• Empire of the Sun artwork
• Cinematic artwork

Cover image

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Sneaker culture is now fully embedded in the collectible world, with certain Air Jordans, Yeezys, and designer collabs reaching six-figure resale prices. Collectors are looking for limited releases, exclusive collaborations, and unworn, boxed pairs.

In addition to being beautiful, statement pieces in their own right, many of these historic posters were produced in low numbers for a special event or project, making them fantastic collectors items. Choose from artists such as Andy Warhol, Roy Lichtenstein, David Hockney, Henri Matisse and Le Corbusier and add flair to any space.

Als u memorabilia en verzamelobjecten wilt kopen, moet u er snel bij zijn. Wat vandaag in de verzamelaarswinkel ligt, kan morgen alweer weg zijn! Twijfelt u over een bepaald object? Schroom niet om contact met ons op te nemen. Stuur hiervoor een e-mail naar . Wilt u liever in onze winkel de collectie bekijken? U vindt ons op de Piet Heinstraat 113. Wij zijn maandag open van 13:00-17:30. Dinsdag t/m vrijdag zijn we geopend van 10:00 tot 17:30 en zaterdag van 11:00 tot 17:30. Tot en met kerstmis zijn wij nu ook op zondag open van 12:00 tot 16:00!

Empire of the Sun artwork

On the back of the black cover box are written rhyming words that are almost impossible to read. The front cover shows that the words are about to burn out. Inside, the pages are laid out as hinged double fold-out spreads. The repetition of the act of opening and closing makes the images appear and disappear. I wanted to have a book design as a new object and something that goes beyond the contents. With the rich and chaotic nature of monochrome, it might be that I tried to find my early style within the illusion of reality by abstracting the phenomenon. As an observer, I would like to keep forcing myself into the future, never losing the sense of danger which emerges in the conflicts of daily life. I wish to harmonise my old distorted maps with the heartbeat of this exhibition at Tate Modern, twisting across the bridges of the centuries through conflicting space and time.

“Cuesto del Plomo,” hillside outside Managua, a well-known site of many assassinations carried out by the National Guard. People searched here daily for missing persons. July 1978, from the series, “Reframing History,” Managua, July 2004

Another fascinating exhibition. The concept, that of vanishing time, a vanquishing of time – inspired by Kurt Vonnegut’s 1969 novel Slaughterhouse-Five and the Japanese photographer Kikuji Kawada’s 1965 photobook The Map – is simply inspired. Although the images are not war photography per se, they are about the lasting psychological effects of war imaged on a variable time scale.

On the back of the black cover box are written rhyming words that are almost impossible to read. The front cover shows that the words are about to burn out. Inside, the pages are laid out as hinged double fold-out spreads. The repetition of the act of opening and closing makes the images appear and disappear. I wanted to have a book design as a new object and something that goes beyond the contents. With the rich and chaotic nature of monochrome, it might be that I tried to find my early style within the illusion of reality by abstracting the phenomenon. As an observer, I would like to keep forcing myself into the future, never losing the sense of danger which emerges in the conflicts of daily life. I wish to harmonise my old distorted maps with the heartbeat of this exhibition at Tate Modern, twisting across the bridges of the centuries through conflicting space and time.

“Cuesto del Plomo,” hillside outside Managua, a well-known site of many assassinations carried out by the National Guard. People searched here daily for missing persons. July 1978, from the series, “Reframing History,” Managua, July 2004

Cinematic artwork

Whether it be on the walls of the Tuscan villa or in the form of the professor’s research, art is ever-present across Luca Guadinigno’s Call me by your name. The Perlman family approaches art as they do food, music or literature: with extreme awe and pleasure. Among the posters in Elio’s room, one finds the eclectic mix of Peter Gabriel, Mario Metz, The Wounded Man and Venice’s Biennale. Between art and music, there’s even room for some athleticism, as seen with the French Open’s Roland Garros print from 1981.

Salvador Dalí’s ‘The Elephants’ strides into George Miller’s ‘Mad Max: Fury Road’. The movie’s desolate landscapes and peculiar machinery are a nod to Dalí’s surreal landscapes, showcasing the influence of surrealism in modern cinema.

Joe’s hedonistic desire for physical pleasure without the trappings of emotional investment speaks to the void of humanity – the void of non-existence or death – being the only way to end the suffering experienced in the so called mortal coil. von Trier’s shots of Joe and Seligman closely resemble Zygmunt Andrychiewicz’s The Dying Artist – an image of what is probably meant to be a manifestation of Death playing violin at the bedside of a young man. Did von Trier look upon Andrychiewicz’s painting only to see a fellow artist reckoning with his own mortality?

It would take an entire article to list all the visual references Claro crams into this 8-minute sequence, in which the film’s two narrative threads—one concerning the lives of a wealthy, wretched family; the other, the destruction of the entire planet—merge sublimely (and ridiculously). Even so, Melancholia’s allusion to Millais merits special attention. In Millais’s painting—and in the original Shakespearean play—Ophelia is the victim of Hamlet’s cruelty, as well as her own unbalanced psyche. How right for Claro to connect Ophelia and Justine, the doomed heroine of Melancholia, whose inner trembling is somehow both an omen and a cause of apocalypse.