This week we see a few new walls in New York mixed with images from Stavanger and Utsira, Norway that we caught a few weeks ago. Speaking of Stavanger, last night we had a Nuart reunion of sorts in New York as we saw the first solo exhibition of Norwegian Martin Whatson here at Harman Projects, and it was good to see the artist and many beautiful people from this scene that we love so much.
Here is our regular interview with the street: this week featuring 1Up Crew, Martin Whatson, Helen Bur, Carrie Reichardt, M-City, Ardif, XSM, JPO Art, the J0N, Never Satisfied, StayOne, SynSynerSynet, HOPES, SHIE, Ban Box, Dr. AW, John Fekner, and La Staa.
Recently we brought you coverage of Shepard Fairey’s newest work for the Djerbahood project on the island of Hara Sghira Er Riadh in Tunisia. A gradually-building project curated over the last decade or more by the Tunisian-French owner of Paris’ Galerie Itinerrance, Medhi Ben Cheikh, there must be nearly 200 artists from 30+ nations represented here now.
As each year passes we become more aware that the collection represents an era, a vast survey of a time when street art was graduating to murals worldwide. Some of these artists have risen in prominence in the street art/contemporary art world, while others have declined, or have shifted their attention to something else entirely. In that respect, Djerbahood is an archive for all to investigate and analyze.
Sensitive to local cultural values in terms of content, the various expressions of creativity may not follow one aesthetic – but they invariably are complemented by the predominant white stucco walls that define this pristine haven for street art murals. While some have aged quite beautifully, others have shown the passage of time and the elements, gently weathering the overall aesthetic.
The project is documented in a beautifully edited and printed book, which we reviewed here. To reacquaint you, below are a few selections from the project:
To reaquaint you, below are a few selections from the project:
Up-to-the-moment street art today from Polish artist M-City (Mariusz Waras), who converts the façade of a Gdansk warehouse into a social media primer on how to support the people of Ukraine. Sharing a border with this post-Soviet state which has just been invaded by Russian forces, Poland is acutely affected by the implications of possible further aggression – as are the Baltic states and the rest of Europe.
The short list asserts that many social media users may not be fully cognizant of the implications of their posting actions – especially during wartime. M-City took to the walls today to instruct some best practices in these painted advisory messages on how to create your digital ones.
In additional acts of irony, he posts these street art messages on his social media channels – and we publish them for the BSA audience as well.
BSA:Where is this located? M-City: It’s located in a very well-known building which part of Stocznia Gdańska, now Stocznia Cesarska. It is part of the Imperial Shipyard where the workers’ movement, Soliderność (Solidarity), was born.
BSA: What would you like people to understand? M-City: Our Social media landscape is full of fakes and is full of superficial messages. Because of this, many people have a bigger challenge to make their messages visible when they try to organize something and help the Ukrainians.
BSA:Did you create this for a local audience, or specifically an international audience. M-City: It’s in English because now this is a global problem. I wanted to create simple sentences so everyone can understand.
BSA:Are you personally affected by the invasion? M-City: No, it’s still far from us. But I have a lot of friends in Ukraine and I painted there a few times. Russia, Ukraine, and Belarus are next to our border. Many Ukrainian people are working here now. They arrived here mostly after the beginning of this conflict years ago.
The Pompei Street Art Festival features a familiar selection of events, tours, panels, workshops, performances, murals, and eye candy that you have come to expect from these public/private events meant to spark interest in a city, its downtown, its economy.
But the difference here is that the city of Pompei provides a link to ancient graffiti, the citizens of ancient Pompei used chalk and sharp tools to write on walls to express and communicate with each other and of course, it offers a link to the Romans and to the richest archaeological site perhaps in the world. It would be difficult to overemphasize its importance after the discoveries of Pompeii and Herculaneum, not only because of the scholarship that followed it but its influence over the 18th century in both France and England; the neo-classical style, of contemporary renditions of the imagination of the classical world. Buried under ash in 79CE, the history of the excavated city influences the environment, the architecture, the mosaics, water towers, schools, temples, taverns.
So without narration, we first gaze over the murals produced during this festival. One may reflect on that influence of centuries past on every artist participating here, and wonder how this is informing their choices, their techniques, their sense of place in history. We look forward to bringing you the second edition of this fresh new festival in 2022.
After three weeks of collecting plastic from nearby beaches, the fountain sculpture is completed with the hopes of bringing attention to the environment. The collection of plastic was done in conjunction with Plasticfreeit. The Cian team is composed of Carlos, Max, Rata, and Marcel.