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Riton & Kah-Lo - Fake ID (Eliezer Remake), by Chicken Town Records track by Chicken Town Records


🇺🇦 #NowPlaying on #BBC6Music's #NickGrimshaw

Riton x Kah-Lo:
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Temporary exhibition at the Museum of Modern Art in Mexico City.

Temporary exhibition at the Museum of Modern Art in Mexico City.

Temporary exhibition at the Museum of Modern Art in Mexico City.

Temporary exhibition at the Museum of Modern Art in Mexico City.

Temporary exhibition at the Museum of Modern Art in Mexico City.

Temporary exhibition at the Museum of Modern Art in Mexico City.

Temporary exhibition at the Museum of Modern Art in Mexico City.

Temporary exhibition at the Museum of Modern Art in Mexico City.

#Art

Seldom has one the chance to admire some of the most famous paintings of #Mexican artists such as Diego #Rivera, Frida #Kahlo, or María Izquierdo, but now there is a temporary exhibition of the private "Gelman Collection" at the Museum of Modern Art in #Mexico City (until 17 May, 2026).

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Riton & Kah-Lo - Fake ID (Eliezer Remake), by Chicken Town Records track by Chicken Town Records


🇺🇦 #NowPlaying on #BBC6Music's #HuwStephens

Riton x Kah-Lo:
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Frida Kahlo and Arte Popular, de Layla Bermeo

Frida Kahlo and Arte Popular, de Layla Bermeo

Interiores del libro Frida Kahlo and Arte Popular, de Layla Bermeo

Interiores del libro Frida Kahlo and Arte Popular, de Layla Bermeo

🎨 Frida Kahlo and Arte Popular, de Layla Bermeo, del MFABoston

#fridakahlo #frida #kahlo #libros #fridakahloandartepopular #arte

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Painted in the year of Mexican artist Frida Kahlo’s divorce from Diego Rivera, this double self-portrait stages a visible split: love and loss as well as attachment and self-preservation. Two seated versions of Kahlo hold hands on a simple bench, facing us with steady, unsmiling expressions. Both have medium-brown skin, dark hair pulled up, and a bold unibrow that anchors their face. The left Frida wears a high-necked white lace dress in a European style. The right Frida wears a vivid dress associated with Tehuana clothing including a blue bodice with yellow accents and a full olive-green skirt. Each chest is opened to reveal a heart. A thin red blood vessel threads between them like a cord, linking heart to heart across the space. In the left figure’s lap, a small surgical clamp pinches a cut vessel as blood falls onto the white skirt in dark red stains. The right figure calmly holds a small oval portrait (a tiny image of Diego Rivera) in one hand. Behind them, a turbulent sky of gray-blue clouds swirls, amplifying the sense of exposure and emotional weather.

The Tehuana-dressed Frida is often read as the “beloved” Frida and connected to Rivera through the miniature portrait and the unbroken vessel while the European-dressed Frida bleeds where that bond is severed. Kahlo turns private pain into anatomy with hearts rendered as organs, not symbols, insisting that heartbreak is bodily, real, and survivable only through intervention (the clamp) and care (the clasped hands). The work also holds Kahlo’s layered identity of Indigenous Mexico and European ancestry without choosing one over the other. The stormy background refuses closure because this isn’t a tidy before/after, but a moment of radical honesty where two selves sit together, witness each other, and stay.

Painted in the year of Mexican artist Frida Kahlo’s divorce from Diego Rivera, this double self-portrait stages a visible split: love and loss as well as attachment and self-preservation. Two seated versions of Kahlo hold hands on a simple bench, facing us with steady, unsmiling expressions. Both have medium-brown skin, dark hair pulled up, and a bold unibrow that anchors their face. The left Frida wears a high-necked white lace dress in a European style. The right Frida wears a vivid dress associated with Tehuana clothing including a blue bodice with yellow accents and a full olive-green skirt. Each chest is opened to reveal a heart. A thin red blood vessel threads between them like a cord, linking heart to heart across the space. In the left figure’s lap, a small surgical clamp pinches a cut vessel as blood falls onto the white skirt in dark red stains. The right figure calmly holds a small oval portrait (a tiny image of Diego Rivera) in one hand. Behind them, a turbulent sky of gray-blue clouds swirls, amplifying the sense of exposure and emotional weather. The Tehuana-dressed Frida is often read as the “beloved” Frida and connected to Rivera through the miniature portrait and the unbroken vessel while the European-dressed Frida bleeds where that bond is severed. Kahlo turns private pain into anatomy with hearts rendered as organs, not symbols, insisting that heartbreak is bodily, real, and survivable only through intervention (the clamp) and care (the clasped hands). The work also holds Kahlo’s layered identity of Indigenous Mexico and European ancestry without choosing one over the other. The stormy background refuses closure because this isn’t a tidy before/after, but a moment of radical honesty where two selves sit together, witness each other, and stay.

“Las dos Fridas” (The Two Fridas) by Frida Kahlo (Mexican) - Oil on canvas / 1939 - Museo de Arte Moderno (Mexico City, Mexico) #WomenInArt #WomensArt #WomanArtist #WomenArtists #FridaKahlo #Kahlo #art #arte #artText #MuseoDeArteModerno #MAM #SelfPortrait #MexicanArt #MexicanArtist #LatinAmericanArt

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Tekening van een tijdje terug.

Vlnr: Denise, Laura, Frida, Maaike, Amy.

#Kahlo

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Lunar New Year Sale
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Windfall Dragon
Shop : www.etsy.com/shop/Windfal...

#dragons #horses #yearofthehorse #lunarnewyear #fineart #sale #picasso #kaws #basquiat #haring #kahlo #nyc #atlanta #nashville #lasvegas #chicago #losangeles #seattle #scottsdale #dallas #artists

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Preview
Freitag, der 13. Februar 2026: „Viva Frida Kahlo“ im Kunstkraftwerk, Lok-Trainer bleibt, Medienprävention wirkt · Leipziger Zeitung Ihr bewegtes Leben voller Schmerz, Leidenschaft und unerschütterlichem Lebenswillen brachte 143 Ölgemälde hervor. Nun widmet das Kunstkraftwerk Leipzig

#Freitag, der 13. Februar 2026: „Viva Frida #Kahlo“ im Kunstkraftwerk, #Lok-Trainer bleibt, #Medienprävention wirkt

www.l-iz.de/der-tag/2026...
#Leipzig #DerTag

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Study of "Viva La Vida" by Frida #Kahlo 🎨

share.google/clHkaSuciFRC...

#skyart #artsky #surrealism #painting #acrylics #acrylicmarker

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Video

Buenos días, feliz sábado con el inicio de una Frida Kahlo hecha con pintura acrílica 🤍
Música: la gran Chavela Vargas “Paloma Negra”

#art #arte #frida #pintura #kahlo #acrilico

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Bühnenbild: Tagebuch der Frida Kahlo

Idea Writing Prompting AIArt Realisation

Meister Jeder, Dadaist und Bühnenbildner 1/26
#dada #Theater #Bühnenbild #Kahlo #FridaKahlo

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Riton & Kah-Lo - Fake ID (Eliezer Remake), by Chicken Town Records track by Chicken Town Records


🇺🇦 #NowPlaying on #BBC6Music's #NickGrimshaw

Riton x Kah-Lo:
🎵 Fake ID

#6music #Riton #KahLo

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Somersaults Kah-Lo · Somersaults · Song · 2025


🇺🇦 #NowPlaying on #KEXP's #WoPop

Kah‐Lo:
🎵 Somersaults

#KahLo

▶️ 🪄 Automagic 🔊 show 📻 playlist on Spotify

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Frida Kahlo - Giganten der Kunst - Die ganze Doku | ARTE Frida Kahlo: Ikone des Schmerzes und der Leidenschaft. Ihre Selbstporträts sind ein Spiegel ihrer zerrissenen Seele. War sie nur Künstlerin oder auch Rebellin? Die Dokumentation taucht in ihr Leben ei...

Giganten der #Kunst 🫟

Frida #Kahlo

www.arte.tv/de/videos/12...

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🇺🇦 #NowPlaying on #BBC6Music's #The6MixWithMaryAnneHobbs

Kah-Lo:
🎵 Fasta

#6music #KahLo

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#bskyart #artai #iconoplasm #AIArt #AIArtist #AIArtwork #AIimages #GenArt #DigitalArt #AIArtGallery #AIGeneratedArt #AIArtCommunity #synthart #surrealism #geodesic #kahlo #gautama #rfkjr #play #theater #coot

Scene from Compulsion of the Turbulent Freak

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Riton & Kah-Lo - Fake ID (Eliezer Remake), by Chicken Town Records track by Chicken Town Records


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Riton x Kah-Lo:
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A wooden bed with a sleeping woman beneath a yellow blanket entwined with vines, a skeletal figure and dried flowers resting on a suspended upper bed.

A wooden bed with a sleeping woman beneath a yellow blanket entwined with vines, a skeletal figure and dried flowers resting on a suspended upper bed.

Frida Kahlo just shattered auction records, with her masterpiece "El sueño (La cama)" (1940) fetching $54.7M—the highest ever for a woman artist.

This is a huge milestone—but why is the women’s record still a fraction of the men’s? 🧵👇 #artbots #kahlo

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Riton & Kah-Lo - Fake ID (Eliezer Remake), by Chicken Town Records track by Chicken Town Records


🇺🇦 #NowPlaying on #BBC6Music's #CraigCharles

Riton x Kah-Lo:
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In this close, frontal self-portrait, a light-brown skinned Frida Kahlo faces us directly, shoulders squared and expression steady. Her thick dark brows join above deep brown eyes, and fine facial hair softens her upper lip and jaw. Long black hair spills loose over her right shoulder, dense and almost blue-black against the warm yellow and burnt-orange huipil-style blouse she wears. Behind her, a wall of mottled gray volcanic stone presses close, punctuated on the left by a dangling cluster of pale green succulent plants. At the bottom edge, a curled parchment scroll spans the width of the painting, bearing a handwritten Spanish inscription in dark brown ink.

The text on the picture reads: “Here I painted myself, Frida Kahlo, with my reflection in the mirror. I am 37 years old and this is July, 1947. In Coyoacán, Mexico, the place where I was born.” In reality, Kahlo was 40 years old at the time.

Painted after painful spinal surgery, this work shows Kahlo claiming her image and story at midlife. The inscription that she painted herself from the mirror in Coyoacán in July 1947, yet quietly misstates her age, might hint at how time, memory, and self-invention blur in her practice. The loose, flowing hair that fills the picture contrasts with her earlier cropped-hair self-portraits to likely signal desire, creative energy, and a refusal to conform to respectable femininity. Her embroidered huipil-inspired blouse and the lava-stone wall root her body in Mexico’s Indigenous and volcanic landscape, while the hanging succulent suggests survival in harsh terrain. Owned today by a private collector and exhibited in feminist contexts like the current "Making Moves" exhibition at the Crocker Museum, the painting has become a touchstone for readings of Kahlo as a physically-challenged, politically-engaged Mexican woman who insisted on being the author of her own image.

In this close, frontal self-portrait, a light-brown skinned Frida Kahlo faces us directly, shoulders squared and expression steady. Her thick dark brows join above deep brown eyes, and fine facial hair softens her upper lip and jaw. Long black hair spills loose over her right shoulder, dense and almost blue-black against the warm yellow and burnt-orange huipil-style blouse she wears. Behind her, a wall of mottled gray volcanic stone presses close, punctuated on the left by a dangling cluster of pale green succulent plants. At the bottom edge, a curled parchment scroll spans the width of the painting, bearing a handwritten Spanish inscription in dark brown ink. The text on the picture reads: “Here I painted myself, Frida Kahlo, with my reflection in the mirror. I am 37 years old and this is July, 1947. In Coyoacán, Mexico, the place where I was born.” In reality, Kahlo was 40 years old at the time. Painted after painful spinal surgery, this work shows Kahlo claiming her image and story at midlife. The inscription that she painted herself from the mirror in Coyoacán in July 1947, yet quietly misstates her age, might hint at how time, memory, and self-invention blur in her practice. The loose, flowing hair that fills the picture contrasts with her earlier cropped-hair self-portraits to likely signal desire, creative energy, and a refusal to conform to respectable femininity. Her embroidered huipil-inspired blouse and the lava-stone wall root her body in Mexico’s Indigenous and volcanic landscape, while the hanging succulent suggests survival in harsh terrain. Owned today by a private collector and exhibited in feminist contexts like the current "Making Moves" exhibition at the Crocker Museum, the painting has become a touchstone for readings of Kahlo as a physically-challenged, politically-engaged Mexican woman who insisted on being the author of her own image.

Autorretrato con el cabello suelto (Self-Portrait with Loose Hair) by Frida Kahlo (Mexican) - Oil on Masonite / 1947 - Crocker Art Museum (Sacramento, California) #WomenInArt #artText #FridaKahlo #Kahlo #CrockerArtMuseum #MexicanArtist #MexicanArt #SelfPortrait #WomensArt #WomanArtist #WomenArtists

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Kultur - Frida-Kahlo-Selbstporträt für Rekordsumme versteigert Ein Selbstporträt der mexikanischen Künstlerin Frida Kahlo aus dem Jahr 1940 ist bei einer Kunstauktion in New York für 54,7 Millionen Dollar verkauft worden.

„El sueño“ – „Der Traum“ – Ein Selbstporträt der mexikanischen Künstlerin Frida #Kahlo aus dem Jahr 1940 ist bei einer Kunstauktion in New York für 54,7 Millionen Dollar verkauft worden www.deutschlandfunk.de/frida-kahlo-...

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Ein #Kahlo für 55 Mio. Peanuts.
(mein Gelddrucker hat Papierstau)

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Upcoming Kahlo auction could fetch up to $60 million. Mexican art historians explain why Frida Kahlo’s painting “El sueño (La cama)” is expected to fetch between $40 million and $60 million at auction, potentially making it the most expensive work by a female or Latin American artist.

apnews.com/article/frid... 
Upcoming #Kahlo auction could fetch up to $60 million. Mexican art historians explain why #FridaKahlo

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Voor de doorgewinterde #Kahlo liefhebber denk ik niet erg vernieuwend, maar voor entry level kunstliefhebbers zoals ik een zeer vermakelijke middag: www.frida.amsterdam

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Inspirational Mexican artist Frida Kahlo appears frontally, filling the frame from chest up against a dense curtain of glossy green leaves that press forward like a living wall. Her warm brown skin, direct dark gaze, and almost-joined brows are rendered with meticulous clarity, framed by sleekly braided black hair threaded with pale ribbons. A crisp white blouse lifts her figure out of the foliage, while four spider monkeys cluster intimately around her (two at her shoulders, one peering over her left side, another tugging near her neck). Their dark fur, slender fingers, and bright black eyes encircle her without fully eclipsing her self-possessed presence. The structure around her shoulders and the monkeys’ paws, suggesting a fragile tether between artist, animals, and jungle. The space is shallow, quiet, and airless, heightening the feeling that we have stepped into her private, watchful world.

Painted in 1943, when Kahlo’s health was deteriorating yet her fame was rising, this self-portrait turns her animal companions into complex emblems of care, control, and self-mythology. The monkeys were actually real gifts from friends and from Diego Rivera. They had appeared as playful familiars in other works, but here their closeness reads more ambivalent: affectionate guardians who also clutch and claim her, echoing how love, public attention, and nationalist expectations pressed in on her life. 

The luxuriant foliage situates her within an idealized, Indigenous-inflected Mexicanidad, while the looping vines hint at both rootedness and constraint, echoing her experience of chronic pain, medical harnesses, and life increasingly confined to Casa Azul (aka the “Blue House” which was Kahlo’s cobalt-blue home in the Coyoacán neighborhood of Mexico City and now the Frida Kahlo Museum). Her unwavering gaze refuses victimhood; instead she stages herself as author and icon, using the monkeys and jungle not as decoration but as proof of autonomy, vulnerability, and power.

Inspirational Mexican artist Frida Kahlo appears frontally, filling the frame from chest up against a dense curtain of glossy green leaves that press forward like a living wall. Her warm brown skin, direct dark gaze, and almost-joined brows are rendered with meticulous clarity, framed by sleekly braided black hair threaded with pale ribbons. A crisp white blouse lifts her figure out of the foliage, while four spider monkeys cluster intimately around her (two at her shoulders, one peering over her left side, another tugging near her neck). Their dark fur, slender fingers, and bright black eyes encircle her without fully eclipsing her self-possessed presence. The structure around her shoulders and the monkeys’ paws, suggesting a fragile tether between artist, animals, and jungle. The space is shallow, quiet, and airless, heightening the feeling that we have stepped into her private, watchful world. Painted in 1943, when Kahlo’s health was deteriorating yet her fame was rising, this self-portrait turns her animal companions into complex emblems of care, control, and self-mythology. The monkeys were actually real gifts from friends and from Diego Rivera. They had appeared as playful familiars in other works, but here their closeness reads more ambivalent: affectionate guardians who also clutch and claim her, echoing how love, public attention, and nationalist expectations pressed in on her life. The luxuriant foliage situates her within an idealized, Indigenous-inflected Mexicanidad, while the looping vines hint at both rootedness and constraint, echoing her experience of chronic pain, medical harnesses, and life increasingly confined to Casa Azul (aka the “Blue House” which was Kahlo’s cobalt-blue home in the Coyoacán neighborhood of Mexico City and now the Frida Kahlo Museum). Her unwavering gaze refuses victimhood; instead she stages herself as author and icon, using the monkeys and jungle not as decoration but as proof of autonomy, vulnerability, and power.

Autorretrato con monos (Self-Portrait with Monkeys) by Frida Kahlo (Mexican) - Oil on canvas / 1943 - Gelman Collection of Mexican Art (Mexico City, Mexico) #WomenInArt #WomanArtist #WomensArt #WomenArtists #arte #art #artText #BlueskyArt #pintura #MexicanArt #Monkeys #Symbolism #FridaKahlo #Kahlo

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Fun, two-sided black & gold laser etched Frida #Kahlo #earrings w/ color shifting Swarovski crystals! via @shadowdogdesigns.bsky.social

Link: bit.ly/FridaSDD

#ShopSmall #SmallBiz #FridaKahlo #HHandmadeEarrings

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Riton & Kah-Lo - Fake ID (Eliezer Remake), by Chicken Town Records track by Chicken Town Records


🇺🇦 #NowPlaying on #BBC6Music's #NickGrimshaw

Riton x Kah-Lo:
🎵 Fake ID

#6music #Riton #KahLo

▶️ 🪄 Automagic 🔊 show 📻 playlist on Spotify

▶️ Song/Cover on #Bandcamp:

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Preview
Riton & Kah-Lo - Fake ID (Eliezer Remake), by Chicken Town Records track by Chicken Town Records


🇺🇦 #NowPlaying on #BBC6Music's #LaurenLaverne

Riton x Kah-Lo:
🎵 Fake ID

#6music #Riton #KahLo

▶️ 🪄 Automagic 🔊 show 📻 playlist on Spotify

▶️ Song/Cover on #Bandcamp:

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