All posts tagged: Chile

BSA Film Friday: 11.29.19

BSA Film Friday: 11.29.19

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

Now screening :
1. INTI / “PRIMAVERA INSURRECTA”, Spring Insurrection
2. Sofles VS Rasko / Graffiti Kings 2019
3. Adry del Rocio at Berlin Mural Art Festival 2019
4. Between Street And Art: A Documentary About Meeting Of Styles / Germany 2019

BSA Special Feature: INTI / “PRIMAVERA INSURRECTA”, Spring Insurrection

From vandalizing public sculptures to handmade signs to waving banners, banging oil drums and pots and pans, lighting fires, chanting, and dancing in the streets – these are the insistent voices and perspectives coursing through streets in cities around the world, including these scenes from Chile last month. In one of the tales of people’s victory, these marches and mobilizations of citizens pushing for their rights and fighting state overreach actually worked this month and Chile’s protesters have won a path to a new constitution.

During the demonstrations Chilean Street Artist INTI was at work outside in Santiago as well, adding to the public discourse, with his new work entitled “Dignity!” It was a spring insurrection, now culminating in an autumn victory.

“Both the title and the elements that dress the female figure changed according to the pulse of chaos and civil disobedience that we experienced during the first days of mobilization, which was followed by a carnival of social demands that awaited the moment of becoming all one,” he says. You see the belted figure wearing symbols of resistance, destruction, construction; bullets, frying pan, boxing gloves, a hammer, a Chilean doll. The turtleneck holds the galaxy, an acoustic guitar at the back.

“Dignity!” is what people shouted. “A shout that, had it not been accompanied by insurrection, would never have been heard,” INTI says. “A shout represented in fighting tools, and our demands in a utopian vision of the new Chile.”

"PRIMAVERA INSURRECTA"

Santiago de Chile, Octubre 2019@galerialira

Posted by INTI on Wednesday, November 20, 2019

Sofles VS Rasko / Graffiti Kings 2019

Jake Anderson offers this compilation of two current Kings – Sofles and Rasko. “Two of the best graffiti artists i’ve witnessed. Not meant to be a competition, more of a comparison of two artist doing their thing.”

Adry del Rocio at Berlin Mural Art Festival 2019

Mexican muralist Adry del Rocio came to the Berlin Mural Festival this year. Known for her 3-D perspective painting (along with some Magic Realism from her home culture) del Rocio talks to the camera as she paints, relating stories about her childhood and her mother.

“I started very young. From four years old I won my first art contest. My mother always loved art. I admire her because she always has had this vision to push us.”

Even when del Rocio was discouraged by people who advised her to pursue another line of career, her mother’s advice what quite different. “Don’t listen to those people. You want to paint? You paint.”

Between Street And Art: A Documentary About Meeting Of Styles / Germany 2019

“Meeting of Styles is an international graffiti and street art festival that takes place in different parts of the globe. In its core it is a celebration of art, creativity and the spirit of community found in the street art scene. This year we went to the Meeting of Styles in Wiesbaden, Germany and had the opportunity to speak with some great creative minds and artists.” – from Eight Pixel Productions.

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Olek Patiently Awaits to Erect Rainbow Obelisk in Santiago, Chile

Olek Patiently Awaits to Erect Rainbow Obelisk in Santiago, Chile

“I surprised myself with the patience I had,” Olek tells us about the arduous bureaucratic game of waiting and preparing that she and her team played to get this big phallus up in Santiago de Chile for Hecho En Casa . The Street Artist has taken on ever-larger structures, sculptures, and monuments to transform with crocheted camouflage over the last decade and she specifically chose this one she says because of its shape.

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Olek. “Primavera” Santiago, Chile. May, 2015. (photo © Curro Guerrero)

“I decided to support and draw attention to gay rights by crocheting the obelisk in Santiago de Chile, a gigantic phallic object, covered in my signature rainbow crochet, meant to encourage dialog about human rights and convey the sense of urgency that I feel is needed to help gay people to not feel persecuted.” It’s unclear how much of this storyline the Chilean hosts knew in advance but the skyward pointing obelisk and rainbow sheath was approved before Olek boarded the plane in New York. She learned that permission had been rescinded when she arrived.

Days of drama followed.

Olek delivers a Polish folk axiom: “nie mow ‘hop’ zanim nie przeskoczysz,” which loosely translates as “Don’t count your chickens before they hatch” and that is how she describes the continuous uncertainty she felt concealing the bad news from her small group of assistants who were feverishly preparing for a project. “I was truly sad and devastated but I didn’t want to share the news and my emotions with my crochet team,” about this project.

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Olek. “Primavera” Santiago, Chile. May, 2015. (photo © Curro Guerrero)

Hecho En Casa is an event created by a group of independent artists,” says organizer Felipe Zegers, and because the artists have gained support of government and business to promote cultural tourism, they usually can be persuasive with their track record of more than 50 successful artist installations throughout the city.

It is unclear what exactly stalled the permission for this project that Olek had first conceived of in 2012, but it didn’t help that their trip had begun with a strike by customs workers that held her mountain of crocheted material and yarn hostage.

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Olek. “Primavera” Santiago, Chile. May, 2015. (photo © Curro Guerrero)

“When the materials for Olek were arriving the Chilean Aduna (border) patrol had entered into an indefinite strike and it delayed our project,” says Zegers. “This lead to last minute problems where we had to once again get many people to agree on logistics and dates and to re-coordinate everything days before installation was to begin.”

Four days of cold weather and working on a cold cement floor, and some of Olek’s folks started to feel ill but production continued – as did behind the scenes negotiations. “I kept visualizing how to install this monster piece,” she says with customary gusto – and freely admits she was nervous about whether she could pull it off.

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Olek. “Primavera” Santiago, Chile. May, 2015. (photo © Curro Guerrero)

But she says she kept herself thinking positively, “I knew that when I was ready, the permission would come.” Yet, days passed with foggy answers about whether her piece would be re-approved for installation. Some talk about doing it guerrilla-style even began.

Suitably diplomatic, Mr. Zegers describes the even-handed appeal he uses in smoothing communications. “The best course of action is to try not to step over anyone.  As always we take everyone’s position involved into consideration when trying to resolve any issues.”

“Olek also helped by handing over a bottle of Polish Vodka.”

Of course she did!

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Olek. “Primavera” Santiago, Chile. May, 2015. (photo © Curro Guerrero)

And by ‘hand over’ he means ‘hand over to the mayor in public while cameras were rolling.’

We weren’t surprised to learn that the enterprising dynamo positioned herself along the route of a publicized tour that the Mayor Claudio Orrego was taking. Mr. Orrego was reviewing some of the first installed artworks of the festival and then suddenly there appeared the colorful artist with a bottle of Polish vodka to present to him. It was no plain gift, says Zegers, “It was crocheted of course, and she gave it over to the mayor in a gesture that was well received by everyone – including the press.”

“We traded stories and we laughed,” Olek says, adding, “The press also took pictures.”

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Olek. “Primavera” Santiago, Chile. May, 2015. (photo © Curro Guerrero)

Within a relatively short time the installation was re-approved. “We moved quickly, as the whole project had begun to crumble, and we regained the full cooperation of the National Monuments Council, who unlocked the permits and gave us a letter of support for the project.”

Olek and the team happily agreed to begin it at night. Yes, at night. “We learned that we could do it after midnight,” she says, “as we had to wait until a student strike was over that started in Plaza Italia where the obelisk stands.”

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Olek. “Primavera” Santiago, Chile. May, 2015. (photo © Francesco Garcia)

Eventually installation began at 1:30 in the morning and continued past dawn. “I really had an amazing team,” she says. “We all worked really hard and every person added to the success of this installation.”

“At dawn it was amazing to see the city sky so clean and sunny,” says Mr. Zegers, “the colors shone  brightly and, while it was still cold, the monument looked cozy and warm.  Many people got off the bus to admire it and people started to come at all hours to see the project.

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Olek. “Primavera” Santiago, Chile. May, 2015. (photo © Francesco Garcia)

Lost in the drama may have been the original message Olek had about LGBT rights in society, but the artist prefers to say that it took on an additional meaning for her as a story of perseverance. “With every piece I create I try to bring awareness to various issues around the world, issues that are important to me,” she says. “It’s disturbing that we still have to fight for fundamental human rights today, specifically women’s and gay rights.”

In her reading of works by the Chilean poet Pablo Neruda she took additional inspiration and now thinks of these words when she reflects on the arduous nature of that project and the long path for equality that LGBT people continue to walk along worldwide.

“Podrán cortar todas las flores pero nunca detendrán la primavera.” (They can cut all the flowers, but they never stop the spring.) – Pablo Neruda

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Olek. “Primavera” Santiago, Chile. May, 2015. (photo © Curro Guerrero)

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Olek. “Primavera” Santiago, Chile. May, 2015. (photo © Francesco Garcia)

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Olek. “Primavera” Santiago, Chile. May, 2015. (photo © Francesco Garcia)

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Olek. “Primavera” Santiago, Chile. May, 2015. (photo © Nico Rojas)

 

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BSA Film Friday: 03.01.13

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

Now screening: El Seed’s Calligraffiti on Jara Mosque, Icy & Sot: (Pre) East Middle West Tour, and Pixação street artist L7M Interview.

 

BSA Special Feature:

El Seed’s Calligraffiti on Jara Mosque, Gabes

 “This project in my hometown, Gabes, has been the most challenging project I’ve ever did, emotionally, physically and mentally,” says eL Seed.

And the trailer from the upcoming movie >> eL Seed: Tacapes

Icy & Sot: (Pre) East Middle West Tour

Pixação street artist L7M Interview

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Entes Y Pesimo Taking a Swim in Chile, Buenos Aires and Sarasota

Peruvian Street Art duo Entes y Pesimo move quickly like two cats in the back alley when the garbage truck rattles by. When not doing the occasional billboard remix  intervention, they are painting large murals of silent and intense young men and women navigating in the river of life. In many of their recent aerosol paintings, the guys are wading and slogging and afloat in the O2. While the blue lapping waves look inviting and buoyant on the surface, it is unclear what movements are at work in the undercurrent and one is left to contemplate the expressions and positions of the smoothly complex figures.

Entes y Pesimo in Chile. (photo © EntesPesimo.com)

Whatever the symbolic meaning of elements throughout their compositions, and there are many, Entes y Pesimo are clearly strengthening their style and developing a signature aesthetic. This time we catch them trotting around Chile for the Polanco Graffiti Festival, in Buenos Aires, Argentina and in Sarasota, Florida for the Chalk Festival.

Entes y Pesimo in Buenos Aires, Argentina. (photo © EntesPesimo.com)

Entes y Pesimo in Sarasota, Florida. (photo © EntesPesimo.com)

Entes y Pesimo in Sarasota, Florida. (photo © EntesPesimo.com)

Entes y Pesimo in Sarasota, Florida. (photo © EntesPesimo.com)

Entes y Pesimo in Sarasota, Florida. (photo © EntesPesimo.com)

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ROA: Postcards from The Australian Outback and The Coast of Chile

ROA continues his vertiginous worldwide tour with the animal kingdom in tow, meeting many of the two legged species on the way. Venturing far from his river town of Ghent in Belgium, ROA brings his distinctive monochromatic aerosol painting everywhere; high lands, flat lands, canyons, mountains, crusty old buildings, huts, rusty car carcasses, wooden vessels, water tanks. More often today he also brings them to a gallery or the occasional museum.

ROA. A Bilby. Pilbara, Australia (photo © ROA)

His unassuming depiction of an animal that is native to the area is ROA’s way of offering a non-sentimental, beautiful side of the material world and a way of respecting it; these are the flesh and bones of the animals that we eat, hunt, care for or ignore. Whether we regard them for our use for pleasure or our survival, ROA gives animals the main stage, where we’ll be more likely to appreciate their role, existence, death, and even personality.

At ease in cosmopolitan areas with Street Art scenes like New York, London, Los Angeles or Mexico City, ROA shares here brand new images from his most recent travels in the Australian Outback and the coast of Chile. Their distinctly different climates and unassuming relics of the built environment can serve as thoughtful vessels, breath-taking back drops for the creatures he brings with.  ROA’s acute observational style, rendered with a can in what could be described as a fine and precise hand, continues to illustrate his vivid eye and almost daring approach to his craft.

In person these are striking, a strong reminder of our own mortality and our role as humans on the planet we share with other species. These images below, exclusively for BSA readers, are as beautifully painted as they are placed.

ROA. A Bilby and his tail. Pilbara, Australia (photo © ROA)

ROA. Pilbara, Australia. Kangaroo bones on the foreground. (photo © ROA)

ROA. Valparaiso, Chile.  (photo © ROA)

ROA. Valparaiso, Chile.  (photo © ROA)

ROA. Valparaiso, Chile.  (photo © ROA)

ROA. Santiago, Chile.  (photo © ROA)

ROA. Santiago, Chile.  (photo © ROA)

While in Australia ROA was a guest of FORM, a non-profit organization who works with the Aboriginal communities throughout the Pilbara region. He was invited on a field trip to gain a better anthropological perspective of the native culture and nature of the land.

While in Chile ROA visited Santiago and Valparaiso. In Santiago he painted the horse mural on the San Miguel Neighborhood. He was a guest of the famed local muralist Mono Gonzalez. Mono, as he is locally known, has been painting murals in Chile for several decades since before the dictatorship. Mono is the director of an open air museum called “Museo A Cielo Abierto de San Miguel”. ROA is very thankful for the hospitality of the Familia de Roberto Hernandez.

To learn more about the murals of Museo A Cielo Abierto de San Miguel click on the link below:

http://www.mixart.cl/index.php

 

 

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