lloviendo

a poem, some unedited rain, and a slice of plath

salamancastreets

i woke to the sound of rain
― sylvia plath, the bell jar

see me

the face

in the rain

see me

the fingers

on the pane

see me

before

i am

wiped

away


*one of a series of shots made in salamanca with my ancient olympus om10, with zuiko 50mm f/1.8 lens, and loaded with ilford xp2 super ISO 400 film*

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plaza

Another shot at this week’s WordPress prompt on the theme of ‘I’d rather be’ which features the streets of Salamanca, words by Murakami and some unedited mono photos from me and my trusty old Olympus OM10.

salamancastreets

“Look at the rain long enough, with no thoughts in your head, and you gradually feel your body falling loose, shaking free of the world of reality. Rain has the power to hypnotize.”
― Haruki Murakami, South of the Border, West of the Sun


We often spend time wondering who, where, or perhaps what we are.

What we’d rather be.

Maybe, our lives would be better if we simply accepted who we are, where we are.

And what we have.

Let the rain wash over us, cleanse us.

Make us whole again.

And maybe then, we’d rather not need to be anything that we are not.

Already.


A thoughtful piece for this week’s WordPress Weekly Photo challenge which posed the rhetorical question ‘I’d rather be’

And, in an odd way, the fact that each of these shots was captured, in Salamanca’s Plaza Mayor, with a 35 year old Olympus OM…

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I’d rather be

‘what was the thing, who was the one?
i’d tell you if I had the chance
all over the city, the suburbs and towns
i’m begging someone, please look up’
– lyrics from ‘everybody wants to sin’ sarah blasko


for wordpress weekly photo challenge ‘i’d rather be’

*shot in salamanca, españa, with 35 year old olympus om10 and zuiko 50mm f/1.8 lens in aperture priority mode with ilford xp2 super iso400, developed by ilford, after I dropped it on a cold tiled floor and bent the filter ring, gotta love film…*

story

‘whispered something in your ear
it was a perverted thing to say
but I said it anyway
made you smile and look away’
– lyrics from ‘nothing’s gonna hurt you baby’, cigarettes after sex


once upon,
a time
each story
began

in gentle tones
no broken bones

later,
gingerbread,
blood red
tales of death
and terror

stalked my,
dreams

later, still
each story
began, in torchlight
and fright

what right,
had i

and now,
each story,
ends before,
it begins

as life,
unwinds


for wordpress weekly photo challenge – story
*image shot in salamanca, españa, with fujifilm x100f with 23mm (35mm fill frame equivalent) lens at ISO500, f/4 and 1/300s with added effects applied in analog efex pro 2*

(a) face (in the crowd)

Are those the faces of love, those pale irretrievables?
Is it for such I agitate my heart?
– Sylvia Plath

A face in the crowd, for the WordPress Weekly photo challenge

in his

eyes

not (under), his

eye

what will,

unfold,


*shot with fujifim x100f with 23mm (35mm fixed frame equivalent) lens at ISO1600, f/5.6 and 1/170 at the tate modern in London*

muzej savremene umetnosti

Delighted to hear the news that the Museum of Contemporary Art is opening again after ten long years. Six years ago, it featured in one of the first posts that I wrote on, what was then my new blog, belgradestreets.

belgradestreets

Decided to add an extra post today, a sort of ‘Sunday Supplement’.

Yesterday, whilst shopping at Ušće for some of the random necessities of life, I wandered across the swathe of parkland that lies along the river toward what seemed a rather fascinating yet random group of sculptures set among the grass and trees, it became clear that they were not random but some of the outdoor (and now quite weathered) exhibits of Belgrade’s Museum of Contemporary Art.

Sadly closed for repairs since being damaged in the bombing of 1999 the Museum’s collection numbers some 35,000 works of art produced since 1900 in Serbia and the former Yugoslavia.

This lonely and decaying building, partly hidden behind fencing, is located near the confluence of the Sava and Danube and was designed by Ivan Antić and Ivanka Raspopović in 1960 with construction taking place between 1960 and 1965, Wikipedia states that…

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banal ball(s)

Writing in today’s Observer newspaper, Laura Cumming’s review followed the headline (at least in the print version) ‘These swings don’t mean a thing’ describing the Superflex installation in the Turbine Hall of the Tate Modern as ‘by far the worst Turbine Hall commission in the history of the Tate Modern’, and went on to suggest that, if she were Hyundai (who sponsored the commission), she’d ask for her ball back.

I am no art critic, but I wonder if her review missed part of the essential point of the Tate Modern? It is an open expansive space, much of which can be viewed freely. A space where those unfamiliar with art can have their eyes opened, their lives changed. The vast expanse of the Turbine Hall is indeed a challenging space for any artist to fill, no matter how sweeping their ambition or profound their talent.

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