199714424, performance-sofa:

claudia casarino —  sin titulo, 1998

performance-sofa:

claudia casarino —  sin titulo, 1998




Bed by Johan Grimonprez, 2009
Photograph by Kristien Daem

Bed by Johan Grimonprez, 2009

Photograph by Kristien Daem




Actress Kim Novak playing with some Siamese cats that were used in one of her movies, “Bell, Book and Candle.”
Photograph by Eliot Elisofon, 1958 



thedoppelganger, gallowhill:

Tunga, Xifópagas Capilares, 1984

thedoppelgangergallowhill:

Tunga, Xifópagas Capilares, 1984




Still from Tautological Cinema by Ewa Partum, 1973-1974
Also

Still from Tautological Cinema by Ewa Partum, 1973-1974

Also




minamata, gallowhill:

Ewa Partum - Tautological Cinema, 1973

minamatagallowhill:

Ewa Partum - Tautological Cinema, 1973




Stills from Tautological Cinema by Ewa Partum, 1973-1974

Watch here

Also

Tautological Cinema is a series of short films made in the paradigm of structural cinema – the movement of the late 1960s which focused on the examination of material factors of a film. Looking into a film as a medium Ewa Patrum concentrates on the notion of automatisation of a film message and the structure of its language. “It’s not dealing with aesthetics” claims the author. “It’s rather a new sort of philosophical practice that operates in the area in which the relation between the film image and the camerawork covers the whole interest in the film itself”. In artistic practice, such ideas can, for instance, take a form of an analysis of how film tape makes its way through a projector, as in the film 10 Metres of Film Tape. A work which stands out is Film by Ewa, which examines different ways of artistic communication and states that the indirect passing of ideas is not possible. “Covering, in turn, her mouth, eyes, ears (meant to manifest that an idea within an artist is not transferable) Ewa Patrum formulates an opinion which is to show the alienation of an author who, creating the art of meaning, cannot fully express the intentional idea. Once it gets materialized against an art medium or gets into the area of someone else’s experience it is distorted and distanced from the original meaning” argues Łukasz Ronduda.




Japanese poster for Lost Highway (David Lynch, 1997)
(via thedoppelganger)

Japanese poster for Lost Highway (David Lynch, 1997)

(via thedoppelganger)




Stills from Fiat 125p by Zygmunt Rytka, 1975




From Sean Young's collection of polaroids taken during the production of Blade Runner 




“I wouldn’t know what to do with [color]. Color to me is too real. It’s limiting. The more you throw black into a color, the more dreamy it gets… Black has depth. It’s like a little egress; you can go into it, and because it keeps on continuing to be dark, the mind kicks in, and a lot of things that are going on in there become manifest. And you start seeing what you’re afraid of. You start seeing what you love, and it becomes like a dream.” — 

David Lynch, Lynch on Lynch

(via frenchtwist)




Femi Benussi and Rita Calderoni in Questa libertà di avere… le ali bagnate (Alessandro Santini, 1971)
From L’alphabet des Lesbiennes, special edition of Playfilm, undated (early 1970s)
Via Au carrefour étrange

Femi Benussi and Rita Calderoni in Questa libertà di avere… le ali bagnate (Alessandro Santini, 1971)

From L’alphabet des Lesbiennes, special edition of Playfilm, undated (early 1970s)

Via Au carrefour étrange




This Magic Moment ‐ Lou Reed

foxesinbreeches:

Lou Reed - This Magic Moment (from Lost Highway soundtrack)




From the series Destroy by Rosanna Jones




cinebodywithoutorgans, midmarauder:

Cronenberg’s Troupe of Actors for CRASH at the Cannes Film Festival
Photo by Helmut Newton
MM

cinebodywithoutorgansmidmarauder:

Cronenberg’s Troupe of Actors for CRASH at the Cannes Film Festival

Photo by Helmut Newton

MM