#radeviant

[animal-creature]

"DNI: paraphiles" ah yes, excluding literally more than half of the population. If you do this you have no idea how common paraphilias are. And you probably think that the only paraphilias to exist are the big three. (Reminder that any kinks and fetishes are paraphilias too) No knowledge of the topic whatsoever

[paint-id]

Name: Helena Dufour Marina Kardos

Sign: Radeviant

(Cis) Blood Color: Gold

Handle: aureusGenuflection

Pronouns: He/They

Lunar Sway: CisProspit, TransDerse

Classpect: Sylph of Life

Typing Quirk: Every instance of the letter N is replaced by this ⋒ symbol. Frowning emoticons look like this °∩°.

Marina is DiaHemospectrumial FuchsiaBlood/TransFuchsiaBlood, TransLunarSway, and TransSeadweller.

High-energy and often anxiety-prone, Marina can both invigorate and stress out those around him, including themselves. Their need for alone time with personal projects stems from a desire to manage this anxiety. With a range of interests, from marine biology to anthropology (or whatever the troll equivalent would be), they balance an instinctual and flexible nature with a preference for a structured set of rules.

Deeply empathetic, they are dedicated to self-improvement, the betterment of others, and positive societal progress. He often prioritizes others' needs over their own, which can lead to bitterness when his self-care is neglected, resulting in passive-aggressive behavior. At their best, they are an attentive listener, a compassionate caretaker, and a nurturing individual. However, when his own needs are consistently sidelined, their supportive nature can turn pushy and resentful. Overall, though, he's an excellent friend and co-player.

@problema-non-grata @start-where-i-end

Sprites made here.

[kdoish]

Friendly (ish) reminder that no one owes you mention of their bodily race, ethnicity, nationality, or culture. It's the same as not wanting to mention age, or appearance, or any feature of yourself.

[transpluralsunite]

send us asks this blog needs to be revived

[acceptotherpeople]

Hello! I'm checking if anything I post from this sideblog is able to show up in tags. Apologies for the spam.

I guess since I'm already posting in the tags -- if you're a paraphiliac or transID, remember that there's nothing wrong with you, no matter what antis may say. It's hard to be marginalized, but we're strong and we'll all get through this. ❤️ 💪

- @the-diva-of-the-damned

[dyspunktional-leviathan]

Radeviant emoji combo suggestion: 🌈🌅

Or perhaps just 🌅

[buscandoelparaiso]

liz caporale e' inutile che dici 'ma come chiedi scusa' alle atlete che si commuovono fino a due giorni fa le radevi al suolo se si permettevano di provare un'emozione................

[animal-creature]

If any transid or para needs to hear this,

You will be alright.

You will be safe, you will be comfortable, you will be free, you will be happy.

We will be accepted. It's inevitable. We're making progress day by day. Our communities grow rapidly, people who were once skeptical change their minds and become accepting.

You will survive, and you will live.

Please keep going on.

There's always someone fighting for you.

[kdoish]

obligatory "Please don't follow us if you're okay with being around that one white supremacist" post. Please keep the radqueer/radeviant community a safe space for folk.

[architectuul]

Forgotten Kana’s Masterpieces

You might find works of Svetlana Kana Radević (1937-2000) at the collateral event at the XVII Biennale Architettura, organised by the APSS Institute. The exhibition showcase some of Kana’s best works, among them being the anti-fascist memorials, hotels, residential projects, and civic buildings. 

We encounter an architect who mediated between geopolitical and societal registers: regionally, negotiating between vernacular building tradition and the globalising tendencies of late modernism; nationally, designing public spaces that facilitated a progressive public sphere in the socialist society of former Yugoslavia; and internationally, articulating a decentralised approach while simultaneously working in Yugoslavia, Japan, and the United States.

Portrait prints from Radević’s  photo archive - shown in the exhibition “Skirting the Center Svetlana Kana Radević, on the Periphery of Postwar Architecture” 

“The Gendered Architect - Through hr five-decade career, Radević assembled a photographic dossier with specific emphasis of her own countenance from late adolescence through the 1990s. The trove of portrait photographs - selection from which are shown here - makes palpable the intention with which she construed a pointedly gendering public image, marshalling affectations of femininity to command authority and visibility in a professional context dominated chiefly by men. Examining her self-presentation in architecture’s disciplinary milieu alongside ephemera depicting her figure in personal or domestic realms sheds light on the multivalent nature if her creative practice as an architect, photographer and an activist,”  wrote the curators Dijana Vučinić and Anna Kats, who succeed to finally position Svetlana Kana Radević among the most prominent architects in socialist Yugoslavia. Photographs, original drawings, correspondences and other documents stem from her private archive, so far unseen by the public and put at disposal to the exhibition team by Kana’s family. The archival materials reflect her stylistic tendency and her character clearly – merging local materials and international Brutalist tendencies, always with one foot in her hometown of Titograd (today’s Podgorica).

Dijana Vučinić’s presentation at the opening in Venice. | Photo Boštjan Bugarič 

Skirting the Center is a highlight in this year’s biennial collateral events because it presents an exceptional and overlooked figure of postwar architecture. The exhibition aims to significantly expand Radević’s representation within the architectural canon by exhibiting the highlights of her built work for the first time the Hotel Podgorica (1964-1967), the most important of Kana’s works, whose design was the winning proposal at the competition. It was also her first important work which placed her at the very top of the architectural scene. The following year it was awarded first the state, and right after the federal Borba award for architecture. 

The balconies of Hotel Podgorica faced the river as the building followed its bend. | Photo Personal Archive of Svetlana Kana Radević

Next is the Hotel Zlatibor (1979-1981), which aimed to make the best of socialist lifestyle accessible to both locals and foreign visitors. It is one of the landmarks of the city of Užice in Serbia, named after the nearby mountains, very popular for winter sports. Due to its gray color, the locals derisively called Sivonja (Gray-ner). The Rocket, called by Uzice dwellers, Hotel Zlatibor was completed in 1981 to replace a former, postwar hotel that had been demolished.

Zlatibor hotel betrays the influence of the Metabolist movement grew out of Japan in the 1960s. Indeed, she worked at the Metabolist Kisho Kurokawa’s office for a period. | Photo Svetlana Kana Radević Legacy Collection, Faculty of Architecture, University of Podgorica

Another great architecture is the Monument to Fallen Fighters at Barutana (1980), a sculptural memorial landscape that commemorates local anti-fascist fighters. The monument is dedicated to the warriors fallen in the liberation wars, starting from the First Balkan war to the Second world war. Grouping different motives - a vertical dominant, a radial sequence of elements, separate groups - she managed to create a unique and moved memorial center. Kana said "One of the most difficult design tasks is the monument because it belongs to the domain of non programmatic architecture. The monument is a fixation of certain act for future generations. But this fixation doesn’t mean oblivion. That’s why the monument must be introduced into the cycle of life. I am not for a monument that is experienced in one moment of intense emotions, in pain, in suffering, but rather for a continued experience, for the liberation of the sanctity and dignity, for the feeling that life triumphs over death." 

Photo Luka Bošković

Kana in front of her monument in Barutana. | Portrait prints from Radević’s  photo archive - shown in the exhibition “Skirting the Center Svetlana Kana Radević, on the Periphery of Postwar Architecture”

--

Skirting the Center - Svetlana Kana Radevic on the Periphery of Postwar Architecture exhibition at Palazzo Palumbo Fossati San Marco 2597, Venice from May 22 to November 21, 2021 a collateral event at the XVII Biennale Architettura is organised by the APSS Institute, Strategist, with the support of the Capital City of Podgorica and under the patronage of the President of Montenegro; curated by Dijana Vučinić, Anna Kats.

[colpiditosse]

Mo m e n t i

Vorrei poterti dire che mi piego ma non mi spezzo  la carte è sottile il pennarello è indelebile  l’inchiostro nero passa in mezzo.  Sentirsi soli è parte del tutto, quello che cerco non lo trovo se mi lasci spazio mi butto.

Mi metto in posizione di combattimento, occhi chiusi, sguardo fermo: non mi tuffo dall’alto, dico che sono coraggiosa e mento sono rimasta ferma per così tanto tempo che riappoggio la penna sul foglio e non riconosco il tratto la superficie è impolverata, mi fermo, la gratto e mi ricordo: ossi di seppia sul comodino, mi rigiro nel letto, la testa è pesante sul cuscino. La cara prende fuoco, brucio tutto non giuro mai che domani me ne vado, e ogni volta resta il lutto. La sconfitta, sentirsi soli, se vai vicino al sole di sciolgono le ali io parlo e sei da un’altra parte, prevalgono i tuoi mali i miei voli sono solo silenziosi, e tu li chiami sleali. Ho appena iniziato e già sento il bisogno di finire, non sono brava a mentire, non sono a posto con i sentimenti, nemmeno con le rime. Tengo sempre i fiori che mi hai regalato vicino alla finestra spero sempre la natura morta si risvegli, porti colore a quel che resta la faccia infastidita alle sei di mattina, io ti ricordo quando il volume pesta, la tua unica abitudine era girare le ansie nella cartina. Non dico nulla di speciale, mi arrendo sul  ritardo del tuo perdono, torno nel letto e mi spremo il cervello: dentro questo grigio c’è tutto, nella vita che ho vissuto non c’è arte, nel frutto dello sforzo il mio ego si è fatto da parte.

Sono capace a parlare banale, Socrate prestami il veleno dell’intelletto volevo scappare da me ma la mia ombra dorme nel mio stesso letto. Ho studiato per avere coscienza, per sapere che si scrive con la i e per sapere chi può starne senza ogni frase suona come la mia vendetta,  ma se mi vedi in faccia sai la sofferenza non è essere infelici, è sapere che si deve stare senza per il bene tuo, ti aspetto con l’ombrello il giorno del temporale. Io vorrei anche sentirti dire qualcosa di importante, ma ogni volta ci ripetiamo uguale la giornata senza te sembra un loop di uno scenario terrificante Non ti radevi nemmeno la barba da mesi, umore desolante, in questo viaggio non c’è spazio per l’empatia in stiva Non mi viene più la nausea a bere troppo ora che sono grande: questione di prospettiva, pellicola statica di un paesaggio poco elegante i vestiti sono rimasti gli stessi non sono credibile, non sono incredibile.

[dyspunktional-leviathan]

A thought: the semi-circle in the center of the radeviant flag can be symbolic of the internal self, with the rays as aspects of it

@paraphilia-flags-and-more

[animal-creature]

If you're radqueer/supportive and call antis children as an insult, or make any ageist remarks about them, then disrespectfully i don't want to interact with you at all. Stop with the ageism.

Signed, a transage kid.