All posts tagged: Porto

Ingmar Järve aka Gutface: “Street Gnomes” in Porto

Ingmar Järve aka Gutface: “Street Gnomes” in Porto

In the bustling street art/graffiti scene of Porto, Portugal, a fresh wave of new pieces informed by folklore gives rise to “Street Gnomes,” a captivating solo exhibition by the Estonian street artist Gutface, also known as Ingmar Järve.

Hosted by Circus Network, this show, funded by the EU, the Goethe-Institut, and the Estonian Embassy in Lisbon, runs until April 11, 2024, offering an intimate glimpse into the lives of mythical beings reimagined for the urban jungle – imbued with a certain warmth that may make you nostalgic for a time you never lived through. Gutface, a Tartu-based freelance artist, illustrator, and graphic designer, brings his personal tour de force to Portugal after entertaining audiences across Europe with the Stencibility Street Art Festival and his vibrant contributions to the collective @ajuokse.

Gutface aka Ingmar Järve. “Street Gnomes”. Circus Network Gallery. Porto, Portugal. (photo © Kadri Lind)

“Street Gnomes” looks to redefine the gnome, a figure steeped in European folklore, traditionally seen as a guardian of the earth and its hidden treasures. Gutface often transposes these mythical guardians from their idyllic garden settings to the concrete sprawl, where they embody the spirit and toil of unseen urban caretakers: the road workers, electricians, plumbers, and garbage collectors who keep our cities seamless and functioning. The artist experiments and succeeds with various mediums; through a mix of ceramics, tufted carpets, risography, and bold speckled street art, the exhibition highlights a symbiosis between nature and urbanity.

Gutface aka Ingmar Järve. “Street Gnomes”. Circus Network Gallery. Porto, Portugal. (photo © Kadri Lind)

At the heart of this exhibition is a narrative and a style that merges the raw energy of street art with less obvious storytelling. Järve invites us on a journey through the city’s veins, where every corner and crevice is alive with the silent hustle of its gnomish caretakers. “Street Gnomes” may also strike one as a testament to the transformative power of street art and a celebration of those who labor in the shadows, ensuring our urban ecosystems and imaginations thrive. Gutface’s work, deeply rooted in the vibrant street culture and community-driven ethos of Tartu, Estonia, connects the fantastical with the mundane, inviting viewers to reconsider the sources of that magic pulsing through the city’s concrete heart.

Gutface aka Ingmar Järve. “Street Gnomes”. Circus Network Gallery. Porto, Portugal. (photo © Sofia Borba)
Gutface aka Ingmar Järve. “Street Gnomes”. Circus Network Gallery. Porto, Portugal. (photo © Sofia Borba)
Gutface aka Ingmar Järve. “Street Gnomes”. Circus Network Gallery. Porto, Portugal. (photo © Sofia Borba)
Gutface aka Ingmar Järve. “Street Gnomes”. Circus Network Gallery. Porto, Portugal. (photo © Sofia Borba)
Gutface aka Ingmar Järve. “Street Gnomes”. Circus Network Gallery. Porto, Portugal. (photo © Sofia Borba)
Gutface aka Ingmar Järve. “Street Gnomes”. Circus Network Gallery. Porto, Portugal. (photo © Kadri Lind)
Gutface aka Ingmar Järve. “Street Gnomes”. Circus Network Gallery. Porto, Portugal. (photo © Sofia Borba)
Gutface aka Ingmar Järve. “Street Gnomes”. Circus Network Gallery. Porto, Portugal. (photo © Sofia Borba)
Gutface aka Ingmar Järve. “Street Gnomes”. Circus Network Gallery. Porto, Portugal. (photo © Sofia Borba)
“Street Gnomes” is open until April 11th at Circus Network (Porto, Portugal). The collaborators and partners are Krasta Keramika, Kuues Planeet, and Not So Fast Press. The exhibition was produced by Kadri Lind (Stencibility, Urban Festival UIT). The project is funded by the European Union, Goethe-Institut, and the Estonian Embassy in Lisbon. (photo © Sofia Borba)
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MrKas Paints “Slava Ukraini” in Portugal

MrKas Paints “Slava Ukraini” in Portugal

Many street artists around the world are creating new artworks on the street in solidarity with the Ukrainians. MrKas sent us his emotional appeal from Portugal where he painted this new one modeled after a boy who was caught amidst the attacks. He also had the pleasure of meeting his mom Elza Uskas since she and her son escaped the bombs in their home city. Ms. Uskas gave him permission to share her words here;

MrKas. “Slava Ukraini”. Porto, Portugal. (photo © MrKas)

“We fled from home, in grief, in fear, from those who remained. Borders are open. We travel through beautiful cities, and meet kind people… but my heart is broken, I want to hug my family and friends. I want them to sleep peacefully instead of hiding in the basements from the missile attacks. Our life will never be the same again. And our children will never forget the sound of the siren roar that they will dream of at night …”

MrKas. “Slava Ukraini”. Porto, Portugal. (photo © MrKas)
MrKas. “Slava Ukraini”. Porto, Portugal. (photo © MrKas)
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MrKas Paints “Still I heal” in a Porto Factory

MrKas Paints “Still I heal” in a Porto Factory

We always appreciate the repurposing and re-imagining of existing features in the man-made environment. Artists have myriad ways to reconfigure and transform the simplest of situations, and here in Porto, Portugal MrKas has done it twice. First he elongated this fallen wooden beam and imagined it as a lit match stick. Later he painted over his own creation, transforming the view to a human heart pierced by an arrow.

It’s good to see his imagination at work. He calls this anamorphic wall in an abandoned factor, “Still I heal”.

MrKas. Porto, Portugal. (photo © MrKas)
MrKas. Porto, Portugal. (photo © MrKas)
MrKas. Porto, Portugal. (photo © MrKas)
MrKas. Porto, Portugal. (photo © MrKas)
MrKas. Porto, Portugal. (photo © MrKas)
MrKas. Porto, Portugal. (photo © MrKas)
MrKas. Porto, Portugal. (photo © MrKas)
MrKas. Porto, Portugal. (photo © MrKas)
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Labrona and DB on the Road, Dispatch From Portugal

Labrona and DB on the Road, Dispatch From Portugal

“I didn’t get invited to paint anywhere this winter so I made my own street art trip,” says Labrona of his new wheat-pastes in Portugal. “It’s sort of a throw back to before mural festivals, when we just did stuff on the streets.”

Is that Buster Keaton? Labrona and DB. Lisbon, Portugal. Spring 2017 (photo © Labrona)

A clear distinction is made thusly, between the multitude of public-private-commercial mural initiatives that artists are participating in these days and the practice of creating Street Art, which is necessarily self initiated, without permission, an autonomous performance or intervention in public space. To merge these terms and practices is to disregard the significance of the distinction between.

Furthermore, this is not new. There just happen to be a lot of mural festivals right now and organizers sometimes misappropriate the term “street art” when in describing events. We can help.

DB. Lisbon, Portugal. Spring 2017 (photo © Labrona)

But we’ve digressed a little from Labrona and DB, who took a trip to Lisbon and set up shop. “We rented a place and turned it into a studio for 10 days and made a bunch of wheatpastes,” Labrona says. The figurative, character-driven painted pieces began to appear in this city that is known today as much for its Street Art as it is for its hills.

A painter with a studio practice, DB hadn’t done Street Art previously, says Labrona, so it is interesting to see what choices DB makes for his work here in the public realm where it suffers the indignities of abuse and neglect. As ever, we are also interested whether the placement has a particular contextual component or whether he uses the existing architecture as a framing device.

Labrona and DB. Lisbon, Portugal. Spring 2017 (photo © Labrona)

It is also significant to some observers how choices are made for the new wheatpastes to interact with pre-existing graffiti – sometimes in tandem, to the side of or sometimes directly pasted upon it, possibly angering the graff writer, maybe not. Because of the temporary quality of wheatpasted paper, the aerosol work will probably outlive it anyway. Sometimes a big bubble tag seems like an intentional background or co-actor. Other times a quickly dashed tag looks like it is not considered at all.

These are all metrics and filtering devices, and subjective ones at that. How an aesthetic expression hits an individual in that moment of discovery is as real as it gets.

Their dual experiments ended after 10 days and Labrona says he carried on solo for the rest of his trip, with some pieces appearing to have been drawn directly on the walls or doors – which rather lessens the distance between studio practice and street practice.

DB. Lisbon, Portugal. Spring 2017 (photo © Labrona)

Labrona and DB. Lisbon, Portugal. Spring 2017 (photo © Labrona)

DB. Lisbon, Portugal. Spring 2017 (photo © Labrona)

Labrona. Lisbon, Portugal. Spring 2017 (photo © Labrona)

This may be Picasso staring angrily from the corner at Labrona’s amorous couple, we aren’t sure. Labrona and DB. Lisbon, Portugal. Spring 2017 (photo © Labrona)

Labrona and DB. Lisbon, Portugal. Spring 2017 (photo © Labrona)

Labrona and DB. Lisbon, Portugal. Spring 2017 (photo © Labrona)

Labrona and DB. Lisbon, Portugal. Spring 2017 (photo © Labrona)

DB. Lisbon, Portugal. Spring 2017 (photo © Labrona)

Labrona Porto, Portugal. Spring 2017 (photo © Labrona)

Labrona Porto, Portugal. Spring 2017 (photo © Labrona)

Labrona Porto, Portugal. Spring 2017 (photo © Labrona)

Labrona Porto, Portugal. Spring 2017 (photo © Labrona)

Labrona Porto, Portugal. Spring 2017 (photo © Labrona)

 

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Monsters Family Gallery Presents: Eime “You Can’t See” (Porto, Portugal)

Eime

YOU CAN´T SEE
STENCIL ART by Eime

Depois de dois anos sem expor individualmente, Eime regressa com novos trabalhos de stencil.
(After two years without participating in a solo exhibition, Eime returns with some new stencil works.)

5 Nov. 2011 – 15h até (until) 21 Jan. 2012


MONSTERS FAMILY Tattoo, Piercing & Art Gallery

Rua do Rosário, 248

Oporto, Porto, Portugal

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