carol rama.

1:26 PM

Born in 1918 in Turin, Rama never received formal training. She began her artistic production in the mid-1930s, before the onset of the Second World War. In her evocative watercolor paintings of the thirties and forties, Rama insists on the corporeality and vitality of the human experience: in these paintings, bodies actively copulate, defecate, and disobey. Her early paintings were received by the public as being scandalous and obscene, anticipating the dismissal of Rama’s work by the dominant art historical discourse for many decades to come.
In the 1950s, Rama turned to geometric abstraction and became involved with the Concrete Art Movement (MAC). Then from the early 1960s onward, themes of the body and discarded objects re-emerged in her work not by means of representation, but as material itself. This method is now widely referred to as “bricolage,” a term coined by the Italian poet and intellectual Edoardo Sanguineti, a life-long close friend of Rama, specifically in reference to Rama’s work of the 1960s. Rama applied paint in viscous, splattered configurations as if it were bodily fluid, and made collages in which taxidermist’s and doll glass eyes, surgical tubes, syringes, and electrical cords evoke organisms in various stages of life and decay. Throughout her career, Rama was profoundly influenced by writers and artists such as Felice Casorati, Pablo Picasso, Albino Galvano, Edoardo Sanguineti, Corrado Levi, Pier Paolo Pasolini, Italo Calvino, Luciano Berio, and Carlo Mollino, among others. In the 1970s, Luciano Anselmino, her gallerist at the time, introduced her to Andy Warhol, Orson Welles, and Man Ray, among others. Around this time, she began to incorporate rubber bicycle tires into her work, using the material in a way that simulated not only machine parts but also human skin and loose appendages.
In the 1980s, Rama returned to figuration in full, prompted by the critical acclaim her early work earned as a result of curator Lea Vergine’s exhibition L’altra metà dell’avanguardia (The Other Half of the Avant-Garde). Vergine would go on to organize the first retrospective of Rama’s work in 1985 at the Milan Sagrato del Duomo, which included the artist’s late drawings of mythological beasts and sexually explicit figures, done directly on various kinds of found paper (topographical maps, architectural blueprints, and mathematical diagrams). Rama would continue working figuratively until 2007. Her artistic production continued until she was ninety years old; she died in Turin on September 24, 2015.

the restaurant of order mistakes.

6:19 PM

Could you think if you go to restaurant  and order some food what you looking for and servers made mistake and give you wrong order. Basically, this restaurant is about staff who working there and having problems related to disease called Dementia and good think about this restaurant is customer blessing to make mistakes.Moreover, Servers are greeted with smiles and laughter.
"The Restaurant of order mistakes" is owned by Shiro Oguni, he is a japanese TV director, whose motive is to create awareness of Dementia and make some positive attitude toward this problem.  

other articles. here and here.

polluted water popsicles

7:25 PM

three students of the national taiwan university of the arts have created 100 popsicles made from polluted waters of taiwan’s lakes, rivers, beaches and ports to raise awareness on the problem of pollution. setting aside the flavor, the polluted water popsicles contain collected sewage samples that were first frozen and then preserved in polyester resin. wrapped in packaging also designed by the team, the project highlights the contrast between what is beautiful and what is problematic for the environment.


10:09 PM

Frida Kahlo to Marty McConnell
by Marty McConnell

leaving is not enough; you must
stay gone. train your heart 
like a dog. change the locks
even on the house he’s never
visited. you lucky, lucky girl. 
you have an apartment 
just your size. a bathtub
full of tea. a heart the size
of Arizona, but not nearly
so arid. don’t wish away 
your cracked past, your 
crooked toes, your problems
are papier mache puppets
you made or bought because the vendor
at the market was so compelling you just
had to have them. you had to have him.
and you did. and now you pull down 
the bridge between your houses,
you make him call before 
he visits, you take a lover
for granted, you take 
a lover who looks at you
like maybe you are magic. make
the first bottle you consume
in this place a relic. place it 
on whatever altar you fashion
with a knife and five cranberries.
don’t lose too much weight.
stupid girls are always trying 
to disappear as revenge. and you 
are not stupid. you loved a man
with more hands than a parade 
of beggars, and here you stand. heart
like a four-poster bed. heart like a canvas.
heart leaking something so strong 
they can smell it in the street.