#gul motif
Text
GUL
Persian for flower, this motif is octagonal or angular and associated with tribal emblems. According to Stone, the gul is usually repeated to form an allover pattern.
From Wikipedia:
The term gul, gol, göl or gül is used widely across Central and West Asia, and among carpet specialists in the West. It is derived from the Persian word gol (گل) which means flower or rose.
6 notes
·
View notes
Note
Ok so i’m sorry i don’t remember if i already ask about your headcanons on Micolash background story before Byrgenwerth? But if you already answer this, you said a while ago that you hc he studied history right? Could you tell is more?
Noo you didn’t ask:) So
Let me begin from this: I'm not sure how to interpret the game world - whether it is placed in a world similar to ours in which there are the same nations and countries as ours (and Yharnam is in one of them or is a city-state) or maybe it is a completely different world? Anyway, my point is that Micolash is a Czech name (as you probably already know), but anglicized - in Czech (and Slovak) it is Mikoláš or Mikuláš. I think that the game's creators used many Slavic names (and motifs) for a reason (but I will write about that in another post...) So I think he is either Czech, or it is a way to show that he is a foreigner? Or Yharnam is actually based on Prague and Slavs are actually native here? Either way - my headcanon is that in both situations he is either a foreigner or the child of foreigners. Eventually Yharnam became such a cultural melting pot that people gave different names to their children regardless of origin, because different names from different cultures became popular here. Therefore, since childhood, he has an idea of such things as cultural differences, language differences, etc. It was something that made it easier (or even motivated him?) to study history.
Early on when I joined the fandom, I adopted the headcanon that he and Rom were siblings. Well... They had a rough childhood (BUT this is absolutely not an attempt to excuse Micolash - I hate the type of Disney villain who is made into a poor victim, so all the bad things he did were not his fault uwu). They supposedly had both parents, but... both parents severely neglected them. There was often physical and psychological violence between them. All this happened for years in front of Mico and Rom. Emotional neglect always has a strong impact on the child's psyche... And in this case, the younger Rom suffered the most. Mico was the one who had to keep calm and take care of and protect them both. And it was Mico who convinced her to join the university. For them, studying was a chance to escape from this terrible everyday life. Of course, that wasn't the only reason, they were both very intelligent and curious about the world. Yes... VERY curious, especially Mico. But more on that in a moment. And at that moment I had a dilemma - because I couldn't decide whether they were studying history or medicine. Or maybe something else?
Yes, I told you once that Mico studied history (because Byrgenwerth was mainly a place to study history and archeology). The "Byrgenwerth squad" must have had some idea about the Pthumerians, what their history was like, and what their contacts with the Great Ones were like. But he might as well have studied medicine! Whereas there is a theory that the Mensis Scholars were actually kidnapping people to study the corpses. It wouldn't make so much sense if Mico didn't know anything about it, right? And honestly, I REALLY like Katy's theory about Mico's strange "fascination" with women's organs and their ability to give birth in general (I can't find it now, but you probably know what I mean xD). Already in his childhood, he did not have a good example when it comes to treating women as equal (as I already said... a difficult childhood and severe domestic violence). He saw only Rom as his equal. What I'm getting at is that this is where history and medicine come together! A woman's ability to give birth and the possibility of being an "incubator" for the Great Ones was connected to the history of the Pthumerians (Queen Yharnam and Mergo) and Cainhurst (Annalise and the child of blood). Fascination with these two topics led to experiments in Yahar-Gul, the creation of The One Reborn and an attempt to make contact with the Great Ones! Apparently history likes to repeat itself... Did it stop Micolash to do all these things? Absolutely not.
#sorry it took me so long xD#you know i'm tired all the time#but i fckng love asks!!!!! even if I need so much time to answer lol#also my thoughts are so chaotic that after describing some things DURING Byrgenwerth I realised it wasn't the thing u asked me xD#asks
14 notes
·
View notes
Text
One-Word Prompts
Recently, I’ve been really liking the idea of one-word prompts, so here are some that I’ve seen and/or thought of that I liked:
Alembic - anything that transforms, purifies, or refines.
Alluvion - a gradual increase of land on a shore or a river bank by the action of water, whether from natural or artificial causes.
Arboreal - Of or relating to trees; treelike
Bel-esprit - a person of great wit or intellect.
Cause celebre - any controversy that attracts great public attention.
Cordate - heart-shaped.
Eidetic - of, relating to, or constituting visual imagery vividly experienced and readily reproducible with great accuracy and in great detail.
Fantast - A visionary or dreamer
Flocculent - like a clump or tuft of wool.
Paraselene - a bright moonlike spot on a lunar halo; a mock moon.
Lethologica - When you can’t think of the word for something
Mellifluous - A sound that’s pleasing and sweet to hear
Apricity - The warmth of the sun in winter
Retrouvailles - The happiness of meeting again after a long time of being apart
Antediluvian - very old, old-fashioned, or out of date; antiquated
Beneficence - the doing of good; active goodness or kindness; charity
Cryptomnesia - the phenomenon of not recognizing the return of an old memory as a product of memory, but instead regarding it as a new or original thought or idea.
Cupidity - Eager or excessive desire, especially to possess something; greed.
Foible - A minor weakness or failing of character; slight flaw or defect
Girandole - A rotating and radiating firework
Gul - a large octagonal design derived from the shape of a rose, a motif on rugs.
Handsel - a gift or token fore good luck or as an expression of good wishes, as at the beginning of the new year or when entering upon a new situation or enterprise
Humicolous - of or relating to organisms that live in or on soil.
Hydra - A persistent or many-sided problem that presents new obstacles as soon as one aspect is solved.
Infodemic - a massive amount of widely and rapidly circulating information about a particular crisis or controversial issue, consisting of a confusing combination of fact, falsehood, rumor, and opinion.
Integument - A natural covering, as a skin, shell, or rind
Jocular - given to, characterized by, intended for, or suited to be joking or jesting
Lachrymose - suggestive of or tending to cause tears; mournful
Limerence - the state of being obsessively infatuated with someone, usually accompanied by delusions of or a desire for an intense romantic relationship with that person.
Lunisolar - Pertaining to or based upon the relations or joint action of the moon and the sun
Meritocracy - A system in which a person’s progress is based on ability and talent rather than class privilege and wealth.
Neophyte - A beginner of novice
Nescience - Lack of knowledge; ignorance
Proceleusmatic - Inciting, animating, or inspiring
Pulchritudinous - Physically beautiful; comely
Qiviut - the soft, dense, light-brown woolly undercoat of the musk ox, used in making fabrics.
Sartorial - Of or relating to clothing or style or manner of dress
Satori - Sudden enlightenment
Saudade - A deep emotional state of melancholic longing for a person or thing that is absent
Sumpsimus - Adherence to or persistent in using a strictly correct term, holding to a precise practice, etc., as a rejection of an erroneous but more common form.
Sweven - A vision; dream
Tohubohu - Chaos, disorder, confusion
Uitwaaien - the Dutch practice of jogging or walking into the wind, especially in the winter, for the purpose of feeling invigorated while relieving stress and boosting one’s general health.
Vernal - Of or relating to Spring
Vibrissa - one of the stiff, bristly hairs growing about the mouth of certain animals, as a whisker of a cat.
Zeitgeist - The spirit of the time; general trend of thought or feeling characteristic of a particular period of time
Amity - friendship; peaceful harmony.
Gazeetter - a geographical dictionary
Anamnesis - the recollection or remembrance of the past; reminiscence.
Ginkgo - a large shade tree native to China, having fan-shaped leaves and fleshy seeds with edible kernels.
17 notes
·
View notes
Text
Deep Space Nine at Thirty
Thirty years ago, on January 3rd, 1993, Star Trek: Deep Space Nine debuted on the airwaves. The show would not only change the Star Trek franchise but along with a few other 90s shows, laid the foundation for serialized storytelling in prime-time television and later streamers. DS9, as the fans call it, has a prescience and was not only relevant when it aired, but much can still be gleaned from the show today.
The idea of having a stationary setting for a Star Trek installation had been floating about since the 80s with producer Harve Bennet’s unsuccessful Starfleet Academy pitch. Since the franchise had done two starship instalments, it seemed the next frontier, but not the final, would see a crew more or less stay put and have the galaxy come to them. A New York city in space.
Originally Brandon Tartikoff, the head of Paramount, pitched the idea. If Star Trek had been a “wagon train to the stars,” what the franchise needed was a Rifleman-type show. A sheriff raising a son in a wild west frontier colony on some distant planet at the far ends of Federation territory. Since this would entail a copious amount of location shooting, the idea was shifted to a space station, but the western motif stuck. Sisko became the mayor, Jake his son. Odo was the Sheriff, O’Brien the Everyman, Dax the Wise ol’ timer, Quark the local barkeep, Kira the Indigenous person, and Bashir was the town doctor.
What fascinated the show's creators, Rick Berman and especially Michael Piller, was this idea of staying put. Instead of solving problems and then leaving to explore some new planet each week, the characters of DS9 would have to face the ramifications of their actions week after week. What Piller described as the difference between “a one-night stand and a relationship.” DS9's ethos would also allow the writers to explore relationships and community in greater depth. The show has been described as a family-oriented Star Trek series. This theme was explored in the previous two outings and subsequent instalments, but not in the same breadth as DS9. As Armin Shimerman (Quark) has said, every Ferengi episode is a “family episode.”
Each character on the show, including the recurring characters, would have to face their family, or in Dax’s case, her previous hosts. Even Gul Dukat, the baddest Cardassian in the whole damn town, would have to half-assedly raise his half-Bajoran daughter.
Unlike the previous two Star Trek shows, the cast of DS9 would boldly go into the exploration of themselves. Sisko says it best in the pilot, “we explore our lives day by day.” Each character on DS9 experiences profound growth and change that they do not resemble the person we first meet. While character growth occurs in the other series, DS9’s episodic serialization and stationary setting forced an introspective aspect on the characters. It was the character show. DS9 was also full of several firsts for the franchise. Like Avery Brooks as the first Black lead, Kira as the first female first officer that wasn’t written off after the pilot, Dax as the first full-time transgender character, and several other notables.
DS9 isn’t just the best Star Trek series, it was some of the best American television of the 1990s. Along with other series like Twin Peaks, Melrose Place, and later seasons of The Larry Sanders Show, DS9 brought continuity to prime-time television through the dreaded ‘S’ word, serialization. Not a new concept, serialization was foreign to most prime-time outings. These shows not only offered nascent serialization but a continuity lacking in other prime-time shows. Despite the continuity of Voyager, writer Ronald D. Moore left the show after a few episodes in season six when he realized the producers weren’t interested in DS9-style continuity.
The characters on 80s American television essentially remained the same. This is especially true of sitcoms where the delicate balance of comedic tensions between personalities must maintain the comedic pecking order. A character learns a lesson, but essentially things are back to normal in the next episode. Norm on Cheers might be victorious one day, but eventually, he has to go back to his barstool to play the loser but is always one level above Cliff Clavin. That’s how the show maintained the comedy. Rose on The Golden Girls will always be Rose.
Characters on The Next Generation grew, but any event was solved by the next episode, and things were back to normal as the Enterprise D was off on a new adventure. On DS9 the characters grew, morphed, changed, and each episode mattered to the episodes after it. They couldn’t warp to some new planet. The crew had to stay on that station dealing with the ramifications of what they did last week or the week before. Unfortunately, the pseudo serialization, or episodic serialization, killed the ratings. If you missed episode three of the season, you might be lost in episode twenty, as happened to this writer.
This was before DVD box sets. The producers of DS9 were taking a chance with the format, a format that is ubiquitous in the streaming world. In the 90s, it was tantamount to ratings suicide as audiences were accustomed to missing an episode here and there. After all, there was life to live and grass to touch.
I was in grade five when the show debuted. I caught every episode of the first season. In grade six, I started to play baseball and had after-school art programs and rehearsals for plays. These things usually happened on the night DS9 aired. I didn’t always have the spare cash to tape the episodes. However, this was similar to my TNG experience. If I missed an episode, I would catch it on hiatus week or in syndication, no biggie. With DS9, missing an episode was flirting with disaster. I always seemed to miss the important episodes too. I eventually stopped watching the show regularly in the third season. I’d catch the odd episode in later seasons and ask, why are they at war with the Klingons? Why is Weyoun alive? My DS9 love affair, and my Star Trek fandom, were put on hold as I entered mid-adolescence.
By the early aughts, several factors going on in my life drew me back into the warmth of Star Trek fandom. I downloaded the entire run of DS9 and started from the beginning. I still have those files. I sentimentally refuse to delete them despite their lacklustre quality.
Although it took about six years after the show ended, I did catch up. DS9 now holds a special place in my heart. Unlike the perfectly evolved humans on the Enterprise D, the DS9 characters start the show with major character flaws. As the show progresses, they learn and grow. Sisko’s journey is perhaps the most profound, starting out with PTSD caused by the death of his wife, isolated, alone, a single parent, questioning his career and life. Sisko then ends up a demigod destined not only to save the alpha quadrant but the wormhole aliens, aka the Prophets. When asked which is my favourite Star Trek series, I sometimes reply with, “the Sisko is of Bajor.”
Sisko’s salvation partially comes from the community he helps build on the station. As the saying goes, “it takes a community,” and that’s DS9’s legacy. At its core, it’s about friendship, community, and family, not just blood kin but the family we create along with way. When my mental health is at its worst, I turn to Star Trek to buoy my spirits. When I am in deep crisis, survival mode, I turn not to the original series, Enterprise, nor Next Gen but to DS9. It’s the bicycle wheel-shaped space station that gives the most comfort, and the most hope to keep going. To fight and try to overcome.
DS9 also attempted to walk back some of the more overt colonialist and imperialist tropes found in previous Star Trek outings. Not being an American, the original series displays a type of American bravado, melting pot assimilation, and is rife with American imperialism and exceptionalism. In the future, Earth unified into an American type of state, not a Westminster style of government. The United Federation of Planets is described by outsiders as a “homo sapiens-only club,” and its head is a President. Kirk’s main enemies, the Klingons and Romulans, were stand-ins for America’s communist foes, the Soviet Union, and the People's Republic of China. One of the main villain species on Next Gen was the Borg, a homogenizing force which threatened occidental ideals of liberalism and the rights of the individual.
Although DS9’s backdrop was the Cardassian occupation of Bajor and is analogous to many atrocious regimes, such as South African apartheid, French Algeria, the Holocaust, and the genocide of Indigenous peoples in the Americas, the main villain on DS9 was the Dominion. Created as an anti-federation, a dictatorial colonizing/imperialist regime, it allowed the show to explore the darker side of the Federation by meeting its antithesis.
Star Trek displays an unshakeable Federation exceptionalism that TNG was the first to dissect. Yet internal threats to the Federation on that show were often rouge Starfleet admirals who would be caught by the Enterprise D crew, and all would be well next episode. DS9 dismantles that trope. The Federation, as great as it is, is flawed. When the going gets rough, the smug moral superiority of the Federation gets tossed out the window to achieve its goal.
Mass hysteria and fear, brought on by the Dominion and Changeling infiltrators, are akin to the Red Scare and McCarthyism, and with great prescience, the War on Terror. Not only does DS9 tackle, in a historical context, nationalism, capitalism, colonialism, imperialism, and exceptionalism, but contains a universality that projects the show’s themes into the future. Most recently, the Iranian government and the Ferengi has a lot in common. Protests over the reach of the state on women’s dress and bodies mirror the Ferengi’s attitudes towards women. Ferengi women are not allowed to fully participate in society and must remain unclothed. Eventually, this injustice is corrected in the show when Quark’s mother Ishka leads a suffragette/feminist movement.
DS9 also tackled an often-taboo topic in the Star Trek universe. Namely faith and religion. Not only would Bajoran faith dominate throughout the show, but the show's writers never gave concrete answers to several posed questions about faith. One reading of the show could be of a human, Sisko, reconnecting with or finding their faith.
Whether they are wormhole aliens or the Prophets to you, January 3rd is a sacred day, Ha’mara. Ha’mara is the anniversary of when the prophets delivered the Emissary, the Sisko, to the Bajoran people and Star Trek fandom, and this is the thirtieth anniversary. Although I won’t be fasting, I am trying to show my festive gratitude to DS9 through this post.
There is no shortage of modern-day analogies which DS9 did not explore. One of its main failings, as showrunner Ira Steven Behr has stated, is the lack of Queer representation. Dax is transgendered, having been “both a man and a woman.” Yet this wasn't explored fully or brought into the light save for one episode, Rejoined, in season four, and an awkward kiss in season seven. Actor Andrew Robinson has stated on many occasions that he played his character Garak as bisexual and was attracted to Doctor Bashir. However, the Queer community would have to wait until the Berman era of Star Trek ended to see themselves not cloaked behind metaphor.
DS9 is neatly packaged in 90s aesthetics. The colour palette, production design, casting, acting, and story structure, but that is also part of its charm. It cannot be divorced visually from its time, yet its stories and themes transcend the decade. DS9 showcases humanity at its best and its worst. Perhaps it is that humility, the acceptance of our failures and our collective desire to do better which makes the show so endearing.
During DS9's first run, not only were fans not amused by the stationary aspect of the show, but they were also equally appalled by its darkness and its probing of the failings of the Federation. As several fans have pointed out, DS9 is the lefthanded red-headed stepchild of the franchise and fans like me, although in love with the show, got lost by its episodic serialization. It took the last thirty years after it first aired to achieve a super status in Star Trek fandom. Now regarded in the community as the best series out of the lot, paradoxically it is still not necessarily a fan favourite. DS9’s frank and sobering look at humanity is its power, and no other series, save for perhaps Discovery and Picard, dare to look so closely at our collective failings.
Star Trek is by definition idealistic and utopian. Earth has evolved into a paradise and made peace with many alien races, cofounding the Federation. A galactic idealist state. DS9 challenged that utopianism and in self-referential glory, attempted to dismantle Star Trek exceptionalism itself. In that process, the show stands alone, with perhaps Discovery carrying on the torch. Thirty years after its premiere, it still has a lasting impact on viewers. As Sisko tells Kira in season two, “it’s easy to be a saint in paradise…but…out [here those] problems haven’t been solved yet.” As we claw our way through the twenty-first century, DS9’s message, its warning, stands as a rallying cry to keep on fighting, to solve that which has not been solved and to continue to explore our lives "day by day."
9 notes
·
View notes
Text
Patterns with Purpose: Decoding the Symbolism in Traditional Rug Motifs
In the intricate world of traditional rugs, every pattern tells a story. These motifs are more than mere decorations; they are a language of symbols, each with its own meaning and history. This blog explores the rich symbolism behind traditional rug motifs, unraveling the threads of cultural significance woven into these timeless pieces.
The Language of Rug Motifs
Cultural Codex: Traditional rug motifs are a codex of the culture they come from. They carry the beliefs, tales, and heritage of the people who create them, serving as a visual narrative of their history.
Universal Symbols: While specific meanings can vary across cultures, many motifs have universal themes such as fertility, protection, and prosperity.
Common Traditional Motifs and Their Meanings
Boteh or Paisley: Often resembling a teardrop, the boteh is a symbol of life and eternity. It's thought to represent a palm leaf or a flame, and is widely recognized in Persian and Indian textiles.
Gul: This flower-like pattern is typical in Turkmen rugs. Each tribe has its own distinct gul, which serves as a crest and a means of identification.
Medallion: Central medallions are a hallmark of Persian rugs and often symbolize a gateway to paradise. They can also represent a mirrored reflection of the inner and outer self.
Mihrab: Found in prayer rugs, the mihrab motif represents the niche in a mosque that indicates the direction of Mecca.
Tree of Life: A motif representing eternal life, it is common in many cultures and signifies the connection between heaven, earth, and the underworld.
The Weaving Techniques Behind the Motifs
Hand-Knotting Precision: The precision of hand-knotting allows for intricate patterns and is a testament to the weaver's skill and patience.
Dyeing Techniques: The dyeing process can affect the clarity of motifs. Natural dyes tend to offer a more harmonious blend of colors, enhancing the overall symbolism.
Regional Variations in Motifs
Persian Rugs: Persian rugs often feature elaborate gardens and floral designs, reflecting the importance of nature in Persian culture.
Turkish Rugs: Turkish rugs frequently display geometric patterns and bold colors, reflecting the influence of Islamic art.
Caucasian Rugs: Caucasian rugs are known for their bold, graphic motifs, often featuring large, hooked polygons and stars.
The Spiritual Aspect of Rug Motifs
Amulets and Talismans: Many motifs serve as amulets or talismans, believed to ward off evil spirits and bring good luck to the household.
Prayer Rugs: The motifs on prayer rugs are particularly significant, with each element designed to enhance the spiritual experience of the user.
The Evolution of Rug Motifs
Adaptation and Influence: As trade routes expanded, motifs began to cross cultural boundaries, adapting and evolving along the way.
Contemporary Interpretations: Modern designers often reinterpret traditional motifs, giving them a contemporary twist while preserving their symbolic essence.
The Artisan's Role in Preserving Motifs
Masters of Craft: Artisans are the keepers of motif meanings, passing down the knowledge through generations.
Innovation within Tradition: While respecting tradition, artisans also innovate, creating new motifs that reflect contemporary life.
The Collector's Guide to Rug Motifs
Understanding Symbolism: Collectors who understand the symbolism of rug motifs can make more informed choices and appreciate the deeper meaning of their pieces.
Authenticity and Value: Rugs with traditional, handcrafted motifs often hold greater value and authenticity.
Conclusion
The motifs woven into traditional rugs are a testament to the rich cultural tapestry of our world. They are a form of communication, a way for artisans to express their identity, beliefs, and hopes. By decoding the symbolism in these motifs, we gain insight into the lives and traditions of the people who make them. As we adorn our homes with these rugs, we do more than enhance our decor; we keep alive a language of symbols that has been spoken for centuries
0 notes
Text
Yomut Asmalyk - Size: 2’3 x 3’6
Is a specific type of textile art created by the Yomut Turkmen, a nomadic group from Central Asia.
Refers to a traditional type of Turkmen weaving that holds significant cultural and symbolic value within the Turkmen community.
Used as decorative elements in the tents of the Yomut Turkmen, particularly during special occasions such as weddings.
Asmalyks were often hung on the inner walls of the nomadic tents or used as saddle covers for camels and horses.
Typically, Yomut Asmalyks are woven using a technique called slit-tapestry or kilim weaving, a method that produces intricate geometric designs and patterns.
They often incorporate vibrant colors and intricate motifs, including guls (medallion-like designs), stylized animal forms, and various geometrical shapes.
The designs and motifs on Yomut Asmalyks hold cultural significance, often representing elements of the natural world, spiritual beliefs, and symbols of protection and prosperity. Some designs might also signify specific tribal affiliations or family lineages.
These textiles are highly valued not only for their aesthetic appeal but also for their cultural and historical importance, reflecting the artistic traditions and storytelling of the Yomut Turkmen people.
Today, antique Yomut Asmalyks are prized by collectors and enthusiasts of Central Asian textiles, as they represent both the artistic skill of the weavers and the cultural heritage of the Turkmen people.
edisonmariotti @edison
.br
Yomut Asmalyk - Tamanho: 2'3 x 3'6
É um tipo específico de arte têxtil criada pelos Yomut Turkmen, um grupo nômade da Ásia Central.
Refere-se a um tipo tradicional de tecelagem turcomana que possui um valor cultural e simbólico significativo dentro da comunidade turcomana.
Utilizado como elemento decorativo nas tendas dos turcomenos Yomut, principalmente em ocasiões especiais como casamentos.
Os asmalyks eram frequentemente pendurados nas paredes internas das tendas nômades ou usados como capas de sela para camelos e cavalos.
Normalmente, os Yomut Asmalyks são tecidos usando uma técnica chamada tapeçaria com fenda ou tecelagem kilim, um método que produz desenhos e padrões geométricos intrincados.
Eles geralmente incorporam cores vibrantes e motivos intrincados, incluindo guls (desenhos semelhantes a medalhões), formas estilizadas de animais e várias formas geométricas.
Os desenhos e motivos de Yomut Asmalyks possuem significado cultural, muitas vezes representando elementos do mundo natural, crenças espirituais e símbolos de proteção e prosperidade. Alguns designs também podem significar afiliações tribais ou linhagens familiares específicas.
Estes têxteis são altamente valorizados não só pelo seu apelo estético, mas também pela sua importância cultural e histórica, refletindo as tradições artísticas e a narrativa do povo turcomano Yomut.
Hoje, os antigos Yomut Asmalyks são apreciados por colecionadores e entusiastas dos têxteis da Ásia Central, pois representam tanto a habilidade artística dos tecelões como a herança cultural do povo turcomano.
@edisonblog
0 notes
Photo
#NEW GUL - A dusty pink beauty with a delicate centrepiece - a rose motif, buds and vines - fashioned out of dabka, nakshi, sequins and pearls. The minimal embroidery on this stunning shade of pink makes ‘Gul’ a truly special pair, for that special princess in you! #newlaunch #newcollection #wintercollection #velvet #gul #juttis #jutti #dustypink #launch #newshoes https://www.instagram.com/p/CnGzhNVrvXk/?igshid=NGJjMDIxMWI=
0 notes
Photo
Fun little Yomud rug with a so called "Kepse" gul field framed by a dynamic meandering "S" scroll main border 🧬🧬🧬 Alternating “eagle" motifs in the skirt borders of the top and bottom add some balance and structure 🦅🦅🦅 #yomud #turkmenrug #kepsegul #handwovenrug #ihavethisthingwithrugs (at Heirloom) https://www.instagram.com/p/ClBtvHZLIZ3/?igshid=NGJjMDIxMWI=
0 notes
Text
Top Best Anarkali Dress
PASTEL PINK ANARKALI WITH CHANDERI DUPATTA
A classic zari hand embroidered dupatta on chanderi in blush pink and antique gold. Paired with a full flared anarkali in rose organic cotton. Length of the Pink Anarkali can be adjusted as per requirement.
YELLOW GUL ANARKALI SET
Inspired by spring florals this dupatta is an asymmetric compilation of florals all over the sheer silk organza yellow anarkali, paired with a heavy flared anarkali. Length of the anarkali can be adjust as per requirement. Don't forget to add flower to your hair with this and create a head turner with a sweetest look.
IVORY ARADHANA ANRKALI
A delicate dupatta detail with french floral details hand embroidered all over . It is one of the exquisite colour combination. Paired with a full flared
white anarkali suit
in rose organic cotton. Length of the anarkali can be adjusted as per requirement.
LAVENDER RUPALI ANARKALI
A heavy flared yet light Lavender Anarkali with dupatta. A beauty in pastel this is perfect for both night and a day event. We can call it a Modern Indian Doll look.
URFI GEORGETTE ANARKALI
Inspired by the vibrancy of colors, our weaver has beautifully woven a perfect piece reflecting the authenticity of Indian culture and heritage. Urfi Georgette Anarkali Suit is a kurta with front knot detail and a cotton satin lining in A-line style. With an elegant design, it is perfect for any festival, wedding, celebration....you name it! Try draping yourself in this beautiful piece, eventually, you'll miss the butter with the touch of its softness and feel like nothing but a princess!
HEENA ANARKALI SET
The
Heena Anarkali
set is in Cotton Chanderi with bronze weaved zari having golden piping details the dupatta is in cotton chanderi with cotton satin border detailing with golden piping & ghungroo. Inspired by the vibrancy of colors, our weaver has beautifully woven a perfect piece reflecting the authenticity of Indian culture and heritage. With an elegant design, it is ideal for any festival, wedding, celebration....you name it! Try draping yourself in this beautiful piece, eventually, you'll miss the butter with the touch of its softness and feel like nothing but a princess!
MAROON ARADHANA SHARARA KURTA SET
Something new in your wardrobe , this sharara set can add freshness your similar looking garments. An opulant colour combination with a moss silk kurta and organza sharara. The look is completed with a hand embriodered dupatta in our Aradhana motif. Sleeves can be added to this set on request.
AAINA ANARKALI WITH ORGANZA GULABH DUPATTA
A delicate dupatta detail with french floral details hand embroidered all over and organza anarkali dress . It is one of the exquisite colour combination. Paired with a full flared anarkali in rose organic cotton. Length of the anarkali can be adjusted as per requirement.
0 notes
Photo
Persian Rose-and-Nightingale Paintings
Rose-and-nightingale paintings and patterns (gul-u-bulbul) are a subtheme of the bird-flower (gul-u-morḡ) genre in Persian art. Bird-and-flower paintings are of Chinese origin and include pictorial elements such as flowers and plants, birds, and occasionally butterflies. This motif was then appropriated by the Persians and throughout the centuries evolved from being a decorative element within the art of books to an independent genre of painting.
Continue reading...
72 notes
·
View notes
Note
Hi PS, Hope you and PK are doing well! I was reading a recent ask and you had mentioned Geet Hui. I saw clippings of this show on instagram (while I was watching IPKKND clips) and was surprised to see (whatever little i saw) that they used the same tropes as my beloved serial IPKKND. Was it Gul's way of pushing the same stuff in a new package but with much darker hero than GHSP? On a different note, I truly look forward daily to your tumblr before heading to bed. Lots of love and wishes!
Hello!
It depends which tropes you’re thinking of. Some of them are general tellywood tropes and others are specific to the 4Lions brand. And that’s really what it comes down to -- their branding.
(Keep in mind that watching clips of anything on Instagram isn’t the best way to understand it and its relationship to what came before or what came after.)
I feel like this was in the post you must’ve read:
Thematically, most 4Lions shows end up being similar so that’s probably the best place to start – Geet - Hui Sabse Parayi, Qubool Hai, Ishqbaaz, etc.
They tend to reuse tropes and motifs - for example, Arzoo interrupts Sahir’s fashion show (Humsafars). Almost everyone has a forced/contractual marriage. The male leads almost always have sisters. A lot of people say that 4Lions only knows how to tell one story but I think it’s rather that 4Lions only needs to know how to tell one story. Their shows are plenty popular and profitable, it probably doesn’t make sense to change the formula.
I haven’t watched the entirety of the 4Lions filmography, but I firmly believe that over time, their shows have been getting darker (or perhaps my tolerance for them has waned?). I’ve spoken about it a little here and here.
4Lions have been pushing the boundaries ... with their Heroes. Arnav was initially a study in how dark they could make a Hero and still call him a Hero. I think each successive lead has pushed the envelope, blurring the line between anti-hero and villain and Advay tips the scales firmly into ‘villain’.
4Lions might be experimenting around the edges but the core of many of their stories remains largely unchanged. The progression from Maan to Advay is marked by characters like Arnav, Asad, and Shivaay.
Thanks for asking!! It’s pretty cool that you read the blog before bed :D You might also be interested in this, this and this :)
I’ve assumed that your ask -- despite saying “Gul” -- was asking about the production house 4Lions Films. I understand that to most of the fandom these are one and the same but I like to keep a separation between the individual and the company.
9 notes
·
View notes
Photo
Turkmen carpet motifs
The gul (sometimes gol or göl) is a medallion of octagonal or angular shape used in Turkmen designs. It is often found in a repeating, all-over pattern in the main field of Turkmen rugs, bags and other weavings.
There are many different types of gul, many of them associated with specific Turkmen tribes from which they take their name. Thus, there are Tekke guls, Salor guls, Ersari guls, Yomut guls, and so forth. Identifying which tribal tradition a gul belongs to, however, can be extremely difficult, not only because many guls are quite similar, but also because gul designs, despite their tribal moniker, were rarely exclusive to one tribe.
2 notes
·
View notes
Photo
#Repost @arshisarunfan with @let.repost • • • • • • I am sharing a screenshot of my old post of Oct 2021 again & adding to it my personal observations now. These are entirely my observations and I am not related to any Fan club or fan group! I cannot write out the entire thing in this caption because of lack of space (Instagram doesn’t allow too long captions). So those who are interested they can read what I wrote on the picture that I posted above. It’s almost déjà vu for us as the hurtful things which had happened in 2016-17 seem to repeat once again in 2022. All #IPKKND #Arshi fans know how a web series by Gul was followed by IPKKND3 / SH*T3. Unfortunately they’ve planned to hurt us again by making #IPKKND4 without #SaRun ! I’m still not sure if they’re casting #BarunSobti there but even if they cast Barun they’ll definitely not cast #SanayaIrani ! DogMEAN gang will fulfil their dreams of hurting us again & utilise that hurt / anger to get support for Mohit Sehgal exactly in the same way they had done in 2017 during Nach Baliye which was preceded by Tanhaiyan & followed by IPKKND3 & a tv show of Mohit! SaRun fans have got till now only some SaRun interviews & some groupbaazi in the name of SaRun! So they won’t bring back any #NewSarunShow or #IPKKND with SaRun & see to it that Sanaya is paired up with Barun in any show. DogMEAN gang however are keen to bring back an average / low rated Star One show which is Mohit’s only claim to fame! While Arshi motifs and Rabba Ve will be again used for other couples, the fake drama of “life is beautiful” will continue on social media and DogMean gang will continue to establish their narrative in the mainstream media! And as usual PashMEAN & Mohit’s dreams will continue to get fulfilled. Some faint hints of the truth can be given by SaRun from time to time but it will be limited to cryptic hints only & it won’t ever be highlighted by mainstream media! Those who can establish their narrative they only can wield power. And we know whose narrative has been accepted by the majority cutting across all fandoms. Even other fandoms are apparently in awe of these so-called ‘friends like family’ #POW gang! Lone, random voices lik https://www.instagram.com/p/CdtNd-iJ23h/?igshid=NGJjMDIxMWI=
1 note
·
View note
Text
Korean Word A Day
While the security feature of the inminban may be its most striking feature, the system offers important "ordinary" community functions by overseeing lots of sensible area issues. For instance, in the spirit of public work, inminban members give regional solutions like public sanitation, consisting of trash, waste removal and various other janitorial tasks. The leaders also keep an eye on any type of overnight site visitors from outside the region, consisting of relatives, as well as can regulate food ration cards. Component of the reason for the trend is a straightforward matter of a deficiency of time as well as cash. Koreans work infamously lengthy hrs, in addition to the after-work social obligations staff members are expected to accomplish. The 8 stages of consuming alone.Now, many businesses market themselves as friendly to the number of individuals that self-identify as honjok, or loners.
The Oriental Age: 5+ Amazing Truths
So aesthetic interest or mindset is general to art, however prevalent broadly in daily life. We can accept the aesthetic concerns in whatever we make and utilize every day. In the long practice of Oriental art, it can be seen that aesthetic consciousness is steeped in everyday life in addition to the arts. I intend to take into consideration the issues of everydayness, Korean aesthetic consciousness in every day life, and also contemplation in the aesthetic consciousness. Korean art was identified by its "lack of improvement" as well as "nonchalance". The qualities of Korean art as the top qualities of "strategy without method", "Preparation without plan", "asymmetrical symmetry" have controlled the everyday awareness of Korean individuals along with Oriental art.
Korean classical literary works was written in Chinese, and also the late Koryo and also early Choson sijo rhymes dealt primarily with the motif of commitment. The kasa type of Choson poetry expressed specific sentiments and ethical admonitions. After the creation of the Korean alphabet, several works of fiction were written in Han' gul and also royal ladies created stories illustrating their individual circumstances and also private thoughts. Modern literary works started in the mid-nineteenth century as an outcome of the new Western-style education and learning as well as the Oriental language and also literature activity.
Usual Korean Words Listing
When "social distancing" is encouraged to curb the spread of the infection, it may be hard to manage mental problems alone given that straight support/service/visit is restricted. In particular, it might be hard for them to cope with stress and anxiety when subjected to astonishing media reports regarding the COVID-19 pandemic scenario combined without social interaction. The objective of this short article was to introduce the "distancing in every day life" strategy in Korea, provide substantial evidence for other countries dealing with the pandemic, and also propose essential factors to consider for the prone population. Maria is currently a PhD student majoring in Korean Background and Society. Birthed in Romania, she has actually lived abroad for 10 years and is proficient in 4 foreign languages. After finishing with a Master's degree from Université d'Aix-Marseille learning Oriental Art History, she concerned Korea and started dealing with the Korean National Federation of UNESCO as a teacher as well as guide.
The State Of The Physical And Social Sciences
Considering that 2013, the "Prison Inside Me" center in northeast Hongcheon has actually organized more than 2,000 inmates, most of them worried office workers and pupils looking for relief from South Korea's demanding work as well as scholastic society. Since 2010, the college timetable, has actually changed and loosened up. Now the Korean public school system has 2 Saturdays each month, off.
The group, called F4, bully others to get their way-- until a working course lady named Geum Jan-di arrives at the school on scholarship as well as withstands the boys. If you're searching for something in the center of the Venn Representation of "K-Drama" and "Mafia Dramatization," thenVincenzois the show for you. In it, Song Joong-ki celebrities as a Korean man called Vincenzo who was taken on by an Italian mafia family and increased in the mob life in Italy.
Ordinary North Koreans Will Be Struck Hardest By Assents
They are indeed a country striving for freedom, identity and global power. Against the background of a tumultuous 5000 year background, modern-day Korean culture is penetrated with a feeling of instability as it is with a growing sense of confidence. Today's generation, though preoccupied with Western optimism, has begun to push South Korean culture in a lot more versatile as well as inviting instructions. Although there is an obvious uncertainty towards foreigners, deportees are a crucial piece of their global progress and have been placed in high regard within the education system. Beyond the experience, relationships as well as one-of-a-kind experiences, living as well as instructing in Korea is an useful, cash making option to the ordinary job opportunity.
No infraction yet you truly need to change the heading of your story but then again, you might not draw as numerous spectators to your blog post. All I can do in the meantime is to prey that those people who r going to locate flexibility will certainly discover tranquility eventually. As well as if we have in fact something to do to aid them please do, I will as well if I have the power and also expertise. We can see why North Korea normally defensive against hostile arrogant country like America, UK, Australia, India as well as Israel that want to strike it. This site that i have actually stumbled into will certainly most likley be the wardrobe I'll ever before reach experincing these countries.
Change In Food Intake As A Result Of Covid
According to Park, way of living can be classified according to individuals's life patterns, and also can be defined as a facility concept that entails an individual's consciousness of life, values, as well as character. Drinking, smoking, workout, nutrition, as well as tension are also aspects of way of living according to the that's interpretation of the term. Previous studies have highlighted the importance of healthy and balanced way of livings as they are essential in keeping and also enhancing physical and also psychological health and wellness and enhancing the quality of life.
There Is A Business Side To Teaching In Korea
ClarificationBeing a non-native speaker will really give you a hard time comprehending discussions and also interactions.
Meeting A Life
If you truly want to know actual Korean society, i would certainly claim it is not KOREA i know. Many thanks for the information however you require to place in a lot more contemporary realities and also chat more regarding popularity. The primary resources of social adjustment in sex condition have been the females's motion and also the role of the state in legislating to safeguard ladies's rights as well as enhance their status. In response to feminist activism, some guys organized the very first National Guys's Organization in 1999. The constitution specifies equal rights of all people before the regulation, however the standards as well as values that direct sex relations in daily life continue to be affected by a belief of male prevalence. The interaction in between these sex function ideologies makes complex the patterns and processes of social change in the area of sex duty performance and the family member status of females and also men.
He told Sigley that they watched it as a success for their leader however were still awaiting actual modification, especially in permissions. When they weren't in course or studying, Sigley and the other foreign trainees liked to discover Pyongyang's significantly diverse cooking scene. They attempted to go to a different dining establishment weekly, he said. The nation's cellular networks in addition to a fairly brand-new Wi-Fi service permit citizens in Pyongyang with cellphones and other mobile devices to access the intranet network, however not the global internet, according to Sigley. 한국블로그 stated he had likewise seen a significantly vibrant and also contemporary array of womenswear promoted in North Korean fashion publications, which are controlled by the federal government. High heels are in vogue now, and also every female-- from white-collar worker to security personnel-- can be seen using them in Pyongyang, according to Sigley.
In A Lot Of Public Areas, Youre Not Permitted To Flush Toilet Paper
It is said that the longer it is fermented, the much better it tastes. The practice of making fermented fish sauce produced a number of special delicacies including sikhae, which is made by fermenting fish mixed with rice and also dressings. They made warm winter garments using the strategy of wadding soft cotton in between two items of cloth, silk, or cotton material, as well as sewing them in fine lines, and also generated great summer garments with hemp and also ramie. Hanbok is the conventional Korean outfit made with these products, usually including stylish lines as well as types with a tranquil aura.
Marital relationship and birth rates in the nation are at document lows, as youths blame the high cost of living and own a home for their hesitation to get married. In South Korea, possessing a home is traditionally viewed as a prerequisite for marital relationship as well as in the past 4 years, the average rate of an apartment or condo in the funding Seoul has increased. She awakens every early morning in an apartment in the city, hops on the subway and reaches college to instruct English to grade school students.
I check out a short article examining the series, as well as it mentioned that it is one of the most watched television show in the background of planet Earth. I think of that is due to the tremendous success it had in Asia. Being in public as an immigrant often suggests obtaining looked at a lot. In Sinchon, there's a wealth of foreigners, so locals do not truly care about seeing them. Nonetheless, on the train, especially heading outside of Seoul, it's more typical that being an immigrant makes me stand apart extra. It's mainly individuals of the older generation as well as more youthful youngsters who have actually been less subjected to immigrants that stare.
As a matter of fact, it stress pupils so much given that 1st Quality, that some trainees, leave the nation, and sadly, some end their very own life. A higher rating suggested much more frequent engagement in numerous activities, as well as greater complete satisfaction with involvement in activities. According to the American College of Sports Medication, physical activity can be separated into three kinds, based upon strength. To examine the influence of the COVID-19 pandemic on physical activity, questions were inquired about the frequency and also complete satisfaction regarding exercise engagement weekly before and also after the start of COVID-19.
Though they are generally very interested in the well being of their nation, they are ending up being more and more immigrant friendly as well as approving. As they create as well as proceed as a country and as an individuals, their faithful and generous high qualities are ending up being terrific assets in linking the voids between them and also the checking out population. Koreans are established to advance and enhance their society as well as nation in every feasible regard which makes them very interested and curious regarding Westerners residing in their nation.
0 notes
Link
Deniz Gül is a Turkish contemporary artist preoccupied with language, surface and excavation whose conceptual practice encompasses sculpture and writing. Her show Meydan opened in September 2020 at Yapı Kredi Kültür Sanat in Istanbul, and a second exhibition, Crystal Clear will be held at the Pera Museum in December; she is currently working on a solo show for SALT in 2021. One of the first shows to open in Istanbul following the Covid-19 global pandemic, Meydan is a meditation on public space, surface and the texture of the city, a collection of minimalist sculptures that makes references to the city’s iconic Galatasaray Square over which the exhibition space looks.
Interview by Thomas Roueché
Portrait by Korhan Karaoysal
Thomas Roueché How did you become an artist?
Deniz Gül Oh wow! I had nothing to do with art when I was at high school. I went to an American school for high school, and then I attended Sabancı University. There you could choose your major after two years. The story started like this: my high school provided you with a lot of clubs and teachers and then when I was at university I found it in the middle of nowhere, dull, and with students from all over the country, so I was estranged from this new environment. I was bored by campus life, and I felt really enclosed. I took one art class just for fun and there I had a teacher, Erdağ Aksel, who was a well-known sculptor. He kind of picked me. He thought that I would make a great artist. So it was a very spontaneous beginning; it came from boredom. I graduated in 2004. The classes we had were conceptual – I had nothing to do with my hands – so when I left the school I thought, what am I going to do? What does it mean to be an artist? Those were the days in which many international curators were coming and scouting young artists in Istanbul and taking them to workshops and residencies, so I was lucky that I could make such connections outside of Turkey. But eventually I began to focus more seriously on my work, on what my statement was. Over the past 10 years my work has been about developing the sentences of that statement into paragraphs, into books, and I formulated a closed space for myself where I have my own world, my own references. For that reason I tend to make solo shows. I focus on what I want to say and I approach each show like an album: each has its own tracks within it, and each show references the other, but ultimately they stand alone. They have their own identities as personas.
TR Much of your work is about public and private space. I’m interested in how this show responds to the building in which it is in. You told me you had two months, a relatively short period of time, to put together the show. Were you thinking about its location from the beginning?
DG It was exactly why I wanted to do it. When the curator, Kevser Güler, asked me if I was interested I said no. But I was interested in this building, which looks over the historic Galatasaray Meydan and its façade. So meydan was the first thing that came to my mind. That was the keyword, and I became convinced that I would make it. I opened the gallery floor to the windows looking onto the Meydan, so that light seeps into the space. Thus the Meydan passes through the windows of the facade and makes its way into the space, which for me achieves a form of layering of inside and outside space. It’s like a transition. The dimensions of the exhibition space are what they are – I just propose light motifs, not heavy objects, with the aim of transforming the space into something more psychological.
TR There’s a very obvious inversion of the open space of the Meydan into the enclosed space of the gallery. Of course, a large part of the Meydan, in front of the gallery building itself, is fenced off by police barriers in an attempt to stop the various protests that occur there, most famously the Saturday Mothers protest regarding the disappeared. Of course, the building is also not far from where the Gezi Park protests happened. At the same time, meydan as a term has a far wider, international resonance. I’m interested that in the English version of the text you didn’t translate it.
DG What word would you use? Square doesn’t really cover it. It’s very structural, and in some ways it goes along with modernist ideas of planning the city, but at the same time, in Turkish, it has many colloquial and proverbial resonances that cannot possibly be translated. This word, like any word, is a living organism. That’s why I like to think of it as a private word rather than something that can be translated. It’s like the name of a child – or an album. Its attributes shift and change with time and era.
TR Some of your works have a mythical quality to them; I’m thinking in particular of the works in your 2011 show, 5 Person Buffet.
DG That show was very related to what I am talking about in this exhibition. It was structured around five cabinets: spaces that you could fit your body into and close yourself within, but that opened into the street. At the centre was a table made of boiling milk. It functioned as the fountain for the monumental cupboards. I thought of the cabinets as indoor monuments, that I could fit myself into. Outside there was this fountain, or meeting place. But in the house that’s a table. In the house, rather than water, it’s the smell of milk that captures you in the collective domestic space. Milk sets the ground for being a unit as a family in the house. So when the milk boils it’s like boiling energy in this space. It’s very much about the collective consciousness.
TR If that’s an album about interior spaces, this is clearly a show about outside space. Did the experience of the quarantine make you want to look outwards? Had you had enough of interior life?
DG When I did 5 Person Buffet, I felt like I was locked inside the cabinets. I was attempting to break out of them. It was always about coming out. But I couldn’t. I was restrained by these object-like, monument-like sculptural objects, by this furniture, let’s say. But during the last 10 years I feel like I am claiming and reclaiming space. That’s my statement with Meydan. While the pandemic has meant that the edges of our conceptions of the house, the street, the meydan, have dissolved, at the same time I feel more able to claim spaces. My proposition within this gallery is not just about the loss of meydans – which is a catastrophic reality of the world we are in right now – it is also a self-reflection of my own practice as it appeared as sculpture and has now shifted to surfaces. Like this kind of vibration. Somehow I can’t make monumental vertical works in the same way; I’ve lost that ground. At the same time, there is still oppression in the show; it’s still a claustrophobic environment, because of the grey walls, but I’m still trying to open a space that can be claimed. For me, there are no more objects in this show. I’m working with thin surfaces that suggest objects.
TR It’s interesting that in a time in which people have been confined to their homes we have also seen massive protest movements, most obviously with Black Lives Matter in the States, which have consciously transformed how we think about public space during the pandemic. Do you think the emptying of public space has changed who it is who can claim it? A lot of your work feels like it is concerned with touch and surfaces, which obviously feels particularly charged today, and particularly in the context of public space and social distancing.
DG A lot of people who have come to see the show have commented that they felt the space had a lot of tension, because of the placement of the works. There’s a sense of an impact that outweighs the small gestures of the work. At the same time, it’s still about opening space. Coronavirus stretched our sense of time, and many things now appear from a different perspective. Time and space have stretched – we can no longer travel as easily, for example. So I was stretching the space with these surface-like elements, not even objects, barely forms – fragile in a way, subtle and minimal. But at the same time this positions you as a body inside the space, and it becomes hard to tell what is a work and what is not. The result is a feeling of relief at being emptied out, and with that comes another body language, and another way of seeing how you are a part of things. For me, this really resonates with the era of pandemic. The quarantine had an effect on me but it’s not something that I directly thought about. The gallery is an isolated space, one that has an effect on its visitors. The way in which we construct ourselves all the time has changed. People are just letting things be, everyone has to somehow adapt and change the scale of their lives. A friend of mine who came to visit the show said, “Wow, I felt so lonely all of a sudden.”
TR For such slight works, the impact is very heavy. But the impact of quarantine, of spending so much time alone indoors, changes the meaning of something like a gallery show or exhibition.
DG At the end of the day, it’s a lot about atmosphere. There is a certain atmosphere in the space, and in different parts of it. But then what even is an exhibition space? Many are very problematic, in the sense of programming, but also in the sense of architecture; they impose a certain way of seeing things whereas I am trying to take away that curtain and leave the building just as it is.
TR People always used to meet in front of the school on the square, and it’s interesting that people don’t do that any more.
DG It’s like a texture, meeting in front of the school gives a certain texture to the city, to the square. That’s why I’m interested in texture. I am a super optimistic person. It’s weird; it’s absurd. The act here is about claiming space. What interests me about the Black Lives Matter protests this summer is that it was not a march or a protest of the same sort. It was still a march and still a protest, but it was unlike those that came before. It was not so much about claiming space but reclaiming it. It’s a very exciting time. On the one hand, all of these old forms are collapsing, no longer able to hold together, and on the other hand we don’t know what is coming. At the same time technology has gained authority, the way it has been owned and these power dynamics remain oppressive and strong. There is another type of organisation that is happening. How art spaces and museums ought to function in these times is a huge question. People have had very valid critiques of their role – that their sole job is not to make exhibitions. When this invitation came to me, really I asked, what can I say? What kind of show would I make? What would I show? This idea of reconfiguring the meydan excited me – reconfigured still with these oppressive edges and textures and elements, but on the other hand still not being something other than itself. Just being is enough, that excited me. It’s a laissez tomber of narrative, but I didn’t want to be there as the narrator this time. I don’t feel like one. ◉
0 notes
Audio
Daniel Patrick Quinn - Gul Motifs
1 note
·
View note
Last Seen Blogs
