dermonexus

If I was dead, I wouldn’t know I was dead. That’s the only thing I have against death. I want to enjoy my death. That’s where liberty lies: to see oneself dead.
–Eleuthéria

valentina by alexander shakhabalov

Geoff Cordner's Punk Erotic
Geoff Cordner

she's also into music
Anne Pigalle

Disarmed (2002, 15.8 MB, 2:42 min.)

Mother of All Bombs (2003, 9.5 MB, 1:45 min.)

Disarmed (2002, 15.8 MB, 2:42 min.)

Mother of All Bombs (2003, 9.5 MB, 1:45 min.)

Disarmed (2002, 15.8 MB, 2:42 min.)

Mother of All Bombs (2003, 9.5 MB, 1:45 min.)a>

Disarmed (2002, 15.8 MB, 2:42 min.)

Mother of All Bombs (2003, 9.5 MB, 1:45 min.)a>

la voix du nord
crm
times online

VIDEO by linkoln



O jornal britânico The Daily Telegraph divulgou, em sua edição de hoje, uma imagem da mulher de 38 anos que recebeu o primeiro transplante de rosto da história. O transplante de queixo, boca, nariz e parte da bochecha foi efetuado a partir da doação de uma mulher com morte cerebral encefálica no hospital universitário de Lille, norte da França.

A paciente, que foi operada no último final de semana, está se recuperando bem. Ela teve o rosto gravemente desfigurado pela mordida de um cachorro. O chefe do serviço maxi-facial do hospital universitário de Amiens (norte), Bernard Devauchelle, afirmou que, após a intervenção cirúrgica, ele teve "a boa surpresa" de que a "coloração e a textura" do implante "apresentava um resultado além de suas esperanças".

O professor acrescentou que a paciente foi devidamente informada de todos os riscos que enfrentava por tratar-se de uma intervenção pioneira, inclusive a possibilidade de desenvolver câncer. Entre os transplantados, 1% pode ter linfomas. Um terço morre, outro terço rejeita o implante e o resto se recupera bem, alertou o chefe do serviço de transplantes do hospital universitário de Lyon, Jean-Michel Dubernard Dubernard.

Ryan McGinley bio

Ryan McGinley site



Ryan McGinley
Untitled (Sand), 2005
Chromogenic color print
30 x 40 inches

john hyam


alice odilon


umberta genta t


roland lane

Phillips de Pury & Company


JUDE LAW. Paris. 1999. V Magazine.

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nürnberg @ Lehmann Maupin Gallery


I Love My Wife, London, 2005
c-print
20 x 24 inches
50.8 x 61 cm
21.85 x 25.79 inches (framed)

For his third exhibition at Lehmann Maupin Gallery, German photographer Juergen Teller presents a major new body of work entitled Nürnberg. The exhibition is an emotional panorama that draws on personal history, both new and old. It is a celebration of family and an investigation of the past, in private and public terms, as represented by the city of Nuremberg.

In the centre of Nuremberg, home of the National Socialist Party in the 1940s and the site of subsequent war trials, there is a partially completed group of Nazi monuments: a coliseum, a parade ground and a huge stadium. Designed by Albert Speer and personally commissioned by Adolf Hitler, the completed Zeppelintribüne at the Reich Party Rally grounds is well documented as the site of Nazi propaganda rallies, memorably captured on film by Leni Riefenstahl in Triumph of the Will. Today the Zeppelintribüne parade ground still stands, remarkable in its architecture and the failure of its ideal. It has not been turned into a historical study centre as the neighboring coliseum has, nor has it been destroyed to make way for physical and emotional regeneration. Instead it has been ignored and allowed to begin a gentle process of decay, used casually by local people for walking their dogs, rollerblading and the occasional sport event or rock concert.

Over the past year, for four clear seasons, Juergen Teller returned to Nuremberg to photograph this site so familiar from his childhood and the childhood of his mother. In recording the advancing decay Teller also confronted the complicated residue of German history so present in the melancholy of his generation. The transformation of this brutal place from hard fascism into romantic ruin is captured by the weeds that struggle through the huge regular blocks of stone and ranks of steps to soften the geometry and offer a metaphorical interpretation of reinvention. The weeds are captured in spring, summer, autumn and winter, in rain, snow and bright sunshine. Their delicate beauty and determined presence neutralises the harsh history of the site and proposes a future redemption.

Parallel to these still life images and also shot over the same four seasons, Teller photographed his growing family, himself and the surroundings of his family home in the woods of Bubenreuth. There are portraits of his children, his baby son in the bath echoing the upturned faces of the summer flowers at the Reich Party Rally grounds, and of a teenage girl unknowingly hopeful and exotic amongst the cheap prizes of a rifle range at the local Bier fest. Portraits of vulnerability and introspection complement the images of the weeds at the Reich Party Rally grounds to make a moving proposition of cyclical renewal, hope and openness.

The exhibition coincides with a new fully illustrated color book, Nürnberg, published by Steidl. Juergen Teller has a solo exhibition at the Fondation Cartier pour l’art contemporain in Paris in 2006, and participates in Click Double Click at the Haus der Kunst, Munich and in Dark at the Museum Boijmans van Beuningen the same year. Teller lives and works in London.

Carolee Schneemann, multidisciplinary artist. Transformed the definition of art, especially discourse on the body, sexuality, and gender. The history of her work is characterized by research into archaic visual traditions, pleasure wrested from suppressive taboos, the body of the artist in dynamic relationship with the social body.

Painting, photography, performance art and installation works shown at Los Angeles Museum of Contemporary Art; Whitney Museum of American Art; Museum of Modern Art, NYC; Centre Georges Pompidou, Paris; and most recently in a retrospective at the New Museum of Contemporary Art in New York entitled “Up To And Including Her Limits”. Film and video retrospectives Centre Georges Pompidou, Paris; Museum of Modern Art, NY; National Film Theatre, London; Whitney Museum, NY; San Francisco Cinematheque; Anthology Film Archives, NYC.

She has taught at many institutions including New York University, California Institute of the Arts, Bard College, the School of the Art Institute of Chicago. Recipient of a 1999 Art Pace International Artist Residency, San Antonio, Texas; Pollock-Krasner Foundation Grant (1997, 1998); 1993 Guggenheim Fellowship; Gottlieb Foundation Grant; National Endowment for the Arts Fellowship. Honorary Doctor of Fine Arts, Maine College of Art, Portland, ME. Lifetime Achievement Award, College Art Association, 2000.

Schneemann has published widely; books include Cezanne, She Was A Great Painter (1976), Early and Recent Work (1983); More Than Meat Joy: Performance Works and Selected Writings (1979, 1997). Forthcoming publications include Imaging Her Erotics, from MIT Press. A selection of her letters edited by Kristine Stiles is also forthcoming.

Spirala.net - Marzena Kawalerowicz

Claire Adams - website

Claire Adams - journal

signs

Editors - Munich (Video)

Jaron Albertin - Sexy Results

Atenção: Esta é uma obra de ficção. NÃO a intérprete literalmente.

Aviso de conteúdo: Contém versos descrevendo ou defendendo suicídio, incesto, bestialidade, sadomasoquismo, atividades sexuais em contextos violentos, assassinatos, violência mórbida, uso de drogas ou álcool, homossexualismo, voyeurismo, vingança, corrupção de autoridades, crimes, violação de direitos humanos e atrocidades.

Aviso à exposição: A exposição ao conteúdo por períodos extensos ou durante os anos de formação de uma criança pode causar delírios, alucinações, capacidade de compreensão e senso de razão prejudicada, ódio, fanatismo com violência, e não limitado ao assassinato e genocídio.

So, my naked activism is firstly and most importantly about me standing up for myself, a declaration of myself as a beautiful human being, an expression of my ok-ness in the face of so much self hate, and I invite others to join me in celebrating this, in a show of solidarity of what it means to be a human being not ashamed of ourselves in our most natural state.

Steve Gough

Naked Ramblers Interview 2CC Canberra Radio. Australia