Смотри Инстаграм профили и сторисы анонимно


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Anna Kornilova

🇪🇪 🇬🇧 Philosophy MA by day, head bartender by night, art enthusiast always #postartism #feastofgluttony
Bunhill Fields, a place of pilgrimage for the fans of Daniel Defoe, John Bunyan and William Blake, unapologetically fraud. Defoe died in 1731. Once the cemetery closed for burials, his grave was neglected and his headstone was broken by a lightning. The obelisk was commissioned only in 1869, following which the grave was dug out, skeletons disinterred and largely stolen for souvenirs. John Bunyan died in 1688. He was buried at the back of the burial ground, set to be moved to John Strudwick's family vault. It is unclear if and when this actually took place, however in 1862 the monument to the Strudwick family was reconstructed into one commemorating Bunyan. William Blake died in 1827. As his wife had died in 1831 and was buried separately, in 1927 it was decided to place a new headstone commemorating them together, in close proximity to both graves. The headstone was later moved closer to Defoe, largely for convenience. In 2006 a group of enthusiasts found Blake's actual place of burial and another memorial was placed there in 2018. The old one still remains a landmark. #болезньюности #diseasethatcloudedyouth
Bunhill Cemetary
Michael Armitage is one of my favourite success stories. Born in Kenya, he got his MA in London in 2010, and was featured at the Venice Biennale already by 2019. Recently he became a Royal Academician of the Royal Academy and will be designing the new £1 coin. He celebrates his heritage in a very contemporary manner, having no mercy for his audience. His style is easily recognisable, his bright colours are juxtaposed with violent subjects. He is productive, yet experimental, none of his works look like replicas of each other. His canvas are Lubugo bark cloths, he's commited to see his concept through before he even begins painting. “Amongst the Living” currently on display at the White Cube Bermondsey until the 30th of October. #postartism #артдискурс
White Cube
Caput Mundi
Rome, Italy
My new art obsession Andreas Breunig. There is nothing that fascinates me more than controlled chaos, so I can look at his abstract paintings for hours. He creates layers and layers of colour, medium and technique, and no stroke is accidental. Currently on view at London's Skarstedt Gallery, along with Jana Schröder and Peppi Bottrop. “What time is it?” open for two more days only. #postartism #артдискурс
Between the largest Munch collection outside of Norway and sculptures by Rodin, the Thiel Gallery also houses a unique art collection of Swedish art and is a fascinating building on its own. Built specifically to accommodate works of art, it features high ceilings and glass roofs, that admit daylight. Designed by Ferdinand Boberg, it was completed in 1907 and served as a home for one of the richest Swedish bankers of the time, Ernest Thiel. As a patron of the arts, he supported his contemporaries, such as Carl Larsson and Bruno Liljefors. During World War I Thiel lost a large part of his fortune and sold the building itself along with the entire collection to the Swedish government. From 1926 and to present day, it has been open to public and remains largely intact. #postartism
Ernest Thiel, being a banker and an art collector, was buried in the classiest way possible. The gallery, which housed his collection and served as his home, before he sold it to the Swedish government and it became open to public, was built on the grounds of a royal park. Thiel enriched the meadow with sculptures, including Auguste Rodinʼs “The Shadow”. His ashes are buried beneath a rock under the aforementioned sculpture. Being an avid Nietzsche reader, having funded a luxury edition of “Also sprach Zarathustra” and translated numerous works into Swedish, Ernest Thiel had also acquired Nietzscheʼs death mask. The mask was originally commissioned by Count Harry Kessler and made by Curt Stoeving, who had painted an earlier portrait of Nietzsche. It can now be found in the heart of the gallery, the tower room. #postartism #артдискурс #diseasethatcloudedyouth #болезньюности
Saw a lot of Munch recently, some of it at the Courtauld and some more at the Thiel Gallery in Stockholm. Edvard Munch is one of my favourite painters to ever exist. I discovered he had power over me back in 2010, at a Parisian exhibition «L'anti-cri». No wonder the Munch room (1) at the Thiel Gallery gave me a Stendhal syndrome experience. It's all in the composition. His subjects break the fourth wall, staring at you as life goes on behind them, provoking flashbacks of your own memories. No realism, barely any facial features or expressions, yet raw emotion conveyed flawlessly. I wish I could take «Evening on Karl Johan» (3), put it in a separate dark room, and make people queue to see it, mirroring the painting and immersing into the frustration. #postartism #артдискурс
The Courtauld
Estonia got it's first @michelinguide mentions recently, with two Tallinn restaurants receiving first stars. I was completely blown away by @noachefshall: not a single boring dish, celebration of Estonian roots, a ritual, a show, and a stunning view to top this off. #пирпиров #feastofgluttony
NOA Chef's Hall
Let's talk about David Hockney, one of the most influential and expensive artists of our time. Recently I've figured out what my problem with him is. He is a brilliant researcher, exceptional at spotting patterns, understanding and explaining art. I have endless respect for him as an art historian, and find the Hockney-Falco thesis (claim that optical instruments have been heavily used from Renaissance art onwards) fascinating. Looking at his exhibition at the Fitzwilliam Museum in Cambridge, which is cleverly juxtaposed with their permanent collection in order to highlight the scientific nature of his artistic work, I'm enjoying the concept, but none of his art touches me. Looking at Hockney's works, I'm feeling like I'm reading non-fiction, yet my nature is such, that I'm craving poetry. Not to say that poetry can't be clever, or that non-fiction can't be treated as a form of art. In fact, I love when the two are intricately paired, but Hockney feels like a giant pastiche – amusing, yet somewhat prosaic. In one word, hockneyed. #postartism #артдискурс
@masterpiecefair highlights. Masterpiece is a confusing one for me, because there is always too much going on. From contemporary art to antiques, from photography to furniture, from lighting to jewellery, a couple of boats on top of that, I really struggle to grasp the concept of the fair. Recently I found myself gravitating towards spatialism and volumetric, larger-than-canvas art, which currently seems to be a recurring trend. Hence, a spatial concept work by Lucio Fontana (1,2), the artist who basically came up with the idea that canvas ≠ 2D, was by far my favourite work this year. For similar reasons I absolutely fell in love with Jordi Alcaraz (3,4), whose work is pure poetry. There's a bit of Fontana, a bit of Takis, a tiny bit of Kabakov, my year 1 contemporary art project and yet something entirely fresh and expressive. Continuing the trend, Chun Kwang Young with works made entirely of Korean mulberry paper (5,6) and Rothko-esque Bram Bogart (7,8). Moving on, I've been a fan of Carolein Smit since LAPADA 2019, so an entire stand with her sculptures definitely was one of the highlights (9). Lastly, another great personal discovery, Coral Woodbury (10), reclaiming the narrative by painting portraits of prominent female artists on the pages of art history books. #postartism #артдискурс
I like my travels calm and gloomy 🌑
Cambridge, Cambridgeshire

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