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Brooklyn Street Art

…loves you more every day.

New Kashink, Swiz, and Stesi in Paris for “Art Azoï”

Posted on February 8, 2016

The Paris based cultural project named Art Azoï brings emerging and established Street Artists and contemporary artists to develop mural ideas on public walls – and has been doing it for about five years. They have a few programs of permanent and rotating murals and endeavor to initiate exhibitions and workshops for the artists to more closely interact with the community in the area of Paris that they operate in.

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Kashink at Centre d’animation Ken Saro Wiwa in Paris for Art Azoï. January 2016. (photo © Michel Jean-Théodore)

Today we have a look at three new artist installations that are facilitated by Art Azoï. Our special thanks to photographer Alex Parrish for sharing images from this project with BSA readers

First we see that Kashink was on the terrace of the “centre d’animation Ken Saro Wiwa” with one of her signature poppy four-eyed monsters with a feminine prowess. Yo, “protect ya neck!”

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Kashink at Centre d’animation Ken Saro Wiwa in Paris for Art Azoï. January 2016. (photo © Alex Parrish)

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Kashink at Centre d’animation Ken Saro Wiwa in Paris for Art Azoï. January 2016. (photo © Alex Parrish)

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Kashink at Centre d’animation Ken Saro Wiwa in Paris for Art Azoï. January 2016. (photo © Alex Parrish)

Swiz brought his geometry to this long wall located on the busy rue de Ménilmontant, a wall that has been previously hit by Sunset, RERO, Ella&Pitr and Augustine Kofie.

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Swiz at Pavillon Carré de Baudouin  in Paris for Art Azoï. January 2016. (photo © Michel Jean-Théodore)

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Swiz at Pavillon Carré de Baudouin  in Paris for Art Azoï. January 2016. (photo © Michel Jean-Théodore)

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Swiz at Pavillon Carré de Baudouin  in Paris for Art Azoï. January 2016. (photo © Alex Parrish)

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Swiz at Pavillon Carré de Baudouin  in Paris for Art Azoï. January 2016. (photo © Alex Parrish)

Stesi was invited to begin the 2016 program in January with his piece on the 40 meter long surface along Rue des Pyrénées, located in the 20th arrondisement. He uses his signature abstract style and stippling spray technique that recalls some graffiti letter forms as well as more organic ones.

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Stesi at Square Henri-Karcher in Paris for Art Azoï. January 2016. (photo © Michel Jean-Théodore)

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Stesi at Square Henri-Karcher in Paris for Art Azoï. January 2016. (photo © Michel Jean-Théodore)

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Stesi at Square Henri-Karcher in Paris for Art Azoï. January 2016. (photo © Michel Jean-Théodore)

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Stesi at Square Henri-Karcher in Paris for Art Azoï. January 2016. (photo © Michel Jean-Théodore)

 

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BSA Images Of The Week: 02.07.16

Posted on February 7, 2016

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Here’s our weekly interview with the street, this week featuring 92, Alice Mizrachi, Bifido, Dubois Does Not Speak French, El Sol 25, Futura, Jick, JR, Klops, Rubin415, Specter, and Tara McPherson.

Our top image: Tara McPherson is not usually someone whose work you see on the street but here it is… (photo © Jaime Rojo)

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Tara McPherson (photo © Jaime Rojo)

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JR (photo © Jaime Rojo)

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Artist Unknown or is this mural an advert? Actually, the latter. The Guggenheim uses this ten-point motivational sign to advertise the restrospective of Swiss artists Peter Fischli and David Weiss. According to the artists the original sign was found in a factory in Thailand. (photo © Jaime Rojo)

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Specter advert take over on the NYC Subway. (photo © Jaime Rojo)

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Specter does an abstract billboard take over in Brooklyn. (photo © Jaime Rojo)

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Specter billboard take over in Dayton, Ohio. (photo © Specter)

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El Sol 25 (photo © Jaime Rojo)

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Klops for The Bushwick Collective illuminates the concentration of 90% of the media in the hands of 6 companies. In 1983 there were 50. (photo © Jaime Rojo)

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Bifido in Caserta, Italy. (photo © Bifido)

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Bifido in Italy creates this surrealist animation with flying garbage. (photo © Bifido)

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Dubois DNSF (full name Dubois Does Not Speak French) for Top To Bottom in L.I.C. Queens. (photo © Jaime Rojo)

The sky poem along the top reads: That Morning / Everything / Remember? / Made of SKY / The hardpress of Avenues / Your hands / My day a checklist mingling with a cosmos / We have been in love / Since the invention of gazing at stars / I still whisper “We one day / will have to party”/

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Rubin415 (photo © Jaime Rojo)

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Jick for Top To Bottom in L.I.C. Queens. (photo © Jaime Rojo)

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Alice Mizrachi for Top To Bottom in L.I.C. Queens. (photo © Jaime Rojo)

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Futura dissed. This is Futura’s Houston/Bowery wall in Manhattan which we published as he was painting it. Honestly! Actually, now that you see the choice of black on grey and white on black, you may even say this is a collaboration. (photo © Jaime Rojo)

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92. Apparently in fact there is no respect; Neither for the masters nor for the emerging artists. (photo © Jaime Rojo)

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Untitled. Playground. Brooklyn, NY. February 2016. (photo © Jaime Rojo)

 

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NeverCrew in Delhi: “See Through / See Beyond” Tells Story of Alienation

Posted on February 6, 2016

Switzerland‘s NeverCrew just completed two murals at the end of January for St+Art India in New Delhi that are connected thematically, though separated by a few kilometers. That geographical distance is intended to indicate time and loss of memory, they say, as the conceptual bases for “See Through / See Beyond” speaks to the loss of identity that colonized societies experience as their roots slowly fade over time.

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NeverCrew. “See Through / See Beyond” St+ART India. New Delhi, India. January 2016 (photo © NeverCrew)

In this case, the story is linked to the British Empire imposing upon the Indians but it could just as easily apply to any displacement of a culture’s roots and history.

“The man finds himself with no history, unable to distinguish the outlines of his surroundings, without memories that make him aware and without reference points that make him conscious of his actual position,” says Pablo, one of the two members of NeverCrew. The disconnection here is embodied by the space man, floating above the surface of an odd moonscape, adrift and unable to establish connection.

Perhaps his name is Major Tom.

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NeverCrew. “See Through / See Beyond” St+ART India. New Delhi, India. January 2016. (photo © Never Crew)

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NeverCrew. “See Through / See Beyond” St+ART India. New Delhi, India. January 2016 (photo © NeverCrew)

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NeverCrew. “See Through / See Beyond” St+ART India. New Delhi, India. January 2016 (photo © NeverCrew)

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NeverCrew. “See Through / See Beyond” St+ART India. New Delhi, India. January 2016 (photo © NeverCrew)

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NeverCrew. “See Through / See Beyond” St+ART India. New Delhi, India. January 2016 (photo © NeverCrew)

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NeverCrew. “See Through / See Beyond” St+ART India. New Delhi, India. January 2016 (photo © NeverCrew)

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NeverCrew. “See Through / See Beyond” St+ART India. New Delhi, India. January 2016 (photo © NeverCrew)

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BSA Film Friday: 02.05.16

Posted on February 5, 2016

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Our weekly focus on the moving image and art in the streets. And other oddities.

Now screening :

1. Lister Prepares for “MAD PROPS STREET CRED
2. Visual Waste in Berlin
3. Music Behind Rubble Kings: Little Shalimar

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BSA Special Feature: Lister Prepares for “MAD PROPS STREET CRED

On the occasion of his show last fall at New Image Art in Los Angeles, artist/street artist Anthony Lister had an emotional meltdown. Told with the help of top name graffiti writer RISK, gallery owner Marsea Goldberg, and the artist himself we learn about a tumultuous personal backstory that informs his experience while creating new works on the street and for the show. Especially rewarding in this new short directed by Mark Simpson is an unobtrusive examination of the artists gestural technique, a revelation in itself.

Additionally, the performance artist Ariel Brickman on stage at the show opening is the a personification of Lister’s  fantasic/heroic/treacherous figures; a spot-on example of his work come to life.

 

Visual Waste in Berlin

An electro crunch soundtrack slides you on the darkened rain soaked streets of Berlin and ushers you into an aerosol slaughtered series of stairwells, hallways, and finally a backstreet of this organically cultivated urban art scene. The artist Visual Waste claims his piece of wall estate for Picasso, who once said, “Everything you can imagine is real.”

 

Music Behind Rubble Kings: Little Shalimar

Part of the reason that Rubble Kings is so amazing is the soundtrack that glues it all together, sets the scene, establishes a tempo, suggests a flavor and a flair to the archival footage of gangs in New York during the 60s and 70s. It’s so well done that you don’t always notice it, you are busy being carried by it. Here’s a quick look at the man in the room whom you don’t see, but hear.

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