#Michael Aram collection

[chinaroyaleusa]

Timeless Aura of The Michael Aram Collection

Few names are synonymous with elegance and artistry when it comes to elevating home décor like Michael Aram does. Since his designs arguably combine traditional craftsmanship with modern sensibilities, the Michael Aram collection is a powerhouse of uniquely individual pieces in both operation and appeal, imbuing sophistication into any living space.

Home decor: An allure

Michael Aram is known to treat every piece of his home décor with the same respect. All of his series are notable for outstanding dinnerware, vases, and candleholders, already not just accessories, but real conversation starters. His designs draw much inspiration from nature and mythology, turning everyday items into works of art.

The use of mixed materials characterizes the Michael Aram line in home decor. Metals such as stainless steel and natural elements like marble and wood combine to create pieces by Aram that are stunning to the eye and highly serviceable. This melding of the aesthetic with the practical will make sure that every item serves a purpose, adding a touch of luxury to your home. It is all about the Michael Aram home decor.

Butterfly collection: One of the best collections

Of all the themes Michael Aram has experimented with, this Butterfly collection stands out uniquely for its delicacy of beauty and holds within itself a degree of craftsmanship. The Butterfly Series by Michael Aram captures the signature of these enchanting creatures with ephemeral grace within its meticulously created pieces.

Items range from an elegantly serving tray to exquisitely detailed picture frames. Each of these various pieces boasts an intricate butterfly motif that is at once whimsical and refined. The texturing and finish used in the Butterfly collection bring out Aram's ability to take simple forms and make them extraordinary. The attention to detail in the pieces makes them perfect for everyday use and special occasions.

The Butterfly Michael Aram collection can add some whimsy to your dining table or charm to your living space, whether that's your taste or not. These designs will enhance the aesthetic of any room and bring nature's elegance indoors.

Collection of Michael Aram: Reason for choosing

Investment in the collections of Michael Aram means bringing in something more than just décor. With its blend of artistic flair combined with functional design, the home décor by Michael Aram is an apt choice for all who want to make a statement in one's homes. The Butterfly collection is intricate in design, possesses timeless appeal, and tells of Aram's talent for creating pieces that are not only beautiful but meaningful.

Final Words

Whether you prefer the wondrous magic of the Butterfly collection or one of his other breathtaking designs, Michael Aram will surely make a home brighter with his dramatic flair and style. To buy the best collections of Michael Aram, you need to visit the portal CR Galleries Inc.today. It is a promise that here you will find some of the finest collections.

[omgbeebeestuff]

Check out this listing I just added to my Poshmark closet: Michael Aram Hammered Stainless Steel Olive Branch Dish Bowl.

[crafteddecor]

Elevate Your Table Setting with the Michael Aram Olive Branch Condiment Container

The Michael Aram Olive Branch Condiment Container with Spoon is more than just a functional kitchen item; it’s a piece of art that brings elegance and symbolism to your dining experience. Crafted from high-quality stainless steel and adorned with intricate brass olive branch details, this container embodies peace and sophistication.

Perfect for serving a variety of condiments, sauces, or dips, the accompanying spoon adds convenience and complements the overall aesthetic. Whether you’re hosting a dinner party or enjoying a quiet meal, this container enhances the ambiance and serves as a beautiful centerpiece.

As part of the beloved Olive Branch Collection, this condiment container showcases Michael Aram’s dedication to sculptural beauty and narrative strength, making it a thoughtful gift or a luxurious addition to your home decor.

Discover the artistry of the Olive Branch Condiment Container and transform your dining experience at crafteddecor.ca.

[poshfind]

Check out this listing I just added to my Poshmark closet: Butterfly Red Green Blue & Gold Freedom Covered Trinket Box.

[bhbcas]

Check out this listing I just added to my Poshmark closet: NWOT-Michael Aram Bamboo Challah(Bread)Board and Decorative Serrated Bread Knife.

[kunsukpainting3]

Inspiration from the Art Market

Curtis Jere, “Urchin”

Michael Aram, “Daphne”

John-Richard Collection, Abstract Bird Sculpture

[rosenthalsboutique]

Price - $95.00

Description - Michael Aram is an award-winning American Armenian artist who has dedicated his career to craft-based design. Inspired by a trip to India at age 25, he established a second home and studio there, where he continues to draw creative inspiration today.Trained as a painter, sculptor, and art historian, Michael has neatly

Visit Our Site - Rosenthalsboutique

[miamiartdistrict]

KAMROOZ ARAM

on the ancient arts of Iran

Achaemenid (Iran, Susa). Bricks with a palmette motif, ca. 6th–4th century B.C. Ceramic, glaze. The Metropolitan Museum of Art, Rogers Fund, 1948 (48.98.20a–c)

The Artist Project

Vito Acconci on Gerrit Rietveld's Zig Zag Stoel

Ann Agee on the Villeroy Harlequin Family

Diana Al-Hadid on the cubiculum from the villa of P. Fannius Synistor at Boscoreale

Ghada Amer on an Iranian tile panel, Garden Gathering

Kamrooz Aram on the ancient arts of Iran

Cory Arcangel on the harpsichord

John Baldessari on Philip Guston's Stationary Figure

Barry X Ball on an Egyptian fragment of a queen’s face

Ali Banisadr on Hieronymus Bosch's The Adoration of the Magi

Dia Batal on a Syrian tile panel with calligraphic inscription

Zoe Beloff on Édouard Manet's Civil War (Guerre Civile)

Dawoud Bey on Roy DeCarava

Nayland Blake on boli

Barbara Bloom on Vilhelm Hammershøi's Moonlight, Strandgade 30

Andrea Bowers on Howardena Pindell

Mark Bradford on Clyfford Still

Cecily Brown on medieval sculptures of the Madonna and Child

Luis Camnitzer on Giovanni Battista Piranesi's etchings

Nick Cave on Kuba cloths

Alejandro Cesarco on Gallery 907

Enrique Chagoya on Goya's Los Caprichos

Roz Chast on Italian Renaissance painting

Willie Cole on Ci Wara sculpture

George Condo on Claude Monet's The Path through the Irises

Petah Coyne on a Japanese outer robe with Mount Hōrai

Njideka Akunyili CROSBY on Georges Seurat's Embroidery; The Artist's Mother

John Currin on Ludovico Carracci's The Lamentation

Moyra Davey on a rosary terminal bead with lovers and Death's head

Edmund de Waal on an ewer in the shape of a Tibetan monk's cap

Thomas Demand on the Gubbio studiolo

Jacob El Hanani on the Mishneh Torah, by Master of the Barbo Missal

Teresita Fernández on Precolumbian gold

Spencer Finch on William Michael Harnett's The Artist's Letter Rack

Eric Fischl on Max Beckmann's Beginning

Roland Flexner on Jacques de Gheyn II's Vanitas Still Life

Walton Ford on Jan van Eyck and workshop's The Last Judgment

Natalie Frank on Käthe Kollwitz

LaToya Ruby FRAZIER on Gordon Parks's Red Jackson

Suzan Frecon on Duccio di Buoninsegna's Madonna and Child

Adam Fuss on a marble grave stele of a little girl

Maureen Gallace on Paul Cézanne's still life paintings with apples

Jeffrey Gibson on Vanuatu slit gongs

Nan Goldin on Julia Margaret Cameron

Wenda Gu on Robert Motherwell's Lyric Suite

Ann Hamilton on a Bamana marionette

Jane Hammond on snapshots and vernacular photography

Zarina Hashmi on Arabic calligraphy

Sheila Hicks on The Organ of Mary, a prayer book by Ethiopian scribe Baselyos

Rashid Johnson on Robert Frank

Y.Z. Kami on Egyptian mummy portraits

Deborah Kass on Athenian vases

Nina Katchadourian on Early Netherlandish portraiture

Alex Katz on Franz Kline's Black, White, and Gray

Jeff Koons on Roman sculpture

An-My Lê on Eugène Atget's Cuisine

Il Lee on Rembrandt van Rijn's portraits

Lee Mingwei on Chinese ceremonial robes

Lee Ufan on the Moon Jar

Glenn Ligon on The Great Bieri

Lin Tianmiao on Alex Katz's Black and Brown Blouse

Kalup Linzy on Édouard Manet

Robert Longo on Jackson Pollock's Autumn Rhythm (Number 30)

Nicola López on works on paper

Nalini Malani on Hanuman Bearing the Mountaintop with Medicinal Herbs

Kerry James MARSHALL on Jean Auguste Dominique Ingres's Odalisque in Grisaille

Josiah McElheny on Horace Pippin

Laura McPhee on Pieter Bruegel the Elder's The Harvesters

Josephine Meckseper on George Tooker's Government Bureau

Julie Mehretu on Velázquez's Juan de Pareja

Alexander Melamid on Ernest Meissonier's 1807, Friedland

Mariko Mori on Botticelli's The Annunciation

Vik Muniz on The Henry R. Luce Center for the Study of American Art

Wangechi Mutu on Egon Schiele

James Nares on Chinese calligraphy

Catherine Opie on the Louis XIV bedroom

Cornelia Parker on Robert Capa's The Falling Soldier

Izhar Patkin on Shiva as Lord of Dance

Sheila Pepe on European armor

Raymond Pettibon on Joseph Mallord William Turner

Sopheap Pich on Vincent van Gogh's drawings

Robert Polidori on Jules Bastien-Lepage's Joan of Arc

Rona Pondick on Egyptian sculpture fragments

Liliana Porter on Jacometto's Portrait of a Young Man

Wilfredo Prieto on Auguste Rodin's sculptures

Rashid Rana on Umberto Boccioni's Unique Forms of Continuity in Space

Krishna Reddy on Henry Moore

Matthew Ritchie on The Triumph of Fame over Death

Dorothea Rockburne on an ancient Near Eastern head of a ruler

Alexis Rockman on Martin Johnson Heade's Hummingbird and Passionflowers

Annabeth Rosen on ceramic deer figurines

Martha Rosler on The Met Cloisters

Tom Sachs on the Shaker Retiring Room

David Salle on Marsden Hartley

Carolee Schneemann on Cycladic female figures

Dana Schutz on Balthus's The Mountain

Arlene Shechet on a bronze statuette of a veiled and masked dancer

James Siena on the Buddha of Medicine Bhaishajyaguru

Katrín Sigurdardóttir on the Hôtel de Cabris, Grasse

Shahzia Sikander on Persian miniature painting

Joan Snyder on Florine Stettheimer's Cathedrals paintings

Pat Steir on the Kongo Power Figure

Thomas Struth on Chinese Buddhist sculpture

Hiroshi Sugimoto on Bamboo in the Four Seasons, attributed to Tosa Mitsunobu

Eve Sussman on William Eggleston

Swoon on Honoré Daumier's The Third-Class Carriage

Sarah Sze on the Tomb of Perneb

Paul Tazewell on Anthony van Dyck's portraits

Wayne Thiebaud on Rosa Bonheur's The Horse Fair

Hank Willis THOMAS on a daguerreotype button

Mickalene Thomas on Seydou Keïta

Fred Tomaselli on Guru Dragpo

Jacques Villeglé on Georges Braque and Pablo Picasso

Mary Weatherford on Goya's Manuel Osorio Manrique de Zuñiga

William Wegman on Walker Evans's postcard collection

Kehinde Wiley on John Singer Sargent

Betty Woodman on a Minoan terracotta larnax

Xu Bing on Jean-François Millet's Haystacks: Autumn

Dustin Yellin on ancient Near Eastern cylinder seals

Lisa Yuskavage on Édouard Vuillard's The Green Interior

Zhang Xiaogang on El Greco's The Vision of Saint John

[yumuseum]

Collection item of the week:  Dizengoff Square by Michael Aram (1908-1998), oil on canvas.

[chinaroyaleusa]

How Long Can Michael Phelps Sustain A Butterfly Sprint?

There is no gift more perfect for any art lover than those elegant and creative collections by Michael Aram. Behind his name, the idea of art and functionality well blended in handcrafted pieces helped him earn his specific status in art history. Read More: https://qr.ae/p2ePEv

[ganzeer]

ZINE EL-ARAB is a zine I launched and co-edited with Nidhal Alkhairy. Only two issues were ever produced, the first in late 2011 and the second in early 2012.

A couple copies have recently (August 2019) made their way to the collections of the Bavarian State Library and Archive Artist Publications, both located in Munich, so I thought it might be a good time to revisit how the zine came about and why it was discontinued.

If you know me at all, then you know I like to operate where I see vacuums in the culture.  Zine El-Arab came about precisely for that reason. This was 2011, a time of great revolutionary upheaval that started in Tunisia, spilled over into Egypt, and kind of spread from there not just in the region but halfway across the world.

By late 2011, there was really no denying the ripples of change pulsating through Cairo. It was evident on the streets, in music, conversations, at art galleries, on television, it was everywhere. But I was growing frustrated that there didn’t seem to be any regular publication that featured the voices of dissent that were otherwise all around you. It felt like there was a rift between everyday voices and what was being published, and how cool would it be if there were at least one? Especially if it were a crude one.

The big kicker though was a residency that was offered to me by Makan in Amman (Jordan) where I got to meet Nizar Alkhairy and engaged with many other members of the local art/poetry/architecture/journalism scene, and that’s when I felt having a singular venue that can act as a vessel for all these voices from across multiple borders would not only be a good idea, but quite possibly a necessary one. Not just for the voices from Jordan or Egypt but across the entire Arab-speaking world if possible. And thus came Zine El-Arab, admittedly hyperbolically touted as the first pan-Arab zine. The vast majority of participants were from Jordan and Egypt, but it also received material from Palestine, Lebanon, Syria, and Qatar (I imagine its reach could have extended even further had it continued). 

The formula was seemingly quite simple. The cover image (created by me) was posted on social media, inviting contributors from the Arab-speaking world to respond to it with either text or image (B&W only). Appropriate submissions would be selected and assembled into a digital zine which would be uploaded as a PDF with detailed instructions about printing and assembly. The idea was to decentralize not only the content, but the physical production of the zine as well, whereby contributors and readers could print their own copies and organically disseminate among their communities.

In reality, both issues had their “launch parties”, issue one at Makan in Jordan and issue two at the Townhouse Gallery in Cairo, which involved needing to print and assemble something like 100 copies for each launch.

One thing I wanted to do was to take advantage of the fact that each copy was technically individually printed and bound. So for issue #1 for example, there were instructions to paint the blood stain on the cover manually, and inside there was one page (adorned with multiple images) intended for print on adhesive-paper, whereby readers could cut out and use as stickers.

Issue #2′s cover — themed around racism and discrimination — was even more elaborate, comprised of essentially two covers with the first manually cut at a diagonal angle. The dialogue balloons were cut out and manually glued on, left blank to allow readers to write the text they wanted (with the original prompt acting as a thematic guide). And inside the issue there was one page printed on translucent paper, creating a kind-of-combined image with the page that comes right after (although, for the editions sent out to the Bavarian State Library and AAP, I had to illustrate that particular page by hand because the translucent paper kept jamming inside my printer!)

Although these very handmade aspects gave the zines a unique tactile quality, they become exhausting and impractical if you have to manually apply them to 100+ copies.

In the end, the zines were a fun experiment that without a doubt very much encapsulated the air of the time, and provided for a formidable venue for a selection of writers, artists, illustrators, and graphic designers to voice their thoughts. 

It should be noted that there’s a little wordplay in the zine’s name. The word “zine” when written in Arabic is the same exact spelling as the word “zain”, roughly meaning “the best”. So Zine El-Arab not only suggests “the zine of the Arab” but it is simultaneously read as “the best of the Arab”. 

Special thanks to Hussein Alazaat for the masthead calligraphy on both covers. And thanks to all the badass contributors on both issues: Bashar Humeidh, Amer Shumali, Abu Alfarag Bin Qareeb, Aram Tamenian, Kareem Gouda, Rebel Souly, Noha Ennab, Hashem Elkelesh, Michael Habib, Mahmoud Hafez, Islam Shabana, Ahmed Zaatari, Suzan Alwattar, Omar Okasha, Ahmed T.,Nancy Ibrahim, Damon Kowarsky, Mohammed Abdel Hady, Zeina Azouqa, Omnia Naguib, Saman S., Jacqueline George, Elkamouny, Batta Souda, and of course, Nidal Alkhairy.

And last but not least big thanks to Makan in Amman and the Townhouse Gallery in Cairo.

For PDF downloads: Zine El Arab #1 Zine El Arab #2

-- Ganzeer August 9, 2019 Houston, TX

[mostlysignssomeportents]

OPEN LETTER FROM ARTISTS, CREATIVE AND CULTURAL WORKERS

OPEN LETTER FROM ARTISTS, CREATIVE AND CULTURAL WORKERS

* Self-expression is a human right * * Internet censorship does not create a fair income *

Dear Members of the Parliament, We as artists, creative and cultural workers appeal to you as representatives of the European Parliament:

The proposed Copyright Directive is not in our interests. We will gain no significant revenue from it, but it will reduce our ability to create new cultural works and find audiences for it.

Take responsibility for an internet that works for cultural producers and is free from censorship, and do not agree to the EU Copyright Directive in this form. Article 11 and 13 are fundamentally against our interests.

Currently open letters are circulating that are claiming that the new directive would enable a „free“ internet by strengthening the copyright holders in relation to commercial providers and thus promote a „fairer“ form of „participation“ and „renumeration“. None of this will happen.

The directive will not lead to:

higher incomes for artists

guarantee of non-reproducibility of one’s own work

protection from theft of ideas

protection from piracy

reduce the monopoly position of the dominant group of social media companies

What it will lead to:

censorship on the internet

containment of creative exchange

transfer of the judicial sovereignty to private decision-makers

wrongful decisions due to algorithmic bias

impediment of fair procedures which then will be neither open nor individual

enablement of abuse of power through non-public decision-making processes

abusive interpretation for the own benefit of the commissioned platforms

exclusion of self-uploaded material that even meets the criteria of copyright law but categorizes as further prohibited content such as pornography, insult, depiction of violence, terrorism etc.

uncertainty and self-censorship instead of motivation to creativity and self-expression

We also want to point out that we are highly critical of how platforms cash in on unpaid labour by countless contributors – not just artists – and that we must find new models for how the revenue of these value-added processes can be redistributed more equally.

We therefore appeal to you: Say NO – vote against the Copyright Directive!

Signatories

Nora Al-Badri, artist, Berlin https://www.nora-al-badri.de/

Fahim Amir, writer, curator, artist, senior lecturer, University of the Arts, Linz

Clemens Apprich, PhD, Centre for Digital Cultures, Leuphana University, Lüneburg https://www.leuphana.de/en/university/staff-members/clemens-apprich.html

Mz* Baltazar’s Laboratory, art, technology & feminism www.mzbaltazarslaboratory.org/

Gerald Bast, president, University of Applied Arts, Vienna https://www.dieangewandte.at/en/

Aram Bartholl, artist, Berlin www.arambartholl.com

Konrad Becker, hyper media researcher and interdisciplinary content developer, initiator of Public Netbase and World Information Institute, Vienna https://world-information.net/en/ https://en.wikipedia.org/wiki/Konrad_Becker

Ulrike Bergermann, professor for media studies, University of Art, Braunschweig http://www.hbk-bs.de/hochschule/personen/ulrike-bergermann/

Željko Blaće, co-founder of MaMa (Zagreb) and ccSPORT (Berlin), Europe http://Blace.name/

Sebastian Bodirsky, filmmaker, Berlin http://sb.paqc.net/

Candice Breitz, artist, professor at University of Art Braunschweig, Berlin http://candicebreitz.net/

Andreas Broeckmann, art theorist, Leipzig/Berlin http://www.mikro.in-berlin.de/

Alina Buchberger, Dramaturgie, Kampnagel, Hamburg

Nadja Buttendorf, visual artist, founding member of Cyborgs e.V., Berlin http://www.nadjabuttendorf.com

Constant Dullaart, artist, WerkplaatsTypografie, Arnhem https://constantdullaart.com

Constant vzw, artist-run art, media and technology organisation, Brussels http://www.constantvzw.org

Karl-Heinz Dellwo, filmmaker and publisher, Hamburg http://www.bellastoria.de

Carola Dertnig, visual artist, professor at Academy of Fine Arts, Vienna https://de.wikipedia.org/wiki/Carola_Dertnig

Detlef Diederichsen, divisional director music and performing arts, Haus der Kulturen der Welt, Berlin https://www.hkw.de/en/hkw/organigramm/musik_tanz_theater/musik_tanz_theater.php

Diedrich Diederichsen, cultural theorist, professor at Academy of Fine Arts, Vienna/ Berlin https://en.wikipedia.org/wiki/Diedrich_Diederichsen

Paul Feigelfeld, researcher, curator, Vienna „UNCANNY : Artificial Intelligence & You“, MAK – Museum of Applied Arts, Vienna http://www.viennabiennale.org/en/exhibitions/detail/uncanny-values-artificial-intelligence-you/

Andreas Fogarasi, artist, writer, co-editor of dérive, magazine for urban research, Vienna https://derive.at/autoren/andreas-fogarasi/

FORUM STADTPARK, interdisciplinary space for art and culture, Graz http://www.forumstadtpark.at

Günter Friesinger, writer, curator, member of monochrom, Vienna https://de.wikipedia.org/wiki/G%C3%BCnther_Friesinger http://monochrom.at

Matthias Fritsch, visual artist, Technoviking Archiv, Berlin http://subrealic.net

Kristoffer Gansing, artistic director, transmediale festival for art and digital culture, Berlin https://transmediale.de/

Johannes Grenzfurthner, artist, filmmaker, curator, writer, member of monochrom, Vienna https://about.me/grenzfurthner http://monochrom.at

Marina Gržinić, PhD, artist, philosopher, professor at Academy of Fine Arts Vienna, researcher advisor at ZRC-SAZU Institute of philosophy, Ljubljana, http://en.wikipedia.org/wiki/Marina_Gr%C5%BEini%C4%87 http://grzinic-smid.si/

Adnan Hadziselimovic, PhD, head of department of digital arts, University of Malta https://www.um.edu.mt/profile/adnanhadziselimovic

Karin Harrasser, media theorist, curator, editor of ZfK – Magazine For Cultural Studies, professor for cultural theory, University of Art and Design, Linz http://www.ufg.at/Kulturwissenschaft.1401.0.html

Joan Heemskerk, artist, member of the artist collective JODI http://wwwwwwwww.jodi.org/

Reni Hofmüller, artist, musician, curator, founding member of mur.at, founding member and artistic director of esc media art laboratory, Graz   https://esc.mur.at/

Jogi Hofmüller, artist and IT-consultant, founding member of Radio Helsinki and mur.at association for the promotion of network art, Graz https://mur.at/

Tom Holert, writer, researcher, curator, Harun Farocki Institut, Berlin http://harun-farocki-institut.org

Susanne Holschbach, PhD, art and media scientist, curator, lecturer, Berlin

Endy Hupperich, painter and lecturer, Art Academy Bad Reichenhall, Mexico City/ Germany http://www.endy-hupperich.com/

IG Kultur Vienna, representation of cultural workers & institutions, Vienna https://igkulturwien.net/

Thomas J. Jelinek, conceptual artist, director, dramaturge, curator nomad.theatre, Vienna http://nomad-theatre.eu/

Rebekka Kiesewetter, Lic. phil., art historian, economist, writer, curator, founding member of DA Institute of Applied Knowledge, Berlin https://www.rebekkakiesewetter.com/ http://www.da-institut.org

Angela Koch, Pprofessor for aesthetics and pragmatics of audiovisual media, director of MA studies in media culture and art theory, University of Art and Design, Linz http://blog.mkkt.ufg.ac.at/angelakoch/

Hubertus Kohle, professor of art history, Ludwig-Maximilians-University, Munich https://de.wikipedia.org/wiki/Hubertus_Kohle

Olia Lialina, internet artist, theorist, curator, director at the New Media Pathway programme at Merz Akademie of Art, Design and Media, Stuttgart   http://art.teleportacia.org/

Johann Lurf, artist, Vienna http://johannlurf.net/

Tomislav Medak, media theorist and amateur librarian, member of Multimedia Institute/MAMA (Zagreb) and Centre for Postdigital Cultures (Coventry University) http://www.mi2.hr/ http://www.memoryoftheworld.org http://www.coventry.ac.uk/research/areas-of-research/postdigital-cultures/

Suzana Milevska, visual culture theorist, curator, principal investigator Politecnico di Milano TRACES http://www.traces.polimi.it/event/contentious-object-ashamed-subjects-exhibition/

monochrom, art-technology-philosophy-group, Vienna https://en.wikipedia.org/wiki/Monochrom

Gabriel Ben Moshe (S Moses), digital-based artist, Weimar/ Tel Aviv http://www.gabsmoses.com  

Michael Murtaugh, Senior Lecturer, Experimental Publishing Master, Piet Zwart Institute, Rotterdam http://xpub.nl/

Stefanos Pavlakis, artist/ director, Berlin http://www.stefanos-pavlakis.com/

Oliver Pietsch, artist, Berlin http://www.oliverpietsch.com

p.m.k, Cultural Life Support System, Innsbruck http://www.pmk.or.at

Paul Poet, film director, journalist, media scientist, project manager, Vienna https://www.imdb.com/name/nm1301724/

qujOchÖ, art collective, Linz https://de.wikipedia.org/wiki/QujOch%C3%96

Ursula Maria Probst, curator, writer, artist, lecturer, Academy of Fine Arts, Vienna https://www.fluc.at/kunstimfluc/

Magdalena Reiter, open design & open knowledge activist https://www.magdalenareiter.at/  

Roel Roscam Abbing, artist, researcher, member of https://vvvvvvaria.org/ https://roelof.info

Robert Sakrowski, curator, Panke gallery, Berlin http://www.panke.gallery/

Marius Schebella, artist and developer, head of subnet, platform for media art and experimental technologies Salzburg http://www.subnet.at

Ashley Hans Scheirl, Mag. MA, artist, professor at the Academy of Fine Arts Vienna, Berlin/Vienna http://www.ashleyhansscheirl.com

Georg Schelbert, Head of Media Library/ Department of Art and Visual History, Humboldt University, Berlin http://www.kunstgeschichte.hu-berlin.de/personen/wissenschaftliche-mitarbeiterinnen/georg-schelbert/

Elisabeth Schimana, artistic director of IMA Institute for Media Archology, St. Poelten http://ima.or.at

Nora Sdun, publisher, Textem Verlag, Hamburg http://www.textem.de/

Judith Siegmund, professor for contemporary aesthetics, State University of Music and the Performing Arts, Stuttgart http://www.judithsiegmund.de

Sumugan Sivanesan, researcher/ writer/ anti-disciplinary artist, Berlin/ Sydney http://sivanesan.net/

Domagoj Smoljo, artist, !Mediengruppe Bitnik https://wwwwwwwwwwwwwwwwwwwwww.bitnik.org/

Cornelia Sollfrank, PhD, artist and researcher, Berlin http://artwarez.org/ https://en.wikipedia.org/wiki/Cornelia_Sollfrank

Felix Stalder, writer and researcher, member of the technopolitics group Vienna, professor for digital cultures and network theories at the University of the Arts, Zurich http://felix.openflows.com

Hito Steyerl, filmmaker, writer, Berlin https://en.wikipedia.org/wiki/Hito_Steyerl

Axel Stockburger, PhD, artist, assoc. prof. for art and cultural theory, Academy of Fine Arts, Vienna http://stockburger.at/

Nina Stuhldreher, visual artist, reality researcher, neurodiversity activist, Vienna/ Berlin http://blog.mkkt.ufg.ac.at/wp-content/uploads/2018/12/netzaktivismus_LV-2.jpg

Kathrin Stumreich, visual artist, Vienna http://www.kathrinstumreich.com/

Winnie Soon, MA, MSc, Ph.D, Assistant Professor Department of Digital Design and Information Studies, Aarhus University http://aestheticprogramming.siusoon.net/

Peggy Sylopp, artist and computer scientist, Berlin http://peggy-sylopp.net

Tamiko Thiel, freelance media artist, Munich http://www.tamikothiel.com

Magdalena Tyzlik-Carver, Assistant Professor in Digital Design and Information Studies, Aarhus University

Wolfgang Ullrich, art theorist, writer, Leipzig https://de.wikipedia.org/wiki/Wolfgang_Ullrich_(Kunsthistoriker) https://www.digitale-bildkulturen.de/ ideenfreiheit.de

Yvonne Volkart, researcher, lecturerer, Academy of Art and Design, Basel https://www.fhnw.ch/de/personen/yvonne-volkart

Carmen Weisskopf, artist, !Mediengruppe Bitnik,Berlin https://wwwwwwwwwwwwwwwwwwwwww.bitnik.org/

Thomas Willmann, author, Munich

Mick Wilson Artist/Educator, University of Gothenburg, Gothenburg Sweden

Marlies Wirth, Curator Digital Culture & Design Collection, MAK – Museum of Applied Arts, Vienna http://mak.at/

Florian Wüst, film curator, publisher, curatorial team of transmediale, Berlin https://transmediale.de/

Martin Zellerhoff, photographer, fair pay activist, Berlin http://www.ich-krieg-weniger.de

http://fairpaynotfilters.eu/

[poshfind]

Check out this listing I just added to my Poshmark closet: Butterfly Red Green Blue & Gold Freedom Covered Trinket Box.

[kiss-my-freckle]

My 7x1 seeds

Liz’s Djinn fantasy.

Red: So I’m paralyzed. I’m paralyzed.

I wouldn't be surprised if Agnes ends up paralyzed, ending this arc the way they started. I've been predicting something striking down the center of Liz's Djinn fantasy, cutting right through Agnes.

Liz: I'm walking in a park with my husband. In between us is our little girl.

Agnes in a wheelchair would remove the focal point of her fantasy.

Liz: I'm holding her hand in mine and I never let go.

She'd be wheeling her daughter. 

Keenler wedding.

Red: Will I ever walk again?

Tom: Maybe he’ll be walking you down the aisle. Liz: Not if you’re at the other end of it.

One in the family. Back to S5 with it. 

Aram: 17 unpaid parking tickets. Liz: Well I have more than that. Aram: One scofflaw in the family is enough.

Liz: I don’t know if I can lose any more without just crawling into a fetal position or becoming a stark, raving vigilante. Tom: Listen, Reddington’s a vigilante. Alright? And I’m pretty sure there’s a one per family rule.

Keenler baby. Back to S3 with it.

Aram: First three names he swipes right on ...

Adoption Lady: At the same time, you’ll be able to look at their profiles online. Liz: And if we both swipe right, we’re hooked up for life? Adoption Lady: If you and Tom swipe right. He does have a say in this.

Walking and rolling. Back to S3 with it.

Red: I’ve been on the run half my life. I suppose now I’ll be on a walk. Or a roll. Mila: You’re a very dark man. Red: Yes, well - walking or rolling, I intend to show my gratitude by sharing with you the finest night of drinking and dining one can possibly imagine.

Tom: Alright, so let’s say we could get this done today, which I - I really don’t know if we can. It’s not gonna be perfect. Liz: But it will be a lot better than waiting a week or two and having you roll me down the aisle. Tom: If that’s what it takes, I will roll you wherever you need to go. But are you absolutely sure about this?  [Insert Stranger in 6x22]: Raymond, are you sure about this? If you’re not sure -

Danger still seeded for Agnes. 

Permanent, like Red. 

Liz: Mrs. Williams is helping me out as a favor. I need someone who’s permanent.

Liz: With me,  you are enduring, permanent. 

Ressler will be. Because he’s Agnes’ father, and very in love with Liz.  

Red & Tom kidnappings. Back to S5 with it.

Liz: He went without you? Why would he do that? Dembe: I don’t know. He’s in trouble, Elizabeth. I need your help to get him out of it.

Red: Tom is capable of getting himself both into and out of trouble. If he’s in harm’s way, I am quite certain he’s put in motion an escape plan, about which the people holding him are completely unaware.

Back to Ruin and Liz’s regret. 

Liz: The only thing that matters is that Reddington - our Reddington - is in French custody, and we have to get him back.

Liz: But from the side I’m on now, all that matters is that I’m healed and I’m back. And I’m coming for Tom’s killers.

Because Red is Katarina and Katarina is Ilya. 

Red: I may not have told you what you want, but I told you all you need. You’ll never find Rostova. The Illusionist: Ah, yes, yes, yes - because she’s an illusion. What does that mean?  [Insert Katarina, 6x19]: What does that mean? Red: She’s a figment of the collective imagination.

Because half of Rassvet is missing. Katarina came up with the idea to become Reddington. Ilya came up with the plan to become Rostova. 

Red: Some people in this world are soul mates. Katarina Rostova and I shared one. Betraying her would be like betraying myself.

100% Rederina. 

Shared soulmates and secrets. Back to S5 with it.

Red: Some people in this world are soul mates. Katarina Rostova and I shared one. Betraying her would be like betraying myself.

Tom: Secrets put people in harm’s way. Keeping them in the dark - a talent you and I share. Or shared. I’m out of that business.

Family.Business.

Gains and scripts. Back to S4 with Tom/Christopher. 

Liz: Whoever it was must’ve known we were in the dark and reached out anyway, had Briaux come to meet you. Why? What were they hoping to gain?

Tom: I just want to know, what was there to gain from me disappearing? And why was it so important that someone confess to my murder? And whoever wrote this, what could they possibly want?

Liz: How does he operate? Michael: I get a call, a character to create, a script to follow, and a boatload of money. 

Tom: She was paid in cash. Half came in the script, and half came after Game was convicted. Liz: A script?

Liz’s second memory wipe. Back to S4 with it. 

Red: And the beating? Tell me about the beating. Mila: It was a story. Red: Like Inspector Oban and the doctor. There was no surgery. Mila: No. Red: And we’re not in Paris. Mila: No.

Ressler: Keen. I found a witness who saw Hitchin’s men dispose of Reven’s body. Liz: There is no witness. Ressler: What are you talking about? I met her, okay? She told me everything. Liz: Your memory was manipulated by Dr. Bogdan Krilov. We have him in custody. Ressler: No. I know what I saw. Trust me. Liz: No, you need to trust me. The Detective who reached out to you? Ressler: Elijah Bell. Liz: There is no Elijah Bell in the Philly PD. He works with Krilov. So does your witness.

Dreams. Illusions. Figments. Make-believe. Back to S4 & S2. 

Red: Ketamine. The same tonic used to knock me out on the street. For a man your height and weight, 150 milligrams should do the trick and give you the most wonderful dreams. Or it might kill you. I’m pretty sure it’s the dreams. But I’m no doctor, and you’re no cop. Either way, I suppose pharma-karma’s a bitch.

Liz: During the raid, you were knocked out, unconscious. That’s when Krilov started to work on you, implanting memories.

♪ Take a dream on a Sunday Take a life, take a holiday Take a lie, take a dreamer ♪

Red: What happened? I can’t feel anything. Why can’t I move?

Morgan: Where am I? What’s happening? Why am I tied up?

Fake Doctor: Do you know who did this to you?

Krilov: What happened to Mr. Drucci? What? 

Red getting an epidural. Back to S3 with it. 

Red: Then why the chair? Why can’t I feel my legs? Answer me. Mila: The surgical drain in your back, it’s not to collect fluids. It’s an epidural. When we change your dressing, we’re pushing sensory and motor blockades tetracaine and bupivacaine. Red: And what happens if I don’t get the scheduled dose? Mila: If you don’t, then you walk.

Nik: As soon as I get this epidural in, you’re gonna feel a whole lot better. Liz: Okay. Nik: And we’ll be ready to go. And you get to stay awake the whole time. Liz: Really? Wow. Okay. 

Auras and coronas. Back to S4 with it. The Last Supper. 

Liz: This is who my mother is to me - an aura that surrounds me. For better or for worse, I don’t know. 

Red: I’ve lived my entire adult life surrounded by a corona of death. Some days I’ve even longed for it.

Liz: They’re in there asking them about her. Whoever took him, it’s because of her. Cooper: He’ll be okay. Liz: You don’t know that. Cooper: Apparently, Reddington died 30 years ago. He rose from the grave once. I’m pretty sure he will again.

Yes, like the second coming of Christ.

Ilyarina sold in the babysitter scene.

Liz: Who is your top choice? Mrs. Doubtfire, right?

A man dressing up as a woman so he can see his kids.

Liz: What about Hand That Rocks the Cradle?

This ends with the sitter being impaled by their white picket fence. Liz being impaled by a unicorn foreshadowed in S6 with Agnes. I've never watched The Manny, so I've no idea what that's about.

The difference between Ilya and Katarina. 

Ilya in love with Katarina.

Katarina: I don’t like this, Raymond. The whole ordeal pains me. Surely you understand that.

Katarina in love with Raymond.

Red: As much as it pains me to say it, he was probably the only man she ever really loved.

There are other small ones, but this is long enough. 

[bhbcas]

Check out this listing I just added to my Poshmark closet: NWOT-Michael Aram Bamboo Challah(Bread)Board and Decorative Serrated Bread Knife.