what I was thinking today
is that art has always been a survival tool for me
I’m USING art, I don’t think of myself as an artist before I think of myself as a person
and if what I’m making isn’t art anymore
I don’t really care
because I’m doing what I need to to survive in my own mind — mark aguhar // calloutqueen // R.I.P 3/14/2012 (via cosmicspread)
Y si el anhelo te lleva a navegar en mares tormentosos, cuando las Pléyades huyan del poderoso Orión y se hundan en las brumosas profundidades y todos los borrascosos vientos rujan, no sigas entonces con tu barco en el oscuro mar sino, como te pido, recuerda trabajar en tierra. -Hesíodo
"And if longing seizes you for sailing the stormy seas, when the Pleiades flee mighty Orion and plunge into the misty deep and all the gusty winds are raging, then do not keep your ship on the wine-dark sea but, as I bid you, remember to work the land."
What is interesting, is that the Frida Kahlo venerated by American feminists is a very different Frida Kahlo to the one people learn about in Mexico, in the Chicano community. In her country, she is recognized as an important artist and a key figure in revolutionary politics of early 20th century Mexico. Her communist affiliations are made very clear. Her relationship with Trotsky is underscored. All her political activities with Diego Rivera are constantly emphasized. The connection between her art and her politics is always made. When Chicana artists became interested in Frida Kahlo in the ‘70s and started organizing homages, they made the connection between her artistic project and theirs because they too were searching for an aesthetic compliment to a political view that was radical and emancipatory. But when the Euro-American feminists latch onto Frida Kahlo in the early ‘80s and when the American mainstream caught on to her, she was transformed into a figure of suffering. I am very critical of that form of appropriation. — Coco Fusco on her Amerindians piece from 1992 with Guillermo Gómez-Peña (via tofunkey)
The Hijab, a headscarf worn by Muslim women in the presence of men they are not closely related to, divides opinion both in Muslim countries and in secular countries which Muslims call home. In the Islamic Republic of Iran, where Shia Islam has become the very raison d’être of the current state following the Islamic Revolution of 1979, the wearing of an approved form of head covering for women is relatively strictly enforced, regardless of the level of religious observance a woman may adhere to at home. So called Basij, or members of the ‘Organization for Mobilization of the Oppressed’, a volunteer citizens militia, roam the streets of Tehran and other Iranian cities, monitoring religious observance and clamping down on such illegal activities as fraternising between unmarried couples and the ownership of satellite dishes.
Improper dress code, including insufficient coverage of head, shoulders and chest of women in public is officially illegal and can incur arrest and heavy fines. Though Iran’s new president, Hasan Rohani, who is seen by many as a moderate and a reformer, has said publicly that guidance on women’s dress code should be encouraged through education rather than enforced by the police, secular Iranian women continue to face censure for insufficiently modest dress. Hossein Fatemi met 20 women, some of whom wear the Hijab voluntarily, and photographed them through their veils, giving a rare insight into the private spheres of Iranian women, many of whom are not allowed to appear in public how they want to.
First there was nothing. A story of the universe told by trees.
In most religions trees tells the story of wisdom and the circle of life. But what do they see? Besides the tree, the branches, the leaves, and the roots? My project is to discover the trees, the growth through seasons — with beauty and reality in mind. Not as a painter or a fairytale teller. But as a watcher of today. The red haired girls represent the relation of time and human reproduction. Trees alone doesn’t tell anything without humans. The project started in 2008 and will continue.
From Norse mythology:
In the middle of Asgard, where the gods lived, was Yggdrasil. Yggdrasil was the tree of life. It was an eternal green Ash tree; its branches stretched out over all of the nine worlds, and extended up and above the heavens. (See more at: http://www.viking-mythology.com/yggdrasil.html)
The tree of life, referred to in Genesis, is the symbol of God’s provision for immortality in the Garden of Eden. Of all the trees that were in the Garden of Eden, two were named for their great importance, but just as one — the tree of life — was a blessing to Adam and Eve, the other was to become a curse for all of their posterity. “And the Lord God made all kinds of trees grow out of the ground — trees that were pleasing to the eye and good for food. In the middle of the garden were the tree of life and the tree of the knowledge of good and evil” (Genesis 2:9).