❦☥𓆗 Shisa-San༒︎幽玄
SHISA-SAN
𝒜𝓈 𝒶𝒷𝑜𝓋𝑒 𝓈𝑜 𝒷𝑒𝓁𝑜𝓌. ༒︎𓆗 🜄🜂🜁🜃 𝒜 𝒻𝓁𝓊𝓉𝓉𝑒𝓇𝒾𝓃𝑔 𝓈𝑜𝓊𝓁 𝒾𝓂𝓂𝑒𝓇𝓈𝑒𝒹 𝒾𝓃𝓉𝑜 𝓉𝒽𝒾𝓈 𝓋𝒾𝓇𝓉𝓊𝒶𝓁𝓁𝓎-𝓈𝒾𝓂𝓊𝓁𝒶𝓉𝑒𝒹 𝓅𝓁𝒶𝓎𝑔𝓇𝑜𝓊𝓃𝒹. 𝒜𝓁𝓌𝒶𝓎𝓈 𝒹𝓌𝑒𝓁𝓁𝒾𝓃𝑔 𝒷𝑒𝓉𝓌𝑒𝑒𝓃 𝓉𝒽𝑒 𝒹𝒶𝓇𝓀 𝓂𝒶𝓉𝓉𝑒𝓇 𝒶𝓃𝒹 𝓉𝒽𝑒 𝑔𝒶𝓁𝒶𝓍𝒾𝑒𝓈 𝓅𝒶𝓇𝓉 𝓌𝒶𝓎𝓈 𝒾𝓃 𝒸𝑜𝓁𝓁𝒾𝓈𝒾𝑜𝓃. ☥❦ ☥ ࿐𝚅𝚎𝚐𝚎𝚝𝚊𝚛𝚒𝚊𝚗࿐ 𝚝𝚛𝚊𝚗𝚜𝚒𝚝𝚒𝚘𝚗𝚒𝚗𝚐 𝚝𝚘 𝚊 𝚛𝚊𝚠 𝚟𝚎𝚐𝚊𝚗𝚒𝚜𝚖 ・ 。゚: *.☽ .* :☆゚. 𝐂𝐮𝐫𝐫𝐞𝐧𝐭𝐥𝐲 𝐫𝐞𝐚𝐝𝐢𝐧𝐠: 𝐖𝐚𝐲 𝐨𝐟 𝐈𝐧𝐝𝐢𝐯𝐢𝐝𝐮𝐚𝐭𝐢𝐨𝐧 𝐛𝐲 𝐉𝐨𝐥𝐚𝐧𝐝𝐞 𝐉𝐚𝐜𝐨𝐛𝐢
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Bram Stoker’s Dracula (1992), dir. Francis Ford Coppola

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Споменик Космајском партизанском одреду
The Monument to the Fallen Soldiers of Kosmaj
Mount Kosmaj, Serbia
Designed by Vojin Stojić and Gradimir Medaković, 1971
Ph. Jovana Mladenović

Scattered across the landscapes of the former Yugoslavia, monumental sculptures rise in silence. They are remnants of a vision that once unified a region through art and remembrance. Designed by modernist architects in the mid-20th century, these striking brutalist structures were commissioned to honor the sacrifices of those who perished in World War II. More than memorials, they embodied a futuristic aesthetic, symbolizing strength, unity, and a forward-looking optimism.
Serbian photographer Jovana Mladenović revives these forgotten relics in her series Monumental Fear, capturing their haunting beauty and enduring presence. “The idea is that it is the story inside the monument, representing all of those dead soldiers,” she explains. “A lot of people died in the war, but there are no records.”
Among her most striking works, ballerina Milena Ogrizović, draped in red beside the Monument to the Fallen Soldiers of Kosmaj, forms a chapter Mladenović calls “The Star.” The juxtaposition of movement and monumentality embodies both fragility and defiance.

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Jen Mazza (American, b. 1972, Washington DC, USA) - Peripety (5), 2008 from Peripety Project, Paintings: Oil on Linen