Isao Tomita - Arabesque Nº1 Claude Debussy

"Planeta Imaginario"

Planeta imaginario (El planeta imaginario en la cartelera de prensa y algunas otras fuentes, Planeta imaginari, en sus dos primeras temporadas en catalán) fue un programa televisivo que empezó a emitirse por primera vez los sábados por la mañana en 1983, en Cataluña (circuito catalán de la Segunda Cadena de TVE), para emitirse además desde marzo de 1984 por la Primera Cadena de Televisión Española, al principio los jueves y viernes por la tarde, y luego los lunes por la tarde, canal donde permaneció hasta el año 1987. Un programa creado y dirigido por el escritor Miquel Obiols, realizado por Ángel Alonso hasta 1985, y continuado posteriormente por los miembros de su equipo.

El programa tenía un fuerte componente literario. Durante sus cuatro temporadas (primero en catalán y posteriormente en castellano), trataron temas como La metamorfosis y autores como los hermanos Grimm, Hans Christian Andersen, Julio Verne, Lewis Carroll, Gianni Rodari o Roald Dahl. También abordó el mundo pictórico, acercando al público infantil y juvenil a artistas como Pablo Picasso, Joan Miró o René Magritte, a cuya obra dedicaron dos programas.

La protagonista/conductora del programa era Flip, una chica de unos 16 años que vivía sola en el Planeta Imaginario, acompañada de Muc, su amigo invisible y eventualmente Maletín, un chico de su misma edad. Dormía en una cama de metacrilato transparente, la cabecera de la cual cambiaba en cada programa, al igual que la superficie de su planeta, que era completamente blanco, con unos volúmenes cúbicos también cambiantes en cada episodio, que simbolizaban el relieve.

El programa lo animaban las fantásticas visitas que recibía Flip en el planeta, como personajes de cuentos, malabaristas, títeres, contadores de historias, músicos, mimos, etc.

La música de la cabecera del programa era Arabesque nº1 de Debussy, interpretada por el japonés Isao Tomita.

Planeta Imaginario Online

©Anil Bolukbas - Get Stuck in

"when you look this series you may see the evolution of beauty, from creation to modern world, appearances changes all the time. the model is trying to see herself replaced to everyone she admires and the ones who ignore and excluding her. Having every point with all its nudity and courage, this photo executes the reverse aesthetic. At this work of him, the photographer questioning of the modern world’s beauty understanding, which is a taboo nowadays. The dreamed and the reality of the sight here is getting connected and mixed. You are being witness of a human body’s rebellion. Running against to the society’s liking, she is hiding her beautiful face and shockingly attracting attention with her body more than ever before. In this photo, everything is under the title of "too much", which is ending the stereotyped beauty and nudity. Too brave, too real and too genuine."


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Jeremy Moon 1934-1973

1962 Paintings

El objetivo de Jeremy Moon, el pintor que lideraba el minimalismo londinense de los años sesenta, era captar un flujo óptico de imágenes intrínsecamente en reposo y al mismo tiempo en movimiento hacia afuera. Durante diez años Moon desarrolló su pintura como un monólogo de imágenes interiores.

via Juan March

Peggy Moffitt

by Rudi Gernreich

click to enlarge



by Peggy Moffitt | Photography by William Claxton

Peggy Moffitt

by Rudi Gernreich

click to enlarge

Comfortable, colorful, minimal and occasionally shocking, the clothes created by Rudi Gernreich were both experimental and representative of their times. Fascinated by a performance by Martha Graham he attended soon after his arrival in California, dance changed Rudi’s concept of design, and unimpeded motion became the focus of his creed.1 Characterized by a simplicity of line, a love of strong saturated hues, and a daring sense of graphic design that used both the body and cloth as media, his work stood out and often overstepped sociological boundaries.

His infamous 1964 topless bathing suit became a symbol of controversy worldwide.2 Indicative of his lifetime advocacy for unisex garments, it was drawn from a boy’s “Sunnette” style launched by Jantzen in 1931.3 Made of knitted wool, like the early 1950s swimsuits without foundations that were part of his early success, it was designed as a prediction of things to come at a time when many women on the Riviera had begun sunbathing without the tops of their bikinis.4 Retailers sold some 3,000 pieces, to the great surprise of the designer himself, who talked about merely designing for the needs of the new youth culture.5 He redefined notions of propriety throughout his career: he helped to popularize the miniskirt,6 designed see-through chiffon shirts and the “No Bra” bra at a time when the highly structured, padded, wired up-lift bra was the norm, proposed hairlessness and interchangeable clothing for both genders as the way of the future, and introduced the unisex thong.7 A bold thinker with a progressive appreciation of the human body, he was, and perhaps remains, ahead of the curve.

Rudi Gernreich’s body of work has endured exceptionally well. He stood on the shoulders of Claire McCardell and Vera Maxwell to chart the future course of American sportswear design and free it from French rule. His work was thought-provoking and rooted in the emerging youth culture and art world. He looked to the street, not the elite, and produced reasonably priced, functional and joyful mass-produced informal garments. A Californian, he created activewear that bludgeoned onlookers with vibrating colors and patterns. A feminist, he sought equality for the sexes through his work and saw women as strong and uninhibited. He was a designer of great talent, a prophet and an activist.

Anne Bissonnette, PhD


Kent State University Museum


60’s fashion Peggy Moffitt

fashion, swinging sixties, models, model, Peggy Moffitt, Leon Bing, Ellen Harth

©Mariell Amélie | Self-portraits | 

via nuncalosabre

Helga Philipp
* 1939 in Vienna (AT)
† 2002 in Vienna

She is known to be a pioneer of the “concrete art” in Austria and her works are outstanding examples of Op-Art and dynamic kinetics. Represented in major exhibitions of the 1960s she was prominently integrated into the program of Galerie nächst St. Stephan

Whether graphic art, painting or sculpture, the skilled sculptor, student of Hans Knesls, never made a distinction. Her ”Beobachtungsobjekte” are hybrids, varying between genres. Their changeable appearance becomes accessible to the spectator only by means of psychological and intellectual interpretation.


Robert Bruno’s Steel House

web | process


Steven Klein. The Final Frontier