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çok yorgunum. sanki yıllardır koşuyor da varamıyor gibiyim. ama bunu yürüyerek varmışlara nasıl anlatayım.

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Source: https://www.alamyimages.fr/chine-hong-kong-quartier-des-affaires-tramway-transport-avant-la-retrocession-image462616686.html?imageid=58139FD9-638B-4544-B199-812EFACFA51A&p=1685422&pn=1&searchId=11a1eef19a861fbbcf5d767214064ef2&searchtype=0

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How to like yourself

1. Cultivate self-acceptance. That means you accept yourself for who you are right now. It means you don’t say things like “I would accept myself if … or … I’ll accept myself when.”

2. Stop going over all things you’ve done wrong, the mistakes you’ve made, and your (perceived) inadequacies.

3. Where there’s something in your past that you feel bad about say: “This is what I learned from that situation … And that was THEN and this is NOW.”

4. Don’t compare yourself to others. Instead notice the areas where you’ve grown and changed, and chooses to focus on those changes.

5. Don’t fall into the trap of judging other people – as that often lead to being self-critical.

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Laia Abril (photographs)

On Rape: And Institutional Failure (Dewi Lewis, 2022; 228 pages, $52), the second chapter in Laia Abril’s ongoing series A History of Misogyny, follows her audacious first volume, On Abortion (2018). Abril’s handling of these interlinked subjects epitomizes a research-driven approach to visual storytelling and the effectiveness of the book form as a means of presenting such investigations. Her black-and-white images are often forensic and quasi-typological in nature—dresses and military uniforms, medical devices and handcuffs. Each is supported by women’s firsthand accounts of their experiences with sexual violence. Historical notes detail the appalling ubiquity of rape as a means of exacting androcentric control over women and their bodies, documenting a range of practices, from rape camps and honor killings to the most contemporary manifestations, revenge porn and meta-rape (the virtual gang rape of a user’s online avatar). Abril underscores the pervasiveness of sexual violence, weaving together excruciating stories, from Afghanistan and Argentina to South Africa and the United States, as well as including interviews with women’s rights advocates. She identifies how laws and institutions around the world fail women time and time again, pointing to how those structures might be changed to better protect the right of women to bodily autonomy and sexual self-determination. If the collection sometimes feels scattered, it’s for the bar having been set incredibly high by Abril’s effort to cast the

net as wide as possible. On Rape is sobering and enraging—a conscientious mustering of facts and personal anecdotes that tears apart the deeply embedded systems of belief, judicial failings, and sociological misconceptions that help to underwrite rape in all its forms. On Rape dares us to listen to the women directly impacted by rape, giving clarity and context to the voices of those who are too often shamed and silenced. — Lesley A. Martin (APERTURE FEBRUARY 2023)

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I really love documentary-style photography, but I always had a feeling that I was stealing images of people. I want to have a relationship with the people I photograph. It can be a short relationship; it’s not as though you need to build a friendship. I see making pictures as a conversation.

Bieke Depoorter

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Even in scenes of war, there is tenderness. Even in a landscape of political strife, there is whimsy and eros.

Photographs that act as a love letter to the Ukrainian national rail company, where the artist was briefly employed, is an homage to a childhood spent traveling the country by train, observing its landscapes and inhabitants. Flamboyant colors attest to the joyful, coquettish aesthetic of a country of sunflowers and watermelon, cherry jam and pickles. Each train car has its own patterned carpet, baby-pink floral drapes, and faded yellow tables—a Technicolor balm against the drab gray of all things Soviet. The young people she photographed may even refuse to define themselves in any relation to the USSR. A lanky man with a red rose in his hair plays cards with two elderly women, but his gaze is outward, staring at the camera. He’s seeing something that they cannot. Still, in the face of war, thr artist responds with eros: she is putting together an erotic magazine, inspired by vintage pinups and Marilyn Monroe’s visit to US troops.

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Siyu Mao: Nothing but Nonsense. (Copyright © Siyu Mao 2016)

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"A rising tide lifts all boats, and so we strive to lift each other higher."

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“Lifting as we rise.” By this, he emphasized the importance of parlaying one’s personal success into communal good

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The Battle Between Yes and No, William Kentridge, 1989, MoMA: Drawings and Prints

General Print Fund Size: composition (irreg.): 59 1/16 x 38 ¼" (150 x 97.2 cm); sheet: 63 5/16 x 43 1/8" (160.8 x 109.6 cm) Medium: Screenprint

http://www.moma.org/collection/works/100557

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By Will Yu.