Nobody was out Friday night when we went to see “Stop Making Sense” on the screen; the streets of Manhattan and Brooklyn at 10 pm were rather lightly attended, possibly because everyone was recovering from a mid-week Halloween/Day of the Dead blast of drunkenness, revelry, laughter, and tears. Sometimes, even New York turns into a series of bedroom communities standing vertically.
The New York City Marathon is here today, with about 50,000 runners sprinting from Staten Island to Central Park, traversing neighborhoods, bridges, boroughs, and millions of spectators. It is two hours for the head of the pack – although it lasts all day, with some people still running/walking/rolling through the street when the sun sets. And, of course, it really lasts your entire life if you let yourself become engulfed by the human spectacle of it, which we often have and still sometimes do.
The world is still tense and angry and nervous and mournful about the events in the Middle East as we all feel like we have reached a never-before-seen turning point that is changing the world’s perception of that region and our roles in it. New York is showing signs of this stress as well.
Here is our weekly interview with the street: this week featuring City Kitty, Homesick, Modomatic, Eye Sticker, Michael Alan, Jenna Morello, OSK, Mue Bon, Keoni VGN, Salto, BH, BAKA, and Swed Oner.
From October 18 to 22, 2023, the Points de Vue Festival celebrated its seventh year in the realm of public art. This annual gathering brought together a group of nine artists, spanning local and international talents, to adorn the walls of Bayonne and the communes of the Northern Basque Country. Supported by a blend of private and municipal funding, the festival acts as a vibrant showcase for the diverse world of street art, skillfully blending pleasing imagery in murals across Bayonne, all while weaving a narrative that nods to the roots of street art and graffiti. Simultaneously, it seamlessly integrates the region’s rich cultural heritage, its inhabitants, and historical narratives.
Evolved in its presentation, the festival offers a comprehensive program encompassing exhibitions, concerts, and screenings, to cultivate an environment that encourages audiences to engage with artistic creation from multiple angles. Through interactive workshops, attendees have the chance to nurture their artistic potential, with encounters with artworks often igniting passions or fostering enduring curiosities. Since 2022, Points de Vue has also facilitated gatherings of visual arts professionals, openly addressing the ever-evolving dynamics of the sector with the public.
Today, the Points de Vue open-air gallery in Bayonne aims to transcend physical and intellectual confines, infusing streets, landscapes, and daily life with a unifying artistic essence. This year’s festival brought together artists from both international and local realms, showcasing a rich diversity inherent in their works. Whether through graffiti or contemporary art, these distinguished participants, drawn from various influences and backgrounds, leave their indelible creative mark on urban spaces, a trend increasingly witnessed at festivals of this nature.
Elisa Capdevila finds her muse in the ordinary occurrences of life, accentuating the lyricism of unassuming events in a life: a holiday, a familial repast, a stroll through the countryside… Her murals, dispersed across various European nations, make us envision and reflect.
After painting murals commercially for prominent brands, Sophie Mess heads on an artistic journey that she hopes will empower her to express her creative vision more freely. Now it looks like the world she conjures on urban canvases derives inspiration from the domain of botany. Infusing the urban landscape with vibrant hues amid its grey facades, Sophie Mess encourages onlookers to reflect upon the balance/imbalance of the natural world.
Exploring the conventions of classical art and graffiti, the artistic partnership of PichiAvo forges an urban dialect at the intersection of creative movements, a style embraced by both critics and the wider audience. Their creations consistently captivate with their colossal presence, where contemporary and ancestral elements harmoniously coexist.
A Franco-German artist, residing between Berlin and Chile, Jan Vormann restores city walls by incorporating a Lego mosaic within their crevices, and has been doing this for many years. His artistic statement carries a playful and peacemaking essence, subverting the monotonous world of grown-ups while playfully acknowledging the inner child within us all.
Starting in 2021, Points de Vue has been extending its reach beyond the confines of Bayonne, encompassing the expanse of the Communauté d’Agglomération Pays Basque. This expansion offers invited artists the unique opportunity to engage in residencies within local communities, enabling them to draw inspiration from their host locations. Over several weeks, artists immerse themselves in the local environment, fostering dialogues with community members to craft new works that mirror the essence of their welcoming surroundings. These interactions cultivate authentic exchanges, bringing urban art into new, personal territories.
For this year’s edition, the French-German artist Jan Vormann undertook a creative endeavor at the Gribraltar stele in Uhart-Cize, a historical site at the crossroads of the Compostelle pilgrimage routes.
New York is gripped with anxiety and demonstrations because of the Israeli attacks on Gaza that appear to violate International Law. No one is happy, and accusations fly in this most polarizing of international conflicts that threatens to spread – who knows where next. Friday night, a colossal demonstration overtook Grand Central Station and the streets around it by mostly Jews calling for a ceasefire, followed by an equally thunderous one across the Brooklyn Bridge. No one wants to talk about it, yet everyone is talking about it. May cooler heads prevail, and may children be spared our foolish wars.
The morning glories are still beaming blue and pink over fences on abandoned lots here, even as their tumbled vines and leaves turn yellow. The East Village Halloween Parade takes off at 7 p.m. Tuesday, and people are already in costumes on the subway, in the bar, at the pumpkin stand. Street artists have naturally gravitated toward our cultural icons, real and fantasy, and they continue to bring them to walls and doorways and the occasional box truck or subway car. Hearts were warmed this week when a subway rat was caught on video in the tracks dragging a glazed donut a distance to share with his (girl?)friend. You see, even our rats are generous in spirit.
We reflect on Western society’s preoccupation with youth and what a dead end it is, as we spotted a quote this week from British author Donna Ashwork on social media. It makes sense when you look at the Rolling Stones, who played at Racket NYC with special guest Lady Gaga this week. Also we caught the Ed Ruscha show at MOMA this week. These artists are in their 70s and 80s, as are so many of the icons of the Boomer Generation. Somehow, they can be just as compelling as in their heyday sometimes, and its not because of their physical appearance. Anyway, enjoy this poem/quote:
“Don’t prioritise your looks, my friend, they won’t last the journey. Your sense of humour though, will only get better. Your intuition will grow and expand like a majestic cloak of wisdom. Your ability to choose your battles, will be fine-tuned to perfection. Your capacity for stillness, for living in the moment, will blossom. And your desire to live each and every moment will transcend all other wants. Your instinct for knowing what (and who) is worth your time, will grow and flourish like ivy on a castle wall. Don’t prioritise your looks my friend, they will change forevermore, that pursuit is one of much sadness and disappointment. Prioritise the uniqueness that makes you you,
and the invisible magnet that draws in other like-minded souls to dance in your orbit. These are the things which will only get better.“
Here is our weekly interview with the street: this week featuring Queen Andrea, Solus, Degrupo, Jerkface, Mike Makatron, Miki Mu, Home Sick, TomBoyNYC, Dirk Hiekel, Keon IVGN, Robles 147, Mistake Project, and Carlo Beley.
In the realm where imagination dances with audacity, Yok & Sheryo, the dynamic duo hailing from the crossroads of New York, Australia, and Asia, have conjured up a whimsical masterpiece, aptly titled “Yeahnahnesia.” Published in collaboration with the Art Gallery Western Australia, this book is a memoir and fantasy of creativity and storytelling that makes a reader question the boundaries of reality and fiction.
The Yok & Sheryo: Yeahnahnesia A Mystical Land Somewhere In The Indian Ocean. Vol 1. Published by Yok & Sheryo and The Art Gallery of Western Australia. 2566 AP / 2023.
Picture a tropical paradise, a place Google Maps forgot, where mythology, deities, philosophies, and unusual creatures roam freely. Yeahnahnesia, the brainchild of these intrepid artists, is a fictional island brimming with tales so rich that your skateboarding dreams will tip their hats in admiration. The burning questions of its existence and location will keep you up at night until you surrender to the allure of this enigmatic and chill place.
As you delve into the book’s 120 pages, you’ll be transported into an alternate dimension where art intertwines with narrative, and history plays a sly game of make-believe. The “Temple of Frivolous Wishes” at AGWA, Art Gallery Western Australia, Perth, is a mere glimpse of their artistic prowess. Bound in fabric with gold foil accents, this bound edition of 800 is a treasure.
They talk about creating and inventing belief systems based in fictional folklore, complete with talismans and totems, and temples. “It was just so fun.” Yok describes the show and the book preparations, “We’re creating these temples out of mostly plaster so people with have this feeling of a lost artifact created out of sandstone, which was inspired from our travels,” he says in a video about the project. “The color scheme for the show, Yeahnahnesia was based on the folklore that we’d written for the island, which is rich in iron ore. So that brings the red out. But there’s also a story based on the 12 dragons….”
Yok & Sheryo’s escapades have led them from the crazed and colorful streets of New York to the hidden gems of Yeahnahnesia. They’ve absorbed cultures, painted murals, and surfed waves, all culminating in their artistic vision of this exotic island. They’ve unearthed cultural artifacts, shared stories, and created a simultaneously fantastic and familiar world.
“Yeahnahnesia is a tropical island with the best lifestyle you could ever want or wish for,” explains Sheryo. “We spent three months in Australia working on the show, and we took over a warehouse. Yeah, it was the first time we got to make a lot of 3-D sculptures. You just get in a meditative mode, especially when I roll sausage rolls, and then you just wanna roll as many as possible in the shortest time possible.”
Their playful, freewheeling work has earned them a unique spot in the art world, where walls, galleries, and corporate giants have all been inspired by their creativity and its eclectic route to truth. “Yeahnahnesia” is more than just a book; it’s a portal to a place that blurs the lines between reality and imagination, a testament to the audacious spirit of Yok & Sheryo. A guidebook to the journey, you can let your mind wander through the lush landscapes and vibrant cultures of Yeahnahnesia, where the surf is perfect, the beers are cold, and peace, love, and relaxation are the day’s mantras.
The Yok & Sheryo: Yeahnahnesia A Mystical Land Somewhere In The Indian Ocean. Vol 1. Published by Yok & Sheryo and The Art Gallery of Western Australia. 2566 AP / 2023.
Also included in this book are photos from their recent show featuring the “Temple of Frivolous Wishes” at AGWA, Art Gallery Western Australia, Perth.
Edition of 800, 17cm x 24.5cm, 120 pages
120gsm paper, fabric bound book with gold foil
Co-published with Art Gallery Western Australia and supported by Dept. of Local Government, Sport and Cultural Industries Australia
“Let Her Be Free” chronicles the journey of Iranian brothers Icy and Sot as street artists and the evolution of their work over the decade from the mid-2000s to the mid-2010s. The book showcases the brothers’ activism through their art and their efforts to bring attention to many important social and political issues, including human rights, women’s political and personal autonomy, environmental justice, migration, gun violence, capitalism, the effects of war, homelessness, police brutality, the Palestinian-Israeli conflict, free speech, and child welfare.
Growing up in Tabriz, Iran, Icy and Sot participated as teens in a street culture that encompassed skateboarding and a slowly burgeoning street art scene, perhaps feeding their desire for self-expression and personal activism. They began experimenting with different techniques and styles in places like Tehran, where local artists like A1one, Magoi, CK1, and Bigchiz dominated the street art scene, in turn inspiring others. As news of the emerging growth of street art in the West gained cultural currency on the Internet, the brothers were also influenced by international street artists such as Banksy, whom they looked up to as role models.
To learn more about the Martha Cooper Library at Urban Nation Museum Berlin and to continue reading the review, click HERE to go to the Urban Nation website.
Sometimes, this frog feels like the water seems to be getting a little warm if you know what I mean. Our minds are being strained daily by a laundry list of stressors, not the least of which is neverending war. It is almost like it is profitable for industry. Also, it is surprising how many initiatives have been approved and passed during new periods of crisis ever since 9/11. Why does it seem like a new normal is introduced every two years? Meanwhile, the House is not in order, doesn’t even have a leader, 2 of the Orange man’s lawyers plead guilty this week, Biden’s giving 100 billion to Ukraine and Israel,
Meanwhile, people are still buying pumpkins this year for Halloween, the leaves are starting to turn yellow and orange, it is raining for the 7th weekend straight, and street artists and graffiti writers are keeping the streets alive from Grand Army Plaza to LES to Bushwick to Midwood to da Bronx. We have noticed several portraits and figurative works that ring true – and photographer Jaime Rojo shares some of them below.
So here’s our weekly interview with the street, this time featuring Calicho Art, David Puck, Mort Art, Le Crue, Andaluz the Artist, Humble, Miki Mu, Blanco, SEF, J. Novik, Hu, Carnivorous Flora, Mue Bon, Girlty, Manuel Alejandro, and Al Ruiz.
As we commemorate the 10th anniversary of Banksy’s iconic residency on the streets of New York, we also mark the beginning of our reviews for the Martha Cooper Library (MCL) collection at Urban Nation in Berlin. As stewards of the library and holders of the #2 and #3 library cards, we take pride in introducing you to the ever-expanding collection of materials dedicated to the global street art and graffiti movement. This repository is a valuable resource not only for academic researchers but also for ardent enthusiasts. Our aim is to transform it into a world-class hub for research on this remarkable grassroots art movement, and we believe it’s essential to acquaint you with its contents.
Books in the MCL: BANKSY IN NEW YORK. Ray Mock. 2019
MARTHA COOPER LIBRARY: BOOK RECOMMENDATION
? | Title: Banksy in New York ? | Media group: Book ? | Author: Mock, Ray (author); Banksy (artist) ? | Year: 2019 ? | Language: English
For 31 days in October of 2013, UK street artist Banksy “gifted” New York City with daily new surprises on the streets in all five boroughs – effectively involving citizens in his self-designed residency. It is traditional for graffiti writers in New York to claim to go “all-city,” and author Ray Mock has covered the tags, fill-ins, and pieces by hundreds of writers as a one-man documentarian of graffiti at Carnage NYC Publishing. Here he tracks the daily movements of Banksy through the city to document the usual, unusual, and often witty acts of one of the most famous, yet anonymous, street artists and his presumed team of assistants, actors, and performers. Each installation has a social or political story, often with a deep sense of critique.
Banksy in New York is well-illustrated with shots of the odd and interesting installations of his “Better Out Than In” show as it was unveiled via social media. He also captures the scenes, sometimes containing mayhem, that popped up around them as word spread on social media that a new Banksy had appeared. For a New Yorker proud of his turf and a wizened observer of the rise in popularity of street art, Mock examines the various installations and looks for a personal firsthand voice to describe the art and the events so the reader may feel like they understand what it was like to be there.
To learn more about the Martha Cooper Library at Urban Nation Museum Berlin and to continue reading the review, click HERE to go to the Urban Nation website.
Today, we find ourselves in Bergamo, Italy, a city pulsating with fresh artistic expressions. Amidst the city’s cultural treasures, a captivating mural by the talented artist Fabio Petani has recently emerged, infusing the urban landscape with his distinctive naturalist perspective. Situated at the Istituto I.C. Petteni on Via Papa Ratti 13, this mural is an integral part of the “Questi siamo noi” project, aligning with Bergamo’s status as the 2023 Capital of Culture.
Entitled “Tantemani Pigmenti & The True Quality,” the mural delves into the theme of nature’s prowess, specifically focusing on Spathiphyllum, renowned for its air-purifying abilities. It presents a powerful juxtaposition between the plant’s air-purifying qualities and the encroachment of detrimental elements like benzene in our environment. Petani’s meticulous blend of colors and shapes achieves visual harmony, echoing the mural’s core message—a delicate equilibrium between nature and industrialization.
A native of Pinerolo, Petani holds a Master of Arts in Cultural Heritage from the University of Turin, where he delved into Urban Art and street culture, tracing their roots to the present day. His art embodies a unique fusion of lines, forms, and volumes that converge through a subtle and harmonious palette. Petani’s profound exploration of chemical and molecular intricacies infuses his creations with intricate complexity, accentuating the interplay of art, chemistry, and nature. As you gaze upon this new mural, it serves as a poignant reminder of art’s capacity to inspire and provoke contemplation within the vibrant cultural heart of the city.
Art historian and independent curator of contemporary art, Alessandra Ioalè’s passion lies in championing various contemporary art forms, particularly those often overlooked by mainstream recognition. Her curator, writer, and researcher roles underscore an unwavering dedication to these artistic realms. She encapsulates Petani’s work eloquently: “Regrettably, contemporary urban landscapes often prioritize designs founded on Euclidean geometric structures. This rigidity can inadvertently estrange inhabitants from their surroundings, fostering discomfort. Embracing an understanding of plants can nurture alternative, harmonious ways of coexisting within urban spaces, promoting rebirth and regeneration. Perhaps we can reimagine our cities as urban jungles, where human and natural inhabitants evolve in unison, reshaping our urban identity.”
With 700 languages spoken in these five boroughs, New York is a nerve center with a vast network of connections to the rest of the world. So, if you are feeling it, we’re probably feeling it too. This week, the Middle East conflict, more radioactive than ever, it would seem, is sending people into the streets in Manhattan and Brooklyn – with heightened emotions stoked by a media machine that loves to see us fight. Now, as we see continued bombings by Isreal outside of their country, as surrounding countries begin banging their war drums, and as the US sits in the sea nearby, more than one commentator on the news and in your local deli, laundromat, bookstore or bar are wondering aloud if a hot war can spread across the region, or further.
Closer to home, we see that street art has not reflected the events directly, but somehow, the anxiety that has been raised will be invariably internalized and aerosolized. We’ll keep an eye out for the messages and sentiments, which are far from unanimous.
Here is our weekly interview with the street: this week featuring Shepard Fairey, Mike Makatron, A Lucky Rabbit, Phetus88, Muebon, Ideal, Jurse, Skitl, Thobekk, Go4art, Polar Bear, Mr. ENT, ICU463, and Where’s the Water.
As the ‘Nice Surprise’ Street Art Festival wrapped up, Pobel’s impressive mural on Stavanger silos brought a bit of theater and activism to the fore. With a short lead time and a lot to learn, this first-time run festival was a heartfelt invitation to twelve talented artists from around the world, asking them to share their creativity from a variety of different vantage points in the street art/graffiti parlance with folks in Stavanger. It’s been a journey of unveiling and discovery, and here at BSA, it’s been our pleasure to travel alongside, capturing every mural and sharing it with you. Today, we give you a one-stop recap of all the pieces from the first ‘Nice Surprise’ festival.
We want to say thanks to Atle Østrem, Pøbel, Tore Pang, Izabell Ekeland, and Stine Oliversen for their gracious hospitality, enthusiasm, and attention to detail. We also wish to express our gratitude to Ian Cox, Tor Ståle, and Ludvig Hart for sharing their photographs with us. Thank you also to the great people we talked with on the streets and at our formal presentation at the theater. Perhaps we’ll see you next year!
Art Meets Agrarian Activism: Pøbel’s Monumental Mural Marks Stavanger’s Skyline
Internationally acclaimed Norwegian street artist Pøbel, has masterfully utilized one of Stavanger’s grandest canvases to highlight, with a touch of irony, the often-underappreciated contributions of the agricultural sector. Marking a fitting climax to Stavanger’s inaugural “Nice Surprise” street art festival, his mural seamlessly intertwines activism with the contemporary aesthetics of street art and graffiti. By repurposing public space, Pøbel adeptly sidesteps the cacophony of commercial advertising, championing a poignant message that elevates discourse to an appropriately human level, reminding us all not to overlook those who nourish society.
As the sun sets on the first “Nice Surprise” street art festival and the city heads into autumn, this stands as a powerful unveiling of a thought-provoking mural on an emblematic location: northern Europe’s largest silo facility, once the heart of Norway’s grain storage contingency, standing tall since 1962. This 3,600 M2 masterpiece, depicting a 60-meter-tall farmer adorned in the unmistakable green overalls of the Felleskjøpet Agri brand, poignantly holds a sign reading “Will work for food.” The choice of imagery and location is no accident. As Pøbel, the artist behind this bold and simple visual statement, reflects, “But who will provide for the providers? And do we take it for granted that the providers will and can continue to provide for us?”
The silo’s storied history mirrors the very essence of the mural. Constructed to act as a national contingency warehouse for grains, the facility, which could handle up to 125,000 tons of grains each week during the harvest season, shifted to commercial storage after 1995. However, as global uncertainties rise, with wars, viruses, and economic tides disrupting food supply chains and escalating food prices, the debate over reverting it to its original role resonates deeply. The structure now stands at a crossroads, with discussions around its potential demolition for residential development. Pøbel’s mural underscores this uncertainty, symbolizing the broader societal challenges. As he remarks, “The building, its location history, and provider role… can act as a metaphor for many things we are facing in our society.”
Due to global interests, Norwegian farmers have recently grappled with potential threats to their livelihoods, especially as trade agreements expose them to cheaper imports and challenge the established subsidies system. Concurrently, debates on land use and ownership regulations have stoked concerns over the future of family farms amidst a backdrop of global agricultural consolidation. As climate change reshapes Norway’s agricultural landscape, farmers seek solutions to ensure sustainability and self-sufficiency.
Pøbel appears to hope the mural is an evocative emblem of these struggles. Tor Jacob Solberg, a member of the Norwegian farming community, echoes this sentiment on Pøbel’s Facebook page, praising the artist as a hero for capturing the issues at hand. “You are an incredibly significant artist and social critic. You should know that farmers talk about you as a hero because you show the essence of many important battles food production stands in. We are forever grateful to you!” While the mural’s vastness is impressive, the underlying narrative of resilience, uncertainty, and societal reflection provides a grounding for consideration of our most basic needs and in whose hands they are.
BSA spoke with Pøbel about his new project for Nice Surprise.
BSA: Back in August you told us that you were not open to making any changes to the sketch you presented for approval. Did they express any concerns about your sketch/proposal? Did they want changes made?
Pøbel: I was not directly involved in the dialogue with the building owners, but from what I understand, there was quite a bit of a discussion about whether to give me permission or not based on my sketch. I assume there were concerns that it might have been a bit too political. Finally, we got word that the permission was granted, which was a bit unexpected. For me it was important that I was able to create what I wanted to create, and that I did not have to compromise in any way based on the wishes of anyone else.
BSA: The process of moving from sketching to painting the silo couldn’t be more different. Can you tell us how it went in practice once you were in the lifts? What challenges have you experienced?
Pøbel: I guess it was only after the approval it dawned on me that I had to figure out a way to actually do it! The wall is approximately 200 feet tall, and most regular professional lifts on the marked usually have a reach of “only” 140 feet. Building a permanent scaffold would be too time-consuming and expensive since the wall is also 200 feet wide. I planned to paint it by abseiling from the top of the roof, but then, luckily at the last moment, I found a lift that could reach 192 feet.
Another challenge with the wall is that it consists of 10 silos that are cylinder shaped. This means there are basically “curves” on the wall, with a depth of up to 8 feet. The curves make it difficult to paint just a straight line, for example, because depending on your perspective (if it’s from the bottom or the top), the straight line will look bent. Equally, will the painting changes when viewing from the side.
BSA: Do you remember a particular, distinctive moment that happened to you while painting the silo? – Either a personal experience or an experience with the public watching you paint?
P: It was quite an interesting experience to be almost 200 feet above ground in the big lift that was standing on the lighter (barge). It was the first time in Norway that a lift this big had been on a lighter, so no expert advice existed, but as expected, the waves made it swing many feet from side to side. The biggest challenge was other boats and ferries passing by creating big waves that would swing way too much.
BSA: Being above it all on top of the silo and the lift must have given you a new perspective of the city, its topography, and the immensity of the ocean.
P: It was a very nice view from the top of the lift. Once I was up there, I was usually quite focused on the painting, but the first night of painting the ocean was unusually still and quiet, and at one point in the night aurora lights appeared in the cloudless sky. It is not so often there are aurora lights this far south in Norway. I took that as a good sign for the work to be done.
BSA: Did any farmers come to visit the site to see you while painting?
P: There were spectators from time to time, but all from a distance since the place I worked from was inside a fenced area. Many of farmers have gave praise to the painting afterwards, especially the leader of the largest farmer’s association, who wrote that the painting meant a lot to the farmers. That was unexpected, and I am glad the art could be meaningful that way to them and to the public as a whole.
Some facts and background of the building: Mural height: 60 meters (197 ft) Mural width: 60 meters (197 ft) Mural size: 3600 m2 (38 800 ft2) Paint used: app. 800 litres (210 gallons)
The silos were built in 1962 and during the fall season it can receive up to 125 000 tons of grains each week. It was built to be a national contingency warehouse for grains and was used for that up until 1995. After this it has been used for commercial storage of grains. The current owners want to demolish and move it and convert the area into a residential area. However, with the recent war in Ukraine, energy crisis and increased food costs, debates to make it a national contingency warehouse for grains once again is an ongoing debate.
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
