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Shot in Sreemangal Train Station, Bangladesh.
Copyright 2013 Aneek Mustafa Anwar
Contact: labouffon@gmail.com
selfhelp and guide books, sneakers, concrete, paint.
Denkmal für Unsicherheit. Selbsthilfe- und Ratgeberbücher, Turnschuhe, Beton, Farbe.
Not too long ago, Colombians fled to Venezuela and elsewhere to avoid the escalating violence and insecurity associated to their country’s drug wars and guerillas groups. Today, it is Venezuelans that have been fleeing to Colombia. With an economic hyperinflation and a repressive government policy, Venezuela is facing a food shortage and health crisis, among many other challenges preventing social welfare and safety. On a daily basis, hundreds of Venezuelans cross the border of San Antonio de Táchira in Venezuela to the city of San José de Cúcuta, Colombia. They go there to look for work opportunities or simply to find safety. There, their work typically consists of carrying out odd-jobs or manual labor to purchase basic goods such as food and medicine.
Trayecto — Fase 1. La entrega. Fase 2. A través. Fase 3. Inclusión (Trajectory— Phase 1. The Remittance. Phase 2. Through. Phase 3. Inclusion), a new work by Teresa Margolles, is developed after the artist’s fieldwork in this border region. She has traveled there on three occasions, first, in 2017 at the invitation of Bienal Sur in Colombia. During her time in Cúcuta, Margolles engaged with the sites and subjects of forced migration. In one of several actions there, she hired Venezuelans to carry stones across the river, which geopolitically divides the border; in another action, she hired them to knit their narratives into fabrics stained with the local soil. During these exchanges, their manual labor was remunerated, and was always accompanied by conversations with, and documentation by, the artist.
At Witte de With, the exhibition A new work by Teresa Margolles consists of a simple action: the six large windows of the gallery space are smudged, rather than cleaned, using shirts stained by the soil and sweat of over one-hundred Venezuelan men that Margolles hired in Cúcuta. This performance at the gallery is staged for the first month of the exhibition; during this time period, the shirts used are each progressively encased in a series of cement blocks, made on site. The initials of the names of each hired worker are then engraved into each sculptural element. Together, these elements progressively form an installation in the space alluding to spatial dynamics set forth by the border-crossers in that region. Also included in the galleries is a portrait of one the participants of Margolles’ action in Cúcuta.
A new work by Teresa Margolles comes from the artist’s long-standing and profound engagement with victims of violent crimes in sites where, for the artist, mending a social fabric that is torn invokes attention and involves care. In earlier works by Margolles, such as her installation In the Air (2003) and her exhibition What Else Could We Talk About? (2009), the artist has used materials like cloths and water employed to cleanse the bodies of victims or sites of violence. In other artworks, such as Lote Bravo (2005), she draws soil from the ground where victims of feminicide were found to create her sculpture installations.
The latter is one of a number of works the artist has made in and about Ciudad Juarez in México, a city that borders the United States and that welcomed numerous migrants from the South of the country as the workforce to the new industries based there since the early 1990s. However, the city significantly suffered the effects of the war on drugs in the past decades. As with Lote Bravo, A new work by Teresa Margolles emerges from field-work in a geopolitical border region where social displacement and precarity is latent. These works also share the proposition of sculpture to encounter an occasion “of being” in the presence of absent testimony.
www.wdw.nl/en/our_program/exhibitions/a_new_work_by_teres...
In order to visualize the theme of insecurity in the whole educational field we firstly ran a deep analysis of the different schoolastic paths that an Italian student can walk from his/her first years to his/her entrance in the work market. We noticed that most of their choices are made after the high school, deciding for a job or an Univeristy, and facing the different courses option. Our choice to focus on public education is related to the shortage of information given from our sources about the private institutes.
The fragmented appearance of the visualization, its formless global image, reflects the confusion in which data are treated and offered from miur (the Italian Ministry of Education, University and Research) and istat (the most important and authoritative Italian statistics institute).
The first part of our visualization tries to show the complex relationships system (economic, didactical and decision-making flows) that makes possible the existence of the whole Public University System. In the second part we analysed the different academic paths from starting University to obtaining a master degree and in which way and misure academic careers are related to the real work world.
We also wanted to point out the precariousness of the academic situation and, as a consequence, how our visualization is logically correct only in the present. Our representation could not tell the same story in the next future; currently a lot of changes regarding the whole educational system have being discussed by the Parliament for an important reform proposed by the Minister Mariastella Gelmini (anyway we are not sure for how long she will be our Minister).
As a conclusion of this period of research and design, we face an unsolved question: is it possible that employement possibilities are the only factor that influences students’ choices?
Project by:
Monica Diani
Valerio Pellegrini
Tommaso Trojani
Giorgio Roberto Uboldi
Francesco Villa
www.densitydesign.org/course_projects/insecurity_systemdi...
One for Holmes 750. M18 seen on suspended tow heading over to Lancashire. The roof canvas had just started to lift so we had to hastily pull over and remove the insecure parts.
Martes, 16 de marzo / Tuesday, march 16 2010
Autorretrato (Selfportrait)
El hecho de que tome un autorretrato (casi) diario, no significa en lo absoluto que yo sea una persona segura.
Al contrario, durante toda mi vida he debido afrontar ciertos temores, ya sea con mi cuerpo, mi intelecto o mis "talentos".
pd: creo que esta es una de mis fotografias favoritas :-)
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The fact of taking a self portrait (almost) daily, doesn't mean at all that I am a secure person.
On the contrary, my whole life I've had to face some fears, either with my body, my intellect or my "talents".
ps: I think this is one of my favorites photos :-)
Not too long ago, Colombians fled to Venezuela and elsewhere to avoid the escalating violence and insecurity associated to their country’s drug wars and guerillas groups. Today, it is Venezuelans that have been fleeing to Colombia. With an economic hyperinflation and a repressive government policy, Venezuela is facing a food shortage and health crisis, among many other challenges preventing social welfare and safety. On a daily basis, hundreds of Venezuelans cross the border of San Antonio de Táchira in Venezuela to the city of San José de Cúcuta, Colombia. They go there to look for work opportunities or simply to find safety. There, their work typically consists of carrying out odd-jobs or manual labor to purchase basic goods such as food and medicine.
Trayecto — Fase 1. La entrega. Fase 2. A través. Fase 3. Inclusión (Trajectory— Phase 1. The Remittance. Phase 2. Through. Phase 3. Inclusion), a new work by Teresa Margolles, is developed after the artist’s fieldwork in this border region. She has traveled there on three occasions, first, in 2017 at the invitation of Bienal Sur in Colombia. During her time in Cúcuta, Margolles engaged with the sites and subjects of forced migration. In one of several actions there, she hired Venezuelans to carry stones across the river, which geopolitically divides the border; in another action, she hired them to knit their narratives into fabrics stained with the local soil. During these exchanges, their manual labor was remunerated, and was always accompanied by conversations with, and documentation by, the artist.
At Witte de With, the exhibition A new work by Teresa Margolles consists of a simple action: the six large windows of the gallery space are smudged, rather than cleaned, using shirts stained by the soil and sweat of over one-hundred Venezuelan men that Margolles hired in Cúcuta. This performance at the gallery is staged for the first month of the exhibition; during this time period, the shirts used are each progressively encased in a series of cement blocks, made on site. The initials of the names of each hired worker are then engraved into each sculptural element. Together, these elements progressively form an installation in the space alluding to spatial dynamics set forth by the border-crossers in that region. Also included in the galleries is a portrait of one the participants of Margolles’ action in Cúcuta.
A new work by Teresa Margolles comes from the artist’s long-standing and profound engagement with victims of violent crimes in sites where, for the artist, mending a social fabric that is torn invokes attention and involves care. In earlier works by Margolles, such as her installation In the Air (2003) and her exhibition What Else Could We Talk About? (2009), the artist has used materials like cloths and water employed to cleanse the bodies of victims or sites of violence. In other artworks, such as Lote Bravo (2005), she draws soil from the ground where victims of feminicide were found to create her sculpture installations.
The latter is one of a number of works the artist has made in and about Ciudad Juarez in México, a city that borders the United States and that welcomed numerous migrants from the South of the country as the workforce to the new industries based there since the early 1990s. However, the city significantly suffered the effects of the war on drugs in the past decades. As with Lote Bravo, A new work by Teresa Margolles emerges from field-work in a geopolitical border region where social displacement and precarity is latent. These works also share the proposition of sculpture to encounter an occasion “of being” in the presence of absent testimony.
www.wdw.nl/en/our_program/exhibitions/a_new_work_by_teres...
The most notable event in the 150-year history of The Temple happened in 1958.
For decades, Atlanta Jews had felt insecure because of the virulent and lawless anti-Semitism revealed by the lynching of Temple member Leo Frank in 1915. The congregation tried to blend in with its Gentile neighbors.
But when Rabbi Jacob Rothschild arrived in 1946, he became an outspoken opponent of racial segregation. By the late 1950s the Civil Rights movement had heated up, and on October 12, 1958, fifty sticks of dynamite were set off in the north entrance of the building. Fortunately no one was injured.
The bombing galvanized the commitment of Atlanta's leaders to being "the city too busy to hate." Mayor Hartsfield rushed to the site to condemn the bombing. Newspaper editor Ralph McGill also condemned it, So did President Eisenhower. Local institutions and ordinary citizens lent their support and pledged money. By the next day the Temple's signboard was advertising the title of Rabbi Rothschild's upcoming Friday sermon, "And None Shall Make Them Afraid."
Although five suspects were soon arrested and one was tried, none were convicted. However perhaps the bombing can be credited with shocking Atlanta into rejecting the kind of behavior seen in other Southern cities during the Civil Rights movement. When Rev. Martin Luther King, Jr. won the Nobel peace prize, Atlanta's civic and business leaders threw an integrated banquet to honor him. Rabbi Rothschild, naturally, was one of the cosponsors.
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A light rain began to fall before I could color the magnolias, so I threw the wet sketchbook into my tote bag and headed back to the transit station. I decided I like the magnolias the way they are.
Drawn March 11, 2017
Atlanta, Georgia, USA
www.georgiaencyclopedia.org/articles/arts-culture/temple-...
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
BY STELLY RIESLING
Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.
DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.
There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.
Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.
People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.
Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.)
Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them.
GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.
What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey.
Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.
If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet.
Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.
Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need.
The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?
Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.
I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.
Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks…
So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.
I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still.
Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world…
DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life.
Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.
Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.
Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….
Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!
To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
PROLOGUE
Paul Jaisini was like a messiah, as you wish, who saw/understood the impending end and complete degeneration of Fine art or Art become and investment nothing more than that. He predicted the bubble pops art when everybody would eventually become an artist, including dogs cats and horses, because they as kids followed the main rule: express yourself without skills or knowledge or any aesthetic concerns. J. Pollack started pouring paints onto canvases; Julian Schnabel, former cab driver from NY, suddenly decided he could do better than what he saw displayed in galleries, so he started gluing dishes on canvases; A.Warhol, an industrial artist who made commercial silk-screen for the factories he worked in, started to exhibit "Campbell's soup" used for commercial adds... and later the thing that made him an "American Idol": by copying and pasting Hollywood celebrities (same type of posters he made before for movie theaters).
When Paul Jaisini stood out against the Me culture in the US by burning all of his own 120 brilliant paintings (according to the then-new director of Fort Worth MoMa Museum, who offered hin an exhibition of his art in 1992, and later the Metropolitan Museum curator, Phillippe de Montebello, in 1994).Paul probably assumed all fellow true fine artists would join him or stand by him against corruption of the art world.
And after 20 years of his stand-off...the time has finally come today. Many artists and humanitarians around the world took a place beside him. His invisible Paintings became a synonym for the future reincarnation of fine art and long lost harmony. The establishment is in panic! The "moneybags" (as Paul Jaisini named them) are in panic, because they invested BILLIONS of dollars in real crap made by
craftsmen. Now they realize that the reputation of American legends of expressionism was nothing but a copy of Russian avant-garde" Kazimir Malevich, Vasiliy Kandinsky and tens of others from France and Germany.. US tycoon investors were spending billions on "Me more original, than you". "Artist Shit" is a 1061 artwork by the Italian artist Piero Manzoni. The work consists of 90 tin cans, filled with feces. A tin can was sold for £124,000, 180,000 at Sothebys, 2007.
EPILOGUE
Before I resume promoting and admiring a very important art persona on today's international art arena, I'd like to clear up some BIG questions; people ask continuously and subconsciously, directly & indirectly: "Why does the name Paul Jaisini, flood the Internet in such "obnoxious" quantities that it's started suppressing some other activities that my friends might share with the rest of the Internet's Ego Me only Me www society? I can't just answer this... so I'll try to explain why I'm writing this: Jaisini's followers keep posting art and info about,
He IMHO the only hope in quickly decomposing visual fine art. "Paul Jaisini realized many years ago, in 1994, when he declared (at that time to himself only) the start of a New era, a New vision, that he is trying to redirect from the rat race, started by an establishment in post-war New York, long before the Internet culture.
Sub related information: Adolf Gottlieb, Mart Rothko, etc (after visiting Paris France in 1933):
"We must forget analytical art, we must express ourselves, as a 5 year old child would, without a developed consciousness. Forget about results - do what you feel, EXPRESS yourself with your own unique style"
With this statement Mark Rothko starts to teach his students, degeneration of fine art begins, and the generation of war of styles took a start signal of the material race, greatly rewarded by establishment "individual" - eccentric craftsmen - show business clowns.
Sub related Information: In the summer of 1936, Adolf Gottlieb painted more than 800 paintings, which was 20X more than he created in his whole art career as a painter, starting from the time of Gottlieb becomes a founding member of "The Ten" group in NYC "Group of Ten" was a very peculiar, enigmatic group... Based on a religious point of view;(where a human figure was prohibited from being created)
GLOSSARY
IN 1997, Paul Jaisini's best friend Ellen Y.K.Gottlieb started a cyber campaign by promoting on a very young Internet, back then, Paul Jaisini's burned paintings as Invisible Paintings, visible only through poetic essays. She and a handful of people saw his originals and were devastated that nobody could ever see them again. "We, his fans, believe that someday Paul will recreate his 120 burned paintings if he has any decency and moral obligation to his fans, who have dedicated decades to make it happen, for their Phoenix to rise from the ashes and the whole world will witness that all these years we spent to get him back to re-paint the Visuals again were not in vain," - said E.Y.K.Gottlieb in 2014 during the 20th anniversary celebration of Invisible Paintings to GIGroup in NYCity. So now, hopefully, this clears up why I and others do what we do - our "cyber terrorism" of good art, dedicated to Paul Jaisini's return, which is & and was our mission & our goal. We post good art to fight "troll art" which is worthless pics, after being passed through 1-click filters of free web apps. We are, in fact, against this www pops pollution, done with "bubble art" by the out of control masses with 5 billon pics a day: Pics of cats, memes, quotes,national geographic sunsets and waterfalls, not counting their own daily "selfies: and whatever self-indulging Me-ego-Me affairs, sponsored happily by photo gadget companies like Canon, Nikon, Sony...who churn out higher quality madness tools at lower cost.
This way Government taking away attention from the real world crisis of lowest morality & economical devastation. The masses are too easily re-engineered/manipulated by the Establishment PopsStyle delivered to them by pop music and Hollywood "super" stars. In 1992 Paul Jaisini's Gleitzeit theory predict such a massive, pops self-entertain madness, following technologicalexplosion, but not in illusive scales.
Uber Aless @2015 NYC USA
NOTE Date's numbers and events can be slightly inaccurate.
#gleitzeit #paul-jaisini #invisible #painting #art #futurism #art-news,
>>> WEBSITE <<<
Model: Rachel
Camera: Nikon D700
Project Brief: Inside Outside
Concept:
For this shoot I have been looking at insecurities and how we often hide behind a persona to escape our true emotion.
I am always trying to improve my work so please help me by giving me a little feedback on what you think and I will make sure to return the favor (don't be afraid to criticize). Thanks a lot.
All by myself
Never, never, never
Needed anyone
All by myself
Feeling so insecure
This is what remains of myself
And this is my reality.
My insecurities are now owning me.
Boulders on my feet,
cracking the nails,
breaking my toes,
looking for everything of mine to keep.
I need to find strength in something
instead of the nothing
that I surround myself with.
These are choices I have made.
But I'm not listening to these voices.
Anymore.
Anymore.
Nevermore.
Website | Facebook | Blog | Twitter | Tumblr | Book 1 | Book 2
lost and insecure
you found me, you found me
lying on the floor
surrounded, surrounded
why'd you have to wait?
where were you, where were you
just a little late
you found me, you found me
~the fray you found me
going to a wedding on saturday, and we're making it into a mini holiday, so leaving tomorrow. might be without internet, not entirely sure...so i'll upload sometime. have a good few days everybody :)
*please read*
I came across this photo about two years ago, and it will always remain in my mind. And quick shout out to Phlearn for teaching about the liquify tool! I've never used it before and kelianne's is way better but I wanted to try it! *This is NOT how I look, I photoshopped myself, I'm way fatter lmao!
And no need to worry, this photo does not apply to me, I'm STRONGLY against eating disorders! I decided to make this because of the many people I know that are insecure about their weight.
I see girls and guys way too often that become overly obsessed with being thin, and deal with it in very unhealthy ways. People starve themselves, feel they need to work out for hours every day, throw up, and never end up feeling good enough.
If you're like this, I want you to do something. Go look in the mirror and look at yourself. You're beautiful. What you're looking at is beautiful. No one can tell you otherwise. Who defined "perfection?" Why does "skinny" have to mean perfect? Because our society defined perfection for us the wrong way. Being skinny isn't being perfect. And many of the people who have these "perfect" bodies are a mess of insecurities and aren't even happy with themselves.
So stop obsessing about being thin, and start working on being happy. You don't want to die and not have ever felt comfortable in your own skin. Before you can love others you must learn to love yourself, and you have all the reason to do that.
I had two groups in mind when I created this image. ODC mystery and TOTW insecurity inspired this image.
I took a little time back yesterday afternoon for all the extra hours I have put in recently and worked on setting up my garage as a little studio. There is still more to do in this project, a lot more really, but some of the lights are up and a table for tabletop. Once I had the floors cleaned and the lights up, I thought why not give it a test shot and this is what I came up with in the doing. I haven't given it a title; perferring, I suppose to let the viewer decide what it should be called. I also processed this with abandon after the push from Joe kept me from going to extreme in photoshop. I wanted to give it that noir, 1950s, noise-y feeling and I am quite pleased with how it came together. As it was also shot with my 50mm, I am adding it to 50 days of 50mm as #10.
MUCH BETTER ON BLACK.
Mission Impossible
Hunger and food insecurity are closely related, but not the same. Food insecurity refers to a lack of access to enough good, healthy, and culturally appropriate food. In Mississippi it is easier to access fast food versus healthy food.
For more information visit www.jxnplanning.com/fertile-ground.
The visualization illustrates, using official data exclusively, the Italian employment evolution from 2004 to 2010, comparing employed, unemployed and inactive population of the country, with the due subdivisions. The minimum and maximum peaks are underlined in order to faster understand the situation during the considered period of time. In the last part data from 2010 are compared to those of the other European countries. Moreover, we have made a focus about the 15-34 years old population, analyzing the available data and reproducing, through the metaphor of the solar system, the actors system, the flows, the relationships through which each actor faces, in order to represent the dynamics against which they come up, through their journey from education conclusion or abandon to employment, with all the possibilities in-between and until the retirement moment.
Observing the infographics in its entirety, it emerges that in Italy the work force decreases, against the increase of the over-64 population, that needs the support of the welfare state.
Project by:
Alessandro Dallafina
Francesco Faggiano
Stefano Greco
Marco La Mantia
Simone Paoli
www.densitydesign.org/course_projects/insecurity_systemdi...
Not too long ago, Colombians fled to Venezuela and elsewhere to avoid the escalating violence and insecurity associated to their country’s drug wars and guerillas groups. Today, it is Venezuelans that have been fleeing to Colombia. With an economic hyperinflation and a repressive government policy, Venezuela is facing a food shortage and health crisis, among many other challenges preventing social welfare and safety. On a daily basis, hundreds of Venezuelans cross the border of San Antonio de Táchira in Venezuela to the city of San José de Cúcuta, Colombia. They go there to look for work opportunities or simply to find safety. There, their work typically consists of carrying out odd-jobs or manual labor to purchase basic goods such as food and medicine.
Trayecto — Fase 1. La entrega. Fase 2. A través. Fase 3. Inclusión (Trajectory— Phase 1. The Remittance. Phase 2. Through. Phase 3. Inclusion), a new work by Teresa Margolles, is developed after the artist’s fieldwork in this border region. She has traveled there on three occasions, first, in 2017 at the invitation of Bienal Sur in Colombia. During her time in Cúcuta, Margolles engaged with the sites and subjects of forced migration. In one of several actions there, she hired Venezuelans to carry stones across the river, which geopolitically divides the border; in another action, she hired them to knit their narratives into fabrics stained with the local soil. During these exchanges, their manual labor was remunerated, and was always accompanied by conversations with, and documentation by, the artist.
At Witte de With, the exhibition A new work by Teresa Margolles consists of a simple action: the six large windows of the gallery space are smudged, rather than cleaned, using shirts stained by the soil and sweat of over one-hundred Venezuelan men that Margolles hired in Cúcuta. This performance at the gallery is staged for the first month of the exhibition; during this time period, the shirts used are each progressively encased in a series of cement blocks, made on site. The initials of the names of each hired worker are then engraved into each sculptural element. Together, these elements progressively form an installation in the space alluding to spatial dynamics set forth by the border-crossers in that region. Also included in the galleries is a portrait of one the participants of Margolles’ action in Cúcuta.
A new work by Teresa Margolles comes from the artist’s long-standing and profound engagement with victims of violent crimes in sites where, for the artist, mending a social fabric that is torn invokes attention and involves care. In earlier works by Margolles, such as her installation In the Air (2003) and her exhibition What Else Could We Talk About? (2009), the artist has used materials like cloths and water employed to cleanse the bodies of victims or sites of violence. In other artworks, such as Lote Bravo (2005), she draws soil from the ground where victims of feminicide were found to create her sculpture installations.
The latter is one of a number of works the artist has made in and about Ciudad Juarez in México, a city that borders the United States and that welcomed numerous migrants from the South of the country as the workforce to the new industries based there since the early 1990s. However, the city significantly suffered the effects of the war on drugs in the past decades. As with Lote Bravo, A new work by Teresa Margolles emerges from field-work in a geopolitical border region where social displacement and precarity is latent. These works also share the proposition of sculpture to encounter an occasion “of being” in the presence of absent testimony.
www.wdw.nl/en/our_program/exhibitions/a_new_work_by_teres...
Not too long ago, Colombians fled to Venezuela and elsewhere to avoid the escalating violence and insecurity associated to their country’s drug wars and guerillas groups. Today, it is Venezuelans that have been fleeing to Colombia. With an economic hyperinflation and a repressive government policy, Venezuela is facing a food shortage and health crisis, among many other challenges preventing social welfare and safety. On a daily basis, hundreds of Venezuelans cross the border of San Antonio de Táchira in Venezuela to the city of San José de Cúcuta, Colombia. They go there to look for work opportunities or simply to find safety. There, their work typically consists of carrying out odd-jobs or manual labor to purchase basic goods such as food and medicine.
Trayecto — Fase 1. La entrega. Fase 2. A través. Fase 3. Inclusión (Trajectory— Phase 1. The Remittance. Phase 2. Through. Phase 3. Inclusion), a new work by Teresa Margolles, is developed after the artist’s fieldwork in this border region. She has traveled there on three occasions, first, in 2017 at the invitation of Bienal Sur in Colombia. During her time in Cúcuta, Margolles engaged with the sites and subjects of forced migration. In one of several actions there, she hired Venezuelans to carry stones across the river, which geopolitically divides the border; in another action, she hired them to knit their narratives into fabrics stained with the local soil. During these exchanges, their manual labor was remunerated, and was always accompanied by conversations with, and documentation by, the artist.
At Witte de With, the exhibition A new work by Teresa Margolles consists of a simple action: the six large windows of the gallery space are smudged, rather than cleaned, using shirts stained by the soil and sweat of over one-hundred Venezuelan men that Margolles hired in Cúcuta. This performance at the gallery is staged for the first month of the exhibition; during this time period, the shirts used are each progressively encased in a series of cement blocks, made on site. The initials of the names of each hired worker are then engraved into each sculptural element. Together, these elements progressively form an installation in the space alluding to spatial dynamics set forth by the border-crossers in that region. Also included in the galleries is a portrait of one the participants of Margolles’ action in Cúcuta.
A new work by Teresa Margolles comes from the artist’s long-standing and profound engagement with victims of violent crimes in sites where, for the artist, mending a social fabric that is torn invokes attention and involves care. In earlier works by Margolles, such as her installation In the Air (2003) and her exhibition What Else Could We Talk About? (2009), the artist has used materials like cloths and water employed to cleanse the bodies of victims or sites of violence. In other artworks, such as Lote Bravo (2005), she draws soil from the ground where victims of feminicide were found to create her sculpture installations.
The latter is one of a number of works the artist has made in and about Ciudad Juarez in México, a city that borders the United States and that welcomed numerous migrants from the South of the country as the workforce to the new industries based there since the early 1990s. However, the city significantly suffered the effects of the war on drugs in the past decades. As with Lote Bravo, A new work by Teresa Margolles emerges from field-work in a geopolitical border region where social displacement and precarity is latent. These works also share the proposition of sculpture to encounter an occasion “of being” in the presence of absent testimony.
www.wdw.nl/en/our_program/exhibitions/a_new_work_by_teres...
More from the Portrait Set
Nikon D300: Lens: AF-S VR Micro-NIKKOR 105mm f/2.8G IF-ED ISO 250: Aperture f/3: White Balance Auto
Processing: Adobe Photoshop CS3 custom curves and Contrast adjustment.
Listening to Bob Marley - Waiting in Vain
The national health care system aims to improve the health and lives of citizens through care activities, education and prevention. Italy has a publically owned health system, offering a high level of training for people involved in the medical, nursing and research and technology fields.
These principals emerge in comparison with other countries from outside the European Union.
The professionalism of the system is reflected in the quality of the infrastructure and services offered. Are we dealing with a National Health care system or are we dealing with Regional or Local health care systems? Our research is born from these questions and attempts to describe the economic/welfare issues that revolve around this topic. Through analysis of the data, supported by the National Insitute of Statistics, we have mapped out a logical path, that describes the proposed offer made by the public service comparing investments, infrastructure and guaranteed benefits.
We have then moved onto the user's requests, focusing our interest in particular on the perception of the Health service and the most common types of diseases to discover the causes and connections and the complexity that surrounds them. The emerging reality reveals the presence of multiple health systems, with deep territorial differences, at a regional and even provincial level. The overall picture of the system is one of a system structurally complex and fragmented, that is not always clear in its interactions and communications with citizens.
Project by:
Felipe Alejandro Ospina Borras
Stefano Cotzia
Jacopo Marcolini
Davide Martinotti
Xuan Wu
www.densitydesign.org/course_projects/insecurity_systemdi...
This project starts from the analysis of the data provided by the institutional bodies (Home Oce and ISTAT) in the field of public safety and from the desire to represent the theme of physical security as is socially treated. Ocial sources deal with this topic considering a purely legal side: provided data are those related to the reported crimes' type and number, related to the place in which they are committed and relative criminal actions. The reference year is 2005, the most “recent” for which it is possible to establish a cross-comparison between data. The project was developed, on one hand, in order to show the judicial apparatus' functioning and numerical data about crime, on the other hand, to highlight all the elements missing in social analysis, which are though very important to understand the complexity of the topic. The city is structured on the political and social hierarchy: the state, institutions, citizens. In this context, relations between the parties and their influence on physical safety are therefore perceived. In order to represent the classes of crimes and the system of convictions and sentences, the metaphor of Dante's Inferno has been chosen. At the same time, the image of an underground machine, consisting of pipes and gears, explains the criminal justice process' stages, showing its complexity. Where, therefore, insecurity creeps into? In the amount of citizen who decide not to press charges, in the disproportion between the reported crimes and the convicted criminals, in weakness and finally in the imposed penalties, in a panorama that shows difficult paths and seems to tell to those who have to deal with it: “All hope abandon, ye who enter here”.
Project by:
Federica Bardelli
Alessandro Marino Giuseppe Brunetti
Gabriele Colombo
Giulia De Amicis
Carlo Alessandro Morgan De Gaetano
www.densitydesign.org/course_projects/insecurity_systemdi...
captured by arabischenab
Outing bersama my brother SHAZRAL
Visit his photostream :
www.flickr.com/photos/shazral/
Location : Pantai Remis
Nikon D80 + Sigma 24-70mm f2.8 + Cokin (pinjam shazral)
=The Batcave: After the Sandstorm=
A month had passed since the Battle of Nanda Parbat. A month since the stand-off between Batman and the Misfits.
A month since Drury Walker murdered Ra's Al Ghul.
As Bruce walked down the stone steps towards the conference table, a lot of scrambled thoughts passed through his head; Memories, regrets...
As always, the cold logician in him swatted these doubts away and, as always, a dozen more insecurities rose up in their place. He was at an impasse: Dare he lift Walker's exile, or keep him banished in Keystone under West's supervision? That, was the question. The question that continued to torment him even now. Over this past month, he had devised several arguments, both for and against, and each and every one of these debates had ended in a stalemate.
They, were here to break that stalemate.
"Is this everyone?" Bruce asked the assembly. Sat around a stone table were a group of seven young men and women; Bruce's trusted confidantes from different backgrounds, and with different methods and ideals. Most of which, were trained by him personally to hone their natural talents.
He couldn't go to the League with this, they wouldn't understand the importance of this decision. Of what it meant to him.
"What? Your unfair and partial jury?" the blonde woman on the far left asked, a cheeky smile on her face, lowering her purple hood.
"Stephanie..." Bruce inhaled, as he sat down at the head of the table.
"Kate and Luke are at Wayne Enterprises, and JP and Duke are on that Kobra case, but everyone who could be here, is here," the red-headed woman in thin spectacles said, bringing the rest of the group up to speed.
"Thank you, Barbara. I'm glad someone is taking this seriously," Bruce reprimanded Stephanie.
"It's Killer Moth," Steph shrugged. "And I meant what I said by the way. She's biased; she's dating his kid," Steph explained as she nudged the dark-haired girl on her right, Cass, playfully.
"Not important," Cass brushed her off. "Tim kissed Kitten," she stated.
"Cass!" Tim, Steph's boyfriend, spat out his tea mortified. "Sorry, Alfred," he apologised to the elder man approaching the table, napkin already in hand.
The rest of the family was silent for a moment. And then, sat across from Tim, Jason Todd erupted into juvenile laughter. "No way!" he cackled. Tim's face had turned a deep scarlet. "What was it like?! Nah, don't tell me, I got this: do the words 'Strawberry Lipgloss' ring a bell?"
"Does it?" Steph raised an eyebrow.
"How could you-?" Tim gasped at Cass.
"She brought up Axel," she replied, a bright smile on her face. "Said it wasn't important: Barbara had a crush on Mr Walker."
"What-?" Dick, sat on Barbara's right, had perked up now.
"No, I did not," Babs tutted dismissively.
"Lies!" Steph giggled. "I saw you texting Dinah. 'His voice was smooth. Like the principal when you've been bad.'"
"So, should we be worried? If people are reading your messages, we should be in a heap of trouble," Tim argued.
"Look, yes, that happened, I said that," Babs confessed. "But look, he was my first."
"What?!" Dick repeated, his voice an octave higher this time.
"Her first supervillain, dumbass," Jason guessed.
"Can we focus?" Bruce murmured.
"Right, right..." Jason apologised, wiping the smile off his face. "Personally? I don't blame him."
"Shocker," Dick spoke, masking it behind a series of coughs.
Jason glared at him, but continued. "Look, Ra's was a genocidal maniac; he killed hundreds, and his playing matchmaker with the old man brought us this little hellspawn," he gestured at the young boy sat on Bruce's left.
"My grandfather made many mistakes," Damian conceded. "Least of which, was resurrecting you."
"Touché," Jason smirked.
"That said, I agree with Todd. To an extent," he added. "Grandfather, was not perfect-"
"Understatement of the year!" Steph yelled.
"But to die by the hand of a pirate and his son-in-law is a disgrace," he finished.
"But he's not just the in-law, is he?" Tim argued. "This guy helped take down Cobb, Crane, infiltrated Arkham City... Heck, he ran for mayor and won."
"Which, let's be real, isn't that hard. Penguin's getting good press," Dick pointed out.
"Noted. But what I'm saying is, underestimating him is what got Ra's killed in the first place."
"It's not just Ra's," Babs chimed in. "It's the attack on GCPD, and helping Bane too. He broke into the Cave, Jason. And planted Kuttler's-"
"Don't you dare say 'bug.'"
"Barbara's right. If Bane's Phantom Drive had worked, Earth would have lost the Justice League, the Titans, all of us, and left the planet at the Society's mercy," Bruce spoke up.
"Look, I don't get why you're so surprised. This is what happens, what always happens when you let a supervillain join the team... No offense, Spider," Jason waved at the man at the farthest end of the table.
"That, wasn't Basil's fault," Cass stated defensively.
"Besides, we let you join, Jay," Dick smiled, deliberately steering the conversation away from Karlo.
"And we've been paying for it ever since," Damian tutted.
Bruce tilted his head up to face Needham. "Spider, what do you think?"
Needham glared at the rest of the group, and swallowed. "I think that, if you only brought me in to talk shit about Walker behind his back, then I don't belong here."
Bruce nodded slowly. "Those in favour of lifting Walker's exile?" he asked.
Needham raised his hand, followed by Cass, and surprisingly, Jason. Alfred, also raised his hand in Walker's defense.
"Those opposed?"
Damian's hand shot up first, followed by Tim, Steph and more hesitantly, Dick and Barbara.
Bruce looked around the table solemnly. "Then it's settled. For now, Walker's exile remains in effect."
"Right," Tim nodded along to the verdict, then rose from the table. "If we're done here, I'm going up to the pantry. I was on patrol all night and I haven't grabbed breakfast yet," Tim rose from the table.
"Hey, grab me a cola while you're up there, 'Robbie Poo,'" Steph teased, tapping him on the shoulder.
"That's not- Dick was Robbie Poo..." Tim sighed as he walked off.
"But I never kissed her!" Dick smirked, as the rest of the group broke away from the table and walked off in separate directions.
"Man, I'm never living this down," Tim muttered under his breath, as he dragged himself upstairs.
While everyone else departed, Bruce and Needham remained sat at the table. "They're good kids," Bruce broke the tension.
"Uh-huh."
Needham stood up and walked off in the direction of his parked motorbike.
=Now: The Gotham Royal: Floor 19=
Ted Carson.
Joseph Rigger would be the first to admit he was pretty squeamish. He had a ton of phobias, plenty he wouldn't disclose to his fellow Misfits as, admittedly, a good deal of them were supernatural, and probably fictional in nature: Zombies, Vampires, Ghosts. That sort of thing.
But Carson? He scared him. Like, really scared him. He was tenacious, and driven, and utterly ruthless. Had Suit not given his life for him; for all of them; Joey would be dead. Impaled on that flaming sword Carson carried around.
Joey paused as he knelt down to tie his shoelaces. Come to think of it, Black Hand had been a zombie, hadn't he? And he'd played D&D with that Monk guy, Tepes, who had seemed oddly interested in his neck... That wasn't the point, Joey realised that of course, but maybe he ought to consider bringing a scarf to their next game night.
As he finished tying his laces, he stood back up and was immediately met with a pink cloud that spoke with the voice of Manga Khan.
"Have you given any more thought to my business proposal?" it's voice rattled.
Joey, jumped back in fright. "Holycrapitsaghostthatsjustwhatweneed!" he panicked, grabbing the rest of the room's attention.
"It's not a ghost!" L-Ron strutted towards him, waving his spindly arms in the air. "It is Lord Manga!" he explained.
"Yeah! Who died!" Joey countered, his body shivering.
"It's... It was a whole thing, I don't really want to get into it," Flannegan shrugged. "So, you really going into business with that pink fart?" he asked.
~-~
Gar bowed his head, kicking the ground as he shuffled over to Jenna's side. "It's Carson," he announced glumly, confirming what Jenna had already suspected.
Franco's eyes fluttered open at this, glancing back and forth between Jenna and Gar.
His grip on Jenna's hand tightened.
"Gar, please. You don't have to fight him-" Jenna urged him, pulling her hand away from Franco's side, unaware he was now stirring.
"Nah," Gar sighed, glancing over at Drury, as he placed his hand against her cheek. "We both know that I do" he said softly.
"No. Not this time. Not alone," Jenna decided, getting up off her knees, and presenting him her purse full of hardware appliances.
Gar nudged the purse away from his face. "You know I can't ask you to do that," he informed Jenna, as he adjusted the nozzle of his flamethrower.
"Then don't ask," Jenna pleaded. "Let me help you."
"Jelly Bean!" Franco spluttered in protest, sitting up. Rosso intervened, placing a hand on his chest to restrain him. Franco batted him away, rising to his feet. "Jenna, listen to me!"
Jenna spun around, her face red with irritation she stuck her finger in his face. "No, Davey, you listen. All night I've been oogled at, and all night you've smiled it off, and ignored me. And now, we're in danger. Real danger. And so far, Gar and his friends are the only people who've done anything about it. So I'm going with them. You can stay here if you like, but I'm gonna stop this," she stated, swinging the strap of her purse around her shoulder.
Franco's jaw tightened, and he exhaled through his nose. "You go with them, and you'll never be more than a henchwoman for petty criminals."
"What's so bad about that?" she frowned.
~-~
Drury looked to Gaige for affirmation; given by a stiff nod, and typed a number into his mobile. As Drury put the phone to his ear, waiting for the recipient to answer, his mind wandered.
"You seem like a decent bloke. A bit feminine but whatever; my daughter likes you. A lot," Gaige admitted to Drury, the closest thing he ever got to a blessing for marrying his daughter.
Course, back then, all Drury wanted to do was impress Gaige. To be part of the "in" crowd. To feel accepted. But that was before Santa Prisca changed his perspective, and before the mob and their schemes brought a dozen assassins to his doorstep.
"Before you, supervillainy was an art form, it was something you turned to out of necessity, perhaps for the thrill of it, after being shunned by society, spat on by the masses. When you became a supervillain you became something to be feared: Edward Nashton, Oswald Cobblepot, Basil Karlo, may he rest in peace. These are the names that give children nightmares and yet: they had class, they garnered respect from the inmates of Blackgate Prison. Until you came along. Once you put it in crooks heads that anyone could be ‘super’, they all started crawling out of the woodwork. The Joker will always be feared. The Eraser never will be. C-Listers proved supervillains could be laughed at, could be hurt, could be killed. And people stopped being scared. They reopened Arkham just to house you morons! So the ante had to be upped, in order to regain that fear. Victor Zsasz keeps a count of victims all over his body, hundreds of tallies, hundreds of kills! Dollmaker made a patchwork of body parts from still breathing Arkham Guards! Roman Sionis butchered Catwoman’s family and made her sister eat her husband’s eyes! His fucking eyes! You did this!" Two-Face was snarling at Drury; a small partition and the former's twisted devotion to a "fair trial" were the only things keeping him from tearing Walker apart.
Drury didn't like to talk about that day in Santa Prisca. Zodiac as his defendant was bad enough, as was sharing a room with the Mad Hatter and his tea-soaked breath, but beyond that, it was the day he truly understood what it meant to be a supervillain. The risks. The sacrifices. Sure, he'd thought about it plenty, seen things on the job that turned him pale, but this was when he learned the whole truth. That what happened with Lightning Bug wasn't a fluke. It wasn't an outlier. To these people; Penguin, Two-Face, Joker and the rest, it was the norm. And that was when he realised, he wanted nothing to do with that. With them.
"Drury. Look at me. You're not a failure, I married you, didn't I? I don't regret it one bit.
This time things didn't work out. That's ok, this team just didn't gel. You just need to find a group that does," Miranda was reassuring Drury, in the wake of yet another scheme blowing up in his face.
No. Not some 'scheme.' Gar's then-girlfriend Volcana had murdered his uncle and his crew on the orders of the Secret Society. All because they were protecting Getaway Genius. The same Getaway Genius who later abandoned his kids and his friends when the Society's cloudburst bomb detonated. Drury always found a way of protecting the wrong people. And getting the good ones killed over it.
"Is everyone else brainless? Am I the only one who gets it? When you hear a noise down a dark corridor, when you see something peculiar outside, you don't go running towards it, understand? Not like in some B-Rated Horror Film. You do the reasonable thing and walk off in the opposite direction!" The Getaway Genius was yelling at Drury; Floyd Lawton's laser sight pointing directly at Reynolds' sweating forehead.
In Drury's eye, Reynolds was the worst type of criminal. The type who ran away when things got bad. The type that wouldn't keep their word. The type who'd throw anyone else into the flames to save their own skin.
It wasn't until his conversation with Joey that it clicked for him. That's how Jenna saw him. The dangerous lunatic who was dragging Gar down with him.
"Walker. I'm telling you right now, it's not your fault."
"Is this what it's like? Being you? Watching people get hurt, with no way of stopping it?"
"Yes."
"And that doesn't bother you?"
"Of course it bothers me! You know full well what I've lost! But I'm telling you here, now, whatever happened between you and Ted Carson... whatever you did to him, it was the Arkham Moth who chose this path of vengeance... not you," Bruce told Drury, watching him hopelessly try to resuscitate the girl now known to be Ted Carson's daughter.
Even then, Drury knew. Using the last of the Lazarus Water on her would be a death sentence if the League of Assassins ever found out about it. But he didn't care. He'd hoped... He wasn't sure what he hoped at the time. That maybe by reviving Carson's daughter, he'd be atoning for his past mistakes? That maybe that would break the cycle of death and violence between his family and Carson's? Wouldn't that have been nice?
"If there's anything you ever need, I'll be there," Len promised, holding in his hand the money Knyazev had turned down. The money Drury was now offering him to rebuild his bar.
'But where was Len now?' Drury wondered. He had heard what Len had done to Jumbo, and though he shed no tears for Carson's step-brother, he knew Ted would be seeking some sort of retribution. He hoped that maybe Len was just in hiding until the heat died down; that's what he'd been telling the rest of the Misfits. But deep down, he didn't believe it himself.
"I shouldn't have expected anything else from you. The boy who never grew up," Hugo Strange sneered, as he held Drury against the floor and prepared a syringe full of poison.
Strange had been right all along. Just thinking that made Drury want to puke, but it was true. This life wasn't sustainable. This life wasn't healthy. Look at what it cost him, what it was still costing him: He hadn't seen his kids in weeks!
No.
'No more dress up,' Drury decided. No more make-pretend. It was time to grow up. It was time to face Carson. It was time to break the damn cycl-
"The person you're calling is unable to take your call. Please leave your message after the tone:"
"Figures..." Drury rolled his eyes. "Hey, it's me. I know we haven't, uh, talked since... Well, y'know. I know I said a buncha things I shouldn't have; I hit you, stole your stuff, ran away like I'm a coward, which I'm not, I hope you know that. But I've been... told by a couple of friends that I'm sorta a mess right now. I mostly agree with that. It's something I'm gonna need to work on a bit. If you see this message- scratch that, I know you'll see this message; you see everything, don't you? Heh... If you see this message, know that I'm sorry. And that maybe, if you're sorry too, we could meet up somewhere? Royal would do! Bring a nice suit."
"It's done?" Gaige was leaning against the wall, listening in.
"It's done," Drury confirmed, immediately dropping the hyperactive persona.
He lowered his phone, looking out towards Gar, struck by the way he was looking at Jenna: The way his eyes twinkled, how the edges of his mouth crinkled to form a smile. The way he nodded along to every word she spoke.
And at that moment, it hit Drury just how much he cared for her and her him. And he smiled, thinking back to the days when he felt that way. When he could feel that way... He put his hand to his cheek and noted the damp patch under his eyes.
"Look after them," he ordered Gaige, gesturing in their direction.
"Course," his father in-law nodded respectfully.
"The kids are at Dave Wist's place on the city limits. Simon should've made it over there by now... I shoulda visited him in the hospital... I visited Gar in the hospital."
"I'll take care of it," Gaige promised, a sense of finality to his words.
"I know you will." Drury wiped his eyes, tightened his shoulder holster for the last time, and proceeded to walk off down the hallway.
"Where are you going?" a voice called after him.
Drury turned around. Staring at him, his lip petted, was Joey. Gar and Jenna were staring at them now too, as was Flannegan.
"I... Like you said, someone needs to watch the King," Drury lied.
"You're gonna face him, aren't you?" Joey asked, his mouth open in disbelief.
"I gotta, Joe," Drury said hoarsely.
"Why?" he answered back, a sullen look on his face.
Drury exhaled. "Because otherwise, what was the point?"
"Of the road trip?"
"Of all of it!" Drury yelled suddenly. "I mean it, what have I actually done?"
"You saved the city."
"Lester Butchinsky saved the city. I just watched."
Joey took a step forward. "You saved me."
...
"You gave me something to believe in. To hold onto. And that was the Misfits. That's why you founded it, right? And I know right now, not everyone's happy with you, and they all have their reasons. But for me? Being able to fight side by side with you guys, to be treated as an equal? I've never felt happier."
Drury felt his cheek getting damp again. "Give me your comm, Joe."
"No."
"Give me your comm. Please," Drury said wearily.
"I can't..."
"I ran Carson down that night, you understand? And I hid his body. Then, I left my Charaxes serum lying about so the Moth; that's unrelated; could use it on him.
After that, I recruited a sorcerer to banish him when I wasn't man enough to deal with him myself. After that, I stole Krill's belt.
I ignored Julian's cries for help at every turn.
I got Gar ran over. I got Blake stabbed and Ten maimed and Sharpe thrown out a window. And I got Miranda..." Drury's throat swelled up. He wasn't just speaking to Joey now, he was speaking to all of them and they all knew it.
"Please. Let me do this," he offered. "I've got to do this."
"It's like what Jenna said. Not alone, you don't," Gar stepped forward.
"Not alone," Joey repeated, holding the comms device out to Drury, his fist kept closed until Walker accepted his terms.
"I won't be," Drury nodded his head slowly as he stretched his arm out. "I won't be."
Satisfied, Joey placed the comms unit in Drury's palm.
Drury put it to his mouth, his voice cracking slightly as he spoke into it. "Chuck," he called out.
"I couldn't stop him, Drury- I tried, really. But he's coming. He's coming for you and I didn't stop him-"
"It's... It's alright, Chuck," Drury answered.
"No, it's not, it's-"
Drury turned the device off and turned to Flannegan.
"Otis," Drury spoke. "I need you to round up the troops; Blake, Chuck, Kuttler and Ten all need patching up. Sharpe, Needham and Mayo might need help too. Make sure they all get the proper care."
His eyes narrowed. "You kidding me? You want me to run a paramedic service? You've got your arch nemesis on the warpath, after your head, remember? I'm your guy for this," he reminded him.
"Do what he says," Gaige warned.
Flannegan was about to argue but swallowed his pride. "Sure, doc," he grumbled, his nose twitching as he stormed off.
They were silent for a moment, and then Joey breathed in a sigh of relief. "You weren't gonna just abandon us, right?" he wondered.
Drury smiled faintly. "Abandon-? Never."
"Good," a voice echoed from the opposite end of the hallway. "That makes it easy for me."
"You can all die together."
Ted Carson stood at the end of the hallway, his firesword ignited, thick smoke hissing and spitting from the vents lining his crimson battlesuit. He put one knee forward, and took a fighting stance.
Drury unfastened his cocoon gun, his finger wrapped around the trigger. His other hand, reached down to the holstered pistol strapped to his waist.
Gaige, slowly and fearlessly, unhooked a curtain rod from the closest window, and held it like a spear.
Jenna, reached into her purse, and pulled out a spinning powerdrill.
Joey, stepped in front of Drury, his katana raised, sweat dripping down his brow.
"Done letting empty costumes take the fall for you, huh? Good for you, kid."
Franco, covered his face with his hands, hopeful that Carson wouldn't recognise him.
"Oh, and nice suit, by the way. You can wear it to your funeral," Carson barked at Drury.
"Oooh, nice banter!" Drury retorted. "You can use it at-"
Drury swallowed. "Ah, forget it."
Most people have slightly imperfect DNA, leading to slight asymmetry in their bodies. Because asymmetry is due to genetic flaws, symmetry is beautiful to most people.
I'm pretty self-conscious about my own imperfections; my bite is off-centered (something that is probably fixable with some serious surgery involving jaw breakage...not gonna happen) and my eyes and eyebrows don't really match.
So here's a picture of me shooting my "good" side (the side with the larger eye and the more cooperative eyebrow).
It's hard to learn on an empty stomach. Tunxis Community College in Farmington, CT has a foodshare program called The Pantry, where food donations are collected and distributed to students who should be more hungry for knowledge than for food.
Donated food and household supplies go from bins around the campus to an actual pantry where "insecure" students can get them to help them through the semester.
insecurities. That what you see is not always 100% the truth so that is why you should never compare yourself to others 💜
Not too long ago, Colombians fled to Venezuela and elsewhere to avoid the escalating violence and insecurity associated to their country’s drug wars and guerillas groups. Today, it is Venezuelans that have been fleeing to Colombia. With an economic hyperinflation and a repressive government policy, Venezuela is facing a food shortage and health crisis, among many other challenges preventing social welfare and safety. On a daily basis, hundreds of Venezuelans cross the border of San Antonio de Táchira in Venezuela to the city of San José de Cúcuta, Colombia. They go there to look for work opportunities or simply to find safety. There, their work typically consists of carrying out odd-jobs or manual labor to purchase basic goods such as food and medicine.
Trayecto — Fase 1. La entrega. Fase 2. A través. Fase 3. Inclusión (Trajectory— Phase 1. The Remittance. Phase 2. Through. Phase 3. Inclusion), a new work by Teresa Margolles, is developed after the artist’s fieldwork in this border region. She has traveled there on three occasions, first, in 2017 at the invitation of Bienal Sur in Colombia. During her time in Cúcuta, Margolles engaged with the sites and subjects of forced migration. In one of several actions there, she hired Venezuelans to carry stones across the river, which geopolitically divides the border; in another action, she hired them to knit their narratives into fabrics stained with the local soil. During these exchanges, their manual labor was remunerated, and was always accompanied by conversations with, and documentation by, the artist.
At Witte de With, the exhibition A new work by Teresa Margolles consists of a simple action: the six large windows of the gallery space are smudged, rather than cleaned, using shirts stained by the soil and sweat of over one-hundred Venezuelan men that Margolles hired in Cúcuta. This performance at the gallery is staged for the first month of the exhibition; during this time period, the shirts used are each progressively encased in a series of cement blocks, made on site. The initials of the names of each hired worker are then engraved into each sculptural element. Together, these elements progressively form an installation in the space alluding to spatial dynamics set forth by the border-crossers in that region. Also included in the galleries is a portrait of one the participants of Margolles’ action in Cúcuta.
A new work by Teresa Margolles comes from the artist’s long-standing and profound engagement with victims of violent crimes in sites where, for the artist, mending a social fabric that is torn invokes attention and involves care. In earlier works by Margolles, such as her installation In the Air (2003) and her exhibition What Else Could We Talk About? (2009), the artist has used materials like cloths and water employed to cleanse the bodies of victims or sites of violence. In other artworks, such as Lote Bravo (2005), she draws soil from the ground where victims of feminicide were found to create her sculpture installations.
The latter is one of a number of works the artist has made in and about Ciudad Juarez in México, a city that borders the United States and that welcomed numerous migrants from the South of the country as the workforce to the new industries based there since the early 1990s. However, the city significantly suffered the effects of the war on drugs in the past decades. As with Lote Bravo, A new work by Teresa Margolles emerges from field-work in a geopolitical border region where social displacement and precarity is latent. These works also share the proposition of sculpture to encounter an occasion “of being” in the presence of absent testimony.
www.wdw.nl/en/our_program/exhibitions/a_new_work_by_teres...