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Going Back to the Roots with Henrique Oliveira’s Transarquitetônica

To see more photos and videos from Transarquitetônica, explore the MAC USP location page and browse the #henriqueoliveira hashtag.

Brazilian artist Henrique Oliveira invites spectators to step inside his latest artwork and explore a giant wooden maze at São Paulo Museum MAC. His largest installation to date, Transarquitetônica is a 70 meter (229.66 ft) interactive sculpture made of tapumes, a plywood material traditionally used for cheap housing in Brazil. As the piece’s name suggests, Oliveira’s work speaks to the concept of time and evolution. Spectators discover spaces of contrast, as certain areas reference today’s modern architecture while sprawling branches symbolize man’s first dwelling.

Every woman knows the word slut has power. Whether you love it or hate it, the word “slut” is an evocation of a gender double standard used to control women and no woman alive hasn’t thought about what it means to be labeled in this way. In some cultures, where honor killings take place, it is a matter of life or death.

If you’re a “good” woman, don’t kid yourself. It means you’ve spent your life and will continue to spend your life calibrating your appearance, speech and behaviour so that you are not a slut. By not acknowledging how the word is used you are embracing its power over you and other girls and women. And you will pass that corrupt and misguided abuse of power on to your daughters and mine. That’s because you know, deep down, that at any point that word can be used against you. Every woman is a slut waiting to happen. Women who abhor the word, find it vulgar, and fear it, the ones who slut-shame others, gain a little bit of power by participating in a system that denigrates them.

Other women, and their male allies, reject the power of the word and the social structures that perpetuate its harm. These women and men know it for what it is - a word used to control women and their bodies, and it is useless as a weapon against them.

—    Soraya Chemaly, The Slut Manifesto (via approximation)

(via thescarletwoman)

likeafieldmouse:

Rick Copsey - Paintscapes (2012)

"The Paintscapes series presents photographs of wet paint that seem to circumvent the inherent ‘truth’ of the camera as the apparent verisimilitude of each image renders problematic what constitutes reality.

As illusions, the Paintscapes works mirror Kant’s idea of the sublime in nature as ‘formless and shapeless’ such as the ocean or the sky; as such, they associate the viscous flows of paint with the amorphousness of the sea.

The allusion to the Kantian sublime is a Postmodernist attack on Modernism’s exaltation of pictorial form as finite; instead, the sublime can be infinite as well as formless. As works that manifest the sublime, their condition as a hyperreality presents what appear to be representations of various sea scenes as images without referents where reality and illusion are brought into question.”