View allAll Photos Tagged filen
Tiziana Filena, bellezza storica folignate in procinto di partecipare al corteo in costume della Giostra della Quintana: "Dame si nasce, ed io modestamente lo nacqui" sembra dire Tiziana, mentre fuma è medita sul suo ruolo. In fin dei conti la vita, anche per una bellezza storica della città, è una questione di ruoli. Avanti così, Tiziana, che il futuro è ancora tuo, volendo. Complimenti alla resa dei particolari dell'iPhone 3 e alla mamma. Di mamma ce n'è una sola!
Explore June 13, # 160
www.youtube.com/watch?v=6Rjd7cR2_HY
Là sotto l'arberi de Lungotevere
le coppie fileno li baci scrocchieno...
si nun sei pratico de regge moccoli
pè Lungotevere nun ce passà!
PE' LUNGOTEVERE (Frapiselli/Balzani)
I was excited for this card cause I thought I had a plan. This was the HA card I was inspired by
www.heroarts.com/cardmaking/includes/viewLarger.cfm?filen...
for the catalogcase and for the my message challenges. however it took forEVER. Sometimes these things take so much more time even for something simple. The bee is from CL281 whimsical frames. Paper is basic grey. Letters are CL260 HA Thanks for looking! Amost forgot the quote "Be yourself everyone else is taken" is from HA new bird set CL338
La luna de Valencia...
- Fotografia feta abans d'ahir a Las Cuevas de Utiel (València)
- Fotografía hecha anteayer en Las Cuevas de Utiel (Valencia)
És prou conegut que la frase en qüestió: estar a la lluna de València, es predica d’aquell qui està absent, que estar badant, que no sembla estar per la feina que li toca fer en el moment i està pensant en les musaranyes, o també d’aquell a qui se li han vist frustrades les esperances. Segons el diccionari de la RAE:
Quedarse a la luna de Valencia.
1. loc. adv. coloq. Frustradas las esperanzas de lo que se deseaba o pretendía. Dejar, quedarse a la luna de Valencia.
Però en realitat és una expressió ben concreta, ben curiosa:
En temps en que València tenia les muralles en ple rendiment, quan venia a entrada de fosc i el sol s’ajocava, procedien a tancar les portes de les muralles, i sembla que la darrera era la porta de Serrans.
Qui no arribava abans d’aquesta hora perquè estava badant, perquè se li havia girat feina a l’horta, perquè s’havia estat massa temps emperifollant-se per agradar al promés, o senzillament que se li havia fet tard…. trobava les portes de Serrans tancades i llavors: és clar, es quedava al portal, o sigui al ras, o sigui al dessota de la LLuna. I d’aquí l’expressió Estar a la lluna de València: Per tanoca, per no haver arribat a temps…. per haver badat…. apa! tancat al defora i a dormir al dessota de la LLuna!
I d’aquí els valencians que filen molt prim et diuen:
Una cosa és arribar tard i l’altra és fer tard.
Oi tant que son diferents:
Si hom arriba tard, pot trobar el menjar fred, i la gent ja no estar al voltant de la taula, però pots rescalfar el menjar i encara menjaràs.
Però si fas tard, llavors ja no pots ni fer el menjar, ni fer obrir la porta ni res: Has fet tard!
(Doc. extreta de la web. Serrallonga - De Sinera estant )
Es bastante conocido que la frase en cuestión: estar en la luna de Valencia, se predica de aquel que está ausente, que está distraído, que no parece estar por el trabajo que le toca hacer en el momento y está pensando en las musarañas, o también de aquel a quien se le han visto frustradas las esperanzas. Según el diccionario de la RAE:
Quedarse a la luna de Valencia.
1. loc. adv. coloq. Frustradas las esperanzas de lo que se deseaba o pretender. Dejar, quedarse a la luna de Valencia.
Pero en realidad es una expresión muy concreta, muy curiosa:
En tiempos en que Valencia tenía las murallas en pleno rendimiento, cuando venía al anochecer y el sol s'ajocava, procedían a cerrar las puertas de las murallas, y parece que la última era la puerta de Serranos.
Quien no llegaba antes de esta hora porque estaba distraído, porque se le había girado trabajo en la huerta, porque había sido demasiado tiempo emperifollant para agradar al prometido, o sencillamente que se le había hecho tarde .... encontraba las puertas de Serranos cerradas y entonces: claro, se quedaba en el portal, o sea al raso, o sea al debajo de la Luna. Y de ahí la expresión Estar en la luna de Valencia: Por zote, por no haber llegado a tiempo .... por haber rajado .... hala! cerrado afuera y dormir al debajo de la Luna!
Y aquí los valencianos que hilan muy fino te dicen:
Una cosa es llegar tarde y la otra es hacer tarde.
Sí que son expresiones diferentes:
Si se llega tarde, puede encontrar la comida fría, y la gente ya no estar en torno a la mesa, pero puedes recalentar la comida y aún comerás.
Pero si haces tarde, entonces ya no puedes ni hacer la comida, ni hacer abrir la puerta ni nada: Has llegado tarde!
(Doc. Extraída de la web. Serrallonga - de Sinera estant )
gennaio 2018
....................................................................................................................
Pè Lungotevere
- Gabriella Ferri - 1973
Quanno c'è 'r sole cò quer manto d'oro
pè tutto Lungotevere è 'na festa!
Li regazzini giocheno tra loro
le madri se li stanno a rimirà
quanta tranquillità! Ma ammalappena
spunta la prima stella: se cambia scena.
Lì sotto l'arberi de Lungotevere
le coppie fileno li baci scrocchieno...
si nun sei pratico de regge moccoli
pè Lungotevere nun ce passà!
Io m'aricordo sempre a San Lumino
cò li lampioni a gasse de 'na vorta
se dava quarche sordo a 'n regazzino
de corsa te l'annavaveno a smorzà
mò quelli posti poco illuminati
de prima sera già sò accaparati!
Lì sotto l'arberi de Lungotevere
le coppie fileno li baci scrocchieno...
si nun sei pratico de regge moccoli
pè Lungotevere nun ce passà!
Lì sotto l'arberi de Lungotevere
le coppie fileno li baci scrocchieno...
si nun sei pratico de regge moccoli
pè Lungotevere nun ce passà!
Lì sotto l'arberi de Lungotevere
le coppie fileno li baci scrocchieno...
si nun sei pratico de regge moccoli
pè Lungotevere nun ce passà!
Lì sotto l'arberi de Lungotevere
le coppie fileno li baci scrocchieno...
si nun sei pratico de regge moccoli
pè Lungotevere nun ce passà!
After we were finished with the pearl earrings shoot we had a lot of time left so we spent the rest of the evening just playing in the studio and this is one of the filen photos from the evening
One very large octo box camera right in very close to the model
Thy heart is light as a leaf of a tree
—Algernon Charles Swinburne
*
Know'st thou not at the fall of the leaf
How the heart feels a languid grief
—Dante Gabriel Rossetti
Com una fulla, el cor té humitats que només el cor reconeix. Les aranyes filen, al buit, el verd que reneix.
A vintage Filene's trailer found at The Shoppes at Buckland Hills (Mall) in Manchester, CT. It's an oldie, and its rust shows apart the 70's-era art deco Filene's logo -- a now bygone Boston-based clothier (thanks to Macy's!).
This gran pappy trailer is currently used by Macy's, and has been seen around other malls in the area including Westfield Meriden and Westfarms.
Segunda Publicación "HACÍA TIEMPOS NO HABLABA CON PERSONAS DE VERDAD"
Periódico El Tiempo
25 Febrero 2012
LINK ARTÍCULO: www.eltiempo.com/colombia/bogota/fotografo-de-indigentes_...
LINK GALERÍA: www.eltiempo.com/Multimedia/galeria_fotos/bogot3/el-fotog...
Emilio usa su cámara para captar los rostros que nadie mira. Ha tomado más de 160 fotos.
Cuando Manuel le dijo: "Hacía tiempo no hablaba con personas de verdad, gracias", este hombre entendió que fotografiar habitantes de la calle lo marcaría para siempre.
Con 24 años de edad, Emilio tiene una galería de más de 160 fotografías en donde claramente se puede ver -entre mugre, largas cabelleras desgreñadas y ropa sucia- los rostros de lo que significa habitar a la intemperie.
"Algunos lloran y casi todos agradecen dejar de ser vistos como nadie, pues detrás de cada uno hay una dramática historia y una simple foto los hace protagonistas", cuenta Emilio, para explicar la actividad que ha realizado durante los últimos tres años.
Según cifras del Distrito, hoy en la capital existen unos 9.600 habitantes de la calle, quienes a diario son ignorados y rechazados por la sociedad. Sin embargo, para este estudiante de arquitectura de la U. Javeriana y fotógrafo de LaSalle College, los personajes que hasta ahora ha retratado son el testimonio de otro de los problemas que aquejan a la ciudad: "la exclusión".
Emilio recuerda que en Egipto, en donde prestó el servicio militar durante un año, nunca disparó un arma, pero al llegar a la capital de su país, la sensibilidad lo obligó a apuntar su lente contra aquellos 'zombies callejeros' "a quienes nadie es capaz de mirar a los ojos", cuenta.
"Es la primera vez que yo me veo en una foto... créala, ahora me voy y empiezo a analizarme", dijo Guillermo, el primer habitante de la calle a quien 'disparó' su flash.
Esta inusual práctica atrapó a Emilio cuando, en el 2009, hizo unas fotos para un concurso de movilidad. "Al ver las imágenes caí en cuenta de que estaban llenas de habitantes de la calle". Desde entonces, dedica parte de su tiempo a recorrer la ciudad en busca de los rostros más comunes de la Candelaria, pero, irónicamente, los menos vistos.
Emilio tiene presente a Osmán, chef paisa que terminó en la calle después de visitar la capital en vacaciones. "Me partió el alma verlo llorar mientras narraba su vida".
¿Puedo tomarle una foto?
Son las 3 de la tarde y Emilio inicia su búsqueda. A la distancia encuentra su objetivo: José Miguel, un hombre que apenas deja ver el rostro entre su descuidada barba.
"Lo primero que hago es mirarlos a los ojos y saludarlos de mano sin importar a que huelan, ni que puedan tener en ellas". El segundo paso es ofrecerles algo de comer y una charla. "Hablarles como a cualquiera, igual son personas", precisa.
Después de generar confianza, conocer su nombre y algunos datos de su vida, le pide la foto. "Nunca me han dicho que no".
Entonces, su ayudante, que a veces es su padre o algún compañero de estudio, extiende el pliego de cartulina detrás del modelo e inicia la sesión: "la calle es su pasarela".
"¡Bacana papá! Dios lo bendiga. ¿Sabe qué...? Soy famoso", murmura José Miguel, mientras mira su nariz fileña en el papel y las huellas que le ha dejado el vicio.
Al igual que Stanilas Guigui, un fotógrafo francés que vivió durante varios meses en la llamada calle del Bronx para captar la vida de estas personas, Emilio los retrata porque, según él, les da fuerza para luchar por salir de la situación en la que se encuentran (de acuerdo a la Secretaría de Integración Social, el 90 por ciento de esta población vive en función de conseguir droga). "La foto los muestra fuera de la realidad en la que están inmersos para que se valoren", precisa Emilio.
Para este fotógrafo, ver la reacción cuando, como por arte de magia, la imagen aparecer sobre el papel sensible a la luz es indescriptible, "pero lo mejor es saber que ahora te consideran su amigo", anota.
La calle, todo un museo de fotos
Emilio sueña con convertir las principales calles del centro en una galería pública, que deje ver lo que esconde la mugre, el vicio y el olvido.
JONATAN BERMÚDEZ PASCUAS
ESPECIAL PARA EL TIEMPO
Description: This flush mount was produced by E. F. Caldwell & Co. for the John Pierpont Morgan residence in New York City at 33 East 36th Street, New York, NY 10016 by architects McKim, Mead & White.
Creator/Photographer: E. F. Caldwell & Co.
Medium: Black and white photographic print
Date: c. 1905
Persistent URL: www.sil.si.edu/DigitalCollections/Caldwell/page.cfm?filen...
Repository: Smithsonian Institution Libraries
Collection: The E. F. Caldwell & Co. Collection - The E. F. Caldwell & Co. Collection contains more than 50,000 images consisting of approximately 37,000 black & white photographs and 13,000 original design drawings of lighting fixtures and other fine metal objects that the produced from the late 19th to the mid-20th centuries.
Accession number: LB035047-a
Description: This flush mount was produced by E. F. Caldwell & Co. for the John Pierpont Morgan residence in New York City at 33 East 36th Street, New York, NY 10016 by architects McKim, Mead & White.
Creator/Photographer: E. F. Caldwell & Co.
Medium: Black and white photographic print
Date: c. 1905
Persistent URL: www.sil.si.edu/DigitalCollections/Caldwell/page.cfm?filen...
Repository: Smithsonian Institution Libraries
Collection: The E. F. Caldwell & Co. Collection - The E. F. Caldwell & Co. Collection contains more than 50,000 images consisting of approximately 37,000 black & white photographs and 13,000 original design drawings of lighting fixtures and other fine metal objects that the produced from the late 19th to the mid-20th centuries.
Accession number: LB066011-a
Description: This table lamp was produced by E. F. Caldwell & Co. for the John Pierpont Morgan residence in New York City at 33 East 36th Street, New York, NY 10016 by architects McKim, Mead & White.
Creator/Photographer: E. F. Caldwell & Co.
Medium: Black and white photographic print
Date: c. 1905
Persistent URL: www.sil.si.edu/DigitalCollections/Caldwell/page.cfm?filen...
Repository: Smithsonian Institution Libraries
Collection: The E. F. Caldwell & Co. Collection - The E. F. Caldwell & Co. Collection contains more than 50,000 images consisting of approximately 37,000 black & white photographs and 13,000 original design drawings of lighting fixtures and other fine metal objects that the produced from the late 19th to the mid-20th centuries.
Accession number: LB095007-a
Description: This chandelier was produced by E. F. Caldwell & Co. for the Colony Club at 120 Madison Avenue, Manhattan, New York, NY 10016 by architects McKim, Mead, and White.
Creator/Photographer: E. F. Caldwell & Co.
Medium: Black and white photographic print
Date: c. 1907
Persistent URL: www.sil.si.edu/DigitalCollections/Caldwell/page.cfm?filen...
Repository: Smithsonian Institution Libraries
Collection: The E. F. Caldwell & Co. Collection - The E. F. Caldwell & Co. Collection contains more than 50,000 images consisting of approximately 37,000 black & white photographs and 13,000 original design drawings of lighting fixtures and other fine metal objects that the produced from the late 19th to the mid-20th centuries.
Accession number: LB032029-a.jpg
Description: This table lamp was produced by E. F. Caldwell & Co. for the New York Public Library at Fifth Avenue & 42nd Street, Manhattan, New York, NY 10018 by architects Carrere and Hastings.
Creator/Photographer: E. F. Caldwell & Co.
Medium: Black and white photographic print
Date: c. 1908
Persistent URL: www.sil.si.edu/DigitalCollections/Caldwell/page.cfm?filen...
Repository: Smithsonian Institution Libraries
Collection: The E. F. Caldwell & Co. Collection - The E. F. Caldwell & Co. Collection contains more than 50,000 images consisting of approximately 37,000 black & white photographs and 13,000 original design drawings of lighting fixtures and other fine metal objects that the produced from the late 19th to the mid-20th centuries.
Accession number: LB097030-a
Description: This chandelier was produced by E. F. Caldwell & Co. for the Waldorf Astoria Hotel at 301 Park Avenue, New York, NY 10022 by architects Schultze & Weaver.
Creator/Photographer: E. F. Caldwell & Co.
Medium: Black and white photographic print
Date: c. 1931
Persistent URL: www.sil.si.edu/DigitalCollections/Caldwell/page.cfm?filen...
Repository: Smithsonian Institution Libraries
Collection: The E. F. Caldwell & Co. Collection - The E. F. Caldwell & Co. Collection contains more than 50,000 images consisting of approximately 37,000 black & white photographs and 13,000 original design drawings of lighting fixtures and other fine metal objects that the produced from the late 19th to the mid-20th centuries.
Accession number: LB073017-a
Description: This chandelier was produced by E. F. Caldwell & Co. for the Saint Thomas Church and Parish House at 1 West 53rd Street, New York, NY 10019 by architects Cram, Goodhue & Ferguson.
Creator/Photographer: E. F. Caldwell & Co.
Medium: Black and white photographic print
Date: c. 1912
Persistent URL: www.sil.si.edu/DigitalCollections/Caldwell/page.cfm?filen...
Repository: Smithsonian Institution Libraries
Collection: The E. F. Caldwell & Co. Collection - The E. F. Caldwell & Co. Collection contains more than 50,000 images consisting of approximately 37,000 black & white photographs and 13,000 original design drawings of lighting fixtures and other fine metal objects that the produced from the late 19th to the mid-20th centuries.
Accession number: LB034014-a
Antique Pickup
©Alan Yahnke
Chinon Auto 3001 ~ 35mm f2.8 Chinon Lens ~ Fuji 200 Film ~ Epson V750 Scanner
halshs.archives-ouvertes.fr/file/index/docid/138629/filen...
La grotte est logée au rez-de-chaussée d’un pavillon d’angle qui terminait la galerie d’Ulysse (aujourd’hui disparue et remplacée depuis le XVIIIe siècle par l’aile Louis XV). Elle donnait à l’origine sur un jardin planté de pins maritimes. Elle est directement inspirée du maniérisme italien. La façade est constituée de géants emprisonnés dans la pierre. Ces Atlantes sont un chef-d’œuvre de la sculpture en « gresserie » : brutaux, massifs, d’une étonnante modernité, ils semblent surgir de leur gangue en grès et dominer avec peine leur force primaire, quasi bestiale.
Description: This ceiling fixture was produced by E. F. Caldwell & Co. for Rockefeller Center in New York City at Fifth Avenue & 48-51st Street by architects Raymond Hood, Godley & Fouilihoux.
Creator/Photographer: E. F. Caldwell & Co.
Medium: Black and white photographic print
Date: c. 1932
Persistent URL: www.sil.si.edu/DigitalCollections/Caldwell/page.cfm?filen...
Repository: Smithsonian Institution Libraries
Collection: The E. F. Caldwell & Co. Collection - The E. F. Caldwell & Co. Collection contains more than 50,000 images consisting of approximately 37,000 black & white photographs and 13,000 original design drawings of lighting fixtures and other fine metal objects that the produced from the late 19th to the mid-20th centuries.
Accession number: LB030047-a
Description: This chandelier was produced by E. F. Caldwell & Co. for the Home Club at 11 East 45th Street, Manhattan, New York, NY 10017 by architects Warren and Wetmore.
Creator/Photographer: E. F. Caldwell & Co.
Medium: Black and white photographic print
Date: c. 1906
Persistent URL: www.sil.si.edu/DigitalCollections/Caldwell/page.cfm?filen...
Repository: Smithsonian Institution Libraries
Collection: The E. F. Caldwell & Co. Collection - The E. F. Caldwell & Co. Collection contains more than 50,000 images consisting of approximately 37,000 black & white photographs and 13,000 original design drawings of lighting fixtures and other fine metal objects that the produced from the late 19th to the mid-20th centuries.
Accession number: LB032006-b
L'edificio risale ai primi del 900 era l'antico mulino del Paese Alto di San Benedetto del Tronto a 500 mt dal centro. Ristrutturato nel 2006 e poi successivamente nel 2012 è situato a pochi passi a piedi dal centro di San Benedetto del Tronto; in bicicletta è possibile percorrere, per circa 10 km ,da nord a sud la splendida Riviera delle Palme . Percorrendo Via conquiste in direzione via Fileni in direzione di via XX settembre si raggiunge il FARO e il Porto Turistico attraversando Piazza Giorgini , Viale Secondo Moretti Viale Buozzi il Parco Comunale, campi da tennis e la famosa Palazzina Azzurra. Con lo sguardo rivolto verso il mare , la nota scultura di Ugo Nespolo in onore della cultura e civiltà marinara Lavorare, lavorare preferisco il rumore del mare segna l’ inizio dello splendido Viale delle Palme fino a raggiungere Porto D'Ascoli, località marina sede della Riserva Naturalistica la Sentina. La Statale SS16 altezza Piazza Nardone dista circa 500 mt ; Casa Felicia B&B è ubicata nella parte alta della Città di San BENEDETTO DEL TRONTO nei pressi della Torre dei Gualtieri circondata da discese e salite con un dislivello di circa 300 mt slm. La sua ubicazione così come la sua posizione alta consente il non utilizzo di condizionatori e/o climatizzatori anche nei periodi più caldi . Tutto il centro della città è facilmente raggiungibili e mai chiuso al traffico. A circa 500 mt dalle più importanti fermate di autobus di linee : per Roma, Milano, Bologna, Firenze, Napoli. A circa 1 km la Stazione Ferroviaria. aereoporti di riferlmento PESCARE E ANCONA . 36 km Superstrada Ascoli mare
Tutte le camere sono dotate di servizi interni, ristrutturate nel maggio del 2012 hanno varie dimenisioni. Alcune sono dotate di angolo cottura. Di varie dimensioni da 15 mq a 60 mq dispongono tutte di un'area giardino comune e di un terrazzo . Una sola dispone di un bagno con vasca. Le altre hanno il bagno in camera con bidet e piatto doccia. Un piccolo frigo è self service. Chiediamo ai ns ospiti di contribuire al rispetto dell'ambiente e del ns servizio.
La colazione è preparata artigianalmente da un chef di origine venezuelana che utilizza tecniche caraibiche a prodotti a km O. Servita in giardino dalle 8.30 alle 13.00 nei periodi di giugno , luglio, agosto consente di vivere l'esperienza di una vacanza nel completo relax. Diversi i tipi di pane vengono da noi preparati con il lievito madre : ai cereali, al sesamo ecc così come i dolci le torte salate . Frutta, succhi , latte , caffè, thè .
Butt #19, Spring 2007
005833
Periodicals
2007
Butt Magazine Amsterdam Netherlands
78 pp.
23 x 16.5 x 0.5 cm.
paper
This issue of the “Fantastic magazine for homosexuelles” from the Netherlands features contributions: ‘Duo’ by Walter Pfeiffer, ‘Joe Gage’ by Frank Rodriguez, ‘Juanjo’ by Luis Venegas, ‘I am Derek’ by Derek Jackson, ‘Pollas’ by Daniel Riera, ‘Dirty Danny’ by Lernert Engleberts, ‘Francesco Vezzoli’ by Adam Baran, ‘Jim’ by James Anderson, and ‘Buck Angel’ by Danny McFadden. This issue also contains Stephen Ellwood’s first piece for the Art Metropole project 'Advertising by Artists,' curated by Andrew Zeally.
* BORDER CROSSINGS (Vol. 26/#1, Winter 2007)
artist: Nestor Kruger
* WIRE Magazine (Issue 277, March 2007)
artist: Cecilia Berkovic
* BUTT (Issue 19, Spring 2007)
artist: Stephen Ellwood
* THEY SHOOT HOMOS DONT THEY? (Issue 4, Summer 2007)
artist: Cecilia Berkovic
* CABINET Magazine (Issue 26, Summer 2007 [July-September])
artist: Steven Ellwood
* BORDER CROSSINGS (Vol. 26/#2, Spring 2007)
artist: Yoko Ono
* WIRE Magazine (Issue 280, June 2007)
artist: Nestor Kruger
* CABINET Magazine (Issue 27, Fall 2007 [September-December])
artist: Cecilia Berkovic
* WIRE Magazine (Issue 284, October 2007)
artist: Yoko Ono
* BORDER CROSSINGS (Vol. 26/#4, Autumn 2007)
artist: Stephen Ellwood
* BUTT (Issue 21, Autumn 2007)
artist: Yoko Ono
* THEY SHOOT HOMOS DONT THEY? (Issue 5, Winter 2007)
artist: Nestor Kruger
* CABINET Magazine (Issue 28, Winter 2008 [December 2007 - March 2008])
artist: Nestor Kruger
* WIRE Magazine (Issue 287, January 2008)
artist: Stephen Ellwood
* BORDER CROSSINGS (Vol. 27/#1, Winter 2008 [February])
artist: Cecilia Berkovic
* CABINET Magazine (Issue 29, Spring 2008 [March-June])
artist: Yoko Ono
(The homepage of Art Metropole)
www.artmetropole.com/popups/events_exhibits.cfm?str_filen...
ADVERTISING BY ARTISTS
CECILIA BERKOVIC - STEPHEN ELLWOOD - NESTOR KRUGER - YOKO ONO
Curated by Andrew Zealley
February 2007 through April 2008
FOUR ARTISTS
FIVE PUBLICATIONS
FIFTEEN MONTHS
CECILIA BERKOVIC
STEPHEN ELLWOOD
NESTOR KRUGER
YOKO ONO
BORDER CROSSINGS
BUTT
CABINET
THEY SHOOT HOMOS DONT THEY?
WIRE
ADVERTISING BY ARTISTS is an international print-media project conceived to draw attention to Art Metropole's online presence and services - as well as a vehicle for the selected artists to express their own ideas. Over the coming 15-months, we look forward to challenging the conventions of advertising with pure imagination. The rules? Each ad-work must include Art Metropole's logo and website address... the rest is... art. Welcome to Art Metropole.
- Andrew Zealley, February 2007
artmetropole.com/index.cfm?fuseaction=exhibitions.FA_dsp_...
Cecilia Berkovic
Nestor Kruger
Yoko Ono
Stephen Ellwood
Advertising By Artists, full set
005951
Periodicals
$500.00
2008
Art Metropole Toronto Canada
17 x 31 x 31 cm.
Magazines
FOUR ARTISTS, FIVE PUBLICATIONS, FIFTEEN MONTHS. CECILIA BERKOVIC, STEPHEN ELLWOOD, NESTOR KRUGER, YOKO ONO. BORDER CROSSINGS, BUTT, CABINET, THEY SHOOT HOMOS DONT THEY?, WIRE. ADVERTISING BY ARTISTS is an international print-media project conceived to draw attention to Art Metropole's online presence and services - as well as a vehicle for the selected artists to express their own ideas. Each ad-work includes Art Metropole's logo and website address... the rest is... art. Full set of 16 magazines, in a signed edition of 23.
Signed: Yes
Images courtesy of Art Metropole
Butt #21, Fall 2007
006140
Periodicals
2007
Butt Magazine Amsterdam Netherlands
unpaginated pp.
23.2 x 16.5 x cm.
Softcover
Featuring…a French horticulturist, drag legend Vaginal Davis, a gay dog, a bunch of London trannies, California portrait artist Don Bachardy and a charming pair of twins from Brooklyn, New York. The issue is available in Europe right now and will hit the US newsstand around mid November. This issue also contains an ad by Yoko Ono for the Art Metropole project 'Advertising by Artists,' curated by Andrew Zeally.
* BORDER CROSSINGS (Vol. 26/#1, Winter 2007)
artist: Nestor Kruger
* WIRE Magazine (Issue 277, March 2007)
artist: Cecilia Berkovic
* BUTT (Issue 19, Spring 2007)
artist: Stephen Ellwood
* THEY SHOOT HOMOS DONT THEY? (Issue 4, Summer 2007)
artist: Cecilia Berkovic
* CABINET Magazine (Issue 26, Summer 2007 [July-September])
artist: Steven Ellwood
* BORDER CROSSINGS (Vol. 26/#2, Spring 2007)
artist: Yoko Ono
* WIRE Magazine (Issue 280, June 2007)
artist: Nestor Kruger
* CABINET Magazine (Issue 27, Fall 2007 [September-December])
artist: Cecilia Berkovic
* WIRE Magazine (Issue 284, October 2007)
artist: Yoko Ono
* BORDER CROSSINGS (Vol. 26/#4, Autumn 2007)
artist: Stephen Ellwood
* BUTT (Issue 21, Autumn 2007)
artist: Yoko Ono
* THEY SHOOT HOMOS DONT THEY? (Issue 5, Winter 2007)
artist: Nestor Kruger
* CABINET Magazine (Issue 28, Winter 2008 [December 2007 - March 2008])
artist: Nestor Kruger
* WIRE Magazine (Issue 287, January 2008)
artist: Stephen Ellwood
* BORDER CROSSINGS (Vol. 27/#1, Winter 2008 [February])
artist: Cecilia Berkovic
* CABINET Magazine (Issue 29, Spring 2008 [March-June])
artist: Yoko Ono
(The homepage of Art Metropole)
www.artmetropole.com/popups/events_exhibits.cfm?str_filen...
ADVERTISING BY ARTISTS
CECILIA BERKOVIC - STEPHEN ELLWOOD - NESTOR KRUGER - YOKO ONO
Curated by Andrew Zealley
February 2007 through April 2008
FOUR ARTISTS
FIVE PUBLICATIONS
FIFTEEN MONTHS
CECILIA BERKOVIC
STEPHEN ELLWOOD
NESTOR KRUGER
YOKO ONO
BORDER CROSSINGS
BUTT
CABINET
THEY SHOOT HOMOS DONT THEY?
WIRE
ADVERTISING BY ARTISTS is an international print-media project conceived to draw attention to Art Metropole's online presence and services - as well as a vehicle for the selected artists to express their own ideas. Over the coming 15-months, we look forward to challenging the conventions of advertising with pure imagination. The rules? Each ad-work must include Art Metropole's logo and website address... the rest is... art. Welcome to Art Metropole.
- Andrew Zealley, February 2007
artmetropole.com/index.cfm?fuseaction=exhibitions.FA_dsp_...
Cecilia Berkovic
Nestor Kruger
Yoko Ono
Stephen Ellwood
Advertising By Artists, full set
005951
Periodicals
$500.00
2008
Art Metropole Toronto Canada
17 x 31 x 31 cm.
Magazines
FOUR ARTISTS, FIVE PUBLICATIONS, FIFTEEN MONTHS. CECILIA BERKOVIC, STEPHEN ELLWOOD, NESTOR KRUGER, YOKO ONO. BORDER CROSSINGS, BUTT, CABINET, THEY SHOOT HOMOS DONT THEY?, WIRE. ADVERTISING BY ARTISTS is an international print-media project conceived to draw attention to Art Metropole's online presence and services - as well as a vehicle for the selected artists to express their own ideas. Each ad-work includes Art Metropole's logo and website address... the rest is... art. Full set of 16 magazines, in a signed edition of 23.
Signed: Yes
Images courtesy of Art Metropole
ENGLISH
This video shows a scale model (125 x 125 mm) of a cityscape 3D modelled by Munson3D.com. The CAD file was 3D printed in color on a ZPrinter 3D printer from Z Corporation.
SWEDISH
Denna video visar en skalmodell (15 x15 mm) av en stad i 3D som modellerades av Munson3D.com. CAD-filen 3D-printades på en ZPrinter 3D-skrivare från Z Corporaiton.
The WIRE, issue 277, March 2007
005839
Periodicals
2007
The Wire Magazine Limited London United Kingdom
98 pp.
28 x 23 x 0.5 cm.
magazine
The March 2007 issue of outstanding music publication The WIRE contains Cecilia Berkovic’s first contribution to Art Metropole’s ‘Advertising by Artists’ exhibition series. Also in this issue: It's back to the swamp for Nick Cave with his Grinderman project, here grabbing the front cover of the latest Wire with facial-hair in abundance. Ninety eight pages thick and overflowing with discourse, the likes of Pual Burwell, Ray Lee, Peter Hammill and Polly Shang all make weighty appearances alongside the usual mix of reviews, features (see the fantastic exploration of archive electronic music in Cairo) and live dispatches.
* BORDER CROSSINGS (Vol. 26/#1, Winter 2007)
artist: Nestor Kruger
* WIRE Magazine (Issue 277, March 2007)
artist: Cecilia Berkovic
* BUTT (Issue 19, Spring 2007)
artist: Stephen Ellwood
* THEY SHOOT HOMOS DONT THEY? (Issue 4, Summer 2007)
artist: Cecilia Berkovic
* CABINET Magazine (Issue 26, Summer 2007 [July-September])
artist: Steven Ellwood
* BORDER CROSSINGS (Vol. 26/#2, Spring 2007)
artist: Yoko Ono
* WIRE Magazine (Issue 280, June 2007)
artist: Nestor Kruger
* CABINET Magazine (Issue 27, Fall 2007 [September-December])
artist: Cecilia Berkovic
* WIRE Magazine (Issue 284, October 2007)
artist: Yoko Ono
* BORDER CROSSINGS (Vol. 26/#4, Autumn 2007)
artist: Stephen Ellwood
* BUTT (Issue 21, Autumn 2007)
artist: Yoko Ono
* THEY SHOOT HOMOS DONT THEY? (Issue 5, Winter 2007)
artist: Nestor Kruger
* CABINET Magazine (Issue 28, Winter 2008 [December 2007 - March 2008])
artist: Nestor Kruger
* WIRE Magazine (Issue 287, January 2008)
artist: Stephen Ellwood
* BORDER CROSSINGS (Vol. 27/#1, Winter 2008 [February])
artist: Cecilia Berkovic
* CABINET Magazine (Issue 29, Spring 2008 [March-June])
artist: Yoko Ono
(The homepage of Art Metropole)
www.artmetropole.com/popups/events_exhibits.cfm?str_filen...
ADVERTISING BY ARTISTS
CECILIA BERKOVIC - STEPHEN ELLWOOD - NESTOR KRUGER - YOKO ONO
Curated by Andrew Zealley
February 2007 through April 2008
FOUR ARTISTS
FIVE PUBLICATIONS
FIFTEEN MONTHS
CECILIA BERKOVIC
STEPHEN ELLWOOD
NESTOR KRUGER
YOKO ONO
BORDER CROSSINGS
BUTT
CABINET
THEY SHOOT HOMOS DONT THEY?
WIRE
ADVERTISING BY ARTISTS is an international print-media project conceived to draw attention to Art Metropole's online presence and services - as well as a vehicle for the selected artists to express their own ideas. Over the coming 15-months, we look forward to challenging the conventions of advertising with pure imagination. The rules? Each ad-work must include Art Metropole's logo and website address... the rest is... art. Welcome to Art Metropole.
- Andrew Zealley, February 2007
artmetropole.com/index.cfm?fuseaction=exhibitions.FA_dsp_...
Cecilia Berkovic
Nestor Kruger
Yoko Ono
Stephen Ellwood
Advertising By Artists, full set
005951
Periodicals
$500.00
2008
Art Metropole Toronto Canada
17 x 31 x 31 cm.
Magazines
FOUR ARTISTS, FIVE PUBLICATIONS, FIFTEEN MONTHS. CECILIA BERKOVIC, STEPHEN ELLWOOD, NESTOR KRUGER, YOKO ONO. BORDER CROSSINGS, BUTT, CABINET, THEY SHOOT HOMOS DONT THEY?, WIRE. ADVERTISING BY ARTISTS is an international print-media project conceived to draw attention to Art Metropole's online presence and services - as well as a vehicle for the selected artists to express their own ideas. Each ad-work includes Art Metropole's logo and website address... the rest is... art. Full set of 16 magazines, in a signed edition of 23.
Signed: Yes
Images courtesy of Art Metropole
Description: This chandelier was produced by E. F. Caldwell & Co. for the Harmonie Club at 4 East 60th Street, Manhattan, New York, NY 10022 by architects McKim, Mead, and White.
Creator/Photographer: E. F. Caldwell & Co.
Medium: Black and white photographic print
Date: c. 1906
Persistent URL: www.sil.si.edu/DigitalCollections/Caldwell/page.cfm?filen...
Repository: Smithsonian Institution Libraries
Collection: The E. F. Caldwell & Co. Collection - The E. F. Caldwell & Co. Collection contains more than 50,000 images consisting of approximately 37,000 black & white photographs and 13,000 original design drawings of lighting fixtures and other fine metal objects that the produced from the late 19th to the mid-20th centuries.
Accession number: LB032001-a
Description: This chandelier was produced by E. F. Caldwell & Co. for the John Pierpont Morgan residence in New York City at 33 East 36th Street, New York, NY 10016 by architects McKim, Mead & White.
Creator/Photographer: E. F. Caldwell & Co.
Medium: Black and white photographic print
Date: c. 1905
Persistent URL: www.sil.si.edu/DigitalCollections/Caldwell/page.cfm?filen...
Repository: Smithsonian Institution Libraries
Collection: The E. F. Caldwell & Co. Collection - The E. F. Caldwell & Co. Collection contains more than 50,000 images consisting of approximately 37,000 black & white photographs and 13,000 original design drawings of lighting fixtures and other fine metal objects that the produced from the late 19th to the mid-20th centuries.
Accession number: LB032006-a
Description: This chandelier was produced by E. F. Caldwell & Co. for the Greenwood Mortuary Chapel, Greenwood Cemetary at 500 25th Street, Brooklyn, New York, NY 11232.
Creator/Photographer: E. F. Caldwell & Co.
Medium: Black and white photographic print
Date: c. 1912
Persistent URL: www.sil.si.edu/DigitalCollections/Caldwell/page.cfm?filen...
Repository: Smithsonian Institution Libraries
Collection: The E. F. Caldwell & Co. Collection - The E. F. Caldwell & Co. Collection contains more than 50,000 images consisting of approximately 37,000 black & white photographs and 13,000 original design drawings of lighting fixtures and other fine metal objects that the produced from the late 19th to the mid-20th centuries.
Accession number: LB067013-a
This is a project where we took one unique but sadly damaged stucco and replicated it.
We started off with 3D-scanning the quarter that was still intact and then cloning it inside of a 3D-software. After that we sent the file to our Z Corporation 650 3D-printer and had a new, intact copy of the stucco.
I det här projektet skapade vi en kopia av en trasig stuckatur.
Vi började med att 3D-scanna den del av stuckaturen som fortfarande var intakt. Efter det behandlade vi 3D-modellen och klonade den hela delen så vi fick en komplett stuckatur. Därefter skickade vi filen till vår Z Corporation 650 3D-skrivare som skrev ut den nya och lagade stuckaturen.
This is a project where we took one unique but sadly damaged stucco and replicated it.
We started off with 3D-scanning the quarter that was still intact and then cloning it inside of a 3D-software. After that we sent the file to our Z Corporation 650 3D-printer and had a new, intact copy of the stucco.
I det här projektet skapade vi en kopia av en trasig stuckatur.
Vi började med att 3D-scanna den del av stuckaturen som fortfarande var intakt. Efter det behandlade vi 3D-modellen och klonade den hela delen så vi fick en komplett stuckatur. Därefter skickade vi filen till vår Z Corporation 650 3D-skrivare som skrev ut den nya och lagade stuckaturen.
* Black wool dress with asymmetrical hemline, Les Copains via Filene’s Basement– $48 on clearance
* Black and gold T-strap pumps Nine Studio (now Boutique 9) by Nine West, circa several years ago
* Tiny green pendant I’ve had for ages and have no idea where I got it– maybe Hecht’s or some other now-defunct department store
Another day in Michelle's Pretty Year. Can a cash-strapped fashionista with $250 in her pocket create 250 different outfits from the contents of her closet? Find out at theprettyyear.com!
BUTT (Issue 21, Autumn 2007)
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
* BORDER CROSSINGS (Vol. 26/#1, Winter 2007)
artist: Nestor Kruger
* WIRE Magazine (Issue 277, March 2007)
artist: Cecilia Berkovic
* BUTT (Issue 19, Spring 2007)
artist: Stephen Ellwood
* THEY SHOOT HOMOS DONT THEY? (Issue 4, Summer 2007)
artist: Cecilia Berkovic
* CABINET Magazine (Issue 26, Summer 2007 [July-September])
artist: Steven Ellwood
* BORDER CROSSINGS (Vol. 26/#2, Spring 2007)
artist: Yoko Ono
* WIRE Magazine (Issue 280, June 2007)
artist: Nestor Kruger
* CABINET Magazine (Issue 27, Fall 2007 [September-December])
artist: Cecilia Berkovic
* WIRE Magazine (Issue 284, October 2007)
artist: Yoko Ono
* BORDER CROSSINGS (Vol. 26/#4, Autumn 2007)
artist: Stephen Ellwood
* BUTT (Issue 21, Autumn 2007)
artist: Yoko Ono
* THEY SHOOT HOMOS DONT THEY? (Issue 5, Winter 2007)
artist: Nestor Kruger
* CABINET Magazine (Issue 28, Winter 2008 [December 2007 - March 2008])
artist: Nestor Kruger
* WIRE Magazine (Issue 287, January 2008)
artist: Stephen Ellwood
* BORDER CROSSINGS (Vol. 27/#1, Winter 2008 [February])
artist: Cecilia Berkovic
* CABINET Magazine (Issue 29, Spring 2008 [March-June])
artist: Yoko Ono
(The homepage of Art Metropole)
www.artmetropole.com/popups/events_exhibits.cfm?str_filen...
ADVERTISING BY ARTISTS
CECILIA BERKOVIC - STEPHEN ELLWOOD - NESTOR KRUGER - YOKO ONO
Curated by Andrew Zealley
February 2007 through April 2008
FOUR ARTISTS
FIVE PUBLICATIONS
FIFTEEN MONTHS
CECILIA BERKOVIC
STEPHEN ELLWOOD
NESTOR KRUGER
YOKO ONO
BORDER CROSSINGS
BUTT
CABINET
THEY SHOOT HOMOS DONT THEY?
WIRE
ADVERTISING BY ARTISTS is an international print-media project conceived to draw attention to Art Metropole's online presence and services - as well as a vehicle for the selected artists to express their own ideas. Over the coming 15-months, we look forward to challenging the conventions of advertising with pure imagination. The rules? Each ad-work must include Art Metropole's logo and website address... the rest is... art. Welcome to Art Metropole.
- Andrew Zealley, February 2007
Private Collection of Mikihiko Hori
1. Morfar vid sin taxi, 2. SAND, 3. Santa has already started his work in Säffle, 4. NORTHERN MYTHOLOGY IN SAND, 5. IT'S FUN TO TAKE A BATH, 6. a special card to you all friends., 7. on may way home from work this morning, 8. Krasse- Tropaeolum majus,
9. orkidé in my window, 10. wild rose, 11. raindrops, 12. GARDEN BEAUTY, 13. fam. Filén 1930 i Trästa, 14. SWANS, 15. hibiskus, 16. rose black baccara,
17. CORNELIA, 18. HAPPY EASTER TO ALL FREINDS, 19. CORNELIA, 20. PIG, 21. rosebud Black Baccara, 22. christmas-light, 23. MIRROR, 24. LOTS OF HUGS TO YOU ALL,
25. LOTS OF EASTEREGGS, 26. taxikillar runt 1920 nånstans uppe på Östermalm, taxis kontor, 27. thoughtful words, 28. INSECTS, 29. ROSE, 30. SPRING IN MY GARDEN, 31. some of my roses, 32. THE WINNER,
33. wild strawberry, 34. Läcköslott, 35. Dennis is testing the childs world, 36. mamma uppe på Skansen i Leksandsdräkt som mormor sytt, 37. phone in hospital, 38. Black and White, 39. Apple, 40. skeppshunden Nicke 1943,
41. IT HAS TO BE ONE MORE EGG, 42. STOCKHOLM FROM THE SILJABOAT, 43. Majken i sin brudklänning, 44. yellow lily, 45. NESSIE, 46. TWO DEVILS ARE TALKING, 47. WATERFALL, 48. sunset,
49. FLY, 50. VISINGSÖ, 51. detail on seashell-house, 52. TO CORNELIAS BIRTHDAYPARTY, 53. reflection in soap-bubbles, 54. Cornelia with the cake we maked together, 55. CANDLE, 56. PIGCOLLECTION,
57. THE GROOMS SHOES, 58. wildflower bed, 59. My bedroom-roof, 60. MY BROTHERS GRANDSON NATHANIEL, 61. after yesterdays rain, 62. flowerssugercake, 63. spirea, 64. THE HIGH COASTBRIDGE,
65. hibiskus, 66. THE BRIDES SHOE, 67. GARDEN BEAUTY, 68. HAVING A GOOD DAY, 69. skönvik, morfars födelsehem, 70. gurkört = Borage, 71. sunset over Ålands hav (ocean), 72. fruitplate
Created with fd's Flickr Toys.
(Flight 2 of 3) Looking east/southeast over the bridge across Eggemoggin Reach. Deer Isle is on the right.
According to the Historic American Engineering Record record at the Library of Congress, the center span is 1080' long and the total length is about 2438' - not quite half a mile. At the middle, traffic is about 100' above the water -- see the HAER page at
memory.loc.gov/cgi-bin/ampage?collId=hhdatapage&fileN...
for details. According to the page at
en.wikipedia.org/wiki/List_of_longest_suspension_bridge_s...
the Deer Isle -Sedgwick Bridge ranks as the 94th longest suspension bridge in the world, and is (by my quick, unofficial count down the list) about the 30th longest in the USA.
The bridge was being painted when we flew over it last fall, and the the primary cables over the main span were wrapped in something (protective?) that makes them look unnaturally thick.
Taken during the 2nd Annual Lighthouse Trail Weekend, Deer Isle, September 17-19, 2010. [2781]
This is a project where we took one unique but sadly damaged stucco and replicated it.
We started off with 3D-scanning the quarter that was still intact and then cloning it inside of a 3D-software. After that we sent the file to our Z Corporation 650 3D-printer and had a new, intact copy of the stucco.
I det här projektet skapade vi en kopia av en trasig stuckatur.
Vi började med att 3D-scanna den del av stuckaturen som fortfarande var intakt. Efter det behandlade vi 3D-modellen och klonade den hela delen så vi fick en komplett stuckatur. Därefter skickade vi filen till vår Z Corporation 650 3D-skrivare som skrev ut den nya och lagade stuckaturen.
This is a project where we took one unique but sadly damaged stucco and replicated it.
We started off with 3D-scanning the quarter that was still intact and then cloning it inside of a 3D-software. After that we sent the file to our Z Corporation 650 3D-printer and had a new, intact copy of the stucco.
I det här projektet skapade vi en kopia av en trasig stuckatur.
Vi började med att 3D-scanna den del av stuckaturen som fortfarande var intakt. Efter det behandlade vi 3D-modellen och klonade den hela delen så vi fick en komplett stuckatur. Därefter skickade vi filen till vår Z Corporation 650 3D-skrivare som skrev ut den nya och lagade stuckaturen.
This is a project where we took one unique but sadly damaged stucco and replicated it.
We started off with 3D-scanning the quarter that was still intact and then cloning it inside of a 3D-software. After that we sent the file to our Z Corporation 650 3D-printer and had a new, intact copy of the stucco.
I det här projektet skapade vi en kopia av en trasig stuckatur.
Vi började med att 3D-scanna den del av stuckaturen som fortfarande var intakt. Efter det behandlade vi 3D-modellen och klonade den hela delen så vi fick en komplett stuckatur. Därefter skickade vi filen till vår Z Corporation 650 3D-skrivare som skrev ut den nya och lagade stuckaturen.
This is a project where we took one unique but sadly damaged stucco and replicated it.
We started off with 3D-scanning the quarter that was still intact and then cloning it inside of a 3D-software. After that we sent the file to our Z Corporation 650 3D-printer and had a new, intact copy of the stucco.
I det här projektet skapade vi en kopia av en trasig stuckatur.
Vi började med att 3D-scanna den del av stuckaturen som fortfarande var intakt. Efter det behandlade vi 3D-modellen och klonade den hela delen så vi fick en komplett stuckatur. Därefter skickade vi filen till vår Z Corporation 650 3D-skrivare som skrev ut den nya och lagade stuckaturen.
This is a project where we took one unique but sadly damaged stucco and replicated it.
We started off with 3D-scanning the quarter that was still intact and then cloning it inside of a 3D-software. After that we sent the file to our Z Corporation 650 3D-printer and had a new, intact copy of the stucco.
I det här projektet skapade vi en kopia av en trasig stuckatur.
Vi började med att 3D-scanna den del av stuckaturen som fortfarande var intakt. Efter det behandlade vi 3D-modellen och klonade den hela delen så vi fick en komplett stuckatur. Därefter skickade vi filen till vår Z Corporation 650 3D-skrivare som skrev ut den nya och lagade stuckaturen.
This is a project where we took one unique but sadly damaged stucco and replicated it.
We started off with 3D-scanning the quarter that was still intact and then cloning it inside of a 3D-software. After that we sent the file to our Z Corporation 650 3D-printer and had a new, intact copy of the stucco.
I det här projektet skapade vi en kopia av en trasig stuckatur.
Vi började med att 3D-scanna den del av stuckaturen som fortfarande var intakt. Efter det behandlade vi 3D-modellen och klonade den hela delen så vi fick en komplett stuckatur. Därefter skickade vi filen till vår Z Corporation 650 3D-skrivare som skrev ut den nya och lagade stuckaturen.
Mientras me disponía a dormir una voz pasible y nula me susurraba al oído, me hablaba con palabras sutiles, casi que se confundían con gestos, era como si una luz me observara, como si le excitara verme dar vueltas con el afán de querer encontrar el sueño perdido en un chasquido nocturno. Me contaba sobre sexo, me decía que cuando el éxtasis era infinito era mejor, luego mis parpados se despegaban; sentía como si me abrieran la cabeza y se escaparan mis más íntimos pensamientos, abrí los ojos, fue en ese mismo instante cuando mi cuerpo armonizado con su entorno fue seducido por ella.
Esa mujer de estatura promedio de cabellos rojos fuego, de piel blanca, de contextura gruesa con senos protuberantes y redondos, de boca roja y carnuda, de ojos miel claros con nariz fileña, esa que su ropaje gris se acoplaba a su cuerpo; verla, era como si ella le hiciera el amor a mis ojos. Mis pensamientos viajaban de un lugar a otros transformando el tiempo, materializaba mis problemas en mundos distintos, sentía como si levitara bajo el furioso magma activo de un volcán en erupción, pero en estado latente y frio.
Solía ver como las paredes de aquella dimensión azul se escapaban del espacio otorgado por mi abuela. Como con gestos burlescos la ventana falsa se reía de mi, pero no me molestaba por que sentía que lo hacía por inercia, por la inercia del viento golpeando su espalda; recuerdo como aquel bebe extraño saltaba sobre nubes azules y orinaba sobre ellas, un orín translucido y cromático, pero burbujeante, impactaba con el aire de aquella atmosfera azul. Pero en un lapso, este, seducido por su alter ego rosado, jugaban a danzarme y mostrarme el camino hacia la nada, un camino azul grisoso pero transparentoso cubierto de madrugada, y aquella ardilla abrazaba con todas sus fuerzas esa esfera blanca. Pequeños detalles de ese mundo taciturno gritaban susurros energéticos, aquella lucecilla roja que bailaba estática, la música de la guitarra paralela a mi cabeza, guitarra nebulosa de cuerdas de enredadera, de olor a flores, así decía que olía la guitarra, una hermosa niña que cantaba algo sobre mis labios. Decía que al hacerlo, desertaría de sí misma sobre su corazón, pero que solo cerraría sus ojos de cristal y besaría mi intención de hacerlo, otorgaría a mis noches en velas niveles de luz pura con sentido de estarlo, pero ella desapareció, dejando una marca con fuego aquí en mis labios y en mi esencia.
Brillaba y eran las 5:45 am. La luz blanca con números rojos me decía, ya casi es hora. De ver nacer otro día, otra oportunidad de ser o dejar de serlo, de decir o conocer, de oír u oler, de acariciar o golpear, de correr o simplemente detenerte. Esto es un mundo para los que duermen, mientras yo y mi complejo de gato nos seduce la noche en mi cuarto. ME LEVANTE DE LA CAMA Y SALI DEL SUBMUNDO…
xSIONx