#escape artist stamping plates

[blakegopnik]

THE FRIDAY PIC is “Newspaper No. 3,” a 1961 work by the artist known as Chryssa, from a wonderful series where she took bits of discarded printing plates from the newspaper industry and stamped their images onto her paintings. The piece is from the Guggenheim’s collection, and is now in the  long, long overdue show called “Chryssa & New York,” at the Dia Art Foundation space in Chelsea. I gave a lecture there last night on the important relationship between early-’60s works by Chryssa and by Warhol.

Here — in rather telegraphic form, I’m afraid — are some of the ideas I proposed:

1) That Chryssa, a rising art-star with a Guggenheim solo in the fall of ‘61, had a direct influence on Warhol, still completely unknown.  And that this influence centered on an “alloverism” that took details direct from the world and spread them evenly across the surface of a picture.

2) That in postwar American culture, this alloverism was strongly associated with femininity and female creativity. Lucy Lippard, answering the question of whether there was such a thing as “woman’s art,” cited “a uniform density or over-all texture, often sensuously tactile and repetitive to the point of obsession” — as she would have seen in works by Chryssa but also by Yayoi Kusama, Ruth Asawa, Agnes Martin, Louise Nevelson and others. (Not of course because they were born with two X chromosomes, but because they were gendered female at that particular moment in Western culture.)

3) That Warhol could adopt such a feminine aesthetic as a counter-establishment, avant-gardist move that was also wrapped up in what his homosexual identity meant — to him and to straights — at that moment in cultural history.

4) That this “feminine” alloverism was closely linked to ideas about textiles and the decorative — concepts that threatened the manliness of what passed as “serious” fine art at the time. In a Life magazine roundtable that discussed a Jackson Pollock painting, doubters compared it to “enchanting printed silk,” to “a pleasant design for a necktie” and to “a panel for wallpaper” — all code for “it looks too feminine.” Which many AbEx paintings manifestly did, by the standards of the time — hence the exaggerated machismo adopted by Pollock and his defender Clement Greenberg, as a defensive move. “That such pictures should escape collapsing into decoration, mere wallpaper patterns, is one of the miracles of art in our age,” said Greenberg, with a good dose of special pleading. (And yet Greenberg chose to title one of his favorite Pollocks “Lavender Mist” — the name also of a pale purple flower very popular at the time.)

5) That, in 1961, Chryssa took up the challenge presented by an alloverism  that was derided by the male art establishment for being tied to decorative “women’s work.” And she did that by daring to bring her feminine alloverism into collision with the all-male culture of the American newspaper.

Chryssa always talked about her first encounter with the “vulgarity” of Times Square — then still the home of the New York Times — and about how it led to her artistic awakening. The landmark series of newspaper paintings that came out of that encounter show Chryssa proudly planting her flag — a cloth allover covered in patterns — in the midst of that distinctly masculine vulgarity.

[autonomousbosch]

The Horror: Pain

There might as well have been a perfect imprint of a young girl on the wildly unkept grassy hill overlooking the shore of this particular river, just north of her village. She had, since she was a child, escaped to this very place. Sneaking away, she would phrase it, as if she were a convict slyly eluding her captives, as something about it brought her the kind of peace that recontextualized all else.

What would throughout her day be the standard pitter-pattering of busy feet became, in hindsight, sharp stamping of hurried, uncaring feet, mechanically herded into obligation. What would otherwise be petty school-child gossiping became the most blackened, bile-filled backbiting; bird-like chittering transfigured into sharp crow cawing with an edge so fine it would pierce the ears. 

She had always been sensitive to sound for as long as she could remember, but here, a pleasant placidity was never threatened nor disfigured, even inadvertently. Field mice roamed amongst the grass free from falcons, a frog never so much as seized upon a ladybug for a morsel. Even their belly-flopping into the gentle lapping of the river itself seem refined, of sophisticated technique such that no disturbances existed; only things complimentary. 

Most curiously was the mouth of a cave which she had never ventured into, a fear she felt not at all dissimilar from that of a landscape artist afraid of applying the wrong touch of yellow ochre which, when misplaced, would sully the very face of the earth. Still, despite the feeling that it must have been her imagination, she was sure that as she gazed into its maw, it revealed to her ears the sweetest, warming hum, so feint as to be almost undetectable. She had wondered about it for years afraid that a second opinion might contaminate its deep comfort. 

After getting her fill, she returned back home. The thin wood door to her home shut with a hideous creaking as she gently put her soiled shoes to the ground. Her mother was busy, kneading bread for the evening on a wooden block, the same wooden block which she had kneaded dough out for years. The very chopping block beneath her powerful palms was disfigured, warped from years of use. Every fold was done with an experienced lifting and tucking, before violently slamming it onto the board whose uneven edges seemed to strike the counter even harder. It felt wrong to wince at dinner, but the young girl did anyway. 

Her footsteps were light ascending the stairs to her room and yet, there was a step which always sounded as though even the lightest feather were a stampeding pachyderm and it agonized her so. Finally, she thought, reaching her bed with all of its gentle comforts. Just as she went to lay about it, it produces a new, discomforting sound. She expected the soft landing commensurate with fluffy down, yet it buckled underneath her as if a pile of bricks had been dumped upon it.

Lying there, still as possible, the hands of the watch seem to eternally drag, grinding against the ground itself. She would close her eyes, attempting to will the cacophony of life into a dull, droning morass of sound through force of will alone. Yet, just as she felt the power of success, it was violated by the sound of the dinner bell.

At the table, forks and knives noisily clinked and clanged. Dinner plates were sat unevenly, striking ceramic onto the sturdy wooden table. Her mother grabbed a serrated knife and began to saw downwards into the crusty loaf of bread, sending shrapnel flying from its hardened gold and black surface. She took her time, macerating wheat beneath the teeth of the knife. Her oafish father ate with his mouth open, and every time water touched his tongue he sounded as if it were the first time his thirst had ever been quenched. Just as her mother finally sliced the bread clean, the knife struck the counter, and her father, in his refreshed bliss, struck the bottom of his glass a bit too happily onto a dinner plate, immediately shattering it.

Her mother was furious. Her father was defensive. She began to feel a knot forming in the very core of her diaphragm and its twisting would not relent. Her mother was yelling, her father was limply apologizing. She shed a tear, and another soon followed. Her parents didn’t notice any of it in their noisy furor, and she excused herself again; feeling as though she were sneaking away though her parents cared much less than captors would have.

Again, she escaped to the bank of the river, turning her eyes toward the face of the cave to invite its warm humming. It filled her, so faithfully and immediately, that she could no longer abate her own curiosity. She crept toward it, and every pace pulled from her cheeks a deeper smile as its humming grew more discernible, its warmth more radiant. At the mouth of the cave were footsteps, puzzling artifacts which would have compelled her far more were she not raptured in bliss.

Moving into the vast hole, free of any fear or pain, she felt as though she were experiencing the soul-touching elation of liturgy, bellowing from her mortal coil to the sky on a Gregorian movement to heaven itself. She knew the atrium of this cave was near, that whatever was revealing such a wondrous call was destined to be near too.

A hound was howling. Its fur, matted with mange. From its mouth, blood had been seeping, staining the blued limestone red. Its back was arched, a creature stuck in permanent recoil. The tail, curled around the body, shivering in perpetual fear. Its front, right leg had withered, held up from the earth and convulsing; it looked as if it had not touched the ground in centuries. Terror fell upon her as she again looked at its face, its mouth hanging open, its throat vibrating. She gazed upon a creature of endless wounding. 

How, she thought, her spine tightening, could a creature in so much pain make a noise so beautiful, a sound that could touch her so deeply. She seized, all except for her mind and her neck, too, as she gazed into the hound’s eyes. They were not in pain. They were the most placid thing the girl had ever laid her own eyes upon. Her terror met with confusion, and an impossible violence of resentment came before her. How could she enjoy the crying pain of another? How could the mortifying wail of another be music to her ears? 

She convinced herself that the virtuous thing to do would be to end his suffering, to strike the hound so fiercely it would never know wounding again. Yet it endured, and in its enduring she grew angrier. She would strike, and stomp, and its crying lost nothing of its enchanting resound; it never broke its placid gaze from her eyes. For all the power she placed in her blows, she heard nothing of the sound, nor of the spattering of blood against the walls of the cave.

She relented, now horrified with herself. Her retreat back out of the cave was absent all grace, and the beautiful echo withered into a warm hum until it was finally nothing but a memory she would hope to one day forget. Her feet never touched the bank of the river again.

[luna-almighty-god]

Guardian Angel N°9 [No passion could be greater than mine]

Hello everyone, this is chapter nine !

This story is obviously not canonical, please do not refer to it if you are looking for canonical information.

===

First Chapter

Previous Chapter

===

Lingering in the darkness, not thinking. Not to think about his growing terror, his suffocating spirit. Forget the pain, the long, nagging suffering that gripped his heart. Not to think anymore, to close himself off. To no longer exist.

To push away his horror.

The nightmare suited him so well though. Wasn't it his symbol, his whole being? That darkness that had consumed him from within for years? The latent darkness of his soul, his emotions he couldn't allow to escape.

For he was made only of darkness. The same darkness that frightened him. And as the death knell of silence struck him, he searched in vain for air, a way out, a way to heal his wounds. A way to heal his distorted mind that screamed at him... screamed... screamed...!

[ Screaming at him to wake up.]

His eyes widened in fright, bringing him back to reality. The coldness of the room hit him hard, his bones cracking brutally, vibrating with a rage that threatened to explode.

Bile rose up his throat. He became livid, he straightened himself up and threw himself on his sack. Without understanding, without trying to know, without paying attention to what was around him, he could only feel his salty and burning pearls that escaped his gaze, which moistened his face in half-stifled sobs.

His fits were becoming more and more present, too, much too present. And the mere thought that time was running out for him, without knowing exactly how much time he had left, once again failed to make him implode, to destroy the barrier he had erected around his soul.

He chewed the apple with force. The taste never seemed as vile as that day, giving him only one more reason to regurgitate what he had in his stomach.

But he remained of marble, partly in control of his body. His physical suffering didn't matter too much to him at that moment. There was another element that worried him much more than that.

He was asleep. He fell asleep more and more often, for only a few minutes, but ...

It was still abnormal.

[ Nyx wasn't supposed to sleep ]

*** ***

Ink was stamping his feet, mad with joy and impatience, while a huge smile had taken place on his face. Sitting on Nyx's bed, he forced himself to remain calm but his excitement was far too great: the secret club was open again and started again its ultra-secret meetings ! Well ok, he was getting a little bit excited by himself since this 'secret club' only existed in his mind.

But in any case, being there in the presence of Nyx and Nightmare brought back wonderful memories - well, it was all relative.

“Well, what are we waiting for?” grunted the impatient nightmare master. He'd been pulled from his important files and was hoping to expedite this 'meeting' and get back to work.

Nyx, scribbling at his desk, laughed again:

“Cross must also comes.

- What? Why? Nightmare wondered.

- He could be useful to us.”

At the same time, the door opened to reveal the swordsman, who blew with difficulty and wiped the sweat from his forehead with the back of his sleeve:

“S... sorry...have to sow... Horror ...”

This time, Nyx allowed himself to puff. It was true that he had asked the monochrome to come here without being seen, but he didn't expect the other one to take such precautions.

“No problem, thank you for being so careful!”

Cross gave him a smile before collapsing on the bed, exhausted, trying to ignore the gaze of his superior. Ink clapped his hands, overexcited:

“So, tell us everything! How are we going to help these new lovebirds?”

Nyx took a new sheet of paper to draw up the plan:

“The first step would be for each of us to admit that we love the other. Horror seems to be in full denial and refuses the idea of loving Dust, while Dust seems unwilling to think about love.

- Maybe they don't love each other, Nightmare grunts. Love isn't a necessary part of life, you can be happy without going out with anyone.

- I don't doubt it and I agree with what you're saying. Maybe deep down, they're just very good friends. But I have to admit that I have doubts when I see them doing their movie night from time to time, or when I see how well they know each other and can guess the state of the other with a simple glance. The other day Horror wasn't on his plate and Dust noticed it immediately, unlike us. Afterwards, as I said, they may only be very good friends.

- They say that a perfect couple makes two best friends.” commented Cross.

Nyx's smile widens:

“I've heard about it, yes. Look, I don't want to make anyone uncomfortable, nor do I want to force Dust and Horror to be a couple. Maybe we can just put them in situations that will demonstrate whether or not they love each other? Then we'll see what happens.

- And what kind of situation?" Nightmare asked, sensing the trick coming.

- Jealousy!” Ink exclaimed.

The master of the house grunted:

“Is this a joke?

- No! Think about it, if they really are best friends, they'll support each other in going out with their loved ones. But if they're in love, they'll be jealous and won't let each other date!

- That's stupid.

- In what way is it stupid? You'd let Killer go out with someone else, wouldn't you?”

The air suddenly vibrated under the charge of a violent negative aura. The eye of Nightmare began to glow with an icy light as it shot the artist in the eye:

“No way.”

Ink chuckles:

“Ah, you see!

- Tch, shut up!”

Cross sighed while casting a jaded look at Nyx, looking for some support in the drawer's gaze. But his blasé look turned to surprise when he saw Nyx's face. Nyx was watching Ink and Nightmare with a broad smile, as if their childishness made him crazy with joy.

Cross held back any comment, but it goes without saying that the situation left him forbidden.

It was Ink who ended up bringing back the lack of seriousness of this meeting:

“Well, how can I make them jealous? The two of us should get closer to them, shouldn't we?

- Indeed," Nyx confirmed by becoming neutral again. One person will have to hang out with Dust, especially when Horror is around. Physical contact is preferable. As for Horror, it will be better to encourage discussion and laughter. Thus, I think the most qualified will be ...

- ...you.” cut off Nightmare.

Nyx was startled and had great difficulty in regaining his usual neutrality. His gaze struck that of the prince of nightmares as the latter approached with a sly smile:

“You're always being clever without doing anything direct. It's time for you to participate in your plans. Especially since there's no way I'm going to intervene.

- But, you know...

- Killer's going to freak out on me, and I didn't have a hard time proving my feelings to him just to lose him to some bullshit plan. So, you get off your ass and deal with it yourself.”

[Alone]

Nyx used violence to keep himself from flinching.

[Alone]

His faint smile returned as he ignored the pressure on his soul:

“All right, I could probably handle Horror.

- And I Dust.”

Nyx was astonished, as were Ink and Nightmare, who turned their heads to Cross. He had straightened up, massaging his neck with embarrassment:

“Ink is also in a relationship”, he justified himself. “I don't really want Error to come back and blow us up.”

The Creator went into a frenzy of laughter:

“Ahah, it's true that Ruru is terribly jealous!

- Ruru ? relieved Nightmare. What a nickname for...

- Oh, stop being such a grumpy Nighty!

- Nighty?!”

And they left in a squabble, under the jaded and amused gaze of the other two. They finally decided to separate, just to go back to their activities so as not to attract attention.

But when Cross last came out of the room, he was apostrophized by Nyx:

“Thank you”, he said.

The monochrome tilted his head to the side:

“Why, he said.

- For devotion to you.

- Well, you weren't going to handle it by yourself anyway!”

They exchanged smiles, but Cross couldn't help but shudder. Shivering at the strange look in Nyx's eyes, a warm and grateful look. Yet he hadn't done much, had he? He had only offered to help him!

“W-well, I'll go!” the swordsman let go with embarrassment before moving away quickly.

Nyx just nodded his head and watched him turn into another corridor. His smile became painful, he lowered his eyes, clutching his coat where his soul lay:

“... Cross ... why do you always have to protect me ...?”

***

He collapsed to the ground, his skull smashing against the concrete in a terrible, morbid crack. His soul twisted, twisted so violently that he felt his stomach compress, and before he could realize it, he vomited unidentifiable contents, a black and viscous liquid that came to form a vile pool. His face was undone, marked by tears and wounds, and painfully straightened as he struggled with a coughing fit.

“L-Leave him! I beg of you, let him go!” he sobbed, unable to get up, only being able to observe Ink holding Plum by the collar.

The Creator cast an impenetrable gaze upon him, empty of all life, observing him the same way he always does: as if he were nothing. Nothing but the accumulation of his mistakes.

Nyx leaned on his hands and yelped in pain without turning away his tear-fogged gaze:

“He-He didn't do anything! I forced him! He had nothing to do with it!”

Plum was livid with terror, trembling on all sides without daring to intervene, holding his breath miserably in the face of growing apprehension.

Ink took a step towards his son while strengthening his grip on Plum:

“You're going to make me believe that you, who is at the mercy of everyone, who is mostly chained up in a cell, who is worthless... You forced Plum, one of Nightmare's subordinates, to have a relationship with you?”

Nyx remained silent, his throat tying itself in front of his father's gaze, his pupils turning slowly red:

“Hilarious... Really, really...”

A grin appeared on Ink's face and he gently sneered:

“So... So hilarious...!”

His laughter grew louder and more terrifying as his pupils began to alternate between red and yellow, more and more rapidly and uncontrollably:

“Do you think I'm a jerk?!”

Plum coughed as he felt more pressure on his throat, while Nyx petrified in horror. And Ink, who laughed like crazy as his pupils turned an icy blue, used his foot to crush his son's skull against the ground.

“YOU ARE STUPID! STUPID STUPID STUPID STUPID! YOU STILL DON'T GET IT, DO YOU? THIS RELATIONSHIP IS NOTHING BECAUSE YOU ARE NOTHING! YOU SHOULDN'T HAVE EXISTED, YOU SHOULD NEVER HAVE BEEN BORN!”

Plum widened his eyes, suffocated, searched in vain for air as his body tried to struggle, to free itself from this monstrous hold. Nyx felt a twitch, tried to get up, but his father's foot struck him violently in the skull, holding him down in a state of semi-consciousness.

And Ink, whose pupils had now disappeared, reaped the joy of his son's distress:

“Ah... ahah ... Pathetic and miserable... so that is what you have inherited from me.... ?”

The fracture sounded like a mirage, a distant sound. A distant sound but yet so close, too close, too violent.

Nyx's soul seemed to shatter. For a split second, he saw the neck of his soul mate break.

Then there was nothing but dust.

Nyx opened his eyes, his mouth open in a scream without the slightest sound escaping him.

[Plum was dead]

It was just a nightmare.

[Plum was dead]

He wasn't supposed to.

[Plum was dead]

He couldn't sleep.

[Plum was dead]

Why... ?

[Plum was dead because of him]

WHY WAS HE SLEEPING AGAIN?!

Nyx stuck his teeth directly into his wrist, ignoring the creak that echoed against the walls, narrowly choking a new scream that escaped him, choking the storm that roared in his lair, choking his rage and sorrow, his anguish and guilt, ignoring his pupils that shot between red and blue, ignoring ... ignoring ... ignoring ... ignorant ...

He sobbed, closed his eyes...

...and cowered a little more in his sheets.

[He wouldn't sleep.]

*** ***

The noise of the hotplates filled the kitchen like every morning, and like every morning Horror thought he was the first one up and had started breakfast for the whole castle. And like every morning for several weeks now, Nyx came quietly to join him at the table, watching him with attention and curiosity.

Aren't you fed up with it?" Horror growled as he did every time. Seriously, do you find it so hard to sleep in the morning?"

[If he knew...]

Nyx smiles:

“And you? You don't have to get up so early either.

- I always go to bed very early, so I wake up early. That makes sense.

- Yes, it makes sense.”

Horror was uncomfortable. He could feel Nyx's gaze on the back of his neck and it was destabilizing him, as always. He grunted, concentrating on his pancakes:

“Don't you want to doodle instead of looking at me?

- My apologies, I just admire your work.”

The cannibal stopped moving, blinking in amazement. His head turned towards Nyx, without him daring to believe what he had just said:

“...you? Are you in admiration?”

Had he known Nyx a little better, he might have detected the embarrassment that had taken hold of him.

Holding his gaze with embarrassment, the cartoonist nodded:

“Yes. You're hardworking and talented.

- ... Well, I just get up and cook, that's all.

- You're the only one in the castle to do so. Not to mention your dishes, which are a delight! Really, I never get tired of tasting them!”

Horror raised an archway:

“Yet it's nothing too complicated. The basis of the basis what. Here, make some pancakes yourself, I'm sure no one will see the difference between yours and mine!”

But Nyx's suddenly discombobulated mine silenced him, and even though the black-boned one quickly regained an impenetrable air, it was too late, Horror had understood:

“Nyx ... Can't you cook?”

The drawer hiccupped, his face suddenly taking on a soft mauve color, a sign of intense embarrassment. He sharply averted his eyes, hiding part of his face in his scarf:

“Indeed, I've never tried it...”

Which made Horror laugh. A bright and frank laugh that bothered poor Nyx a little more:

“I know it's ridiculous, but please don't laugh ...

- Ahah, sorry, really! But admit it's funny! You, who spends your time looking perfect and giving advice, now I learn that you don't even know the basics! How were you raised? By overly loving parents who didn't teach you independence?”

[If only he knew]

Horror's laughter died at the sight of a tense Nyx, trembling, as if the words spoken had violently shaken him.

Horror suddenly realized that he had probably said something stupid, and anxiety took hold of him. Damn it... When he said that Nyx looked perfect, it wasn't a joke. Nyx really seemed perfect, leaving the impression that he was always in control and that he excelled in everything he did. So why did... why did he suddenly seem on the verge of tears?

“N-Nyx...?”

The cartoonist was startled, as if from his own thoughts. He loosened his scarf and turned back to Horror, returning to his usual expression. An expression that suddenly seemed quite false to the cannibal.

“Excuse me, I was thinking!” Nyx replied with a slight smile.

Horror felt his soul squeeze. How many times had his comrade found himself playing the comedian, to appear so sincere in his lies?

“... okay. You want me to teach you how to cook this time?”

Nyx tilted his head to the side:

“.... Doesn't that bother you?”

The cook had a smile on his face:

“Of course he didn't.”

The black-boned one hesitated for a long time, then laughed:

“Well, why not? It might be fun!

- Yeah. Let's do it tonight?

- Yeah, perfect!”

Yes, the evening was fine. That would give him time to... do what he had to do.

*** ***

Maybe he was paranoid. No, not "maybe"... Nyx knew he was paranoid. He was always, every moment, despite his apparent calm. But it was stupid, he didn't have to be anymore. He didn't have to be, did he?

[There was no longer any danger.]

Of course you had to be suspicious. But from there to watching everyone at all times?

No, no, that was stupid. He had to stop. The others were right: he paid too much attention to their private lives. He was getting too involved in lives that no longer concerned him.

But, um... (Sighs)

He watched with a keen eye the breach he'd opened up in front of him. A breach that allowed him to see the whole world of UnderLust, especially a familiar skeleton that was walking around the streets looking like nothing, a shopping bag in hand.

Sugar Plum was still as beautiful as ever. No, it wasn't. No, it wasn't. He was even more beautiful than before. Nyx could not help but melt in front of his resplendent smile, his joy of life that emanated from his whole being. Because Plum had now blossomed: freed from his hated work, he had dared to confess his feelings to Grillby only to discover that they were mutual, and so he fell in perfect love with the fireman while finding a quieter job to earn a living without selling his body.

A sweet victory for Nyx, who enjoyed seeing the other skeleton finally live a life he liked.

[A life he wasn't a part of]

His smile cracked as his soul cracked.

Yes... Here, Plum didn't know him. At least he only knew him by sight, if he hadn't already forgotten him.

“... Ahah... What I expected... ?”

Nyx had a nervous laugh, passed a hand over his undone face. He had prepared himself from the beginning, knowing that he would go from disillusionment to disappointment, but each bad surprise managed to make him feverish, to weaken him a little more.

It was silly, wasn't it?

He knew the consequences. He had decided on his own to change the course of events, and each of his choices had led him to a painful conclusion. Seeing the way that timeline had unfolded, he realized the sad truth: everyone was much happier... without him.

[And ironically, thanks to him]

He's still laughing, a bitter laugh. You'd think his life would never stop being ironic.

His gaze returned to Plum as he entered an alleyway, probably with the intention of going home. Silent, Nyx continued to follow him with his eyes, moved by the vision of the one he had loved so much, and still loved so much ... before he frowned at the sight of three monsters.

Plum seemed to have been ambushed. Oh, it wasn't the first time. Many monsters had a hard time swallowing the fact that 'their' fetish prostitute had run away, but usually they would attack when the skeleton was in the company of his brother or boyfriend, or simply when he was in full control of his magical abilities.

But this time it was different. Plum had spent an exhausting day and found himself alone on his way home, surrounded by monsters greedy for violence and sex, in a dark and deserted alleyway...

Nyx's blood only made one turn, he didn't ask himself the slightest question: a gate had already opened in front of him and he rushed in without waiting, to land directly on one of the assailants, smashing his face against the asphalt with gentle violence, without killing him.

Plum widened his eyes, surprised by the sudden appearance of his saviour, while the other two monsters retreated in fright.

Nyx offered them a mischievous smile:

“Gentlemen, if you'll allow me to attend the party...”

The monsters simultaneously grunted, threw themselves on the black-boned skeleton who quietly dodged them, moving with ease as if dancing, only to end up turning on himself and making a mocking curtsy to his opponents.

It was not his purpose to kill them. Only to scare them away.

The humanoid dog that he had put down got up grunting, his nose bleeding. He was the quickest to return to the charge, but Nyx only had to step aside for his opponent to explode his fist against the wall, screaming in pain at his visibly broken hand.

It was simple. These opponents were no match for him.

The other two monsters were a giant religious mint with sharp fangs and a humanoid rabbit that came and attacked him with a metal bar. Nyx dodged for the umpteenth time before suddenly disappearing into the shadows of the alley, leaving his enemies panicked and watched around them with apprehension.

Neither thought to look at their feet, and it was only too late that they saw their own shadows move to make Nyx appear to be grabbing their ankles, before firing a sharp blow to knock them to the ground. The skeleton disappeared again, leaving the three oddballs moaning in pain and incomprehension, and crawled out of the shadows near Plum :

“Are you all right?” he hastened to ask, madly worried.

Plum was startled and turned sharply back to him, stunned:

“Y-Yes! But are you all right?”

A lovable question that brought a tender smile to Nyx's face:

“I feel much better when I see you in one piece... Be careful when you go home alone.

- Yes, I'm sorry...”

Plum sighed before smiling shyly at him:

“Thank you very much. I didn't think ... I didn't think I would ever see you again.”

[ "Neither do I." ]

Nyx remembered this answer which reminded him of the horrible night he had spent.

But you can't erase the past.

“I've come to believe you're a guardian angel!” Plum laughed softly.

*

Plum used to visit him in his cell

“I love you, little angel...” he whispered to him.

*

Nyx stopped breathing, assaulted his memories once again, frozen, disconnected from time.

A poor mistake.

[He should have remained suspicious]

He perceived the attack far too late, had just enough time to push Plum before he suffered a violent pain, shuddering when the religious mint stuck its fangs in his wrist.

[The wrist he bit in the night, which he hadn't thought to treat]

Nyx vrilla. This suffering awakened a deaf terror, an impulse that seemed to break the limit he had set for himself.

His pupils disappeared.

Shadows metamorphosed... ...into black, slimy tentacles. Tentacles that skewered the mint with a sharp blow, making it scream in horror before it fell into a pile of dust.

The other two froze in horror at the sight. Fearing they might be the next targets, they ran away without asking for the rest, horrified.

Nyx returned to him.

A cold sweat ran down his face.

He turned his head, feverishly, to Plum, who sat on the floor and watched him in amazement and confusion, his face livid:

“N-Nyx... you...”

The black-boned one retreated, terrified of his own reaction, terrified of the dust he had caused, terrified of his pupils, which he knew had turned blue.

He swallowed.

He threw himself into a new portal.

His body fell heavily on the floor of his room. His erratic breathing, unable to control his jolts, he rolled himself into a ball against the wall, could not choke the sob that escaped him. He brought his broken wrist against his chest, trembling all over, the pain making him want to vomit.

[Pathetic and miserable]

He closed his eyes, clenched his teeth, his soul beating far too hard.

[He shouldn't have existed]

He needed it. He needed it more and more, more and more.

His able-bodied hand grabbed his bag blindly.

The touch of the apple seemed to him more painful than ever.

He bites into it once. Just once.

The pressure was too much.

He burst into tears.

===

Next Chapter

You can support me on my Utip or on my Ko-fi account !

===

Credits =

Dreamtale->  Joku

Error -> LoverOfPiggies

Ink -> Myebi

Killer -> Rahafwabas

Cross -> Jakei

Dust -> Ask DustTale

[watchesreview]

A. LANGE & SÖHNE CABARET TOURBILLON HANDWERKSKUNST

The A. Lange & Söhne Cabaret Tourbillon Handwerkskunst shares much in common with the Cabaret Tourbillon, first released in 2008. This latest creation features many mechanical details that enhance the ownership experience. However, its magnificence is not limited to its mechanical virtues, it also extends to the artistic treatment of the dial and movement.

Theo Jansen, the contemporary Dutch artist, once said ‘the walls between art and engineering exist only in our minds’. It seems very apt when looking at a Lange timepiece.

Although Bauhaus, the famous German design school, is based on the notion of ‘form follows function’, some examples of this approach can appear a tad utilitarian. In contrast, Lange surpasses the merely functional, imbuing its products with exquisite aesthetic elements. For example, virtually all models are endowed with a hand-engraved balance cock. From a functional perspective this component could have been stamped out, rhodium plated and left unadorned, however, A. Lange & Söhne would never countenance such a perfunctory approach.

While Lange could expedite the making of a watch by focussing solely on the essential, it chooses not to. Indeed, it creates wonderfully engineered watches that encompass über-refined finishing. Black polishing and hand-chamfering are not the products of haste, but rather demonstrate a mindset that always favours excellence. In my opinion, the engineering manifest with the Lange’s fine watches is conjoined with art.

In 2011, the brand from Saxony, eager to showcase even more of its artistic capabilities, unveiled its first Handwerkskunst timepiece. Its name means ‘craftsmanship’ a reference to the high quotient of artisanal input. For the inaugural model, the German marque chose to breathe upon its famous Tourbillon Pour le Mérite. This limited edition Handwerkskunst model sported a fascinating honey gold dial enriched with an extraordinary texture. This finish is achieved by using a technique called ‘tremblage’, where a small burin is lightly tapped against the dial membrane to create a myriad of dimples.

The following year, in 2012, the Zeitwerk Handwerkskunst was unveiled and enjoyed favourable coverage in many horological publications and websites. This contemporary watch featured the aforementioned artisanal technique, a form of adornment that would eventually be employed on several, but not all, Handwerkskunst models. Moreover, the luxury watch brand shrewdly chose to apply black-rhodium plate to the white gold dial, bestowing the horological vista with a sizeable dose of modernity.

Over the last 10 years, Lange has released several Handwerkskunst models. Some have featured tremblage while others encompassed grand feu enamelling. In 2017, the prestigious watch firm unveiled the 1815 Rattrapante Perpetual Calendar Handwerkskunst. The white gold dial was dressed in blue enamel and adorned with contrasting blue stars. To the rear of the watch is a hinged caseback was embellished with tremblage and relief engraving, all surrounded by a circlet of enamel.

The Handwerkskunst experience is not restricted to the dial and case, it often extends to the movement. This includes different forms of finishing to the ‘standard’ model. In addition, it can also encompass technical changes to the movement specification. For instance, the calibre L043.1, fitted to the standard Zeitwerk, features a variable-inertia balance. The balance wheel is fitted with c-shaped masellotes, set in-board. The Handwerkskunst version is equipped with the Calibre L043.4 which is also fitted with a variable-inertia balance, however, it uses traditional timing screws to adjust the rate. By using c-shaped masellotes, there is nothing protruding beyond the rim of the balance, mitigating air turbulence, thereby augmenting precision. While the screwed balance is technically inferior, many purists appreciate its traditional appearance. The Handwerkskunst movement eschews Glashütte ribbing in favour of a frosted three-quarter plate.

Now, the Manufactory has produced a new work of art, the A. Lange & Söhne Cabaret Tourbillon Handwerkskunst. The ‘standard’ Cabaret Tourbillon was first released in 2008, however, this latest version of the model still looks fresh-faced and brims with a number of additional artistic details.

The dial

There is a reason why most watches are round; they are more likely to sell. When a brand veers from this accepted wisdom it exposes itself to a greater risk of commercial failure. However, over the years, some of the most eye-catching designs have embraced lozenge, rectangular and tonneau-shaped forms. In this instance, A. Lange & Söhne has boldly chosen not to make yet another round watch but instead has conceived a rectangular-shaped timepiece. I can already say at this juncture, with just 30 pieces planned and legions of Langephiles dotted around the globe, the demand for the A. Lange & Söhne Cabaret Tourbillon Handwerkskunst is short to outstrip available supplies.

The lancine-shaped hour and minute hands are rhodiumed gold and convey meaning in a softly spoken, clear manner. Each hour is marked with matching diamond-shaped indexes, save for 3, 6, and 9 o’clock where Roman numerals denote the hours.

Disciples of the Manufactory’s work will immediately notice the power-reserve indicator at 4 o’clock. It is an indication that features on the Lange 1, arguably the brand’s most iconic model. The display on this model is snailed, employs a monochrome palette and features the German words ‘Ab’ and ‘Auf’. A small seconds display is positioned opposite the power-reserve indicator, employing much of the same design language as its aforementioned counterpart.

An aperture in the southern territory of the dial reveals the eponymous tourbillon. The purpose of this device, patented in 1801, is to counter the adverse influence of gravity on the balance. Housed within a rotating cage, the escapement and regulation organ follow a circular path, turning 360° every minute. This highly complex mechanism negates positional errors, enhancing the overall precision of the movement.

In many cases, despite being designed to augment accuracy, a tourbillon seldom allows the wearer to hack the seconds and synchronise the time with a reference clock. When the Cabaret Tourbillon was released in 2008, it allowed the wearer to instantaneously stop the balance inside the rotating cage merely by pulling out the crown. This meant the wearer could synchronise the various time indications with a reference clock and simply pushing the crown home again, set the balance running again. It is an eminently logical feature but one that continues to elude most other watch brands.

In 1990, when A. Lange & Söhne was ‘re-registered’, it released four models, one of which was the Lange 1. Its oversized date display was inspired by the Five-Minute Clock in the Semper Opera in nearby Dresden. The date indication employs two discs, one for the tens and the other for units, delivering a widescreen indication of the prevailing date. Perpetuating this tradition, the A. Lange & Söhne Cabaret Tourbillon Handwerkskunst is also endowed with a large format date display. This confers superb legibility and its proportions look perfectly at ease with the watch, delivering a harmonious mien.

Arguably the pièce de résistance is the artistic embellishment of the white gold canvas. The inner area of the dial is hand engraved with a ‘lozenge pattern’. The regular appearance of each lozenge element might fool you into thinking it has been performed using a machine. However, its uniformly geometric pattern and the absence of any flaws is the product of a deft hand and much patience. A thin line of tremblage delineates one area of the dial from another.

The dial’s epidermis is suffused with a semi-transparent enamel layer, imbuing the dialscape with a wonderful depth.

At the base of the dial, the watch’s country of origin is specified in a crisp font, while in the bottom right-hand corner, the word ‘Glashütte’ effectively signs the masterpiece.

The case

The A. Lange & Söhne Cabaret Tourbillon Handwerkskunst is housed in a 950 platinum case measuring 29.5 x 39.2 x 10.3mm. This noblest of metals is more challenging to machine than steel or gold. When platinum is milled using a CNC machine, great care is needed to avoid excessive heat generation as this can make the material even more challenging to work with. To avoid heat issues, the milling times have to be extended, thereby heightening production costs.

Nevertheless, the additional machining costs and the high price of platinum are justified by the properties it confers. Platinum, which is far rarer than gold, exhibits a becoming silvery-white hue, is reassuringly dense and delivers a wonderfully lustrous sheen.

Each of the bezel’s four sides gently slope towards the case middle. The caseband is straight for the most part, but step outwards near the lugs. Despite its obvious complexity, the watch remains elegant and tastefully understated. For example, the lugs do not unduly project from the case, but peep beyond its main body, drawing the strap close.

One of the highlights of Lange ownership is undoubtedly the movement beating within the case. The German marque indulges the wearer with sublime views of the calibre L042.1, courtesy of an exhibition caseback.

The watch is presented on a black hand-stitched leather strap paired with a deployant buckle, again in 950 platinum.

The movement

The Cabaret Tourbillon is fitted with the calibre L042.1, a hand-wound movement with a tourbillon escapement. The tourbillon features an upper and lower bridge, each fitted with a diamond endstone. As stated earlier, the purpose of the tourbillon is to enhance rate accuracy.

Beyond its functional benefits, the tourbillon provides another vehicle for the German brand to showcase its finishing skills. For example, the upper tourbillon bridge (or bar), spanning the dial aperture, is beautifully polished and secured by two screws, each with wonderfully defined slots. The wearer is indulged with a dynamic spectacle of the escape wheel, pallet lever, balance wheel and hairspring all in motion.

Lange has equipped the movement with a screwed balance, a respectful nod to traditional watchmaking. The two barrels deliver an impressive power reserve of 120 hours, assuming the watch is fully wound. As well as the two barrels delivering greater autonomy, they also contribute to rate accuracy. Indeed, by employing two barrels the power transferred via the gear train to the escapement is more consistent thereby ensuring the amplitude also remains relatively constant.

As stated earlier, the watch has the facility to stop the balance from rotating merely by pulling out the crown. This ingenious system employs an ‘arresting spring’ which cleverly preserves the potential energy of the balance spring so that the balance can restart instantly as soon as the crown is pushed home and the arresting spring is retracted.

Confusingly, the movement within the A. Lange & Söhne Cabaret Tourbillon Handwerkskunst shares the same reference as the movement within the 2008 model, despite both movements looking different.

The Glashütte-based company has respected fine watchmaking etiquette. The calibre L042.1 is rectangular shaped, emulating the shape of the case.

Whereas the movement on the ‘regular’ Cabaret Tourbillon is embellished with traditional Glashütte ribbing, the Handwerkskunst model features a frosted finish. Lange is famous for its hand-engraved balance cocks. In this instance, this exquisite demonstration of the company’s artistic prowess extends to the tourbillon and intermediate wheel cocks. Where the original model is engraved with a filigree-type pattern, the Handwerkskunst version features a ‘lozenge’ shaped motif.

Finally, the movement features 45 jewels, several of which are set in screwed gold chatons, upholding another Lange tradition.

Closing remarks

Most watches impart time, however, it is the method they employ that often differentiates the mediocre products from those brimming with excellence. Personally speaking, I accept that a quartz watch delivers precision, but find them to be soulless. They may fulfil a basic need, but they fail to elicit any emotion.

In some cases, mechanical watches can be devoid of virtue, but the finest examples, the exemplars of Haute Horlogerie, charm the onlooker and lead watch aficionados to smile with delight. A. Lange & Söhne painstakingly crafts watches for discerning souls. The brand’s clients are not merely seeking a functional timepiece but an exquisite object made without compromise.

Since the brand was re-registered in 1990, the firm’s watches transcend the merely functional and incorporate beautifully considered engineering, peerless finishing and numerous examples of tasteful adornment. Lange clearly has a desire to surpass its customers’ expectations, something it has demonstrated over and over again.

The A. Lange & Söhne Cabaret Tourbillon Handwerkskunst embodies everything that is magical about this prestigious firm, but it also encompasses several artistic crafts that few other companies have the necessary expertise to attempt. Based on the evidence, it is clear, when it comes to A. Lange & Söhne, engineering and art are intertwined.

[janegregorycontextlog]

Cornelia Parker Context Log

Artists Research – Cornelia Parker

Biography:

Cornelia was born on 15th July 1956 in Cheshire, England.  She is married to fellow sculptor Jeff McMillan and has a child called Lily.

She was educated at Gloucestershire College, Wolverhampton Polytechnic and the British School in Rome. Along with her artwork she produced two movies: Gaga for Dada and The Original Art Rebels.

She is known for conceptual art, installation art and process art.  She works from ready-made and the found object and her work has a philosophical value to it.

She was brought up on a small holding in Cheshire and she was chosen to work with her father on the land completing hard chores and heavy work.  She saw escape as rare and sought it when she could where she could be in her own imagination.  She lived on the edge and her work is built on temperament and sees her art practice as therapy.  She went on a school trip to London when she was 15 and it was at this point that she realised she wanted to be an artist.  She wanted to be a painter and was accepted into Wolverhampton Polytechnic where she realised that she wasn’t a painter in a moment. She visited a derelict building and started using material and plaster from a window where natural light poured in and tried to map its pathway into the room. This is the moment when she entered into sculpture.  After Wolverhampton Polytechnic she studied in Reading before settling in East London.  She found working alone at home liberating.  Her neighbours house was set for demolition to make way for the M11 and this inspired her to create her first iconic work: Cold Dark Matter; an exploded View 1991.

She won the turner prize, however the category was ‘Resisting Stereo Typing as a Feminist Artist” She didn’t want to be recognised as this but just as an artist seeing as she was brought up as a boy (in her own words).

Her interest in found objects arose from when she worked on a market.

She met her husband Jeff whilst collecting charred pieces of a lightning struck church and rebuilding the charred church, she said they built a church together and that’s why they got married on the Brooklyn Bridge.

Iconic Work:

1996    Pornographic Drawing

1991    Cold Dark Matter – An Exploded View

1998    From Mountain Landscape

2001    Breathless

2003    The Distance: A Kiss with Added String

2016    Transitional Object (Psycho Barn)

War Machine (2015) was a video recording the process of poppy making but industrial machine.  War Room was the accompanying piece as an art installation using the negative space of the red card used to for producing the punched poppy.  It took the shape of a tented space leading one to ask where have all the flowers gone?

Anti-Mass (2005) an art installation using charcoal and wire playing on the idea of physicality and immateriality such as memory and mass.  It was composed from the charred remains of a Southern Baptist Church destroyed by the Hells Angels in an act of arson.  The installation plays on a duality of sacrament ritual and elemental substance as in the meaning of the word Mass and the Christian versus universe philosophies and the ultimate religion against science.  The piece was also linked to an earlier piece in 1997 where she found a lightning struck church at Lytle 13 miles away from where she was staying in Texas whilst searching for some kind of cartoon death.  She used wire, string and charred wood and titled it Mass: Colder, Darker Matter.  Which is believed to have some reference to her upbringing in the Roman Catholic Church as her mother was devout.  She liked the way the piece differed in density and distribution a remake of its architecture.

Thirty Pieces of Silver:

Flattened sets of silver objects suspended in mid-air, again the idea of a cartoon death such as Mickey Mouse rolling over objects on a steam roller.

Concepts and why the make their work:

Words you could associate with Cornelia Parker’s work are; original, inventive, wide-ranging, sculpture and installation which touches on the fragility of human experience.

Cornelia had a violent upbringing her father treated her as a boy and resented the children getting their mother’s attention as it was taken from him.  Her mother suffered Psychological problems due to her upbringing as a German nurse in the war.  Through her tough experiences her work is rich with visual and literary illusions.

Cornelia was afraid of being run over by a train and this led her to have an instinct to squish things.  She wanted to destroy/cause destruction of an object.

She wanted to use brutal techniques to transform objects into a thought-provoking artwork. She thought there needs to be balance.  Things cannot be too sweet or too unsavoury and she aimed to have both expressing the duality in all things.  The idea of space and imagination which stemmed back from her escapes from family to have time in her own imagination.  An imagination where ghosts, gravity, relics and the unconscious preside.

Cornelia sees art as extended play.  She considers scale such as “transitional object” over the New York skyline, includes temperature and colour and the duality almost schizophrenic nature of a wholesome red barn turned into the architecture of the Psycho house.

In her piece: Cold Dark Matter: An exploded view (1991) she asked the British Army to blow up a garden shed which represented a space full of downgraded relics of a household that one couldn’t quite throw away.  It had representations of the human mind not being able to clear away nagging thoughts – that stuff! And then the calm after the explosion.  She wanted to make sense of disorder.

From an earlier age she wanted to paint with real light and real things which led to a call to sculpture. She started off with small scale sculptures including lead and plaster, silver and gold, drawings, photographs, video pieces and installations.

She wanted damage on an epic scale and took to squashing silver plated items.  She employed a steam roller driver to roll over a path of discarded silver-plated items.  Silver-plate was seen as an item of aspiration and by flattening it, it was like a crushed spirit, the oppression of aspiration and when she suspended the flatten objects just off the floor by wire it was as if the spirit of the object had returned.  Transformed by the cartoony of the silent movies. The pieces then vibrated in a delicate dance creating layers of meaning (Yoko Ono). A haunting of the mind and transformation occurs as a result of natural forces.  The silver suspended by wires appears like liquid and the wires themselves become drawings the installation produces sound.

She has this edge of darkness running through her work and her family life too.  War Machine in 2015 the brutal stamping and mechanical process of producing a thing of beauty that represents death.  The human cost of war and the brutal force of the poppy stamping machine stamping over miles of blood red card.  And then War Room, a red tent of negative space and the pointlessness of war displayed in a building where mothers gave up their babies to be brought up by the state. Cornelia appears to see materials as both medium and tool, passive and active, solid and ephemeral, static and lively from dark to light, from shapeless to formed.

The church struck by lightning being a finger of God action a play with words: Mass (1997).

Her work emerges not from expectation but delicacy expected to make light themselves by just being.  A continuum of time and remembrance the mutability of a fixed thing – a church. A shift in dimension.  The church becomes a choreographed piece.

She takes hold of some kind of pagan belief of the animal universal spirit in all things such as the pagan religion of the Norse called animism.  Each object, each thing has its own sub-consciousness.

Her work could be described as drawing on an alchemical process of transmutation wanting to create some kind of Philosopher’s Stone.  Bruce W. Ferguson equates her work to this new age pro-science philosophy moving away from the superstition of religion that clearly remains part of Cornelia through her family background.  This not quite getting away from it.

Trying to eradicate thought turning it into being.  She looks at materialism its constant and inconstant shift, it’s changing of density and light and movement.  The images orientation into metamorphism.  Her views have extended from her early entrance onto the art scene through performance and theatre and the fluidity of this medium into sculpture. The actions used to squish, hammer, break, vandalise or dissolve etc objects on stage.

[meghansingleton425]

10 DIY Foto-Ideen: SO könnt ihr eure Bilder kreativ in Szene setzen!

Lasst eure Lieblingsfotos nicht auf der Festplatte in Vergessenheit geraten. Bastelt lieber eure eigene Bilder-Deko!

Developments come and go; quite often. However; several escape the mold and be timeless classics interior-lovers cannot get plenty of of. All of us love the advancement of contemporary home design suggestions; but there are many old favorites that would not be heading anywhere quickly. 2020 is actually a year filled up with classic interior design trends all of us love. Read on to have the top kitchen trends 2020 has to offer that are here to stay! 1 ) Layered Light Kitchen Trends 2020 Varied kitchen design trends by simply Decorilla designer; Francis Deb. Since the launch of split light not too long ago; we’re certainly not turning again. Working with distinct levels of light enables designers to create an atmosphere that they can couldn’t ahead of. Regardless of Interior Design Style; task and accent light is weaved into the kitchen’s blueprint. Contemporary kitchen home design by Decorilla interior artist; Betsy Meters. We can all end up being very thankful for this home trend. Right now; dark nooks and crannies are a factor of the past and so is actually a stark over-lit kitchen. installment payments on your Kitchen Trends 2020 Favourite: Open-Plan House Remodel Simple kitchen home design by Decorilla designer; Sonia C. A top requirement of a home renovators have is an open-plan kitchen area. Ever-evolving interior layouts have moved from cubicle-like spaces in the early twentieth century to wall-less living. Today; people rely on housing code through shelves and household furniture to create distinct areas in a home. Home interior planning by Decorilla interior developer; Lauren A. Open-plan is still a priority and tops the kitchen remodel tendencies; as family members are much extra integrated than they were at the start of the 100 years. Architects and interior designers alike are taking the best developments and regularly reinventing your kitchen layout to add storage; smart technology; and seamless movement into modern-day homes. a few. Open Shelving in Kitchen Design Home interior design by simply Decorilla developer; Corine Meters. Styles and trends in the past frequently get a visit again; and Home Open Storage solution is one such golden-oldie. Open shelves were a necessity but not a kitchen cabinets trend. Before the arrival of the cabinets; 19th-century kitchens had been basic with open cabinets lining them. Kitchen design trends 2020 – strong and colourful pops Storage solution took a back seats for a few decades until it re-emerged as a great on-trend plate holder in the 1950s. Luckily; the contemporary counterpart is minimalist and functional. With open shelving householders and designers can personalize a house to truly place their style-stamp on it. 5. Classic House Trends 2020: Tile Home interior design by simply Decorilla in house designer; Corine M. Tiles are yet another great sort of how a preloved trend got a reorganisation. Colorful feature walls with Mexican ceramic tile; backsplashes with subway floor tile; and even checkered floor ceramic tiles were every hot kitchen trends. That they continue to enthrall the attention of trendsetters and homemakers likewise. Kitchen trend – backsplash design Floor tiles are sensible; replaceable and durable; which makes them a firm beloved in the kitchen remodel trends. Their ceramic; cement; cork or glass material base as well make them a greener substitute; which is a plus for the environmentally-friendly style community. five. Essential Kitchen Design Aspect: The Lunchtime Bar Home design simply by Decorilla in house designer; Aldrin C. Not only is the lunchtime bar a great place to fill up on nutrition; but it is also the perfect place to add creature comforts into the kitchen. This trend was the culmination of the evolution of two furniture pieces: the dining table (later a lunch break nook) plus the kitchen area. Kitchen design and style trends : breakfast tavern The lunchtime bar can easily house cabinetry and also dual as everyday seating when you’re entertaining; which is exactly why this craze is so well-known. Many modern homes have islands with seating and pendant lights that create a wonderful feature vignette in the kitchen. 6th. Shaker Kitchen Cabinets Happen to be Here To Stay House interior design simply by Decorilla in house designer; Aldrin C. Kitchen areas cabinets which have door face are often within a five-panel shaker style. The term Shakers identifies a religious sect that supported minimal living and making the home furniture themselves. The Shakers came up with the shaker design and also the original shaker-style cabinet. Kitchen styles 2020 ~ shaker case The shaker kitchen cabinets were made famous because of its functionality and modern day aesthetic. Today we’re therefore accustomed to this style of cabinetry that people might not detect how innovative this style was due to the time. 7. Kitchen Styles 2020: Butcher’s Block Counters Kitchen trends 2020 ~ butcher wedge counters Butchers blocks have grown to be a must-have in designer kitchen areas; but their origin is very simple. Blacksmiths employed softwood as an anvil shock absorber; and butchers applied hard hardwood as a surface area for carving meat; hence the name “butcher block”. Kitchen tendency 2020- butchers block surfaces Today; heavily cut timber with a natural finish is often as beautiful since it is functional. The modest butcher’s block grew from an industrious worktop to an useful trend and has become a home essential; along with pots and pans. Whether you want a small butcher stop or a wooden island; you won’t make a mistake by adding this kind of piece of character into your house. Inspired to incorporate timeless home trends into the home? Routine a Free Interior Design Appointment with among Decorilla’s expert designers today! [images: 1; two; 3; some; 5; six; 7; almost eight; 9; 10; 11; doze; 13; 13; 15; sixteen; 17; 18]; room storage area

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[mothermaidenclone-blog]

Valerian and the City of a Thousand Planets or Chatbot’s Scriptwriting Debut

Credit where credit’s due, Luc Besson knows how to make a good looking film. Also, this was the first film I saw in 4DX and it was a cracking choice - the anti-gravity and space battles were undeniably just pure fun. Unfortunately however, we don’t seem to have come far from a sami-naked, love-struck Leeloo. Admittedly, no one was actually wearing bandages as an outfit, but some of the costumes weren’t much better and the female characters’ motives were just as unfathomable. Last whinge before we get stuck in, the script was incomprehensible  - I felt like I was watching a film written by a Turing Test; nobody’s conversations made any sense and the reasoning behind what they were doing or saying often seemed nonsensical.

*Valerian spoilers follow*

The main female character is Sergeant Laureline (Cara Delevigne) and pretty much the first we see of her is her bikini-clad backside astride Major Valerian (Dane DeHaan) in a weird sexy wrestling match, in which he aggressively asserts, “you’re attracted to me.” A very stressful scene of him doggedly chatting her up follows, which set the tone of their relationship for the rest of the film. I couldn’t have told you if they were a couple or not, their interactions were so fraught, confusing and confrontational. The only time they made sense was, tragically, when Valerian was asserting his dominance; “you stay on back up, I’ll take the front line”, or giving his permission; “all right, give it to them” - like all the decisions are up to him and they’re not a team. Although this is reinforced once again and arguably unnecessarily through his higher military rank.

Equally unfortunately but on the opposite end of the spectrum, the parts of Laureline’s script that actually make sense are derogatory female stereotypes such as, “he ruined my dress”, “I have to take you shopping with me” and, perhaps worst of all, “pretty butterfly” as she follows a small, glowing creature and is immediately captured. Which highlights another theme of this film; women being knocked out. What message is that sending out, that women are easier to handle when they’re unconscious?

This power dichotomy and gender disparity is further reinforced through costume, the main offender being what I assume was their standard military uniform. The top halves were fairly egalitarian but where Valerian had pragmatic trousers, Laureline had a khaki miniskirt like she was from an early 2000s girlband video, an effect which was exacerbated by the enormous diamond earrings which completed the look. It was difficult to compare Laureline’s uniform to that of any other women - perhaps she was just stamping her individuality onto it (although that somewhat defeats the point of a uniform) - as there weren’t really any other female soldiers, or not any with huge amounts of screen time at least. This is reiterated by their superior’s dismissal, “gentlemen, lady” - lady in the singular.

Despite the lack of women in the military, they do exist elsewhere in the film. Princess Lïhio-Minaa (Sasha Luss) is introduced at the start, with very little dialogue, as a caring and happy character, who is obliterated to serve as motivation for Valerian, whom she inexplicably choses as a vessel to house her soul. The society to which the princess belongs seems egalitarian, it is run by both and emperor and and empress and they appear to worship some sort of feminine form of nature. It’s the shame the whole planet is exploded to smithereens before we even meet the main characters.

The other prominent female character is Bubble (Rihanna). The name alone tells you everything you need to know - vapid, pretty and insubstantial. Bubble is some sort of erotic performance artist who is indentured to Jolly the Pimp (Ethan Hawke). She is unique in that she is a shapeshifter, but the way that this talent manifests itself it that she can become whatever kind of woman the man she is performing for desires. As such, both Valerian and the audience are treated to a very long and suggestive burlesque-style dance, showcasing a multitude of revealing costumes and feats of flexibility. Even when Valerian presents her with a means of escape (through serving him instead) she still shows an almost Stockholm-Syndrome-like sickening level of a desire to please. She subsequently uses her superior alien powers to escape with Valerian, infiltrate an enemy encampment, rescue Laureline and then fight a small army on their way out. However, when everybody escapes down the garbage chute (classic), Bubble is randomly dead when they get to the bottom. Her own explanation is, “I must have been injured during the fight” - even she doesn’t know what happened to her! She’s just left in the rubbish and it’s the worst.

Overall, the woman in Valerian and the City of a Thousand Planets are crude stereotypes when they even make sense as a character and pure nonsense the rest of the time. Their motives are unfathomable or shallow and they are subject to objectification, sexual harassment, imprisonment, violence and, at the extreme, murder/genocide at the hands of men. But the special effects are lovely so have a few drinks or mildly concuss yourself with a blunt object and you’ll have a great time.

And now for some asides:

Compensating for something with your clip on gold chest plate there, Clive Owen?

Rihanna’s death was the actual worst, but if you can choose how you look when you die then why the fuck not Nefertiti?

Can films just not be this long anymore? Mans got shit to do.                

[apneae]

Walter Benjamin: ‘The Work of Art in the Age of Its Technological Reproducibility

I

*Marx - prediction that capitalism would abolish itself through its conditions

*how does capitalism affect production in all areas of culture?

*assessing the development of art under the conditions of capitalist production

*neutralising traditional concepts - creativity, genius, eternity, mystery

*Kunstpolitik - politics of art - revolutionary demands to be formulated

II

*objects made by humans have always been copied by humans

*replicas — pupil copying a master / profit

*graphic art - technologically reproducible by woodcut (before written text was reproducible)

*the movable type = the technological reproduction of writing

*Middle Ages — engraving and etching, 19th cent -- lithography

*lithography - new stage in the technology of reproduction; tracing the drawing on the stone = larger quantities, variations

*photography - freed the hand of the process of pictorial reproduction - only eye from now on

*tremendous acceleration - faster perception of the eye than the movement of the hand - speed of speech

*around 1900 - photography as a mean of reproduction and as an artistic process

*two manifestation of the same medium - reproduction and art on film - what is the impact on traditional art?

III

*original = unique existence in a particular space - bearing to what the work has been subject (only the original has the traces of the artworks presence/life) - changes in the physical structure and ownership / assessed through analysis or tracing of its history

*concept of authenticity - escapes any kind of reproduction

*original - retaining full authority; manual reproduction = forgery

*why is not technological reproduction considered to be a forgery? it is more independent of the original - can manipulate and enhance the original beyond natural optics + placing the copy of the original where the original cannot physically be

*through reproduction the original meets the recipient halfway - to be consumed in personal space

*devaluating the authenticity of an artwork - the quintessence that stems from its origin, physical being and experienced history

*authority of the object which derives from tradition is endangered when the historical testimony is affected by reproduction

*aura - disappears in the era of technological reproduction ?

*extending beyond the arts - multiple reproductions substitute a mass existence for a unique existence

*the detachment of the reproduced object from tradition

*the reproduction reaching the recipient in its own situation - actualising what is reproduced

*mass movement - film = liquidation fo the value of tradition and culture

IV

*change of modes of existence of human collectives - change of perception - conditioned by nature and history

*if aura is decaying, what are the social determinants of that decay?

*aura = a orange tissue of space and time, the unique apparition of a distance, however near it may be (a sense of untouchability)

*decay of aura - emergence of the masses and social movements - getting closer and overcoming uniqueness - assimilating as reproductions - stripping the veil of the object

*alignment of reality with the masses and vice versa - thinking and perception

V

*uniqueness = context of tradition; difference in perspective in times and cultures; aura remains

*first objects - cult objects; magical and religious

*auratic mode of existence = a ritual function / authenticity is based in ritual

*secular workshop of beauty since Renaissance

*photography emerging at the same time as socialism - a crisis of art — reaction with l’art pour l’art

*pure art as reaction - no social nor representational function

*technological reproduction - emancipation of an artwork from ritual

*a photographic plate - designed to reproduce - no authentic print

*revolution in the arts - artistic production without the emphasis on authenticity - becomes based on politics

VI

*cult value vs exhibition value

*artists as figures in the service of magic - present, not always seen

*cult value - meant for the spirits, the gods - sometimes kept out of the human sight

*emancipation from cult - increasing of exhibiting possibilities / mobility of an artwork (easel paining vs a religious sculpture in a temple)

*tech.rep. - increased scope of exhibiting - qualitative change in the nature of the artwork

*art becoming a construct with new functions - one is the artistic function, almost incidental

*film = new understanding

*prehistoric times - device of magic (making, using, influencing other believers) - human and their environment

*play vs seriousness in artworks - linked both to first and second technology

*primary social function of art - rehearse the interplay between nature and humanity

*function of film - training humans to adapt to the constantly expanding apparatus of their daily lives / technology releasing them from enslavement - embracing the new productive forces of technology

VII

*photography - exhibition value; cult value in human countenance / portrait as a form

*cult of remembrance - value of image; melancholy and beauty

*no human beings - a new kind of reception / political significance

*caption - how the image is to be perceived, in film an image is perceived based on the previous images

VIII

*Greeks - reproducing by casting and stamping - creating art in order to produce eternal value

*film - based on reproducibility - the most capable of improvement = renunciation of eternal value

IX

*the 19th century dispute - paining vs photography

*technological reproduction - separated art from cult - no autonomy

*film theory - attempts to add the elements of cult to film in oder to turn it into art by definition

*film = natural means to depict something beyond reality

X

*photograph of a painting vs photograph of an action; reproduction vs an artistic performance - an interaction

*the work of art and montage

*the film actor vs the stage actor - a performance of which the reproduction is made; repetitions

*film - test performances to be exhibited

*the film actor performs in front of a machine - an aptitude test

*accomplishment - preserving one’s humanity in front of the camera

XI

*actor representing someone else matters less than representing himself in front of the camera - exhale from one’s own person

*operating with one’s whole person without its aura - aura = presence here and now

*camera is substituting audience

*aura of the actor and the character portrayed is gone

*identification with the role - stage full, film denied

*film performance is made out of bits, stage is a unified experience

XII

*the representation of human being by an apparatus - human being’s self alienation

*mirror image is now transportable to the masses

*the performance is controlled by the future exposure to the masses

*film must be liberated from capitalism in order to become revolutionary

*the cult of the movie start - magic of a personality / commodity

*the cult of the audience - corruption of fascism

XIII

*individual can be filmed

*readers turning into writers - the consumers turning into producers

*the separation between the author and the public is losing its firmness

*access to authorship - work is given a voice

*film - simulating the involvement of the masses through a spectacle

*publicity machine - the focus on the celebrities and beauty contests - distorting the original interests of the masses in film

*film capital, fascism in general - a compelling urge toward new social opportunities is being exploited in the interest of a property-owning minority

XIV

*a film = a spectacle

*film = no single view point - inclusion of the equipment ; theatre = one position

*editing of the film  - the equipment and its adjustment create the reality through special procedure - making the camera forgettable for the viewer

*magicinan vs surge = painter vs cinematographer / keeping the distance, maintaining the authority vs penetrating the body, not person to person

*painting - whole; film - assembled piece by piece

*film - equipment-free aspect of reality demanded from a work of art, created through an intense interpretation of reality with equipment

XV

*technological reproducibility of the artwork the relation of the masses to art

*progressive attitude = pleasure + expert appraisal =social index

*conventional - uncritically enjoyed, new - criticised with aversion

*cinema - reaction coming from the masses simultaneously

*painting - no collective reception; mediated way of going in a line at observing - churches etc

XVI

*social function of film - establishing equilibrium between human beings and the apparatus

*presentation of oneself + representation of the environment

*other nature speaking to the camera

*other - space informed by human consciousness becomes informed by unconsciousness - discovering the optical unconscious

*individual perception of the psychotic/dreamer - appropriated by the collective perception

*technology - psychotic character + immunisation agains the mass psychoses

*collective laughter - healing outbreak

XVII

*art - creating a demand that has not yet come

*dada - creating the effect of film through traditional media

*sacrificing the market for a larger aspiration - commercial usefulness vs uselessness of the artwork as an object of contemplative immersion

*annihilation of the aura of every production - branded as reproduction my the means of production

*contemplative immersion vs distraction

*film - freeing the shock effect

XVIII

*quantity of the masses - transforming quality of perception / masses as the matrix of customary behaviour

*masses seeking distraction vs art lover’s concentration

*for masses - art as entertainment vs lovers - devotion

*distraction vs concentration - absorbing art into itself vs being absorbed by the art

*architecture - a permanent relationship between humans need for shelter and creation

*human apparatus of perception not solely optical - also tactile reception and habit

*reception in distraction - the sphere of film

XIX

*proletarianisation of a modern human + formation of the masses

*fascism - organising the masses, keeping the property relations that the masses try to abolish — granting the masses expression but but rights

*no right to change the relations, expression in keeping the relations unchanged = aestheticising of political life

*culmination = war

*setting goals for the mass movement while preserving the property tradition

*the futurist manifesto

*aesthetics of modern war - increasing the technological means to press towards the unnatural use

*war as a proof that society is not mature enough to use technology natively and that technology cannot master the dynamics of society

*imperialist war - technology demanding repayment in human material for the natural material has been denied - creation of armies etc

*fiat art, pereat mundus — let art be created through world’s perish - war bringing artistic gratification of a sense perception altered by technology - l’art pour l’art

*self-alienation peak - experiencing self-annihilation as aesthetic pleasure

*fascism = aestheticising of politics vs communism = politicisation of art

[shockcity]

SH #2 - Diagnostic

Rating: M Summary: Sherlock defies diagnosis. John prescribes a pain killer. Category: gen Warnings: angst

Note: this fic is odd. Sherlock is an unreliable narrator, but all you need to know is that he correctly deduces that John is self-destructing. Set vaguely after Mary’s death. Not s4 compliant.

.

Birthdays. Ghastly things. I’ve never understood why the human species is so prone to self-glorification, when it is obvious to any superior mind that most humans (if not all of them) are running at only 20% capacity. Perhaps less. Am I being generous? Probable. Oh. And Gerald has brought Molly. Is this where I congratulate them? False platitudes of a romantic nature; lines lifted from observation and forced viewing of insipid American movies. Yes, well. We all know who’s to blame. And he always did have such horrible taste. Example 4B: cardigan; fit: tailored, size L (though M, properly, as real size is only 98cm around the chest), long sleeved, ribbed trim, V Neck, 100% cotton. Colour #EAA221, Marigold. Price: £32. Observer’s notes: gold washes out pasty British males.

“Alright, Sherlock?” Greg clapped him on the shoulder. “Happy birthday!” 

Molly smiled at him, her eyes doe-like and bright. She looked to Greg and then back to Sherlock rather pointedly. “Mycroft got you to come, then? We were half expecting to celebrate without you.” 

The pub Greg had hired out to host Sherlock’s Birthday Bash (and good God how heinous!), was one he had never been to in his life, and would not ever return to again. Old, unfunny anecdotes and dart playing were not his sort of thing. The ambiance alone irritated him. It was noisy, and not just because of their party guests. Greg only had a few tables in the back to his name, anyway, and it wasn’t like they would be needing more. There were a few persons from the MET, Mrs Hudson (of course), Mrs Turner and her married ones (both cheating), Molly, Greg, and lastly his brother. In spirit. Sherlock kept him alive and present with the power of his hatred. The television over the bar was broadcasting some uninteresting sport, likely the one with the black and white balls and dive artists, and Greg was already ordering another round. He and Molly looked grotesquely content. 

Molly gave him that pointed glance again, so he said: “Congratulations on your increased likelihood of marriage and procreation.” 

 She closed her eyes. 

“Unless the arrangement is casual,” Sherlock amended. “In which case I wish you the best of luck in avoiding pregnancy, as George would insist on marriage even against his better judgement.” 

 Greg shook his head. 

 “If that exists,” Sherlock concluded.

Well enough that I am forced to mingle with the dregs of society on a day that, if I were to follow western egocentric practices, should have been customized entirely to my specific tastes, and to top it off there is not one interesting case awaiting me back home. No carrot on the stick. No pot of gold. That is what they say, yes? Well. You would know. You subscribe to the tedious idioms the public vomits out, with never a thought for the Shakespeare it came from.

“I made your Maltesers cake,” Mrs Hudson was saying hopefully. “You’ll try it, won’t you?” 

“Yes,” he answered. 

He looked down at the warm pint of Guinness he was clutching, vice-like. Greg had put it into his hand as if expecting him to drink it. Inanities! Sherlock dropped the glass onto the nearest table and wiped his sticky hands on a napkin, his face crinkling in disgust. 

“I’ll take some now, thank you.” 

“We’ve not got to your presents, yet, silly goose!” she gently slapped his arm. “You’ll have to wait.” 

 “No.” 

 Mrs Hudson looked dismayed. She hesitated very tellingly, and then started to say, “Sherlock, dear, I know this is difficult for you–” 

 Sherlock twitched. “I haven’t the foggiest idea what you mean,” he interrupted rudely. “It’s my birthday. I’m at a public house. Socializing. My brother used blackmail to force me here. In what way is this situation difficult besides the obvious?”

What have I done to deserve this? And how I despise guilt! Mrs Hudson is endlessly at the mercy of my vitriol, and one would think she would learn to avoid riling me. Or cease all interaction entirely. She should know that I am ill-suited for this…ruckus. She should guess when I am cornered and snapping. My moods are not difficult to deduce. He always knew. He weathered it anyway. Never left in tears. Classic reprogramming of flight instinct and commonly taught to military personnel. Yes. Fighting was always preferred.

“Come on then, Sherlock,” said Molly. 

She took his arm and lead him over to their table. No one was sitting. Most of the guests were at the bar, mingling with people who were not Sherlock Holmes. The Maltesers cake sat in the middle of the table, the pièce de résistance surrounded by a jumble of brightly wrapped packages.

Six scarves. One NSY commemorative gold plated biro. Two 16oz bottles of cheap cologne. Three empty, generic birthday cards. A box of dodgy bags (for soil samples) and a good pair of polycarbonate goggles. Somewhat useful. Largely cheap and unimaginative. May I go now?

“Oi!” 

“No,” said Mrs Hudson sternly. And Sherlock realised he’d said all that out loud. “You’ll have cake, young man. At the very least!” 

 He sighed in a very dramatic, drawn out manner, but waved at her to get on with it. 

“Haven’t missed gifts then, have I?” Mrs Hudson’s stern expression melted into joy and surprise, and then just as quickly fell in shock. Molly smiled tentatively. Greg grinned and said, “Hey! Who’s he when he’s at home?” but it didn’t reach his eyes. 

 Sherlock turned to face John and everything spiraled into chaos. His thoughts turned rapidly, flying past, deductions were chewed but not swallowed; an explosion of data, a cacophony of high emotion, all swirling about like a twister in his head.

Fujita scale. Missed breakfast. 8th to the 23rd. Shirt. Two sizes too big. Cold. Tremors–richter. Ate four mints taking the tube from soho, sat beside a baby with gripe. 6144 hours in 256 days. £10 charity bin coat. Recent bath. Dry skin. Trainers. Polyurethane. EVA. Dirty laces. But he doesn’t wear trainers. He doesn’t wear them. Wrong. Wrong. Wrong.

“John,” he said. 

 John smiled up at him and took his hands out from the warmth of his armpits. He stamped his feet a bit too, to get the snow off. 

“Got you something.” His cheek dimpled. “It’s not a severed limb, sorry.” 

He pulled a badly wrapped package from out of his coat. “Here.” 

 Sherlock looked at it and could not deduce what it was. He tore off the paper, feeling the three interlopers at his back move forward to look, and in his hand was a small black jewelry box. 

“Friendship bracelet?” Sherlock said without thinking. 

John did not scowl, like he thought John would. There was a tentative spark in his too-large eyes instead, a cautious, shy smile. Sherlock swallowed. 

“Something like that,” John said, sternocleidomastoids undulating (and ah, sesquipedalian anatomical descriptors! How his thoughts raced. Focus!)

Sherlock opened the box, and on a cotton pillow there was a pile of little strips of glossy white paper. On each was a printed fortune. 

“You always took the piss about me keeping them,” explained John. “But that’s every fortune I’ve opened with you, since the cabbie.” 

Sherlock shuffled through them with one finger. “Did any of them come true?” 

John laughed. “A few,” he acknowledged. Shrugging. And there went his neck muscles again. 

“Would you like a scarf?” blurted Sherlock. He put down his box of fortune cookie fortunes and picked up one of his presents. “I’ve got six of them. Most were purchased for £8 or less. A reasonably useful, if dull gift. I’ll likely only use them to mop up chemical spills or in the very unlikely case of desperation from lack of proper accessories, but seeing as I have a number of cashmere and silk scarves the chances of that are slim.” 

 John was smiling at him. 

“Not that you look desperate,” he babbled. You just seem–“ 

"Cold?” John offered.

Wrong. Wrong. Wrong. What’s happenedwhat'shappened8monthsjohnhowin8monthspleaseyouresoloudandwrongwrongwrong–

“Yes,” whispered Sherlock. “That.” 

 Mrs Hudson seemed to have gathered her wits, and she put a hand on John’s arm. “Have some cake, John, won’t you? I made it special for our Sherlock, he loves Maltesers–” 

 “Nope.” 

 “–and we’re so grateful you could make it, Mycroft said he would invite you–” 

“He what?” Sherlock spat. 

 “Ah, sorry,” John told them all. “I’ve got to run. Just wanted to drop my gift off. Check in on Himself, you know.” 

 Mrs Hudson did not know, judging by her disapproving expression. Sherlock swallowed, no longer worrying his anger at his brother. His mouth was dry.

“Right. Of course. Thank you for stopping by,” he recited. 

They were learned manners from…somewhere. His chest hurt. John reached out and touched Sherlock’s arm. His lips were chapped. His fingers thin and pale. 

“It was good to see you, Sherlock,” he said, visibly struggling despite his normal stoicism. “Happy birthday.” 

“I–” The hand retreated. His chest was aching. So many things he wanted to say and do but Sherlock was paralyzed by despair. There was a tiny John in his chest, snipping at his heart strings. “Thank you.” 

John patted him on the arm. Gave him a thin smile. And then he turned and left.

A star, though sustained by nuclear fusion, will eventually run out of fuel and collapse. It expands. Carbon. Iron. Supernovae. Sinking downward. Pressing dark matter. Becoming a place not even light can escape. Caught in the event horizon, the body stretches. Subatomic particles lost in an abyss. In front of you, the past. Behind you, the future. And entropy. And entropy. Gone.

[nofomoartworld]

Fingerprint Portraits of Serial Killers Are a Pointillist's Nightmare

Faces materialize out of a cloud of inky smudges on white paper, like figures emerging from thick fog. They appear slightly out of focus, like fragments remembered from a dream. An icy stare from one subject, a clamped jaw on another, suggests that these aren't portraits of your average citizen. Executed in a single night session in 1993, Maciej Toporowicz's 42 gouache paintings depict infamous serial killers. Made from his own fingerprints, the chilling portraits interrogate identity and form a deeply personal study of those human monsters who remain subjects of scientific analysis and pop culture fascination.

Though nearly 25 years old, the Serial Killers series feels enduringly electric. Stare at them for a while, and you feel the hairs on the back of your neck stand up. "The quest for identity is a primal quest of our human kind. We are thrown on this planet without any clue for the very reason of being. We are striving to get some answers for the unanswerable," Toporowicz tells Creators. "Since we search in the dark, it helps to use intuition rather than rational means. We may realize one day, that we carry all past, present, and future in us already. We are the star dust. In Serial Killers, I channeled identity of killers in order to make a set of portraits."

Installation shot from the 2017 SPRING/BREAK Art Show. Photo by Monika Fabijanska.

That subversive intrigue is much of the reason why curator Monika Fabijanska chose to, once again, present Serial Killers publicly at the 2017 SPRING/BREAK Art Show, which had the theme, "Black Mirror." "Choosing 42 portraits of serial murderers, I played with the fact that even if the artist didn't represent himself, he left his identity marks in the work, made with his fingerprints. But most importantly, I wanted to make an argument that any act of transgression that an artist makes (and this work certainly represents one, especially that all 42 portraits were created during one night, in a single frenzy session), becomes a part of his autobiography, a lived-through moment," Fabijanska says.

Serial Killers is but one manifestation of Toporowicz's fascination with popular culture, violence, and death; his oeuvre is filled with work circling similar themes. Also on view at SPRING/BREAK were Fingerprints (1993), enlarged fingerprints silkscreened in glue on paper or plexiglass and covered with human hair, and Disney Targets (2015), which interrogate gun culture using childlike imagery. "The DNA of the human hair in [Fingerprints] doesn't match the papillary lines: the artist merged several people in each 'portrait' pointing at the complexity of identity and its concepts," Fabijanska says. While Serial Killers is a mix of criticism and fascination, Disney Targets is a more biting critique of society, fueled by mass shootings, police killings of black people, and the role of guns in American family life.

Installation shot from the 2017 SPRING/BREAK Art Show. Photo by Monika Fabijanska.

"It must have been the early education in communist Poland that gave me ideas to subvert and question authority," Toporowicz says. "I was also an escape artist as a child. My mother would send me to winter and summer camps, and I would escape from it because I didn't like discipline and order. In the end, I escaped to the US for good. Many of my projects like Stamps (1993–1995), Shiseido (1997), Obsession (1993) and others were either illegal or borderline legal. The legal framework built by society to contain its citizens needs to be questioned. I never lost my desire to pursue this path."

In Car Plates (2015) and Car Crashes (2015–2016), Toporowicz's subjects are the vehicles and license plates of the cars in which famous figures like James Dean, Jackson Pollock, and Bonnie and Clyde were killed. The process requires painstaking research: most film documentation of these deaths are in black-and-white, and in many cases, the plates aren't clearly visible in frozen stills. Toporowicz tackles the project almost archaeologically—a reading of American history through car culture. Recently, the series has been augmented with paintings that have nothing to do with death, like that of the license plate from the bus Rosa Parks rode in Montgomery, AL.

"When I painted the license plate of the car in which John F. Kennedy was shot in Dallas, I channeled the very moment it occurred. It is a form of transference between me and people, as well as historical events," Toporowicz says. "Hal Foster created the term of artist as ethnographer. I can add to this mix the role of artist as internet archeologist, forever searching for wrinkles in the web continuum. As an artist, I see myself as a medium and time traveler in the vast realm of being."

Maciej Toporowicz, Bonnie and Clyde, 2015, acrylic on canvas, 8x24 in © Maciej Toporowicz 2016. Courtesy of the Artist and Monika Fabijanska.

Maciej Toporowicz, JFK, 2015, acrylic on canvas, 10x20 in © Maciej Toporowicz 2016. Courtesy of the artist and Monika Fabijanska.

Maciej Toporowicz, Bullitt, 2015, acrylic on canvas, 10x20 in © Maciej Toporowicz 2016. Courtesy of the artist and Monika Fabijanska.

Maciej Toporowicz, Vanishing Point, 2015, acrylic on canvas, 10x20 in © Maciej Toporowicz 2016. Courtesy of the artist and Monika Fabijanska.

Related:

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[luminous-nails]

Cute Geometric Black & Silver Gel Nails... Soft Gel overlay with young nails mani q black 101, silver glitter, young nails escape artist stamping plates, silver striping tape, Swarovski crystals.

[meghansingleton425]

Playboy Spring 2019 #photowallcollage Playboy Spring 2019 – Playboy Frühling 2…

Playboy Spring 2019 #photowallcollage Playboy Spring 2019 – Playboy Frühling 2019 #photowallcollage Playboy Frühling 2019 –

Developments come and go; more often than not. However; several escape the mold and become timeless classics interior-lovers can’t get enough of. We all love the development of contemporary kitchen design suggestions; but there are many old absolute favorites that won’t be heading anywhere soon. 2020 can be described as year stuffed with classic interior design trends we all love. Read on to discover the top kitchen trends 2020 has to offer which might be here to stay! 1 . Layered Lamps Kitchen Developments 2020 Eclectic kitchen design and style trends simply by Decorilla custom made; Francis Deb. Since the intro of layered light not too long ago; we’re not turning back again. Working with distinct levels of light enables designers to create an atmosphere that they can couldn’t before. Regardless of Interior Design Style; task and accent lighting is weaved into the kitchen’s blueprint. Contemporary kitchen home design by Decorilla interior developer; Betsy Meters. 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Architects and interior designers alike are taking the best trends and constantly reinventing the kitchen layout to include storage; wise technology; and seamless circulation into modern-day homes. several. Open Shelving in Home Design Home interior design by Decorilla artist; Corine M. Styles and trends in the past frequently get a review; and Kitchen Open Shelves is one particular golden-oldie. Open up shelves were a necessity and not a kitchen cabinets trend. Before the arrival in the cabinets; 19th-century kitchens were basic with open racks lining the walls. Kitchen style trends 2020 – striking and colourful pops Shelves took a back seats for a few ages until it re-emerged as a great on-trend plate holder in the 1950s. Luckily; the contemporary counterpart is minimalist and useful. With open up shelving homeowners and designers can customise a house to truly put their style-stamp on it. some. 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Not merely is the lunchtime bar a great place to fill up on nutrition; but it is likewise the perfect spot to add conveniences into the house. This trend was the conclusion of the evolution of two furniture pieces: the dining table (later a breakfast nook) plus the kitchen area. Kitchen design and style trends – breakfast bar The lunch break bar can house units and also two times as informal seating although you’re amusing; which is for what reason this craze is so popular. Many modern-day homes have got islands with seating and pendant signals that create a lovely feature vignette in the kitchen. 6. Shaker Home Cabinets Happen to be Here To Stay Kitchen interior design by Decorilla home designer; Aldrin C. Kitchen areas cabinets which may have door methodologies are often in a five-panel shaker style. The word Shakers refers to a religious sect that supported minimal living and making the furniture themselves. The Shakers came up with the shaker design and also the first shaker-style pantry. Kitchen developments 2020 – shaker cabinet The shaker kitchen cupboards were made popular because of its reality and modern day aesthetic. Today we’re consequently accustomed to this form of cabinetry that people might not detect how innovative this design was for its time. several. Kitchen Styles 2020: Butcher’s Block Desks Kitchen trends 2020 ~ butcher stop counters Butcher blocks have grown to be a must-have in designer dining rooms; but their origin is very simple. Blacksmiths applied softwood as an anvil shock absorber; and butchers employed hard timber as a surface for carving meat; and so the name “butcher block”. Kitchen pattern 2020- grocer block desks Today; thickly cut wood with a neutral finish is often as beautiful as it is functional. The modest butcher’s block progressed from a great industrious worktop to a sensible trend and has become a house essential; alongside pots and pans. Whether you want a compact butcher block out or a wooden island; you won’t go wrong by adding this kind of piece of characteristics into your house. Inspired to add timeless home trends with your home? Routine a Free Interior Design Consultation with among Decorilla’s experienced designers today! [images: 1; two; 3; four; 5; 6; 7; eight; 9; twelve; 11; doze; 13; 13; 15; of sixteen; 17; 18]; room storage area

The post Playboy Spring 2019 #photowallcollage Playboy Spring 2019 – Playboy Frühling 2… appeared first on E-Commerce Revolution.

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[meghansingleton425]

Night of the Arts!

Tendencies come and go; quite often. However; several escape the mold and be timeless classics interior-lovers cannot get more than enough of. We love the creativity of contemporary kitchen design ideas; but there are a few old bookmarks that will not be going anywhere rapidly. 2020 can be described as year filled with classic home design trends we all like. Read on to discover the top home trends 2020 has to offer that are here to stay! 1 . Layered Lighting Kitchen Tendencies 2020 Varied kitchen design and style trends by Decorilla developer; Francis Deb. Since the launch of split light a short time ago; we’re certainly not turning again. Working with diverse levels of light enables designers to create an atmosphere that they couldn’t before. Regardless of Interior Design Style; task and accent lamps is woven into the kitchen’s blueprint. Modern kitchen interior planning by Decorilla interior artist; Betsy Meters. We can all become very thankful for this house trend. Now; dark nooks and crannies are a point of the recent and so is known as a stark over-lit kitchen. installment payments on your Kitchen Tendencies 2020 Favourite: Open-Plan Home Remodel Simple kitchen interior design by Decorilla designer; Sonia C. A high requirement of a home renovators have is usually an open-plan kitchen area. Ever-evolving interior templates have altered from cubicle-like spaces inside the early twentieth century to wall-less living. Today; people rely on housing code through shelving and furniture to create specific areas at home. Home interior planning by Decorilla interior designer; Lauren A. Open-plan is still a priority and tops your kitchen remodel developments; as households are much more integrated than they were at the beginning of the hundred years. Architects and interior designers alike take the best tendencies and continuously reinventing your kitchen layout to incorporate storage; intelligent technology; and seamless movement into contemporary homes. several. Open Storage solution in Home Design House interior design by Decorilla artist; Corine Meters. Styles and trends in the past often get a revisit; and Home Open Shelving is one such golden-oldie. Start shelves had been a necessity and not a kitchen cabinet trend. Ahead of the arrival from the cabinets; 19th-century kitchens had been basic with open racks lining them. Kitchen style trends 2020 – strong and vibrant pops Shelving took a back couch for a few decades until it re-emerged as a great on-trend plate holder in the year 1950s. Luckily; the contemporary opposite number is smart and functional. With open shelving homeowners and designers can customise a home to truly put their style-stamp on it. four. Classic Home Trends 2020: Tile House interior design by simply Decorilla room designer; Corine M. Floor tiles are yet another great sort of how a preloved trend acquired a makeover. Colorful feature walls with Mexican flooring; backsplashes with subway flooring; and even checkered floor tiles were most hot house trends. That they continue to consume the attention of trendsetters and homemakers as well. Kitchen tendency – backsplash design Tiles are useful; replaceable and sturdy; which makes them a firm favorite in the kitchen renovate trends. All their ceramic; concrete floor; cork or perhaps glass material base also make them a greener option; which is a plus for the environmentally-friendly design and style community. 5. Essential House Design Component: The Breakfast Bar House design by simply Decorilla room designer; Aldrin C. Not merely is the lunch break bar a fantastic place to complete on nutrition; but it is additionally the perfect place to add conveniences into the home. This trend was the conclusion of the advancement of two furniture pieces: the dining table (later a lunchtime nook) as well as the kitchen island. Kitchen style trends : breakfast pub The lunch break bar may house cabinets and also double as informal seating while you’re amusing; which is for what reason this trend is so favorite. Many modern day homes include islands with seating and pendant lights that create an attractive feature vignette in the kitchen. 6th. Shaker Kitchen Cabinets Happen to be Here To Stay House interior design simply by Decorilla in house designer; Aldrin C. Kitchen areas cabinets that have door face are often in a five-panel shaker style. The definition of Shakers identifies a religious sect that believed in minimal living and making the pieces of furniture themselves. The Shakers created the shaker design and also the first shaker-style pantry. Kitchen tendencies 2020 ~ shaker case The shaker kitchen cabinets were made renowned because of its usefulness and contemporary aesthetic. Today we’re consequently accustomed to this form of cabinetry that people might not notice how progressive this design and style was due to its time. several. Kitchen Trends 2020: Butcher’s Block Counter tops Kitchen styles 2020 – butcher wedge counters Butcher shop blocks have grown to be a must-have in designer kitchen sets; but their beginning is very humble. Blacksmiths used softwood because an anvil shock absorber; and butchers applied hard timber as a surface for carving meat; and so the name “butcher block”. Kitchen craze 2020- butchers block counters Today; thickly cut timber with a simple finish is often as beautiful as it is functional. The modest butcher’s block grew from an industrious worktop to a functional trend and has become a house essential; together with pots and pans. İf you want a small butcher stop or a solid wood island; you won’t go wrong by adding this piece of mother nature into your home. Inspired to add timeless house trends with your home? Routine a Free Interior Design Discussion with one of Decorilla’s experienced designers today! [images: 1; two; 3; four; 5; 6; 7; almost eight; 9; 12; 11; doze; 13; 18; 15; sixteen; 17; 18]; room storage

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Kartell Largo 7160, grau Kartell

Kartell Largo 7160, grau Kartell

Developments come and go; quite often. However; some escape the mold and become timeless timeless classics interior-lovers cannot get enough of. We love the creativity of contemporary house design suggestions; but there are a few old bookmarks that would not be going anywhere rapidly. 2020 is a year filled with classic interior design trends we all like. Read on to have the top house trends 2020 has to offer that are here to stay! 1 . Layered Lamps Kitchen Styles 2020 Contemporary kitchen design and style trends by Decorilla designer; Francis G. Since the advantages of split light a short time ago; we’re not turning back. Working with distinct levels of light enables designers to create a great atmosphere that they can couldn’t ahead of. Regardless of Interior Design Design; task and accent lighting is sewn into the kitchen’s blueprint. Modern day kitchen home design by Decorilla interior artist; Betsy Meters. We can all end up being very thankful for this kitchen trend. Right now; dark nooks and crannies are a factor of the former and so is known as a stark over-lit kitchen. 2 . Kitchen Developments 2020 Chosen: Open-Plan Kitchen Remodel Natural kitchen interior planning by Decorilla designer; Sonia C. A high requirement of a home renovators have is usually an open-plan kitchen area. Ever-evolving interior layouts have changed from cubicle-like spaces in the early twentieth century to wall-less living. Today; households rely on zoning through storage solution and pieces of furniture to create specific areas at home. Home interior design by Decorilla interior designer; Lauren A. Open-plan is a priority and tops your kitchen remodel trends; as people are much considerably more integrated than they were at the start of the century. Architects and interior designers alike are taking the best tendencies and continuously reinventing your kitchen layout to incorporate storage; smart technology; and seamless circulation into modern-day homes. several. Open Shelving in Kitchen Design Kitchen interior design simply by Decorilla designer; Corine Meters. Styles and trends in the past often get a visit again; and Home Open Shelving is one golden-oldie. Open shelves had been a necessity and never a kitchen cabinets trend. Before the arrival of the cabinets; 19th-century kitchens were basic with open cabinets lining the walls. Kitchen design and style trends 2020 – strong and colorful pops Shelves took a back couch for a few years until it re-emerged as a great on-trend plate holder in the year 1950s. Luckily; the contemporary equal is minimalist and useful. With open shelving homeowners and designers can modify a kitchen to truly put their style-stamp on it. some. Classic Home Trends 2020: Tile House interior design by Decorilla room designer; Corine M. Tiles are another great sort of how a preloved trend received a transformation. Colorful feature walls with Mexican ceramic tile; backsplashes with subway flooring; and even checkered floor floor tiles were almost all hot home trends. They continue to captivate the attention of trendsetters and homemakers equally. Kitchen tendency – back splash design Porcelain tiles are useful; replaceable and sturdy; which makes these people a firm chosen in the kitchen renovate trends. Their ceramic; concrete floor; cork or glass material base also make them a greener alternative; which is an in addition for the environmentally-friendly design community. a few. Essential Kitchen Design Aspect: The Breakfast time Bar House design simply by Decorilla in house designer; Aldrin C. Not simply is the lunchtime bar an excellent place to fill on nourishment; but it is usually the perfect spot to add conveniences into the kitchen. This trend was the conclusion of the progression of two furniture pieces: the dining table (later a lunchtime nook) as well as the kitchen isle. Kitchen style trends : breakfast club The lunch break bar can easily house cupboards and also double as everyday seating while you’re entertaining; which is exactly why this pattern is so favorite. Many modern day homes have islands with seating and pendant lights that create a wonderful feature vignette in the kitchen. six. Shaker Home Cabinets Will be Here To Stay Home interior design by Decorilla interior designer; Aldrin C. Dining rooms cabinets which have door methodologies are often within a five-panel shaker style. The definition of Shakers refers to a religious sect that supported minimal living and making the household furniture themselves. The Shakers created the shaker design and also the initial shaker-style case. Kitchen tendencies 2020 – shaker pantry The shaker kitchen cabinetry were made famous because of its usefulness and modern aesthetic. Today we’re so accustomed to this style of cabinetry that people might not see how innovative this design and style was because of its time. several. Kitchen Developments 2020: Butcher’s Block Counter tops Kitchen fashion 2020 ~ butcher block out counters Butcher blocks are becoming a must-have in designer kitchen areas; but their beginning is very modest. Blacksmiths used softwood since an anvil shock absorber; and butchers employed hard timber as an area for carving meat; hence the name “butcher block”. Kitchen trend 2020- butchers block counters Today; thickly cut timber with a natural finish can be as beautiful as it is functional. The modest butcher’s block progressed from a great industrious worktop to a sensible trend and has become a house essential; along with pots and pans. İf you want a small butcher stop or a wood island; you won’t make a mistake by adding this kind of piece of characteristics into your home. Inspired to add timeless kitchen trends into your home? Routine a Free Interior Design Consultation with among Decorilla’s experienced designers today! [images: 1; 2; 3; four; 5; 6; 7; 8; 9; 12; 11; doze; 13; 13; 15; of sixteen; 17; 18]; room storage

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[watchilove]

MB&F brings back one their cool clock – Destination Moon. Created with L’Epée 1839, the new table clock comes with daring red accents. All the usual details can be found again in this imagination daring machinery. Check below the integral press release.

Reality sucks! In the 1960s, science fiction had us flying through the air on hoverboards and our imaginations soared, but we ended up with non-hovering boards with wheels on solid ground. Science fiction promised us 3D TV and engineers delivered, but we took one look, felt queasy and out they went. Science fiction filled our imaginations with elegant ovoid-shaped rockets that would fly us to the moon and beyond. Again engineers delivered, but the rockets, although eminently practical, ended up being straight, uninspiring cylinders.

Some things are best left to the imagination and MB&F’s Destination Moon does just that. It delivers just enough engineering for an eight-day clock looking like an exciting science fiction rocket from the 1960s, but with plentiful empty space allowing our imaginations to fill in the details.

Conceived by MB&F and built by L’Epée 1839, Switzerland’s premier clock maker, Destination Moon is the quintessential torpedo-shaped rocket of childhood dreams. But look more closely and you will see that its minimalistic form is evocative rather than definitive.

Hours and minutes are displayed on large diameter stainless steel discs with stamped numerals. While the legibility of the time display is not in question, focusing on the time rather than the spectacular, vertically-structured, open movement is likely to require deep concentration.

Developed specifically for Destination Moon, the architecture of L’Epée’s eight-day movement follows the basic design of a real spaceship. Power in a rocket comes from its base; the power for Destination Moon comes from the oversized winding crown in its base. The management and control systems of a rocket are above the power source; the same holds true for Destination Moon, which has a vertical regulator controlling precision below the time display, as well as a time-setting knob at the top of the movement. That eye-catching regulator with its animated balance is protected from cosmic radiation (and curious fingers) by a small panel of virtually invisible mineral glass.

In a further tip of the hat to childhood toys and fantasies, the horizontal circular plates in Destination Moon’s movement are perforated like Meccano components. Despite its ethereal openwork construction, at four kilograms (nine pounds) Destination Moon is no lightweight: its solid landing pods ensure that it will not easily be knocked off course (or knocked over).

And then there’s Neil: a smile-inducing, space-suited figurine forged in solid silver and stainless steel, magnetically attached to the ladder connecting the crown to the movement. Neil is the astronaut flying Destination Moon to exotic worlds, but more importantly, Neil imparts a childlike sense of wonder by putting man into the machine.

Destination Moon is available in 5 limited editions of 50 pieces each in black, green, blue and red, plus palladium (silver).

Destination Moon in detail

Inspiration

Destination Moon is a true collaboration between L’Epée 1839 and MB&F; the base concept originated with L’Epée movement designer and sci-fi rocket fan Nicolas Bringuet, who came up with the idea for the movement’s distinctive vertical architecture. Driven by passion, Bringuet designed the movement over one long, largely sleep-free, weekend. L’Epée then contacted MB&F wondering if some type of spacecraft might be designed around the movement and the project blasted off.

MB&F intern-designer Stefano Panterotto came up with the basic shape, however it initially looked too realistically rocket-like and that something magical was missing. Paradoxically, the answer to adding magic was in removing the skin of the rocket so it both looked more technical − helped by the perforated Meccano-like movement plates− and acted as a framework for the viewer’s imagination.

The real magic of Destination Moon is space; not the space of the cosmos above our heads, but the largely empty space that is Destination Moon. If the body of the rocket was completely covered, observers would see the rocket of somebody else’s youth, but because the rocket-themed desktop clock is in reality a largely empty, perforated frame, those viewing Destination Moon are each likely to see a slightly different spacecraft: the rocket of their own childhood rather than somebody else’s… Space isn’t empty; it’s filled by imagination.

Realisation

While designed by MB&F, Destination Moon was constructed by L’Epée 1839, Switzerland’s premier producer of high-end clocks. The concentric vertical construction of the eight-day movement was developed especially for Destination Moon, but it also draws strong parallels with MB&F’s recently launched Horological Machine No.7 Aquapod: while one is a spacecraft-inspired table clock and the other a jellyfish-inspired aquatic wristwatch, both feature movements comprising concentric vertical architecture and both are powered from their base.

Perhaps the crowning jewel of Destination Moon – its apogee if you will – is the small figure on the ladder at its base: Neil. Constructed of solid sterling silver with a stainless steel helmet and wearing a 1960s-style spacesuit, Neil brings a playful human element to the engineering of the Meccano-style openwork of the spaceship and its clockwork. Neil magnetically attaches anywhere along Destination Moon’s boarding ladder. Whether he is embarking to take off for an adventure in space, or disembarking for an adventure on the moon’s surface is up to the individual viewer’s imagination.

Clockwork

Power for Destination Moon comes from the massive crown in its base, which transfers power to the mainspring barrel via the boarding ladder. The eye-catching regulator is vertically positioned to allow for maximum appreciation and protected from curious fingers behind a panel of mineral glass.

Two stainless steel discs with stamped white numerals respectively indicate the hours (top) and minutes as they line up with the streamlined double-ended pointer above the regulator. The time is set by a central knob in at the very top of the movement.

The stability of the clock is ensured by the substantial weight of Destination Moon’s three landing pods.

MB&F + L’Epée 1839 Destination Moon Technical Specifications

Destination Moon is available in 5 limited editions of 50 pieces each in black, green, blue and red, plus palladium (silver).

Displays

Hour and minute indications stamped on rotating stainless steel discs

Rocket

Dimensions: 41.4 cm (height) x 23.3 cm (diameter)

Weight: 4.0 kg

Frame: satin-finished stainless steel

Landing pods: palladium-plated brass with PVD coating for the blue, green, black editions or aluminium anodized red for the red edition.

Total components (including movement): 237

Neil (astronaut figurine)

Solid polished silver with stainless steel helmet; attached magnetically to boarding ladder.

Movement

Designed and manufactured in-house by L’Epée 1839

Multi-stage vertical architecture

Balance frequency: 2.5 Hz / 18,000 bph

Power reserve: 8 days from single barrel

Movement components: 164

Jewels: 17

Incabloc shock protection system protected by mineral glass

Materials: palladium-plated brass, stainless steel and nickel-plated stainless steel

Movement finishing: polishing, bead-blasting and satin finishing

Winding: manual winding by rotating the propulsion wheel at the base of the rocket

Setting: time-setting knob at the top of the movement, above the indication rings

L’EPEE 1839 – the premier clock manufacture in Switzerland

Dedicated to making high-end clocks, L’Epée has been a prominent Swiss Manufacture for over 180 years. Founded in 1839 by Auguste L’Epée in France’s Besançon region, the company originally focused on producing music boxes and watch components. The brand was synonymous at the time with entirely hand-made pieces.

From 1850 onwards, the Manufacture became a leading light in the production of ‘platform’ escapements, creating regulators especially for alarm and table clocks, as well as musical watches. It became a well-known specialist owning a large number of patents on exceptional escapements and the chief supplier of escapements to several celebrated watchmakers of the day. L’Epée has won a number of gold medal awards at international exhibitions.

During the 20th century, L’Epée owed much of its reputation to its superlative carriage clocks; for many, the clock of the influential and powerful, in addition to being the gift of choice of French government officials to elite guests. In 1976 when the Concorde supersonic aircraft entered commercial service, L’Epée wall clocks were chosen to furnish the cabins, providing passengers with visual feedback of the time. In 1994, L’Epée showed its thirst for a challenge when it built the world’s biggest clock with a compensated pendulum, the Giant Regulator, the making of which is celebrated in the Guinness Book of Records.

L’Epée 1839 is now based in Delémont in the Swiss Jura Mountains. Under the impetus of its CEO Arnaud Nicolas, it has developed an exceptional table clock collection, encompassing a full range of sophisticated clocks.

The collection is based around three themes:

Creative Art – first and foremost artistic models often developed in partnership with external designers as joint creations. These clocks surprise, inspire and sometimes even shock the most seasoned collectors. They are intended for those consciously or unconsciously looking for exceptional, one of a kind objects.

Contemporary Timepieces – technical creations with a contemporary design (Le Duel, Duet, etc.) and minimalist, avant-garde models (La Tour), incorporating complications such as retrograde seconds, power-reserve indicators, moon phases, tourbillons, chiming mechanisms and perpetual calendars.

Carriage Clocks – carriage clocks, also known as “officer’s clocks”. These historical models stemming from the brand heritage also feature their fair share of complications: chiming mechanisms, minute repeaters, calendars, moon phases, tourbillons and more.

All models are designed and manufactured in-house. Their technical prowess, combination of form and function, very long power reserves and remarkable finishes have become signature features of the brand.

Max Busser and Arnaud Nicolas

MB&F – Genesis of a Concept Laboratory

Founded in 2005, MB&F is the world’s first-ever horological concept laboratory. With almost 20 remarkable calibres forming the base of the critically acclaimed Horological and Legacy Machines, MB&F is continuing to follow Founder and Creative Director Maximilian Büsser’s vision of creating 3-D kinetic art by deconstructing traditional watchmaking.

After 15 years managing prestigious watch brands, Maximilian Büsser resigned from his Managing Director position at Harry Winston in 2005 to create MB&F – Maximilian Büsser & Friends. MB&F is an artistic and micro-engineering laboratory dedicated to designing and crafting small series of radical concept watches by bringing together talented horological professionals that Büsser both respects and enjoys working with.

In 2007, MB&F unveiled its first Horological Machine, HM1. HM1’s sculptured, three-dimensional case and beautifully finished engine (movement) set the standard for the idiosyncratic Horological Machines that have followed – all Machines that tell the time, rather than Machines to tell the time. The Horological Machines have explored space (HM2, HM3, HM6), the sky (HM4, HM9), the road (HM5, HMX, HM8) and the animal kingdom (HM7, HM10).

In 2011, MB&F launched its round-cased Legacy Machine collection. These more classical pieces – classical for MB&F, that is – pay tribute to nineteenth-century watchmaking excellence by reinterpreting complications from the great horological innovators of yesteryear to create contemporary objets d’art. LM1 and LM2 were followed by LM101, the first MB&F Machine to feature a movement developed entirely in-house. LM Perpetual, LM Split Escapement and LM Thunderdome broadened the collection further. 2019 marked a turning point with the creation of the first MB&F Machine dedicated to women: LM FlyingT. MB&F generally alternates between launching contemporary, resolutely unconventional Horological Machines and historically inspired Legacy Machines.

As the F stands for Friends, it was only natural for MB&F to develop collaborations with artists, watchmakers, designers and manufacturers they admire.

This brought about two new categories: Performance Art and Co-creations. While Performance Art pieces are MB&F machines revisited by external creative talent, Co-creations are not wristwatches but other types of machines, engineered and crafted by unique Swiss Manufactures from MB&F ideas and designs. Many of these Co-creations, such as the clocks created with L’Epée 1839, tell the time while collaborations with Reuge and Caran d’Ache generated other forms of mechanical art.

To give all these machines an appropriate platform, Büsser had the idea of placing them in an art gallery alongside various forms of mechanical art created by other artists, rather than in a traditional storefront. This brought about the creation of the first MB&F M.A.D.Gallery (M.A.D. stands for Mechanical Art Devices) in Geneva, which would later be followed by M.A.D.Galleries in Taipei, Dubai and Hong Kong.

There have been distinguished accolades reminding us of the innovative nature of MB&F’s journey so far. To name a few, there have been no less than 5 Grand Prix awards from the famous Grand Prix d’Horlogerie de Genève: in 2019, the prize for Best Ladies Complication went to the LM FlyingT, in 2016, LM Perpetual won the Best Calendar Watch award; in 2012, Legacy Machine No.1 was awarded both the Public Prize (voted for by horology fans) and the Best Men’s Watch Prize (voted for by the professional jury). In 2010, MB&F won Best Concept and Design Watch for the HM4 Thunderbolt. In 2015 MB&F received a Red Dot: Best of the Best award – the top prize at the international Red Dot Awards – for the HM6 Space Pirate.

MB&F + L’Epée 1839 Destination Moon MB&F brings back one their cool clock - Destination Moon. Created with L’Epée 1839, the new table clock comes with daring red accents.