#vie moderne

[dandanjean]

Nos conditions de vie

Nous le constatons, la vie moderne fait en sorte que de plus en plus de personnes n’ont plus conscience que nous dépendons de notre environnement naturel. Bien à l’abri dans nos édifices et nos maisons, nous percevons de moins en moins l’impact de la nature sur notre mode de vie. On en arrive à oublier qu’il est aussi nécessaire d’avoir de la lumière naturelle, de l’eau potable, de l’air frais,…

[alexmotamots]

Et puis on aura vu la mer - Tristan SAULE

Les Chroniques de la Place Carrée IV Nous suivons cette fois Sabrina, AESH dans une école maternelle. J’ai aimé découvrir son quotidien avec les enfants, certains encore en couche pendant la sieste ; découvrir Nestor qui montre le plafond et disparait parfois sans que l’on s’en aperçoive. Son fils aîné Esteban a été exclu de l’internat pour une semaine et revient donc chez sa mère avec son…

[2t2r]

De nouvelles insertions de peintures classiques dans la vie moderne

Nouvel article publié sur https://www.2tout2rien.fr/peintures-classiques-dans-la-vie-moderne/

De nouvelles insertions de peintures classiques dans la vie moderne

[pegasusdrawnchariots]

OK troops, time-sensitive poll — I have been left unsupervised w a bookshop gift voucher. What should I get? (They don't have Cyrano de Bergerac in stock so I'm open to suggestions)

tbh there is a chance any number of these are also out of stock... hope springs eternal

U have 7 hours to get yr votes (& suggestions) in before I leave the city. Make me proud! 🫡

[transparentgentlemenmarker]

Sometimes it's wise to keep your eyes open and your mouth shut

Parfois il est sage de garder les yeux ouverts et la bouche fermée. La vidéo est explicite

December 20 2022

[toyastales]

Like how they paired modern design with traditional and bohemian touches

[catboydogma]

룡 (ryong) &&. they/them/theirs, ze/hir/hirs

ao3: catboydogma

main: @solipseismic

prompts open

i block liberally. often for fun. don't worry about it! if i don't want you on my blog there is nothing you can do to change that :)

mainly prequels/tcw-era, i occasionally dip my toes in rebellion-era/the mandalorian but only for variety

fic writer extraordinaire (don't look at the last time i posted regularly. shh ... don't look at it) and occasionally art. i also used to make comic edits/graphics, so there are a few of those floating around... somewhere

COMMENTS are a really fun way to capture my affection. They're SUPER EFFECTIVE!

i follow and like from my main but i only have room in my heart to follow 69 blogs so generally, asks are a good way to interact and such

newly finished:

knives don't have your back - codywan week 2024

far/further - fox and difficult conversations

in progress:

vide noir - commander fox horror fic take 2

where the stray things go - codywan overwatch fusion au

outlining/drafting:

as it is, infinite - bounty hunter rex post-order 66

caverns of the night - codywanmaul on tatooine, roadtrip (“roadtrip”) edition

if ever at all - codywan space cowboys (cowboys in space)

from the left arm of the falconer - mystery non-star wars fic (it's overwatch)

specifics tag directory (under construction)

마음 - personal/talking

a heat rash in the shape of the show me state - writing/fic (mine)

out of the dark day + into the brighter night - horror

peacekeepers + heat seekers - that Specific Intersection of obi-wan and anakin brothersontragedy relationship that makes me eat fiberglass like cotton candy

votives - art (mine)

fic recs - writing/fic (others)

au - cowboys

au - modern setting

au - togruta

au - canon divergence

au - jedi commander cody (also includes Cody with Lightsaber, Not Necessarily Jedi)

au - sith obi-wan kenobi

corrie guard - coruscant guard, for if a post has 2+ of those bad boys

[greffier-perdu]

Ma vie

La vie artificielle, moi je la refuse. Je vais chercher la vie lente, que j'aime, et qui m'appelle. Je vais dans la montagne, je vais marcher lentement, faire des tout petits tours de mon quartier, flâner au petit-déjeuner, fuir les réseaux, m'habiller de vêtements donnés ou n'acheter qu'une fois l'an de vieux habits déj�� usés par d'autres, relire cinq fois la même phrase d'un même livre, mettre cinq ans à écrire un seul ouvrage, croire à des choses que personne ne voit, les montagnes sont partout et surtout dans mon cœur, dans ceux de ceux-là qui le veulent, ma vie c'est de gravir lentement, et d'aimer ça.

La lenteur nous sauvera.

La vie est si rapide, si nous ne la voyons pas passer c'est que nous ne la regardons pas.

[a-modernmajorgeneral]

At the 1937 International Exposition in Paris, two colossal pavilions faced each other down. One was Hitler’s Germany, crowned with a Nazi eagle. The other was Stalin’s Soviet Union, crowned with a statue of a worker and a peasant holding hands. It was a symbolic clash at a moment when right and left were fighting to the death in Spain. But somewhere inside the Soviet pavilion, among all the socialist realism, were drawings of fabulous beasts and flowers filled with a raw folkloric magic. They subverted the age of the dictators with nothing less than a triumph of the human imagination over terror and mass death.

These sublime creations were the work of a Ukrainian artist, Maria Prymachenko, who has once again become a symbol of survival in the midst of a dictator’s war. Prymachenko, who died in 1997, is the best-loved artist of the besieged country, a national symbol whose work has appeared on its postage stamps, and her likeness on its money. Ukrainian astronomer Klim Churyumov even named a planet after her.

When the Museum of Local History in Ivankiv caught fire under Russian bombardment, a Ukrainian man risked his life to rescue 25 works by her. But Prymachenko’s entire life’s work is now under much greater threat. As Kyiv endures heavy attacks, 650 paintings and drawings by the artist held in the National Folk Decorative Art Museum are at risk, along with everything and everyone in the capital.

‘A murderous intruder in Eden’ … another of Prymachenko’s grotesque creatures. Photograph: Prymachenko Foundation

It’s said that, when some of Prymachenko’s paintings were shown in Paris in 1937, her brilliance was hailed by Picasso, who said: “I bow down before the artistic miracle of this brilliant Ukrainian.” It would make artistic sense. For this young peasant, who never had a lesson in her life, was unleashing monsters and collating fables that chimed with the work of Picasso, and his friends the surrealists. While the dictatorships duked it out architecturally at that International Exhibition, Picasso unveiled Guernica at the Spanish pavilion, using the imagery of the bullfight to capture war’s horrors. Prymachenko, too, dredged up primal myths to tackle the terrifying experiences of Ukrainians.

Her pictures from the 1930s are savage slices of farmyard vitality. In one of them, a beautiful peacock-like bird with yellow body and blue wings perches on the back of a brown, crawling creature and regurgitates food into its mouth. Why is the glorious bird feeding this flightless monster? Is it an act of mercy – or a product of grotesque delusion? In another drawing, an equally colourful bird appears to have its own young in its mouth. Carrying it tenderly, you might think, but only if you know nothing of the history of Ukraine.

At first sight, Prymachenko might seem just colourful, decorative and “naive”, a folkloric artist with a strong sense of pattern. Certainly, her later post-1945 works are brighter, more formal and relaxing. But there is a much darker undertow to her earlier creations. For Prymachenko became an artist in the decade when Stalin set out to destroy Ukraine’s peasants. Rural people starved to death in their millions in the famine he consciously inflicted on Soviet Ukraine from 1932 to 1933.

Had she been an ‘intellectual’, she could have ended up in a gulag or worse …Prymachenko.

Initially, food supplies failed because of the sudden, ruthless attempt to “collectivise” agriculture. Peasants were no longer allowed to farm for themselves but were made to join collectives in a draconian policy that was meant to provide food for a new urban proletariat. Ukraine was, and is, a great grain-growing country but the shock of collectivisation threw agriculture into chaos. The Holodomor, as this terror-famine is now called, is widely seen as genocide: Stalin knew what was happening and yet doubled down, denying relief, having peasants arrested or worse if they begged in cities or sought state aid. In a chilling presage of Putin’s own logic and arguments, this cruelty was driven by the ludicrous notion that the hungry were in fact Ukrainian nationalists trying to undermine Soviet rule.

“It seems reasonable,” writes historian Timothy Snyder in his indispensable book Bloodlands, “to propose a figure of approximately 3.3 million deaths by starvation and hunger-related disease in Soviet Ukraine in 1932-1933”. These were not pretty deaths and they took place all around Prymachenko in her village of Bolotnya. Some people were driven to cannibalism before they died. The corpses of the starved in turn became food.

Born in 1908, Prymachenko was in her early 20s when she witnessed this vision of hell on Earth – and survived it to become an artist. But the fear did not end when the famine did. Just as her work was sent to Paris in 1937, Stalin’s Great Terror was raging. It is often pictured as a butchery of urban intellectuals and politicians – but it came to the Ukrainian countryside, too.

So it would take a very complacent eye not to see the disturbing side of Prymachenko’s early art. The bird in its parent’s mouth, the peacock feeding a brute. Maybe there is also survivor guilt, and a feeling of alienation from a destroyed habitat, in such images of strange misbegotten creatures lost in a nature they can’t work and don’t comprehend. One of her fantastic beasts appears blind, its toothy mouth open in a sad lamentation, as it stumbles through a garden on four numbed clodhopping feet. A serpent and a many-headed hydra also appear among the flowers, like deceptively beautiful, yet murderous intruders in Eden. In another of these mid-1930s works, a glorious bird rears back in fear as a smaller one perches on its breast, beak open.

There’s nothing decorative or reassuring about the images that got this brave artist noticed. Far from innocently reviving traditional folk art, her lonely or murderous monsters exist in a nature poisoned by violence. Yet she got away with it – and was even officially promoted right in the middle of Stalin’s Terror, when millions were being killed on the merest suspicion of independent thought. Perhaps this was because even paranoid Stalinists didn’t think a peasant woman posed a threat.

Her spirit survives … a rally for peace in San Francisco, recreating a work by Prymachenko called A Dove Has Spread Her Wings and Asks for Peace. Photograph: John G Mabanglo/EPA

Prymachenko remembered that, as a child, she was one day tending animals when she “began to draw real and imaginary flowers with a stick on the sand”. It’s an image that recurs in folk art – this was also how the great medieval painter Giotto started. But it was Prymachenko’s embroidery, a skill passed on by her mother, that first got her noticed and invited to participate in an art workshop in Kyiv. Such origins would inevitably have meant being patronisingly classed by the Soviet system as a peasant artist. An “intellectual” who produced such work could have ended up in the gulag or worse.

Yet, to see the sheer miracle of her achievement, you must also set Prymachenko in her time as well as her place. The Soviet Union in the 1930s was relentlessly crushing imagination as Stalin imposed absolute conformity. The Ukrainian writer Mikhail Bulgakov couldn’t get his surreal fantasies published, even though, in a tyrannical whim, Stalin read them himself and spared the writer’s life. But the apparent rustic naivety of Prymackenko’s work let her create mysterious, insidiously macabre art that had more in common with surrealism than socialist realism.

Then, incredibly, life in Ukraine got worse. Prymachenko had found images to answer famine but she fell silent in the second world war, when Hitler’s invasion of the Soviet Union made Ukraine one of the first places Jews were murdered en masse. In September 1941, 33,771 Kyiv Jews were shot and their bodies tossed into a ravine outside their city. Prymachenko was working on a collective farm and had no colours to paint.

In the 1960s, she was the subject of a liberating revival, her folk designs helping to seed a new Ukrainian consciousness. There’s an almost hippy quality to her 60s art. You can see how it appealed to a younger audience, keen to reconnect with their Ukrainian identity.

The country has other artists to be proud of, not least Kazimir Malevich, a titan of the avant garde famous for Black Square, the first time a painting wasn’t a painting of something. Yet you can see why Prymachenko is so loved. Her art, with its rustic roots, expresses the hope and pride of a nation. But the past she evokes is no innocent age of happy rural harmony. What she would make of Putin’s terror one can only guess and fear.

[gay-impressionist]

J'ai commencé à sélectionner des affiches pour mettre dans mon bureau et. Moi, une amatrice d'art moderne ? Je vois pas de quoi vous parlez 😶😅

[courtiers]

unacceptable. this blog is strictly evil wizard 4 evil wizard.

[alexmotamots]

Mathilde ne dit rien - Tristan SAULE

Chroniques de la place carrée : 1 Je découvre avec ce premier opus les Chroniques de la place carrée de Tristan Saule édité au Québec. Pourtant, cette fameuse place carrée se situe quelque part en France entre un ensemble de Grands Immeubles et un quartier résidentiel cossu. La première scène est assez anxiogène : Gaëlle ouvre sa porte à une drôle de réparatrice du câble. Cette réparatrice, c’est…

[izzy-b-hands]

I. I think I have a decent finished draft for the first day of the upcoming Our Flag fan event with those drag based prompts that's coming up later in the month but. Oh. I made myself sad for Izzy in the process 🥺

[circle-bircle]

i feel so rich because im getting a new laptop. this one is from, like, 2015 and so it's got some age. but the one i'm going to get is hella expensive and hella good. i'm so excited to get it! but it's also expensive. but c'est la vie! worth it if i can play my silly little video games

[transparentgentlemenmarker]

[worldsofzzt]

Source “La Vie Moderne: Non Je Ne Regrette Rien” by Bob Pragt (2022) [LVMNJNRR.ZZT] - “ZZT Bandit” Play This World Online