- 1 week ago
- 2 weeks ago
- 2 weeks ago
The Interiors of Wes Anderson’ in the latest issue of Apartamento #13
“You could compare Wes Anderson to an interior decorator,”says Apartamento’s Editor-in-Chief Marco Velardi of today’s enchanting series, taken from the bi-annual title’s latest issue. With the director and screenwriter’s private house strictly off limits, the magazine traces the meticulously considered art of set design in his filmography: miniature brownstone apartments, nostalgic color schemes and embroidered and elaborate costumes. “I always say that a picture of someone’s home tells you a lot more about that person than any portrait possibly can,” muses Nacho Alegre, director and co-founder of Apartamento. “I imagine in a movie the time you have to describe a character is limited, so using the interiors to do so probably becomes something of a necessity.” An intricate visual language has become Anderson’s trademark; in his hands, set design becomes both a storytelling device and character trope, from his shot-on-a-shoestring debut, Bottle Rocket, to his latest saccharine fantasia, The Grand Budapest Hotel. Velardi adds: “Ultimately, if you look at his work there are a lot of interiors, with very peculiar and very precise work on the spaces and what people wear; Wes is passionate about every single detail, and that’s why it’s fascinating for us.”
(via caaesura)Source: vmagazine
- 3 weeks ago
"My life, this is all you are. This narrow space
between the enormous past and the inchoate
future. This minute, which has already
passed, this word, which is already null,
this body, which dies incessantly
with each word. I may have found solace
in language or memory, an alley in Paris
or in Prague, in Kafka or in Proust.
Mirror of the senses, they will disappear
with me, as with all time, space, and death,
these enchanted vectors of the soul.
I move in the world with all of my body,
through the labyrinth made of one
straight line. The inconceivable
infinities no longer bother me. This moment
is all I believe in, October and the dry leaves
blowing where I’m heading, a storm
rushing to presage me. At the crucial junctures
someone will already know my name.
The earth will again unfold its heart
of sulfur, and I will be born
into the recurring terror, inescapable
being, to which I eternally return.
May these small tokens prove that I tried
my best, though human cruelty made no sense
to me, though love was inexplicable, more
phantom than reality. If forgiveness be true,
I want to be annihilated completely,
I want reciprocal forgetting,
I want the angels not to recognize me."
- 2 months ago
"They are not brave, the days when we are twenty-one. They are full of little cowardices, little fears without foundation, and one is so easily bruised, so swiftly wounded, one falls to the first barbed word. To-day, wrapped in the complacent armour of approaching middle age, the infinitesimal pricks of day by day brush one but lightly and are soon forgotten, but then—how a careless word would linger, becoming a fiery stigma, and how a look, a glance over a shoulder, branded themselves as things eternal."
- 2 months ago
"Yet it so no exaggeration to say that liberation as an intellectual mission, born in the resistance and opposition to the confinements and ravages of imperialism, has now shifted from the settled, established, and domesticated dynamics of culture to its unhoused, decentered, and exilic energies, energies whose incarnation today is the migrant, and whose consciousness is that of the intellectual and artist in exile, the political figure between domains, between forms, between homes, and between languages. From this perspective then all things are indeed counter, original, spare, strange. [The reference is to a poem by Gerard Manley Hopkins.] From this perspective also, one can see “the complete consort dancing together” contrapuntally. [The quotation is from T. S. Eliot’s poem, “Four Quartets.”]"
- 2 months ago
"[S]urely it is one of the unhappiest characteristics of the age to have produced more refugees, migrants, displaced persons, and exiles than ever before in history, most of them as an accompaniment to and, ironically enough, as afterthoughts of great postcolonial and imperial conflicts. As the struggle for independence produced new states and new boundaries, it also produced homeless wanderers, nomads, and vagrants, unassimilated to the emerging structures of institutional power, rejected by the established order for their intransigence and obdurate rebelliousness. And insofar as these people exist between the old and the new, between the old empire and the new state, their condition articulates the tensions, irresolutions, and contradictions in the overlapping territories shown on the cultural map of imperialism."
- 2 months ago
- 3 months ago
Players drew cards corresponding to colony names, then had to deploy cards representing assets like boats, engineers, colonists, schools, and equipment, in order to win cards representing the exports of the various colonies. “Images on the game,”Getty Research Institute curator Isotta Poggi writes in her blog post on the document, “provide a vivid picture of the vast variety of resources, including animals, plants, and minerals, that the colonies provided to France.” Cartoons on the cards depict coal (mined by a figure clearly intended to be a “native”), rubber, wood, and even wild animals.
Along the way, players needed to avoid pitfalls like sickness, “laziness,” and intemperance (illustrated by a cartoon of a red-cheeked white man in khakis and a white hat, served by a “native” in “traditional” dress). Once the cards representing a colony’s major exports had been won, the colony was considered “exploitée,” and was out of the game.