So YES. (@ubuweb)
I move through.think through invisibility for a multitude of reasons. its versatile, its familiar, its personal, and its productive. It’s often been our studio, the place where a lot of our art has come from. And it’s also been our meeting ground, as a lot of alliances have been made from invisible territories. I want to imagine these places, the unseen productive holes that we frequent, as democratic spaces. The public, our public. as a democratic community with the fullest glory of this often perverted word as a basis of understanding our private and public performances of agency, identity, and subjectivity.
An excerpt from Democracy, Invisibility, and the Dramatic Arts by Emily Roysdon
Would very much like to do design projects like these.
A part of Robert Hengeveld’s kinetic sculpture/installation, “Howl” at Nuit Blanche 2013. #lategram (at Bay & Richmond)
— Sylvia Plath (via infinitehallucination)
!!!!!! to this, and for using my favourite track from Beach House’s Teen Dream.
"For Fitzgibbon, however, the argument to make Hello Mr. predominately a print magazine rather than digital boils down to three things: ‘quality, frequency and permanence. To maintain readership in print, the content has to feel different than what can be found online—it has to be somewhat exclusive, timeless and elegant enough to warrant a place on the proverbial coffee table. Readers and collectors want to feel that the value that they’re getting from purchasing a magazine isn’t fleeting—that they’ll continue to find meaning in it over time.’”
Marte Mei van Haaster. Photographed by Alex Franco for RUSSH Issue 49.
More Alex Franco.