Creepy Photographs Of Infamous Dictators And World Leaders Snuggling Stuffed Animals

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Displayed ominously on the covers of TIME and Newsweek, these faces elicit fear: Saddam Hussein, Muammar Gaddafi, Hugo Chávez, Fidel Castro, and Mobutu Sesé Seko. But in his new series “Celebrity,” the Chinese retoucher and artist Chunlong Sun explores the more tender side of these infamous men, presenting them cradling plushy stuffed animals. Sun achieved the desired effect by shooting Chinese look-alike models styled and costumed in attire similar to that worn by the world leaders in famous images; later, he went back and retouched the photographs to resemble the now-dreaded faces.

The photographs are profoundly evocative of the work of Platon, The New Yorker staff photographer whose shots of Gaddafi littered news stands in anticipation of his overthrowing and ultimate death. In this way, Sun’s subjects remain a truly frightful vision, despite their furry friends; instead of revealing the humanity behind the historical figures, the tenderly worn stuffed toys often appear like hostages, held tightly and uncomfortably in the arms of those men known for their long, oppressive regimes. Chávez’s hands and fingers curl unsettlingly about the face and torso of a beloved teddy bear; Gaddafi grips a pale pink, oinking pig.

Perhaps also the soft toys are to be read as symbolic clues into the nature of the infamous world leaders. Each man was seductive and charismatic, at one time thought to be righteous and good; here, holding this cute animals, they might be mistaken for saviors once again, and yet danger lurks behind their wrinkled eyes. Take a look. (via Demilked)

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Saddam’s Palaces

"Uday's Palace", Jebel Makhoul, Iraq 2009

"Uday's Palace", Jebel Makhoul, Iraq 2009

Photographer Richard Mosse was recently featured BLDGBLOG, one of my favorite architecture blogs run by Geoff Manaugh. The pictures show the extravagance of Saddam Hussein’s imperial palaces converted to plywood built forts resembling college dorms with all its amenities of “weight sets, flags, partition walls, sofas, basketball hoops, and even posters of bikini’d women have been imported to fill Saddam’s spatial residuum. The effect is oddly decorative, as if someone has simply moved in for a long weekend, unpacking an assortment of mundane possessions. The effect is like an ironic form of camouflage, making the perilously foreign seem all the more familiar and habitable—a kind of military twist on postmodern interior design.” See more of what Mosse has to say about his project after the jump.

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