We’re celebrating the end of one year and the beginning of the next by thanking BSA Readers, Friends, and Family for your support in 2021. We have selected some of our favorite shots by our Editor of Photography, Jaime Rojo, from the year and will share a new one every day to celebrate all our good times together, our hope for the future, and our love for the street.
So we begin with an image created by Mother Nature, the original artist and the greatest one. Looking to the sky, the sun illuminates these Brooklyn spring blooms from behind.
It’s that time of the year again! BSA has been publishing our “Hot Lists” and best-of collections for more than 11 years every December.
Our interests and understanding and network of connections continued to spread far afield this year, and you probably can tell it just by the books we featured: stickers, illustration, murals, copyright law, a cross-country spraycation, anamorphic street installation, Hip-Hop photography, graffiti writers community, and a lockdown project that kept an artists sanity.
So here is a short list from 2021 that you may enjoy as well – just in case you would like to give them as gifts to family, friends, or even to yourself.
Leon Keer: “Break Glass In Case Of Lost Childhood”
From BSA:
One of the challenges in creating a book about anamorphic art is presenting images that tell the viewer that they are being tricked by perspective yet hold onto the magic that this unique art conjures in people who walk by it on the street.
In a way, that brass skeleton key that allows entry into another world is precisely what Dutch pop-surrealist artist Leon Keer has been seeking for decades to evoke in viewers’ heads and hearts. Some would argue he is preeminently such; certainly, he is the wizard whose work on walls and streets has triggered memories for thousands of children and ex-children of the fantastic worlds they have visited.
“You develop your senses all your life. Through what you experience, you involve affinities and aversions,” he says in his first comprehensive bound collection of gorgeous plates entitled In Case of Lost Childhood Break Glass. “Your memories shape the way you look at the world. When it comes to reflecting my thoughts, my memories are key. I needed to feel some kind of affection or remorse towards the object or situation I want to paint.”
Street Art Today 2 by Bjorn Van Poucke: An Update on 50 “Most Relevant” Artists
From BSA:
A worthy companion to the original tome, Bjørn Van Poucke and Lanoo publishers extend the hitlist of favored muralists that he & Elise Luong began in Street art/ Today 1 – and the collection is updated perhaps with the perceived cultural capital many of these artists have garnered since then.
Replete with full-color plates from the artists’ own collections and garnished with brief overviews of their histories, creative background, and philosophies, the well-designed and modern layout functions as an introduction for those unfamiliar with the wide variety of artworks that are currently spread across city walls as large scale opus artworks in public space. As organizer and curator of The Crystal Ship mural festival in Oostende, Belgium, Mr. Van Poucke has had his pick of the litter and has showcased them during the late twenty-teens.
A new illustrated tome capturing the black and white work of one-half of Ukraine’s mural painting duo Interesni Kazki welcomes you into the past wonders and future imaginings of a world framed in “Phantasmagoria.”
Full of monochromatic fantasies at least partially inspired by the worlds unleashed by Belgian inventor and physicist Étienne-Gaspard “Robertson” Robert, Waone’s own interior expanding fantascope of miss-appended demons, dragon slayers, riddle-speaking botanicals, and mythological heroes may borrow as deeply from his father’s Soviet natural science magazines that brimmed with hand-painted illustrations – which served as his education and entertainment as a child.
This book, the first of two volumes of graphic works, explores Waone’s move from the street into the studio, from full color into black and white, from aerosol and brush to etching, lithography, augmented reality, and sculpting.
“Closed (In) for Inventory”: FKDL Makes the Most of His Confinement, 10 Items at a Time
From BSA:
The world is slowly making movements toward the door as if to go outside and begin living again in a manner to which we had been accustomed before COVID made many of us become shut-ins. Parisian street artist FKDL was no exception, afraid for his health. However, he does have a very attractively feathered nest, so he made the best of his time creating.
“March 17, 2020, the unprecedented experience of confinement begins in France,” writes Camille Berthelot in the introduction to Closed (in) for Inventory, “Time that usually goes so fast turns into a space of freedom, and everyone has the leisure or the obligation to devote himself to the unexpected.”
FKDL quickly began a project daily, sorting and assembling 10 items and photographing them. He posted them to his Instagram by mid-day. Eventually, he saved the photographed compositions together and created this book.
“My duty of tidying up and sorting out turned into a daily challenge. I dove like a child into the big toybox my apartment is to select and share my strange objects, my banalities, my memories, my creations, and those of others,” he writes. “I gather these treasures, valuables or not, in search of harmony of subject, forms, materials, and nuances.”
The street sticker, be it ever so humble and diminutive, is profligate and sometimes even inspiring. An amalgamated scene that is anonymous, yet curiously stuck together, the organizers and sponsors of so-called sticker jams have been overwhelmed in recent years by thousands of participants.
Artist and organizer IWILLNOT has compiled, organized, archived, and preserved this collection as a ‘field guide,’ he says, and another artist named Cheer Up has laid out page after page. It is a global cross-sample from 60 countries and a thousand artists – a treasure trove of the witty, insightful, snotty, and sometimes antisocial street bards of the moment, seizing their moment to speak and mark territory.
A year after its close, we open the book on American street artist MOMO’s new book chronicling the exhibition “Parting Line.” Writing about and covering his work for 15 years or so, we’re always pleased to see where his path has led – never surprised but always pleased with his evolution of decoding the lines, textures, practices, serendipity of discoveries unearthed by this wandering interrogator.
Here, along the river Seine banks, we see his exhibition for the still young Hangar 107, the recently inaugurated Center For Contemporary Art in Rouen, France. While we think of his work in New York in the 2000s, we see the steady progression here – his cloud washes, raking patterns, his experimental, experiential zeal. This is the spirit of DIY that we first fell in love with, the lust for uncovering and the desire for making marks unlike others across the cityscape, quizzically folding and unfolding, pulling the string, drawing the line.
“Born In The Bronx” Expanded: Joe Conzo’s Intuitive Eye on Early Hip Hop
From BSA:
Born in the Bronx: A Visual Record of the Early Days of Hip Hop
Yes, Yes, Y’all, it’s been a decade since this volume, “Born in the Bronx,” was released. The images here by photographer Joe Conzo seem even more deeply soaked in the amber light of early Hip Hop culture from the late 1970s and early 80s, now taking on a deepened sense of the historical.
As the city and the original players of this story have evolved through the decades that followed the nascent Hip Hop era, it’s clearer than ever that this was nothing less than a full-force eruption, a revelation that cracked and shook and rocket-fueled an entire culture. Thanks to Conzo it was captured and preserved, not likely to be repeated.
Born in the Bronx is full of gems, insider observations, interviews, and personal hand-drawn artworks. One critical cornerstone is a timeline from Jeff Chang that begins in 1963 as the boastful but failed Urban Planner Robert Moses constructed the Cross Bronx Expressway – painfully destroying and displacing people and families, severing culturally significant, vibrant areas of the borough and producing a dangerous malaise.
Enrico Bonadio is a contributor to BSA Writer’s Bench OpEd column, he is a Reader in Intellectual Property Law at City, University of London, and a street and graffiti art aficionado. His current research agenda focuses on the legal protection of non-conventional forms of creativity. He recently edited the Cambridge Handbook of Copyright in Street Art and Graffiti (Cambridge University Press 2019) and Non-Conventional Copyright – Do New and Atypical Works Deserve Protection? (Elgar 2018). He is currently working on his monograph Penetration of Copyright into Street Art and Graffiti Sub-Cultures (Brill, expected 2022).
Enrico is a Member of the Editorial Board of the NUART Journal, which publishes provocative and critical writings on a range of topics relating to street art practice and urban art cultures.
His academic research has been covered by CNN, Wall Street Journal, Bloomberg, BBC, Washington Post, The New York Times, Financial Times. Reuters, The Guardian, The Times, Independent, and The Conversation, amongst other media outlets.
A “Gentle People” Aussie Tour: Paint, Fun, and Run with 1UP & Olf
From BSA:
It’s almost sublimely subversive to publish your illegal graffiti escapades in a handsomely bound photo book with creamy paper stock and gauzy, professional photos. Positioned as a travelogue across the great Australian continent (complete with a hand-drawn map), the international troupe of sprayers named 1UP from Germany provides a genteel accounting of their expansive itinerary in a diary here for you, dear reader.
The stories are not without surprise and carefully touch on all the necessary road trip tropes you may wish for but cannot be assured of in a cross-country graffiti tale of skylarking and aesthetic destruction: angry rural police, security cameras, sleeping in rolled-up carpets, fancy receptions with Aperol Spritz, climbing over fences, sudden fire extinguisher tags, exploding paint cans, smoky wildfires, beaches, wallabies, long never-ending-stretches of road, the Sydney Harbor, an emergency-brake whole-car in Melbourne, and yes, a large kangaroo smashing into your car on a darkened country path.
“Nation Of Graffiti Artists” Opens Another Chapter of NYC Writer History
From BSA:
SCORPIO, BLOOD TEA, ALI, STAN 153, SAL 161, CLIFF 159. It was the mid to late 70s in New York and train writing was in its foundational stages, later to be referred to as legendary. For a modest crew of teenagers, it was the hypest stage you could be on, and going all city constructed many dreams of fame and recognition on the street.
Jack Pelsinger wanted to help shepherd these talents and energies into something they could develop into a future, maybe a profession. With a lease on a storefront from the city for a dollar in 1974, he made way for the Nation of Graffiti Artists (NOGA). An artists workshop and haven for a creative community that was regularly sidelined or overlooked, the author of this new volume, Chris Pape (acclaimed OG Freedom), says “Like moths drawn to a light, the kids showed up, hundreds of them.”
With extraordinary photos shot by Michael Lawrence, the book serves as a true document for the New York of that moment and opens doors to a chapter of graffiti history you may not even have known of until now.
Welcome to BSA Images of the Week. The weather is tropical this weekend, like we’re expecting a hurricane – ominous and windy. Maybe its our ongoing fear of runaway inflation, which Fed Chair Jerome Powell is trying to make us forget he called ‘transitory’. That should be the word of 2021. Transitory. Like fanny packs worn diagonally across the chest, or Dua Lipa.
The city’s vaccination rate is 78, and the mayor is requiring more vaccine and mask mandates in private companies and schools. Let’s hope it works, brothers and sisters.
So here’s our regular interview with the street, this week including 4SomeCrew, Buff Monster, Calicho, DAK 907, DOT DOT DOT, Drecks, ERRE, MIDABI, Not Banksy, Paper Monster, Paul Richard, Praxis VGZ, Roachi, Swrve, Urban Ruben, and Zexor.
SCORPIO, BLOOD TEA, ALI, STAN 153, SAL 161, CLIFF 159. It was the mid to late 70s in New York and train writing was in its foundational stages, later to be referred to as legendary. For a modest crew of teenagers, it was the hypest stage you could be on, and going all city constructed many dreams of fame and recognition on the street.
Jack Pelsinger wanted to help shepherd these talents and energies into something they could develop into a future, maybe a profession. With a lease on a storefront from the city for a dollar in 1974, he made way for the Nation of Graffiti Artists (NOGA). An artists workshop and haven for a creative community that was regularly sidelined or overlooked, the author of this new volume, Chris Pape (acclaimed OG Freedom), says “Like moths drawn to a light, the kids showed up, hundreds of them.”
With extraordinary photos shot by Michael Lawrence, the book serves as a true document for the New York of that moment and opens doors to a chapter of graffiti history you may not even have known of until now.
NATION OF GRAFFITI ARTISTS, NYC. WRITTEN BY CHRIS PAPE WITH PHOTOGRAPHY BY MICHAEL LAWRENCE. PUBLISHED BY BEYOND THE STREETS, 2021.
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening: 1. Prince Of Luna Park 2. Of Memory and Debris a film by Rodrigo Michelangeli 3. The Velvet Underground / Official Trailer
BSA Special Feature: Prince Of Luna Park
New York’s history is marbled and concrete, full of dreams and philosophy, and brutish transactional business at all costs. Before there was this Luna Park, there was the original Luna Park. But all the Luna Parks are tied together in a haze of thrills, chills, excitement, oddity, and french fries with hot dogs. Here in Daniel Lombroso’s “The Prince of Luna Park,” Alessandro Zamperla works to protect his family’s iconic theme park during the pandemic—and prove himself to his father.
Prince Of Luna Park. A film by Daniel Lombroso
Of Memory and Debris a film by Rodrigo Michelangeli
More than 20 million people have left Venezuela in the last five years due to economic collapse. A gorgeous story of love, loss, memory, and the artifacts of life that are all set in motion by upheaval.
“An intimate character diptych, OF MEMORY AND DEBRIS tells the story of an unseen generation — the grandparents left behind by the largest exodus in Latin America’s recent history.”
The Velvet Underground / Official Trailer
Good Evening. We’re your local velvet underground.
It’s almost sublimely subversive to publish your illegal graffiti escapades in a handsomely bound photo book with creamy paper stock and gauzy, professional photos. Positioned as a travelogue across the great Australian continent (complete with a hand-drawn map), the international troupe of sprayers named 1UP from Germany provides a genteel accounting of their expansive itinerary in a diary here for you, dear reader.
They say they are embarking on what is cheekily described as the “Gentlemen’s Tour” in certain aerosol circles. The band of anonymous travelers accompanies their multi-city art exhibition tour at respectable art/café/gallery venues with a parallel expedition in mind: hitting all five commuter train systems of Australia – including Perth, Adelaide, Melbourne, Sydney and Brisbane.
Jotted with aplomb, these adventures appear rather squirreled away between sometimes heroic, sometimes misty atmospheric photographs by OLF, – a gentle mix of storytelling that can be disarming in its dreamy aspirational quality. “Our imagination was running wild: what will happen in Australia? Kangaroos, parties, trains, bombing! What will the desert be like? How will we endure the many thousands of kilometers driving across the country?”
The stories are not without surprise and carefully touch on all the necessary road trip tropes you may wish for but cannot be assured of in a cross-country graffiti tale of skylarking and aesthetic destruction: angry rural police, security cameras, sleeping in rolled-up carpets, fancy receptions with Aperol Spritz, climbing over fences, sudden fire extinguisher tags, exploding paint cans, smoky wildfires, beaches, wallabies, long never-ending-stretches of road, the Sydney Harbor, an emergency-brake whole-car in Melbourne, and yes, a large kangaroo smashing into your car on a darkened country path.
One favorite tale includes the officer who grills them about painting a water tower and who protects the little lady from his swear words so he can awaken the slippery conscience inside these trapped vandals.
Then he told our female companion to put her hands over her ears and screamed at us two blokes, “Fucking grow up!”
By the end of the slim journal told in the voice of the royal “we”, you are satisfied that they have traveled further than they ever imagined, and you went with them. They may have indeed matured a little, you’ll tell yourself, but hopefully, they have not grown up. Thankfully, not enough to assure that there will not be a sequel adventure trip in another country sooner than later.
PAINT, FUN, RUN, 1UP & OLF: GENTLE PEOPLE TOUR. 1UP CREW BERLIN. PRINTED AND BOUND IN GERMANY
Last week during our interview with Patrick and Patrick from Faile in Miami we discussed with them the many layers of meta that have always characterized their art-making since first putting their handmade screen prints on New York streets in the late 1990s. Not only would Faile photograph their own prints after putting them up on walls and fences and garbage dumpsters, they would convert those same photos into another screen print, and go out again to install those on the street.
This back-and-forth between studio and street is not exactly common, but it does solidify the importance of experimentation and play in their work, and the use of the street as laboratory for many street artists over the years.
During this summer a related project took place in Ibiza that rings with that same echo. Photos of children making their own games and toys that were first shot on the streets of New York’s Lower East Side in the 1970s were printed and displayed directly on the streets here. Part of an 11-year-old street art festival called BLOOP Festival IBIZA, the photos were attached to historic cobblestone walls and flown banner-like from posts along the main thoroughfare.
Never previously done at this free festival called BLOOP, these photos of Street Play, so-called for the book she published with them in 2005, were part of an open-air exhibition for photo-journalist Martha Cooper. Known perhaps by many for her photos of New York’s graffitied subway trains from the same era, these pictures focus instead on a different segment of children making their own toys and environments in an atmosphere of urban blight.
Somehow these areas of The Port and the Dalt Vila are imbued with a new spirit briefly as they become settings for these black and white photos of Alphabet City in New York. The images bridge the locations, and the locations likewise become a bridge for the photographs.
“This is not a piece about gloating but about the anger I feel,” says street artist Lapiz about his newest public stencils renders beautifully the jarring facts of hospital workers right now in overwhelmed hospitals everywhere.
“I’ve been shocked to see the nurses wearing so much protective gear that one can not see their faces, nothing really that identifies them as caring,” he remarks on the healthcare professionals who cover their faces, then feel compelled to tape a photo of them on the outside of their uniform to reassure patients that there is a warm smiling person under all those layers.
For all you know, it could be Santa under there this Christmas.
For another consecutive holiday season, many of us, like those in Germany, are finding that they live in a hotspot for infections again. And some have become patients.
“But this is how intensive care units now look like since they are overrun by infected antivaxxers,” he says. “This is not a painting of schadenfreude but of anger. It shows the Christmas that many of these disbelievers are facing for a final time.” Oof! There are many complex feelings rolled into this one obviously.
Stylistically diverse artists are gathered loosely around a dispersed list of goals – and the results are a variety of public works that hope to challenge communities in Bristol, England, with pertinent messages about the collapse of ecological systems demarking the current age.
A series of art activations curated by Charlotte Pyatt this fall in conjunction with the Vanguard exhibition here at M Shed, Charlotte asked artists Richt, Peace of Art, Filthy Luker, Mau Mau, Gabriel Pitcher, Lucy McLauchlan, Caryn Koh, Ampparito, and Paul Harfleet to conceptualize pertinent responses to the UN 17 Sustainable Development Goals (SDGs) for 2030. It’s a high order, but you must begin somewhere and, by partnering with local community groups in Bristol, the team hoped to show how the people of this city can localize global conversations on poverty eradication, environmental protection and societal equality.
The Vanguard team is made up of a collective of artists, specialists and collectors involved in the global street art movement, say the promotional materials, and the project is led by Mary McCarthy with creative direction from Charlotte Pyatt, art direction from Justin MacCarthy aka DICY, and design direction from Graham Dews aka PARIS.
Below are images from the outdoor installations along with some information from their press department about each artist. Special thanks to photographer Doug Gillen for sharing these excellent images with BSA readers.
“Luke Egan and Pete Hamilton AKA street art duo Filthy Luker and Pedro Estrellas have been creating inflatable artworks together for 24 years. The artist’s unmistakable style and use of medium has carved a unique niche in the international Street Art movement.”
The duo took over the rooftop of We The Curious with an inflatable floral sculpture to amplify SDG15 Life on Land, in partnership with The Natural History Consortium.
“This year city partners came together to create the first One City Ecological Emergency Strategy,” says Savita Willmot is chief executive of The Natural History Consortium. “Our challenge is to now bring these ideas to life across the streets of Bristol. Arts and culture are at the heart of our city, and harnessing the engaging power of art will be crucial to tackling our environmental emergencies.”
The Pansy Project created a tour calling for Gender Equality, say, organizers. More specifically they called for an end to all discrimination and violence against women and girls, which includes lesbophobia, biphobia, and transphobia.
Artist Paul Harfleet brought The Pansy Project to Bristol, leading a free walking tour of the city along which he planted pansies at sites of homophobic and transphobic abuse as a defiant but gentle resistance to hate.
“Despite the melancholic nature of my work, there’s always joy in connecting with my LGBTQ+ siblings to share our stories and connect,” Harfleet says. “I believe that sharing the challenges we face connects and strengthens us.”
A British artist based in South Korea, Gabriel Pitcher uses figurative portraits, short films, and on-street interventions to confront norms about classical beauty, and examines attitudes and psychology in the meantime.
The community ambassador for this intervention in St Werburgh’s is The Global Goals Centre. “I’ve always been interested in exploring and documenting the stories behind the people I paint,” says the artist. This portrait celebrates Katie Cross, her sport, and her effort to ignite that same curiosity and energy for engaging meaningfully with the conversation on climate action.”
Aligning his materials with the climate focus of the activation, Pitcher created his mural using Graphenstone paint which draws in carbon from the air as it cures.”
British Artist and illustrator based in Bristol, UK. Richt aesthetic is minimally monochromatic works with elements of comics, pop, and abstract landscape.
Focusing on the need for “Decent Work and Economic Growth,” he partnered with community ambassador Campus Skateparks and painted a mural at Campus Pool Skatepark to celebrate the role of skate culture in fostering pathways into the creative industries.
“Skateboarding is so many different things,” he says. “For me, at its core, it’s an act of rebellion where nobody is in charge of the biggest club of misfits and rejects ever assembled. The only logical outcome from that recipe is creativity in abundance.”
Light-spirited satirist Mau Mau calls out social injustice and environmental disaster, as he has done for the past 2 decades. “His stable of urban creatures have grown to become icons in their own right,” say organizers. “His foxes, pigs, and sheep have appeared on walls from Japan to the States,” they say, and “He has worked with the likes of Banksy, Dizzie Rascal, Surfers Against Sewage and Greenpeace to name a few.”
Speaking on the artwork, a representative for Frank Water said: “[Here] The globe’s surface points to India, the country with the most people in the world (77 million) without improved access to safe water and the region where FRANK WATER undertakes most of their overseas work. This is juxtaposed with the fact that we undervalue our access to quality water here in the UK, we even flush toilets with drinking-quality water. This aligns with the organization’s efforts to encourage a shift in attitudes to water locally, increasing its perceived value and promoting stewardship.”
Bristol-based female street art collective “Peace of Art” features local artists Emily Richards, Aumairah Hassan Safina Khan and Manazzar Siddique. Begun the street in 2020, the trio say they are “passionate about painting murals that are empowering and reflective of the diverse local community and bringing positive, inspiring art to the area.”
“This mural aims to highlight the issues around climate change and clean air inequalities. It is a reminder of our deep connection with nature as well as one another and the quality of the air we breathe should not and cannot be taken for granted.”
Welcome to BSA Images of the Week – this week from Wynwood Walls in Miami, which each year Goldman Global Arts invites a slate of artists to artistically collaborate by providing them with the opportunity to paint on the walls of the compound. The artists created new pieces in the weeks leading up to Miami Art Basel and debuted them this week. Many of the artists were in attendance during the events and attended the celebration dinner given by the Goldman family as well. Martha Cooper and Nika Kramer were invited to provide the documentation of the process and the completed works.
So here’s our weekly interview with the street, this week featuring Add Fuel, Aiko, Bordalo II, David Flores, Ernesto Maranje, Farid Rueda, Greg Mike, Hiero Veiga, Joe Iurato, Kai, Kayla Mahaffey, Mantra, Quake, and Scott Froschauer.
“Late-stage capitalism”? Too heavy; sounds sort of industrial, like that Goth kid in college with the thick-soled boots and big words. “Apocalypse” sounds inspirational, aspirational, so NOW.
Now, from Milan, Italy, comes the “Apocalypse Trilogy”, at least the first two parts, courtesy of two other smart kids in your street art class, Francesco Garbelli and Biancoshock. Together this pair is staging a trio of uncommissioned, unapproved, and unapologetic public art installations featuring flowers as the protagonists.
“The series talks about issues related to the globalization era, the consumerism, and the imminent environmental disaster,” they explain. “Each installation presents paradoxical scenarios” – as we will see here. Aside from their symbolic visual messages that are on-target, you’ll also appreciate that in this age of co-opting and corporate green-washing, the artists also create fictional sponsors who can’t resist proudly taking credit – and shooting themselves in the foot at the same time.
Partly inspired by satire and movies, the first two installations of the “Apocalypse Trilogy” are called “Super Size Flowers” and “Engulf and Devour”.
“A series of flowers, handmade by the artists, that grows ‘obesely’ into a public green area directly,” is meant to welcome you to your favorite omnipresent fast food restaurant, sponsored and managed by the fictional Father of all Fast Foods.
With many western societies facing ever-increasing rates of obesity, they suggest that even the flowers have put on a little extra weight. The artists say they are targeting “a system that has transformed the eating habits of millions of people with no exclusion, thanks to strategies and services dedicated to all age groups; with menus containing surprises for the little ones, parties with entertainment, seats with video games, free Wi-Fi, drive-through service and so on.”
“The future pandemic has been served, without having to get out of your car.”
Inspired by the name of a fictional company in a 1976 Mel Brooks movie, this installation features hundreds of flowers “imprisoned in rusty cages.” A reference to intensive farming methods that surpass the past methods in ways that harm, effectively de-naturing and poisoning our natural systems to extract resourses – even flowers – the artists say this simple installation “is configured as a metaphor for a certain – and dominant – way of interpreting the economy.”
Sponsored and managed by the fictional Engulf & Devour company, the caged flowers represent “the idea of infinite growth that is in stark contrast to the correct perception of our planet which, on the contrary, is finite by its nature,” they tell us.
“The image of these herded flowers deprived of their living space inevitably recalls the theme of intensive farming – or the notorious wet markets, and their modus operandi.”
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening: 1. DETOKS & GENOM, “NOT BIGGER, NOT BETTER …BUT MORE” 2. RERO @ Espace D’art Montresso in Marrkesh 3. Virgil Was Here. His Last Collection for Louis Vuitton in Miami Beach. November 30th, 2021
BSA Special Feature: DETOKS & GENOM, “NOT BIGGER, NOT BETTER …BUT MORE”
“Detoks and Genom form a deadly duo that has been claiming prominent highway spots around Barcelona for some time now.” And with guys like this, there is always so much more to the story.
DETOKS & GENOM, “NOT BIGGER, NOT BETTER …BUT MORE”
RERO @ Espace D’art Montresso in Marrakesh
“It’s about getting rid of the superfluous and focusing on the essential,” says RERO as he describes his new exhibition at Montresso Foundation.
Virgil Was Here. His Last Collection for Louis Vuitton in Miami Beach. November 30th, 2021
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
