New York is drying out after the most intense storm we can remember just clobbered us on Friday. The loss of life, property, and minds that can happen when two months of rain falls in one day is hard to describe. Because we are such a dirty city, you can imagine the plume of detritus that got flushed out to sea, viewed from above. Our hearts go out to fellow New Yorkers who really suffered as a result of this pounding storm.
Here is our weekly interview with the street: this week featuring Nychos, No Sleep, Optimo NYC, Huetek, Zexor, Mike Makatron, Tempt, Lango, Viva Che Man, Carly Ealy, 2DX, Sucioe, and Colder.
Stepping onto the sun-drenched boulevards of Los Angeles, one is immediately enveloped by the late summer heat, punishing sun, and a hallucinatory state as you peruse images – a kaleidoscope of dreams, both realized and shattered. The city pulses with an undeniable energy, each person an ode to ambition, reinvention, and survival.
Amidst the thrum of traffic and the distant hum of dreams, one can’t help but be captivated by small but vivid hand-posters that pop and sizzle against the urban car canvas – plastered and taped and stapled on telephone poles, sun-bleached walls, and empty lots. These are not mere advertisements but poignant chronicles capturing the city’s spirit, hinting at tales of glamour, struggle, and a peculiarly LA passion. Here, within these fleeting manifestos, we glean the ever-evolving zeitgeist, prompting introspection of our own roles in this sprawling City of Angels.
Zaragoza’s Asalto Festival, in its recent edition, once again demonstrates a magnetic pull in the world of street art, attracting both local talent and international artists. Nestled in La Jota, one of Zaragoza’s most historic neighborhoods, the festival radiated creativity on the streets from September 15 to 24. Not only did it reclaim its mural game, but it also embraced a spectrum of activities reminiscent of its pre-pandemic grandeur.
Taroe. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)
This year artists from diverse backgrounds converged on Zaragoza’s streets: Taroe from France drew inspiration from a working-class neighborhood in the United States, promising to carry a touch of Zaragoza to his next destination. Stelios Pupet of Greece unveiled a pixelated female figure, marking his first significant piece in Spain. Anetta Lujkanova from Finland introduced a mural evoking dreams and local folklore, while Italy’s Giulio Vesprini paid homage to La Jota’s gardens in his distinct style, infusing both the name of the neighborhood and his signature numerical touch. Ceciro from Uruguay showcased a potent depiction of women’s emancipation, and Zaragoza’s own Miguel Hcuar, now a London resident, brought a vivid pop art dream to life.
Taroe. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)
One of the standout initiatives was from 3dfiti, which cleverly bridged the tangible and digital realms through 3D printing. They orchestrated a city-wide treasure hunt with 3D printed art pieces, leveraging social media’s power and engaging attendees in an immersive game.
Taroe. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)
This year’s edition also resurrected the Asalto Fair, celebrating both local and national artists. Noteworthy documentary screenings, including Carlos Saura’s “Las paredes hablan” and Boa Mistura’s “Crossroads”, added depth to the festival’s narrative.
Now in its eighteenth year, Asalto continues to be a beacon of community engagement with workshops, guided tours, tournaments, and more – underscoring a commitment to inclusivity and cultural enrichment. The festival’s blend of grassroots energy, global artistic prowess, and the embracing of innovative mediums makes it a celebration of not just art, but also the community and the city it celebrates.
Miguel Hcuar. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)Miguel Hcuar. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)Ceciro. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)Ceciro. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)3DFITI. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)3DFITI. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)3DFITI. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)Stelios Pupet. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)Stelios Pupet. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)Anetta Lujkanonva. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)Art Fair. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)Art Talks. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)
In the heart of the Emilia Romagna region, close to Ferrara, a new mural brings a favorite cinematic moment to life. Towering on a wall as part of the “Gherardi città del Cinema project,” it showcases the iconic figure of King Kong, but not quite as we traditionally know him. Behind this reimagined portrayal stands Alessio “Bolo” Bolognesi, an urban artist, painter, and illustrator, is renowned for a distinct style and approach to street art, but for him, this one is inspired by location. “As Ferrara has a strong bond to the world of cinema,” says the artist, “all the walls are dedicated to films directly or indirectly connected to the territory.”
Bolo – Alessio Bolognesi. Gherardi città del Cinema project. Ferrara – Emilia Romagna, Italy. (photo courtesy of the artist)
Born in Ferrara in 1978, Bolognesi’s roots in graffiti and street art are embedded deep, having been a part of the artistic collective Vida Krei (VKB). Although his initial forays on the street were paused by his academic pursuits in electronic engineering and a parallel career in 3D graphic design, his passion for painting was reignited in 2008.
The new King Kong mural is dedicated to the Oscar-winning special effects genius Carlo Rambaldi, a native of Vigarano Mainarda in Ferrara. Bolognesi says he wants to encapsulate the poignant relationship between King Kong and Miss Dwan, portrayed by Jessica Lange in the 1977 film. It’s a portrayal that goes beyond mere visuals, delving into themes of love, empathy, and the tumultuous relationship between humanity and nature.
Mural painting like this has, for centuries, been a medium of storytelling, with cultural icons often playing pivotal roles. As traditional mural paintings converge with contemporary street art, a rich series of narratives continue to emerge. Bolognesi’s King Kong is a testament to this synthesis.
Bolo – Alessio Bolognesi. Gherardi città del Cinema project. Ferrara – Emilia Romagna, Italy. (photo courtesy of the artist)Bolo – Alessio Bolognesi. Gherardi città del Cinema project. Ferrara – Emilia Romagna, Italy. (photo courtesy of the artist)Bolo – Alessio Bolognesi. Gherardi città del Cinema project. Ferrara – Emilia Romagna, Italy. (photo courtesy of the artist)
It’s no joke, this feeling of connectedness across cities and time zones that the street art and graffiti scene encourages – and often, it all overlaps in NYC, yo! This week, we have Martin Whatson and Hama Woods from Norway on the wall in New York, and it was a pleasure to see them both. It’s another honor to see Niels “Shoe” Meulman in the hood for only a minute, but long enough to see his new wall in Bushwick go up! We’ve been very lucky over these last 15 years to meet so many great people and talents worldwide, making streets in new cities seem like home because we see the work of friends and acquaintances wherever we are exploring. This week we have shots of New York and LA mixed together – enjoy the show!
Here is our weekly interview with the street: this week featuring Adam Fujita, Martin Whatson, Adam Fu, Niels ‘Shoe’ Meulman, Solus, Danielle Mastrion, Optimo NYC, Hama Woods, Cody James, BK Sckler, Toe Flop, Hiero Veiga, Hydrane, Notice, Jayo V, Alexali Gonzales, TBanbox, and Fenji93.
A Labyrinth of Plastic Waste / Laberinto de Residuos Plasticos. Shanghai 2023.
From the vibrant streets of Madrid to cities across the globe, the anonymous art collective Luzinterruptus, has been painting the world with their luminous creations for about 15 years. Known for their temporary light-based installations crafted from recycled materials, this Spanish-origin ensemble often draws inspiration from environmental concerns. Their art is not just about aesthetics; it’s about sending a powerful, tangible message. Deeply rooted in their philosophy is the intention “to bring attention, in a visual sensory manner, to our unsustainable consumption of plastic.”
Luzinterruptus’s most recent installation in Shanghai, China, offers yet another striking commentary on the environment and our individual role in it. This monumental piece sprawls expansively across a popular public space, and its physical dimensions alone are enough to make a passerby pause and reflect. Made up of thousands of discarded plastic bottles, illuminated from within, the installation is a testament to human creativity and a stark reminder of our plastic consumption habits. It creates an immersive experience where the beholder is surrounded by the very remnants of daily human consumption, transformed into a glowing spectacle.
Reflecting on this project and its evolution, the artists remarked in their press release, “The first time we made this piece was in Poland in 2014. We were trying to raise awareness of the need for recycling. However, ten years later, it is clear that we must stop using it altogether.” This statement not only underscores the longevity of the issue but also the shifting perceptions regarding the solutions to plastic waste.
The collective hopes that the Shanghai installation will not just be a fleeting moment of beauty but a catalyst for change in policy and behaviors. Their ambition is for viewers to not only appreciate the aesthetic appeal but also to ponder on the more profound implications. How many bottles do we use and discard daily? How can urban spaces be repurposed to send powerful social messages?
As cities worldwide grapple with the challenges of waste management and environmental conservation, Luzinterruptus’s art installations may offer a glimmer of hope, but some may feel that hope is fading. By transforming public spaces into arenas of reflection and activism, conscious artists invite us all to be part of the dialogue and, more importantly, the solution.
Now in his mid-thirties and painting large skill land art for over a decade, it is still a pleasant surprise to see renowned street artist Saype unveiling a new masterpiece. His recent project in Place des Nations, Geneva, was commissioned by Handicap International. With it, he hopes to present an eco-responsible image that depicts a hand emblematic of humanity, offering a new leg to the iconic “Broken Chair” – a symbol for the numerous innocent victims of war bombings.
Saype, whose real name is Guillaume Legros, hails from Belfort, France, and has long been recognized for his commitment to eco-friendly and humanitarian art. His unique concoction of biodegradable paints made chiefly from chalk and charcoal ensures that his massive artworks naturally fade over time, minimizing ecological impact. And yet, the transient nature of his art somehow makes his messages even more profound, drawing attention to the fragility of our societies.
Across the vast expanses of grass, sand, snow, and earth in global cities like New York, Paris, Istanbul, and Cape Town, Saype consistently crafts monumental frescoes that resonate with geopolitical causes. Whether it’s unity, peace, or the shared human experience, his art often touches upon pressing global issues and calls upon humanity to rise and address them. Though transient, his frescoes aim to create lasting impressions on the psyche, urging a shift in societal mentalities while respecting nature.
This “ALL OF US!” fresco in Geneva is particularly poignant. In dialogue with the Broken Chair’s advocacy against the horrors of explosive weaponry, Saype underscores the universal call for peace, unity, and understanding.
This week, we found ourselves amidst the vibrant energy of Los Angeles, uncovering hidden gems and reconnecting with old friends. One highlight was a visit to Roger Gastman’s dynamic ‘Beyond the Streets’ gallery, which celebrated its first year with a captivating show featuring Tim Conlon, HuskMitNavn, and Pose. A thrilling moment was when we had the privilege of moderating a panel that featured the artistic brilliance of Layer Cake’s duo – Patrick Hartl and Christian Hundertmark (C100), the iconic Chaz Bojórquez, recognized as the godfather of graffiti and the epitome of California Chicano artistry, and our host, the ever-passionate artist and activist, Shepard Fairey. The venue buzzed with artists and connoisseurs, each directly or deeply ingrained in the world of art in the streets. And as LA’s streets echoed with the spirit of Mexican Independence Day, the youthful beats of Mexican music star Peso Pluma serenaded us from passing cars. Truly, a week to remember.
Here is our weekly interview with the street: this week featuring Shepard Fairey, Vhils, Invader, Keith Haring, Nychos, El Mac, Add Fuel, Praxis, Hueman, Estevan Oriol, Hijack, Tempt, David Howler, Loks Angeles, Kook, Madre, and Downtown Daniel.
The vibrant margins of cities around the globe have long echoed with the silent yet visually boisterous language of graffiti. For artists and graffiti writers, these urban practices and canvases are sacred, bound by several unspoken codes that regulate the street, and may vary somewhat from country to country, city to city. One that is universal: you do not “go over” or paint atop another’s work unless you intend a deliberate provocation.
Yet, Munich-based graffiti veterans Patrick Hartl and Christian “C100” Hundertmark, known collectively as Layer Cake, dare to challenge this rule in a groundbreaking collaborative project titled “Versus”. Presenting the fourth iteration of this show at the Subliminal Projects Gallery in Los Angeles, the “Versus IV” exhibition features a brand new roster of collaborations. It is a testament to the boundless possibilities when artists embrace challenge, change, and true collaboration.
Layer Cake’s audacious process commenced in their Munich studio during the last decade or so. They initiated canvases, leaving them deliberately unfinished before shipping them to various artists worldwide. These artists, in an act of trust and faith and an urge to collaborate, completed the paintings without prior discussion of details with Layer Cake. In some instances, this exchange occurred multiple times, spanning up to two years. The artworks emerged as stunning mosaics or hand style and eclectic modernism, a synthesis of diverse visual languages, methodologies, and ideas – a reflection of the artists’ non-verbal dialogues with one another as well as their introspections on personal boundaries.
The Versus project gathers a mosaic of artists, from Hera to MadC to Rocco and His Brothers to “Chaz” Bojórquez and Shepard Fairey, united by a fervent passion for style writing, street art, and graffiti. Each artist brings their distinct style to the canvas and in doing so, contributes to a diverse spectrum that blurs the lines between individual contribution and collective creation. These works aren’t just paintings; they’re conversations, layered dialogues that traverse geographical and artistic divides, embodying a unique intersection of graffiti and contemporary art.
Hartl and Hundertmark, despite being rooted in the world of graffiti, have constantly evolved their artistic expressions. Their collaborative moniker, “Layer Cake,” perfectly encapsulates their artistic ethos. Like a lush multi-tiered confection, theirs is a collection of artworks that is infused with depth – from Patrick’s writing elements juxtaposed against Christian’s hard-edged abstract forms. This joint effort, as they remark, challenges artists to confront an existing work rather than the pristine white of a blank canvas, pushing them out of their comfort zones and into new horizons.
For the uninitiated and the aficionados alike, “Versus: IV” at Subliminal Projects is more than an exhibition; It’s an invitation into a realm where graffiti’s age-old traditions meet the revolutionary ethos of contemporary art. It re-defines visual and psychological spaces where boundaries, both inner and outer, are tested and where creativity resists limits. Layer Cake’s initiative doesn’t just question the norms of the graffiti world; it celebrates the transformative power of collaboration in art.
BSA/Urban Nation’s Steven P. Harrington and Jaime Rojo saw the new works going up at Subliminal Projects yesterday, with Layer Cake leading the way. Please join us all Saturday night with artist and host Shepard Fairey and graffiti godfather “Chaz” Bojórquez for a panel discussion and a grand opening for Layer Cake: Versus IV.
Join us Saturday, September 16th, 6-7 PM for the Opening Reception. To kick off the reception, the gallery will host a special Artist Talk at 6:15 PM with Layer Cake, featuring contributing artists Shepard Fairey (@obeygiant) and Chaz Bojórquez (@chaz_bojorquez), moderated by Steven P. Harrington co-founder of Brooklyn Street Art (@bkstreetart). RSVP to rsvp@subliminalprojects.com to attend. This exhibition is made possible with support from OBEY GIANT ART & URBAN NATION MUSEUM
CONTRIBUTING ARTISTS
AKTE ONE, Bond Truluv, Carolina Falkholt, Chaz Bojórquez, Cren, CRYPTIK, Dave The Chimp, Flying Förtress, Formula76, HERA, HNRX, Layer Cake, MadC, MAMBO (Flavien Demarigny), Matthias Edlinger, Łukasz Habiera Nawer, Peter “Paid” Levine, Rocco & His Brothers, Shepard Fairey, Various and Gould, and Zepha (Vincent Abadie Hafez).
Click HERE for more information about this exhibition and Art Talk.
A great project has just emerged from the collaboration between Urban Nation Museum and the dynamic Berlin-based street art duo Various and Gould. This new addition to the ONE WALL series has been expertly curated by Michelle C. Houston, with valuable production support from YAP. The project bears the name ‘We all belong to this community’ (Wir alle hier gehören zum Wir). At a time when xenophobia has been on the rise in many Western societies, public art has taken on a crucial role in educating and reconnecting people and communities.
What makes this project in the Berlin-Spandau district truly captivating is its engagement with local kids at a youth center through an inspiring art workshop. During this workshop, the artists introduced their mural concept and collaborated with the young participants to create captivating collages and individual portrait photos. The mural is an eclectic collage sketch that beautifully incorporates elements from the participants’ faces, effectively symbolizing a collective identity for the neighborhood.
The artists behind this remarkable piece tell us, ‘Our mural is based on a collage from our ongoing Face Time series, which we initiated back in 2015 to celebrate human diversity and question conventional beauty standards.’ Throughout the mural’s creation, the artists meticulously inscribed numerous first names on the wall, including those of workshop participants and other individuals they encountered in the neighborhood. Remarkably, the project seemed to tap into the live pulse of community sentiment as kids and adults gathered on the sidewalk below, joyfully shouting out their names to be included in the mural. A local legend named Moha even stepped in to lend a helping hand by sending lists of names up to the artists’ phones.
As Various notes, ‘When you paint a mural, it’s an exhilarating journey where every day and hour counts, and you must transform your sketch into a grand-scale masterpiece.’ It’s a process that demands intense concentration, all while under the watchful eyes of local residents. Gould adds, ‘Our playful approach might make it seem effortless, but each step of the way is filled with intensity.’ This is evident in instances such as when they found themselves stuck in a lift – and during the tumultuous, rainy hours when painting was challenging.
In essence, this mural project not only showcases the remarkable creative talents of the artists but also underscores the significance of community and diversity in the face of pressing societal issues like racism and exclusion. Their manner and message both serve as powerful reminders of the need for every member of society to feel valued and included.
Various and Gould would like to express their gratitude and extend a heartfelt shout-out to Luis Limberg for his daily production assistance and offer many thanks to their fellow artist friend, Tavar Zawacki, who joined them for a day on the cherry picker, contributing to the project’s success. Our special thanks to Sebastian Kläbsch, Luis Limberg, and @MOHA for sharing their photographs with BSA readers.
This week we see a few new walls in New York mixed with images from Stavanger and Utsira, Norway that we caught a few weeks ago. Speaking of Stavanger, last night we had a Nuart reunion of sorts in New York as we saw the first solo exhibition of Norwegian Martin Whatson here at Harman Projects, and it was good to see the artist and many beautiful people from this scene that we love so much.
Here is our regular interview with the street: this week featuring 1Up Crew, Martin Whatson, Helen Bur, Carrie Reichardt, M-City, Ardif, XSM, JPO Art, the J0N, Never Satisfied, StayOne, SynSynerSynet, HOPES, SHIE, Ban Box, Dr. AW, John Fekner, and La Staa.
Lapiz is the Hamburg-based street artist whose practice involves handmade stencils to convey his message to the public. He places them in many cities around Germany and internationally and he says he has finally found a way to convey something that has been on his mind since China hosted the Winter Olympics Games in 2022. He says he has a preoccupation with being a part of a team in collaboration with other teams where something big and vital is created. This has brought him to expand on a popular sports slogan in Germany: “Dabei sein ist alles,” or “it is more important to take part in something big than anything else.”
For his participation in this year’s edition of Ibug 2023 in Leipzig, Germany, he decided to use the slogan as the genesis for his contribution by way of illustrating with his stencils the meaning of the slogan.
“Coincidentally, Leipzig is very fitting, as the world’s most important chip company, Taiwan’s TSMC, is building a factory in Dresden (about an hour’s drive from Leipzig). It is heavily supported by the state of Germany (contributing up to 5 billion Euros). This is also interesting as Germany, just like the majority of the world, still does not recognize Taiwan as an independent state but plays into China’s interpretation of it being a separatist province,” says Lapiz.
“The central motif is China’s supreme leader Xi Jinping holding shackles; attached to his left are Tibet, the Uighurs, and most recently, Hong Kong. To his right, a shackle lies on the floor, waiting to catch the next “member”: Taiwan, which is depicted in the person of Taiwan’s President Tsai Ing-wen.”
Lapiz says that he painted a second piece for the festival called “Liberté” (Freedom). According to the artist, freedom is one of the most pressing social and humanitarian issues currently occupying people’s minds on the world stage. He previously painted the female figure holding a brush with the word Liberté in Paris in 2017 in response to the attack on the Bataclan Theater, and in support of the victims and the survivors. So Liberté appears as a recurring theme for the street artist.
“More than a year ago, Russia invaded Ukraine, which since then has fought for its freedom. For months, the people of Iran have been fighting in a new revolution for the rights and lives of Iranian women. Everywhere in the world, there is still much to do to get equal rights for all genders.” Lapiz
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
