Today on BSA, we have “A Possible History (of Fishes)”, an unusual and stunning mural by artist HITNES. Adorning the walls of ITC Paolo Toscanelli High School in Ostia, Rome, it is part of the E.C.O. initiative—Ecologia Condivisione Opportunità. Curated by Mirko Pierri and supported by the a.DNA project, the mural invites viewers to explore the intricate connections between nature and humanity through the lens of aquatic life.
A visual narrative spread across two large walls, each scene crafts an interpretive guide for the viewer from top to bottom. HITNES’ distinct style is on full display, characterized by a blend of naturalistic detail and surreal elements. The artist depicts the evolution and history of fish, intertwining real and imagined scenarios that challenge the observer to consider the impact of human activity on the environment. Using a subtle palette and organic forms creates an immersive experience, drawing your attention to the beauty and fragility of marine ecosystems.
Complementing the mural, we have a video by Simone Fedele (below) that captures the essence of the artwork and offers a deeper exploration of its themes. Set to a haunting soundtrack of Eclipta’s “Undersea,” the video brings to life the mural’s narrative, highlighting the interconnectedness of all living things.
The city of New York is hot, clammy, steamy, and caked with grime. It smells like fish, marijuana, musty A/C exhaust, curry, piss, fresh-cut grass, melting pavement, aerosol spray, watermelon, cucumbers, mint, fried zeppole, Axe body spray, laundromat detergent, and pizza. With this oppressive heat, the ‘crazy’ dial seemed turned up – some people on the street appeared to be delusional with baked brains and insufficient hydration. In its chaotic way, the street never stops moving. People are herded onto our crowded, damp, and sticky subway system with its pumping kinetic energy and no coherent schedule, our new airy modern electric tandem buses with chilly automatic voices, our electric bikes and scooters of every design with big puffy tires or small bagel sized ones, our statement cars and bloated SUVs with dark windows, our swerving and sleek skateboards, and our white box trucks slaughtered with wild aerosol sprayed styles and family business-named signage like Dragon Good Luck Delight and Bayridge Appliance Repair.
Graffiti and street art keep popping up and accompany New Yorkers to their next stoop sale, pickle ball game, house party, dinner party, or dog’s birthday party. If this visual feast disappeared, we would all be confused, a piece of our cultural DNA excised. For us, this is the proper visual language of New York, certainly better than most of the new architecture popping up like middle fingers, a rash of uninspiring rectangles formed by mediocrity, their design potential sapped by greed and spreadsheets.
Here is our weekly interview with the streets, this week featuring City Kitty, Chris RWK, Homesick, Degrupo, Kooky Spook, Muebon, Epic Uno, RX Skulls, MCA, EXR, CKONE, RZB, BILX, JEMZ, Joshua Montes, and Soupy.
This is part 2 of a series of new works from the 10th Annual Street Art Fest Grenoble, with photographs by veteran photographer Martha Cooper. The massive variety, quantity, and quality of works at Grenoble place it ahead of many festivals, as you can see here. Many of the murals are in context with their surroundings and collaborate with them in a meaningful way. For its 2024 edition, the Street Art Fest Grenoble-Alpes celebrates its 10th anniversary under the direction of Jérôme Catz and The Spacejunk Art Center. Today we focus strictly on the big statements, and there are many.
Today, we have new works from the 10th Annual Street Art Fest Grenoble, with photographs by veteran photographer Martha Cooper to show us the way. This is the first of two installments. Grenoble, surrounded by majestic mountains, once again becomes a dynamic canvas for artistic expression in a way that distinguishes this region from many others. The 2024 edition of the Street Art Fest Grenoble-Alpes celebrates its 10th anniversary with a diverse showcase.
The Spacejunk Art Center, under Jérôme Catz’s direction, organizes the festival, which features a variety of street art styles, from large-scale murals to digital installations. The robust program aims to inspire and educate through concerts, exhibitions, guided tours, and workshops. The event promotes accessibility and cultural dialogue, encouraging interaction between artists and the public. Luckily for Brooklyn Street Art readers, Ms. Cooper has an investigative mind and also treats us to fresh shots of graffiti in the open and hidden spots.
This year’s lineup includes prominent artists such as Madame, STOM500, JACE, Fintan Magee, Innerfields, Belin, Maye, and Jimmy Dvate. They join the collection of over 400 murals already in the city, adding new layers of creativity and commentary. Although the artists do not all arrive simultaneously, the festival’s evolving schedule ensures fresh installations throughout the event.
We invite you to explore this series of photographs showcasing the latest additions to Grenoble’s artistic landscape. Stay tuned for the next installment.
Societal norms and entertainment ethics change, sometimes radically, as time progresses. It would be fantastic if you could determine which era is more shocking and if its behaviors indicate a golden age or a declining one. Just look at New York history at Coney Island, which may seem barbaric and beyond the pale by today’s standards, alongside oddly similar occurrences in contemporary Western society.
On Friday night, during the opening ceremonies of the Paris 2024 Olympic Games, X was all atwitter with self-proclaimed Christians expressing outrage over a small segment of the three-and-a-half-hour show that featured a few well-known French drag performers doing a campy modern homage to The Last Supper paintings of the Renaissance. Decades of austerity budgets have starved our education system, and it shows, as many were scandalized by this portrayal of ‘Sodom and Gomorrah’ and other ‘disgusting’ scenes referencing French history, such as the French Revolution, the Enlightenment, World War I and II, the Industrial Revolution, and the Cultural Renaissance. And that depiction of Marie Antoinette holding her head under her arm? There’s a story behind that.
And here is our weekly interview with the streets, this week featuring Aiko, Adam Fujita, Homesick, Degrupo, Optimo NYC, Werds, DEK2DX, Lee Holin, Snoeman, NAY 281, Bogus, EXR, Uwont, Jacob Thomas, Chido, Smooth, Kasio, Wild West, JDI, and FAQ COP.
“The mosaic is like a puzzle, and in its smallest parts lies the whole.” Gustav Klimt (1862–1918)
More durable than a mural, the mosaic has proved to be a cherished member of the Street Art family during this new age. While they may not be as topical or ephemeral as murals, they offer unparalleled options that surprise the unsuspecting wanderer, and they can affect a wildness despite their inherent stability. Often installed on light post bases and hidden in the cracks of buildings and even pavement, mosaics have a deeply personal touch that speaks to your memories of childhood possibly. Modern examples can be as grand in scale as any mural, showcasing their versatility and enduring appeal, and we bring a new one here today for your consideration.
Otecki / Łukasz Karkoszka. “Four Sides”. Łódź Event Center. Łódź, Poland. (photo courtesy of Michał Bieżyński)
Historically, mosaics boast rich roots. They adorned the baths and villas of Ancient Rome, depicted religious scenes in the Byzantine Empire, and embellished the mosques and palaces of the Islamic Empire. The Italian Renaissance continued these traditions with classical techniques, and Antoni Gaudí’s eclectic mosaics in Barcelona expanded the art form’s boundaries in ways no one could have predicted in the last century.
Though not traditionally seen as countercultural within the graffiti and street art movements, mosaics share common ground with modern murals, many of which have also shifted away from direct critique, often to be seen as ‘Public Art’. Both mediums can leave a lasting impact on communities, bridging the past and present with their enduring presence and artistic expression.
Otecki / Łukasz Karkoszka. “Four Sides”. Łódź Event Center. Łódź, Poland. (photo courtesy of Michał Bieżyński)
“Four Sides,” the newly unveiled ceramic mosaic on the side wall of 17 Struga Street in Łódź, Poland, is a testament to the fusion of traditional craftsmanship and contemporary street art. Designed by the renowned muralist Otecki and crafted by master tilemaker Łukasz Karkoszka, this new mosaic covers over 100 square meters and took four weeks to complete. The intricate process involved creating and firing most of the ceramic tiles specifically for this project, requiring exceptional skill and precision.
Otecki, whose real name is Wojciech Kołacz, is a Wrocław-based artist known for his large-format paintings and graphic design. His works can be seen in various cities worldwide, including Helsinki, Buffalo, Breda, Lille, Lyon, Besançon, Dresden, Kosice, and numerous locations across Poland. His unique style, which blends realism with abstraction, is evident in the “Four Sides” mosaic. “In this mosaic design, botanical forms intertwine with figures of four individuals. Their eyes are closed, symbolizing a withdrawal from the world of the senses and a journey inward,” Otecki explains. “This dance of opposites reflects a cycle of life where joy intertwines with pain, and hope with melancholy.”
Otecki / Łukasz Karkoszka. “Four Sides”. Łódź Event Center. Łódź, Poland. (photo courtesy of Michał Bieżyński)
Creating the mosaic’s vibrant tiles took time and knowledge of the craft. Łukasz Karkoszka, from the Wrocław Academy of Fine Arts, dedicated four months to crafting the tiles. “Matching colors in ceramics is particularly challenging due to the chemical reactions during firing,” Karkoszka shares. “I made key compositional parts, such as purples, turquoises, greens, and pinks, and many glazes myself to ensure the shades aligned with the project’s vision. The preparation of the ceramic material was meticulous, from cutting and numbering the chamotte mass to glazing and firing the tiles at 1200°C.”
The project’s curator, Michał Bieżyński, emphasizes the significance of this collaboration. “We have a unique, symbiotic combination of two artists—Otecki in the design area and Łukasz Karkoszka in the technological area. Their combined efforts have brought a new dimension to the urban space of Łódź,” Bieżyński remarks.
“Four Sides” is part of a broader initiative by the Łódź Event Center to integrate modern artistic objects into the city’s landscape. This program, which has been ongoing for over a decade, aims to create permanent and temporary installations that enrich the urban environment. The mosaic is a testament to the enduring appeal of traditional and contemporary art forms, bridging the past and present with serious craftsmanship.
Otecki / Łukasz Karkoszka. “Four Sides”. Łódź Event Center. Łódź, Poland. (photo courtesy of Michał Bieżyński)Otecki / Łukasz Karkoszka. “Four Sides”. Łódź Event Center. Łódź, Poland. (photo courtesy of Michał Bieżyński)Otecki / Łukasz Karkoszka. “Four Sides”. Łódź Event Center. Łódź, Poland. (photo courtesy of Michał Bieżyński)Otecki / Łukasz Karkoszka. “Four Sides”. Łódź Event Center. Łódź, Poland. (photo courtesy of Michał Bieżyński)Otecki / Łukasz Karkoszka. “Four Sides”. Łódź Event Center. Łódź, Poland. (photo courtesy of Michał Bieżyński)Otecki / Łukasz Karkoszka. “Four Sides”. Łódź Event Center. Łódź, Poland. (photo courtesy of Michał Bieżyński)
In the German city of Brunswick, an extraordinary transformation occurs under the night sky at Kiryat Tiron Park. As part of the Lichtparcours 2024 festival, a collective of dedicated artists presents a thought-provoking installation titled “(Plastic) Full Moon” is swinging overhead thanks to Luz Interruptus.
A multicolored luminescence of plastic waste afloat in the galaxy, like a new moon no one wants to view.
This vision, conceived in 2019, finally materialized in June thanks to the support of the Litchparcours festival jury and the collective efforts of the artists and the community. The installation symbolizes a not-so-distant future where our consumer culture and environmental neglect result in a moon composed of plastic debris.
The installation process itself was monumental, involving thousands of pieces of recycled plastic donated by the community. Volunteers meticulously sewed together remnants of bottles, bags, toys, and containers, creating a vast spherical structure held aloft by a massive construction crane. An integral part of the artwork, the crane suspends the sphere over the serene waters of the park’s lake, creating a striking reflection that captivates onlookers every evening from 7 pm to 1 am.
The artists, hailing from various parts of the world, have long been dedicated to addressing environmental issues through their work. Together, they created a piece that highlights the dire state of our planet and showcases the power of community action and artistic collaboration. The (Plastic) Full Moon is more than an artwork; it is a beacon of change. Or is it?
As you stand beneath this luminescent orb, reflecting on the calm waters of Kiryat Tiron Park, you made find that you are not just an observer but a participant in the dialogue it sparks. The (Plastic) Full Moon shines until early October.
Similar to the icon of Ron English’s Temper Tot, this week’s lead image by street artist Kreau is a stencil of a maladjusted, rambunctious cowboy, a schoolyard bully perhaps; with no emotional maturity, only an insidious unchecked rage. Armchair psychologists might assess that this boy’s behavior stems from excessive criticism and harsh punishment from his father, leading to low self-esteem, anger, and rebellion. This lack of positive reinforcement and emotional neglect, where the father is physically present but emotionally absent, can result in feelings of abandonment and acting out for attention and validation.
Take it a step further, and you may overlay this assessment with America’s rebellion and ultimate declaration of independence from its paternal figure, King George III. That father, who famously battled mental illness and was known for his strained relationship with George IV, is described by some historians as being “heavily critical of his son”. This mirroring of historical relationships might be reflected in these petulant street art characters, perhaps subconsciously commenting on the role of the US on the world stage as voiced by international critics. A cowboy with a high-powered automatic in each hand. If street art reflects the society it is in, and we state unequivocally that it does, how does one interpret the stance and emotional/psychological standing of the various characters on today’s public walls? (see references at end)
Here is our weekly interview with the street, this week featuring El Hase, Carnivorous Flora, Kreau, AIC, Kalcium Fortified, Surf Video, Buke One, Win Slow, Necios, Angela Alonso, TOKE, Vnice World, Sensational, and DE$.
Thanks to photographer Lluis Olive-Bulbena, we have new photos today of a sophisticated mural program called Efimur, which heralds natural beauty and creates new examples in the urban landscape. Here is a quick visual journey through the vibrant and dynamic murals of the 2024 Efímurs Festival, held in the picturesque coastal town of L’Ametlla de Mar, south of Tarragona, Spain.
As an urban art festival, Efimur is directed and coordinated by the local artist Uri Márquez Cateura (@uri.kthr), who brought a selection of talented muralists this year. Supported by organizations like the Tourism Department of L’Ametlla de Mar, the City Council, and funded by the European Next Generation funds, the festival’s theme revolved around the integration of urban art with the natural and cultural landscapes of L’Ametlla de Mar.
Often referred to as “the most natural cove,” L’Ametlla de MarArtists featured a roster of mural painters from various countries gathered to paint large-scale murals, each infusing their unique styles and perspectives. The festival also featured a graffiti exhibition, special events, and electronic brunch, culminating in a vibrant community celebration.
Among the notable artists who participated in the 2024 edition were Abys from France, Asem & Manz from Madrid, Dridali from Valencia, Filite from Brazil, Kamma Marlo from Mollerussa, Kitsune Jolene from Belgium, Moxaico from Almeria, Mura from Brazil, Sucri & Furyo from Valencia, Uri Kthr from L’Ametlla de Mar, and Zabala from Bilbao.
Every façade and building presents its challenges: the materials, the height, the location in the city, and the appropriateness of the painting style. In the case of this efficient and utilitarian Italian Red Cross building in Force, Italy, the esteemed international muralist Fabio Petani was commissioned to transform what may appear as a pretty dull box-like structure with his unique style of urban art intervention.
Known for his signature blend of botanical elements and natural scenic abstraction, Petani’s latest work, “Sulla Coronaria,” infuses the structure with vibrant life and color. He improves the building’s visual appeal with a specific natural warmth, hoping to underscore its role as a community hub, improving functionality and hospitality.
The mural, inaugurated on June 14th, 2024, during an event attended by high-ranking officials and representatives of the Italian Red Cross, integrates with the surrounding landscape. Petani’s composition spans the entire building, depicting an abstract representation of the Marche region’s landscape. Realistic sections of open fields and intricate botanical details finish the artwork and open the imagination to consider science, the natural world, and the many possibilities for healing.
Remember the heyday of street art lists? People are still compiling them. From top 10 cities in the US for Street Art, to tourist-tilted lists of Street Art Destinations, to the Best street art experiences for 2024. The muscle behind most of the big events these days is a value-driven investment by city councils, branding opportunities for corporations or thinly-veiled vehicles for private gallerists to champion artists on their roster.
The more organic works, the less decorative murals can be found in community-organized campaigns. The free-form, unbridled, un-bossed, and un-bought spirit of organic street art survives, and it often takes chances politically or stylistically. Presented without handlers, communicating directly to you, it may be vexing, thrilling, educational, inspirational, or miss the mark. It’s all there and probably in your city – if you keep your eyes and ears open.
Here is our weekly interview with the street, this week featuring City Kitty, Homesick, Sara Lynne-Leo, Muebon, Miki Mu, Cody James, Humble, Underhill Walls, Manuel Alejandro, Mihfofa, Brittney Sprice, Cuadrosa, Felipe Umbral, and Hello the Mushroom.
The WOOL Urban Art Festival, held annually in Covilhã, Portugal, is a renowned celebration of street art that has been transforming the city walls since its inception in 2011. This festival, sponsored and organized by a dedicated team committed to promoting social, cultural, and economic transformation through public art, has become a pivotal event in the urban art calendar. Covilhã, a city with a rich history in the wool industry, provides a unique backdrop – with its steep cobblestone streets and historic architecture, offering a perfect canvas for murals and installations.
The 2024 edition of the WOOL Urban Art Festival features an impressive lineup of artists from around the globe. This year’s participants include Daniela Guerreiro from Portugal, Isaac Cordal from Spain, Millo from Italy, Mots from Poland, Mura from Brazil, and Spy from Spain. Each artist brings a distinctive style to the festival, from Cordal’s thought-provoking miniature sculptures to Millo’s large-scale monochromatic murals of giants in the city. The festival continues to embrace a philosophy of community engagement and urban regeneration, aiming to democratize art and involve the local population in the creative process.
A highlight of this year’s festival was the presence of renowned photographer Martha Cooper – her photographs here offer an intimate glimpse into the artistic process and the vibrant cultural exchange that defines WOOL.
In addition to creating new murals, the festival also featured “Wool Talks,” a series of discussions that delved into the impact of urban art on society and its potential for fostering cultural cohesion and sustainability. Attendees took guided tours of the murals, which include visits to iconic sites such as the Burel wool factory, linking the city’s industrial heritage with its contemporary artistic endeavors.
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
