pikeys:

Lips of Thomas, 1975 by Marina Abramovic
In the performance ‘Lips of Thomas’, Marina Abramovic undertakes a range of actions that push her physical limits to an extreme and finally result in the transgression of bodily boundaries. She starts off with eating one kilo of honey, followed by the consumption of one litre of red wine. Then, she breaks the wine glass with her hand. Slowly, the actions became more violent, culminating in attempts of auto-mutilation, like cutting a five-pointed star into her stomach with a razor blade, an image that has become iconic in the history of performance art.

unadoptable:

bollykecks:

hold my hand and walk me round an art gallery and whisper fake stories of the paintings in my ear

;__;

(Source: opisthenar)

fleurdulys:

Orchard with Roses - Gustav Klimt
1911

blackpaint20:

Masonic Ritual Skull with Hinged, Silver and Ivory Mounted with fitted red velvet interior with accoutrement for ritual use 19th century

apolloniasaintclair:

Apollonia Saintclair 345 - 20130419 La muse secrète de Monsieur HTL (Mr. HTL’s secret muse)

carpeumbra:

Can’t wait until I’m back home and get to use them.

image

Wow, that’s such a great idea!  The Cardcaptor Sakura fangirl in me has been complaining for a long time that I didn’t invest in those back in the day…

mrkiki:

Matt Bollinger
Screen Door, 2009
graphite on paper
60 x 48 in (152 x 122 cm)
VIA

» HAVE SEX WITH GHOSTS: Each time, she finds herself tormented by her terrible fear of the...

havesexwithghosts:

Each time, she finds herself tormented by her terrible fear of the rattling skeleton of a huge gorilla, which she believes inhabits the house at night. The sole purpose of his existence is to strangle her to death. In passing, she looks, as she does every night, at the large Rubens painting depicting “The Rape of the Sabine Women.” These two naked, rotund women remind her of her mother and fill her with loathing. But she adores the two dark, handsome robbers, who lift the women onto their rearing horses. She implores them to protect her from the gorilla. She idolizes a whole series of fictional heroes who return her gaze from the old, dark paintings that hang throughout the house. One of them reminds her of Douglas Fairbanks, whom she adored as a pirate and as the “Thief of Baghdad” in the movie theater at school. She is sorry she has to be a girl. She wants to be a man, in his prime, with a black beard and flaming black eyes. But she is only a little girl whose body is bathed in sweat from fear of discovering the terrible gorilla in her room, under her bed. She is tortured by fears of the invisible.

Who knows whether or not the skeleton will crawl up the twines of ivy that grow on the wall below her window, and then slip into her room. His mass of hard and pointed bones will simply crush her inside her bed. [..]

After she has undressed and lies in bed, she uses her imagination to conjure up a group of night watchmen who appear in her empty room in the shape of her heroes. Silently, they position themselves to stand guard around her bed: the two robbers of the Sabine women; the strong, menacing-looking Arabian who was painted by her uncle Falada; Douglas Fairbanks with his gleaming saber and his belt full of pistols; and Captain Nemo, who is playing a loud and uplifting piece of music on an organ. She can clearly see the circle of her protectors in her room. It is because of them that she remains alive until the morning.

(From Dark Spring by Unica Zürn)


Gustave Dore “Harpies in the Forest of Suicides”  (Canto XIII, Inferno, Divine Comedy, by Dante Alighieri)