KITSCH&CHEERS
Reign of trash, theater of excess, layers of nightmares, visual junk.
Opinions about kitsch.
CHEERS!
KITSCH&CHEERS
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gabbigolightly:

Rise and Shine, American Vogue, 2007 by Miles Aldridge
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Provocation is in the eye of the beholder
Maurizio Cattelan & Pierpaolo Ferrari talk about Toiletpaper.
Itʼs like when you’re telling a joke, but no one laughs: most of the time, provocation lies in the eye of the beholder. We would like to evoke familiarity and disgust at the same time. We desire to bring seemingly normal situations to their very extreme.
Our work has always been about the power of images: if they work, they can last for centuries. Itʼs the possibility of permanence that interests us; whether it’s a few seconds or eternity it doesnʼt matter. What matters is to “impress” someone elseʼs mind. Somehow itʼs like possessing it, even if only for a moment.
What we do is extremely simple; we treat the familiar as unfamiliar. This allows us to draw out the absurdity in our world; what has been hidden in normality is exposed, it brings surprise and when surprise mixes with the absurd it usually results in humour.
Provocation is in the eye of the beholder
Maurizio Cattelan & Pierpaolo Ferrari talk about Toiletpaper.
Itʼs like when you’re telling a joke, but no one laughs: most of the time, provocation lies in the eye of the beholder. We would like to evoke familiarity and disgust at the same time. We desire to bring seemingly normal situations to their very extreme.
Our work has always been about the power of images: if they work, they can last for centuries. Itʼs the possibility of permanence that interests us; whether it’s a few seconds or eternity it doesnʼt matter. What matters is to “impress” someone elseʼs mind. Somehow itʼs like possessing it, even if only for a moment.
What we do is extremely simple; we treat the familiar as unfamiliar. This allows us to draw out the absurdity in our world; what has been hidden in normality is exposed, it brings surprise and when surprise mixes with the absurd it usually results in humour.
Provocation is in the eye of the beholder
Maurizio Cattelan & Pierpaolo Ferrari talk about Toiletpaper.
Itʼs like when you’re telling a joke, but no one laughs: most of the time, provocation lies in the eye of the beholder. We would like to evoke familiarity and disgust at the same time. We desire to bring seemingly normal situations to their very extreme.
Our work has always been about the power of images: if they work, they can last for centuries. Itʼs the possibility of permanence that interests us; whether it’s a few seconds or eternity it doesnʼt matter. What matters is to “impress” someone elseʼs mind. Somehow itʼs like possessing it, even if only for a moment.
What we do is extremely simple; we treat the familiar as unfamiliar. This allows us to draw out the absurdity in our world; what has been hidden in normality is exposed, it brings surprise and when surprise mixes with the absurd it usually results in humour.
Provocation is in the eye of the beholder
Maurizio Cattelan & Pierpaolo Ferrari talk about Toiletpaper.
Itʼs like when you’re telling a joke, but no one laughs: most of the time, provocation lies in the eye of the beholder. We would like to evoke familiarity and disgust at the same time. We desire to bring seemingly normal situations to their very extreme.
Our work has always been about the power of images: if they work, they can last for centuries. Itʼs the possibility of permanence that interests us; whether it’s a few seconds or eternity it doesnʼt matter. What matters is to “impress” someone elseʼs mind. Somehow itʼs like possessing it, even if only for a moment.
What we do is extremely simple; we treat the familiar as unfamiliar. This allows us to draw out the absurdity in our world; what has been hidden in normality is exposed, it brings surprise and when surprise mixes with the absurd it usually results in humour.
Provocation is in the eye of the beholder
Maurizio Cattelan & Pierpaolo Ferrari talk about Toiletpaper.
Itʼs like when you’re telling a joke, but no one laughs: most of the time, provocation lies in the eye of the beholder. We would like to evoke familiarity and disgust at the same time. We desire to bring seemingly normal situations to their very extreme.
Our work has always been about the power of images: if they work, they can last for centuries. Itʼs the possibility of permanence that interests us; whether it’s a few seconds or eternity it doesnʼt matter. What matters is to “impress” someone elseʼs mind. Somehow itʼs like possessing it, even if only for a moment.
What we do is extremely simple; we treat the familiar as unfamiliar. This allows us to draw out the absurdity in our world; what has been hidden in normality is exposed, it brings surprise and when surprise mixes with the absurd it usually results in humour.
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sallosluca:

Species Traitor by Jenny Kendler (2013)
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nickdrake:

James Elliott, Champagne and high heels 1982.
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