#joão gui icons | Explore Tumblr Posts and Blogs

b4sorex1a · 1 month

Note

I sometimes can't imagine how Gavi could be straight. Not remotely. He's too cute and gives such wildly intimate hugs/kisses so freely. I know it's common in sports to bro it up with your boys, get real intense and borderline suspicious but... I've seen how hard he claps an ass within reach. I still think about the sheer force of what he gave Jude in passing, and how intense it jiggled. I promise he left a hand print.

All that to say, Felix is a temperamental as fuck, aggressive guy that gives me bisexual vibes. So the thought of how he and Gavi were/are so physically aggressive convinced me... Truly, honestly I'm sure they've fucked like dogs. Joao has most assuredly eaten Gavi out like he was starving. Gavi has definitely had a cock in his throat before period, that's a promise. But I just love/hope that it was Felix... with a grip on his hair telling him what a good boy he was. How nice he looked with spit and precum on his lips and chin, looking at him with his iconic puppy eyes between Felix thick thighs. Anyway... cough*

tw: nsfw?, minors dni

—

If we’re talking irl, I don’t want to get into assuming anyone’s sexuality, that’s their business and not mine

Now that being said yeah Gavi looks and acts like he likes boys lmao, in spaniard/Hispanic TikTok they like to joke around and say that he looks very gay, like a twink

As in for Félix, he straight up gives frat boy vibes lmfaooo, but have I seen how João looks at Gavi… if that isn’t sexual tension then idk what that is

As a ship, they’re so cute and hot, they have the same do and react without thinking temper, they’re hotheaded and they don’t really think about consequences or stuff like that, so they’re passionate, they would probably make out messily and almost be found out by their teammates or Xavi, they just don’t give a fuck; they wanna kiss? They’re going to.

Do they want to fuck hiding some place where it’s not permitted to do such acts? They are going to do it, blame it on thinking with their dicks.

#fc barcelona #smut #football rpf imagines #football rpf smut #football rpf #joao felix #bottom pablo gavi #pablo gavi smut #gavi smut #smut prompts #smut imagine #fic prompt

13 notes · View notes

onlymenicons · 7 months

Note

amor faz icons do joão gui pfff???

feito!

1 note · View note

gurizpacks · 9 months

Note

pode fazer icons do João Gui e header do Luan???

faço, meu bem /nah

0 notes

lisboabeat · 2 years

Text

#ThisWeek

24.10.22 COLLECT BERNARDO VAZ

24.10.22 - 00:00 MUSICBOX FRESKO

24.10.22 LOUNGE 2ª CIRCULAR

25.10.22 COLLECT VALODY VITOR BATISTA JOÃO GARCIA

25.10.22 LOUNGE PEDRO BEÇA + NUNO MAGALHÃES

26.10.22 MUSICBOX INDIAN MAN 22:00 ANA LAURIZ + VIZHAQ 00:00

26.10.22 COLLECT BEMBOM

26.10.22 LOUNGE ODD SOUL

27.10.22 INCÓGNITO SUPERPOP MARIA

27.10.22 COLLECT CONTRATEMPOS

27.10.22 LOUNGE HIDDEN HORSE + DJ SET CANDY DIAZ E KYRON

27.10.22 MUSICBOX TIAGO VILHENA + BRUNO DE SEDA - 21:30 TELMA + PETER TEMPLETON - 00:00

27.10.22 LUX FRÁGIL DISCO - TOTY SA´MED

BAR - INDI MATETA EMILIS RUT

28.10.22 INCÓGNITO NUNO FERNANDES

28.10.22 MUSICBOX SAMBA SEM FRONTEIRAS - 22:00 SEIVA + MARINA TRENCH - 00:00

A produtora francesa e DJ Marina Trench é um dos talentos mais interessantes e imperdíveis do underground. Residente do reputado Rex Club em Paris, rapidamente foi dada como uma das apostas seguras para o futuro da House Music. Com ela estará Seiva, o co-criador da festa apolenta e curador do Le Baron Lisboa.

28.10.22 COLLECT PENELOPE AQUARIO COLETIVO

28.10.22 LOUNGE A NIGHT OUT WITH THE HARD ONES: TROL 2000 + MÁRIO VALENTE

28.10.22 LUX FRÁGIL DISCO - VIL CONVIDA STRANGER

BAR - U-NIGHT SLIGHT DELAY

28.10.22 MINISTERIUM CLUB MAIN FLOOR JULIAN PEREZ GEAR

BAR QUATRO - VALODY

Julian Perez is here friday so whatever you had planned, cancel it!

Owner of iconic label @fathersandsonsproductions this is definetly one of our biggest heroes and a real underground house music pioneer, this guy can create the most loving atmosphere on the dancefloor you’ve ever seen in your life.

The deep, warm and super embracing sound of Julian is invading our main room dancefloor and you better not miss this one.

On the warm up duties we have our good friend @gear who as already used to his amazing performances.

28.10.22 KREMLIN RIVIERA UNDERGROUND TULUM RADIO SHOW OMAR LABASTIDA ROD. B KREISLER

29.10.22 LOUNGE MAGGIE TRA

29.10.22 INCÓGNITO RAI

29.10.22 MUSICBOX SREYA - 22:00 UMAMI + PEDRO DA LINHA + FLAMA

29.10.22 KUBU - 14h - 23h PLASTIK GALAXY REBELS WITH:

TECHNASIA STEFANO NOFERINI DUB TIGER POPPY DEXX UNDERNOIZ3 TOKSAM

29.10.22 LUX FRÁGIL DISCO - INÊS DUARTE RUI VARGAS

BAR - FUNKAMENTAL PEDRO RICARDO FUNKAMENTE

29.10.22 MINISTERIUM CLUB MAIN FLOOR - ZÉ SALVADOR BAR QUATRO - LUISA B2B MANUEL COTTA

29.10.22 KREMLIN AFTER PARTY REBELS with SPECIAL GUESS

29.10.22 HARBOUR SOBEK (HU) JOHN-E

30.10.22 LOUNGE SINNERS CLUB: MIGHTY CAESAR

30.10.22 MUSICBOX CIRCA PAPI

31.10.22 INCÓGNITO CLÁUDIA DUARTE

31.10.22 LUX FRÁGIL DISCO - HNRQ SUPERPITCHER

BAR - DJ CARING & VARELA

31.10.22 KREMLIN -HOSTED BY DUB TIGER HALLOWEEN MIGUEL RENDEIRO DAVE OAK

0 notes

jgicons · 3 years

Text

#icons joão guilherme #joão guilherme icons #joao icon #icon joao #joao icons #boys icons #icons jade picon #joão gui icons #joaoguilherme #joao guilherme icons #icons joão

64 notes · View notes

mizzwheelxr · 5 years

Photo

icons João Guilherme; ♡ │ salvou ou usou? reblog ou like. Have fun kids!!

#joão gui #joão guilherme #joão gui icons #joão guilherme icons

1 note · View note

iconsfsvorite-blog · 7 years

Photo

#icons joão guilherme #joão guilherme icons #joão gui icons #joão gui #joão guilherme

10 notes · View notes

boyedits · 4 years

Photo

like/reblog

178 notes · View notes

chufadedits-blog · 7 years

Photo

#icons joão guilherme #joão guilherme icons #icons joão gui #joão gui icons

5 notes · View notes

iconshariel · 5 years

Text

joão guilherme icons.

92 notes · View notes

dreamscapesmelbourne · 3 years

Photo

SHORT FILMS

All Inclusive

Directed by Corina Schwingruber Ilić | 10 minutes | All ages | Victorian Premiere

Consumer society is skewered in this amusing portrait of a luxury cruise ship, a world in which every paying customer’s wish can be fulfilled.

Country: Switzerland Year: 2018 Language: No dialogue Screens with: Window Boy Would Also Like to Have a Submarine

Anteu

Directed by João Vladimiro | 29 minutes | 15+ | Victorian Premiere

A series of strange incidents leave only one man left in a rural Portuguese town. He becomes obsessed with the problem of his own burial.

Country: Portugal Year: 2018 Language: Portuguese Screens with: Inside the Diamond

Blue Honda Civic

Directed by Jussi Eerola | 11 minutes | All ages | Victorian Premiere

A minimalistic road movie that mirrors the emotions of the driver through the landscapes they have chosen to look at.

Country: Finland Year: 2020 Language: No dialogue Screens with: Searchers

Erpe-Mere

Directed by Noemi Osselaer | 20 minutes | All ages | Victorian Premiere

Surrounded by the sound of nocturnal animals, a girl falls into a deep sleep. Gradually we are drawn into her dream, which unfolds into a cosmic journey through the meadows of a Belgian village.

Country: Belgium Year: 2019 Language: No dialogue Screens with: Pajeú

Go Seppuku Yourselves

Directed by Toshiaki Toyoda | 22 minutes | 15+ | Victorian Premiere

A man is tasked with assisting in the ritual suicide of a samurai who won't die without condemning the corrupt powers that be.

Country: Japan Year: 2021 Language: Japanese Screens with: The Day of Destruction

horizōn

Directed by Sid Iandovka and Anya Tsyrlina | 7 minutes | All ages | Victorian Premiere

Newsreel footage from 1970s Siberia forms the basis of this enchanting mixed-media work.

Country: Switzerland Year: 2019 Language: No dialogue Screens with: Ecstasy

In the Air Tonight

Directed by Andrew Norman Wilson | 17 minutes | All ages | Australian Theatrical Premiere

A mysterious stranger explains the inspiration behind Phil Collins' iconic 1980 single “In the Air Tonight”.

Country: USA Year: 2020 Language: English Screens with: Crestone

The Rabbit Hunters

Guy Maddin, Evan Johnson, and Galen Johnson | 7 minutes | All ages | Australian Premiere

Isabella Rossellini stars in this magical tribute to the films of Federico Fellini.

Country: Canada Year: 2020 Language: English Screens with: Slow Machine

Still Processing

Directed by Sophy Romvari | 17 minutes | All ages | Victorian Premiere

A box of stunning family photos awakens grief and lost memories as they are viewed for the first time on camera.

Country: Canada Year: 2020 Language: English Screens with: The Good Woman of Sichuan

Stump the Guesser

Guy Maddin, Evan Johnson, and Galen Johnson | 19 minutes | All ages | Australian Premiere

After a bad day at work, a fairground performer sets out to disprove the theory of heredity so that he can marry his sister.

Country: Canada Year: 2020 Language: English Screens with: Slow Machine

Sun Dog

Directed by Dorian Jespers | 20 minutes | 15+ | Victorian Premiere

A young locksmith in the obscurity of the Russian Arctic roams through the alleys of concrete, animated by a fantasy that isolates him from the city and its population.

Country: Belgium/Russia Year: 2020 Language: Russian Screens with: Accidental Luxurience of the Translucent Watery Rebus

Talking Dreams

Directed by Bruno Rocchi | 38 minutes | All ages | Victorian Premiere

This award-winning ethnographic film is set in a village in West Africa where the hosts of local radio interpret the dreams of their listeners.

Country: Italy Year: 2020 Language: French Screens with: Dreaming Under Capitalism

Twelve Tales Told (3D)

Directed by Johann Lurf | 4 minutes | All ages | Australian Premiere

A dozen logos for Hollywood production companies play before you as they would precede a normal Hollywood production, appropriately in 3D for digital projection.

Country: Austria Year: 2014 Language: No dialogue Screens with: Paprika

Wolf's Calling

Directed by Toshiaki Toyoda | 16 minutes | 15+ | Victorian Premiere

A girl finds an old handgun in her attic and the symbolic object conjures a mystical scene of samurai.

Country: Japan Year: 2019 Language: Japanese Screens with: The Day of Destruction

#film

2 notes · View notes

jgicons · 3 years

Text

#icon joao #joao icon #joao icons #boys icons #icons jade picon #joão gui icons #icons joão guilherme #icons joão #joão guilherme icons #joaoguilherme #joao guilherme icons

48 notes · View notes

nofomoartworld · 7 years

Text

Art F City: Museum Punk Show in Need of A Sound Guy

Gardar Eide Einarsson, “Always Carry A Bible / All Cops Are Bastards,” 2007

Punk. Sus rastros en el arte contemporáneo Museo Universitario del Chopo Curated by David G. Torres Until March 26th, 2017

Featuring: Tere Recarens, Martin Arnold, Johan Grimonprez, Federico Solmi, Dan Graham, T.R Uthco, Ant Farm, María Pratts, Iztiar Okariz, Chiara Fumai, Raisa Maudit, Fabienne Audéoud, Eduardo Balanza, TRES, Raymond Pettibon, Die Tödliche Doris, Mabel Palacín, Christian Marclay, Guerrilla Girls, Brice Dellsperger, Jordi Colomer, Pepo Salazar, Juan Pérez Agirregoikoa, Jota Izquierdo, Israel Martínez, Aida Ruilova, Antonio Ortega, Luis Felipe Ortega, Daniel Guzmán, Jimmie Durham, Mike Kelley, Tony Oursler, João Louro, Paul McCarthy, João Onofre, Santiago Sierra, Yoshua Okon, Miguel Calderón, Nan Goldin, Enrique Jezik, Guillermo Santamarina, VALIE EXPORT, Kendell Geers, Laureana Toledo, Sarah Minter, Semefo, DR. LAKRA, Gardar Eide Einarsson.

MEXICO CITY– I’m struggling to watch Aïda Ruilova’s 2009 video “Meet the Eye,” in which the actress Karen Black alternately attempts to seduce and crazily berate Raymond Pettibon between rapid edits. She’s wearing babydoll-style makeup, which gives her a subtly Whatever Happened to Baby Jane? vibe, and I’m hooked to the melodrama. But I have no idea what the argument is about, because I can barely hear the audio track over the sound of gunshots, a faint electroclash song playing somewhere, countless indistinguishable noises, and the invitation “Let’s go for it!” being repeated in a grating child’s voice.

The gallery is an ADHD nightmare. It contains not one, but two talking Mike Kelley works and several videos by other artists. In one, the Spanish performance artist Itziar Okariz is pissing on a parked car in the middle of New York City. On the other (source of the electroclash track) I catch a glimpse of what appears to be a dead-eyed princess dripping with cum.

By the time I turn back to Ruilova’s piece the loop has ended. My questions are unanswered. The curatorial strategy here leaves me with so many more.

From Raisa Maudit’s 2012 “FART: Global Art Fair”

Punk. Sus rastros en el arte contemporáneo, now on view at Museo Universitario Del Chopo, is sort of a mess. That’s not to say the work here isn’t good—it’s great—but the show is an overwhelming, over-stimulating experience that’s often draining when it should be wholly inspiring. I can’t think of another exhibition I’ve been to in which I’ve loved nearly every artwork yet couldn’t wait to get the hell out of each gallery. Maybe that abrasiveness is deliberate? The experience did, after all, remind me of trying to have one-on-one conversations with dear friends while a noise musician performs on the other side of a party in a squat. If the past 35 years have rendered audiences numb to “shocking” artworks, perhaps subverting museum-caliber curatorial conventions is the last punk gesture.

That’s a thought I might not have had, were it not for the fact that (I think) I entered the exhibition backwards. The galleries are stacked in a concrete box addition inside the museum—an airy 1902 glass pavilion that, appropriately, was home to Mexico’s famous punk market “El Chopo” until the late 80s. I started from the top floor, the library, where punk memorabilia is arranged in vitrines, more or less chronologically alongside didactic text. This part of the exhibition, at least for me, was surprisingly enjoyable. The text places punk in an art historical context, citing Dada, the Situationists, John Waters’ films, and Warhol’s factory as conceptual forefathers. Alongside the familiar narratives of the CBGBs scene and parallels in London, the curators discuss Spain’s Movida Madrileña—one of my favorite, under-historicized moments in subculture—the Spanish-speaking world’s more recent equivalent of the experimental Weimar Republic years. I got an undeniable thrill from seeing a video of all-female Basque punk band Las Vulpess’ cover of “Now I Wanna Be Your Dog” enshrined in a museum (in Spanish, the song translates to “I like being a slut”, and its broadcast on television sparked a debate about censorship, gender, and “decency” in Spain’s relatively new socialist democracy). From photos of drag icon Divine to punk band Eskorbuto, never had I felt more cool nerding out in a museum. Importantly, the show ties the influence of both European and anglophone punk to Mexican subculture in the 80s and 90s. That’s a topic I’m glad the show gave me an introduction to. (Indeed, I’d like to revisit Sarah Minter’s hour-long video “Alma Punk” from 1992 in a less overwhelming context. It’s a candid DIY document of Mexico’s punk scene from that era.)

Enrique Ježik, “La fiesta de las balas,” (The Bullet Party) 2011.

If the academic and “precious” vitrines of punk history and artifacts were unexpected, the gallery beneath it seemed like a contemporary assault on the culture of display—quite literally. The aforementioned gunshot sounds are from an Enrique Ježik sculpture, “La fiesta de las balas,” 2011. The piece comprises three bulletproof glass display cases, evocative of Damien Hirst works, riddled with craters from bullets. They’re installed in their own room, like a shooting range, but the sound from the shooting recording reverberates through half the museum. The piece stuck with me beyond my initial reaction (a teen boy destruction fantasy) as a commentary on both the cult of art object worship, and the futility of resisting it. Like Warhol’s “Shot Marilyns”, the piece’s value lies in it doubling as a record of the violence committed against it.

But “La Fiesta de las balas” also points to two of the exhibition’s most glaring problems: it’s one of the few works here that actually should be experienced as a physical object, and it’s loud as hell. There are only a few other sculptural works in the show, and at least half of them involve an audio or video component that’s competing with other sounds in an echoey gallery.

Still from Brice Dellsperger’s “Body Double 16“

And sound is a big, big problem for a show that’s overwhelmingly based on video. Don’t get me wrong: nearly every video here is fantastic. I spent untold hours diligently viewing relatively short works such as Raisa Maudit’s 2012 “FART: Global Art Fair” (in which the artist parodies the gallery/artist relationship in a tiara and semen during a fake interview with herself) or Ant Farm’s 1975 “The Eternal Frame,” in which the artists reenact the assassination of JFK, complete with drag Jackie O. But in such a busy exhibition, to expect visitors to sit through Dan Graham’s hour-long “Rock my Religion” is asking a bit much. If you’re curating a program with more time-based-media than a museum has hours, perhaps a gallery exhibition isn’t the way to go. I couldn’t shake the impression that Punk would’ve made a fantastic screening series and publication, with perhaps a much leaner gallery install where noise-emitting sculptures had more space to breathe. It felt like a missed opportunity for content with so much potential for event-based programming and critical writing—especially considering the museum has its own movie theater.

It’s frustrating to view video works when they’re all looping at different rates in a gallery context. There’s a rich history of subversive cinema as a collective viewing experience, and so many of these works would be better on the big screen. I am thinking especially of Brice Dellsperger’s “Body Double 16.” It’s short, but screams for cinematic treatment. In the piece, Dellsperger assumes a variety of characters in drag, committing various acts of violence against the other characters he’s also playing. The artist recreates scenes from A Clockwork Orange and Ken Russell’s Women In Love with surprisingly beautiful cinematography that makes the punk/masochistic content so much stranger.

Pepo Salazar, “Yoga Alliance,” 2015.

It’s one of many highlights lining the ramp gallery (which is either the entrance or exit, depending on the route one takes). There’s really too much excellent work here to talk about it all—but I’d be remiss for neglecting Pepo Salazar’s assemblage “Yoga Alliance,” which is arguably one of my favorite artworks of the past few years. It comprises a digital print of bald Britney Spears, from her very public meltdown a decade ago, and a black wig hanging from the piece. It has a very “Punk’s not dead” (rather lurking in unexpected places) vibe, and the physical wig almost reads like an invitation to the viewer to join in the rebellion.

Install view with Die Tödliche Doris, “Das Leben des Sid Vicious,” 1981 (L); Christian Marclay, “Record Players,” 1983-84; and Guillermo Santamarina, “Frei vom jedem Schaden!” installation of albums thrown like a discus at the wall in the background.

Descending the ramp, through more video projections, the last piece I encountered (or the first for viewers who start from the bottom up) was Catalan artist Jordi Colomer’s “No Future.” The video follows an old car mounted with an electric sign bearing the titular text as it drives across European cities. The piece is from 2006, and as the “NO? FUTURE!” message crossed a likely expensive, Calatrava-looking bridge, it felt eerily prescient. Filmed just before the global recession and the political turmoil that ensued, Colomer seemed to know that punk would suddenly become relevant anew. If The Decline of Western Civilization is accelerating, at least somebody is still having a little fun while we’re along for the ride.

Jordi-Colomer-No-Future-2006

from Art F City http://ift.tt/2lEylVI via IFTTT

#IFTTT #Art F City

1 note · View note