All posts tagged: Brussels

BSA Images Of The Week 06.19.16

BSA Images Of The Week 06.19.16

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No we’re not worried about Donald Trump falling from grace, as in the new piece by Ron English leading the show this week. That’s not the point, people. It’s that we have fallen so far that a guy like this can get so close to the White House.

By the way, Nychos is killing it in New York right now. Pieces in Coney Island, Bushwick, a truck side, a Freud sculpture at the Flat Iron, a new show at Jonathan Levine this week, a couple other walls planned including one at MANA.  He’s very impressive in technique and work ethic. A shout out to the fellas who are capturing the action at Chop’em Down films. Top notch!

Meanwhile, we have a LOT of summer to enjoy. Get going!!!

Here’s our weekly interview with the street, this week featuring 18ism, AskewOne, Balu, CDRE, Dabs & Myla, GIZ, KAS, City Kitty, Myth, Nekst, Nychos, OG23, Rime MSK, Ron English, and Vik.

Our top image: Ron English brings Donald Trump as Humpty Dumpty on a wall – in collaboration with The Bushwick Collective and Mana Urban Art Projects. (photo © Jaime Rojo)

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Giz and Bart kick it with the Smurf next door for The Bushwick Collective. (photo © Jaime Rojo)

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Dabs & Myla for The Bushwick Collective. (photo © Jaime Rojo)

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Vik for The Bushwick Collective. (photo © Jaime Rojo)

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AskewOne MSK for The Bushwick Collective. (photo © Jaime Rojo)

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RIME MSK for The Bushwick Collective. (photo © Jaime Rojo)

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OG23 for The Bushwick Collective. (photo © Jaime Rojo)

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18ism for The Bushwick Collective. (photo © Jaime Rojo)

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Indelible Funk  for The Bushwick Collective. (photo © Jaime Rojo)

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AskewOne. Nekst tribute for The Bushwick Collective. (photo © Jaime Rojo)

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Myth (photo © Jaime Rojo)

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Nychos “Translucent Heart Attack” for The Bushwick Collective and Mana Urban Art Projects. (photo © Jaime Rojo)

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Nychos (photo © Jaime Rojo)

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Nychos (photo © Jaime Rojo)

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Nychos. Dissection Of Sigmund Freud Flatiron Plaza. NYC. Vienna Therapy. (photo © Jaime Rojo)

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Nychos. Dissection Of Sigmund Freud Flatiron Plaza. NYC. Vienna Therapy. (photo © Jaime Rojo)

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Nychos. Dissection Of Sigmund Freud Flatiron Plaza. NYC. Vienna Therapy. (photo © Jaime Rojo)

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Kitty City with Balu (photo © Jaime Rojo)

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CDRE (photo © Jaime Rojo)

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CDRE (photo © Jaime Rojo)

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CDRE (photo © Jaime Rojo)

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Kas. Brussels, Belgium. June 2016. (photo © KAS)

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Untitled. Manhattan. June 2016. (photo © Jaime Rojo)

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MIMA Museum: City Lights with Swoon, MOMO, Hayuk, Faile

MIMA Museum: City Lights with Swoon, MOMO, Hayuk, Faile

What is it about Brooklyn Street Art that is so appealing that one would curate the opening exhibition of a museum with it?

Four pillars of the New York Street Art scene are welcoming the first guests of the new Millennium Iconoclast Museum of Art (MIMA), which opened days ago in Brussels. Attacking the cherished institutions that relegate grassroots people’s art movements into the margins, MIMA intends to elevate them all and let them play together. Graphic design, illustration, comic design, tattoo design, graffiti, street art, plastic arts, wheat pasting, sculpture, text, advertising, pop, story-telling, aerosol, brushwork, and naturally, dripping paint.

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MOMO. Work in progress. MIMA Museum. Brussels, Belgium. April 2016. (photo © Alice van den Abeele)

Obviously street culture has been mixing these influences together in a never-ending lust for experimentation; punk with hip-hop, skateboarding with tattoo, performance art with graffiti – for the past four decades at least. The folk tradition of cutting and pasting predates all our  modern shape-shifting by centuries, but institutional/organizational curating often often has a preference for sorting street culture disciplines into separate piles.

With the inaugural exhibition “City Lights” MOMO, Swoon, Faile, and Maya Hayuk each bring what made their street practice unique, but with an added dimension of maturity and development. Without exception each of these artists have benefitted from the Internet and its ability to find audiences who respond strongly to the work with physical location a secondary consideration. Now as world travelers these four have evolved and refined their practice and MIMA gives them room to expand comfortably.

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MOMO. Work in progress. MIMA Museum. Brussels, Belgium. April 2016. (photo © Alice van den Abeele)

Rather than recreating the slap-dash chaos of street clash, and aside from the aforementioned drips and splatters in geometric neon hues by Hayuk, the museum setting is contained and crisply defined. Perhaps because of the cross-disciplines hinted at and welcomed, the overall effect is more contemporary than urban.

Hayuk’s space, with its raised ceilings and stained glass window treatment is a hand-hewn modern chapel, borrowing a holy inflection and spreading it across to the urban art faithful who will make the pilgrimage to this new hallowed space.

On opening day (which was delayed by weeks because of the recent airport and transit bombing here) the crowd who queued on an overcast day down the block along the Canal in Molenbeek was undaunted by the wait and expectant. Housed in a former beer factory, the greater collection includes large installations by the marquee namesin the main spaces and smaller pieces ranging from Stephen Powers and Todd James to Piet Parra and Cleon Patterson in galleries evoking whitebox galleries.

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MOMO. Detail. MIMA Museum. Brussels, Belgium. April 2016. (photo © Alice van den Abeele)

In precisely the ex-industrial part of town that is usually slaughtered with graffiti you can still see a variety of throwies and bubble tags floating above murky waters along the canal walls from the terrace of the 1300 square meter, 4 story MIMA. It’s an oddly storied juxtaposition perhaps, yet somehow perfectly natural and modern.

If the popular imagination of “museum plus Street Art” conjures anything for you, it may present some kind of overture toward the continuation of the street into the formal space and vice-versa. Faile’s two-color stencils and slaughtering of walls inside clearly connect to ones they have done over the last 15 years and that are currently on New York streets. Their huge prayer wheel assembled here was actually shown in the center of Times Square last fall with tens of thousands of tourists climbing it, sitting upon it, posing for selfies with it and spinning it, so the continuum is very much intact in that respect.

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MOMO. MIMA Museum. Brussels, Belgium. April 2016. (photo © Alice van den Abeele)

Similarly Swoon’s wheat-pasted family of figures and her hand-cut paper patterns on mottled walls in the basement recall her work on street walls in Red Hook Brooklyn at this moment – as well as her periodic takeovers/installations inside choice areas of abandoned urban neglect through the years. To complete the dialogue at MIMA her hand-painted linotype  prints are also wheat-pasted outside on Brussels walls near the museum, not slapped but placed with her customary consideration of context and proportion.

Ever the developer of new methodologies for painting, MOMO piled long strips of fabric in an overlapping circular pattern upon layered patches of color and unveiled the new work by gathering the invited artists and museum founders to watch as Faile’s Patrick McNeil slowly pulled the “rope” outward, breaking sealed layers and revealing a heretofore non existent composition. To share and remember the birth process he leaves the tools of revelation in a pile before it. In this way MOMO recalls his street practice of conjuring and developing new tool-making and art-making techniques when bringing work into the public sphere.

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MOMO.  MIMA Museum. Brussels, Belgium. April 2016. (photo © MOMO – MIMA MUSEUM)

Aside from each evolving from the subcultures of the street in some capacity, the nature of the works transcend the partitioning that can define exhibitions, allowing the various practices to become the language of the culture. MIMA appears to have the physical space, as well as the psychological and philosophical space, to contemplate the multiplicity of voices that are flooding the streets and the Internet; forming subcultures and ultimately culture. The City Lights in this case are as much on the various dialogues of the street as the street itself.

MIMA is the creation of four co-founders; Florence and Michel Delaunoit, Alice van den Abeele, and Raphaël Cruyt. The inaugural show is curated by van den Abeele and Cruyt and many of the artists shown in the extended collection here have a history and special meaning to the two through their venture the ALICE Gallery, which has as its strength a focus on art collaborations and exhibition with sculpture and installations.

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SWOON. Work in progress. MIMA Museum. Brussels, Belgium. April 2016. (photo © Alice van den Abeele)

We spoke with Alice van den Abeele about the selection of these four artists for the opening, the intersection of Internet with museum curation, and the changing nature of our perceptions of culture. Here is an excerpt from our conversation

Brooklyn Street Art: In your initial descriptions of the museum a focus is made on the uprooting of culture as it pertains to geography by way of the Internet during the last decade and a half. How do these artists represent this free-travelling cultural reality?
Alice van den Abeele: This cultural reality is easy to feel when you are in the CITY LIGHTS exhibition. The installations by Swoon, Maya Hayuk, FAILE and MOMO immerse you in different artistic worlds but share an extroverted language that is direct and playful. It is a language acquired with the street and with travel – a mixture you may call a “world citizen”.

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SWOON. Work in progress. MIMA Museum. Brussels, Belgium. April 2016. (photo © Alice van den Abeele)

Brooklyn Street Art: The museum addresses a range of subcultures that are directly or tangentially related to the street art scene during the last decades. Why is it important for us to consider these contributors?

Alice van den Abeele: Because of our history. With the communication revolution and the relative low cost of Internet connectivity, the beginning of the millennium brought changes to our perception of the world. A feeling of being a citizen of the world is developing in the West – by which I mean to say there is a cosmopolitan attitude that makes us more empathetic, collaborative, and cross-cultural.

For artists this means there is a greater mobility between creative fields. The artist can easily be a skateboarder, a designer, a musician, a graffiti artist and they can also exhibit in a gallery or a museum. He or she adapts to different creative contexts and their identities are many – not limited to being a ‘street artist” or “a musician”.  The subcultures mix easily together. Lust look at the New York art scene at the time of the Alleged Gallery for example.

On the other hand, society moves it through the prism of the Internet today and selects artists that reflect a new thinking. The values ​​that define the artist’s behavior in the street are close to those that define our behavior on the Internet: Empathy, the right of access rather than ownership, a collaborative spirit, authenticity, and a cross/hybrid culture.

Somehow, the street work embodied physically very early this paradigm shift that was occuring in our society, this new way of perceiving the world. That’s the story the MIMA wants to tell through the exhibitions and the works in the permanent collection. We are living through a revolution that is slowly rewriting the history of art “bottom up” – which may have a thousand faces.

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SWOON. An assistant helps with a large wheat paste. MIMA Museum. Brussels, Belgium. April 2016. (photo ©Alice van den Abeele)

Brooklyn Street Art: Is it important to examine these subcultures separately or is it more relevant to see what their combined influences are producing for the world as aesthetic movements, social movements?
Alice van den Abeele: Cultures are not compartmentalized. They mix to reinvent themselves. Besides, don’t they all become mainstream? In a world of continuous flow of information we should beware of categories and labels – which are often more commercial than artistic. As I said earlier, subcultures today are of great interest to society because they can inspire in us a common ideal – better than our politicians.

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SWOON. Detail. MIMA Museum. Brussels, Belgium. April 2016. (photo © The Pickles – MIMA MUSEUM)

Brooklyn Street Art: As a group, these inaugural artists have an association in our minds with early-mid 2000s New York street art culture. Can you talk about the significance in broad terms of your choice of these artists for your initial exhibition?
Alice van den Abeele: Initially, when we visited the MIMA building in ruins, we immediately imagined an intervention by Maya Hayuk in the room called The Chapel. We know Maya really well because we have had the pleasure of working with her for such a long time. With that first intention, we thought that it would be great to have artists who know and appreciate each other, share a common history, and to create a synergy between them!

This combination of talent and affection has produced a unique exhibition, full of spirituality. More generally, the New York scene of this period is particularly rich for us and it was a good matrix to introduce the vision of the MIMA to the public!

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FAILE. Work in progress. MIMA Museum. Brussels, Belgium. April 2016. (photo © Alice van den Abeele)

Brooklyn Street Art: What sort of artists or influences do you envision for near future exhibitions?
Alice van den Abeele: It is certain that we will continue to work with artists in the same vein as those that are present in the permanent collection. At the same time we want to leave the door open to the future for the unknown and to surprise ourselves for the fun of it.

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FAILE. Work in progress. MIMA Museum. Brussels, Belgium. April 2016. (photo © Alice van den Abeele)

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FAILE. Work in progress. MIMA Museum. Brussels, Belgium. April 2016. (photo © Alice van den Abeele)

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FAILE. Work in progress. MIMA Museum. Brussels, Belgium. April 2016. (photo © Alice van den Abeele)

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FAILE. Detail. MIMA Museum. Brussels, Belgium. April 2016. (photo © Alice van den Abeele)

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FAILE. Detail. MIMA Museum. Brussels, Belgium. April 2016. (photo © Pascaline Brishcoux – MIMA Museum)

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Maya Hayuk. Work in progress. MIMA Museum. Brussels, Belgium. April 2016. (photo © Alice van den Abeele)

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Maya Hayuk. Work in progress. MIMA Museum. Brussels, Belgium. April 2016. (photo © Alice van den Abeele)

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Maya Hayuk. MIMA Museum. Brussels, Belgium. April 2016. (photo © The Pickles – MIMA Museum)

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The artists with curators. Work in progress. MIMA Museum. Brussels, Belgium. April 2016. (photo © Alice van den Abeele)

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Maya Hayuk talks with Patrick Miller in the foreground and Patrick McNeil chats with MOMO on the background in Maya’s installation. MIMA Museum. Brussels, Belgium. April 2016. (photo © Alice van den Abeele)

 

The MIMA Museum “City Lights” inaugural exhibition in Brussels, Belgium is currently open to the general public and will run until August 28, 2016. Click HERE to learn more about MIMA.

 

 

 

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BSA Images Of The Week: 01.17.16

BSA Images Of The Week: 01.17.16

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This week David Bowie died. There isn’t much more for us to say.

Here’s our weekly interview with the street, this week featuring Axe Colours, Faile, Homo Riot, J Morello, Jorge Rodriguez Gerarda, Jules Muck, KAS, London Kaye, Marina Capdivila, Nueks, SacSix, and Verb Five.

Top Image: London Kaye (photo © Jaime Rojo)

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David Bowie organic memorial outside his and Iman’s apartment building in Manhattan. (photo © Jaime Rojo)

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David Bowie organic memorial outside his and Iman’s apartment building in Manhattan. (photo © Jaime Rojo)

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Kas. “The Kiss” Brussels, Belgium. (photo © Kas)

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Verb Five (photo © Jaime Rojo)

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Artist Unknown (photo © Jaime Rojo)

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SacSix (photo © Jaime Rojo)

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SacSix (photo © Jaime Rojo)

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Axe Colours paints a tribute to soccer star Lionel Messi on account of his Golden Ball award in Barcelona, Spain. (photo © Lluis Olive Bulbena)

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Jorge Rodriguez-Gerarda in Barcelona, Spain. (photo © Lluis Olive Bulbena)

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Nueks (photo © Jaime Rojo)

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Kabuki faces in SOHO by an unidentified artist. (photo © Jaime Rojo)

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Homo Riot (photo © Jaime Rojo)

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J. Morello with Jules Muck. (photo © Jaime Rojo)

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Marina Capdevila in Miami, Florida. (photo © Marina Capdevila)

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FAILE window dressing in SOHO. (photo © Jaime Rojo)

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Untitled. Manhattan skyline. January 2016. (photo © Jaime Rojo)

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FKDL and His Vintage Glamour Women

New Wall Celebrates Audrey Hepburn for her May 4 birthday in the Brussells district she was born in. Liz Taylor is her special guest.

There are many references to pop culture, movies, fashion, and celebrity that have appeared in Street Art in the last decade or so, thanks to our full immersion in the National Entertainment State. We always say that the street reflects us back to ourselves, and apparently we are fixated on poised prettitude, at least in some cities. From Street Artists like DAIN to Judith Supine to Faile to The Dude Company, Tian, Aiko, TooFly and myriad anonymous stencillists, you are bound to see depictions of glamorous women and in a variety of archetypes popping up on walls and doorways no matter the year.

FKDL “Breakfast at Ixelles”. Brussels, Beligium. (photo © FKDL)

Parisian Street Artist FKDL reliably returns to his wheelhouse of the 1950s and 60s when he looks for images of idealized females.  Even his silhouettes of graceful and lithe dancing figures will remind you of the 2-D animations of opening credits of Hollywood movies from the golden age, the hip early years of television, beatniks in tight turtleneck sweaters reading poems, and swinging chicks on the cover art from long-playing jazz albums.  As a “fill” to his forms, he often pastes in an actual collage of vintage commercial illustrations that he cut from magazines and dress making pattern envelopes.  Clearly his is a romance with an image of female beauty from an earlier time and he reliably visits it again and again in his work on the streets of Europe and New York.

FKDL “Breakfast at Ixelles”. Brussels, Beligium. (photo © FKDL)

So it is no surprise that last week when FKDL was in the Ixelles district in Brussels he found a lone façade wall on an empty lot that faces the street and was compelled to paint a tribute to the cinema icon Audrey Hepburn, born there 84 years ago this Saturday. “Breakfast at Ixelles” refers to the location and her most famous movie, set in New York, Breakfast at Tiffany’s.  While doing the wall he decided to also pay tribute to another screen grand dame Elizabeth Taylor. The 30 foot wall uses his distinctive collage style and the paint colors are associated with the flag of Belgium.

FKDL “Breakfast at Ixelles”. Brussels, Beligium. (photo © FKDL)

FKDL “Breakfast at Ixelles”. Brussels, Beligium. (photo © FKDL)

FKDL in New York (photo © Jaime Rojo)

FKDL (detail) in Brooklyn (photo © Jaime Rojo)

FKDL next to DAIN in Brooklyn (photo © Jaime Rojo)

FKDL in Brooklyn (photo © Jaime Rojo)

 

 

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This posting is also on Huffington Post Arts & Culture.

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Fun Friday 05.25.12

1.    Male Massage Poster from Manny Castro
2.    Reed Projects Now Open with “The Re-Jects” (Norway)
3.    “Vues sur murs” in Brussels
4.    “Vari-Okey” with Everman (Atlanta)
5.    A Classic from The Beastie Boys Gets a Tribute Remix – SABOTAGE! (VIDEO)
6.    Yue Minjun, Mark Jenkins and Aakash Nihalani (LA)
7.    Augustine Kofie’s Angle in LA
8.    (Re)-Print at Hendershot Gallery in The Bowery
9.    “Keep Wild Life In The Wild” At ThinkSpace
10.    “At Home I’m A Tourist” – Selim Varol at Me Collectors Room
11.    Cyrcle Daydreaming with James Lavelle (VIDEO)
12.  CELEBRATE BOB Moog : Moog Factory Mural Time Lapse (VIDEO)

Dear BSA Reader: Finding yourself at the end of another long hard week? Why don’t we all just go get a massage and release all that pent up anxiety and pressure? Thanks to Manny Castro for taking the photo of this ad and reminding us about the power of therapeutic touch.

Photo © Manny Castro

Reed Projects Now Open with “The Re-Jects” (Norway)

If you happen to call the port of Stavanger, Norway this weekend we recommend that as soon as you get off of your cruise head straight to Reed Projects where one of Street Art’s greatest rejects has mounted an art show to inaugurate his brand new gallery. The show “The Re-Jects” is now open to the public and the artists include: Dolk, Evol, Roa, Brad Downey, Escif, Dan Witz & Vhils.

Dolk in Brooklyn. (photo © Jaime Rojo)

For further information regarding this show click here.

Vues sur murs” in Brussels

The Centre de la Gravure new show “Vues sur murs” In opens today and includes C215, Denis Meyers, Doctor H, Jef Aerosol, Evol, Ludo, Muga, Obetre, Sten & Lex, Invader and Swoon.

Jef Aerosol in Brooklyn. (photo © Jaime Rojo)

For further information regarding this show click here.

 

“Vari-Okey” with Everman (Atlanta)

Living Walls The City Speaks Atlanta 2012 continues to bring world talented artists for all ya’ll. This Saturday Living Walls Concepts invites the public to be an active participant in the the festival with artist Everman. If you are interested in participating you must first stop by AM1690’s “Vari-Okey” event this Saturday, May 26 at the Goat Farm and sign up for Evereman’s workshop through ARTWORKS, the new digital platform that will transform your involvement in the Atlanta arts scene. Promise.

Everman (photo courtesy of Living Walls 2012)

For further information regarding this event click here.

A Classic from The Beastie Boys Gets a Tribute Remix – SABOTAGE! (VIDEO)

 

Yue Minjun, Mark Jenkins and Aakash Nihalani (LA)

The Carmichael Gallery in Culver City, CA has invited artists Yue Minjun, Mark Jenkins and Aakash Nihalani for the new show opening tomorrow.

Aakash Nihalani in Manhattan (photo © Jaime Rojo)

For further information regarding this show click here.

Augustine Kofie’s Angle in LA

I’m truly honored to have the chance to share a lot of these more dense collage works with my LA peoples,” says Augustine Kofie about his new show “Working an Angle” which opens Saturday at the Known Gallery in Los Angeles, CA.

Augustine Kofie in Los Angeles for LA Freewalls Project (photo © Jaime Rojo)

Click here to read an interview on BSA with Augustine Kofie

For further information regarding this show click here.

Also Happening this Weekend:

(Re)-Print at Hendershot Gallery in The Bowery in NYC. A mostly prints show showcasing some of your most beloved Street Artist. Click here for more details regarding this show.

“Keep Wild Life In The Wild” At ThinkSpace Gallery in Culver City, CA. This is an art exhibition with some of the proceeds form the sale benefiting Born Free with the participation of more than 100 artists from all over the world. It should be fun. Click here for more details regarding this show.

“At Home I’m A Tourist” An Exhibition showcasing works of art and toys from the vast collection of Selim Varol at Me Collectors Room in Berlin Germany. Click here for more details regarding this show.

Cyrcle Daydreaming with James Lavelle (VIDEO)

 

CELEBRATE BOB: Moog Factory Mural Time Lapse (VIDEO)

Dude, Wednesday was Bob Moogs’ 78th birthday. Cool right? Awesome. Here’s a brand new portrait on the side of the Moog factory in Asheville, North Caroline by artist local artist Dustin Spagnola.

 

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Isaac Cordal’s Miniature Magic Moments in the Real World

Fairy tales mash fantastic with ordinary, playing with perceptions of both. Street Artist and public artist Isaac Cordal lives in these two worlds and finds one that is a waking dreamscape. The fastidious and attentive scene maker somehow brings his little cement people alive by placing them in the real world; creating a new context where his figures take on stirring, humorous, nearly profound qualities.

“This is a project I’ve been working on since 2006. I make small sculptures with cement and many times when I go out these small sculptures come with me. Public space has become their habitat,” explains Cordal.

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Isaac Cordal. Survivors. Anvers. Belgium. 2011. (photo © Isaac Cordal)

Recalling our childlike ability to transform everyday locations into kingdoms, realms, domains, and enchanted lands, Cordal impeccably places vignettes into ordinary settings. His miniature gray mortar people are often being wronged by totally evil monsters, human and animal but are frozen for you to study the dynamics at play. The portraits that emerge of his somewhat battered and banal humans plodding through life occur in a multitude of scenes: Here we have a picnic. Over there we see a wedding, a funeral. Sometimes his sculptures are in a kitchen or in a living room. Other times they are outdoors waiting in line to go to work, to buy consumer goods, or to be ground like hamburger in the wheels of The Machine.

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Isaac Cordal. Survivors. Anvers. Belgium. 2011. (photo © Isaac Cordal)

Most recently Mr. Cordal has created ‘survivors’ who inhabit an environmentally taxed and burdened world, continually expecting toxic fumes or airborne viruses to invade their lungs. His cement fairies in these urban settings are stoic protagonists of our eternal misadventures, progeny of our excess. The lucky passerby who stumbles upon his vignette may be moved by its stoicism, may pause at the effort of an artist who creates such a scenario in the middle of their everyday, and may smile at the wit.

Brooklyn Street Art: There is a distinct uniformity the appearance of your little people – is the uniformity a metaphor for conformist thinking and behavior?
Isaac Cordal: I make copies of many of my pieces using molds. By repeating the same model in series I manufacture a prototype that represents a collective identity. I am interested in representing prototypes that represent human beings in modernity. I try to do scenes that summarize recognizable behavior patterns.

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Isaac Cordal. Survivors. Anvers. Belgium. 2011. (photo © Isaac Cordal)

Brooklyn Street Art: Sometimes the staged scenes have elements of comedy and light heartedness. Does the process feel like play for you?
Isaac Cordal: I think my friends have begun to be worried about me. I really take it seriously and I always am perusing the streets with an unusual amount of interest. A couple of days ago, I was climbing a wall and suddenly the wall collapsed; I was very lucky because nothing serious happened. It was a curious situation because my mother was visiting me and she was the person who was helping me with my installation. I felt as if I was a child in the wrong place.

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Isaac Cordal. Survivors. Anvers. Belgium. 2011. (photo © Isaac Cordal)

Brooklyn Street Art: With clever placement, the figures interact in the man made and natural environment in a surrealist way.  Do you have any favorite surrealist painters?
Isaac Cordal: The world we have created is very surreal in itself. There are strong doses of surrealism in our society. Regarding Surrealism as a painting movement, I always liked Dali. Recently I quite liked the photo project The Architect’s Brother.

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Isaac Cordal. Survivors. Anvers. Belgium. 2011. (photo © Isaac Cordal)

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Isaac Cordal. “Naure of the Zone” Brussels. 2011. (photo © Isaac Cordal)

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Isaac Cordal. “Naure of the Zone” Brussels. 2011. (photo © Isaac Cordal)

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Isaac Cordal. “Naure of the Zone” Brussels. 2011. (photo © Isaac Cordal)

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Isaac Cordal. “Another Cement Island” Brussels. 2011. (photo © Isaac Cordal)

BSA……………….BSA…………….BSA……………….BSA…………….BSA……………….BSA…………….

Mr. Cordal’s new monograph Cement Eclipses: Small Interventions in the Big City will come out this spring, published by Carpet Bombing Culture.

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To learn more about this book click on the link below:

http://www.brooklynstreetart.com/theblog/?p=19784

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Read our article on Isaac Cordal last September in The Huffington Post :

Little Cement Urbanites: Isaac Cordal’s Street Art Installations

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