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Posted by Mark Fraser at 12:30
Hubris (//, also hybris, from ancient Greek ὕβρις) means, in a modern context, extreme pride or self-confidence; in its ancient Greek context, it typically describes violent and excessive behavior rather than an attitude. When it offends the gods of ancient Greece, it is usually punished. The adjectival form of the noun hubris is "hubristic".
Hubris is usually perceived as a characteristic of an individual rather than a group, although the group the offender belongs to may suffer consequences from the wrongful act. Hubris often indicates a loss of contact with reality and an overestimation of one's own competence, accomplishments or capabilities, especially when the person exhibiting it is in a position of power.
Posted by Mark Fraser at 02:32
all kinds of unforseen events wait lurking to surprise you and make you glad you’re alive
Posted by Mark Fraser at 01:45
Thinking of the stars night after night I begin to realize ‘The stars are words’ and all the innumerable worlds in the Milky Way are words, and so is this world too. And I realize that no matter where I am, whether in a little room full of thought, or in this endless universe of stars and mountains, it’s all in my mind. There’s no need for solitude. So love life for what it is, and form no preconceptions whatever in your mind.
Posted by Mark Fraser at 01:44
Posted by Mark Fraser at 01:41
Del - runaway
mumford I will wait
Trailer The Shout
blue beach welcome to your beach steve hiett
anyone who knows what love is will undersatand
give me back me bucket small rocks
Change is the end result of all true learning
A Free Born Englishman! The Admiration of the World!!! And the Envy of Surrounding Nations!!!!!
concrete poetry sank like a stone
darling dear micheal jackson
nicole wills - if this aint lobe dont kno what is
beautiful life alex valentini
throbbing gristle adrenaline
heres where the story ends by the sundays
it's presenting a moral highground, the implications of which just shut out most artists from being artists
actually i think you draw the line at how u fucking represent the bodies around you -- perhaps that should be the political parameter above all else
participants in the London art world
the suspected complicity of the influential London-based art collectors, Anita and Poju Zabludowicz, in the affairs of the Israeli State.
'There's nothing more boring than plonking art down somewhere,' she says in her soft Geordie accent
The London Legacy List is the charity set up by the Mayor of London's office to oversee the integration of artists into the fabric of the Olympic Park and to look after it once the Games have ended. 'We wanted to build a park hosting the Olympics,' she says, 'and not vice versa. We have a fantastic space, with accommodation for 10,000, 40 per cent of which is social housing. There's a Westfield shopping centre, community centres, schools - the OLPC has given us money to create artworks, education projects, a creative hub with artists' studios and a floating cinema, and we have a more than usual amount of fairy dust to sprinkle, so the playgrounds will be wonderful and we're hoping for a waterfall. I feel like I'm doing something
I loved Newcastle life; there was no class system, no snobbery. The doors were always open on our street and we played outside. Later I worked in my dad's warehouse in Byker, but I was very artistic and wrote poetry so I went to art college to study fine art and art history
Back on the yacht, she introduces me to Pavel S Pys, the winner of her first annual curatorial open exhibition. Pavel is curating this month's show, We Will Live, We Will See. Anita describes him as 'a rising star', adding, 'He won't need my help after this.'
We have cultural capital, but we have no actual capital. They have actual capital
In a city as expensive as London, one of the most political things Arcadia Missa can do is continue to exist, holding on to property within the stranglehold of speculative real estate. Maintaining a place of assembly in a physical space with an autonomous program offers a practicable way to organise against the complete commodification and depoliticisation of the emerging artists a gallery like this one represents. The attitude that project spaces should remain project spaces –with no security and no means for paying its artists –is a way of maintaining the imbalance of the existing art world ecology. Perhaps, there’s a way of counteracting the hegemonising effects of routine disenfranchisement that a neoliberal art market’s claim to outsourcing to temporary ‘project-based’ organisations promotes.
Sorry it’s gauche, but now this is a class issue,” offers Farkas. “Because it’s fine to sell if you do it invisibly but you can only do it invisibly if you don’t have to put your neck on the line, because you’re already rich
In many respects, Ivan Stoiljkovic is much like any other six-year-old boy in his city.
He enjoys kicking a ball around in the garden of the home he shares with his family and is learning to play the accordion as a hobby.
But there are some areas of his magnetic personality where Ivan differs greatly - namely his ability to stick metal objects to his body.
Posted by Mark Fraser at 23:55