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Brooklyn Street Art

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Bifido Photo-Mythology at “FART” Festival in Cerignola, Italy

Posted on October 18, 2018

FART Fatti Urbani is a two day festival (Oct 6&7) in the Municipality of Cerignola in the south of Italy (population 58,534)  that holds as its central hub an interest in Street Art and Urban Culture. In this context Street Art is primarily a reference to mural art, rather than the practice of unsanctioned art-making that the term originates from.

Bifido. “Too many kids finding rain in the dust“. Fart festival. Cerignola, Italy. October 2018. (photo courtesy of Bifido)

The weekend features artist workshops for youth on the themes of digital art, scenography, illustration, photography and there are exhibitions, talks, screenings and participatory art projects for children. Central to the events is the installation of murals in three neighborhoods of Torricelli, the San Samuele district, and the downtown.

Italian Street Artist Bifido staged one of his theatrical photoshoots with two young actors to create this metaphor for strife in the metaphysical sense, a battle perhaps between good and evil. Organizers say that public art events like this provide impetus for a social gathering around artist expression and ideas, catalyzing discussion and appreciation for art and culture. We particularly like the description on the itinerary under “Social Lunch”, which roughly translated, says “to counter the weariness, the alienation of modern life and lunches of solitude, Saturday we all eat together. Everyone brings something, we sit at the table”.

Bifido. “Too many kids finding rain in the dust“. Fart festival. Cerignola, Italy. October 2018. (photo courtesy of Bifido)

Bifido’s piece has garnered a lot of attention, and a public festival like this appears to engage people just at a historical time when the “alienation of modern life”, at least in the so-called developed societies, is at its highest in decades.

The artist tells us that the wall is in a peripheral and notoriously dangerous neighborhood. “That kind of dormitory neighborhood where you can only find concrete and desperation,” he says. “I called my mural: ‘Too many kids finding rain in the dust’ .”

Bifido. “Too many kids finding rain in the dust“. Fart festival. Cerignola, Italy. October 2018. (photo courtesy of Bifido)

The Instagram page of the AAD , the architectural design firm sponsoring some of the events, reflects their impression of the effect of art performed in public like this, “It was an incredible experience – it introduced us to a community that wants novelty and beauty. The work of @bifidoart has been adopted and taken to heart by the entire district as a symbol of a good omen for the not too distant future. The wonder is in everyone’s eyes, whatever their path of life.”

Fantastic? In many ways. A difficult name of a festival for English speakers to deal with? No doubt.

Virtually Damaged : Shepard Fairey in New York to Launch VR/AR Exhibition App

Posted on October 17, 2018

“This is the first time that it is been done in alignment with what I’m truly trying to do as an artist,” Shepard Fairey says about this new venture into virtual/augmented reality being unveiled this week in New York, and on a phone near you.

Shepard Fairey. “Damaged” VR/AR Immersive Experience. (photo © Jaime Rojo)

A stunning realization of the experience that a visitor would have had at his “Damaged” exhibition a year ago in his hometown of Los Angeles, the freshly released app is the product of millions of incremental images taken in 360 degrees that enable you to tour the show – even though it was dismantled a while ago.

“It was by far my biggest exhibition – bigger than “May Day” at Deitch Projects, bigger than the project I did in Dumbo and in New York with Jonathan Levine,” Fairey says of the exhaustive solo show of 230 pieces that opened to 21,000 people who had waited in 5-block long lines to get into the industrial warehouse. The new app designed by VRt Ventures captures each of those pieces in high definition of course, along with the more environmental experiential elements that the exhibition featured in the multi-faceted real life show.

Shepard Fairey. Screenview at Damaged” a VR/AR Immersive Experience. (photo © Steven P. Harrington)

“I had the newsstand, billboard, murals, sculptures, the printing press, and the whole print studio,” Shepard says, “That was really probably the greatest thing about that space was that it was this hybrid – a street gallery feeling because it was this kind of industrial warehouse – and we built these white walls as well. It had all the corrugated metal and you could see all these beams and we set up this print shop in there so I feel like it really balanced the best of both worlds in terms of the presentation of the work.”

Last night in a Manhattan popup pre-opening show on the Bowery Mr. Fairey and his wife Amanda made the rounds with guests in goggles to tour the exhibition where it exists now – as Augmented Reality (AR) and Virtual Reality (VR). Billed as a “VR/AR immersive experience”, the open bar and crunchy hip-hop/punk medley pumping loudly across the speakers may have impaired our abilities to pan and click inside the virtual world frankly. But we could easily see how a quieter home environment, or even a subway ride, would make it easier to listen to Fairey’s narrated portions and to appreciate the navigation around the space. So we downloaded the app for phone exploration later.

Shepard Fairey. “Wrong Path”. Detail of vinyl print for Damaged a VR/AR Immersive Experience. (photo © Jaime Rojo)

“The accessibility of the art is so much more in your hands and really, truly it is like being in the space,” says Ms. Fairey as she compares the new virtual experience to the original. “It was a giant warehouse and an amazing exhibition of his work – It’s like you are in it, I mean. Oh my god. It revives the moment for us.”

As an activist on the street, and later in galleries and museums, Fairey has always communicated clearly and in detail about the inspirational factors and contextual circumstances that are foundational to his work – whether in canvasses for private homes or prints for t-shirts or in the many stickers, stencils and hurried wheat pastes he’s left on walls in the middle of the night. So it’s no surprise that the works in the virtual “Damaged” are augmented with his voice describing the works and what he was thinking about when making them.

Shepard Fairey. “Bias By Numbers”. Detail of vinyl print for Damaged a VR/AR Immersive Experience. (photo © Jaime Rojo)

He imagines what it would be like for him to experience this with other artists as well.

“For me to hear Warhol giving a tour through the Factory – or any number of artists – explaining first hand rather than learning about the show through all of these people who may or may not be credible to be saying what they are saying,” he remarks. “When I think about how valuable it would’ve been for me; I like to hear things from the artist if it is possible. I did 100 minutes of narration on this. I usually write about all of the pieces that I create, about what’s happening in current events that are relevant to the work as well as the general principles of the work. So the VRt team went through all of the pieces in the show and found additional text to supplement my audio narration.”

Shepard Fairey. Screenview at Damaged” a VR/AR Immersive Experience. (photo © Steven P. Harrington)

BSA: So do you think that this experience with this app and the way that people experience the exhibition when they cannot be there physically will be a good tool, not just for you but for a lot of artists to spread their message?

Shepard Fairey: Yeah I definitely do. Of course I think it’s always most important for people if they came to see the work in person. But when you think about the high percentage of people that basically are sort of scrolling through a slideshow of static images and that’s the best they’re going to get, this technology is really important for the future of art. Not just for artists but for museums that spend a huge amounts of money on an exhibition and it comes down after a finite amount of time, you can see this being more important especially as the technology improves.

To capture Damaged”, the exhibit was scanned with lasers–generating an exact replica of the exhibit.

These guys from VRt, you know they spent a lot of money to be ahead of the curve on this. Very used the highest technology to laser-map the entire space. You can go up to the pieces and see the textures. You can walk around the printing press. It’s really impressive. As this technology comes down in price it is going to democratize all kinds of experiences even more so I’m glad that maybe I can provide a little example a case study of how beautiful this technology is.

Shepard Fairey. “Wrong Path”. Detail of vinyl print for Damaged a VR/AR Immersive Experience. (photo © Jaime Rojo)

Shepard Fairey. “Drink Crude Oil”. Detail of vinyl print for Damaged a VR/AR Immersive Experience. (photo © Jaime Rojo)

 

From left to right: Stan Sudol, Shepard Fairey, Evan Pricco, Steven P. Harrington and Carlo McCormick at the VIP launching of “Damaged” VR/AR Immersive Experience. (photo © Jaime Rojo)

 


To celebrate the launch of the “DAMAGED” mobile App, VRt Ventures, Shepard Fairey, Juxtapoz Magazine and ABSTRKT NYC host a pop-up will be open to the public from 10/17 – 10/21 at 136 Bowery in New York City from 10am – 6pm where fans can come check out the experience, make sure to follow @JuxtapozMag @ObeyGiant @VRtVentures on social media for more information.

The DAMAGED mobile App is available for download via the iOS App Store and Google Play store for Android, on Oculus, Samsung Gear and Steam in VR.

For more information, please visit VRtVentures.art

Bisual’s Trippy Interlude with Drug Culture in Barcelona

Posted on October 16, 2018

BISUAL’s post-human sallow skinned characters are laboratory inventions that contain elements of animal, chemical, organic, electronic, psychedelic – minus the superpowers or sleekness of your typical cyborg. They also like to smoke something now and then while gazing at phones in a cartoon dystopia, a handful of helpers to mellow the menacing low-level paranoia.

The illustrator and painter has a history with graffiti as well, which may explain his ease creating casually comic surrealities on large walls in public space, like this new one in Barcelona.

Bisual. Contorno Urbano Foundation / 12 + 1 Project. Barcelona. Ocotober 2018. (photo © Clara Antón)

The mural features leaves of the Acanthus mollis, a common and invasive species of plant, creeping up onto the street, blended with “geometric architectonic elements” he says. The pinkish protagonist may be pausing on his way to an errand at the liquor store, or he may just be waiting for his man, €26 euros in his hand. Certainly those psycheldelio creatures from the organic wild who are slithering with wide eyes slowly up to him are attentive to his actions, perhaps listening to his words. Not that he should be concerned of course.

Bisual. Contorno Urbano Foundation / 12 + 1 Project. Barcelona. Ocotober 2018. (photo © Clara Antón)

Bisual. Contorno Urbano Foundation / 12 + 1 Project. Barcelona. Ocotober 2018. (photo © Clara Antón)

Bisual. Detail. Contorno Urbano Foundation / 12 + 1 Project. Barcelona. Ocotober 2018. (photo © Clara Antón)

Bisual. Contorno Urbano Foundation / 12 + 1 Project. Barcelona. Ocotober 2018. (photo © Clara Antón)

Images from Bisual’s Instagram (© Jay Bisual)


Bisual’s wall is sponsored by the Contorno Urban0 12 + 1 Project, a community powered initiative to bring artists to walls in Barcelona.

NemO’s, Ericailcane and Andrea Casciu Ride a Tandem Resistance In Bologna, Italy.

Posted on October 15, 2018

Highlighting collective efforts that advance events during war and the tales of heroism, butchery, resistance, intrigue, and subterfuge that are braided into historical retelling, three Italian Street Artists commemorated citizen resistance and a Nazi massacre in a lengthy mural for the Penneli Ribelli Festival this month in Bologna.

Naked men share the elongated tandem bicycle with uniformed fighters, and each character contains details and symbology that point to events or qualities known to locals of a certain generation about the Marzabotto massacre that killed between 770 and 1,000 civilians, now presented to a new one in this city where these events took place.

Street Artist NemO’s tells us that this first edition of the Penneli Ribelli Festival is born in memory of the events that happened during the Second World War.

Ericailcane . NemO’s . Andrea Casciu for Pennelli Ribelli Festival. Bologna, Italy. October 2018. (photo © NemO’s/Andrea Casciu)

At the center of the story is the resistance by everyday Italians of various ages, genders, and social classes, a movement known as the Italian resistance and the Italian Partisans, or Partigiani. The icon of the festival is a wolf in honor of the Partisan who led the group, Mario Musolesi, whose nickname was “Lupo”, or “Wolf”.

Pennelli Ribelli Festival. Bologna, Italy. October 2018. (photo © NemO’s/Andrea Casciu)

“Here a big battle broke out between the Nazis and the Partigiani, who fought for the freedom of Italy,” he tells us. “This is one of the most important areas, because here was where the largest group of civilian Partigiani were killed by the Nazis as revenge.”

Nemo’s naked men, hapless and without even bicycle seats, appear unprepared for any battle, burdened and exposed. Andrea Casciu’s “uniformed” riders are prepared, comfortable, confident, even jubilant in the efforts forward – their red star and flags of resistance assuring victory.

Ericailcane. Pennelli Ribelli Festival. Bologna, Italy. October 2018. (photo © NemO’s/Andrea Casciu)

The three artists worked for twelve hours a day for four days on the side of the old Lama di Reno paper mill that closed in 2013. Locals of various ages stopped to inquire about the stretched bicycle and its meanings, and local news accounts say that many people in the neighborhood supported the artists work.

“The full presentation is meant as a symbol of the resistance,” says NemO’s, “in honor of the women who, with their bicycles, carried secret messages and food for the people hidden on the forest.

A badger at the head of the procession breaks apart traps of war that were meant to ensnare and disable, the kerchiefed animal even converting one into a stringed instrument to play.

Ericailcane. Pennelli Ribelli Festival. Bologna, Italy. October 2018. (photo © NemO’s/Andrea Casciu)

Ericailcane. Pennelli Ribelli Festival. Bologna, Italy. October 2018. (photo © NemO’s/Andrea Casciu)

NemO’s . Andrea Casciu. Pennelli Ribelli Festival. Bologna, Italy. October 2018. (photo © NemO’s/Andrea Casciu)

NemO’s. Pennelli Ribelli Festival. Bologna, Italy. October 2018. (photo © NemO’s/Andrea Casciu)

NemO’s. Pennelli Ribelli Festival. Bologna, Italy. October 2018. (photo © NemO’s/Andrea Casciu)

NemO’s. Pennelli Ribelli Festival. Bologna, Italy. October 2018. (photo © NemO’s/Andrea Casciu)

NemO’s. Pennelli Ribelli Festival. Bologna, Italy. October 2018. (photo © NemO’s/Andrea Casciu)

Andrea Casciu. Pennelli Ribelli Festival. Bologna, Italy. October 2018. (photo © NemO’s/Andrea Casciu)

Andrea Casciu. Pennelli Ribelli Festival. Bologna, Italy. October 2018. (photo © NemO’s/Andrea Casciu)

Andrea Casciu. Pennelli Ribelli Festival. Bologna, Italy. October 2018. (photo © NemO’s/Andrea Casciu)

Andrea Casciu. Pennelli Ribelli Festival. Bologna, Italy. October 2018. (photo © NemO’s/Andrea Casciu)


For more information on the Pennelli Ribelli festival https://www.facebook.com/pennelliribellifestival/

Artists:

Andrea Casciu https://www.facebook.com/casciuandrea/

Nemo’s https://www.facebook.com/whoisnemos/

Ericailcane https://www.facebook.com/ericailcane/

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