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Lydia Lunch interviewed by Thora Siemsen for SSENSE

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Wolfgang Tillmans Moon in Earthlight unframed inkjet print 200 x 138 cm 2015 © Wolfgang Tillmans, courtesy Maureen Paley, London / Hove

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Claude Cahun, self-portraits with cats, c. 1925-1950.

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en compagnie d'antonin artaud (my life and times with antonin artaud) - 1993, dir. gérard mordillat 

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Caroline K - The Happening World

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Why is no one talking about what happened in São Paulo yesterday?

The sky turned completely black around three in the afternoon partly because of smoke coming from the Amazon rainforest, WHICH IS 2300 KILOMETERS AWAY FROM THE CITY, where the government has greatly increased the amount of land being burned for profit. People are getting sick, animals are dying, native territory is being lost to the flames.

This is what the sky looked like in my city yesterday, in the early afternoon.

It got so dark so fast the city had to turn on the lamp posts and night lighting.

Please talk about this. Reblog this post, non-brazilians especially.

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Claude Cahun and Marcel Moore, Untitled from the series Cancelled Confessions, 1928-29 Photomontage 22 x 17 cm

“Claude Cahun (Lucie Schwob) and Marcel Moore (Suzanne Malherbe) began their amour fou as stepsisters and teenagers in 1909. They remained in creative and romantic partnership for more than thirty years, creating photographs, illustrated books, fashion plates and stage sets. Having fled Paris for the Isle of Jersey early in the Second World War, they launched an anti-Nazi propaganda campaign that nearly resulted in their execution. In Aveux non avenues (Cancelled Confessions) Moore weaves photomontages with scraps of Cahun’s self portraits, themselves theatrical collaborations with Moore that offer a masquerade of queer tropes, staged collisions of gender signifiers and, most important, a contestation of female narcissism. The collages serve as chapter headings to Cahun’s patchwork of texts, this one leading off a section on sex. ‘Surely you are not claiming to be more homosexual than I?’ reads Cahun’s epigraph. In this image, various views of Cahun’s shaved head are aligned to place her in a lover’s relationship with herself.”

Catherine Lord, Art & Queer Culture (New York: Phaidon, 2013), 82.

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“We live in a culture which strives to return to each of us full responsibility for his own life. The moral responsibility inherited from the Christian tradition has thus been augmented, with the help of the modern apparatus of information and communication, by the requirement that everyone should be answerable for every aspect of their lives. What this amounts to is an expulsion of the Other, who has indeed become perfectly useless in the context of a programmed management of life…

This, however, is an absurdity: no one can be expected to be entirely responsible for his own life. This Christian-cum-modern idea is futile and arrogant. It is also a utopian notion with no justification whatsoever. It requires that the individual should transform himself into a slave to his identity, his will, his responsibilities, his desire; and that he should start exercising control of all his own circuitry, as well as all the worldwide circuits that happen to cross paths within his genes, nerves or thought: a truly unheard-of servitude.”

– Jean Baudrillard

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Leonor Fini, Sunday Afternoon, 1980

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https://andreafranulic.cl/misoginia/de-aqui-no-sale-reflexiones-sobre-el-rumor/