“A kiss is the beginning of cannibalism.” — 

Georges Bataille

(via lastdreamofjesusnomorelittlewhitegloves)




Sans titre (study for Histoire de l’Oeil) by Hans Bellmer, 1946 
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Sans titre (study for Histoire de l’Oeil) by Hans Bellmer, 1946 

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From The Drawings of Hans Bellmer by Hans Bellmer (with introduction by Constantin Jelenski), 1972
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From The Drawings of Hans Bellmer by Hans Bellmer (with introduction by Constantin Jelenski), 1972

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From The Drawings of Hans Bellmer by Hans Bellmer (with introduction by Constantin Jelenski), 1972
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From The Drawings of Hans Bellmer by Hans Bellmer (with introduction by Constantin Jelenski), 1972

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frenchtwist:

Peppermint Tower in Honor of Greedy Little Girls by Hans Bellmer, 1937Also

frenchtwist:

Peppermint Tower in Honor of Greedy Little Girls by Hans Bellmer, 1937

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Untitled (The Eyes) by Hans Bellmer, 1961
(See sketch/variation at frenchtwist)
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Untitled (The Eyes) by Hans Bellmer, 1961

(See sketch/variation at frenchtwist)

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Topeka by Joel-Peter Witkin, 1979
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Topeka by Joel-Peter Witkin, 1979

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Analogies by Hans Bellmer, 1968, based on a 1944 drawing 
(Sketch for this piece here)
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Analogies by Hans Bellmer, 1968, based on a 1944 drawing

(Sketch for this piece here)

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Untitled (Jeune fille bicéphale assise) [Seated Double-Headed Girl] by Hans Bellmer, 1934
(Variation on this image)
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Untitled (Jeune fille bicéphale assise) [Seated Double-Headed Girl] by Hans Bellmer, 1934

(Variation on this image)

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“she kills me
I divine her”
— Georges Bataille, 24 Fragments from Divine Filth: Lost Writings by Georges Bataille (trans. Mark Spitzer)


Untitled by Hans Bellmer, 1958
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Untitled by Hans Bellmer, 1958

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From the Doll Reconstruction Project by SUKA OFF (Homage to Hans Bellmer)

"And didn’t the doll, which lived solely through the thoughts projected into it, and which despite its unlimited pliancy could be maddeningly stand-offish, didn’t the very creation of its dollishness contain the desire and intensity sought in it by the imagination? Didn’t it amount to the final triumph over those young girls – with their wide eyes and averted looks – when a conscious gaze plundered its charms, when aggressive fingers searching for something malleable allowed the distillates of mind and senses slowly to take form, limb by limb?

Fit one joint to the other, swivel the ball-joints full circle and test them for childlike poses, gently trace the hollows, savour the pleasures of the curves, stray into the opening of an ear, do pretty things while simultaneously scattering the salt of deformation with a hint of vengeance. 

[…]

Isn’t that the solution?”

— Hans Bellmer, The Doll

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From the Doll Reconstruction Project by SUKA OFF 

Stills from a performance for camera, inspired by the photographs of Unica Zürn taken by Hans Bellmer

"The disruption of body parts has an important function for Bellmer. He is fascinated by the ‘bubbles’ of flesh that are created and the inability of the mind to understand what it sees. For Bellmer ‘the imagination derives exclusively from bodily experiences’ and language is hardly sufficient to describe ‘the interoceptive images of the body’. It is the places where the viscera intercept with desired excitation that he is interested in unveiling. These could be any point of focus where desire is submitted to by an internal impulse leaving the rest of the body to disappear or be displaced.”

— Miranda Argyle, Hans Bellmer and The Games of the Doll




Le Puits dans la tour / Débris de rêves by Toyen, 1966

Via calypsospots

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“That sand into which we bury ourselves in order not to see, is formed of words…and it is true that words, their labyrinths, the exhausting immensity of their “possibles”, in short their treachery, have something of quicksand about them.” — 

Georges Bataille, L’expérience intérieure, translation by Leslie Ann Boldt

(via frenchtwist)