ютьюб достаточно настойчиво рекомендовал мне это видео

посмотрела и провела параллели с московской тусовкой совриска. авторка немного путается в терминах (кто правый кто левый… либеральный/демократический) но достаточно занятный материал. спасибо что об этом говорят даже в фэшн так скажем…

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"Тихая роскошь": Что не так с главным трендом 2023? II ОТДЕЛ МОДЫ

Привет! На связи Лана Нисневич, журналист, экс-редактор моды Cosmopolitan, автор статей для различных глянцевых изданий. Здесь мы разбираем моду не с точки зрения "как и что с чем носить", а "почему мы это носим" и "как это влияет на нашу жизнь". Поддержать…

из сегодняшнего появившегося за ночь бел. Солидарность наше оружие

Boris Lurie & Wolf Vostell
Art after the Shoah
Ludwig Múzeum, Budapest

привожу отрывки из кураторского текста:

*Their friendship dates back to 1964. They articulated their social engage- ment, the struggle against indifference and moral degradation, from dif- ferent positions – from the perspective of painting and action art – but with a radical approach. For the committed intellectuals, acknowledging collective crimes and exposing the tragedies of the Holocaust and fas- cism was a life’s work that could not be overridden by the paradigm of forgetting. For Lurie and Vostell, the consistent exploration of the recent past, the Holocaust, the Nazi past, the revelation of unforgivable crimes, was the basis of their artistic programme. Both were concerned with the immediate past, with the catastrophe and human tragedy of the Shoah and its direct and indirect imprints in their work. For both of them, the sole aim, the essential moral question of their present, was to take historical responsibility, to face up to the past. Only their inherent positions were opposed, the position of victim and perpetrator, which in their relationship meant not opposition but identification with the vic- tim’s fate, the acceptance of the harms suffered: Lurie was a Holocaust survivor, while Vostell was a critical and committed advocate obsessed with social responsibility, who, identifying with the position of the victim, placed at the centre of his work the assumption of collective guilt and the inexcusability of collective historical guilt.

… Their central programme was the fight against Nazism, war crimes, and the Shoah, and what they represented in their work: an awareness of the unresolved past, of a shared moral responsibility.*ссылка на буклет с выставки