Yalitza Aparicio arrives to the 76th Annual Golden Globe Awards held at the Beverly Hilton Hotel on January 6, 2019.
(via 20aliens)
mich / 1996 / manchester
Yalitza Aparicio arrives to the 76th Annual Golden Globe Awards held at the Beverly Hilton Hotel on January 6, 2019.
(via 20aliens)
Every day I handle more money than I will ever make. Every day.
At the start of my employment, my boss showed me videos of people stealing, and we both had a chuckle about it. How silly they were! There was a camera overhead, and it’s not to watch the shoppers. See, we can’t actually stop shoplifters. They get away with it maybe nine out of ten times. But we, who are watched and tallied and witnessed? We are always caught.
At first it was hard to hold one hundred dollars bills. An amount I had never seen before. An amount that didn’t exist in my household. It’s normal now. Here is something that is not for me.
“What the hell, I’ll take another,” says the man, pondering our 200 dollar watches. What the hell. Total comes to 580 and not even a flinch in his face. I have been working for 11 hours today and made only 110 dollars. It will go to my rent. Today I work for free, it feels. When I get my check, I will have 35 dollars left for food and saving.
The six hundreds he hands me go into the cash register. For a moment, I imagine having money. Then I put it away, counting out his change.
I know for a fact we sell our products for double what they are worth. That I could be making commission. That they could hand me those 580 dollars and change my life and not even mark the difference in their checkbooks. He’s not the only sale they make today, but I am the reason they made it. He’s not the only one spending 600 dollars, but if I hadn’t spent two hours with him telling me about his life, he wouldn’t have spent any. I go home. I don’t own a watch.
I have watched and rewatched a video on how to make salmon four ways. My shopping list is always the same. Pasta. Rice. Tuna. If I can afford butter it was a good week. I dream of the world I will never walk in, where I can throw the best fish fillet in the cart with a shrug. I hold hundreds in my hand and look up at the camera. I put them under the cash drawer.
I go to work. I scrap together my savings. I eat my bowl of rice slowly. My manager takes a paid week off from work just for his birthday. He owns a yacht.
I’m not worth the cost of a watch.
(Source: inkskinned, via geeseareassholes)
(Source: terres-lointaines.com, via alternativepurple)
The single greatest and most fascinating “futurist” architecture movement in the world right now is happening in Bolivia, where national prosperity and a dedication to works for the poor and public housing led to an explosion of colorful styles inspired by Aymara Indian art. There should be more articles about this, the interiors are just as amazing. Incidentally, most of these buildings are not for the rich or in trendy neighborhoods, but are public housing. I’ve heard this style referred to as “Neo-Andean” but like most currently thriving styles it doesn’t have a universally agreed on name yet.
I feel like it needs to be more than one person doing it for it to be a “movement”. All of these are by Freddy Mamani, and not a single one is public housing—they’re all aimed at the Aymara nouveau rich and have commercial and office space on the lower floors for the owners (who live in the penthouses you see on top) to rent out. They’re quintessentially bourgeois.
(Neo-Andean is Mamani’s term for it. The people who have to live around them apparently just call them cholets.)
yes, the government rarely has done any social housing that i know of, but they’ve made some apartments in El Alto after the neo andino got very popular and they commissioned Roberto Mamani Mamani (famous Bolivian contemporary painter) to paint murals on them. They carry similar striking color palettes
Also worth noting micros (buses) in La Paz and Cochabamba are decorated like here below, they have kept that aesthetic since the 70’s or before I think?
If im correct both Mamani-Mamani and Freddy Mamani have said their inspiration for their work was their colourful culture, you can see the liberty they’ve taken with color and particular color combinations in design is very specific to the western-mountain side of the country, something that doesn’t happen as much in the eastern side.
souces: I’m Bolivian
