Happiness is to be found when in pursuit of it, in the soothed expectation, on the way, not only upon the arrival. Accepting detours, just going the way, which is anyhow not this obvious to anyone.
Thomas Bettinelli

Happiness is just a hairflip away.
Chris Crocker


"The way the system works now, you see the clothes, within an hour or so they're online, the world sees them. They don't get to a store for six months. The next week, young celebrity girls are wearing them on red carpets. They're in every magazine. The customer is bored with those clothes by the time they get to the store. They're overexposed, you're tired of them, they've lost their freshness".
Tom Ford


Snapper : Pascual Ibáñez

Spanish photographer Pascual Ibáñez presents his take on the Seven Deady Sins as a colorful series of collages. The tradition of the capital vices originated with the desert fathers, specifically Evagrius Ponticus who identified evil thoughts that one needed to overcome. His pupil John Cassian brought that tradition to Europe with his book "The Institutes". The concept was used throughout the medieval Christian world to teach young people how to avoid evil and embrace the good as is evident in treatises, paintings, sculpture decorations on churches. Works like Peter Brueghel the Elder's prints of the 'Seven Deadly Sins' as well as Edmund Spencer's 'The Faerie Queene' show the continuity of this tradition into the modern era. And Pascual Ibáñez associated each sin with a color : yellow for greed (bank notes, St Peter's Basilica, Tiffany's façade), pink for envy (gossip -'pink press' in Spanish-, Prince Felipe and his girlfriends, Eva Sannum in a handbag, Cinderalla and the royal family), green for gluttony (food versus diet), red for wrath (war, blood, violence), purple lof lust (jewels, excess, sex), orange for sloth (making time stop, Greek mythology with Zeus ruling time), and blue for pride (tribute to fashion and women from prehistory to now).
The series was inspired by Josep Renau Berenguer's body of work (watch this). When looking for the early radical proponents of photomontage, rarely is the name of Josep Renau mentioned, yet he played a significant role in the development of this art. His montage works should be regarded with the same sense of appreciation given to the creations of John Heartfield, George Grosz, Alexander Rodchenko, Raul Hausmann, or Hannah Hoch. At a time when African Americans could neither vote nor use facilities marked “For whites only”, Josep Renau’s images called attention to the fact that democracy in the US was a dream left unfulfilled for millions. Perhaps his most volatile artwork on the subject was the photomontage titled 'Racial Orgasm' (1951); which presented a close-up portrait of a skull-faced white man from whose mind sprang the most fearsome imaginings, tortured and murdered black men roasting in fires set by flag waving members of the KKK. To say that Josep Renau is not widely known in the United States would be an understatement. But what is the reason for this unfamiliarity ? No doubt his ideology had much to do with it, since he joined the Communist Party of Spain in 1931 and remained a lifelong member until his death. He once said, “I’m not a Communist painter, just a Communist that paints”. A continued ignorance regarding his works, especially for artists at this juncture in history, is nothing short of inexcusable.

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