nyugatfolyoirat
Egy darabig vízszintesen, levetkőzve feküdtek egymás mellett, a vékony nyári paplanok alatt.
Majd különös fény gyulladt csukott szemhéjaik mögött, hirtelenül fölálltak, elváltak egymástól áthágva szobák falait, évek messzeségét, különböző irányokba bolyongtak, nekik is ösmeretlen ösvényeken, immár teljesen felöltözve, mindenféle regényes színpadi jelmezekben.
A mindennapi csoda történt meg: álmodtak.
Kosztolány Dezső - Édes Anna (via recefice)
tarkovskologist
heidisaman:

"Looking at a Cassavetes movie should persuade any viewer that there are no bad actors but only bad directors, and that acting has more to do with the strategic setting of gestures in space than it has to do with a trip to the flea market of emotions. The miracle of Cassavetes’s craft lies in that he makes the emotion surge, while obstinately refusing to illustrate it. No wonder his actors look always as if they were documented."
— Jean-Pierre Gorin on the films of John Cassavetes
Still from Shadows (1959, dir. John Cassavetes)

heidisaman:

"Looking at a Cassavetes movie should persuade any viewer that there are no bad actors but only bad directors, and that acting has more to do with the strategic setting of gestures in space than it has to do with a trip to the flea market of emotions. The miracle of Cassavetes’s craft lies in that he makes the emotion surge, while obstinately refusing to illustrate it. No wonder his actors look always as if they were documented."

— Jean-Pierre Gorin on the films of John Cassavetes

Still from Shadows (1959, dir. John Cassavetes)

ghostparties

Plank Piece, 1973
Charles Ray
“Ray was part of a wave of artists during the 1970s who addressed sculpture as an activity rather than as an object. In the iconic two-part photographic work Plank Piece the artist documents the use of his own body as the sculptural component. The static photograph belies the performative nature of the activity presented. Contrived through a complex balance between weight and gravity the artist suspended his body using only a plank of wood, creating a minimal, graphic image that is at once humorous and unsettling.”

Plank Piece, 1973

Charles Ray

“Ray was part of a wave of artists during the 1970s who addressed sculpture as an activity rather than as an object. In the iconic two-part photographic work Plank Piece the artist documents the use of his own body as the sculptural component. The static photograph belies the performative nature of the activity presented. Contrived through a complex balance between weight and gravity the artist suspended his body using only a plank of wood, creating a minimal, graphic image that is at once humorous and unsettling.”