majdakovic
Hello, my name is Majda and this is my visual diary, a collection of my inspiration
Here you can see my own work:
www.cargocollective.com/majdakovic
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2012-05-24
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Bill Sullivan - Touch Screen
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2012-05-19
“From Here On” manifesto, Arles edition 2011
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2012-05-18
Louis Porter - Lacerated photobooks
“Browsing through a local lending library’s photography section, I noticed that someone had removed the torso of a woman in one of the books. Sifting through the other volumes on the shelves, I discovered several had received a similar treatment. These scans are a selection of those I found..”
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Markus Kison - Roermond-Ecke-Tropical Gate
“Markus Kison is a digital artist based in Berlin. By misusing data material he is discussing social contexts. These emerge from the relationship between physical objects and their inherent digital information layers. At present Kison is researching on the role of the contemporary human being in a digital augmented world.”
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2012-05-17
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![Stan Douglas - Since the late 1980s, Stan Douglashas created films, photographs, and installations that reexamine particular locations or past events. His works often take their points of departure in local settings, from which broader issues can be identified. Making frequent use of new as well as outdated technologies, Douglas appropriates existing Hollywood genres (including murder mysteries and the Western) and borrows from classic literary works (notably Samuel Beckett, Herman Melville, and Franz Kafka) to create ready-made contextual frameworks for his complex, thoroughly researched projects.
Douglas’ work reflects the technical and social aspects of mass media, and since the late 1980s has been influenced by the work of Samuel Beckett. Also of concern is both modernism as a theoretical concept and modernity as it has affected North American urbanism since World War II.In using what art historian Hal Foster describes as the “outmoded genre”of cinema, Douglas’ interest in “failed utopias and obsolete technologies”allows for the creation of a “new medium out of the remnants of old forms.”Douglas’ preoccupation with failed utopias and the obsolete is not about a redemption of “these past events, but [a way] to reconsider them: to understand why these utopian moments did not fulfill themselves, what larger forces kept a local moment a minor moment: and what was valuable there — what might still be useful today.”](http://24.media.tumblr.com/tumblr_m45usjBmeJ1qdkur6o1_500.jpg)
Stan Douglas - Since the late 1980s, Stan Douglashas created films, photographs, and installations that reexamine particular locations or past events. His works often take their points of departure in local settings, from which broader issues can be identified. Making frequent use of new as well as outdated technologies, Douglas appropriates existing Hollywood genres (including murder mysteries and the Western) and borrows from classic literary works (notably Samuel Beckett, Herman Melville, and Franz Kafka) to create ready-made contextual frameworks for his complex, thoroughly researched projects.
Douglas’ work reflects the technical and social aspects of mass media, and since the late 1980s has been influenced by the work of Samuel Beckett. Also of concern is both modernism as a theoretical concept and modernity as it has affected North American urbanism since World War II.In using what art historian Hal Foster describes as the “outmoded genre”of cinema, Douglas’ interest in “failed utopias and obsolete technologies”allows for the creation of a “new medium out of the remnants of old forms.”Douglas’ preoccupation with failed utopias and the obsolete is not about a redemption of “these past events, but [a way] to reconsider them: to understand why these utopian moments did not fulfill themselves, what larger forces kept a local moment a minor moment: and what was valuable there — what might still be useful today.”
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2012-05-13
A series by Sebastien Girard - Exhausted, abandoned, wounded, the collection of cars captured by Sébastien Girard are in fact desperate. We find them in the middle of the night, broken wrecks bearing the scars of their mad days wheeled by man. An analytical flash captures them in their everlasting solitude.
Girard depicts cars in a such a way that he puts them in a spotlight, making them monumental as they are human and have feelings. He shows the badly damaged cars as though they are wounded people - it could be a metaphor for how we treat the things we create ourselves - man made wrecking…
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