Mexpania II. Paola Delfín, Sixe Paredes, Pilar Cárdenas AKA Fusca and Daniel Muñoz. Penelles, Spain. October 2021. (photo courtesy of Nueve Arte Urbano)
In a town with a stultifying 112 murals and only 400 inhabitants, you already know that your work will be judged by experts – since everyone is looking and communing with multiple murals in the course of one day all over their city. This unusual urban occurrence is thanks to the Gar Gar Festival which has invited local and international artists for six years under the curatorship of the duo Binomic, formed by Maria del Mar López and Jordi Solana.
Mexpania II. Paola Delfín, Sixe Paredes, Pilar Cárdenas AKA Fusca and Daniel Muñoz. Penelles, Spain. October 2021. (photo courtesy of Nueve Arte Urbano)
For the MEXPANIA installation, the artists Paola Delfín, Sixe Paredes, Pilar Cárdenas AKA Fusca and Daniel Muñoz all joined ranks to symbolically relocate a mosaic painted on Pino Suárez street in Mexico City – itself a reproduction of an original work made by Juan Correa in the 17th century. Joining languages, histories, and iconography, this unique enterprise could have ended in disaster, yet here presents a unified composition that speaks with poetry and authority.
Mexpania II. Paola Delfín, Sixe Paredes, Pilar Cárdenas AKA Fusca and Daniel Muñoz. Penelles, Spain. October 2021. (photo courtesy of Nueve Arte Urbano)
To appreciate the work completely, we asked curators Arcadi Poch and Édgar Sánchez to describe it for BSA readers.
“The two main characters are Moctezuma and Hernán Cortés, who have been transformed into two symmetrical doors, crowned by two divided suns. The floor of the scene is transformed into a map that collects a series of migratory paths through the history of humanity. Two surrendered horses fall on the map, followed by two eagles, meant to represent the fall of the symbols related to all the warlike and racist conflicts that occurred 500 years ago. The play speaks to the public about the richness of the past to inspire us to build a reunion and hence a future of greater integration.”
Mexpania II. Paola Delfín, Sixe Paredes, Pilar Cárdenas AKA Fusca and Daniel Muñoz. Penelles, Spain. October 2021. (photo courtesy of Nueve Arte Urbano)Mexpania II. Paola Delfín, Sixe Paredes, Pilar Cárdenas AKA Fusca and Daniel Muñoz. Penelles, Spain. October 2021. (photo courtesy of Nueve Arte Urbano)Mexpania II. Paola Delfín, Sixe Paredes, Pilar Cárdenas AKA Fusca and Daniel Muñoz. Penelles, Spain. October 2021. (photo courtesy of Nueve Arte Urbano)Mexpania II. Paola Delfín, Sixe Paredes, Pilar Cárdenas AKA Fusca and Daniel Muñoz. Penelles, Spain. October 2021. (photo courtesy of Nueve Arte Urbano)Mexpania II. Paola Delfín, Sixe Paredes, Pilar Cárdenas AKA Fusca and Daniel Muñoz. Penelles, Spain. October 2021. (photo courtesy of Nueve Arte Urbano)Mexpania II. Paola Delfín, Sixe Paredes, Pilar Cárdenas AKA Fusca and Daniel Muñoz. Penelles, Spain. October 2021. (photo courtesy of Nueve Arte Urbano)
Édgar Sánchez and Arcadi Poch may not simply be curators of the new initiative called Mexpania that merges the cultures of Mexico and Spain. They are social scientists, anthropologists, historians, and some may say, alchemists. With the inaugural installations of this auspicious project primarily created inside the entrance and with only 4 national/international artists, you may be curious how these foundational works will influence future curatorial choices for this ever-growing museum dedicated to urban art, or arte urbano.
The Museo de Arte Urbano de México (MARUM) has been steadily and organically evolving these last ten years into a bonified attraction in the center of Querétaro thanks to the existing remarkable architecture and the driving force of the visionary Sánchez. Now with a partnership focused on the 500-year history of the Spanish migration to ancient Mexico, the opportunities to visually capture and illustrate the modern identity of a common culture must be daunting, but they have begun.
“We are the fruit of migration and miscegenation, of love and conflict that led to the mixing of our blood,” say the authors of Mexpania’s manifesto. “From that union was born an uncountable multitude of identities, ways of being, thinking, and believing.”
Daniel Muñoz
As an inaugural set of events and art-making, Mexpania presents what can only be considered an initial attempt to draw upon those themes and present an opening salvo. A calculated project to establish this entrance to the formalized museum, one that proposes to document and celebrate the movement of monumental art through streets and cities. The selections are a deliberate mixture of styles, histories, and identities that confront our ability to parse differences and similarities and emerge with one unique voice.
“The feeling is like entering a contemporary temple, which transports you to a sacred place dedicated to the mestizo and migrant nature of humanity,” say the two curators of the freshly combined works on the MARUM campus, as they call it. “It has not been an easy task to generate what we understand as a single piece by making such different artistic languages coexist and getting them to dialogue in harmony.” Just reviewing the 33 muralists on the exterior spaces of the campus gives one an opportunity to consider the richness of this locally grown, now globally expanded, multi-voiced culture.
Fusca
BSA is proud to be the first to present the new works in their new home and to welcome readers to regard these fresh murals in context inside an institution dedicated to urban art now rooting into the soil of one of the original forbears of the modern mural movement a century ago, Mexico. In a city visited on the streets by modern street art internationalists like ROA, Stinkfish, Jaz, Elian, Sens, Sego, Alexis Dias, Entes, Enter, Ever Siempre, and others – this too is the land that gave birth to the great muralists Diego Rivera, José Clemente Orozco, David Alfaro Siqueiros, Rufino Tamayo, Aurora Reyes Flores, Elena Huerta Muzquiz, and Rina Lazo.
Sixeart
“Inside the venue, directly to the left, we see the introductory text to the project, calligraphed by the hand of the Mexican artist Jassiel Rivera and written by the two curators. Above the text, in the large circular niche, there is a joint work by four artists. It is a large X that represents Mexpania and defines the four elements of the whole being.”
“Our ancestors traveled the world and in different eras or by different routes, they arrived in what we now call Mexico. … Mexpania seeks to respect and question these identities, to propose cultural freedom as a path to urban peace. While observing human chaos, this work raises the banner of the dynamic beauty of our cultures. We believe that there is no absolute truth or a pure lineage and that the charm of life is born of our differences. 500 years after the first Spanish migration to ancient Mexico, we are privileged to explore the cultures that bequeathed us, create our own identities, and lift each other up toward a future of cultural freedom.” – Édgar Sánchez and Arcadi Poch. Curators.
“Sixe, an artist of Catalan origin, occupies the two walls corresponding to the main entrances, the entrance, and the exit, with a numerical representation that occupies the entire surface. The enormous network in black and red is a symbolic and abstract representation of the data and events, loves and hates, pains, and hopes that emerged as a result of the great encounter between the multiple cultures of both continents. It is a contemporary codex, an abstract framework, in which the symbols of death are represented by skulls, the cross of the Catholic religion imposed by the Spanish, and other symbols that represent the balance of the cosmos, the new sun, and the eclipse of the civilization of ancient Mexico. We can also observe the gold coins that Daniel Muñoz incorporates in Sixe’s work, generating a dialogue between these two works.”
“On the front side and on the right we find the wall by Daniel Muñoz, a conceptual work with a great load of social reflection and critical thinking. Daniel talks about the power of money around domination and how it is able to make our cultures invisible. The large coin that presides over his work seems to cover the American continent and around the great circle, there are representations of the globe seen from different perspectives, creating a cartography of money. Behind the plaque that commemorates the inauguration of this space, and that contains an extract from the Florentine Codex, we observe a group of invisible indigenous women. Using these and other symbols, Daniel creates a representation of money as a motivation towards domination, but reinterprets its value with the phrase he writes around the central coin of the mural: ‘The Earth Will Return to Those Who Work It With Their Hands.’ “
“Directly in front of the work of Fusca, appears, in black and white, the work of Paola Delfin. Mictlantecuhtli, the lord of the underworld, presides, radiant over a chaotic swarm of horses, and from them emerge, on the flanks, two mestizo identities. This deity representing death reigned over the underworld through which the dead traveled. It should be mentioned that despite the difficulties that lie in the Mictlan, this was not hell but a challenge that had to be faced after passing away if one wanted to reach the palace that is found after overcoming the difficult journey. The symbols embodied in this piece seem to recognize the enormous pains and sorrows of the past as strengthening challenges, which can give us fortitude and inspire us to live with good conscience.”
On the back wall to the left, Fusca uses timeless symbols to express subtleties behind the way we think. In moonlight-like colors, we see a representation of Coatlicue, the archetypal maternal deity of ancient Mexico, who as the legend tells us, gives birth to Huitzilopochtli, the cultural leader of the Mexica, who we still see on the Mexican national shield, represented by an eagle. This figure, who could be interpreted as the mother of Mexico, is intervened in such a way that an equine head instead of a serpentine one emerges from her neck. In this way, the deity and the horse are united in a single, mestizo figure. The piece expresses the emotion of living the fusion between different identities. These understandings of who we are can weaken or strengthen us. How can we better understand the past that created us to empower and liberate us? To build our own way of describing ourselves, to strengthen life in our future and that of our descendants?
The videos that we present every week on BSA Film Friday give us as much inspiration as they do our readers, and we are honored to see the progression of artists and directors as they continue to capture, document, and share their skills, techniques, and stories. This year we have seen a continued professional quality, a widened scope, a desire to connect with an audience perhaps in a way that we haven’t seen before. Each of these videos, whether completed in-studio or shot by hand on a phone, touched you- and the numbers of clicks and re-shares tell us the story. Or many of them.
No. 10
INTI / “PRIMAVERA INSURRECTA”, Spring Insurrection
From
vandalizing public sculptures to handmade signs to waving banners, banging oil
drums and pots and pans, lighting fires, chanting, and dancing in the streets –
these are the insistent voices and perspectives coursing through streets in
cities around the world, including these scenes from Chile last month. In one
of the tales of people’s victory, these marches and mobilizations of citizens
pushing for their rights and fighting state overreach actually worked this
month and Chile’s protesters have won a path to a
new constitution.
During the demonstrations Chilean Street Artist INTI was at work outside in Santiago as well, adding to the public discourse, with his new work entitled “Dignity!” It was a spring insurrection, now culminating in an autumn victory
https://www.youtube.com/watch?v=s_-5wdutumQ
No. 09
Icy & Sot: Giving Plants. Film By Doug Gillen/FWTV
Street Art brothers Icy and Sot once again lead by example with their latest act of artivism at a refugee camp in Greece.
People chased from their homes by wars in places like Syria, Iraq and Afghanistan are now part of a larger conversation in Europe as countries struggle to accept the massive numbers of refugees in the last decade. On the Greek island of Lesbos, the overcrowding of a camp named Moria has produced Olive Grove, a temporary place full of tents, but little nature.
While they have traveled around many international cities in the last
five years creating site-specific interventions that contemplate issues
of immigration, environmental degradation, and endangered species, the
artists felt that the gravity of this place merited something more than
just an art installation.
Working with a group called Movement on the Ground and with Doug Gillen of Fifth Wall TV in tow, the two helped build raised gardens and planted vegetables, in addition to handing out many potted plants. Today we have images of persons in the camp from Icy & Sot along with the new video, one of Doug’s best.
No. 08
Guido van Helten in Faulkton, South Dakota by Brian Siskind
A massive piece by the observant eye of Guido van Helten, who knows how to capture a spirit, a gesture, a knowing expression. Here on a grain elevator in Faulkton, South Dakota, his piece becomes a clarion, captured here by Brian Siskind.
Bordalo II “A Life of Waste” A short film by Trevor Whelan & Rua Meegan
Spending a lot of time and effort clawing your way to the top of the pile, braying
loudly about your achievements and kicking the people behind you back down the
hill? Look where you are standing. It’s a mountain of garbage. And you don’t really
care for the others up here.
Bordallo II has been examining our culture of waste. And making sculpture from it. “The artwork is really a reflection of what we are,” he says. “I always had my conscience.”
Land artist Jorge Gerada mounts a large project in Ouarzazate, Morocco that extends over 37,500 meters in this commissioned job for a coffee brand calendar. Using rakes, stones, dark gravel, and vegetable oil, a scene of two hands under running water is created.
In a collaborative gallery space or at a barbecue on Devil’s Mountain, Berlin’s calligraffiti writers and artists are showing off the attitude and exactitude of the city as well as the evolution of this art form.
Hosted by Theosone at the “Scriptorium Berlin” and
curated by Makearte, a small selection
of scientists artists are convened at the Letters Temple where artists create
an exhibition with lucid and ornate letter skillz. Later on Devil’s Mountain
(Tefelsberg) they paint together for the first time.
In the videos featuring daredevilry, parkour and graffiti the Lengua Drona
has been adding words to our visual vocabulary that were once reserved
for extreme sporting, National Geographic docs, Crocodile Dundee and
James Bond.
Now the pixação writer and urban climber, Paradox releases
unprecedented adventure footage and editing from photographer CPT. Olf,
and its sending shockwaves.
Somehow this is a new way to synthesize wall-climbing and train
surfing; positioning it as a visual and audio symphony that almost makes
you forget that these are graffiti vandals “fucking the system”,
pushing their limits – and yours.
As you thrill to these evolving genre-combining aspects of Oleg
Cricket, 1Up Crew, Berlin Kidz, and Ang Lee, it’s important to realize
that these are real risks that people take that could result in serious
injury, death, and rivers of grief if a miscalculation happens. So,
yeah, we’re not endorsing the irresponsible risks or a mounting “arms
race” of stunts, but we are endorsing the athleticism, imagination, and
sheer slickness of this FPV drone mastery, which appears to have taken
this stuff up another level.
The doublespeak of Banksy very effectively demanded a whirlwind of media
attention in the art/Street Art world once again this week. The
anti-capitalist launched a full street-side exhibition while his
personal/anonymous brand benefitted by the new record auction price of
9.9 million pounds with fees for one of his works depicting a “Devolved
Parliament” full of apes – precisely during the height of inpending Brexit hysteria
A culmination of five years of murals visible from planes, French duo Ella & Pitr nudge you awake on a sleepy Friday to say “Thank you for being part of this story!” You didn’t even realize that you were a part of it, did you? In a way, you can see your own reflection somewhere here.
Their sleeping giants have appeared in cities around the world, often too big even for the massive rooftops they are crammed uncomfortably atop. With a true knack for childhood wonder and illustration, perhaps because they have a couple of them at home for inspiration, Ella & Pitr bring the petite rebel spirit to these characters; imperfect specimens with stylistic idiosyncrasies and sometimes ornery personalities.
In the end, they were all “heavy sleepers” resting temporarily, as is often the case with (sub)urban interventions variously referred to as Street Art, public art, land art, pavement art… Make sure you stay for the end of this video that comprised most of the giants.
No. 01
Graffiti Jam in San Francisquito, Queretaro with Martha Cooper
When local graff writers in Queretaro, Mexico heard that New York’s famous photographer Martha Cooper was going to be in their town for a new exhibition they decided to welcome her in the best way they knew how: A graffiti jam on a train.
With the help of the organizers at Nueve Arte Urbano, the local kings and queens scored a long wall on a busy major avenue that they could paint subway cars on and convert to an NYC train. They hoped Martha would feel at home seeing this and it looked like she definitely did.
It’s a fast-growing major city without a subway, even though it could definitely use a more inclusive and efficient public transportation system since its quick growth has swelled to a million inhabitants. Scores of multi-national corporations left the US and set up shop here since they wrote the NAFTA trade deal and now employ this highly educated population.
Greece, Mexico, Poland, Detroit, Brooklyn, Tennesee, Texas, Asbury Park in New Jersey. Your favorite BSA stories were not limited to geography. Aerosol, wheat-paste, yarn, soldered steel, cut stencils, rollers, photography, even plants; Nor were they contained by technique or materials.
Giving live plants away in a refugee camp, queer pride phone
booth takeovers, a floriculture bus stop, a windswept installation constantly
in motion at a seaside resort. We paid homage to foundational documentarians of
graffiti and Street Art culture, watched an early 1980s French stencil
originator travel through the US south, and provided a platform for one of New
York’s most elusive writers who blasted apart definitions with his texts and
sculpture – all while keeping his own profile on the serious DL.
The creative spirit appears wherever we look on the street,
and luckily you love to observe and learn and get inspired by other’s work as
much as we do.
Based on the traffic to the website, on social media, and in
our email box, here are the top 10 stories that you loved the most in 2019 on
BSA.
Who writes your history? Who would gladly suppress it?
By reviving and celebrating those who the mainstream historically underplays, undercuts, neatly overlooks, and otherwise de facto silences, a new takeover campaign on NY streets helps write the history of LGBTQ struggle, and keeps it just as relevant as this moment.
Photographer and journalist The Dusty Rebel now curates the same streets he documents and shares with BSA readers today his determined campaign to revive, preserve, propel forward the significant players and events that have fought in their myriad ways, with the admonishment to keep fighting. With “Resistance is Queer” he uses his images and his respect for LGBTQ history to ensure that the full spectrum of people are recognized for their contributions to this civil rights struggle for equality.
We’re grateful that he has taken the time to explain in detail the people behind the images and their significance to him personally as well as their role in a people’s history.
The Dusty Rebel: “Resistance is Queer” Phone Booth Campaign in NYC. Continue reading HERE
Tennessee and Texas Sample a Certain Street Savoir Faire
Look out for Le Rat!
He’s getting up in places down south that you wouldn’t normally
associate with a French Street Artist, much less the one who started
stenciling in a style and manner unusual on Paris walls in ’81 – an
antecedent for much of what we later would call ‘Street Art”.
Blek le Rat Tours The US South continue reading HERE
No. 8
“Evolucion de una Revolucion” Outside in Queretaro, Mexico
“Martha Cooper isn’t only a
photographer, she’s a historian as well and you are here with us today
to pay homage to her work. Martha is my teacher and she taught me more
than graffiti, she’s taught me the way in which we live with art every
day. When we see a piece of art on the street we bring it into our daily
lives. That’s precisely Martha’s contribution to our lives”
Edgar Sánchez, co-founder of the Nueve Arte Urbano festival.
Under the magical spell of the Jacarandas in full bloom, a spirit of
Pax Urbana flowed through Queretaro’s lush public park Alameda Central
this weekend as dignitaries from the city, including the honorable
Andrea Avendaño, the Minister of Culture of the City of Queretaro, and
the Nueve Arte Urbano team hosted the opening of an outdoor exhibition
by famed photographer Martha Cooper.
The 101 photographs spanning four decades were enlarged and mounted
in weather resistant vinyl throughout the park, representing the full
range of Ms. Cooper’s continued focus on art in the streets.
Street Art brothers Icy and Sot once again lead by example with their latest act of artivism at a refugee camp in Greece.
People chased from their homes by wars in places like Syria, Iraq and
Afghanistan are now part of a larger conversation in Europe as
countries struggle to accept the massive numbers of refugees in the last
decade. On the Greek island of Lesbos, the overcrowding of a camp named
Moria has produced Olive Grove, a temporary place full of tents, but
little nature.
With a goal of softening the hardship for people living here, Icy and Sot raised money through a print sale online and with the proceeds purchased fresh flowering plants to give away. “It was wonderful to see that actually put a smile on peoples’ faces for a moment,” they say in a press release.
Icy & Sot: Giving Plants And New Life To Refugees In Grece continue reading HERE
No. 6
“Martha: A Picture Story”. Shots from the Premiere and Movie Review
First things first – Full disclosure; we are featured in the movie and we are close friends with both the subject of the doc and the director and we first suggested to the director that she was the perfect candidate to make a film about Martha Cooper. Now that we have that out of the way here are a number of shots from the premiere and our review of the movie:
Martha: A Picture Story had its world premiere at the Tribeca Film Festival this Thursday to an enthusiastic crowd that included big graffiti, Street Art, international press and film industry names, to see the highly anticipated documentary about the venerable photographer Martha Cooper by the Sydney director Selina Miles.
Martha A Picture Story. Shots From The Premiere And Movie Review continue reading HERE
No. 5
Riding the Rails in the Bronx With “Henry Chalfant: Art vs. Transit, 1977 – 1987”
“We may have lost the trains, but we’ve gained the whole world.”
That’s a quote on the wall in the new exhibition at the Bronx Museum spotlighting the work of Henry Chalfant. The quote comes from Mare 139, one of the early graffiti writers of 1970s-80s trains in New York, referring to the now-scrubbed subway cars that once functioned as a mobile gallery for the young masters of cans throughout a metropolis that was in the grips of financial and social upheaval. Thanks to the work of artists and documentarians like Mr. Chalfant, the ephemeral works were captured, cared for, preserved, and spread throughout the world in the intervening years, in some ways helping to spawn a global interest and practice among burgeoning artists.
Riding The Rails in The Bronx With “Henry Chalfant: Art VS. Transit 1977 -1987 continue reading HERE
“Graffiti ain’t something you do, it’s something you live,” says the text above a wildly lettered REVS piece in a 1996 photo taken in El Paso. If there is a New York graffiti/Street Art icon that you would identify with a credo like this, he’s definitely one. Self-secreted away from the limelight and distrustful of many of the characters that are on the graffiti/Street Art “scene” today, REVS is nearly a New York folk hero, despite appearing to be completely firm in his anti-establishment, anti-commercial views – rooted in punk and hardcore music and those values that helped form his sometimes shape-shifting character since the the 1980s.
As we move further from graffiti and mark-making in public
art-making, is it a revelation that the desire to be seen, to have your
voice heard, is the common denominator again, regardless of the form of
expression.
In
this case, a tram shelter in Poland preserves the natural world in resin,
transparently.
Like
a mix master, the artist here samples someone else’s handiwork and remixes it,
adding a filter, chopping it up and repeating it.
Nostalgia Brings Floriculture to the Tram Stop in Lodz, Poland continue reading HERE
No. 2
Banksy X Mercedes: Is This a Parody??
From BSA:
Yes, of course.
This artists’ interpretation of a car ad that features Banksy’s work is a parody, a farce. No one would try to take one of Banksy’s Street Art pieces to help sell their luxury cars, claiming that his work is in public domain and therefore fair game for any use.
Similarly, if it was a mural on the street by Brooklyn Street Artist KAWS, whose fine art canvas sold at auction this week for $14.7 million dollars at Sothebys Hong Kong, Mercedes wouldn’t simply grab it and run the art behind their newest off-roader on Instagram to infer that “Urban” edginess.
Or would they?
“And now they have filed a lawsuit against me trying to strip away all of my rights. I feel like I am being bullied and intimidated,” says graffiti/street artist artist Daniel Bombardier (a/k.a DENIAL) in a statement regarding the luxury brand that is instead suing him along with three other artists, apparently for having the temerity to demand to be paid, according to an article by James David Dickson in The Detroit News .
Bombardier’s mural and the artworks of the other artists – James Lewis (a.k.a. Olayami Dabls), Jeff Soto, and Maxx Gramajo appeared in published advertisements for the company’s cars, apparently without permission. The artists hired a lawyer to contact the carmaker to seek redress, according to news reports, social media postings, and emails that fairly flooded us yesterday.
Banksy x Mercedez: Is This a Parody? Continue reading HERE
No. 1
Windswept Public Art at the Beach: Hot Tea’s New Installation in Asbury Park
They designed the Ritz, the Vanderbilt, the Ambassador and the Biltmore hotels in Manhattan, along with townhouses for the Astors, the Yacht Club, and apartment buildings on 5th Ave and Park.
They were also architects on the team for Grand Central Terminal, that Beaux-Arts centerpiece of Gotham with its high marble walls, majestic sculptures, and lofty domed ceiling.
Also, Whitney Warren & Charles Wetmore designed the Casino Building here in Asbury Park, New Jersey a celebrated historical magnet for thousands of tourists escaping the heat and seeking buffeting breezes. The soaring glass paned windows may remind you of Grand Central, but also of that illustrated postcard on the cover of the Bruce Springsteen album, and of colorful resort town living.
You’ll also see 5,760 pieces of colored yarn hanging from the beams above, forming a shape-shifting brick of radiating color that appears to levitate. The brand new installation by Street Artist Hot Tea is lifted and pulled and choreographed by the ocean air, dancing to the sounds of waves crashing, emulating the currents of the sea. 17 rows define the physical boundaries, but your imagination can go much further with it in a matter of minutes.
Windswept Public Art at the Beach: Hot Tea’s New Installation at Asbury Park HERE
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening : 1. David Shillinglaw: Alive In The Human Hive 2. Flavita Banana in Barcelona for 12+1 Project 3. JR at the Louvre 4. A NYC Subway Train in Queretaro, Mexico
BSA Special Feature: David Shillinglaw: Alive In The Human Hive
“The artworks I make are an absurd visual taxonomy listed in no particular order the ingredients that we all consume and produce,” explains the British painter and Street Artist David Shillinglaw. Clearly, he’ll have enough to paint until his dying day, as we cannot stop producing.
Another
gem here: “We are funky little space monkeys orbiting a ball of hot gas”
David Shillinglaw: Alive In The Human Hive
Flavita Banana in Barcelona for 12+1 Project
“With a nod to La Danse by Henri Matisseand many human tribes’ rites of Spring, artist Falvita Banana creates her new “Juntes sumem” (add together) here on the façade of Cotxeres Borrell in Barcelona,” we wrote a few weeks ago when she first finished her mural. Today we have video of the event. See the original article here: Flavita Banana & Women in a Springtime Dance
JR at the Louvre
This time-lapse movie shows the installation of street artist JR’s paper trompe l’oeil at the Louvre Pyramid in Paris, France.
“On the occasion of the 30th anniversary of the Louvre Pyramid, JR
created a collaborative piece of art on the scale of the Napoleon Court.
Three years after having made the Pyramid disappear, the artist brought
a new light to the famed monument by realizing a gigantic collage,
thanks to the help of 400 volunteers !
Each day hundreds of volunteers came to help cut and paste the 2000 strips of paper, making it the biggest pasting ever done by the artist.”
A NYC Subway Train in Queretaro, Mexico
When local graff writers in Queretaro, Mexico heard that New York’s famous photographer Martha Cooper was going to be in their town for a new exhibition they decided to welcome her in the best way they knew how: A graffiti jam on a train.
When local graff writers in Queretaro, Mexico heard that New York’s famous photographer Martha Cooper was going to be in their town for a new exhibition they decided to welcome her in the best way they knew how: A graffiti jam on a train.
With the help of the organizers at Nueve Arte Urbano, the local kings and queens scored a long wall on a busy major avenue that they could paint subway cars on and convert to an NYC train. They hoped Martha would feel at home seeing this and it looked like she definitely did.
It’s a fast-growing major city without a subway, even though it could definitely use a more inclusive and efficient public transportation system since its quick growth has swelled to a million inhabitants. Scores of multi-national corporations left the US and set up shop here since they wrote the NAFTA trade deal and now employ this highly educated population. Many universities, lower wages, and an easier regulatory environment have brought the big companies here as well as the fact that the city boasts an attractive protected historical area that was declared a World UNESCO zone. Now they have a subway, at least a temporary painted one.
The neighborhood where the wall is located is called “San Francisquito” or Little San Francisco – a sort of sister city for many of the folks who have family in that US city as well. Rich in character and history, the neighborhood retains a distinct connection to indigenous culture: For example this is the home of Los Concheros, a group of native indigenous people in Mexico who have roots in the Chichimecas, Aztecs and, Mexicas who perform traditional dances dating back to the early colonial period.
Mostly residential, with narrow cobblestone streets and family-owned small business and grocery stores, we saw many locals who appeared pleased for the industry of local youth in a mural that stirred some excitement and pride.
They stopped by and commented on the new works and wondered where the action was coming from as aerosol lettering and characters began to populate the train sides.
It
was an interlude of serendipity that the visiting New Yorkers were not
expecting – a sunny day full of love and art. Martha happily obliged to
requests for photos, to write tags in black books and thanked each of them for
their gifts of t shirts, stickers and even a miniature portrait of her drawn in
pencil.
Many images this week are from our short visit to Querétaro, Mexico this week – where, among other things, we saw first hand many of the murals mounted by the festival Nueve Arte Urbano over the past few years. Each festival around the world is unique to its local culture – with the possible exception of the highly commercial ones that are self-styling as a franchise of cool McArt dipped in tangy “Street” flavored sauce. We had a good survey of this mural/street art/graffiti scene in the context of Mexico’s historic mural masters, and a true sense of how counterculture can be embraced by so-called “mainstream” culture for the betterment of both.
In
short, the DNA of this festival is not about self-promotion but engaging
community in meaningful dialogue, respecting tradition of indigenous culture,
and embracing the modern day rebels who have brought art to the streets in
myriad ways. Combined with an unprecedented 101 photo exhibition of graffiti,
Street Art, and urban culture mounted on the streets that was too meta for our
brains, we saw people walking the walk, not just talking the talk. We only wish
we had more time, and a drone!
Additionally this week we have a few more favorite shots from a quick trip to Berlin last week. Berlin is basically Brooklyn’s sister city and it was also in the full throes of Spring, with long lines at the all-night dance clubs way after the sun came up. This weekend it looks like Brooklyn is warming up too – almost beer garden time!
Until then, let’s head over to Bamonte’s for a vodka martini with the fine men and women of what’s left of Italian American Williamsburg here in Brooklyn. This is an institution that’s 119 years old lined with framed photos of famous Italian Americans and celebrities who ate there like Telly Savalas and that guy from the Sopranos!
No music, only the clinking of glasses and animated storytelling and some people who may have been dining here when the Dodgers were still in Brooklyn – all eating lobster tails, shrimp cocktail, clams oreganata, iceberg lettuce salads, pastas, meat balls, fish, sautéed porkchops, scalloped potatoes, green beans, chicken parmesan, and blueberry pie or tiramisu. Okay it’s not five star, you big hotshot, but it’s at least as good as your Aunt Rosa’s kitchen, amiright? Bamontes not good enough for you now, you big Broccolini?
And the portions, my god, you won’t need to eat again
until Good Friday.
So here’s our weekly interview with the street, this time featuring 007, 1UP Crew, Calladitos, City Kitty, Clown Soldier, CS SZYMAN, Deih XLF, drsc0, Ger-Man, La Madriguera Grafica, Mantra, Nespoon, Paola Delfin, Santiago Savi, Victor Lopez, and Voxx Romana.
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening : 1. Icy & Sot Overview 2. Imaginary City. Teaser from MZM Projects (UA) 3. “Martha Cooper: Evolucion de una Revolucion” Queretaro, Mexico. 4. Fanakapan x 1UP Crew in Berlin.
BSA Special Feature: Icy & Sot Overview
The Iranian brothers have been toiling and innovating and taking risks on the streets of Tabriz and Brooklyn now for more than a decade. Now commercial brands are discovering them as well. These guys just keep marching forward with purpose, staying true to their beliefs.
Icy & Sot Video Project
Imaginary City. Teaser from MZM Projects (UA)
Entirely of their own volition and vision, filmmakers Kristina Borhes & Nazar Tymoshchuk created this ode to Stavanger and the Street Art festival called Nuart.
Two BSA quickvids in a row here from our recent travels in Berlin and Queretero…
“Martha Cooper: Evolucion de una Revolucion” Queretaro, Mexico.
Urban photographer Martha Cooper now has 101 of her photographs on the streets — literally on the streets of Queretero, Mexico. Part of the Nueve Arte Urbano festival, the exhibition is called “Evolution of a Revolution” and we were pleased to be a part of the opening events with Ms. Cooper, who said she was very pleased with the quality of the large format photos and the reception of the people on the streets.
Thanks to a new big empty city lot this building seems primed for the big stage! First the Alanis angel has ridden on this wall for a long time with grace and beautiful realism. Secondly, Berlin Kidz climbed vertically down from the roof in their distinctive and colorful language.
But we were lucky to see the British Fanakapan working with the worldwide, Berlin-based, anonymous graffiti crew 1UP for a stunning collaboration. This kind of shit can turn you into a fanboy or fangirl in a heartbeat. If you had a heart.
“Martha Cooper isn’t only a photographer, she’s a historian as well and you are here with us today to pay homage to her work. Martha is my teacher and she taught me more than graffiti, she’s taught me the way in which we live with art every day. When we see a piece of art on the street we bring it into our daily lives. That’s precisely Martha’s contribution to our lives”
Edgar Sánchez, co-founder of the Nueve Arte Urbano festival.
Someone left a love message for Martha on the board of the explanatory text for the exhibition. It reads in Spanish: “Martita I love you in secret”
Under the magical spell of the Jacarandas in full bloom, a spirit of Pax Urbana flowed through Queretaro’s lush public park Alameda Central this weekend as dignitaries from the city, including the honorable Andrea Avendaño, the Minister of Culture of the City of Queretaro, and the Nueve Arte Urbano team hosted the opening of an outdoor exhibition by famed photographer Martha Cooper.
The 101 photographs spanning four decades were enlarged and mounted in weather resistant vinyl throughout the park, representing the full range of Ms. Cooper’s continued focus on art in the streets.
Named “Evolucion de una Revolucion” (Evolution of a Revolution), produced by Nueve Arte Urbano in collaboration with the Secretariat for Culture of the city of Queretaro, the open air exhibit champions the grassroots art movement that continues to evolve in cities around the world. It also references the social and political revolutions in countries like Mexico that reflect the will of people and produce upheaval that change the course of history.
The welcoming ceremony featured bboys, bgirls, djs, and speeches by the Minister of Culture, representatives of the municipality, and Edgar Sánchez, co-founder of the Nueve Arte Urbano festival.
With the arte libre espiritu of New York graffiti writers like Dondi, Lee, and Futura mingling in the air with Mexican muralists Siqueiros, Rivera, and Orozco – a rather transnational reverence for the powerful engagement of art in the streets was at play.
Notably, the audience here were again the youth of the city who feel the powerful magnetism of this grassroots people’s movement that opens doors to them to create and express themselves, giving them a sense of agency over their own environment.
It has always been the kids, teens, and young adults who have driven this global urban culture and Ms. Cooper has steadfastly sought the clues to our future by consulting the opinions and creative expressions of these folks.
That may explain why Cooper today embodies that precise sense of discovery and vitality – an enthusiasm that shined during a personal tour she gave of her new photo exhibition here outside in Mexico.
“On a path where thousands of people walk every day we’ll be welcomed by urban art in an urban space. “Evolution of a Revolution” is an exhibition by famed photographer Martha Cooper under the project PaxUrbana, a collaborative project that’s rooted in a dialogue between several sectors of our society and includes the graffiti writers from different neighborhoods of the city of Queretaro”
Andrea Avendaño, Minister of Culture of the City of Queretaro
Mexico and Estonia; an unlikely couple. But sometimes love is like that. In a time when orthodoxy globally is seemingly self-combusting and obviously falling short in meeting the needs of people, it is perhaps no surprise that the unique hybrids of shared strengths are those that arise and can lead.
A cultural love child combining the traditions of these two nations has resulted in a surprising amount of cross-cultural exchange and mural making in the last year or two. Today we have just some of the artworks made during a two-part event held in each country, the first in Tallinn, Estonia in June 2017 and the second in Querétaro, Mexico during March 2018.
The unlikely pairing by two sociological searchers who love graffiti, Street Art, and the mural traditions of the past as much as the modern mural phenomena now speaks a common language of aesthetics in multiple spheres.
Together Édgar Sánchez and Sigre Tompel have mounted two large cross-culture jams, attracting numerous artists and trans-national interpreters (nearly 100), presenting and renewing interests in history, indigenous people, traditions, and the environment challenges of today.
By highlighting the similarities and distinct differences in traditional and modern culture, these two are the magnetic field around whom a multi-faceted public art practice is developing that showcases urban and mural artists.
Together the two say that the effort is “a reminder of what makes us feel proud of being Mexicans, Estonians, and even better, what unites us beyond our nationalities: our cultural freedom. Our responsibility of making this place, this world, a better place than how we found it.”
The enterprise is frequently steeped in metaphor and symbolism and a search for meanings in the overlapping of traditions. One that is often sited is the Blue Deer/Fern Blossom intersection.
In México, according to ancient Huichol tribe tradition, people go to hunt Blue Deer to search for wisdom and inner vision. Searching is also involved in the Estonian ancient tradition of searching for the Fern Blossom that is said to appear only during the summer equinox of June, which they call Jaaniöö. Both traditional cultural stories represent prosperity, protection and fertility, they say.
“Mextonia is a gift to remind the world about the Spirit; a collective soul in the shape of a Blue Deer, in finally finding a Fern Blossom,” say Sánchez and Tompel.
For Mr. Sánchez, the Mexican co-creator and author of the Mextonia Manifesto, there is a belief that there are larger forces at work in the Universe and that Mextonia is a platform and vehicle for the new generation.
When reading his observations you will see that the platform is hoping to lead Millennial artists to reconnect with a sense of culture and identity, two things that are sadly slipping away due to the dopamine-laced fire hose of mass media stimuli, social and otherwise, that we are collectively exposed to.
For Tompel, the Estonian co-director of this bi-national transcultural journey, “Mextonia was born from a personal ‘vision quest’ to better understand the native wisdom of Mesoamerican natives.”
She says the enthusiasm and knowledge of Sánchez guided her to better appreciate ancient traditions like those of the Mexican Huichol tribe, and that this new appreciation enlivened her interest in her own homeland of Estonia, which she began to study in earnest. Together, the two of them have poured the molten iron of their combined roots and cast a foundation that many artists are now adding their interpretation to.
Whether it is costume or symbols or rites or ceremony, you can see a deep desire to be inclusive in the styles and expressions. The spring festival, for example, extended its message with the collaboration with the PangeaSeed Sea Walls effort, headed by Tré Packard and his team in pursuit of “combining art and activism on this level and caliber to champion for the oceans,” and often sited aspiration.
“Art and public activism can educate and inspire the global community to help save our water resources,” says Packard. “Regardless of its location, large metropolitan city or small coastal town, all drains lead to the ocean and the ocean provides every breath we take. The Earth cannot exist without healthy oceans and water resources.”
With this in mind the city of Querétaro was chosen for the multiple aqua-related public artworks as a way to draw attention to the city’s own reliance on water that is transported from a hundred kilometers outside the city. This chapter of “Mextonia” was also known as “Water is One”.
The experience and study has even helped coin new terms, like transgraffiti and transgraffiti muralism.
“Muralism and Street Art have proven to transform cultural symbols and catalyze culture,” says Sánchez. “Now, Transgraffitti is a trans-personal kind of muralism, which distances itself from both; names and pop culture, by taking deep cultural symbols and re-expressing them in a transcendental and contemporary way.”
In this respect, it is a unique view of Street Artist and graffiti writers in contemporary practice from an evolutionary perspective. In the Water is One Manifesto 2.0 that was released this spring the organizers write:
“In today’s world we see millions of young people expressing on walls, influencing the streets and society. They write their names to identify with their space: we call them graffiti writers. As they grow and explore, some look beyond the writing of a personal name and embark into trans-personal-creation.
They research social challenges, paint visual metaphors and transcend borders. They discover the power of their painting over streets and culture. They become a kind of contemporary shaman, producing street incantations.
This is the transpersonal-graffiti, and we call it Transgraffiti muralism.”
As BSA correspondent from Tallinn and Querétaro, veteran photojournalist and ethnographer Martha Cooper attended the installations, exhibitions, celebrations, and ceremonies in both countries and she collected a wealth of important information to share.
In her own words Cooper says, “Street art is a worldwide art movement and Mextonia has shown how creative two different cultures can be when combined. Excellent idea – brilliantly realized.”
As mentioned Part 2 in Querétaro, Mexico was a collaboration with Pangea Seed and it was a concerted effort to highlight water resources, and “The Water Is One” theme was reflected in the murals.
“We forget that the water cycle and the life cycle are one.” ~Jacques Yves Cousteau
While these 40 or so photos are resplendent in conveying the spirit and dedication shown daily by participants, they are ultimately a very small sample of the hundreds Cooper took.
Similarly a blog platform like this cannot comprehensively cover the events or the perspectives in their entirety, but we hope that you can gain a greater appreciation for the depth of feeling, scholarship, and talent that is represented here in Martha’s photographs and our descriptions.
We conclude our text here with an interview that Ms. Cooper conducted for BSA with Sigre Tompel to better understand the breadth of the festival and also to get more detail about a sacred spiritual ceremony that Cooper attended with native peoples and the artists during her Mexican visit this spring.
Martha Cooper:Can we call “Water Is One” in Querétaro Part 2 of Mextonia? Are you planning Part 3? Sigre Tompel: Yes, it is a sequence of Mextonia, part 2 (Mextonia in Estonia was the element of Fire, Water Is One was the element of Water. Yes, we are planning part 3 and 4 (Earth and Air).
Martha Cooper:How many artists participated in both the Estonian and Mexican festivals? Sigre Tompel: In Estonia we had 60 artists and in Mexico 33 – together with graffiti writers and neighboring walls of the Dome. These 5 artists were actually in both festivals – Aaron Glasson (New Zealand), Sänk (Estonia), Sermob (Mexico), Renata (Mexico), Goal (Mexico). Our whole core crew is a total of 15 people.
Martha Cooper:What was the name for the type of group that performed the ceremony at the walls? What was burning in the pot that produced the smoke? Copal? Sigre Tompel: They are called Concheros, they use Copal , smudging for blessing. The message was smudging the artists to thank them for their work and to bless their way back home, so they can arrive healthy and happy. The name of this particular group of Concheros is “In Xochitl In Cuicatl”, Flor y Canto (Flower and Singing) and they are lead by Conchero General Manuel Rodriguez. The name is in Nahuatl, the ancient language of the Mexica.
Martha Cooper:Does the ceremony have a name? Can you say a few words about what kind of blessing it was or what message they were sending the artists? Sigre Tompel: The Concheros hold the tradition of the old Mexican belief system. After being conquered by the Spanish, they decided to hold balance and harmony between the two belief symbols, so they started honoring Christian symbols, while honoring also Mexican symbols, usually in secret. Concheros need to be reconsidered as a Cultural Heritage of the World, they are not “syncretic” by ignorance, but to keep the sacred balance of cultural hybridization.
The Concheros were very happy because the artists expressed the metaphors of their dances into the murals, and because this represents a kind of Mexican renaissance that returns to an earlier time, reinterpreting the ancient classic pre-religious Mexican belief systems.
Read this article in Spanish / Leer este articulo in Espanol aqui:
TRANS-GRAFFITI Y EL FESTIVAL TRANSNACIONAL “MEXTONIA
Publicado el 26 de Mayo, 2018
México y Estonia; una pareja improbable. Pero a veces el amor es así. En una época en la que la ortodoxia global es autocomplaciente y obviamente no satisface las necesidades de las personas, quizás no sorprenda que sean los híbridos únicos de fortalezas compartidas los que pueden liderar en el mundo.
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
