A farm in the middle of the city - 9
I'm not a INSTAGRAMMER...
Reserved for the Mother's Day picnic
Fireflies
Galleon
SURRENDER
The Council of Old Men
There are walls that can't collapse
"GLORIA"
Stone's Breakfast
After two days of sun and heat
FIRE!!!
Rain doesn't stop
Have you realized that we are in May?
Bus stop (1)
Unstable and provocative the dream comes
Wall Street English School
Unusual girl urination
Street Art
Betake yourself while possible
Today's lunch
Yesterday's lunch
"El Niño"
LOVING SMILE - 43
Neurons
The morning seen from an hotel room balcony
My stone's ear
Diary
Anniversary cake of the confraternization lunch of…
There is always a chance
"GIFTWARES" (1995)
São Gabriel Arcanjo
The Queen
ASYMMETRIES
A farm in the middle of the city - 8
Contemplation
White Horse
Off limits
Everything will become white when I die
A farm in the middle of the city - 7
I Shall Be Released
The shadow of the gnome isn't imagined
VERTIGO
Nobody mourns against the wall
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"PERFORMING FOR THE CAMERA", at TATE MODERN (until 12 June)


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"In STRIP, [Writer, Critic, Dealer, Curator] (1999-2000), Jemina STEHLI takes her clothes off in front of a series of influential men from the art world. She has her back to the camera so that we see her strip off from behind - pull down her jeans, step out of her knickers, until she is standing naked in just her high-heeled black shoes. It is the watching men - their expressions, their body language and how it changes as STEHLI removes each bit of clothing - who are the focus here, from the dealer who sits with his legs wide apart, deep in concentration, to the writer who sits with his knees together, a nervous look in his face."
by Eleanor BIRNE, in "LONDON REVIEW OF BOOKS", Volume 38, Number 8, April 2016 (extract from her exhibition review)
"In STRIP, [Writer, Critic, Dealer, Curator] (1999-2000), Jemina STEHLI takes her clothes off in front of a series of influential men from the art world. She has her back to the camera so that we see her strip off from behind - pull down her jeans, step out of her knickers, until she is standing naked in just her high-heeled black shoes. It is the watching men - their expressions, their body language and how it changes as STEHLI removes each bit of clothing - who are the focus here, from the dealer who sits with his legs wide apart, deep in concentration, to the writer who sits with his knees together, a nervous look in his face."
by Eleanor BIRNE, in "LONDON REVIEW OF BOOKS", Volume 38, Number 8, April 2016 (extract from her exhibition review)
, .t.a.o.n., , and 3 other people have particularly liked this photo
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