Category Archives: avant-guardiste

DIVINE UNIVERSE

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Amphitrite

 

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I want to live in this world that artist Mariano Peccinetti has created out of pure creativity. A world where people realize that there is nothing more perfect then nature. No decor or material, designing all the decor around the universe and nature.

Find more of Mariano Peccinetti’s work on his blog and if you would like to support this artist you can buy his work in different forms on this link

society 6 an artist collective finding creative ways so that the work can still have a life and a use. Beauty is magical because it makes people happy!

I hope you all enjoyed and have a lovely day.

Love love love

Melika Emira Baccouche

http://trasvorder.tumblr.com/

 

 

 

 

 

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20 Frida Kahlo Quotes to Touch the Core of Your Being

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Born Magdalena Carmen Frieda Kahlo y Calderón, she became one of Mexico’s greatest painters.

Kahlo contracted polio at the age of 6, had an almost deadly accident at the age of 18 and went on to marry Diego Rivera, the muralist and ultimate womanizer.

People who are close to me know the immense place that Frida holds in my heart and in my life. For me, she represents the pain every woman on earth is going through—be it physical, or emotional. Frida has proved to us how strong we can be and how much we can endure.

I empathize with the pain she went through. She suffered from the pain of infidelity. Diego, her comrade, her best friend and the first critic of her art, was never her husband or ‘hers’–-as Frida says. He belonged to many women and mostly he belonged to himself only. This—in return—sent Frida through endless, dire suffering that only the pages of her diary witnessed.

When it comes to art, I am fond of many artists. But never before have I witnessed emotions and thoughts expressed so bluntly and poignantly on a canvas. Not only does Kahlo’s art fascinate me, but also her words. Reading what she said, we can sense the intensity of her agony, yet, at the same time, the greatness of her hope.

Having said that, we can say that Frida is an icon of patience, endurance and strength:

“Feet, what do I need you for when I have wings to fly?”

“There have been two great accidents in my life. One was the trolley, and the other was Diego. Diego was by far the worst.”

“I paint self-portraits because I am so often alone, because I am the person I know best.”

“I used to think I was the strangest person in the world but then I thought there are so many people in the world, there must be someone just like me who feels bizarre and flawed in the same ways I do. I would imagine her, and imagine that she must be out there thinking of me, too. Well, I hope that if you are out there and read this and know that, yes, it’s true I’m here, and I’m just as strange as you.”

“You didn’t understand what I am. I am love. I am pleasure. I am essence. I am an idiot. I am alcoholic. I am tenacious. I am. I simply am. You are a sh*t my love.”

“They thought I was a Surrealist, but I wasn’t. I never painted dreams. I paint my own reality.”

“Nothing is absolute. Everything changes, everything moves, everything revolves, everything flies and goes away.”

“I drank because I wanted to drown my sorrows, but now the damned things have learned to swim.”

“I am not sick. I am broken. But I am happy to be alive as long as I can paint.”

“I think that little by little I’ll be able to solve my problems and survive.”

“At the end of the day, we can endure much more than we think we can.”

“I love you more than my own skin.”

“How can I call him my Diego? He never was and never will be mine, he only belongs to himself.”

“Nothing is worth more than laughter. It is strength to laugh and to abandon oneself, to be light.”

“Take a lover who looks at you like maybe you are magic.” ~ Marty McConnel (about Frida Kahlo)

“The only thing I know is that I paint because I need to, and I paint whatever passes through my head without any other consideration.”

“I cannot speak of Diego as my husband because that term, when applied to him, is an absurdity. He never has been, nor will he ever be, anybody’s husband.”

“I leave you my portrait so that you will have my presence all the days and nights that I am away from you.”

“I want to be inside your darkest everything.”

“I hope the exit is joyful and I hope never to return.”

“… and I hope never to return.”  Written on the last pages of her diary, Frida bluntly affirms she has no intentions of reincarnating in another lifetime. Her pain was too great to want to experience physical life again. She physically left Diego, her lovers and her friends. But up until today, Frida is still here. She lives in every painting of hers, in every portrait hung on the wall. She lives in the spirit of every woman who is going through miscarriage, physical pain and emotional difficulties.

Frida gives us the hope that we will overcome any calamity we might face. She tells us to laugh, to love hard, to survive no matter what. Frida shows us the importance of drinking tequila, lighting a cigarette and living as if we are dying tomorrow.

Frida kahlo, a woman, an icon, forever in our hearts.

Viva La Frida!

http://www.elephantjournal.com/2015/12/20-frida-kahlo-quotes-to-touch-the-core-of-your-being/

SOFIA BONATI

 

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I’ve set up a collage of my favorite pieces of Sofia Bonati’s paintings. I simply love the sentiment I get when looking at these.

So beautiful and etherial, you can find the link for this artiste at the end of this blog.

Enjoy the art!

LOve love love!

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https://society6.com/sofiabonati

 

 

 

 

 

 

 

Silviana Avila’s Magical World!

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I found this amazing artist online and fell in love with her work. She has such a raw style and talent!! I hope you enjoy the eye candy and the intention behind her beautiful and wonderful work.

Here is a little bit about her:

Hola! My name is Silvana. I’m a freelance illustrator & designer actually based @ San Cristóbal de las Casas, Chiapas México.Welcome to my personal blog! here I recordsome events and thoughts, my drawingsand my design work. More. I’m passionate about creating images with beauty, warmth and positive values, that’s the way I want to make a little difference to achieve a positive change in humanity today.  
I love everything about color, I’m in love with the golden rule and beautiful type. I like simple objects, exotic music from around the world, very good and strong coffee, fresh flowers and pretty paper.

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These works make me feel like my heart is eating coton candy!!  You can find more her work on her blog

http://holasilvana.blogspot.mx/

 

SOME WEIRD BEAUTIFUL ART FOR MY SENSITIVE ARTISTS

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BIO & LIFE STORY

Oskar Schlemmer,  (born September 4, 1888, Stuttgart, Germany—died April 13, 1943, Baden-Baden, Germany), German painter, sculptor, choreographer, and designer known for his abstract yet precise paintings of the human form as well as for his avant-garde ballet productions.

Schlemmer was exposed to design theory at a young age as an apprentice in amarquetry workshop. He took classes at the Kunstgewerbeschule (School of Applied Arts) in Stuttgart, and a scholarship allowed him to further his studies at the Stuttgart Academy of Fine Art (1906–10). He spent a year in Berlin painting and familiarizing himself with new trends in art by artists associated with theDer Sturm Gallery. He then returned to Stuttgart in 1912 and became a master student of abstract artist Adolf Hölzel.

Schlemmer was wounded in action while serving in World War I and returned to Stuttgart in 1916. In 1919 he helped spearhead a movement to modernize the curriculum at the Stuttgart Academy of Fine Art—which also involved a staunch effort to have Paul Klee appointed to the faculty there—and, more generally, to bring modern art exhibitions to Stuttgart. He was integral to organizing early exhibitions, which featured his own work as well as that of Klee, Willi Baumeister, and others.

In 1920 Schlemmer married Helena (“Tut”) Tutein, and that same year Walter Gropius invited him to theBauhaus school in Weimar to teach. There he made significant contributions to numerous departments (sculpture, mural painting, metal work, and life drawing) but truly left his mark in the stage workshop. For that workshop he created his best-known work, Das triadisches Ballett (1922; “The Triadic Ballet”)—a ballet that he choreographed and for which he designed costumes. He named it “Triadic” to reflect the three acts, three dancers, and three colours (one for each act). The costumes he designed—based on cylinder, sphere, cone, and spiral shapes—were revolutionary. That ballet premiered in Stuttgart in 1922 and was then presented throughout the 1920s in cities such as Weimar, Frankfurt am Main, Berlin, and Paris. Schlemmer served as head of the stage workshop at the Bauhaus from 1923 to 1929. His experience with dance influenced his paintings, which began to incorporate more depth and volume, as seen in The Dancer (1923). Schlemmer developed the Bauhaus theatre in Dessau—where the school had relocated in 1925—and was involved in the design process of many theatrical productions.

Throughout the 1920s Schlemmer was commissioned to paint several murals in both private residences, such as the home of architect Adolf Meyer (1924), and public spaces, such as the former Bauhaus in Weimar (1923), which the Nazis destroyed in 1930, and the Folkwang Museum in Essen (1928–30), which the Nazis vandalized, dismantled, and removed in 1933. Schlemmer left the Bauhaus in 1929.

From the Bauhaus, Schlemmer moved to Breslau, where he continued to work in theatre and teach (State Art Academy). He also continued to paint, and in 1932 he created his well-known work Bauhaus Stairway. Without warning the Nazi regime dismissed him from his teaching position in 1933. Schlemmer moved to Switzerland for a brief time with his wife and children and painted portraits and landscapes.

The last decade of Schlemmer’s life was marred by the Nazi dictatorship and defamation of his life’s work. In 1937 five of his works were included in the Nazi-organized “Degenerate Art” exhibition in Munich. He continued to exhibit his work when possible and participated in major exhibitions in London and New York City in 1938. Schlemmer was reunited with Baumeister and other artists in 1940 when he moved to Wuppertal, Germany, where he earned a living by working at a lacquer factory. He died of a heart attack three years later. Schlemmer’s Triadic Ballet was revived on a number of occasions in the late 20th century and was performed with the original, restored costumes. Those costumes, however, were the only original elements remaining. The music and choreography associated with Schlemmer’s production were lost. A volume of his diaries and letters edited by his wife was published in 1972; an English translation by Krishna Winston was issued in 1990.

http://www.britannica.com/biography/Oskar-Schlemmer

10 Things to keep in Mind When Loving a Highly Creative Person

It has been proven that highly creative people’s brains work quite differently than other brains. That special brain wiring that can create such wonderful art, music, and writing can often lead to strain in a relationship, because of those differences. If you’ve ever loved a highly creative person, you know that it can seem like they live in their own little word at times, and that thought isn’t far from the truth. Here are some things to keep in mind when you are in love with a highly creative person:

1. Their Minds Don’t Slow Down
The highly creative mind is one that is running at full speed all the time. Although it can be a source of crazy, spontaneous fun – it can also be a burden. Highly creative people rarely keep normal sleep cycles, and are often prone to bouncing from one task to another throughout the day. It can be exhausting to try to keep up.

2. They are Cyclical
The flow of creativity is a cycle, full of highs and lows. Some people may consider this “manic” behavior, but in reality, it is just how the creative process works. Keep this in mind as your partner goes through these natural ebbs and flows. The low periods aren’t permanent.

3. They Need Time Alone
Creative minds need air to breathe. Whether it is their own little work space or an escape to somewhere quiet, they need a time and place to be alone with their thoughts. Some people are inclined to think that if nothing is being said that there is something wrong, but with creative people that is not the case. They are just working within their own head.

4. They are Intensely Focused
When a creative person is on task, they are fiercely intense. The change from being scatter-brained to hyper-focused can be difficult to deal with, so just understand that it is how their brains work. Don’t get frustrated.

5. Emotions Run Deeper
Creative people feel everything on a deeper level. What doesn’t seem like a big deal to you, can be crushing to them. It’s that same passion that goes into whatever they create that drives them to love you, so understand that with the good – comes the bad.

6. They Speak in Stories
Creative people often express themselves in experiences, instead of just saying what they want to say. It is a way of sharing themselves that personifies who they are. At times, it can be difficult to figure out what a creative person is saying, so don’t be afraid to read between the lines.

7. They Battle with Themselves
Being creative can be a serious internal struggle. Motivation, enthusiasm, direction, and drive can all be issues for creative people. Some days it is hard for them just to get out of bed, and other days you can’t get them to slow down. Be patient in the lulls, because there is usually a burst of activity right around the corner.

8. Intuition is Important
Creative people, because of their intense emotional tendencies, tend to rely on intuition over logic. They go with their gut. Some people consider this to be more on the “impulsive” end of the spectrum. The creative mind doesn’t rely on logic to make a decision, it relies on experience and passion.

9. They Struggle with Confidence
When people create, especially for a living, they are always struggling with acceptance. That is art. They have to wear their hearts on their sleeves, and so they always question whether or not what they are producing is good enough. Being supportive is the key to loving a creative person.

10. Growing Up is Hard to Do
Creative people are almost always children at heart. That care-free nature can seem immature and impetuous – but it is all part of the deal. Understand that the aspects of their creative brains that you love are the same ones that make them somewhat irresponsible when it comes to being an adult.

http://theearthchild.co.za/10-things-to-keep-in-mind-when-loving-a-highly-creative-person/

THE SOURCE FAMILY

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I wanted to share this interesting and fascinating documentary with all you amazing spirits.

Take what you want and leave what you want!

xxx Love love love

Mélika Emira Baccouche

https://www.youtube.com/watch?v=C6ms7YTCh10

LOVE

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Burning Man is an annual festival that takes places in Black Rock City, located in the Black Rock Desert, Nevada. The event brings together a number of people from across the nation who are influenced by community, art, radical self expression, self-reliance, sharing, and decommodification.

One of the sculptures there is called “Love.” Created by Alexandr Milov from Odessa, Ukraine, the sculpture demonstrates a conflict between a man and a woman and, ultimately, an inner expression of human nature.

The figures of the protagonists are made in the form of big metal cages, with their inner selves trapped within in the form of children, who are holding out their hands through the grating.

When nightfall comes, the children start to glow and shine, which represents a “symbol of purity and sincerity that brings people together and gives a chance of making up when the dark time arrives.”

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Carl Jung on the Shadow

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I guess we’re all two people. One daylight, and the one we keep in shadow.
— Bruce Wayne/Batman, Batman Forever

My remarks: Being modern, one of American civilization’s greatest weaknesses is its naivete in regards to the dark side of human nature. This reality gets conceptualized in different ways, as for example “the fallen nature of man” and “sin” in Christianity, “yin and yang” in China. This deficit in our culture owes in great part to the Enlightenment, a movement that emphasized a narrow understanding of reason, a reasoning which gives an inadequate account of how we “access” the deepest truths of human existence. Carl Jung is a great bridge for we Westerners to a way of life which can, after all, help us access those truths. A necessary step in this direction, however, is a confrontation with our self. Jung calls the dark side of the self “the shadow”.

Portrayals of the shadow in art: Darth Vadar in Star Wars. The Joker, in The Dark Knight. Mr. Hyde, in Jekyll and Hyde.

Woman Blasts Martian - Mars Attacks Archives card #80 (1994) original painting by John Bolton

From The Portable Jung, edited by Joseph Campell.

Whereas the contents of the personal unconscious are acquired during the individual’s lifetime, the contents of the collective unconscious are invariably archetypes that were present from the beginning. Their relation to the instincts has been discussed elsewhere. The archetypes most clearly characterized from the empirical point of view are those which have the most frequent and the most disturbing influence on the ego. These are the shadow, the anima and the animus. The most accessible of these, and the easiest to experience, is the shadow, for its nature can in large measure be inferred from the contents of the personal unconscious. The only exceptions to this rule are those rather rare cases where the positive qualities of the personality are repressed, and the ego in consequence plays an essentially negative or unfavorable role.

The shadow is a moral problem that challenges the whole ego-personality, for no one can become conscious of the shadow without considerable moral effort. To become conscious of it involves recognizing the dark aspects of the personality as present and real. This act is the essential condition for any kind of self-knowledge, and it therefore, as a rule, meets with considerable resistance. Indeed, self-knowledge as a psychotherapeutic measure frequently requires much painstaking work extending over a long period.

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Closer examination of the dark characteristics – that is, the inferiorities constituting the shadow – reveals that they have an emotional nature, a kind of autonomy, and accordingly an obsessive, or, better, possessive quality. Emotion, incidentally, is not an activity of the individual but something that happens to him. Affects occur usually where adaptation is weakest, and at the same time they reveal the reason for its weakness, namely a certain degree of inferiority and the existence of a lower level of personality. On this lower level with its uncontrolled or scarcely controlled emotions one behaves more or less like a primitive, who is not only the passive victim of his affects, but also singularly incapable of moral judgment.

Although, with insight and good will, the shadow can to some extent be assimilated into the conscious personality, experience shows that there are certain features which offer the most obstinate resistance to oral control and prove almost impossible to influence. These resistances are usually bound up with projections, which are not recognized as such, and their recognition if a moral achievement beyond the ordinary. While some traits peculiar to the shadow can be recognized without too much difficulty as one’s own personal qualities, in this case both insight and good will are unavailing because the cause of the emotion appears to lie, beyond all possibility of doubt, in the other person. No matter how obvious it may be to the neutral observer that it is a matter of projection, there is little hope that the subject will perceive this himself. He must be convinced that he throws a very long shadow before he is willing to withdraw his emotionally-toned projections from their object.

Let us suppose that a certain individual shows no inclination whatever to recognize his projections. The projection-making factor then has a free hand and can realize its object – if it has one – or bring about some other situation characteristic of its power. As we know, it is not the conscious subject but the unconscious which does the projecting. Hence one meets with projections, one does not make them. The effect of projection is to isolate the subject from his environment, since instead of a real relation to it there is now only an illusory one. Projections change the world into the replica of one’s own unknown face. In the last analysis, therefore, they lead to an autoerotic or autistic condition in which one dreams a world whose reality remains forever unattainable. The resultant sentiment d’incompletude and the still worse feelings of sterility are in their turn explained by projection as the malevolence of the environment, and by means of this vicious circle the isolation is intensified. The more projections are thrust in between the subject and the environment, the harder it is for the ego to see through its illusions. A forty-five year old patient who had suffered from a compulsion neurosis since he was twenty and had become completely cut off from the world once said to me: “But I can never admit to myself that I’ve wasted the best twenty-five years of my life!”

It is often tragic to see how blatantly a man bungles his own life and the lives of others yet remains totally incapable of seeing how much the whole tragedy originates in himself, and how he continually feeds it and keeps it going. Not consciously, of course – for consciously he is engaged in bewailing and cursing a faithless world that recedes further and further into the distance. Rather, it is an unconscious factor which spins the illusions that veil his world. And what is being spun is a cocoon, which in the end will completely envelop him.

One might assume that projections like these, which are so very difficult if not impossible to dissolve, would belong to the realm of the shadow – that is, to the negative side of the personality. This assumption becomes untenable after a certain point, because the symbols that then appear no longer refer to the same but to the opposite sex, in a man’s case to a woman and vice versa. The source of projections is no longer the shadow – which is always of the same sex as the subject – but a contrasexual figure. Here we meet the animus of a woman and the anima of a man, two corresponding archetypes whose autonomy and unconsciousness explain the stubbornness of their projections. THough the shadow is a motif as well known to mythology as anima and animus, it represents first and foremost the personal unconscious, and its content can therefore be made conscious without too much difficulty. In this it differs from anima and animus, for whereas the shadow can be seen through and recognized fairly easily, the anima and animus are much further away from consciousness and in normal circumstances are seldom if ever realized. With a little self-criticism, one can see through the shadow – so far as its nature is personal. But when it appears as an archetype, one encounters the same difficulties as with anima and animus. In other words, it is quite the relative evil of his nature, but it is a rare and shattering experience for him to gaze into the face of absolute evil.

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http://www.practicalphilosophy.net/?page_id=952

A Walk In The Dark!

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Dedicated to my eternal friend: you know who you are xxx