Sophie Calle - What Do You See? (2013)
Tiny furniture is a great way of making rooms look far larger than they actually are, and of creeping out anyone who enters your house.
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내 귓가에 노래를 불러 넣어줘요
다른 새소리가 들려오지 않게
유일했던 사랑을 두고 가는 내게
숨겨뒀던 손수건을 흔들어줘요
coming full circle, for dejavu feeling
As the brilliant mind behind such films as Trans-Europ-Express and Last Year at Marienbad, as well as novels, The Voyeur and La Jalousie, Alain Robbe-Grillet’s work was always a fantastic exploration of consciousness. He crafted narratives that examined our psychological dispositions in relation to the world around us, challenging our notions of time and structural experience, allowing the metaphysical spaces in which his films and novels inhabited to differ in significance by how the reader or viewer interpreted the work.
And for fellow filmmaker and iconic master of confounding open-ended narratives, Michelangelo Antonioni’s oeuvre too challenged our perception of time and existence. From L’Avventura and La Notte toBlow-Up and The Passenger, his films were filled with floating characters steeped in ennui, searching for gratification and meaning in a world of empty pleasures. But what both Robbe-Grillet and Antonioni had in common was the Modernism in which they impressed upon their work, allowing for “the opening up of meaning as opposed to the closing of meaning.”
— Edward Hopper (via parkavenuearmory)
Pina Bausch, “Blaubart”, 1977.