#Artificialia

[craft2eu]

naturalia et artificialia - Eine sizilianische Reise: Lübeck vom 28.10. bis 25.11.2023

In Lübeck sind Gabi Veit und Dietlind Wolf nun schon sehr hoch oben im Norden angekommen – von Sizilien aus gesehen. Das Projekt der sizilianischen Reise kommt zu seiner vierten Etappe. Im Mai 2022 haben sich Dietlind Wolf und Gabi Veit auf eine Arbeitsreise nach Sizilien gemacht. Dort haben sie gesammelt, geordnet, gestaltet. Im Juli 2023 wurden unter dem Titel „SchattenDaSein. Eine…

[bobbole]

Nocturna Artificialia

pairing: the second Corinthian x Daniel | Dream of the Endless

NSFW

The mechanics of bodies were familiar and generally easier than the mechanics of feelings. After all, he still retained memories of past lovers (not his own, of course, but his despite himself; there was always a terrible chaos in his head and each time he had to be careful about was and wasn't).

The Corinthian's hands ran over his bare skin. He asked him to abandon any form of reverence and his lover, reluctantly, agreed. Daniel knew how sacred his body was to the Nightmare but that night was too dark and his mind too unstable and he needed to keep past and present from colliding in the usual schizophrenic mess.

He needed to banish the memory of loves that weren't his with the love he had.

- Close your eyes -

The Corinthian turned him on his stomach with a quick, rough gesture and spread his legs without much preamble. He felt his gaze linger for a long time on his body so exposed, the two small mouths eager to lick and bite everything they could. Daniel loved those mouths, and to reward them for their gluttony, he spread his legs even wider, letting his Nightmare get a better look at that part of his flesh that was soft and pink.

Hands flowed back over him, ravenous, over his legs, over his thighs, in a series of sensual and eager caresses, until they rested on his hips. They squeezed him, tightly, and he felt himself being taken, lifted, until he was on his knees, his hands firmly planted on the mattress, his body an exhilaration mixed with awe, tense with an excited anxious anticipation. Morpheus could never have found himself like that, in his place, submissive and vulnerable as he was in that moment, as he loved to be when he was alone with the Corinthian. Morpheus would never: that thought alone was enough to make him proud of himself.

He didn't try to hold back any moans when the Corinthian spread his butt with his hands and began to prepare him with his tongue. That part was…oh, the one he loved most! a moment of pure, selfish pleasure! He already wanted to start moving, to chase that tongue, but the Nightmare's hands blocked his movement and all he could do was arch his back and clutch the white sheets of his bed tightly. Suddenly, the Corinthian bit him hard on his thigh and that pain, after all the pleasure, prepare him for what was to come.

The Nightmare's fingers were slowly forcing his skin and muscles. The pain began to rise: he imposed himself to hide it but already he could feel rage mounting against his simulacrum of a human body that only painfully succeeded in adapting to pleasure.

The Corinthian noticed this and began to slow his movements.

- I don't want to hurt you -

Daniel answered with a growl of pure anger

- If you don't hurt me I won't let you touch me anymore! -

The fingers inside him resumed moving, more hungry, in a rough and methodical way, apparently heedless of the tears that had begun to line his face; then stopped. He had always loved the difference of their bodies, and feeling those strong legs closer to his turned him on so much that he forgot the pain he had just felt. Hands went up and down again along his back and thighs, fingertips lingering gently on his vertebrae. Then the Nightmare gripped his hips and worked his way into his body through slow movements to pleasure them both. He slowly felt his flesh open, stop resisting, take the Corinthian's sex inside him as if he wanted to do nothing else.

The Nightmare bent over him so that he had easier access to what was between his legs. Woman, man, it was something indifferent to Daniel but he knew what his lover preferred and he felt a large, strong hand close on his member, begin to pump him harder and harder, trying to go in rhythm with the thrusts of their bodies toward each other. All of Daniel's strength, all of his concentration was there, in those thrusts toward his lover, and in that euphoric, mindless intoxication he thought about how good it was to be Daniel, only Daniel. Nothing else.

The orgasm came violent, cathartic, leaving him breathless from how much he had cried out. The Corinthian clutched his body in one last grip before he cum inside him, before leaving him to lie still panting on the mattress. Daniel opened his eyes and listened: the voices of the infinite memories in his head fell silent, finally quiet.

He rushed to find shelter into his Nightmare's harms, snuggling into the only safe place in the Dreaming and over.

The Corinthian began to place small kisses on his hair, on his forehead, his own way of apologizing.

- I hate hurting you - he whispered into his white locks but Daniel wanted to shout to him just use me use me, please, never stop doing it!

- It never hurts, if it's you -

He held the Corinthian tightly and began to rub his face against his chest, like a cat, lulled by the litany of kisses. That night, just like two human beings, they would sleep.

- I don't want to dream this time - the Nightmare told him as his voice was already growing feebler and feebler.

Daniel's heart tightened in a grip of tenderness.

- Don't worry my love, no dreams will trouble us tonight -

[collectionstilllife]

Johann Georg Hainz (German, c. 1630 – 1688) • Cabinet of Curiosities • 1666 • Hamburger Kunsthalle, Hamburg, Germany

This painting is from the series Collector's Cabinets of Curiosities by Johann Hainz.

At the time, it was a royal passion to put together collections of "naturalia et artificialia" and to display them on shelves in "Kunstkammer" ("art cabinets"). The cabinets of curiosities (also known as Wunderkammer, Cabinets of Wonder, or wonder-rooms) were encyclopedic collections of types of objects belonging to natural history, geology, ethnography, archaeology, religious or historical relics, works of art (including cabinet paintings) and antiquities.Georg Hainz was a German painter specialized in still-lifes. He often used real objects for his paintings, which he then depicted with artistic freedom. The present painting represents a special type of vanitas still-life.

– Web Gallery of Art

[sosuperawesome]

Artificialia Room on Etsy

[logandria]

Anatomical Venus

Forgive me the sin of pride, but I’m more proud of this project than I am of any other illustration I’ve ever done. This large square scarf is 135x135cm of richly illustrated silk satin, dedicated to and inspired by the Anatomical Venus wax sculptures of 18th-19th Florence, Italy.

Similar to how the Venus is dissected and scattered across the silk, the scarf contains two sonnets written by Danielle Roberts that are cut up and strewn about the scarf for the viewer to put back together again using a coded numbering system, if they wish. In one poem, Constructing Artificialia, the master sculptor muses over this thing he has created; in the other, Deconstructing Naturalia, the Venus considers her very being.

Like all my scarves, this one was created in limited number, and it will never be reprinted when it sells out. The ephemeral quality of the project pleases me. You can find the scarf here.

[joostjongepier]

Wat?   Een vlieg door Jacques de Gheyn II (1600-1629), Vliegend hert door Albrecht Dürer (1505), Getijdenboek toegeschreven aan de Meester van het Gebedenboek van Dresden (ca. 1500) met detail, Vier studies van een kikker door Jacques de Gheyn II (1575-1625), Life cast van een ringslang (1585-1600), Boomstam omgeven door bloemen, vlinders en andere dieren door Rachel Ruysch (1685) en Het hoofd van Medusa door Peter Paul Rubens en Frans Snyders (1617-1618)

Waar?   Tentoonstelling Onderkruipsels – ‘Kleyne dierkens’ in kunst en wetenschap in het Rijksmuseum, Amsterdam

Wanneer?   30 september 2022

Als ik de schaars verlichte tentoonstellingsruimte binnenkom, zoemen de vliegen om mijn hoofd. Tenminste: zo klinkt het. In het schemerduister schijnt vanuit een klein kastje licht. Als ik er met mijn oog vlakbij ben zie ik een vlieg. Geen echte, maar een op ware grootte getekende huisvlieg. Ik betreed de tentoonstelling Onderkruipsels in het Rijksmuseum.

De expositie laat zien hoe beestjes als insecten, padden, spinnen, hagedissen, slangen en allerlei andere ‘onderkruipsels’ door de eeuwen heen werden afgebeeld in kunst en wetenschap. De grens tussen de twee blijkt niet erg scherp. Het zo accuraat mogelijk weergeven van insecten, amfibieën en dergelijke, leverde vaak fraaie kunstwerkjes op. Kunstenaars als Rachel Ruysch en Maria Sibylla Merian, die beiden met werk op de tentoonstelling zijn vertegenwoordigd, zijn er beroemd mee geworden.

In de Middeleeuwen werden de kleine wriemelige beestjes die op deze expositie centraal staan, geassocieerd met de duivel en de dood. Dat veranderde in de zestiende en zeventiende eeuw. Ze kwamen terecht in verzamelingen, werden bestudeerd en volop afgebeeld in kunstwerken. In de kleine diertjes werd nu vooral de grootsheid van Gods schepping gezien. De vlieg op ware grootte van Jacques de Gheyn, waarmee deze tentoonstelling begint, is daarvan een fraaie illustratie. De laatste jaren neemt de waardering voor insecten en andere ‘onderkruipsels’ een nieuwe wending. In deze tijd van klimaatverandering en afnemende biodiversiteit, beseffen we steeds meer hoe belangrijk deze kleine diertjes zijn voor het in stand houden van ons ecosysteem.

De oudst bekende tekening met een insect als hoofdonderwerp is van de hand van Albrecht Dürer. Het is een vliegend hert, een keversoort waarvan de kaken lijken op een gewei. Het getekende insect lijkt uit drie losse delen te bestaan.

In Brugge en Gent was het rond 1500 in de mode om gebedenboeken te versieren met insecten. De libel in een Brugs getijdenboek is zeer levensecht weergegeven.

Jacques de Gheyn II (de tekenaar van de vlieg) komen we opnieuw tegen met Vier studies van een kikker. De tekenaar gaf het diertje, compleet met schaduwen, levensecht weer. Hij was duidelijk geïnteresseerd in de anatomie van de kikker, die hij mogelijk tekende tijdens een dissectie.

Ik merkte al eerder op dat de grens tussen wetenschap en kunst niet zo scherp is. In de zestiende en zeventiende eeuw was dat meer waar dan ooit. In Kunst- und Wunderkammers werden niet alleen producten van de natuur (naturalia), maar ook menselijke creaties (artificialia) verzameld. Voorwerpen in het overgangsgebied van natuur en kunst waren geliefd. Life casting was een techniek waarbij van een echt beestje een mal in gips of klei werd gemaakt. Daarin werd vervolgens gesmolten metaal gegoten. De levensechte replica die zo ontstond, werd vervolgens bewerkt.

Rachel Ruysch was de dochter van Frederik Ruysch, een beroemd preparateur en verzamelaar van preparaten. Rachel groeide op tussen gedroogde insecten en reptielen op sterk water. Het is dan ook geen wonder dat in haar bloemstillevens talloze onderkruipsels voorkomen. Boomstam omgeven door bloemen, vlinders en andere dieren schilderde ze op eenentwintigjarige leeftijd. Het schilderij bracht toen meer op dan een werk van Rembrandt.

Wie denkt dat de beestjes op deze tentoonstelling alleen lieflijk worden weergegeven heeft het mis! De prijs voor het meest gruwelijke kunstwerk gaat naar Peter Paul Rubens in samenwerking met Frans Snyders. Hun Hoofd van Medusa toont het afgehakte hoofd van de gorgoon met wijd open, uitpuilende ogen. Haar kapsel bestaat uit een kluwen levende slangen, waaromheen allerlei ander gedierte kruipt. Geen erg vrolijk tafereeltje. Toen Constantijn Huygens er in 1629 mee werd geconfronteerd, was hij geschokt. Maar hij was ook ontroerd door de schoonheid waarmee het wrede werd weergegeven.

[twicethedreamshalfthelove]

sometimes my brain feels like a wunderkammer but instead of artificialia and naturalia it’s just pete wentz’s social media selfies…this is a room within the larger pete world

[reznikberlin-blog]

https://www.instagram.com/reznik__/?hl=it

[s-gobetti]

Stolen from Natura collecta Natura exhibita, Firenze 2019

[cathiarocha]

Sans titre n°12, 2020

De la série Artificialia

stylo bille 20 x 20 cm

[fl0xin]

artificialia

made or produced by human beings rather than occurring naturally, especially as a copy of something natural. 

[craft2eu]

Vergänglichkeit - Die Wunderkammer Olbricht: Ingolstadt bis 12.09.2021

Vergänglichkeit – Die Wunderkammer Olbricht: Ingolstadt bis 12.09.2021

Die Corona-Pandemie ist auch ein Lehrstück auf die Vergänglichkeit. Noch nie zuvor (zumindest nicht in der Lebensspanne der meisten von uns) war die Fragilität des Lebens und unser aller Sterblichkeit so sehr zu einer kollektiven Erfahrung geworden wie im vergangenen Jahr. Elfenbeinfigur aus der Sammlung Olbricht Den Menschen der Renaissance und des Barock dagegen war die Allgegenwart des Todes…

[notthegreasystrangler]

Nocturna Artificialia (1979)

[nodeathking]

Nocturna Artificialia (1979) Directors: Stephen Quay, Timothy Quay

IMDb: An enigmatic story told in seven chapters, each introduced by an elliptical sentence on a title card.

[adrianomaini]

Ferrante Imperato Ferrante Imperato nacque, probabilmente a Napoli, intorno al 1525, come si ricava da un'affermazione del figlio Francesco, che in una opera scritta nel 1605 (

[delicatuscii-wasbella102]

Bird - ca. 1580, with later renovation German, Nuremberg “ The coveted qualities of both natural wonder (naturalia) and fine craftsmanship (artificialia) are embodied in this hollow vessel. In the 1500s, rock crystal was priced at its weight in gold. The material’s extreme hardness allows it to be worked—cut, carved, or drilled—without shattering, while at its finest, as here, it is luminous and transparent. Through artistry, a pricey mass of heavy pure quartz has here been transformed into a seemingly weightless bird, complete with beady eyes of ruby and a collar and legs of gilded silver.”