We’re celebrating the end of one year and the beginning of the next by thanking BSA Readers, Friends, and Family for your support in 2024. Picked by our followers, these photos are the heavily circulated and “liked” selections of the year – shot by our Editor of Photography, Jaime Rojo. We’re sharing a new one every day to celebrate all our good times together, our hope for the future, and our love for the street. Happy Holidays Everyone!
The street artist named Hera always gets people’s interest when we publish her work. Nymphs and animals and mystic creatures with emotional eyes evoke a theater of street mythology. Adjacent to poetic non-sequiturs, Hera’s murals often resemble scenes within a more extensive play. Trees, walls, and sky are all part of the backdrop for the narrative she creates, implied as part of the same theatrical set design. You can be sure she intended something specific to be interpreted each time, but a passerby is free to co-author the story in their mind.
A place you may not have heard of, Réunion Island has quickly become a remarkable hotspot for urban art, largely due to the Réunion Graffiti Festival. This annual gathering showcases a rich range of talent from graffiti and street art communities worldwide, offering something refreshingly unique for this type of festival.
Eko, the festival’s founder, extends an open invitation: “Come to Réunion, see the artists, see the walls, and the beautiful city.”
Born in 1976 on Réunion Island, Eko began his graffiti journey in 1989, inspired by hip-hop culture and gaining recognition under the tag “Saphir.” As one of the pioneers of graffiti on the island, he collaborated with local crews like SRD (Syndicat du Rap Dionysien) and later joined LSA (Le Syndicat des Artistes). Eko’s creative reach extends beyond graffiti to music and performance, and his time in mainland France deepened his appreciation for Réunion’s vibrant culture, which he was eager to elevate upon his return.
With respect for his homeland and a vision of global recognition, Eko founded the Réunion Graffiti Festival in 2019. Each year, the festival expands, now including an impressive lineup of international and local artists, community-focused programs, and interactive events for diverse audiences.
A French overseas department in the Indian Ocean, Réunion is located approximately 679 km east of Madagascar and 175 km southwest of Mauritius. Known for its stunning volcanic landscapes, including the active Piton de la Fournaise, Réunion is home to about 885,700 residents. The island’s unique blend of French, African, and Indian influences is evident in its culture, cuisine, and language, with Réunion Creole widely spoken alongside French. Since 1946, it has been governed as a French region, making it one of the European Union’s outermost regions and a part of the eurozone. This blend of European governance and Creole heritage gives Réunion its distinct identity, celebrated through its music, arts, and now, street art.
Since its inception, the festival has showcased global talent across graffiti and street art practices, hosting more than 100 artists, including renowned figures from countries such as Germany, Argentina, Spain, the U.S., India, Italy, Japan, Senegal, Switzerland, and Togo. This mix brings a dynamic blend of styles, reinforcing the island’s position as a hub for global urban art.
A key feature is Graff Park in Saint-Denis, a dedicated space for free expression where artists—from beginners to veterans—can experiment and showcase their work. Supported by both public and private funds, the festival emphasizes inclusivity, offering community workshops, recreational activities, and sessions that help budding artists learn techniques and connect with mentors.
Beyond murals, the festival highlights Réunion’s cultural vibrancy with exhibitions, live music, and dance battles. These programs blend local talent with international flair, complemented by Acts, an outreach initiative that provides regular updates and information on Réunion’s street art scene. This effort helps keep art enthusiasts connected to the evolving urban landscape on the island.
This year, renowned photographers Martha Cooper and Nika Kramer were honored guests, hosting a symposium to discuss their work documenting the hip-hop scene over many decades. New images of Réunion’s street art were captured, and Ms. Kramer conducted interviews with participants, further enriching the festival’s archive and legacy.
From conversation with Nika Kramer, we learn that a young enthusiastic fan of the work of photographer Martha Cooper was not only attending, but participating in the painting of walls this year at the festival. One of the youngest graffiti writers interviewed for BSA, Patcha Pax shares personally his experience here for BSA readers. Afterward is a full interview with the writer by Nika Kramer.
“I knew Martha Cooper before I met her. I had seen a report about her and the 1UP on YouTube, and my mom gave me Subway Art for Christmas 2022. So when I saw that Martha Cooper was coming to the Graffiti Reunion this year, I jumped for joy! My mom signed us up for the conference right away.
I know what Martha Cooper has done so well that during the conference, I answered the questions that Olivier Cachin asked before she did.
I also was very familiar with the 1UP video that was shown.
Meeting her was incredible because I felt as if I was living through her moments with the vandal graffiti artists, especially the 1UP crew. In my mind, I was running with her and them to secretly paint on the subways. It was like touching the real world of graffiti with my fingertips.
I saw that there was still room on the wall.
I saw MC taking a picture of Miaou, so I decided to take a photo of her and reproduce the drawing on the wall. A photograph captures a moment for a lifetime… it was my way of capturing this moment forever. It is painted forever on the wall. And so every time I see this graffiti, I will think back to that moment when MC was there, that she was taking pictures of all of us. And also of the moment when Sally and you were taking a picture of her in front of my Graffiti of her. It brings back a lot of good memories forever.
For MC’s drawing, I think I wanted to please her by drawing her. It was a gift so that she would be happy” ~ PP
NK: When did you see graffiti for the first time? PP: I first saw graffiti when I was 7 years old. I loved it straight away. I had to give a presentation in class and I chose the theme of Graffiti. So I asked Eko LSA by message on Instagram if he would be willing to come during my presentation. He accepted. It was the first time I met him.
NK: How did you get into graffiti PP: I really got into graffiti when I went to see a graffiti festival for the first time, Le Réunion Graffiti in 2021. I saw all these artists painting on huge walls. I asked Eko if I could have one. He replied “train a lot and one day I promise you that you will have your wall”. The next day, I asked my mom to sign me up for drawing classes. Then I practiced whenever I could on paper and my garden wall.
NK: Why did you start writing PAKS? PP: For my tag, I wanted a name that meant something positive. I searched for the word “Peace” in all languages. I found “Patcha” in Romani (India I think), “Pax” in Latin, and “PAKS” in Polish. So my name is Patcha Pax but I write it PAKS most often.
NK: What do you love about the graffiti scene in Réunion? PP: In Réunion, I like the fact that there are many different styles of graffiti. I mainly like the lettering, like that of Arêm and Lego. But I also like certain drawings like those of Macak, Bayko, and Ador.
My mother immediately accepted my passion for graffiti because she always says that she prefers to see me express myself on walls outside rather than sitting for hours in front of a television screen. So she left me a huge wall in the garden to paint whatever I wanted.
My grandparents were not interested in graffiti at all, but now, when they travel, they look for graffiti walls in cities and send me photos. On Sundays, instead of watching television shows about cars, my grandpa watches videos about graffiti with me.
PP: So ! I think I answered all your questions. My vacation is almost over. I go back to school on Monday.
I was very sad at the end of the Réunion Graffiti Festival because it was an incredible week. In 2 weeks I will be at the Run Colorz festival in St Louis so it will be awesome! I will send you photos if you want. I hope your vacation ended well in Réunion and you liked our island.
NK: When did you see graffiti for the first time? M: I discovered graffiti when I was in primary school, a little before the 2000s.The teacher gave us a lesson on prevention against damage, particularly graffiti. It had the opposite effect on me (ha, ha), On my way to school from home I started to spot all the graffiti, (a lot of “kope” tags at the time). But at that time, in Réunion, it was still mysterious. I didn’t understand much about it.
NK:How did YOU get into graffiti? M: In 2005, a friend tagged it in my school notebook. I was impressed by his hand style, which was brutal, precise, and aesthetic. I immediately felt in love with this universe: since that day, graffiti has taken an important place in my life. I quickly started drawing, meeting people on the scene, testing the equipment, finding spots, and understanding the history behind this movement.
It was a brilliant passion for the teenager that I was: diving into a mysterious universe, where you had to make yourself known while remaining anonymous, where you had to come close to the forbidden just for the sake of painting,… Something to break the monotony of my days!
NK:Why did you start writing Miaou? M: Miaou was my nickname as a child, so it was quite natural that I decided to use it on the wall. In the end, it’s cool because it’s also a fun and memorable name, which allowed me to stand out to people who aren’t necessarily from the graffiti scene.
NK: What do you love about the graffiti scene in Réunion? M: The graffiti scene in Réunion is cool because you can paint in flip flops (ha ha)… More seriously, the scene is constantly active and has nothing to envy from other countries. I find that there is a very good level on the island, regardless if you are getting up illegally or legally, in graffiti or street art. The fact that there are many players around challenges us to improve and to stay in the game. But this competition is healthy, we all know each other.
From an interview with Nika Kramer, Ceet talks about his life in China and how his chicken character developed.
“So the first time I saw graffiti was in about 1983-84. I began painting in 1988, but my participation with the culture before that was break dancing.” Nika Kramer:How did you get into the chickens?
CEET: My chicken story started 22 years ago in China. I was in Shenzhen. I couldn’t speak Mandarin, and the Chinese couldn’t speak English, so we had a big problem communicating. So I started to draw everything: what I was doing, everything I wanted to eat, everything I wanted to do. I started to draw everywhere. And I communicated like this for the first time.
And then, step by step, I learned Mandarin. And I live in Hong Kong. Why? Because a company brought me to China to do graffiti work. I came one time, two times, three times, and I stayed longer each time. One day I got the apartment and I stayed there and I lived there. It’s very simple. I like to live there because it is amazing. Many people respect me. I learned a lot about how to paint graffiti using brushes, oil, and sculptures, and I started to have very nice connections with the many people there. This is how I matured my art practice and now and I put my chickens everywhere.
Welcome to BSA Images of the Week and to fall—officially here as of this morning in New York and the rest of the Northern Hemisphere. The leaves are starting to pop with yellows, people are breaking out the wool turtlenecks and corduroy way too early, and somewhere under the bleachers at football games, a few sneaky kisses are being stolen. Meanwhile, students are finally settling into the grind of the school year. But flip it for the folks south of the Equator, where spring’s about to bloom. In both hemispheres, whether it’s fall or spring, artists and vandals will continue to tag the overlooked corners and forgotten walls, staking their claim in public space.
This week in the BSA book review department, we’re diving into a new scholastic tome from one of the few brilliant graffiti scholars out there—Rafael Schacter. You might remember him from his global street art compendium, his curated show ‘Mapping the City’ at Somerset House in London (yes, the one that included people like Brad Downey, Swoon, and Eltono), or even his early work at the Tate back in ’08 with artists on the façade of the museum like Faile, Blu, and Os Gemeos. His latest book, Monumental Graffiti: Tracing Public Art and Resistance in the City (MIT Press), just landed on our doorstep. We’re eyeing it with both curiosity and caution as he’s making some bold connections between monuments and graffiti—connections that are peculiar on their face. He’s digging into a secondary or even third-tier definition of ‘monument,’ so who knows, it might all come together in the end. But this is the same guy who gave us ‘intramural’ graffiti about a decade ago… and, that term hasn’t hit the streets, as it were.
Re: intramural – In his curatorial work Schacter sometimes argues that street art occupies a unique space that is neither fully embraced by institutional frameworks (like museums and galleries, the “inside”) nor entirely outside them (like illegal, unsanctioned art in public spaces, the “outside”). Intramural, extramural. Makes total sense. But aside with the confusion caused by the word ‘mural’ buried inside it, there is perhaps a ‘branding’ problem with the word here in the US. It sounds too much like ‘intramural sports,’ which were always introduced at grade school for both boys and girls to play together to foster team-building skills – right around the age when girls typically think boys are ‘gross,’ and boys think girls are ‘weird.’ So it feels awkward and frightful! I feel like my voice is cracking and I’m growing a very light mustache when I hear it. Let’s see how this graffiti/monument thing works out. If anyone can do it, Rafael can!
And here we go boldly into the streets of New York and Berlin this week with new extramural stuff from: Judith Supine, Crash, 1UP Crew, Homesick, Nespoon, Hera, Phetus, Atomik, Qzar, Wild West, Drew Kane, and Seileise.
Culturally, artistically, and socially, Berlin never stops thrilling, surprising, and offering fresh perspectives. Though artists continue to discuss the rising cost of living and the slow disappearance of key clubs and cultural hubs, there’s still an undeniable fervor for new art and new participants are still shaking things up.
Witness the crowded museum and long lines of youth and middle-aged people, as well as some octogenarians at the Urban Nation opening here called “Love Letters to the City,” which is the main reason we’re here for a few days. The speeches, the beer, the energy, the high-quality installations and the questions they pose, the street fair with parkour and bBoys and bGirlz, rappers, kids tagging their names in aerosol at an open class, the exhibition boxing matches… It was a legit, diverse program, free of corporate overload, and with real talk on gentrification, the environment, and social and financial inequality. Once again, it proves that when art institutions take risks, they can give street art, graffiti, and urban art the respect they deserve.
While the debate still pops up about whether museums should even host street art and graffiti, there are smart and sharp pros teaming up with artists to push the conversation forward, broaden the topics, and bring more people into the mix. In the end, they’re archiving a small slice of this massive, chaotic global art movement – so future generations can get a glimpse of it, reflect on it, and maybe even get inspired.
While right-wing movements are reshaping politics here, leading to stricter border policies and longer lines at the airport, Berlin remains fiercely committed to its ragged, rebellious spirit of protecting individual liberties and free expression. The ironies are hard to miss: just two blocks from the Bulow Street Fair, a family-friendly block-long event celebrating what is officially illegal art on the street and political concerns may dominate conversations, Berlin hosts Folsom Europe, the largest festival for leather and fetish enthusiasts, raging freely for four days with five stages and a “puppy parade”. It’s a vivid contrast—on one hand, they’re tightening borders, and on the other, this is a celebration of personal freedom.
Also, it’s more entertaining than a boring football match. Thousands of (mostly) men parade down Fuggerstraße in neighboring Nollendorfstraße, stomping through the streets in various ensembles—militaristic oppressor, master and servant, or dog and owner themes. Regardless, most will be at brunch with hangovers the next morning. If a drunken one gets disorderly, the police are advised not to threaten with handcuffs. The festival attire may range from severe, almost fascist looks to outfits with a more playful fierceness, like brightly colored hazmat suits or firefighter uniforms. At the lower end of the fetish festival fashion spectrum are the guys who just threw on a leather vest or a pair of Doc Martens—and the “bought it at the mall” crowd are in one-piece leather or rubber jumpsuits with Hoxo sneakers, like race car drivers heading to the grocery store.
At Folsom, you can pick up everything from whips, paddles, original artwork, and adult toys to bratwurst, pretzels, beer, French fries (pommes), and meat skewers. There are also plenty of vegan and vegetarian options available. What’s most remarkable and admirable about the tough, perpetually unimpressed Berliners is that they’ve seen it all before and hardly take note. They go about their business—picking up Saturday groceries, maybe a bunch of flowers, or fetching their kid from Taekwondo class. They take their dog to the park to enjoy the sunny, chilly September weather. Everyday folks in the neighborhood wait patiently at the crosswalk, alongside a cluster of muscular men with mustaches and leather, sometimes greeting one another, but mostly unfazed by each other’s presence.
The current street art and graffiti—what’s been sprayed or pasted up recently—never fails to impress, even when you’re not entirely sure what it’s about. We’re happy to be here and to share some of it with you.
Here is our weekly interview with the streets, this week featuring Invader, 1Up Crew, Hera, Pobel, Nat At Art, One Truth, Natrix, Roffle, LAYD, T Tan Box, Rise, Petite Agite, Maxim, and PZE.
Næstved Kunstby stands as a beacon for the preservation and celebration of graffiti culture, reflecting a deep respect for the evolution of street art from its origins in New York to its current global stature. Recently, the festival once again showcased its commitment to this vibrant culture with a special invitation to Martha Cooper, one of the most renowned photographers in graffiti history, to come and shoot the work, old and new. Her visit to Denmark is another chapter in capturing the raw, transformative power of graffiti and street art, underscoring the festival’s role in maintaining this artistic tradition.
Rooted in the early days of New York’s graffiti movement and inspired by its evolution, Næstved Kunstby has developed into a premier space for showcasing pivotal speakers, painters, and graffiti writers. With a foundation reference to early 70s New York graffiti, organizers site this rebellious form of self-expression in the DNA of the modern movements, with initial groups like the United Graffiti Artists (UGA) collective as pivotal in bringing this underground art form into the mainstream. Today, Næstved continues this legacy by hosting artists from around the world and offering a platform for both seasoned legends and rising stars in the graffiti scene to lecture and to get up on a wall.
“30 years has granted Næstved a special status within international graffiti and hip-hop culture. Hip hop and graffiti culture came to Europe and to Næstved more than 30 years ago,” says long-time curator William Hjorth (aka SWET). “Since that time the city has continuously had several unofficial street galleries. For this reason Næstved has always had a regular flow of visiting graffiti artists from all over the world.”
When describing the origin and focus of the festival Hjorth is clear about the role of graffiti. “All the works belonging to Næstved Kunstby are made by an array of international artists selected and curated because of their focused efforts and commitment to graffiti culture,” he says. “Each artist belonging to Næstved Kunstby comes from the graffiti culture and plying their skills in the streets was always part of growing up.”
The festival’s recent edition was a testament to its dedication. From live painting sessions to mural installations, the event offered a comprehensive view of graffiti’s evolution. With past artists including OSGEMEOS, Loomit, and ARYZ, the festival has consistently featured top-tier talent. Næstved Kunstby isn’t just about celebrating paint or plugging artists; it’s about understanding its impact on society and fostering future creativity. The festival’s educational component includes workshops and artist talks, providing valuable insights into the techniques and cultural significance of graffiti. These sessions not only engage the local community but also inspire young artists to explore and contribute to the evolving graffiti tradition.
The festival is entertaining for more general audiences to enjoy as well. But at the root, the origin story never waivers when Hjorth describes the life of graffiti writers and related art-makers. “Their learning and development came from hours of dedication in the streets or by the railroad tracks as opposed to training in art schools and professional environments. Subsequently, they now do more than just create works of art. They all actively contribute to the culture of hip-hop, and both inspire and educate young talents worldwide. This was also a driving force behind their agreeing to participate in this project.”
Næstved Kunstby offers a unique platform for international artists from New York, Barcelona, São Paulo, and other major cities to contribute to a dynamic collection of murals reflecting a diverse range of styles and influences. This global perspective, combined with the festival’s deep-rooted appreciation for the origins of graffiti, creates a cultural dialogue that is both forward-thinking and historically informed.
These recent photos by Martha Cooper not only document the festival’s impact but also reaffirm Næstved Kunstby’s role as a dedicated protector of graffiti history and a supporter of artistic innovation.
The Wide Open Walls (WOW) festival, which originated as the Sacramento Mural Festival in 2016, has evolved into a remarkable celebration of art and community, thanks to the dedicated efforts of principal organizer/curator David Sobon, and a coalition of public and private interests. Over the years, this extraordinary event has embellished the urban landscape of the greater Sacramento area, including its suburbs, by adorning more than 200 walls with captivating murals.
In line with its commitment to uplifting schools, the WOW festival took on a renewed emphasis on school campuses this year, with Rosa Parks Elementary and Middle School as a prominent example. Collaborating with approximately 40 artists, encompassing local talents and renowned national and international figures, the festival unveiled a collection of awe-inspiring murals within the school grounds, captivating the imaginations of students, educators, and the wider community.
The WOW festival is a powerful manifestation of the symbiotic relationship between art, society, and business. It forges connections, fosters cultural understanding, and instills a sense of community pride by creating new murals that respond to the community. This year, celebrated photographer Martha Cooper was invited to document as many of the new murals as possible, and we are delighted to share her captivating captures with the readers of Brooklyn Street Art.
Within the walls of Rosa Parks Elementary and Middle School, the murals become portals to the imagination, stimulating critical thinking and nurturing cultural appreciation among the students. This project creates an environment where creativity and learning converge, leaving an indelible mark on the hearts and minds of all who experience it. The profound impact of the WOW festival at Rosa Parks Elementary and Middle School stands as a testament to the enduring power of art in shaping communities, inspiring young minds, and hopefully cultivating an engaging and inclusive world.
The tHERApy room 2 exhibition at the Corey Helford Gallery features the solo work of graffiti and street artist Hera (aka Jasmin Siddiqui), one-half of the HERAKUT duo from Germany before they both went on their separate ways. Combining her illustrator, poet, storyteller, and graffiti artist skills, Hera creates fluid figures with elegant and chaotic lines and brushstrokes – and empathy. Her work often reflects on the human condition, relationships, deeply stirring emotions, and experiences of childhood. The accompanying text is clarifying; her characters display hope, magic, and a drive toward escapism.
Hera. “A Brain That Rarely Forgets Needs a Heart That Readly Forgives”. For the exhibition tHERApy room 2 at Corey Helford Gallery. (photo courtesy of CHG)
This new series is reminiscent of her 16-year collaboration with Falk Lehmann, with whom she exhibited in galleries and art fairs worldwide and created over 100 public murals.
Describing her 23-year route forward, her painting partnership with Falk, and the recurring themes and style that persists into this third decade, Hera says that her self-analysis with paint in public places and on canvas has been healing.
“If you will, you could see each piece as a therapy session, where the therapist would be Hera wielding brush and spray paint, and the patient would be Jasmin, the woman underneath the animal metaphor hats and masks,” she says. “Describing my artwork that way makes it seem as if I had never stopped working in a duo. Can this sound schizophrenic and wholesome at the same time?”
Hera. “The Meek Shall Inherit The Earth”. Detail. For the exhibition tHERApy room 2 at Corey Helford Gallery. (photo courtesy of CHG)Hera. “My Dark Thoughts”. For the exhibition tHERApy room 2 at Corey Helford Gallery. (photo courtesy of CHG)Hera. “Never Be a King Just For Yourself”. For the exhibition tHERApy room 2 at Corey Helford Gallery. (photo courtesy of CHG)Hera. “There’s Great Kingship Among The Outcasts”. For the exhibition tHERApy room 2 at Corey Helford Gallery. (photo courtesy of CHG)
It’s a brave and intricate undertaking, receiving someone’s painted canvas into your studio and then determining how you will alter it by painting over someone else’s work. Graffiti writers spend years developing and perfecting their ability to handle letters with a can, to coin their individual style. Partly in recognition of this, other writers avoid going over your work on the street, unless it is done with the intention to provoke.
Each partner in the Versus 3 Project, which we tie up today with some photos we didn’t publish previously, knows that the rules of the street are intentionally, and functionally broken here. The artists tell us it is uncomfortable even when permission is given. The root of collaboration in the project required passing the canvas back and forth between artists in a silent conversation, with no rules about style or materials – and the results can not be predicted accurately.
Patrick Hartl and Christian Hundertmark, as a duo called Layer Cake, repeatedly related stories last week of opening the newly arrived package, unwrapping the painted canvas, and staring intently at it.
“I think we don’t really have expectations, right?” says Hundertmark of the process.
“We know the work from the artists,” says Hartl, “so we probably know what they are about to do. In the end, we don’t know how comfortable they feel when they get not a white canvas, but a painted canvas.”
It’s relevant to mention that the collaborative works of Layer Cake have always been this way between the two – and the Versus project is simply opening up the process for new artists to participate in this way. “We had been doing this for five years already,” says Hundertmark, “so for us, it was just normal.” That practice grew into the Versus Project, a project of trading canvasses that resulted in two mounted exhibitions at Urban Nation’s special project space in Berlin. Now for Versus III, the exhibition travels to Miami with the guys at the Museum of Graffiti.
Jaime Rojo, Christian, Patrick, Alan Ket, and Steven P. Harrington. Layer Cake – VERSUS 3. Museum of Graffiti. Miami.
Some artists they had met only through the Internet or social media, and others were long-time friends. Some had a special meaning because they were introduced by recommendation. Others were revered originators in the graffiti and street art scene, with well-known careers on the street stretching back decades. No two experiences were the same – with multiple variables at play, including how much time an artist took to respond with their new iteration. A few never returned their canvas at all.
“Of course, you always have something in your mind about how the canvas will look when it comes back,” says Hartl during an exhibit tour.
When working with the Berlin art couple Various & Gould, the guys thought they would send them their first layer in tones they would be pleased with. “For this one, it was exceptional because we sent them a green and yellow canvas,” says Hartl. “They opened it and said, ‘Okay, these are not the colors that we usually work with!’”
“For us it was interesting to see what was coming back. So we opened it and said, ‘Wow, they added orange!’ ”
The Swiss graffiti writer and artist Thierry Furger speaks of his ‘buffed’ paintings and relates that it was a tentative process to collaborate like this on a canvas, feeling like he was breaking the rules, but eventually, he liked it.
“In graffiti, going over or crossing other pieces is actually a no-go and sometimes connected with consequences,” he says, and it sounds like he still has some reservations. “But I really hope that if I ever meet the two guys that they do not punch me because I went over them, ha ha ha.”
That’s what we found out today when we got a sneak preview of LAYER CAKE at the Museum of Graffiti with Co-founder Alan Ket leading the way. The Munich-based duo landed in Miami last night to attend tonight’s opening in the Wynwood District.
“Versus III” is the latest iteration of this back-and-forth project between Layer Cake and some of the most accomplished and avant-garde names on the European (and American) graffiti/street art scenes. Ket and co-founding partner Allison Freidin and the museum team are hosting the two former graffiti writers Patrick Hartl and Christian “C100” Hundertmark tonight for a special reception in the main gallery. We thought you’d like to see some behind-the-scenes shots of the installation.
Come through tonight for a special talk tonight with Urban Nation’s Steven P. Harrington and Jaime Rojo with the artists about the politics, practices, and possibilities that can pop up when you ship your painted canvas off the someone else and say “do whatever you want to this – and send it back”.
The guys will be showing us photos of the stages of the process and telling the audience how their lives have changed from being graffiti writers to being regarded as contemporary urban artists.
Layer Cake: THE VERSUS PROJECT III / Museum of Graffiti / Miami
The German art duo Layer Cake (aka Patrick Hartl and Christian “C100” Hundertmark) are splashing into Miami next week with a new show at the Museum of Graffiti.
After two successful exhibitions with Urban Nation Museum of Urban Contemporary Art in Berlin, the two former graff writers from Munich are bringing a brand new collection of canvases they have completed with graffiti and street artists from all over the world.
The unique show relies on unspoken communication, with no words exchanged, an aesthetic call and response that pushes each participant to dig deep and rely on their own courage to collaborate. “In this creative, non-verbal dialogue, painterly mosaics of different ideas, styles and working methods were thus created in an associative manner,’ says the press release.
The project is called “Versus” and both Hartl and Hundertmark will attend in Miami Thursday night. New canvases will be on view for the first time. Artists include Layer Cake (Patrick Hartl and Christian Hundertmark aka C100), Akue, Raws, Flying Förtress, Various&Gould, Bond Truluv, ThierryFurger/Buffed Paintings, Arnaud Liard, Rocco & his brothers, Hera & MadC.
BSA will also be there to help launch this exhibition! As ambassadors for Urban Nation, we’re proud to see these collaborations in person and to join museum director Alan Ket and the team to welcome Layer Cake.
As the graffiti and street art high season draws to a close, we remark on the stunning array of new faces on the New York scene this year, as well as a large crop of maturing talents from the last decade or so. The length of the cycle for artists working on the street varies some, but we’ve been around enough to see many of the early 2000s stars fade away or move on to other things. The voice of this new generation is as challenging as ever and perhaps more savvy in many ways. Still, it’s good to see the re-appearance this month of folks like Hera in New York – a talent whose global and studio escapades have made her a revered street artist over about two decades.
Our thanks to all the artists of all persuasions and longevity for giving voice and character to our public spaces.
Here’s our weekly interview with the street, this week featuring: Queen Andrea, Praxis,CRKSHNK, Lexi Bella, Danielle Mastrion, Homesick, Hera, Panic, Seo, Insane 51, Habibi, Didi, Keops, OSK, AAA, EXR, RJG Rock, L.O.U.R.S., Nohemi, Hazard One, and Emesa.
Now that we are closing the exhibition, how would you like to vandalize it?
Mimi Scholz . Mario Testino “Undressed” Helmut Newton Foundation. Berlin. One Day Only Street Art Intervention curated by @strychninberlin. (photo courtesy @strychninberlin)
That’s basically what Yasha Young said to three artists this week in Berlin.
Of course Hera from Herakut said yes, having caught a few tags in her career. So did Mimi Scholz and Sandra Chevrier, studio artists who have done some work on the street and jumped at the idea – Chevrier actually flew from Montreal just to fool around with these sexy portraits. Together, the three have made a beautifully tattooed and magic mess of all of your favorite iconic photographs by Mario Testino in this exhibition called “Undressed”.
Mimi Scholz . Mario Testino “Undressed” Helmut Newton Foundation. Berlin. One Day Only Street Art Intervention curated by @strychninberlin. (photo courtesy @strychninberlin)
“Because of the huge scale of my work in this show,” says Testino, “and the way it’s applied directly to the walls like wallpaper – I felt like we had no choice but to experiment with vandalizing before taking it down.” As anyone in the Street Art world can tell you, some of the best results come from unconventional experimentation.
The Helmut Newton Foundation probably wasn’t open to the idea of big fire-extinguisher tags sprayed across its walls and various sundry surfaces, but like the fluid aesthetics of the Street Art world, the 5 meter tall photos now have plenty interventions or “collaborations” that effectively transform the meanings of the original Testino images.
Mimi Scholz . Mario Testino “Undressed” Helmut Newton Foundation. Berlin. One Day Only Street Art Intervention curated by @strychninberlin. (photo courtesy @strychninberlin)
“We tested with pens, aerosol spray, paints, scratches, markers, paste-ups and chalk,” says curator Young, who scored the final day of this stunning photography exhibition to effectively flip the script. “The three artists managed to change the original intention and subject into entirely new stories and perspectives. With texts and poetry, some sharp wit, and incredible talent – this show is mind blowing.”
Somehow it makes perfect sense for this boundary-pushing photographer to let his work be pushed further by three artists who have been pushing the imposed/accepted limits of street culture for the last decade or more, each willing to provoke when necessary.
Hera . Mario Testino “Undressed” Helmut Newton Foundation. Berlin. One Day Only Street Art Intervention curated by @strychninberlin. (photo courtesy @strychninberlin)
Scholz routinely pokes fun at all the cliches of female psyche, while Chevrier points at the superficiality of image forced upon girls and women, and Hera’s critiques of all manner of hypocrisy softly lacerates with the phrasing of a poet. All three are ready to play with sexuality and emotion, a perfect combination with the world summoned by this starkly sensual show, which Helmut Newton Foundation curator Matthias Harder describes as “filling the rooms with bodies and emotions in a sensational way.”
In case you’re wondering, all art work will be destroyed after the close of the exhibition, say the organizers; a perfect parallel to the ephemeral nature of art on the street.
Our thanks to Ms. Young for these exclusive photos of Sunday’s show just for BSA readers.
Sandra Chevrier . Mario Testino “Undressed” Helmut Newton Foundation. Berlin. One Day Only Street Art Intervention curated by @strychninberlin. (photo courtesy @strychninberlin)
Sandra Chevrier . Mario Testino “Undressed” Helmut Newton Foundation. Berlin. One Day Only Street Art Intervention curated by @strychninberlin. (photo courtesy @strychninberlin)
HELMUT NEWTON FOUNDATION
Museum of Photography
Jebensstrasse 2 / 10623 Berlin
info@helmut-newton-foundation.org
www.helmut-newton.com
phone +49 30 3186 4856
For more information about the ONE DAY ONLY event click HERE
For more information about the Helmut Newton Foundation click HERE
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
