Inky worlds / Stains / Desire / Love / Rain / Flowers | The Diary Of Frida Kahlo

inky worlds - a free
land and mine. distant suns
that call to me because
I am part of their nuclei.
Rubbish. What would I do
without the absurd and the ephemeral?
1953 for many years I have understood
dialectical materialism.

Frida Kahlo

Who would say that stains
live and help one to live?
Ink, blood, odor.
I don't know what ink he would use
so eager to leave his mark
in such a way. I respect his
entreaty and I'll do what
I can to escape from
my world.

Frida Kahlo

The one who gave birth to herself
who wrote me the most
marvelous poem
of her whole life

I'd ... give
I love Diego and no one else

Frida Kahlo

“You understand everything. The ultimate union. You suffer rejoice love rage kiss laugh. We were born for the same thing. To discover and love what has been discovered, hidden. With the grief of always losing it. You are beautiful. I endow you with your beauty. Soft in your immense sadness. Simple bitterness. Arms you against everything that does not free you. Rebellion against everything that chains you. You love. Love me as the center. Me as yourself. It won’t achieve a prodigious memory of you passing through my life scattering jewels I’ll only collect after you’ve gone. There is no distance. Only time. Listen to me caress me with what you’re looking for and with what you search. I’m going to you and to me. Like all the whole songs seen.”

The Diary of Frida Kahlo,  An Intimate Self Portait

Today Wednesday 22 of January 1947
You rain on me - I sky you
You're the fineness, childhood, life - my love - little boy - old man mother and center - blue - tender- ness - I hand you my universe and you live me It is you whom I love today.
= I love you with all my loves
I'll give you the forest with a little house in it with all the good things there are in my construction, you'll live joyfully - I want you to live joyfully. Although I always give you my absurd solitude and the monot- ony of a whole diversity of loves - Will you? Today I'm loving the beginnings and you love your mother.

 The Diary of Frida Kahlo,  An Intimate Self Portait

Nobody will ever know how much I love Diego.
I don't want anything to hurt him. nothing to bother him or to sap the energy that he needs to live -
To live the way he feels better. Painting, seeing, loving, eating, sleeping, feel- ing lonely, feeling accom- panied - but I never want him to be sad and if I had my health I'd like to give it all to him if I had my youth he could have it all I'm not just your --mother--

 The Diary of Frida Kahlo,  An Intimate Self Portait

Diego beginning
Diego builder
 Diego my child
Diego my boyfriend
Diego painter
Diego my lover
Diego "my husband"
Diego my friend
Diego my mother
Diego my father
Diego my son
Diego = me =
Diego Universe
Diversity within unity.

 The Diary of Frida Kahlo,  An Intimate Self Portait

I wish xxxx xxxx xxx
xxxxx = xxxxx
- xxxx -
 xxxxx I could do what-
ever I liked -
behind the curtain of "madness"
hen: I'd arrange flowers, all day long, I'd paint, pain, love and tenderness, I'd laugh as much as I feel like at the stupidity

 The Diary of Frida Kahlo,  An Intimate Self Portait

On playing chess | Samuel Reshevsky, 1948

Samuel Reshevsky, age 8 defeating several chess masters in France, 1920

"By playing slowly during the early phases of a game I am able to grasp the basic requirements
of each position. Then, despite being in time pressure, I have no difficulty in finding the best
 continuation. Incidentally, it is an odd fact that more often than not it is my opponent who
gets the jitters when I am compelled to make these hurried moves."

Samuel Reshevsky, 1948

Feminist Manifesto | Mina Loy, 1914

Mina Loy

'Put yourself at 
your own disposal.
Live life at first hand. 
Make the world your salon.'

Mina Loy

Mina Loy, Feminist Manifesto, 1914  

( In 1914, Loy penned her polemical Feminist Manifesto, at least partly in response to the misogyny of Futurism's founder, F. T. Marinetti.)

Women if you want to realize yourselves-you are on the eve of a devastating psychological upheaval-all your pet illusions must be unmasked—the lies of centuries have got to go—are you prepared for the Wrench–? There is no half-measure—NO scratching on the surface of the rubbish heap of tradition, will bring about Reform, the only method is Absolute Demolition

Cease to place your confidence in economic legislation, vise-crusades & uniform education-you are glossing over Reality.

Professional & commercial careers are opening up for you
— Is that all you want?

And if you honestly desire to find your level without prejudice—be Brave & deny at the outset—that pathetic clap-trap war cry Woman is the equal of man-
She is NOT

The man who lives a life in which his activities conform to a social code which is protectorate of the feminine element—–is no longer masculine

The women who adapt themselves to a theoretical valuation of their sex as a relative impersonality, are not yet Feminine

Leave off looking to men to find out what you are not —–seek within yourselves to find out what you are

As conditions are at present constituted—you have the choice between Parasitism, & Prostitution —-or Negation

Men & women are enemies, with the enmity of the exploited for the parasite, the parasite for the exploited—at present they re at the mercy of the advantage that each can take the others sexual dependence—-. The only point at which the interests of the sexes merge—is the sexual embrace.

The first illusion it is to your interest to demolish of women into two classes the mistress, & the mother every well-balanced & developed woman knows that is not true. Nature has endowed the complete functions—-there are no restrictions on the woman who is so incompletely evolved as to be un-self-conscious in sex, will prove a restrictive influence on the temperamental expansion of the next generation; the woman who is a poor mistress will be an incompetent mother—an inferior mentality—& will enjoy an inadequate apprehension of Life.

To obtain results you must make sacrifices & the first and greatest sacrifice you have to make is of your ”virtue”

^ Mina Loy and Peggy Guggenheim, Paris, 1920s

The fictitious value of a woman as identified with her physical purity—is too easy to stand-by—rendering her lethargic in the acquisition of intrinsic merits of character by which she could obtain a concrete value—-therefore, the fist self-enforced law for the female sex, as a protection of the man made bogey of virtue—which is the principal instrument of her subjection, would be the unconditional surgical destruction of virginity through-out the female population at puberty—-.

The value of man is assessed entirely according to his use or interest to the community, the value of woman depends entirely on chance, her success or in success in maneuvering a man into taking the life-long responsibility of her—

The advantages of marriage are too ridiculously ample—
Compared to all other trades—for under modern conditions a woman can accept preposterously luxurious support from a man (with-out the return of an sort—even offspring)—as a thank offering for her virginity.

The woman who has not succeeded in striking that advantageous bargin—-is prohibited from any but surreptitious re-action to Life-stimuli—-&entirely debarred maternity.
Every woman has a right to maternity—

Every woman of superior intelligence should realize her race-responsibility, in producing children in adequate proportion to the unfit or degenerate members of her sex—

Each child of a superior woman should be the result f a definite period of psychic development in her life—-& and not necessarily of a possible irksome & outworn continuance of an alliance—spontaneously adapted for vital creation n the beginning but not necessarily harmoniously balanced as evolution.

For the harmony of race, each individual should be the expression of an easy & ample interpenetration of th male & female temperaments—free of stress
Woman must become more responsible for the child than man—
Woman must destroy in themselves, the desire to be loved—

The feeling that it is a personal insult when a man transfers his attention from her to another woman

The desire for comfortable protection instead of an intelligent curiosity & courage in meeting & resisting the pressure of life sex or so called love must be reduced to its initial element, honour, grief, sentimentality, pride and & consequently jealousy must be detached from it.

Woman for her happiness must retain her deceptive fragility of appearance, combined with indomitable will, irreducible courage, & abundant health the outcome of sound nerves—

Another great illusion is that woman must use all her introspective and clear-sightedness & unbiased bravery to destroy—for the sake of her self respect is the impurity of sex the realization in defiance of superstition that there is nothing impure in sex—except in the mental attitude to it—will constitute an incalculable & wider social regeneration than it is possible for our generation to imagine.

Mina Loy

Mina Loy

Postcards II | Rainer Maria Rilke / F. Scott Fitzgerald / Franz Kafka / Allen Ginsberg / Patti Smith

The Hair of the monks & Marcel Duchamp

Marcel Duchamp, 1919                                                                                   -            

I Don't Exist / The space Between | Álvaro de Campos / Franz Kafka

I'm begining to know myself. I don't exist.
I'm the space between what I'd like to be and what others
 made of me.
Or half that space, because there's life there too...
So that's what I finally am...
Turn off the light, close the door, stop shuffling your
 slippers out there in the hall.
Just let me at ease and all by myself in my room.
It's a cheap world.

Álvaro de Campos (Fernando Pessoa)

Pavel Tchelitchew, Head, 1950

Anon, Spiralhead, n.d.

"On my own, I can’t go the way I want - I can’t even want to do so.
I can only be quiet;
I can’t want anything else, and I don’t want anything else."

Franz Kafka, Letters To Milena

Chaos | Emil Cioran, 1949

"Chaos is rejecting all you have learned. Chaos is being yourself."

Emil Cioran, A Short History of Decay, 1949

World of Comedy / posters | Harold Lloyd , 1962

World of Comedy,  Italian Photobustas (half posters)

Directed by Harold Lloyd , 1962


Silence | Virginia Woolf, The Voyage Out, 1915

"I want to write a novel about Silence,” he said;
“the things people don't say."

“Thoughts without words…Can that be?”

 Virginia Woolf, Between the Acts, 1941

Το καθήκον της ευτυχίας | Henry de Montherlant, 1936

 Είναι ένας άντρας, ο Γκαίτε, πού μίλησε για το «καθήκον της ευτυχίας». Και είναι πάλι ένας άντρας, ο Σταντάλ, πού έγραψε αυτήν την υπέροχη κουβέντα, πού μας οδηγεί πολύ μακριά ( εμπεριέχει μια ολόκληρη φιλοσοφία και μια ολόκληρη ηθική) : « Τίποτα στον κόσμο δεν σέβομαι τόσο όσο την ευτυχία». Αλλά αυτοί οι άντρες ήταν άντρες ανώτεροι, και, ακριβώς επειδή ξεφεύγουν απο τον μέσο αντρικό χαρακτήρα, σκέπτονται έτσι. Ο μέσος άντρας, βλέπει με καχυποψία εκείνον πού ομολογεί ότι σέβεται την ευτυχία. Όσο για το «καθήκον της ευτυχίας», έχει σε πείσμα του Γκαίτε, μαζί με την διατύπωση «ζω την ζωή μου», την χειρότερη φήμη.

Henry de Montherlant, Τα κορίτσια, 1936

μτφ: Λουίζα Μητσάκου

Jacques Henri Lartigue, My cousin Simone, 1913

My heart growing as the sea | Gustav Flaubert, 1874

 "I feel my heart dilating like the sea 
when it swells before the storm."

Gustav Flaubert, The Temptation of St. Anthony, 1874

Breakfast with a Robot & The Three Laws | Isaac Asimov, 1942

Breakfast with a Robot,  March 1930

 “The first artificial human machine with its inventor, the English Captain WH Richards,
in the conservatory in Berlin. The “robot” can speak, turn its head, hold objects and bow. It is made ​​of steel.”
 German Federal Archive (source)

1.A robot may not injure a human being or, through inaction, allow a human being to come to harm.
2.A robot must obey the orders given to it by human beings, except where such orders would conflict with the First Law.
3.A robot must protect its own existence as long as such protection does not conflict with the First or Second Laws.

Isaac Asimov, 1942

Dance Lesson | Children at School

Young ballet dancers, Greece, 1960
Martin Munkacsi, 1932
Nina Leen, Young girls at Matthew F. Maury School, Richmond, Virginia, USA, 1950
Alfred Eisenstaedt, 1945
Children from St Mary Magdalene School, Regent's Park, 
London dance an English country dance, 1966

Serenaders - Dance Darlin Dance (1958)

Silver blue, sky blue and thunder blue | Emil Nolde

Emil Nolde, Moonlit Night, 1914

"There is silver blue, sky blue and thunder blue. 
Every colour holds within it a soul, which makes me happy or repels me, and which acts as a stimulus. 
To a person who has no art in him, colours are colours, tones tones...and that is all. 
All their consequences for the human spirit, which range between heaven to hell, just go unnoticed" 

Emil Nolde, 1942

Emil Nolde, Hohe Sturzwelle, 1948
Emil Nolde, Green Sea with Blue Cloud, Date unknown
Emil Nolde, Light-flooded Sea Green

Regen (Rain) | Joris Ivens (1929)

Joris Ivens, Regen (Rain), 1929

12 min / silent / black&white

A day in the life of a rain-shower. As a city symphony Joris Ivens films Amsterdam and its changing appearence during a rain-shower. A very poetic film with changing moods, following the change from sunny Amsterdam streets to rain drops in the canals and the pooring rain on windows, umbrellas, trams and streets, untill it clears up and the sun breaks through once again. Although it seems to be one day it took Ivens a long time to film what he wanted to film (for even in Amsterdam it doesn't rain every day). With The Bridge, Rain became his major breakthrough as an avant-garde film artist. In 1932 Joris Ivens asked Lou Lichtveld (who also made the music for Philips Radio) to make a sound version of it, and in 1941 the film inspired Hanns Eisler to compose his "Fourteen ways to describe rain" in the context of a 'Film Music Project'. (source)

Behind the mask | Carnival, 1905-1970

Brassaï, Carnival in Frascati, 1954
Diane Arbus, 1970
Carnival In Belgium On February 28th 1936
Munich, 1905
Carnival in Cologne, 1909
A store window display features an array of masks of celebrities and politicians for Mardi Gras.
Actors Marlene Dietrich, Adolphe Menjou, Maurice Chevalier and dancer Josephine Baker are among the celebrity faces, 1930s

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