Retro-Futuristic Monuments in Ex-Yugoslavia

As a child of former Yugoslavia (now Croatia, Serbia, Slovenia, Bosnia and Herzegovina, etc.), I would like to present some amazing retro-futuristic monuments in my motherland. The structures were commissioned by former Yugoslavian president Josip Broz Tito in the 1960s and ’70s to commemorate sites where WWII battles took place (Tjentite, Kozara, Kadinjaca), and where concentration camps once stood (Jasenovac, Ni).

The monuments were designed to convey the confidence and strength of the Socialist Republic. Sculptors include Duan Damonja, Vojin Bakic, Miodrag ivkovic, Jordan and Iskra Grabul, to name a few. Bogdan Bogdanovic and Gradimir Medakovic were the architects.

In the 1980s, the monuments attracted millions of visitors each year, especially young pioneers for their “patriotic education.” After the Republic dissolved in the early 1990s, they were completely abandoned and their symbolic meanings faded away.

Photo credit: Jan KempenaersPhotos via [arch daily]

December 2, 2016

Sexy French Farmers Pose for Shirtless 2017 Calendar

Last year, the holiday season was set ablaze by France’s Pompiers Sans Frontières (Firefighters Without Borders) and their sizzling, stripped-down calendar. Shot for a good cause by renowned Paris-based fashion photographer Fred Goudon, the risqué calendar proved to be a popular Christmas gift—both in France and abroad. In keeping with tradition, Goudon has photographed a new crop of au naturel pin-up models for his 2018 edition: French farmers.

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December 1, 2016

Meticulous Landscape Paintings Beautifully Represent Intangible Emotional States

Artist Crystal Liu intimately ties her emotional states to beautiful abstract paintings. In large-scale works, she constructs landscapes that are metaphors for the intangible forces that drive us. Visually, elements of the Earth and sky are the actors for the feelings we cannot easily imagine. Together, the sun, mountains, and more depict “narratives of conflict, entrapment, longing, and precarious hope.” These symbols allow Liu to seem removed, yet make the pieces deeply personal.

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