fulfill your musery

(Source: hvidt, via sacraments)

(via drencrome)

(Source: detessellate, via shotgun-season)

(Source: gold-card, via yolopunk)

(Source: sestet, via sacraments)

Is it possible that we have babysat art objects to death? What if their re-invigoration will require us to set them free, to let them stay out late past their locational curfew? If so, there is yet another type of movement as worthy as the three previously mentioned; it is the idea of contextual movement.
Art objects that rely on contextual movement are perceptual shape shifters in media and location, changing on the basis of their different audiences’ understanding of them. These shifts in perception necessarily produce a range of diverse reactions; the subtle differences in subjectivity that allow for a group of people to understand a given thing as entertainment, pornography, art, or blasphemy are capable of producing discourses far more complex than those of an object perceived as a work of art alone. To harness and display these divergent interests requires, at first, a kind of decontextualization. If institutions pre-empt the status of objects as art, we should look to those sites without single purposes for the objects they house as potentially liberating domains for the placement or incubation of contextually moving art: the streets, unsuspecting homes, stores, the internet, outer space, etc. Here the responsibility of the artist is both a discrete creator and silent archivist, documenting alterations to or interactions with her perceptually slippery work as it “lives”.

PROVOCATIVE MATERIALITY IN THE VALLEY OF DEATH, PWR Paper #6 (order here), published Winter 2011/2012 (via banquethall)

natashavc:

But, soft! what light through yonder window breaks?
It is the east, and PAZ DE LA HUERTA IS THE MOTHERFUCKING SUN!!!

(via judylouise)

vinsguijarro:

Shoes in Shoes

(via ssilverspoon, fairytalesaretrue)

(Source: soulsauce)