All posts tagged: El Tono

BSA Curates at 3rd Artmossphere in Moscow 2018: Open Call For Artists

BSA Curates at 3rd Artmossphere in Moscow 2018: Open Call For Artists

BSA founders Steven P. Harrington and Jaime Rojo are part of the Curatorial Team for the 2018 Artmossphere Biennale and today BSA is pleased to announce the “Open Call” for artists to apply.

The Street Wave Art Biennale, Artmossphere. Open Call for artists.

Paulo Ito at work on his installation for the 2nd Edition of Artmossphere. Moscow 2016. (photo © Jaime Rojo)

Artmossphere is the only Russian biennale that focuses primarily on Street Art and its corollary practices, with the first two launching in 2014 and 2016. You may remember the full coverage BSA had in 2016 at the Moscow Manege;

60 Artists at a Moscow Street Art Biennale: “Artmossphere 2016”

Among the artists participating on previous editions of Artmossphere have been people like The London Police, Brad Downey, Claudio Ethos, Agostino Iocurci Miss Van, L’Atlas, Sickboy, Jaz, Nespoon, Martha Cooper, Remi Rough, Alexey Luka, Remed, Li Hill, Jessie and Katey, Moneyless, El Tono, and many others – but clearly you can see that the quality and diversity in practices and backgrounds is well represented here.

L’Atlas at work on his installation for the 2nd Edition of Artmossphere. Moscow 2016. (photo © Jaime Rojo)

For the 2018 edition of the biennale we will be curating the program along with some of our respected peers internationally in this field and collectively we are asking artists to consider what it means to be “Offline”. So much of graffiti and Street Art’s roots extend back to a practice of making work for a largely local audience that is limited to geography.

Today much work in public space is conceived of, at least in part, for its ability to traverse to audiences on social media, blogs, video, and all manner of digital platforms. As we constantly are flooded with online Street Art, is it possible to be ‘Offline”?

Sepe at work on his painting for the 2nd Edition of Artmossphere. Moscow 2016. (photo © Jaime Rojo)

The 2018 main exhibition will take place in the Excise Storehouse of Winzavod Centre for Contemporary Art in Moscow from August 30th to October 17th. Additional special exhibitions will be held in the Red and White Halls, as well as in the art cluster outdoor territory.

The open call is open to Russian and international artists and applications with projects exploring this year’s theme will be reviewed by an international jury consisting of Steven P. Harrington and Jaime Rojo, co-founders of BrooklynStreetArt.com and curators at Urban Nation Museum of Urban Contemporary Art (UN), Peter Ernst Coolen, curator of the Amsterdam Street Art Museum, Cedar Lewisohn, curator of the Street Art project in Tate Modern, Ethel Seno, researcher of street art and curator, Anna Dimitrova, curator of Adda Gallery, Paris and MTN Gallery, Barcelona, and Nikolay Palazhchenko, the founder of the Winzavod Centre for Contemporary Art in Moscow.

To take part in the biennale, Artmossphere artists should submit their portfolio and their project application for the biennale before June 18th, 2018. All the projects should be made exclusively for the biennale. Click here for all details.

Wes21 at work on his installation for the 2nd Edition of Artmossphere. Moscow 2016. (photo © Jaime Rojo)

Katie and Jesse at work on their installation for the 2nd Edition of Artmossphere. Moscow 2016. (photo © Jaime Rojo)

Pink Power at work on her installation for the 2nd Edition of Artmossphere. Moscow 2016. (photo © Jaime Rojo)

M-City at work on his installation for the 2nd Edition of Artmossphere. Moscow 2016. (photo © Jaime Rojo)

Krzysztof “Proembrion” Syruc at work on his painting for the 2nd edition of Artmossphere. Moscow 2016. (photo © Jaime Rojo)




#ARTMOSSPHERE #BKSTREETART

Please follow and like us:
Read more
Borders and Boundaries : A Multi-Disciplinary Exhibit at St. Petersburg’s Street Art Museum

Borders and Boundaries : A Multi-Disciplinary Exhibit at St. Petersburg’s Street Art Museum

Rafael Schacter Takes a More Nuanced Approach to the Migration Crisis

Commerce and technology have been eroding traditional constructs of the borders and boundaries, especially in the age of the Internet, satellites, transnational banking and trade agreements that create governing bodies that openly dismiss national sovereignty, integrity, identity, aspirations. Borders and boundaries are contested, guarded, or disregarded at will; open to international capital, porous to immigration, hardened by armies.

Daily they are in the headlines: Trump’s plans to build a wall along the US-Mexican border, Syrian war refugees immigrating across European borders, Israel and Palestine’s ongoing land and settlement disputes, even maritime territorial claims of China and the Phillipines in the South China Sea that were ruled upon yesterday  – all reveal clues to our historically complicated relationships and geo-political perspectives.

Art to the rescue!

A current show mounted by primarily urban artists under the direction and curatorial vision of Rafael Schacter in Saint Petersburg, Russia takes on a thin, rich slice of this story; a conceptual examination of borders and boundaries from the perspective of migration. With global forced displacement breaking all records in 2015 at 60 million people according to the UN we clearly need to re-examine these constructs and decide what purpose/ which people borders are serving.

Sorry, we’re using terms interchangeably, which Schacter will correct us on. Toward that end, we are pleased today to present Mr. Schacter, an anthropologist, researcher of street art, author, and lecturer, here on BSA to share observations and experiences from his most recent project, a fascinating show at the Street Art Museum (SAM) called Crossing Borders /Crossing Boundaries. Our thanks to the artists, only a small number of whom we are able to present here, as well as to the museum for sharing their talent and resources. A full list of the participating artists is at the end of the article.

Brooklyn-Street-Art-3-Rafael-Schacter-740-VideoStill-Copyright-Street-Art-Museum-Crossing-Borders

——————————–

~ from Rafael Schacter

In May of this year, I spent nearly four weeks in Saint Petersburg curating a large scale exhibition at the Street Art Museum (SAM). The Museum, set in a functioning factory on the edge of the city, is a mammoth site. The first plastics factory in the Soviet Union, the site became partially abandoned in the 1990s after the collapse of communism, and has since been taken over and partly given over to this new museum. Containing huge outdoor and indoor spaces, the museum is truly a dream location to work.

For the summer exhibition this year, we decided to focus on what has been termed the Migration Crisis. Rather than tackling this head on, however, something that I feel can often be crass and exploitative, something that I feel can often be seen to be utilizing peoples’ hardships for artistic ‘gain’, I sought to provide a concept that could explore the theme from a more nuanced angle.

Brooklyn-Street-Art-Rafael-Schacter-740-VideoStill-Copyright-Street-Art-Museum-Crossing-Borders

The title of the exhibition, Crossing Borders / Crossing Boundaries, thus attempted to explore the differences between these two terms; words which are often used interchangeably, but are in fact quite distinct.

Utilizing the work of renowned sociologist Richard Sennett, borders were hence posited as zones of high organic interactivity and development, engaged, permeable spaces such as the zones between the land and the sea in which different species thrive, intermix and exchange. In contrast however, boundaries were understood as guarded, impenetrable locations, locations, for example, like the territorial perimeters of creatures such as lions or wolves.

Focusing on these differences, on the fertility and vibrancy of the border compared to the sterility and aridity of the boundary, we then commissioned 20 artists from around the world to produce works on this theme.

Brooklyn-Street-Art-6-Rafael-Schacter-740-VideoStill-Copyright-Street-Art-Museum-Crossing-Borders

Working with artists from a background of street art as well as contemporary art, with video artists and photographers, muralists and artivists, the exhibition is thus truly multi-media and multidisciplinary. I was beyond impressed with the results, all the artists bringing an amazing set of ideas to the table and delivering them in the most fantastic of ways.

We had over 5,000 people come to our launch on May 14th, as well as a huge international conference on the topic of migration taking place in the museum on the same day. Living, working, eating and sleeping in the factory with all of the artists over the entire period of production was tough, to say the least. However the energy was unrelenting, with the artists and the whole team at SAM working without rest to deliver this incredible project.Brooklyn-Street-Art-5-Rafael-Schacter-740-VideoStill-Copyright-Street-Art-Museum-Crossing-Borders

I’m super proud of what we achieved, to both sensitively and critically explore this theme, to not just provide the traditional liberal consensus positionality but rather to challenge people’s thoughts and ideas on this topic. Who knows what effect it will have, if any. But I hope that the project can push people to think about the topic in a more nuanced rather than binary way.

Following the video are a few of the artists and their work for Crossing Borders / Crossing Boundaries

brooklyn-street-art-spy-rafael-schacter-st-petersburg-russia-07-16-web-1

SpY. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo © Evgeniy Belikov)

SpY

Go Home / Crisis / Basket

  1. Printed banner on chimney / Acrylic paint on oil barrels / Basketball hoop and backboard on containers, acrylic paint on asphalt

SpY’s deceptively simple yet conceptually ingenious interventions focus on the upturning of spatial and societal norms. Using irony and humour to create a dialogue with the viewer, SpY attempts to impress multiple readings onto a space, re-presenting it as a “frame of endless possibilities”.

His set of works here follow this method precisely. In particular, his giant work Go Home, at first an apparently aggressive, deeply antagonistic phrase (to put it mildly), plays with the variety of meanings that this expression can contain: the very ability to go home, for example, to return back to the place of one’s family, one’s birth, one’s life, is the very thing that most immigrants desire but simply cannot undertake (whether due to war or famine, economic or ecological pressures). To be able to go home is thus a privilege that not all of us have.

As with his famous method of renegotiating the set rules of sporting activities, provoking, as he says “disorder and chaos through context and content”, SpY’s works do not simply invert or subvert their spaces but playfully distort them. They “misuse” their environments to show the latent possibilities that lie within.

brooklyn-street-art-spy-rafael-schacter-st-petersburg-russia-07-16-web-2

SpY. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo © Evgeniy Belikov)

brooklyn-street-art-spy-rafael-schacter-st-petersburg-russia-07-16-web-3

SpY. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo © Evgeniy Belikov)

brooklyn-street-art-spy-rafael-schacter-st-petersburg-russia-07-16-web-5

SpY. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo © Evgeniy Belikov)

brooklyn-street-art-filippo-minelli-rafael-schacter-st-petersburg-russia-07-16-web-7

Filippo Minelli. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo © Evgeniy Belikov)

FILIPPO MINELLI

Untitled / A Revolution Nobody Cares About

  1. Scaffold, laminate photographic prints, flags, and spray paint and acrylic on containers / Acrylic paint on wall

Fillipo’s installation for Crossing Borders / Crossing Boundaries explores different border zones throughout the globe. From the sea border of North and South Korea to that of Mexico and California; from Morocco and Mauritania to Cambodia and Vietnam; from the invisible border between Northern Mali and the disputed territories of the Azawad; to abandoned NATO bunkers at the Belgian Dutch border, these images present us with some of the most politically fraught locations on the planet which, somehow, contain a strangely alluring beauty. Alongside this, Filippo presents a series of Whatsapp conversations documenting his personal struggle to gain entry into Russia for this exhibition: a series of Kafkaesque scenarios in which he was sent from location to location in a seeming test of his resistance. The installation as a whole can be seen to bring together Filippo’s joint obsession with political, industrial and internet aesthetics.

His mural, A Revolution Nobody Cares About / Nobody Cares About a Revolution speaks, quite loudly, for itself.

brooklyn-street-art-filippo-minelli-rafael-schacter-st-petersburg-russia-07-16-web-5

Filippo Minelli. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo © Evgeniy Belikov)

brooklyn-street-art-filippo-minelli-rafael-schacter-st-petersburg-russia-07-16-web-4

Filippo Minelli. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo © Evgeniy Belikov)

brooklyn-street-art-filippo-minelli-rafael-schacter-st-petersburg-russia-07-16-web-6

Filippo Minelli. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo Evgeniy Belikov)

brooklyn-street-art-kirill-kto-rafael-schacter-st-petersburg-russia-07-16-web

Kirill KTO. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo © Evgeniy Belikov)

KIRILL KTO

Incomprehensible

  1. Acrylic and spray paint on wall

Kirill’s work for Crossing Borders / Crossing Boundaries arose through his correspondence with curator Rafael Schacter. Focusing on the barrier of language and the complexity of translation, the work is about the impossibility of understanding and the unwillingness to understand. As KIRILL says “I understood only a small percentage of what we discussed and so decided to make this the heart of the work”. It is thus the borders and boundaries of language that KIRILL takes aim. As he continues “there are two borders of misunderstanding: you see unfamiliar letters and you do not understand everything completely. Signifier and signified become equally incomprehensible. Or even it’s a familiar language, but still it is not clear”. Kirill’s work, although colourful and bright, is in fact the image of alienation. The image of the migratory and the incomprehensible.

brooklyn-street-art-gaia-mata-ruda-rafael-schacter-st-petersburg-russia-07-16-web-5

Gaia . Mata Ruda. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo © Evgeniy Belikov)

GAIA & MATA RUDA

If Capital Can Move So Freely Why Can’t Bodies?

  1. Acrylic and spray paint on wall

Gaia and Mata Ruda have produced a monumental work for Crossing Borders / Crossing Boundaries, a work which functions in the classical tradition of political muralism. Using imagery from the filmmaker Marc Silver and photographers Jonathan Hollingsworth and Alex Kurunis (both of whom show other work within the exhibition itself), Gaia and Ruda present us with an assemblage of figures and artefacts which together convey a dense narrative about contemporary migration. Including individuals and stories from the borders of the USA and Latin America as well as Africa and Europe, the artists also produced a group portrait of three Uzbekistani employees at the factory who work and live in the very site where the mural exists.

The story Gaia and Mata tell is one of inequality and injustice, a story of the imbalance of our contemporary global system. Yet within this it contains hope and strength, the strength of the individuals who strive to fight these inequities on a daily basis.

brooklyn-street-art-gaia-mata-ruda-rafael-schacter-st-petersburg-russia-07-16-web-3

Gaia . Mata Ruda. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo © Evgeniy Belikov)

brooklyn-street-art-nano-4814-rafael-schacter-st-petersburg-russia-07-16-web

Nano4814. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo © Evgeniy Belikov)

Nano4814

Untitled

  1. Acrylic and spray paint on wall

Nano4814’s half-abstract, half-figurative mural for Crossing Borders / Crossing Boundaries demonstrates the strangely discomforting yet visually arresting style which we can now instantly recognize as his own. Frequently focusing upon the apprehension he has with his own work, Nano’s characters can often be seen to be in states of tension or strain (both literally and metaphorically), an angst reinforced by their compressed captivity within their sites. Moreover, his use of brick-walls, barriers, and wooden shards, symbols that act as leitmotifs throughout his work, play with the idea of boundaries as objects that encourage intrusion and trespass: Like masks, these borders both suggest and occlude a veiled truth, hinting whilst hiding, implying yet escaping. It is thus the very limitation that enables us to venture beyond.

brooklyn-street-art-brad-downey-igor-posonov-rafael-schacter-st-petersburg-russia-07-16-web-6

Brad Downey . Igor Posonov. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo © Evgeniy Belikov)

BRAD DOWNEY & IGOR PONOSOV

Double Yippie Hollow Super Power

  1. Slides, DIA projector, flags, photographs, socks, coins, drawings in collaboration with Clemens Behr, SPY, Paco, and Fillipo Minelli, computer guts, digital prints, plastic, wood, plexi-glass, mounting hardware, sound installation, radio, headphones, cables, paint, chess set, soviet fabric, and industrial  spools.

Double Yippie Hollow Super Power is a joint project between artists Brad Downey from the USA and Igor Ponosov from Russia. Taking inspiration from the parlor game “cadavre exquis” or “exquisite corpse” (a method by which a collection of words or images is collaboratively assembled), the pair have sought to combine the varying national symbols of their home nations into a new, exquisite set of iconic forms. The “unity of the opposites” that they have created – utilizing objects such as flags, coins, and anthems – plays with the sacrality of these national symbols, the almost divine status that they contain. Moreover, it alludes to the strangely intimate relationship that the two countries are entwined in. Whilst apparent opposites, common enemies, both locations create their identity through their connection with the other: the objects Downey and Ponosov have thus created contain both a critical and playful edge. They ridicule the stereotypes of both themselves and each other in the same moment.

brooklyn-street-art-brad-downey-igor-posonov-rafael-schacter-st-petersburg-russia-07-16-web-5

Brad Downey . Igor Posonov. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo © Evgeniy Belikov)

brooklyn-street-art-brad-downey-igor-posonov-rafael-schacter-st-petersburg-russia-07-16-web-1

Brad Downey . Igor Posonov. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo © Evgeniy Belikov)

brooklyn-street-art-brad-downey-igor-posonov-rafael-schacter-st-petersburg-russia-07-16-web-3

Brad Downey . Igor Posonov. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo © Evgeniy Belikov)

 

brooklyn-street-art-jazoo-yang-rafael-schacter-st-petersburg-russia-07-16-web-2

Jazoo Yang. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo © Evgeniy Belikov)

JAZOO YANG

Dots / Painting Blocks

2016, Korean ink on wall / Found objects, cement, and acrylic paint on wooden palletes

Jazoo Yang’s Dots series originates from her work in her native Korea, in particular within areas of the city going through the process of redevelopment. Using traditional Korean ink, and solely using her thumbprint (a marking used as a signature on important documents), Yang’s work sought to bring focus on the increasing amount of “redevelopment refugees” in the city

For Crossing Borders / Crossing Boundaries, Yang has expanded her Dots Series to incorporate the issue of refugees and migrants in Europe and further beyond. Working mainly on her own but also with immigrant workers from the factory itself, Yang discusses their stories, their histories, their existence with these individuals as they mark the wall together. These imprints act as a record of this moment whilst remaining entirely silent.

In Yang’s Painting Block Works, this theme of memory and regeneration continues. Exploring the violent so central to the contemporary city, Yang wants to ask how much we perceive our lives and make independent decisions within these oppressive environments. She aims to bring these problems to the surface through rebuilding them with the materials we so readily abandon, in Korea using objects from deserted houses and buildings, here in Russia using the detritus and ephemera of the factory itself.

brooklyn-street-art-jazoo-yang-rafael-schacter-st-petersburg-russia-07-16-web-3

Jazoo Yang. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo © Evgeniy Belikov)

brooklyn-street-art-jazoo-yang-rafael-schacter-st-petersburg-russia-07-16-web-4

Jazoo Yang. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo © Evgeniy Belikov)

brooklyn-street-art-clemens-behr-rafael-schacter-st-petersburg-russia-07-16-web-1

Clemens Behr. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo © Evgeniy Belikov)

CLEMENS BEHR

The Final Frontier (Space) / Our House (In the Middle of the Street)

  1. Laminate doors, wooden pallets, wooden battons, hinges, and acrylic paint / Acrylic and spray paint on wall

Mimicking and playing with their settings through a process of transformative deconstruction, Clemens Behr’s geometric shapes and abstract forms come to distort the viewers’ perspective, merging two and three dimensional spaces in a single plane.

His installation for Crossing Borders / Crossing Boundaries acts as what he terms a “social maze”. Utilising one of the most classic example of borders/boundaries, the common doorway, the work explores the potentially empowering or inhibiting abilities of these structures: as one door opens, another closes, enabling some and disabling others in the same moment. As a participatory sculpture, its visual possibilities become endless. However conceptually it demonstrates how every decision we take effects those around us. Like many of Behr’s installations, this work was produced with what was at hand, in this case the products and detritus of the factory site itself.

Behr’s mural tackles another question however. Playing with the shadows and design of the adjacent fence, with the actuality of space (and time) versus the potentiality of painting, he questions the boundaries of art itself: Can it go beyond reflection to truly generate the new?

brooklyn-street-art-clemens-behr-rafael-schacter-st-petersburg-russia-07-16-web-2

Clemens Behr. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo © Evgeniy Belikov)

brooklyn-street-art-clemens-behr-rafael-schacter-st-petersburg-russia-07-16-web-4

Clemens Behr. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo © Evgeniy Belikov)

brooklyn-street-art-el-tono-rafael-schacter-st-petersburg-russia-07-16-web-2

Eltono. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo © Evgeniy Belikov)

Eltono

Random Geopolitical Map / Upside-down Fence

  1. Acrylic paint on wall / Barbed wire, steel poles, metal fence, laminate warning signs

Eltono’s mural is a reaction to the absurd rationality of national boundaries. As opposed to the natural flow of borders (as can be seen in perhaps the world’s only natural country, Chile), the carving up of the planet’s boundaries happens at right angles: diagonal, horizontal, and vertical lines cutting up the planet into a perfectly linear patchwork.

As such, Eltono has created his own world map using a generative art technique; using a basic randomizer to choose a digit between 1 and 7, the numbers which emerge then come to define both the color of the country and its borders, indicating the direction that each color, and each boundary will thus take.

Unlike his mural, for his fence installation, Eltono presents us with the opposite of the rationality as seen within maps. Rather, he displays a perfectly irrational object, an upside-down fence. For Eltono, however, the inversion of the fence makes it something lighter, not an object that prevents our movement, but a compact object that can be upended “as if the wind had blown it upside down”. As he continues, “it’s not a massive obstacle anymore. A fence that can be flipped is a territory that can be freed.”

brooklyn-street-art-el-tono-rafael-schacter-st-petersburg-russia-07-16-web-3

Eltono. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo © Evgeniy Belikov)

brooklyn-street-art-merijn-hos-rafael-schacter-st-petersburg-russia-07-16-web

Merijn Hos. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo © Evgeniy Belikov)

Merijn Hos

Lost in a Dream

  1. Acrylic and spray paint on wall

Merijn’s mural has a simple, yet vitally important message. His five globes show us the development from a basic binary of black and white to a densely colored, intricate, heterogeneous space. The final image thus shows us a planet in which, as Merijn says, “everything harmonizes. All the colors are there together and they all work and flow seamlessly with each other. Of course borders exist in many ways, but if we take it a step further and forget about the rules and just go with our feeling this is what I think can be understood as the ideal. That we should not be limited by the rationality of borders. Probably a bit of a cliché. But that’s how I see it and feel it”.

brooklyn-street-art-superproject-rafael-schacter-st-petersburg-russia-07-16-web-1

Superproject. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo © Evgeniy Belikov)

SUPERPROJECT (JASPER NIENS AND THIJS EWALTS)

Four Zero

2016, High Pressure Laminate installation

SUPERPROJECT, a two-man design operation spearheaded by visual artist Jasper Niens and industrial designer Thijs Ewalts, focus on computational design and digital fabrication, embracing art, architecture, engineering and technology. For Crossing Borders / Crossing Boundaries, they have created Four Zero, a space within a space, a location only accessible through four, tunnel-like entrances. Due to the curvature of the entrances, the visitor is not immediately sure where they will end up. As such, the work is about revealing and concealing, possibility and difficulty; once people enter the space they can either feel locked up and exposed or protected and safe within its embrace.

brooklyn-street-art-tita-salina-rafael-schacter-st-petersburg-russia-07-16-web-1

Tita Salina. Street Art Museum (SAM). St. Petersburg, Russia. May 2016. (photo © Evgeniy Belikov)

Tita Salina

1001th Island: The Most Sustainable Island in Archipelago

2015/2016. Video, trash, fishing net and wood

Tita Salina’s 1001st Island is a work exploring the changing borders and boundaries of Jakarta. A city which is currently sinking between 2.9 and 6.7 inches per year, and which exists mainly below sea level, Jakarta is currently undertaking a huge land reclamation and producing a 32 kilometer sea wall to try and protect its boundaries, a project that will construct 17 new islands and take an estimated 30 years to complete. The installation presented here, a reproduction of an artificial island built by Salina and local fisherman using marine debris and litter, aims to highlight the negative impacts of the project, in particular the fact that the city refuses to fix the causes of its problems — namely, excessive groundwater extraction and inefficient waste management. Salina thus connects the reclamation and land issue with the human waste that plagues the ocean and the future of the traditional fishermen who live and work within this now perilous space.

 

———————————-

ARTISTS Crossing Borders / Crossing Boundaries.

Alex Kurunis, Brad Downey, Igor Posonov, Clemens Behr, El Tono, Filippo Minelli, Gaia, Mata Ruda, James Bridle, Superproject ( Jasper Niens & Thijs Ewalts, Jazoo Yang, Jonathan Hollingworth, Kirill KTO, Martha Atienza, Merijn Hos, Nano4814, Rob Pinney, SpY, Tita Salina

For more information please go to The Street Art Museum (SAM)

Additional images at beginning of article are stills from video and are ©The Street Art Museum

———————————-

 

BSA<<<>>>BSA<<<>>>BSA<<>>>BSA<<<>>>BSA<<<>>>BSA<<>>>

Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!

BSA<<<>>>BSA<<<>>>BSA<<>>>BSA<<<>>>BSA<<<>>>BSA<<>>>

 

Please follow and like us:
Read more
Graffiti and the Everyday Utopias of the Street from Schacter & Co

Graffiti and the Everyday Utopias of the Street from Schacter & Co

Utopia, as you know, is unattainable.

Neither should one think that we are devolving into a Dystopian nightmare. Not just yet.

A new show at London’s Somerset House is examining the acts and results of so-called urban artists and their relationship to discussions about this imagined polarity.

We ask ourselves if graffiti and it’s variant unsanctioned public art cousins simply are a medium of messaging that runs outside of accepted pathways of delivery? Yes, and so much more.

brooklyn-street-art-Lucas-Dillon-approved-by-pablo-somerset-house-london-03-16-web-1

Lucas Dillon. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

One one hand some public servants, civic minders, and private real estate owners have their “hair on fire” moments when these actions/interventions/disruptions of the cityscape are portrayed as signs of the utter ruin of civilization. Concurrently, libertarians, anarchists and sundry romantics may present them as a form of self expression, even self empowerment; an act of claiming a voice in the public dialogue heretofore closed to certain members of society.

In the descriptive text for Somerset’s current series providing a full year of space for Utopian thinking, we learn that co-producers Somerset House, King’s College London and the Courtauld Institute of Art are marking the 500th anniversary of Utopia’s formal birth as a concept in writings by Thomas More. The reasoning presented says that because of his texts we are all equipped to imagine that a better world is possible and, thus knowing, “we are empowered to create it.”

brooklyn-street-art-Lucas-Dillon-approved-by-pablo-somerset-house-london-03-16-web

Lucas Dillon. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Raphael Schacter and the arts organization A(by)P are presenting a portion of this discussion with their exhibit Venturing Beyond: Graffiti and the Everyday Utopias of the Street, just opened. Commissioning seventeen street artists for one’s show is in itself so rare and splendid as to be only in the realm of one’s imagination today. But here they are; new pieces and performances from a healthy spectrum of practitioners on the graffiti/Street Art scene like Shepard Fairey, Swoon, REVOK, Brad Downey, Horfée, and Eltono.

Schacter and company are “arguing against the traditionally-held belief of graffiti as a dystopian movement or ‘glorified vandalism’.” With installation works, in-house residencies, and a wide-ranging program of events that include workshops, talks, films, music and performances, no stone will be un-thrown in this wo/man-made island of inquiry and imagination.

brooklyn-street-art-petro-approved-by-pablo-somerset-house-london-03-16-web

Petro. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Say A(by)P, “Above all, graffiti and street art act as an alternative voice, whether it is loud and brazen or more subtle and difficult to decipher, which strive to challenge the well-worn systems of society – something which Thomas More’s seminal text also set out. All of the artists will uniquely interpret their ideas on these utopian foundations of graffiti.”

 Here are a small series of images from the organizers from Venturing Beyond: Graffiti and the Everyday Utopias of the Street.

brooklyn-street-art-petro-approved-by-pablo-somerset-house-london-03-16-web-1

Petro. Detail. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

brooklyn-street-art-russell-maurice-approved-by-pablo-somerset-house-london-03-16-web

Russell Maurice. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

brooklyn-street-art-fillippo-minelli-approved-by-pablo-somerset-house-london-03-16-web

Filippo Minnelli. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

brooklyn-street-art-les-freres-ripoulain-approved-by-pablo-somerset-house-london-03-16-web

Les Freres Ripoulain. Detail. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

brooklyn-street-art-el-tono-approved-by-pablo-somerset-house-london-03-16-web

El Tono. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

brooklyn-street-art-antwan-horfee-approved-by-pablo-somerset-house-london-03-16-web

Antwan Horféé. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

brooklyn-street-art-misha-hollenbach-approved-by-pablo-somerset-house-london-03-16-web

Misha Hollenbach. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

brooklyn-street-art-sixe-paredes-approved-by-pablo-somerset-house-london-03-16-web

Sixe Paredes. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

brooklyn-street-art-saleo-rizote-approved-by-pablo-somerset-house-london-03-16-web

Saleo & Rizote. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

brooklyn-street-art-shepard-fairey-approved-by-pablo-somerset-house-london-03-16-web

Shepard Fairey. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

brooklyn-street-art-nano-approved-by-pablo-somerset-house-london-03-16-web

Nano. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

brooklyn-street-art-revok-russell-maurice-nano-filippo-minelli-approved-by-pablo-somerset-house-london-03-16-web

Revok, Russell Maurice, Nano and Filippo Minelli. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

3 March – 2 May 2016
Daily 10.00-18.00 (last entry 17.15)
Terrace Rooms, South Wing
Free admission

 

Please follow and like us:
Read more
BSA Picks 19 Things to See at DUMBO ARTS FEST 2014

BSA Picks 19 Things to See at DUMBO ARTS FEST 2014

Brooklyn-Street-Art-Chika-copyright-Jaime-Rojo-740-

brooklyn-street-art-dumbo-arts-festival-2014

New York Clobbers Fall again and one of the finest examples of art in the public sphere has again returned to swing the aesthetic bat straight at your head with the DUMBO ARTS FESTIVAL.

With it comes the electrifying Brooklyn energy that transforms the street into a place you actually want to be in, linger in, discover in. Smack between two iconic Bridges (Brooklyn and Manhattan) DUMBO boasts a world class art festival that has grown both organically and with great purpose, often commanding your attention.

You can make a plan to hit a few installations, performances, galleries… — or you can just show up and grab a map.

Above image is of artist CHIKA’s large scale interactive LED sculpture in the archway under the Manhattan Bridge. More on her SEI: Stella Octangula HERE.

Following are some BSA picks that we think are worth highlighting:

Brooklyn-Street-Art-Gilf-Folioleaf-740-by-day-by-night-collage

1. FOLIOLEAF GALLERY. “Bad Vibes” Rubin415 and David Head.

A solid mix of new contemporary work that leans toward popular tastes, Folioleaf is making a strong showing with a growing stable that includes a number of current Street Artist like DAIN, Gilf! (image above), Hellbent, and others that are tangentially related. Street Art culture is a wide world and gallery owner Todd Masters is stretching his arms to embrace it.

111 Front Street, Suite 226.

http://folioleaf.com/

Brooklyn-Street-Art-Sidehustle-740-by-day-by-night-collage

2. SIDE HUSTLE NYC: “By Day, By Night” Karoleen Decastro, Alyssa Gruen, Patrick Ramos, Jon Chen.

What is your sidehustle? In the ever more expensive NYC game, almost every creative we know has one – Check out this installation and on Sunday they will have another photo shoot.

Plymouth Street Park Perimeter Fence.

http://sidehustlenyc.com/

Brooklyn-Street-Art-DUMBO-Underfoot-Karen-Mainenti--740-by-day-by-night-collage

3. Dumbo Underfoot”. Karen Mainenti

Mainenti draws your attention to the actual street in this installation highlighting those rail tracks cutting through the neighborhood that were used by Brooklyn industries and trades like coffee, soap bubbles, sugar, shoes and Brillo steel wool pads.

See MORE here.

Plymouth Street (between Main and Washington Streets)

http://www.karenmainenti.com

Brooklyn-Street-Art-DUMBO-WALLS-740-by-day-by-night-collage

DUMBO WALLS – All over the place

Two Trees and Lisa Kim have humanized the experience year long for people working/living/passing through DUMBO by curating some large mural installations by some great Street Artists over the past couple of years. Below are a few to keep your eyes open for on the streets.

Brooklyn-Street-Art-Faith47-740-by-day-by-night-collage

4. DUMBO WALLS: Faith 47

Pearl Street Underpass, BQE,
Brooklyn-Street-Art-Daleast-740-by-day-by-night-collage

5. DUMBO WALLS: dalEAST

Pearl Street Underpass, BQE
Brooklyn-Street-Art-EL-TONO-740-by-day-by-night-collage

6. DUMBO WALLS: El Tono

Corner of Prospect and Jay Streets
Brooklyn-Street-Art-CAM-740-by-day-by-night-collage

7. DUMBO WALLS: CAM

York Street (between Adams and Pearl Streets)
Brooklyn-Street-Art-MOMO-740-by-day-by-night-collage

8. DUMBO WALLS: MOMO

York Street (between Washington and Adams Streets)

Brooklyn-Street-Art-Shepard-Fairey-740-by-day-by-night-collage

9. DUMBO WALLS: Shepard Fairey

Corner of York and Jay Streets

Brooklyn-Street-Art-Sagmeister-Shimizu-740-by-day-by-night-collage

10.  DUMBO WALLS: Stefan Sagmeister & Yuko Shimizu

Jay Street Underpass, BQE
Brooklyn-Street-Art-A-la-cart-smackmellon-740-by-day-by-night-collage

11. SMACK MELLON:

Á la Cart with Kristyna and Marek Milde

“If we are what we eat, who are we if we don’t know the origin and the context of the production of our food?”

Originally created for Smack Mellon’s exhibition FOODShed: Art and Agriculture in Action –

6 shopping carts filled with soil parked at Old Fulton Plaza.

Smack Mellon Gallery
92 Plymouth Street, Brooklyn
http://www.smackmellon.org
http://www.estebandelvalle.com

Brooklyn-Street-Art-DAD-En-Masse-740-by-day-by-night-collage

12. Global Virtual Drawing Party: DADA featuring EN MASSE

At the Festival, creators from around the world will be encouraged to draw on DADA, while artists on site will respond using their iPads. The results will be projected live.

1 Main Street, Festival Lounge

http://enmasse.info

http://www.dada.am

Brooklyn-Street-Art-Mighty-Tenaka-Chris-Otley-Herb-Smith-Veng-RWK-740-by-day-by-night-collage

13. MIGHTY TANAKA: “Here and There”. Chris Otley, Herb Smith

Which one are you?

Together, they explore the impact between native and invasive species within both of their local communities.

111 Front Street, Suite 224, Brooklyn

http://www.mightytanaka.com

Brooklyn-Street-Art-I-____-a-Dollar--Jody-Servon-740-by-day-by-night-collage

14. “I ____ a Dollar” . Jody Servon

Main Street (between Plymouth and Water Streets)

Brooklyn-Street-Art-v-740-by-day-by-night-collage

15. BE MIGHTY! SPACE: LA2/LA ROC

“LA2, aka LA ROC, collaborated with Keith Haring to create iconic NYC street art in the ’80s. LA2 is part of the original street art movement, and a godfather of the scene. His work is highly sought after for its iconic nature and history. This exhibit will showcase some of the classic styles that LA2 is known for, along with his new work that pushes the style into a more contemporary realm. On display will be works on canvas, wood, and an assortment of objects.”

80 John Street

Brooklyn-Street-Art-Masters-Projects-740-by-day-by-night-collage

16. MASTERS PROJECTS: “Lost Corcosa” . Various Artists

The largerer and higher ender version of FolioLeaf , this the MASTERS PROJECTS. oof!

Peter Buechler, DAIN, Dee Dee, ELLE, Amze Emmons, Dima Gavrysh, gilf!, Nicolas Holiber, Steven Katzman, Karl Klingbiel, Amanda Marie, Timothy Paul Myers, QRST, RAE, Jon Rappley, Joram Roukes, Shin-Shin, Cris Uphues, Nathan Vincent, Charles Wilkin, X-O.

111 Front Street, Suite 212

http://www.maste.rs

Brooklyn-Street-Art-Reflection-Kolonihavehus--740-by-day-by-night-collage

17. REFLECTION / KOLONIHAVEHUS . Tom Fruin and CoreAct

“The colorful glass house is inhabited by two performers, who portray everyday dilemmas and lifestyle paradoxes in a subtle manner. They have lost the ability to meaningfully discriminate, and are trapped in a long chain of procrastination, mirroring our current social patterns. As an audience you can wonder in and out of the performance as you like. “

Empire Fulton Ferry Deck

Brooklyn-Street-Art-GILF-740-by-day-by-night-collage

18. “TRUST YOUR VISION” . Gilf!

Front Street (between Adams and Pearl Streets)
Brooklyn-Street-Art-Lee-Mandell--XAM--740-by-day-by-night-collage

19 . MPH-BENCH . Lee Mandell, XAM

MPH-BENCH is an indoor and/or outdoor furniture piece created using the idea of adaptive reuse. We like the fact that this hydroponic bentch can be whe bench can be wheeled around to fit into various aesthetic environments – Mobile agriculture!

1 Main Street, Festival Lounge
http://www.xambuilt.com
http://www.boswyckfarms.org

Brooklyn-Street-Art-Truffula-Loraxia--XAM-Lee-Mandell-740-by-day-by-night-collage

BONUS!*** TRUFFULA LORAXIA . Lee Mandell, XAM

Truffula Loraxia is a hydroponic sculpture project created by Lee Mandell and XAM. It combines growing technologies with design. Truffula Loraxia’s basic structure is a tree, which extends from a dodecahedron shaped base.

Main Street Park

http://www.xambuilt.com

http://www.boswyckfarms.org

For a complete schedule of events, maps and other details click HERE

 

Please follow and like us:
Read more
BSA Film Friday 09.06.13

BSA Film Friday 09.06.13

 

Brooklyn-Street-Art-copyright-Narcelio-Grud-Bustop-music-2013

 

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

Now screening:Narcelio Grud “Bus Stop Sound”, Pablo Aravena “Time Wastes For Nobody”, Dan Witz – Light Star Express, El Ton0 – Random Mural Painting, and Mimi The Clown is a Rock Star .

BSA Special Feature: Narcelio Grud
Bus Stop Sound

Narcelio Grud knows how to experiment – in fact his primary driving force as a Street Artist is to innovate and discover. Released earlier this summer, this new video details the refurbishing of a bus stop with musical instrumentation. Not only does Mr. Grud and his assistant reconfigure the bus stop in broad daylight while people are standing in line and waiting, there is a natural curiosity and interaction alerted at the prospect of beating a drum.

 

Pablo Aravena “Time Wastes For Nobody”

Ripo and She One are in Barcelona adorning the rubble, hidden from the main veins of commerce and the public stampede. Presented as a wistful tone poem, the sense of being there is as palpable as just the sense of being. This work is not opportunist as much as a concert, a collaborative trio – a destroyed building and two painters. It’s a moment caught, and lost.

 

Dan Witz – Light Star Express

A succinct overview with the artist of some of the projects on the street that he has executed including his “Wailing Walls” series of Street Art installations, his project called “WTF”, his 9/11 shrines and his masterful way with oils and glazes to create tableaus of glowing light – intimate moments of warm illumination.

 

El Ton0 – Random Mural Painting

An indoor mural incorporating the concept of randomness with 51 kids over 2 days creating 62 lines, which together create this mural with Street Artist El Tono at the International Montessori School of Beijing.

Mimi The Clown is a Rock Star

The French Street Artist continues to mess around with stencils and celebrity – his own. Set to a soundtrack of Ramones reprising the 1960s “Let’s Dance” Mimi cavorts with walls and gallery shows in makeup, a rare combination of performance, personality, and preening. A clown in the most serious sense, Mimi brings the tradition of public maudlin/comic performance and overlays it with the celebrity culture of the modern age, an entanglement that is difficult to decode.

 

 

Please follow and like us:
Read more

Images of the Week: 08.11.13

brooklyn-street-art-case-maclaim-jaime-rojo-08-11-13-web

 

Boy did you smell the rotting hot winds blowing hard through Brooklyn this week? Makes you want to wash the ick off doesn’t it? Ballooning above the fetid stench of decaying garbage in dumpsters and drunken late-night urination, a distinctly bloated snorting powdery heat rose from Duane Reade Island and came across the East River, bringing with it a rather Coney Island-style circus of crusty hot air mixed with a whiff of braying pomposity. Luckily, it was a brief blast of the gaseous odor, dissipating quickly back into irrelevance and the now clean cool air has returned. At least as clean as the BK can muster.

As we do every week, here are a selection of new work that has arrived as we celebrate the true spirit of creativity and the community that has always buoyed us, no matter the weather. As usual, we’re happy to be right here with you on the stoop, hopefully staying cool.

This weeks interview with the street features Bisco, Bo130, Buff Monster, Case Ma’Claim, Cash For Your Warhol, El Tono, Galo, Microbo, Nychos, Shepard Fairey, Smithe, and The London Police.

Top image is by Case MaClaim. (photo © Jaime Rojo)

brooklyn-street-art-cash-for-your-warhol-jaime-rojo-08-11-13-web

Cash For Your Warhol in Somerville, MA (photo © CFYW)

brooklyn-street-art-nychos-jaime-rojo-08-11-13-web-1

NYCHOS (photo © Jaime Rojo)

brooklyn-street-art-nychos-jaime-rojo-08-11-13-web-2

NYCHOS. Detail. (photo © Jaime Rojo)

brooklyn-street-art-bisco-jaime-rojo-08-11-13-web

Bisco (photo © Jaime Rojo)

brooklyn-street-art-buffmonster-galo-the-london-police-microbo-bo130-jaime-rojo-08-11-13-web-1

Buff Monster, Galo, The London Police, Microbo, bo130. (photo © Jaime Rojo)

brooklyn-street-art-buffmonster-galo-the-london-police-microbo-bo130-jaime-rojo-08-11-13-web-2

Buff Monster, Galo, The London Police, Microbo, bo130. Detail. (photo © Jaime Rojo)

brooklyn-street-art-smithe-jaime-rojo-08-11-13-web-1

Smithe (photo © Jaime Rojo)

brooklyn-street-art-smithe-jaime-rojo-08-11-13-web-2

Smithe. Detail. (photo © Jaime Rojo)

brooklyn-street-art-smithe-jaime-rojo-08-11-13-web-3

Smithe. Detail. (photo © Jaime Rojo)

brooklyn-street-art-smithe-jaime-rojo-08-11-13-web-4

Smithe. Detail. (photo © Jaime Rojo)

brooklyn-street-art-shepard-fairey-jaime-rojo-08-11-13-web-1

Shepard Fairey with his crew in DUMBO. (photo © Jaime Rojo)

brooklyn-street-art-shepard-fairey-jaime-rojo-08-11-13-web-2

Shepard Fairey at work in DUMBO. (photo © Jaime Rojo)

brooklyn-street-art-shepard-fairey-jaime-rojo-08-11-13-web-3

Shepard Fairey (photo © Jaime Rojo)

brooklyn-street-art-shepard-fairey-jaime-rojo-08-11-13-web-4

Obey Giant (photo © Jaime Rojo)

brooklyn-street-art-artist-unknown-jaime-rojo-08-11-13-web-1

Artist Unknown (photo © Jaime Rojo)

brooklyn-street-art-artist-unknown-jaime-rojo-08-11-13-web-2

Artist Unknown (photo © Jaime Rojo)

brooklyn-street-art-nychos-smithe-jaime-rojo-08-11-13-web-1

Smithe and Nychos collaboration. (photo © Jaime Rojo)

brooklyn-street-art-nychos-smithe-jaime-rojo-08-11-13-web-2

Smithe and Nychos collaboration. Detail. (photo © Jaime Rojo)

brooklyn-street-art-el-tono-jaime-rojo-08-11-13-web-1

El Tono at work in DUMBO. (photo © Jaime Rojo)

brooklyn-street-art-el-tono-jaime-rojo-08-11-13-web-3

El Tono in DUMBO. Detail. (photo © Jaime Rojo)

brooklyn-street-art-el-tono-jaime-rojo-08-11-13-web-2

El Tono in DUMBO. (photo © Jaime Rojo)

brooklyn-street-art-jaime-rojo-08-11-13-web

Untitled. Brooklyn, NYC (photo © Jaime Rojo)

 

<<>>><><<>BSA<<>>><<<>><><BSA<<>>><><<>BSA<<>>><<<>><><BSA

Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!<<>>><><<>BSA<<>>><<<>><><BSA<<>>><><<>BSA<<>>><<<>><><BSA

Please follow and like us:
Read more

BSA Film Friday: 04.05.13

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

Now screening: ROA in Cambodia, MOMO and El Tono Snap Your Attention in France, Conor Harrington in Norway, and Shepard Fairey in London for “Sound and Vision”

BSA Special Feature:
ROA: A Trip to Cambodia

Street Art and Skateboarding – What’s not to like?

Presented by The SK8room, here is a brand new video of Street Artist ROA. Twenty percent of all sales that come from this campaign will be donated to Skateistan, a not-for-profit that teaches empowerment through skateboarding to children in impoverished countries like Afghanistan and Cambodia.

You may remember some of these images from our posting

ROA in Mexico, Gambia, and Cambodia on September 13, 2012

 

MOMO and El Tono Snap Your Attention in France

Experimenting a little with a revolutionary new painting contraption, here are two of the modern minimalists on the Street Art scene today demonstrating how to paint with a snap line in Besançon.

Old Norse: Conor Harrington’s trip to Vardo, Norway

A short poetic film by Andrew Telling documenting Conor Harrington’s trip to Vardø, Norway, with some incidental paintings thrown in to remind you why you started watching. The  sumptous, stunning score by Lucinda Chua leads your mind into a Nordic trance.

Shepard Fairey “Sound and Vision”

In London for the music inspired show at Stolen Space, Street Artist Shepard Fairey introduces you to some of his influences in music and to Z-Trip, the living breathing musical component of the installation. Also, he shipped a thousand of his own records to the show. Dude.  Also, a few street slaps at the end.

Please follow and like us:
Read more