“It’s that thing when you’re with someone, and you love them and they know it, and they love you and you know it… but it’s a party… and you’re both talking to other people, and you’re laughing and shining… and you look across the room and catch each other’s eyes… but – but not because you’re possessive, or it’s precisely sexual… but because… that is your person in this life. And it’s funny and sad, but only because this life will end, and it’s this secret world that exists right there in public, unnoticed, that no one else knows about. It’s sort of like how they say that other dimensions exist all around us, but we don’t have the ability to perceive them. That’s – That’s what I want out of a relationship. Or just life, I guess.”
When I was a kid I had this weird fantasy where I wanted to be buried next to my whole library. I guess I was studying the Ancient Egypt civilization and thought that my most valuable possessions where my books. They were the only thing I needed for the afterlife.
This brilliant video by Luís Azevedo founder of Beyond the Frame and The A to Z Review reminds us through a collection of memorable bookish films that the beauty of books resides also in the places where we find them. Libraries and bookstores are here portrayed as whimsical temples or second homes, full of aura and adventure. Definitely, they are the most wonderful places on Earth.
There is a negative aesthetic pleasure in the desire of forgetting something or someone you loved. We find beauty in our past memories and pain when we try to remember them, not only because we can’t reach them but because the past was better is the most dangerous motto I can think of. I’m talking about lovers, friends that are no longer friends or almonds and new food allergies.
This is the idea that the photographer and sociologist Diana Barbosa (Portugal, 1983) expresses in her small series “Oblivion always remains”. Diana tries to make beautiful the painful exercise of forgetting while capturing a number of artificial objects with a nostalgic vibe (from a typewriter to a vintage radio). These abandoned elements devoured by nature look as if they could decompose on the ground but we still see a small part of them. That little visible part of the objects resemble the old memories that remain forever with us. Even if we try to hide them or throw them away as if they were wasted objects that we no longer need, they will alway be an important part of us. This inconsistency between the organic and the artificiality works as a metaphor of this unnatural process of a deliberated forgetfulness.These photographs remembers us the complex game of dealing with our past and the necessity of keeping hurtful things far away from our present.
Not only are we what we remember but what we decide not to.
All photographs by Diana Barbosa.
Hay un placer estético negativo en el intento de querer olvidar algo o alguien que quisiste. Lo cierto es que encontramos una mezcla de belleza y dolor cuando echamos la vista atrás y miramos al pasado. No sólo porque no podemos alcanzarlo sino porque el pasado siempre fue mejor creo que es una de las frases más peligrosas que existen. Estoy hablando de olvidar a quien amaste, de los amigos que ya no son amigos, de almendras y nuevas alergias alimenticias.
Esta es la idea que la fotógrafa y socióloga Diana Barbosa (Portugal, 1983) plantea en sus pequeña serie fotográfica bajo el nombre “El olvido siempre permanece“. Diana a través de una serie de objetos artificiales con un toque vintage (desde una máquina de escribir a una radio de aire retro) busca la belleza de ese acto doloroso que es olvidar. Estos elementos abandonados y devorados por la naturaleza parece que en cualquier momento pudieran descomponerse en la tierra. Pero siempre queda un pequeño resquicio de ellos porque incluso si intentamos deshacernos de ellos como si fueran objetos que pertenecieran a la basura y que hemos dejado de necesitar, siempre serán una parte importante de nosotros. Esta tensión entre lo artificial y lo natural funciona como una metáfora de ese proceso poco natural que es el olvido voluntario. Estas fotografías nos recuerdan lo complejo que es el juego de tener que enfrentarnos a nuestro pasado y de la necesidad de mantener aquello que duele alejado de nuestro presente.
Que no somos sólo lo que recordamos sino lo que decidimos olvidar.
If I was invited to the Golden Globes (I have a very powerful imagination) I would wear a silver paillete dress, my pair of green Onitsuka Tiger sneakers and a flower crown on top of my head. This other outfits below would be great options too, like the beautiful strapless dress by Spanish designer Delpozo from his SS collection worn by Olivia Palermo. With a complete different style Emilia Clarke and Kirsten Dunst also stood out in the red carpet with their classy vampy looks. Last night they both opted for Valentino’s dark elegance .
My adored Zoe Kazan and Jaimie Alexander chose geometric dresses, from Miu Miu and Genny respectively.
I´m also a big fan of Sophia Bush in this minimal gown by Narciso Rodriguez. I was also a big One Tree Hill fan, but that is another story. Ooh, Brooke.
The winner from The Affair, Maura Tierny, looked simple and elegant in this bi-color Elizabeth Kennedy dress. That reminded me I should finish The Affair’s second season, but was is going on with Noah? Do you also think he is going nuts?