid of our lives.
Where mannequins end, man begins. Yet the pose remains.
Olympus OM-D E-M5 Mk.II
M.Zuiko 12-50mm/f3.5-6.3
OLYMPUS DIGITAL CAMERA
Your comments and favs are apprecietaed more than you know and do not go unnoticed
This evening started good. Several amazing subjects on a little walk around. I never usually have issues but this eveing I was stopped by Police and asked what I was up to. I have nothing to hide and I do know the laws. But I cooperated. It was ok until the female wanted to know who I was , again nothing to hide , she looked me up and said I am letting you know the IVO's still stand ok.
Thats hit a nerve. After all of the corruption I have witnessed a copper has to rub salt in a wound over an intervention order that should not even exist but does because of corruption and because of corruption alienation was able to take place. Its been almost 3 years now.
I know my rights.
Next time I will respond to your question with a question.
Here is a lovely beetle.
Location , Wodonga , VIC , Australia 🇦🇺
Helicon Focus
Adobe PS
Topaz Labs Denoise AI
📷 Olympus EM1 Mkii
🔎 OM SYSTEM M.Zuiko Digital ED 90mm F3.5 Macro IS PRO
Hand held Focus stack of 40 images
⚡ Godox V1
️ CJ Diffuser V2 + CJ Lens Hood
©Craig Loechel not for use without prior consent
Have a nice day
Last spring, we went to visit the ruins of an asylum with Chloé...
@chloe_msx
Tirage disponible sur papier photo Hahnemühle FineArt baryta, 30x30cm, titré, signé et numéroté à 5 exemplaires. 60€ + port. Autres tailles sur demande.
Print available on Hahnemühle FineArt baryta, 11,5’x11,5′, titled, signed and numbered to 5. 60€ + shipping. Inquire for other sizes.
i know i woke up and that i am still sleeping.
my ancient body,
battered from living,
... tells me it's still very early...
i feel febrile from far off.
i am grieving but i don't know why...
in a lucid, heavily incorporeal torpor, i stagnate, between dream and wakefulness, in a dream that is a shadow of dreaming. my attention floats between two worlds and blindly sees the depths of heaven; and these depths interpenetrate, mix together, and i don't know where i am or what i'm dreaming.
Pessoa
/No Awards, please./
The Insidious Paths of Shadows - The Void And The Emptiness by Daniel Arrhakis / Pethros Thoryan (2025)
The Insidious Paths of Shadows - The Corruption of Sensations - The Feeling of Uncertainty And Emptiness
The Feeling of Uncertainty and Emptiness
Darkness and the Human Psyche
Darkness often appears alluring, seeming to promise fulfillment. Yet, at its core, darkness is emptiness—a void defined by the absence of light, truth, and reality. It stands as a symbol of fear, the unknown, and the gradual decline of humanity.
When people succumb to this darkness, their fears obscure the truth and reality. In this shrouded state, darkness manipulates minds, giving rise to chaos and unrest.
Emptiness as a Human Condition
Emptiness manifests as a pervasive state of boredom, social alienation, nihilism, and apathy. This condition reflects a detachment from surroundings and a sense of meaninglessness that colors everyday experience. Such emptiness is not merely a fleeting sensation but a deeper existential concern, signaling a lack of fulfillment and connection.
Philosophical Insights on Emptiness
The exploration of emptiness reveals a profound insight: all phenomena lack inherent existence. Recognizing this leads to the understanding that attachment to these impermanent entities is the source of suffering. The realization of emptiness encourages a detachment from transient experiences, prompting a search for meaning beyond material or fleeting constructs.
Emotional Correlates of Emptiness
The feeling of emptiness closely intertwines with other emotional states such as dysphoria, boredom, loneliness, and numbness. It is especially linked with feelings of hopelessness, isolation, and loneliness. Notably, emptiness is a strong predictor of depression and suicidal ideation, though it is not directly associated with anxiety or actual suicide attempts.
The Concept of the Void in Philosophy
Philosophically, "The Void" captures the essence of nothingness and emptiness—a concept that has sparked debate and interpretation across various traditions. In ancient Greek philosophy, thinkers like Democritus considered the Void a necessary space that allowed atoms to move, making the existence of matter possible. In contrast, Aristotle denied the existence of a true Void, asserting that nature inherently resists a vacuum.
Eastern Perspectives on the Void
Eastern philosophical traditions assign significant spiritual and metaphysical meaning to the Void. In Buddhism, the concept of Śūnyatā (Emptiness) refers to the idea that all phenomena and beings do not possess an independent existence or permanent essence (they have no "inherent nature" or svabhava) because everything exists in interdependence with other things. Thus, all things are empty, and this means that they have no independent existence.
Western Thought and Modern Science On The Void
Modern scientific discourse, especially in quantum mechanics and cosmology, continues the approach that associates the Void with the quantum vacuum and the fundamental structure of the universe. The quantum vacuum is not an absolute "nothingness," but a state of minimum energy where virtual particles and antiparticles constantly appear and disappear, influencing the physical laws and the very existence of the universe. This view contrasts with the old notion of vacuum as empty space without properties.
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Os Caminhos Insidiosos das Sombras - A Corrupção das Sensações - A Sensação de Incerteza e Vazio de Daniel Arrhakis / Pethros Thoryan (2025)
A Sensação de Incerteza e Vazio
Escuridão e a Psique Humana
A escuridão parece muitas vezes sedutora, prometendo plenitude. No entanto, na sua essência, a escuridão é o vazio — um vácuo definido pela ausência de luz, verdade e realidade. Apresenta-se como um símbolo do medo, do desconhecido e do declínio gradual da humanidade.
Quando as pessoas sucumbem a esta escuridão, os seus medos obscurecem a verdade e a realidade. Neste estado envolto em mistério, a escuridão manipula as mentes, dando origem ao caos e à inquietação.
O Vazio como Condição Humana
O vazio manifesta-se como um estado generalizado de tédio, alienação social, niilismo e apatia. Esta condição reflete um distanciamento do ambiente e uma sensação de falta de sentido que ultrapassa a experiência quotidiana. Tal vazio não é meramente uma sensação passageira, mas uma preocupação existencial mais profunda, sinalizando uma falta de realização e de conexão.
Reflexões Filosóficas sobre o Vazio
A exploração do vazio revela uma profunda perceção: todos os fenómenos carecem de existência inerente. Reconhecer isto leva à compreensão de que o apego a estas entidades impermanentes é a fonte do sofrimento. A perceção do vazio encoraja um desapego das experiências transitórias, impulsionando uma busca de significado para além das construções materiais ou efémeras.
Correlações Emocionais do Vazio
A sensação de vazio está intimamente ligada a outros estados emocionais, como a disforia, o tédio, a solidão e o entorpecimento. Está especialmente associada a sentimentos de desesperança, isolamento e solidão. Notavelmente, o vazio é um forte preditor de depressão e ideação suicida, embora não esteja diretamente associado à ansiedade ou a tentativas de suicídio.
O Conceito do Vazio na Filosofia
Filosoficamente, "O Vazio" capta a essência do nada e da vacuidade — um conceito que tem gerado debates e interpretações em diversas tradições. Na filosofia grega antiga, pensadores como Demócrito consideravam o Vazio um espaço necessário que permitia o movimento dos átomos, tornando possível a existência da matéria. Em contraste, Aristóteles negava a existência de um verdadeiro Vazio, afirmando que a natureza resiste inerentemente ao vácuo.
Perspetivas Orientais sobre o Vazio
As tradições filosóficas orientais atribuem um importante significado espiritual e metafísico ao Vazio. No Budismo, o conceito de Śūnyatā (Vacuidade) refere-se à ideia de que todos os fenómenos e seres não possuem uma existência independente ou essência permanente (não têm "natureza própria" ou svabhava) porque tudo existe em interdependência com outras coisas. Assim, todas as coisas são vazias e isso significa que elas não têm existência independente.
O Taoísmo refere-se ao Vazio como Wuji, representando o estado indiferenciado que precede toda a existência, contendo tanto o potencial para a criação como a ausência de forma.
O Pensamento Ocidental e a Ciência Moderna sobre o Vazio
O discurso científico moderno, especialmente na mecânica quântica e na cosmologia, continua a abordagem que associa o Vazio ao vácuo quântico e à estrutura fundamental do universo. O vácuo quântico não é um "nada" absoluto, mas um estado de energia mínima onde partículas e antipartículas virtuais surgem e desaparecem constantemente, influenciando as leis físicas e a própria existência do universo. Essa visão contrasta com a antiga noção de vácuo como espaço vazio e sem propriedades.
Imagem e texto por Daniel Arrhakis / Pethros Thoryan
More: www.martinstranka.com
Boyhood series is a narrative visual confession which maps both personal and mediated experiences. Boyhood is a time in our life when we begin to discover ourselves through inner dialogues and explore our self identity. We connect with everything around us, begin to discover and close in on ourselves. We create isolated places where we feel safe from all the hustle and bustle around us. Even so, a form of alienation can be poetically and visually beautiful. I offer the viewer a look at the emotionally unfinished stories. I create images that appear to be stills from a film as untold stories. What led to this situation and what will happen next is a question for all of us, which I am looking for an answer to.
thirdeyetraveller.com/kiemo-galerija-best-street-art-in-k...
What is Kiemo Galerija or the Courtyard Gallery?
Kiemo Galerija, is a courtyard in Kaunas that has been transformed into an alternative art space.
Originally this was set up Vytenis Jakas with a few art pieces inspired by the Jewish residents that used to live here during the interwar period.
It challenged the idea of "home", whether it is a space with a lock and key or a community, and how modernisation has alienated societies and neighbours.
But, over time, the street art yard has expanded and invites local artisans and street artists from around the world to take part.
Walking inside Kiemo Galerija is almost like entering an alternate reality, where anything is possible.
Art Illusions, ghosts from the past, famous characters, colourful murals and protest pieces cover the walls making it an interactive creative space enjoyed by anyone who visits.
The history of Kiemo Gallery
The Kiemo Galerija was started by Vytenis Jakas who moved into the residential space above the courtyard.
He was annoyed about the lack of community spirit in the area. What used to be a thriving community of people who all knew each other, turned into residents living separate lives with a nod or a quick hello. It also was used as free parking and there was lots of litter that was taking up the area.
And, the project worked. Over time, it slowly eroded the alienation between them and brought the community together. To understand each other and make an effort to connect.
It also helped clean up the area and stopped so much rubbish from being dumped.
All text from :
thirdeyetraveller.com/kiemo-galerija-best-street-art-in-k...
A solitary figure stands where rock meets sea, confronting the vast horizon without promise of reply. Not serenity but the raw tension of existence—alienation sharpened into defiance, solitude carved into symbol. Here, the world is indifferent, the sea restless, the rocks unyielding. Yet in the act of standing, the figure affirms a fragile freedom: to face the void, to remain, to choose.
Vilhelm Hammershoi ranks among the pre-eminent Scandinavian artists from the turn of the twentieth century. At once traditional and avant-garde - maintaining a self-conscious dialogue with the artistic traditions of his homeland while being thoroughly conversant with contemporary European trends
- Hammershoi helped redefine modernism, both in terms of its aesthetic quality and geographic range.
He was first and foremost a painter of interiors - of hushed, near-deserted spaces populated by a solitary, seemingly spellbound figure. Contemplative and hauntingly still, these scenes comprise the majority of his oeuvre and are the works for which the artist is best known.
Landscapes, however, also played a central role in Hammershoi's art. This sheet is a magnificent example of the artist's unique approach to the genre, where strangeness and silence prevail, and space and line defy all expectations. The work is a precise preparatory study for the central
portion of a large-scale painting. . . .Hammershoi worked meticulously on
each individual tree, deftly defining the structure of the trunk and crown, establishing its precise position in relation to the road and imbuing it with a particular personality.
While "Group of Trees" depicts a deserted-looking thoroughfare flanked by trees, the Royal Road was in actual fact one of Copenhagen's busiest arterial roads. Unlike his Nordic contemporaries Hammershoi eschewed Romantic notions of pure nature untouched by civilization and instead transformed populated areas into desolate, barren landscapes seemingly abandoned by humanity. A sense of alienation and disquiet pervades his work.
Despite the low horizon and resulting high sky in this drawing, there seems to be a total absence of air or atmosphere - an emptiness all around. The grouping of trees, suspended in time, is a microcosm of the world, their seriality suggesting infinite expansion. And yet there is a claustrophobic quality to the scene.
Equally unconventional in "Group of Trees" is the distance between the scene and the beholder: no one has ever perceived and painted a Danish landscape that way before. The road is no longer as it traditionally was: a route into the internal space of the picture, a powerful source of connection. Here it runs parallel to the sheet - there is no way in. For Hammershoi, the work of art no longer served to mediate between humans and nature, but rather emphasized the distance between them.
-- notes from the catalogue "Gathered Leaves" --
Possibly a man who hates the land should dwell on shore forever. Alienation and the long voyages at sea will compel him once again to dream of it, torment him with the absurdity of longing for something that he loathes.
Yukio Mishima
Europe, Netherlands, Rotterdam, Heer Bokelweg, End wall of a school, OZON, street art (slightly cut from all sides)
OZON (A Rotterdam-based street artist) is at work at the Heer Bokelweg. The work is part of the Street Art Route. He states the following about this piece: “The painting stems from a sculpture I made in America for a sanitary factory. The sculpture consisted of a crumpled sink. I took that image as a starting point; the result is a painting in which you can see several things. I don't use the terms urban art, graffiti street art for what I do. I call it art.” . Considering the 'Werdegang' of graffiti, a significant statement. About the phenomenon:
Graffiti…borne out of youth culture, pubescent angst, ennui, alienation from the faceless functionalist city, protest and urban tribal culture. It was disapproved of and mostly forbidden. Its status rose, and the name was changed in 'street art' after it found its way into the traditional art scene (museum and galleries) here, becoming a commercial commodity and was used as a strategy by the youth & community service (stimulating street art as a creative and participatory activity that empowers while creating dedicated street art walls and zones) here. (Yes, broad and coarse brush strokes here).
1000 of litres of cleansing agent and scores of specialist graffiti removal vehicles are still used to remove it from unwanted places. And the process of institutionalization goes on. There are, for instance, art festivals where street art is at the core, like PowWow here.
And the city bureaucracies use it as livability enhancing urban strategy, turning ungainly blind side facades and ugly urban structures into artworks and cooperating with street artists to do that – also to use the tribal culture of the street art world to keep unwanted graffiti (like tags) from them, in the hope taggers etc. respect these elaborated works as to be treasured products of their tribe.
The not institutionalized / encapsulated contemporary street art scene can, by the way, partly be seen as an element of modern protest culture (anti-globalist, for instance). A good example is Brandalism (Banksy coined and practices it). It's a movement that seeks to deface or alter the corporate urban commercial iconography like advertising.
This is number 48 of the the Graffiti / Street art album and 947 of Minimalism / explicit Graphism.
Apps: Hipstamatic, Snapseed, Pixelmator, Prisma, and Photoshop Express.
This is a “double exposure” created from 2 photos that were processed in Hipstamatic: one in black & white and the other in vivid color.
Combined in Snapseed. Sharpened a bit in Photoshop Express. Selective edits and the bokeh in the upper right was added in Pixelmator. Finished with just a little bit of Prisma’s “Dream” conversion.
Edits done using apps on an iPad Pro (all mentioned above) and iPhone (hipstamatic only).
A vivid color Hipstamatic version can be found in my photo stream.
What it was:
Reflections II: Antony Gormly
deCordova Museum, Lincoln Massachusetts
Museum website description:
Reflection II is comprised of two 1,600-lb iron casts of the sculptor's 6-foot-3-inch body facing each other on either side of an expansive glass wall next to the entrance of the museum. One figure stands outside while the other confronts his counterpart from the inside. ....The architectural barrier of the building defines the sculpture, making it an image of alienation.
PS:
Speaking of “alienation,” the figure on the far right reminded me of the aliens in the movie “Signs’” (2002). That’s how an idea to add the bokeh to the upper right (over his shoulder) originated: I was thinking about adding a UFO - a shimmering light in the sky. 👽
Cities At Night - Deventer IJssel River Bridge on a foggy night.
Lately I'm trying to capture scenes with a certain film noir mood. Last Monday evening (nov 2nd) there was a lot of fog. That's a gift for photographers who have a goal like I have: capturing cinematic street scenes with themes as loneliness, melancholy and alienation. A sombre mood visualized by fog and a lonely figure.
Press "F" if you like it.
All of my photographs are under copyright ©. None of these photographs may be reproduced and/or used in any way without my permission.
© NGimages / Nico Geerlings Photography
Traduzione in italiano sul mio blog.
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i suggest to see this photo in full resolution. I am very sorry for this translation... my english it's not so good...
i'm sorry even for the paint...it's the first time i paint something...
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In this picture the artist wants to express various aspects of its interiority.
The two figures in red are characterized from aggressive chromatic tonalities and represent the need of physical contact of the artist who degenerates in a homicide scene.
The topic of the physical contact is predominant all over the picture, in fact the scene is dense of feminine figures knots, than through large straight lines fake and completely anonymous yields come out. The feminine figures serve to define the more important figures in the scene and represent the unbreakable relationship between perceptions and sexiness, and with this way the painter feeds the sexiness in every perceived figure.
The painting shows many of the fears of the artist. The big clown with its tentacles represents the external world that makes pranks of the artist. The clown represents the fear of being considered crowds and the fear of being alone in the world. The conventional world is represented by the figures of two contemporary political leaders, that stand out in violet near the clown. The spirited figures represent Bush and Berlusconi, who assume an imaginary and spirited shape. The false shape that tricks the perceptions is a clear critic of their politics.
The political restlessness continues on the background in which we can see an American city, New York. We can recognize it by the presence of the statue of the freedom.
The palaces of the city are realized with flaming shapes, in order to indicate the streaming life that it is carried out inside them, and in order to indicate that the city burns, torn to pieces by corruption and luxury.
The statue of the freedom is turned towards two figures in explicit sexual attitudes, it is a lighthouse that gives them freedom that, however, is deprived of every moral meaning and is used just to free the own passion.
It wants to represent the other face of freedom that, being only empty propaganda from the conventional world (represented by the clown), becomes symbol of the alienation and the egoism of the modern man, incapable to use the freedom in order to serve the humanity. In this representation the modern man is enslaved by his passions and is able to use the freedom only for sexual pleasures or to transform it in violence (as it happens for the murderer in red). It's the modern society (the clown) that through the freedom transforms itself in a master of puppets and brings the murderer to complete its insane gesture.
Other elements are related to the painter interiority, like the camel in the left of the picture that is melted with the murderer. It is a memory of a travel carried out in youth by the artist to the center of the Egyptian desert. Then under the clown a goose finds a palce, that symbolizes the lake of Bolsena where the artist loved to pass the vacations.
"The Scream of the Perpetual Walker" portrays a lone man endlessly wandering the streets of Milton Keynes, his ceaseless journey symbolising existential angst and isolation.
The man's purposeless wandering is like a silent scream, a physical manifestation of inner turmoil. His directionless journey reflects the human condition - the search for meaning in an indifferent universe. The photograph's stark contrast and blurred background emphasise his isolation and detachment from the surrounding world.
The urban setting, with its commercial elements and indifferent crowds, further highlights the man's alienation from societal norms and values. The KFC advertisement in the background serves as a commentary on consumerism and the superficiality of modern life, contrasting sharply with the man's existential quest.
The blurred figures in the background suggest a world moving on, indifferent to the man's presence and plight. The repetitive architecture and monotonous landscape symbolise the routine and mechanical aspects of urban life, which the man seems disconnected from, emphasising his lack of purpose and direction.
The photograph draws parallels to Munch's "The Scream," evoking themes of existentialism, expressionism, and humanism. It captures a fleeting moment in the walker's endless journey, emphasising the impermanence of time and the ongoing passage of life. Despite his purposeless wandering, the photograph gives significance to his journey, acknowledging his humanity and the intrinsic value of his individual experience.
In essence, "The Scream of the Perpetual Walker" is a poignant representation of the universal human condition - the search for purpose in an indifferent world. The photograph's stark simplicity and powerful imagery, invite viewers to contemplate the complexities of existence and the isolation of the individual in a modern society.
AKIBA scenario
AKIHABARA (秋葉原) also known as Electric Town or AKIBA in short. Its best-known as one of the largest shopping areas on Earth for electronic, computer, anime, and otaku goods. The character of Akihabara has constantly changed over the decades and continues to do so. A recent development is the emergence of Akihabara as a center of Japanese animation culture.
OTAKU culture in Akihabara has become increasingly famous in the recent years. Many people there have unique lifestyles, centered on technological enterprises and a love for Anime/Manga, that have made them outsiders in other sections of Japanese society. Otaku are afforded the chance to gather here and avoid alienation imposed by others who do not share their specific interests. The presence of such prolific "GEEKY" behavior has led to Akihabara being seen as a mecca of sorts for otaku, as well as to the term Akiba-kei, or Akiba-type.
In addition to conventional stores, various other animation related establishments have appeared in the area, such as cosplay ("costume play") cafes, where waitresses are dressed up like anime characters, and manga kissaten ("comics cafes"), where customers can read comics, watch DVDs and surf the internet.
Maid-kissa are coffee shops where the waitresses where fantasy like maid costumes. They dress up to look like characters from famous anime or Japanese comics. Since Akihabara caters not only to electronic enthusiasts but also young Japanese otaku which translates roughly to NERDS in English.
Every Sundays at Chuo-Dori, the main street in Akihabara you can find the "MAIDS" passing out pamphlets to their shops to passers by.
Akihabara is 5 minutes ride from (central) Tokyo Station
SOURCE:
Wikipedia, the free encyclopedia
japan-guide.com
tokyoessentials.com
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Summer is a halfway already... how time flies, technology evolving at an unbelievable pace, it was never easier to communicate, all is faster, not fast enough, call me, text me, skype me, email me... and yet more and more lonely people, alienation, families dispersed...
TIME TO SMELL THE ROSES...
A white bloom and a 'Fire&Ice' bud.
Both from our garden.
Wishing you well, and thank you, M, (*_*)
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