All posts tagged: Nespoon

BSA HOT LIST 2024: Books For Your Gift Giving

BSA HOT LIST 2024: Books For Your Gift Giving

As the year comes to a close, we are pleased to present our 14th curated list of books—a reflection of our ongoing commitment to building a world-class library in Berlin. As co-founders of the Martha Cooper Library, our mission is to develop and maintain one of the most comprehensive collections dedicated to art books, photography archives, urban culture studies, street art monographs, graffiti history, and public art anthologies. These works serve as a vital resource for researchers, practitioners, and enthusiasts who engage deeply with these fields.

Looking ahead to 2025, we are thrilled to announce the inaugural Martha Cooper Scholarship, which will launch next year in collaboration with Urban Nation Museum, the Martha Cooper Library, and Martha herself. This scholarship will support outstanding achievements in photography, underscoring her and our dedication to fostering new generations of talent and scholarship in visual culture.

Numerous publications explore street art, graffiti, and related practices each year, adding valuable perspectives and insights to the field. While our focus for this year’s list includes some recent releases, we’ve also highlighted significant works from previous years that help us put today in a better context. We invite your suggestions for books you’d like to see featured or added to the Martha Cooper Library collection and featured here. Your recommendations are invaluable as we continue to expand and diversify our offerings.

Below is our selected shortlist – books that make meaningful additions to any library and thoughtful gifts for family, friends, or even yourself. We hope you enjoy them as much as we have.


Bartek Świątecki / Stare Kawkowo


Bartek Świątecki / Stare Kawkowo 2023 / Printed in Poland © 2023 Bartek Świątecki

From BSA:

Bartek Świątecki, aka Penner, has a style that is a confidently defined blend of bold colors, geometric shapes, and abstract forms harmoniously intertwined. It’s a graphical minimalism that speaks volumes, with straight lines and pure colors forming complex, geometrical clusters. This unique visual language demonstrates his mastery of blending traditional graffiti with modern abstraction and reflects a deep engagement with high art and youth culture. His murals and canvas works, often large-scale, are known for their dynamic and vibrant nature, inviting viewers into a world where street art and fine art converge.

Bartek Świątecki: “The light vibrates under our eyelids”


Books In The MCL: Golden Boy as Anthony Cool: by Herbert Kohl and James Hinton


From BSA:

Herbert Kohl and James Hinton’s “Golden Boy as Anthony Cool,” published in 1972, is a seminal work in the study of urban graffiti and street culture. Not only an academic exploration; it’s a journey into the heart of graffiti as a form of personal expression, rebellion, and cultural identity. Kohl’s insightful essays paired with Hinton’s evocative photographs provide a window into the lives of young people in the urban landscapes of New York City and Los Angeles as they simultaneously boil, wane and flourish in the late 60s and early 70s. These vibrant and vibrating communities are chronicled, whether affluent suburbs or struggling neighborhoods, each appears to brim with stories cryptically told through tags and murals on walls and doors.

“Golden Boy as Anthony Cool. Herbert Khol and James Hinton. 1972. MCL Library, Urban Nation Berlin.

Text Steven P. Harrington and Jaime Rojo Photos by Sebastian Kläbsch


Books In The MCL: The Self-Titled “NeSpoon” by NeSpoon.


From BSA:

NeSpoon,” a monograph on the work of the Polish artist, provides a comprehensive examination of her unique integration of lace patterns into urban and natural landscapes. The book, limited to 111 copies, each spanning over 420 pages, showcases the artist’s extensive portfolio and delves into the anthropology, cultural, and historical significance underlying her chosen medium.

“Why lace? It just came to me. Lace chose me, not the other way around. I’ve never liked lace. Before I started working with it, I thought lace was something old-fashioned, from a grandmother’s dusty apartment. Today it seems to me that each lace harbors harmony, balance and a sense of natural order. Isn’t that just what we are all searching for instinctively?”~ NeSpoon

NeSpoon” by NeSpoon. 2024. MCL Library, Urban Nation Berlin.

Text: Steven P. Harrington and Jaime Rojo, Photos: Sebastian Kläbsch

Books In The MCL: Tokyo Tattoo 1970. Martha Cooper. Stockholm, Dokument Press.


From BSA:

In “Tokyo Tattoo 1970,” photographer Martha Cooper, well-known for her definitive work on New York City’s graffiti scene, applies her ethnographic skills to document traditional Japanese tattooing. This book provides a clear and respectful portrayal of a secretive and highly specialized art form, preserved in black-and-white film photography. Through Cooper’s lens, readers gain access to the traditional techniques and cultural narratives embedded in Japanese tattoo art, offering insights into an art form that was largely inaccessible during the early 1970s.

Books In The MCL: Tokyo Tattoo 1970. Martha Cooper

Text: Steven P. Harrington and Jaime Rojo Fotos: Sebastian Kläbsch


Books In The MCL: Performing Feminism in the Hip Hop Diaspora. Jessica Nydia Pabón-Colón.


Graffiti Grrlz: Performing Feminism in the Hip Hop Diaspora. Jessica Nydia Pabón-Colón. 2018. New York. New York University Press.

From BSA:

Graffiti Grrlz: Performing Feminism in the Hip Hop Diaspora” by Jessica Nydia Pabón-Colón provides an insightful look into the world of women graffiti artists, challenging the perception that graffiti is a male-dominated subculture. This book highlights the contributions of over 100 women graffiti artists from 23 countries, showcasing how they navigate, challenge, and redefine the graffiti landscape.

From the streets of New York to the alleys of São Paulo, Pabón-Colón explores the lives and works of these women, presenting graffiti as a space for the performance of feminism. The book examines how these artists build communities, reshape the traditionally masculine spaces of hip hop, and create networks that lead to the formation of all-girl graffiti crews and painting sessions. This aspect is particularly useful in understanding how digital platforms have broadened the reach and impact of women graffiti artists, facilitating connections and collaborations worldwide.

Graffiti Grrlz: Performing Feminism in the Hip Hop Diaspora. Jessica Nydia Pabón-Colón.
2018

Text: Steven P. Harrington & Jaime Rojo Fotos: Sebastian Kläbsch


ESCIF / “The Foundations of Harmony and Invention”


FROM BSA:

It would be challenging to extricate Escif’s work from the city and its daily routines. The city, with its cacophonous soundtrack created by its inhabitants’ constant movement and the fluidity of their industry and agency, remains central to the artist’s focus and relevance.

For Escif, the city is not just a muse but the bedrock of his artistic inspiration, a canvas, and an outlet for addressing its contradictions and inequalities. In his work, the city is not an abstract subject but a perpetual, tangible, and knowable presence, manifested in myriad encounters, journeys, dreams, observations, and experiences, later reassigned onto paper, canvas, or concrete.

Escif’s Urban Manifesto: Art, Activism, and the Everyday / “The Foundations of Harmony and Invention”


BSA HOT LIST 2023: Books For Your Gift Giving

BSA HOT LIST 2022: Books For Your Gift Giving

BSA HOT LIST 2021: Books For Your Gift Giving

BSA HOT LIST: Books For Your Gift Giving 2020

BSA HOT LIST: Books For Your Gift Giving 2019

Read more
Books In The MCL: The Self-Titled “NeSpoon”

Books In The MCL: The Self-Titled “NeSpoon”

Book Review by Steven P. Harrington & Jaime Rojo / Brooklyn Street Art for the Martha Cooper Library at Urban Nation Museum, Berlin, Germany.

NeSpoon,” a monograph on the work of the Polish artist, provides a comprehensive examination of her unique integration of lace patterns into urban and natural landscapes. The book, limited to 111 copies, each spanning over 420 pages, showcases the artist’s extensive portfolio and delves into the anthropology, cultural, and historical significance underlying her chosen medium.

“Why lace? It just came to me. Lace chose me, not the other way around. I’ve never liked lace. Before I started working with it, I thought lace was something old-fashioned, from a grandmother’s dusty apartment. Today it seems to me that each lace harbors harmony, balance and a sense of natural order. Isn’t that just what we are all searching for instinctively?”

~ NeSpoon

NeSpoon revitalizes the traditional craft of lace-making, tracing its roots back to the mid-sixteenth century in Venice and Flanders. This blend of past and present is a recurring theme in her art, as she applies centuries-old designs to contemporary settings. Beyond aesthetic enhancement, her projects aim to instill harmony and natural order—qualities she believes are inherent in lace patterns. CLICK URBAN NATION BERLIN TO CONTINUE READING.

Text: Steven P. Harrington and Jaime Rojo, Photos: Sebastian Kläbsch

Read more
BSA Images Of The Week: 09.22.24

BSA Images Of The Week: 09.22.24

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.

Phetus (photo © Jaime Rojo)
First semester! Phetus (photo © Jaime Rojo)
CRASH (photo © Jaime Rojo)
CRASH (photo © Jaime Rojo)
CRASH (photo © Jaime Rojo)
Unidentified artist (photo © Jaime Rojo)
1UP CREW. Berlin. (photo © Jaime Rojo)
QZAR is going hard in NYC these days. (photo © Jaime Rojo)
QUASAR (photo © Jaime Rojo)
Seileise. Berlin. (photo © Jaime Rojo)
HERA. Detail. Berlin. (photo © Jaime Rojo)
HERA. Detail. Berlin. (photo © Jaime Rojo)
HOMESICK (photo © Jaime Rojo)
HOMESICK (photo © Jaime Rojo)
WILD WEST (photo © Jaime Rojo)
JUDITH (photo © Jaime Rojo)
NesPoon. Berlin. (photo © Jaime Rojo)
Drew Kane (photo © Jaime Rojo)
Atomik (photo © Jaime Rojo)
Untitled. Berlin. September, 2024. (photo © Jaime Rojo)
Read more
NeSpoon and the Cross of Toulouse in Blagnac, France

NeSpoon and the Cross of Toulouse in Blagnac, France

We again join the world of street artist Nespoon, this time nestled in the enchanting town of Blagnac, in the picturesque region of Occitania, which serves as the backdrop for her latest artistic endeavor. Blagnac (pop. 23,759), a serene residential suburb of Toulouse in the south of France, is not only known for its tranquility but also for being home to the illustrious headquarters of Airbus, the largest aerospace corporation in the world.

Invited by the curator, Maud O’Jeanson, Nespoon embarked on a journey that would culminate in a solo exhibition of her paintings and sculpture at the esteemed Odyssud Cultural Center from May 12th to July 5th, 2023. As is her custom, she was also commissioned to create new work for the walls of the city hall.

NeSpoon. City Hall. Blagnac, France. (photo courtesy of the artist)

The city authorities proposed a project that paid homage to the ancient symbol of the region, the Cross of Occitania. This revered emblem, also known as the Cross of Toulouse or, albeit inaccurately, the Cross of the Cathars, has held profound significance for over a millennium. In the medieval era, it adorned the coat of arms of the St-Gilles family, the Counts of Toulouse. Today, this emblem can be found on official symbols of local government bodies, fluttering on flags, etched into house walls, wrought in iron on bridge balustrades, and even imprinted on postcards. Its ubiquity extends to the local subway, where it marks its presence, and it is cherished as jewelry, sought-after souvenirs, and even as graffiti on urban walls. Some believe that the origins of the Toulouse cross predate Christianity, possibly once representing a radiant sun wheel with its twelve rays. Traditionally, the numbers 3, 4, and 12 were intricately incorporated into this symbol.

NeSpoon. City Hall. Blagnac, France. (photo courtesy of the artist)

In a Nespoonian twist, the artist chose to disrupt this rhythmic pattern and embark on a deconstruction journey of the symbol. Adding new elements and forging novel divisions and symmetries, she breathed new life into this timeless icon. The numerical essence of her project can be described by the numbers 4, 5, 8, and 20, intricately interwoven into her mesmerizing creations.

Inspired by the intricate artistry of lace, Nespoon derived her pattern for the mural from a delicate technique called tatting. Every stroke and design element bore her mark, infusing the cross with her own artistic language. Despite the challenges posed by the surprisingly cool and rainy May weather in this region, Nespoon devoted ten days to her work transforming the city hall’s façade.

Nespoon extends her heartfelt gratitude to the city of Blagnac, the team at Odyssud, and especially Maud O’Jeanson for their unwavering support in making this extraordinary project a reality.

NeSpoon. City Hall. Blagnac, France. (photo courtesy of the artist)
NeSpoon. City Hall. Blagnac, France. (photo courtesy of the artist)
NeSpoon. City Hall. Blagnac, France. (photo courtesy of the artist)
NeSpoon. Odyssud Cultural Center. Blagnac, France. (photo courtesy of the artist)

NeSpoon’s Dentelle de rue at the Odyssud Cultural Center runs until July 05, 2023. Click HERE for more details.

Read more
BSA Images Of The Week: 01.08.23

BSA Images Of The Week: 01.08.23

Welcome to BSA Images of the Week!

Boy, that Kevin McCarthy is as popular as an STD in a bordello. After begging and paying off more and more people to vote for him so he could become Speaker of the House, it was well past midnight before he got some serious action – and it took 15 ballots over 4 days to award him into his position finally. A classy bunch too, if the pushing and shoving is any indication. Not to be outdone, our own favorite Brooklyn right-wing corporate progressive homesnack Jeffries sliced and diced his foes with some fancy alphabetics in his speech that somehow looked suddenly like a State of the Union speech via Sesame Street.

“FREEDOM OVER FASCISM. GOVERNING OVER GASLIGHTING. HOPEFULNESS OVER HATRED. INCLUSION OVER ISOLATION. JUSTICE OVER JUDICIAL OVERREACH. KNOWLEDGE OVER KANGAROO COURTS. LIBERTY OVER LIMITATION. MATURITY OVER MAR-A-LAGO. NORMALCY OVER NEGATIVITY.”

Clairvoyants that they are, the World Economic Forum already had McCarthy’s new title on its website weeks ago. In our age of dirty wars and dirtier martinis, that story had legs in some Twitter circles, but the WEF clarified the situation.

Meanwhile the BSA office game on Friday was Kevin McCarthy name-that-tune day – challenging us to find popular songs to describe the ongoing losing of votes: Winners of the contest were “You Can’t Always Get What You Want” by the Rolling Stones, “Big Pimpin”, by Jay Z, “Burning Down the House,” by Talking Heads, “Fool on the Hill,” by the Beatles, and “Please, Please, Please” by James Brown, “If It Ain’t Ruff,” by NWA.

Meanwhile, BSA was starting the year in Jersey City to catch some of the newer street art murals that we haven’t published, and the graffiti was on-point as well.

Here’s our weekly interview with the street, this week featuring: Nespoon, SETH, MadC, Homesick, Manik, Mack, WASP, Beset, JCMP, and Louie Gasparro.

MadC. JCMAP. Jersey City, NJ (photo © Jaime Rojo)
MACK (photo © Jaime Rojo)
SORY (photo © Jaime Rojo)
BESET (photo © Jaime Rojo)
Unidentified artist (photo © Jaime Rojo)
NeSpoon (photo © Jaime Rojo)
NeSpoon. Detail. JCMAP. Jersey City, NJ (photo © Jaime Rojo)
Homesick. Samya. ? (photo © Jaime Rojo)
Unidentified artist (photo © Jaime Rojo)
Louie Gasparro tribute to Virgil Abloh. (photo © Jaime Rojo)
NEW. RAM (photo © Jaime Rojo)
SETH. Detail. JCMAP. Jersey City, NJ (photo © Jaime Rojo)
SETH. JCMAP. Jersey City, NJ (photo © Jaime Rojo)
SETH. Detail. JCMAP. Jersey City, NJ (photo © Jaime Rojo)
SETH. JCMAP. Jersey City, NJ (photo © Jaime Rojo)
FEELSYKOE. OSF. WASER (photo © Jaime Rojo)
MANIK. WASP (photo © Jaime Rojo)
AVERT (photo © Jaime Rojo)
Help with ID, please… (photo © Jaime Rojo)
Help with ID, please… (photo © Jaime Rojo)
Read more
NeSpoon Covers Europe in Lace – 10 Cities this Year

NeSpoon Covers Europe in Lace – 10 Cities this Year

When it comes to local lace and architecture, Nespoon has you covered.

The Polish street artist has had a very productive year, traveling to Spain, Italy, Sweden, and France – always in pursuit of historical examples of this time-honored and exquisite yet dying art. By enlarging the patterns of people’s needlework – some of it quite honored and revered – she re-lights the candle of interest for the contemporary topography of the city. As one woman’s mission, the sometimes forgotten craft is shared here with a modern audience – the original patterns and designs often created by generations before this.

NeSpoon. Penelles, Spain. (photo © NeSpoon)

Today we have the honor and pleasure of sharing many of the 10 murals she painted in several countries in the first nine months of the year – along with her descriptive texts to accompany the works.

“I always paint my murals as in-situ works. Wherever I am, I always research local lace-making traditions. In many cities, lace-making factories operated, in the countryside they were traditional, female lace-making circles. I often find interesting exhibits at the local historical museum. Sometimes I just visit the apartments of seniors living nearby, I always find some lace. Based on such patterns, I prepare a mural design,” says Nespoon.  

NeSpoon. Original Lace. Penelles, Spain. (photo © NeSpoon)

“In Spain, in Penelles, I painted for the Gargar Festival, near Barcelona. I designed the mural on the basis of a traditional 19th-century ‘mantilla’, a veil used by women there for liturgical purposes, such as weddings and funerals.”

NeSpoon. Penelles, Spain. (photo © NeSpoon)
NeSpoon. Penelles, Spain. (photo © NeSpoon)

“I came to Halmstad, Sweden, at the invitation of the city council. Swedish lace is very simple, so I decided to approach the design issues differently. I created the pattern of the mural spontaneously by sketching it directly on the wall with my free hand. There was no historical reference here.” 

NeSpoon. Halmstad, Sweden. (photo © NeSpoon)
NeSpoon. Halmstad, Sweden. (photo © NeSpoon)
NeSpoon. Halmstad, Sweden. (photo © NeSpoon)
NeSpoon. Halmstad, Sweden. (photo © NeSpoon)
NeSpoon. Luri, Corsica. France (photo © NeSpoon)

“In Yffiniac, in Brittany, France, in a private historical museum, I found a magnificent Breton ceremonial shawl from the end of the 19th century. A fragment of the pattern became the basis of my design. I painted for the Street Arte en Baie Festival.”  

NeSpoon. Original lace. Luri, Corsica. France (photo © NeSpoon)
NeSpoon. Luri, Corsica. France (photo © NeSpoon)
NeSpoon. Luri, Corsica. France (photo © NeSpoon)
NeSpoon. Stigliano, Italy. (photo © NeSpoon)

“I found similar inspiration in another Italian city, Stigliano. A woman living near where I worked showed me the lace made by her mother. There I painted for appARTEngo artepublica, the local association.”  

NeSpoon. Stigliano, Italy. (photo © NeSpoon)
NeSpoon. Original lace. Stigliano, Italy. (photo © NeSpoon)
NeSpoon. Stigliano, Italy. (photo © NeSpoon)
NeSpoon. Yffiniac, France. (photo © NeSpoon)
NeSpoon. Original lace. Yffiniac, France. (photo © NeSpoon)
NeSpoon. Lace news. Yffiniac, France. (photo © NeSpoon)
NeSpoon. Yffiniac, France. (photo © NeSpoon)
NeSpoon. Mendicino, Italy. (photo © NeSpoon)

“In Mendicino, in the south of Italy, I painted for the Gulìa Urbana Festival. My inspiration was the tablecloth I found in the house of a woman living nearby.” 

NeSpoon. Mendicino, Italy. (photo © NeSpoon)
NeSpoon. Mendicino, Italy. (photo © NeSpoon)
NeSpoon. Mendicino, Italy. (photo © NeSpoon)
NeSpoon. Brescia, Italy. (photo © NeSpoon)

“Brescia is an Italian city near Venice. It was in Venice that the first handbook for lace making, Le Pompe, was printed in the 16th century. The mural I painted for the LINK Urban Art Festival was based on Venetian lace from the island of Burano.”

NeSpoon. Brescia, Italy. (photo © NeSpoon)
NeSpoon. Brescia, Italy. (photo © NeSpoon)
Read more
NeSpoon Interprets 19th Century French Needle Lace from the Musée des Beaux-arts

NeSpoon Interprets 19th Century French Needle Lace from the Musée des Beaux-arts

Polish artist Nespoon has revived a cottage industry of appreciation for the historical art of lace design, steeping her practice in a sincere study to preserve the work of generations, towns, and regions. For her first mural of the year she borrows a 19th Century French needle lace from the Musée des Beaux-arts et de la Dentelle in Alençon.

NeSpoon. CItéFestival écologique d’Arts Urbains. Callac, France. (photo © NeSpoon)

Deftly interpreted here, Nespoon’s new work frames a corner building in the city of Callac in French Brittany. Exquisite, not only in the rendering and design of the lace patterning itself, but in the project’s ability to bring the past forward in a newly relevant and even contemporary manner.

The project is part of the Festival écologique d’Arts Urbains.

NeSpoon. CItéFestival écologique d’Arts Urbains. Callac, France. (photo © NeSpoon)
NeSpoon. CItéFestival écologique d’Arts Urbains. Callac, France. (photo © NeSpoon)
NeSpoon. CItéFestival écologique d’Arts Urbains. Callac, France. (photo © NeSpoon)
NeSpoon. CItéFestival écologique d’Arts Urbains. Callac, France. (photo © NeSpoon)

 

Read more
Ceramics, Miniatures, and Molten Missives; Sudden Sculptures In The Street

Ceramics, Miniatures, and Molten Missives; Sudden Sculptures In The Street

Okay, you are not likely to find Michaelangelo’s Pietà or Bernini’s Ecstasy of Saint Teresa, but you will serendipitously discover ruddy-cheeked siren or a pointillist Whistler’s Daughter made of plastic beads or a molten chess set or a brutalist architectural model as you scan the surface of the modern city for sculpture.

NesPoon in Boras, Sweeden. (photo © Jaime Rojo)

Easy to overlook as so much bumpy skin on the face of the metropolis, today’s street art sculptures have personality and drama and echoes of the “high art” that may be stuck on the other side of the wall, but here it is for everyone to enjoy. Or destroy. 

NesPoon in Leipzig, Germany. (photo © Jaime Rojo)

Whether commercial or diagrammatic or exquisitely ornate, we always appreciate the added dimension that adds to what can be a rather flat “Street Art” scene sometimes – and an excellent entry point into the scene for your friend who is sight-impaired.

Here is a collection of small sculptures from Leipzig to Hong Kong to Moscow and Madrid for you to enjoy.

Unidentifed artist in NYC (photo © Jaime Rojo)
Traz in Berlin. (photo © Jaime Rojo)
3 x 3 x 3 in Hong Kong. (photo © Jaime Rojo)
3 x 3 x 3 in Hong Kong. (photo © Jaime Rojo)
Vaka in Madrid. (photo © Jaime Rojo)
Lego Party in Berlin. (photo © Jaime Rojo)
Unidentified artist in NYC. (photo © Jaime Rojo)
Unidentified artist in Moscow. (photo © Jaime Rojo)
Berroer in Berlin. (photo © Jaime Rojo)
Unidentified artist in Berlin. (photo © Jaime Rojo)
Unidentified artist in Berlin. (photo © Jaime Rojo)
Mesy in Berlin. (photo © Jaime Rojo)
Wolfi in Madrid. (photo © Jaime Rojo)
Mr. Joul in Berlin. (photo © Jaime Rojo)
Unidentified artist in Madrid. (photo © Jaime Rojo)
Read more
Selections from the URBAN NATION Biennale “ROBOTS AND RELICS: UN-MANNED”

Selections from the URBAN NATION Biennale “ROBOTS AND RELICS: UN-MANNED”

“What if…”

What If… UN Biennale. Berlin September 2019. (photo © Nika Kramer)

That’s how curator Yasha Young began the UN Biennale in Berlin this month. A fantasy-infused ramble through a future jungle teeming with dark pop goth and an animated gorilla, the multi-featured installation by the outgoing Creative Director was meant to pose questions about a possible future, or many possible futures on an Earth deeply scarred, reclaiming itself from man/womankind’s folly.

Millenium FX Ltd. Gorilla Albert. UN Biennale. Berlin September 2019. (photo © Nika Kramer)

Spread along a 100-meter path and teeming with small surprise exhibits popping from the savage magic of two-day overgrowth, the installation appeared to take inspiration, at least in part, from the wildly successful Berlin exhibition two years ago called, “The Haus”, by a trio called Die Dixons. That one featured 175 artists creating immersive, site-specific futurist/fantasy installations on the five floors of a former bank – inviting dance troops and performances and thousands who cued for hours around the block.

INTI with Millenium FX Ltd. Gorilla Albert. UN Biennale. Berlin September 2019. (photo © Nika Kramer)

One of artists at UN’s “ROBOTS AND RELICS: UN-MANNED”, Herakut, was also in the Haus exhibition and here under the roaring U-Bahn on Bülowstraße produces one of the best synthesis of technology and fantasy. Their sculptural painted theatrical character of Mother Nature is straight from a childs’ imagination, blinking eyes forming a blue inquisitive aura around its visage.

Hera of Herakut. UN Biennale. Berlin September 2019. (photo © Nika Kramer)
Herakut. UN Biennale. Berlin September 2019. (photo © Nika Kramer)

No doubt many visitors winding through this late summer wildness were feeling quizzical to one another, confronting the various staged scenarios by 27 artists and asking “what if…”. Perhaps a  lush and greener version of the traveling “29 Rooms” selfie house we saw in Brooklyn a few years ago, this one blended themes of post-disaster with a glistening dark leafy future girded with idiosyncracies and Hans Ruedi Giger airbrushed human/machines locked in biomechanical reverie.

“They carry us off into barren deserts with relics of human existence,” says the press release,  “colorfully patterned animals in overgrown areas as well as spherical light worlds.”

Coderch Malavia Sculptors. UN Biennale. Berlin September 2019. (photo © Nika Kramer)
Plotbot Ken. UN Biennale. Berlin September 2019. (photo © Nika Kramer)
Frederique Morrel. UN Biennale. Berlin September 2019. (photo © Nika Kramer)
Dan Rawlings. UN Biennale. Berlin September 2019. (photo © Nika Kramer)
Vermibus. UN Biennale. Berlin September 2019. (photo © Nika Kramer)
Vermibus. UN Biennale. Berlin September 2019. (photo © Nika Kramer)
Pappas Parlor. Berlin September 2019. (photo © Nika Kramer)
Ekow Nimako. UN Biennale. Berlin September 2019. (photo © Nika Kramer)
Ekow Nimako. UN Biennale. Berlin September 2019. (photo © Nika Kramer)
Vegan Flava. UN Biennale. Berlin September 2019. (photo © Nika Kramer)
Vegan Flava. UN Biennale. Berlin September 2019. (photo © Nika Kramer)
Goin Art. UN Biennale. Berlin September 2019. (photo © Nika Kramer)
Goin Art. UN Biennale. Berlin September 2019. (photo © Nika Kramer)
Urs Koller. UN Biennale. Berlin September 2019. (photo © Nika Kramer)
Urs Koller. UN Biennale. Berlin September 2019. (photo © Nika Kramer)
NesPoon . Pedro Estrellas. UN Biennale. Berlin September 2019. (photo © Nika Kramer)
Filthy Luker . Pedro Estrellas. UN Biennale. Berlin September 2019. (photo © Nika Kramer)
Filthy Luker . Pedro Estrellas. UN Biennale. Berlin September 2019. (photo © Nika Kramer)
Quinte55enz . Pedro Estrellas. UN Biennale. Berlin September 2019. (photo © Nika Kramer)
Nomad Clan. UN Biennale. Berlin September 2019. (photo © Nika Kramer)
Nomad Clan. UN Biennale. Berlin September 2019. (photo © Nika Kramer)
Theater Anu. UN Biennale. Berlin September 2019. (photo © Nika Kramer)
Theater Anu. UN Biennale. Berlin September 2019. (photo © Nika Kramer)
Theater Anu . Gehard Demetz. UN Biennale. Berlin September 2019. (photo © Nika Kramer)
Outings Project. UN Biennale. Berlin September 2019. (photo © Nika Kramer)

Participating artists include:

Coderch & Malavia // Cryptik // Dan Rawlings // David de la Mano // Dima Rebus // Ekow Nimako // Filthy Luker // Frédérique Morrel // Gerhard Demetz // Herakut // Inti // Julien de Casabianca // Louis Masai // Milenium FX // NeSpoon // Quintessenz // Nomad Clan // Rune Guneriussen // Sandra Chevrier // Theater Anu // Vermibus


Special shout out to Tobias Kunz, Annette Dooman, and the entire Studio Kunz team, Jens Rüberg and team and the YAP team.

We wish to express our gratitude to photographer and BSA contributor Nika Kramer for sharing her photos with us. Follow Nika on Instagram @nikakramer

Read more
NeSPoon and Regue Fernández Bring Bowling Women to the Square in Belorado

NeSPoon and Regue Fernández Bring Bowling Women to the Square in Belorado

StARTer Proyectos Culturales, an independent cultural organization just finished a collaboration of two artists in the plaza, and you can almost here the voices of the women whose memories they evoked.

A unique project that brought the images of women playing a local game similar to bowling to the frontages of Plaza San Nicolas, the combined talents of Street Artists Nespoon and Regue Fernández brings back images of people who lived here in this northern Spanish town of Belorado, population 2,100.

NeSpoon. StARTer Proyectos Culturales. Belorado, Spain. Summer 2019. (photo © NeSpoon)

“This square was a place where local women played bowling,” says the Polish Nespoon. “I found and painted local lace motifs and Regue created the figures of the local women based on old photos he found from the city’s newspaper.”

Conceived and led by curator Estela Rojo and Fernández, the project is meant to address the presence of women in public space; and the heavy attendance at the opening here, it looks like it was a success.

NeSpoon. StARTer Proyectos Culturales. Belorado, Spain. Summer 2019. (photo © NeSpoon)

“Many people came to the opening of the square to see the new décor,” Nespoon says, describing the large crowd gathered to watch women playing the game and to see the new artworks. “There was a lot of joy, laughter and fun.”

Check out the work of StARTer Proyectos Culturales HERE StARTer Proyectos Culturales

NeSpoon. StARTer Proyectos Culturales. Belorado, Spain. Summer 2019. (photo © NeSpoon)
NeSpoon. StARTer Proyectos Culturales. Belorado, Spain. Summer 2019. (photo © NeSpoon)
NeSpoon. Regue Fernández. StARTer Proyectos Culturales. Belorado, Spain. Summer 2019. (photo © NeSpoon)
NeSpoon. Regue Fernández. StARTer Proyectos Culturales. Belorado, Spain. Summer 2019. (photo © NeSpoon)
NeSpoon. StARTer Proyectos Culturales. Belorado, Spain. Summer 2019. (photo © NeSpoon)
NeSpoon. Regue Fernández. StARTer Proyectos Culturales. Belorado, Spain. Summer 2019. (photo © NeSpoon)
NeSpoon. Regue Fernández. StARTer Proyectos Culturales. Belorado, Spain. Summer 2019. (photo © NeSpoon)
NeSpoon. Regue Fernández. StARTer Proyectos Culturales. Belorado, Spain. Summer 2019. (photo © NeSpoon)
NeSpoon. Regue Fernández. StARTer Proyectos Culturales. Belorado, Spain. Summer 2019. (photo © NeSpoon)
Read more
NesPoon Makes Swiss Lace

NesPoon Makes Swiss Lace

There used to be over 600 lace-makers here. Nespoon is remembering them with her new works on the street.

NeSpoon. Le Locle, Switzerland. July 2019. (photo © NeSpoon)

Part of a residency that she is doing with the  LuXor Factory in Le Locle, this project has enabled the Polish Street Artist/fine artist/muralist to study the local lace motifs that are identified with this part of Switzerland historically. She has included the heritage in this veritable wrapping of lace, custom made for this town of 10,000 especially.

NeSpoon. Le Locle, Switzerland. July 2019. (photo © NeSpoon)
NeSpoon. Le Locle, Switzerland. July 2019. (photo © NeSpoon)
NeSpoon. Le Locle, Switzerland. July 2019. (photo © NeSpoon)
NeSpoon. Le Locle, Switzerland. July 2019. (photo © NeSpoon)
NeSpoon. Le Locle, Switzerland. July 2019. (photo © NeSpoon)
NeSpoon. Le Locle, Switzerland. July 2019. (photo © NeSpoon)
Read more
NeSpoon at Rethink:Sisak in Croatia

NeSpoon at Rethink:Sisak in Croatia

It’s a good practice to rethink your city – especially when you imagine it to be something more than it is. Beginning in 2016 the picturesque city of Sisak in Croatia (pop 48,000) invoked the practice with Re:Think Sisak to look again at public space and imagine artistic interventions.  Running during the first half of June, it began with regional artists and has extended the list further afield each year.

NeSpoon. Re:Think Sisak. Sisak, Croatia. June 2019. (photo © NeSpoon)

Polish Street Artist Nespoon brought her lace motifs to the side of a building, with the help of the local fire department. A first time experience for her to have such assistance, she tells us “the officers were extremely nice and helpful- they operated the lift, and didn’t seem to mind sitting in the full sun for 10 hours.”

As she has in recent years, Nespoon also installed one of her fired ceramic pieces on the street, furthering her practice to another discipline.

NeSpoon. Re:Think Sisak. Sisak, Croatia. June 2019. (photo © NeSpoon)
NeSpoon. Re:Think Sisak. Sisak, Croatia. June 2019. (photo © NeSpoon)
NeSpoon. Re:Think Sisak. Sisak, Croatia. June 2019. (photo © NeSpoon)
NeSpoon. Re:Think Sisak. Sisak, Croatia. June 2019. (photo © NeSpoon)
NeSpoon. Re:Think Sisak. Sisak, Croatia. June 2019. (photo © NeSpoon)
NeSpoon. Sisak, Croatia. June 2019. (photo © NeSpoon)
NeSpoon. Sisak, Croatia. June 2019. (photo © NeSpoon)
Read more