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Inara Kreica

@alias.inara

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Just watched The Car Man by Matthew Bourne, with gorgeous music by Bizet. Let me tell you — that was racy AF! Half the PornHub categories were covered, and there were two actual penises on the stage of Sadler’s Wells (scandalous)! Lol. Otherwise, it was a great reminder of why I love dance so much — the physicality of music, the way it expresses emotion, the storytelling. It was fun and entertaining, not especially deep, but I’d compare the whole show, sets and all, to a musical without singing (thanks, F!). Good to see with friends and a glass of wine — nothing to write home about, though Bourne’s flamboyance definitely deserves credit. I thoroughly enjoyed my night out! 🥂 taken in Sadler's Wells by @alias.inara
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2 months ago
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**Frida: The Making of an Icon** I visited twice, genuinely trying to appreciate — or at least understand — this exhibition. I made a real effort, but it kept eluding me. I’ve never quite bought into the “Fridolatry” phenomenon: the near-uncritical devotion to an artist I’ve always felt trades more on personality than on substance or artistic merit. To me, she’s long been the equivalent of the crowd whose favourite films are *The Godfather* or *The Shawshank Redemption* — perfectly fine choices, but ones that say more about wanting to seem discerning than about actual discernment. Liking what everyone already likes isn’t a personality. Still, I went in with an open mind, hoping this would finally be the exhibition to convert me. The Tate’s curators are exceptional storytellers, and that alone accounts for a good deal of what makes an exhibition work. So I gave it every chance. Instead, the visit became something like a scavenger hunt — searching for Kahlo’s actual paintings among a sea of inspirations, self-mythologising portraits, and what can only be described as shrines built by her most devoted admirers. It was a lot. If there had been real substance behind it, perhaps it would have justified the reverence — but what came through instead was a woman so consumed by her own image and suffering that little room seemed left for anything, or anyone, else. That said, I did genuinely enjoy her still lifes. The one thing that gave me some quiet satisfaction: as a committed communist, she’d surely be turning in her grave at how thoroughly her face has been commodified as a feminist icon — capitalism doing what it does best. The irony writes itself. **In short**: worth seeing if you can get in for free — there are moments of real merit — but otherwise, save yourself the ticket price and go see the Julio Le Parc exhibition instead. Now *that’s* something with real depth and a genuine twist. taken in Tate Modern by @alias.inara
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2 months ago
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Merzbow + Igor Cavalera + Eraldo Bernocchi - that was something very special, my idols from the pesky 90ties, especially Igor with his brilliant rhythm feel, funk & ability to go on full dnb aka 160 bpm in one sweaty place 🙈 I was waiting for this since I first saw that concoction on Atonal’s line up & got severely jealous, but I knew they’d come to London eventually … got my ticket as soon as … visceral experience of a perfect line up - yet again, one for the books & one I’m still high & exhilarated on 😈 Thank you to the masters ❤️ 10 out of 10 even with extra complex travelling due to the TfL strike taken in I K L E C T I K by @alias.inara
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4 months ago
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One of the most unforgettable experiences in Venice ✨ Walking into “The Only True Protest Is Beauty” at the Fondazione Dries Van Noten felt like stepping into another world entirely. I genuinely didn’t know where to focus my attention first — the flamboyant Baroque ceilings, faded frescoes, antique mirrors, dramatic wallpapers, paintings, sculptures, photography, or the extraordinary fashion pieces scattered throughout the palazzo. And the Comme Des Garcons, Lacroix and other costumes… pure theatre, fantasy, and craftsmanship all at once. Everything blended together so beautifully that the exhibition became more than art or fashion — it felt like an atmosphere, a dream, a sensory overload in the most magical way possible. Venice has this incredible ability to make beauty feel immersive rather than something you simply observe. Also convinced that some experiences are simply impossible to photograph properly… because my pictures do not even begin to capture how breathtaking it actually was 🙈✨ taken in Palazzo Pisani Moretta by @alias.inara
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4 months ago
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Venice biennale: day 3 drop taken in La Biennale\ Arsenale by @alias.inara
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4 months ago
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Venice biennale day 3 drop: no more comments taken in La Biennale\ Arsenale by @alias.inara
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4 months ago
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Venice art biennale day 2: more drop taken in Biennale d'Arte Contemporanea - Giardini by @alias.inara
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4 months ago
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Belgium pavilion performance by Miet Warlop “It Never Ssst” taken in Biennale d'Arte Contemporanea - Giardini by @alias.inara
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4 months ago
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Venice art biennale: day 2 drop. taken in Biennale d'Arte Contemporanea - Giardini by @alias.inara
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4 months ago
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Venice art biennale day 2: screw that I will just drop impressions because I’m way too overwhelmed and feeling like I’m close to Florence syndrome & I still have one more no two more days to go.. ahh happy days 😈 taken in Biennale d'Arte Contemporanea - Giardini by @alias.inara
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4 months ago
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Venice Art Biennale, day 1: a lot of very good quality art, fantastic impressions and inspirations, in love and in awe. taken in La Biennale\ Arsenale by @alias.inara
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4 months ago
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Schiaparelli: Fashion Becomes Art. Pt.3 Few more for the inspiration - one of a kind exhibition, there are still tickets left, so if you can do it, definitely give yourself the pleasure of meeting crazy and wonderful spirit of Elsa Schiaparelli and raw talent of Daniel Roseberry. taken in V&A Museum by @alias.inara
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6 months ago
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