@aiala00: Гүл егіп, түбін ақтайсың, Су сеуіп, күнде баптайсың. “Әдемісің,сұлу”,- деп, Таңертең-кешке мақтайсың. Суықтан қорғап, сақтайсың Алтынмен орап, қаптайсың. Еркелетіп күн сайын, Қабағыңды бірде қатпайсың. Есейіп өссе баққаның, Сәні де кірер бақшаның. Бір күні үзіп берерсің, Қолында кетер, басқаның. Өсірсең гүлді аялап, Жүреді сені саялап. Отаны басқа болса да, Әрбір қызға өз үйі, өз төрі қашанда - САЯБАҚ!

Aiala🤍

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Tuesday 30 June 2026 03:19:28 GMT

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At “Seaworld Venice,” this year’s Austrian Pavillion at the Venice Biennale, performance artist and choreographer Florentina Holzinger alerts us to a world “increasingly surrendered to the waves.” A female performer replaces the clapper of a church bell, alerting the viewer to the flood to come. Inside, Holzinger has created a dystopian view of our water systems: in an underwater amusement park, a circling jet-ski comments on the ecological catastrophe driven by turbo-tourism, a group of performers climb an enormous weathervane as a testament to the strength of collective action, and a performer lives in a reconstructed sewer treatment plant, in a tank sustained by body fluids contributed by the audience. The pavilions describes how the “closed-loop recycling system serves as a raw metaphor for a life lived in the refuse of others—a visceral reflection of a global order in which vulnerable populations and entire nations are relegated to the trash bins of the powerful.” Read more about the pavilion, and others now on view at the Venice Biennale, at the link in our bio.

At “Seaworld Venice,” this year’s Austrian Pavillion at the Venice Biennale, performance artist and choreographer Florentina Holzinger alerts us to a world “increasingly surrendered to the waves.” A female performer replaces the clapper of a church bell, alerting the viewer to the flood to come. Inside, Holzinger has created a dystopian view of our water systems: in an underwater amusement park, a circling jet-ski comments on the ecological catastrophe driven by turbo-tourism, a group of performers climb an enormous weathervane as a testament to the strength of collective action, and a performer lives in a reconstructed sewer treatment plant, in a tank sustained by body fluids contributed by the audience. The pavilions describes how the “closed-loop recycling system serves as a raw metaphor for a life lived in the refuse of others—a visceral reflection of a global order in which vulnerable populations and entire nations are relegated to the trash bins of the powerful.” Read more about the pavilion, and others now on view at the Venice Biennale, at the link in our bio.

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#اللهم_صلي_على_نبينا_محمد

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