All posts tagged: New Delhi

BSA Film Friday: 02.22.19

BSA Film Friday: 02.22.19

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

Now screening :
1. Escif: Magic Piano
2. Adele Renault: St+Art India. Lodhi Art Festival 2019
3. Jeff Koons at the Ashmolean Museum
4. OS Gemeos: Flying Steps at Hamburger Bahnhof in Berlin

BSA Special Feature: Escif: Magic Piano

Spanish Street Artist Escif creates a museum installation that uses irony, sarcasm, and deep truths that we’re not always ready to see.

By hi-jacking some of the current interactive nomenclature enabled by augmented/mixed realities and the normalizing of tablet use, he alerts viewers to the connection of age-old mineral mining that is just as contemporary as the hi-tech gadgetry many have embraced.

Since you can use the device to contemplate human suffering and make music, it is an indictment of modern attitudes that dehumanize and turn real stories into a video game.

From the artist:

“Coltan is a mineral, found specially in eastern Congo, used to make cells and computer chips. Violent rebel groups are exploiting coltan mining to help finance a bloody civil war which is now in its 12th year.

The link between the bloodshed and coltan is causing alarm among high-tec manufacturers slowly they are beginning to realise that their products may contain the tainted fruits of civil war. Since the outbreak of fighting in august 1998: an estimated 5.4 million people have died; 45.000 continue to die each month; Children account for 47% of these deaths.

Magic Piano is a music installation. With the help of a tablet (that obviously contains coltan) you will be able to play the piano. Use the device to navigate on the wall. When you pass on the screen over a charater, a sound will be activated. If you push the character with your finger a sound loop will be activated. You will also activate the animation of each character.”

Adele Renault: St+Art India. Lodhi Art Festival 2019

A couple of weeks ago we shared with you new photos by Adele’s mom of the Street Artist painting this wall for St+Art India in New Delhi. Today we share a video made of her installation.

📺Lodhi Art Festival 2019 || Adele RenaultAdele's imprints are visible in the winged beauties that now adorn the walls at Lodhi. Laying on a main arterial road know the colony, her birds now peek through the trees and woo passersby.Watch the film to get a closer look into her creative process! 📽 Pranav Gohill & Jay NuEdited by Filterkaypee Festival supported by Asian Paints.#artforall #startindia #startdelhi #startdelhi2019 #asianpaints #lodhiartdistrict #lodhiartfestival2019

Posted by St+art India on Wednesday, February 20, 2019

Jeff Koons at the Ashmolean Museum

“It lacks all the give and the breath of fresh art,” the bespectacled art critic intones with all the weight of a final damnation.

“We need haters out there. They are affirmations that we’re doing something right,” says the streetwise pop star with clever sunnies and sans big hat.

Taking a break from the Banksy beat, Doug appears to put forth that supposition that Jeff Koons is proving once again that as long as you are a white guy and you reference European art history you are 80% on your way as an artist whose work will be collected and exhibited.

OS Gemeos: Flying Steps at Hamburger Bahnhof in Berlin

A splendid hybrid that sends heartbeats racing, even involuntarily, here is a trailer for Flying Steps and Os Gemeos as they interpret Mussorgsky’s “Pictures at an Exhibition”, the famous piano composition that has become a showpiece for virtuoso pianists. Good to see museums of contemporary art truly stretching, redefining the street and Street Art.


Another interpretation by ELP from December 1970.

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St+ART India 2016: Niels “Shoe” Meulman, Reko Rennie, Anpu Varkey & Chifumi

St+ART India 2016: Niels “Shoe” Meulman, Reko Rennie, Anpu Varkey & Chifumi

Amsterdam based designer, artist, calligrafitti writer Niels Shoe Meulman appears to have had an excellent time in all the photos we’ve been seeing from his time in India. Tagging since the turn of the eighties, “Shoe” is still making meaningful and fresh marks around the world in a way that tells you he continues to push himself as an artist and to do more to expand his unique visual vocabulary.

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Niels Shoe Meulmuan for St+ART India 2016. New Delhi, India. (photo © @BlindEyeFactory)

The producers of ST+ART India continue to demonstrate a proclivity for quality programming – at least the general mix is of higher caliber thinkers and feelers than we are seeing in bigger (and more commercial) blow-out festivals. BSA readers are starting to become very accustomed to seeing great impactful work coming out of this relatively young mural event.

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Niels Shoe Meulmuan for St+ART India 2016. New Delhi, India. (photo © @BlindEyeFactory)

You’ll also notice a fair contingent of local talent on the roster in addition to more internationally recognizable Street Art names, which is always a good sign because it suggests an integration of community. With a few more days to go before the end of the 2016 program, we’ve already seen plenty.

Here’s our 3rd installment from this years events with Niels Shoe Meulman, Reko Rennie, Anpu Varkey and Chifumi – and we’ll do a round-up once its all wrapped.

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Niels Shoe Meulmuan for St+ART India 2016. New Delhi, India. (photo © @BlindEyeFactory)

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Niels Shoe Meulmuan for St+ART India 2016. New Delhi, India. (photo © @BlindEyeFactory)

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Anpu Varkey for St+ART India 2016. New Delhi, India. (photo © @BlindEyeFactory)

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Anpu Varkey for St+ART India 2016. New Delhi, India. (photo © @BlindEyeFactory)

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Anpu Varkey for St+ART India 2016. New Delhi, India. (photo © @BlindEyeFactory)

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Reko Rennie for St+ART India 2016. New Delhi, India. (photo © @BlindEyeFactory)

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Reko Rennie for St+ART India 2016. New Delhi, India. (photo © @BlindEyeFactory)

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Reko Rennie for St+ART India 2016. New Delhi, India. (photo © @BlindEyeFactory)

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Reko Rennie for St+ART India 2016. New Delhi, India. (photo © @BlindEyeFactory)

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Chifumi for St+ART India 2016. New Delhi, India. (photo © @BlindEyeFactory)

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Chifumi for St+ART India 2016. New Delhi, India. (photo © @BlindEyeFactory)

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Chifumi for St+ART India 2016. New Delhi, India. (photo © @BlindEyeFactory)

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Chifumi for St+ART India 2016. New Delhi, India. (photo © @BlindEyeFactory)

 

Our most sincere thanks to BSA Contributors Lorenzo and Giorgio at BlindEyeFactory.com for sharing their photos with BSA readers. Stay tuned for a full photo essay of this year’s edition of St+ART India with more photos from these gentlemen.

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NeverCrew in Delhi: “See Through / See Beyond” Tells Story of Alienation

NeverCrew in Delhi: “See Through / See Beyond” Tells Story of Alienation

Switzerland‘s NeverCrew just completed two murals at the end of January for St+Art India in New Delhi that are connected thematically, though separated by a few kilometers. That geographical distance is intended to indicate time and loss of memory, they say, as the conceptual bases for “See Through / See Beyond” speaks to the loss of identity that colonized societies experience as their roots slowly fade over time.

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NeverCrew. “See Through / See Beyond” St+ART India. New Delhi, India. January 2016 (photo © NeverCrew)

In this case, the story is linked to the British Empire imposing upon the Indians but it could just as easily apply to any displacement of a culture’s roots and history.

“The man finds himself with no history, unable to distinguish the outlines of his surroundings, without memories that make him aware and without reference points that make him conscious of his actual position,” says Pablo, one of the two members of NeverCrew. The disconnection here is embodied by the space man, floating above the surface of an odd moonscape, adrift and unable to establish connection.

Perhaps his name is Major Tom.

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NeverCrew. “See Through / See Beyond” St+ART India. New Delhi, India. January 2016. (photo © Never Crew)

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NeverCrew. “See Through / See Beyond” St+ART India. New Delhi, India. January 2016 (photo © NeverCrew)

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NeverCrew. “See Through / See Beyond” St+ART India. New Delhi, India. January 2016 (photo © NeverCrew)

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NeverCrew. “See Through / See Beyond” St+ART India. New Delhi, India. January 2016 (photo © NeverCrew)

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NeverCrew. “See Through / See Beyond” St+ART India. New Delhi, India. January 2016 (photo © NeverCrew)

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NeverCrew. “See Through / See Beyond” St+ART India. New Delhi, India. January 2016 (photo © NeverCrew)

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NeverCrew. “See Through / See Beyond” St+ART India. New Delhi, India. January 2016 (photo © NeverCrew)

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Gender, Caste, and Crochet : OLEK Transforms a Shelter in Delhi

Gender, Caste, and Crochet : OLEK Transforms a Shelter in Delhi

The fluorescent pink and orange sari skims the svelte frame of Brooklyn’s Olek as she glides across the dirt lot in Delhi’s South Extension with bags of yarn, needles and fabric slung over arms and shoulders.

The massive new acid fluorescent epidermal transformation has taken a week to complete and the street artist is keeping her head while managing the many hands who are helping, but under the eclectic glamour is always raw labor – and a generous dollop of drama.

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Olek (photo © Pranav Mehta/St+ARTIndia)

“It felt like I gave a birth to an oversize baby without any pain killers. I had to pull the black magic to make it happen. Physically and emotionally drained. Was it worth it? Absolutely YES,” she types onto her Facebook page to let friends and fans know that she has finished the seven-day marathon of crocheting and directing a full team of volunteers and St+Art Delhi organizers. Triumphant, she stands atop the woman’s shelter, a one story structure of corrugated metal and concrete 40 ft long and 8 foot high, with a fist in the air, a symbol of celebration as well as a show of solidarity with the sisterhood of those who helped her make it and those will seek refuge here when other options have been exhausted.

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Olek (photo © Pranav Mehta/St+ARTIndia)

“Raine Basera”, a night shelter for homeless women lies just off Sarai Kale Khan here in New Delhi and it is not far from some industrial parks, surrounded by buses and noise from the traffic and temporary markets. A part of the festival called St+Art Delhi 2015 this particular project is conceived to raise awareness of the shelter and its very existence to those families who need it. Given the chaos of color and decorative motifs that have characterized many of Olek’s street works, this is one more that will be hard to miss. In this city of about 11 million, there are actually 184 night shelters in the city of Delhi, and 10 Indian artists will be working with the Urban Shelter Department to paint more.

Speaking with Olek you learn that this was a joyful, painful project – made possible with the help of a number of people, but mostly because of the steely determination of the Street Artist who is defining and re-defining what it means to be an artist in public space, as well as a woman in the art world. Her vigor and her vision is genuine and her struggles with issues regarding poverty, gender, and empowerment were brought to the fore on a daily basis during this project. As usual, we are of the opinion this is still the beginning of what Olek will accomplish in the Street Art world and in the lives of others – for her the goals are multitudinous.

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Olek (photo © Pranav Mehta/St+ARTIndia)

We spoke with Olek about the experience in her first trip to India in the interview below. Following that is a short interview with one of the organizers from the St+Art India Foundation and the curator of this project, Giulia Ambrogi. Both help us position the work of Olek into a greater context in Indian society during this relatively new festival effort, now in its second year.

OLEK

Brooklyn Street Art: Was there a motif that you added to your repertoire of hearts and butterflies that was specific to this project?
OLEK: You know how when you write for a newspaper or a blog you always have to keep your audience in mind so you use a specific language to describe your ideas and thoughts. So for this project I had to think about my specific audience. There were the people in the shelter and the neighbors around it. Many of them are are simple people without education and maybe even illiterate so I wanted to create a visual work that was accessible and meaningful for them.

So for this project I drew from the basic Indian Iconography such as the elephant, the butterfly and flowers. Of course I have crocheted these motifs before in my work but this time I kept an Indian aesthetic with the shapes and forms and they were more visible within the context of the overall piece. In the case of the butterfly I see it as having a special connection with women.

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Olek (photo © Pranav Mehta/St+ARTIndia)

BSA: Was it easy to bridge the gaps between cultures when working with the women who assisted in the project?
OLEK: Well the women I was working with found me to be fascinating. Here comes this woman with tools and yarns and crochet and I think they are used to seeing men doing most of these things – who come and boss them around and tell them what to do. In my case I was sitting with them crocheting together and we were part of a team and at some point I was also wearing Indian clothes and making things happen. They were happy to see me telling the men around us that I was in control and that things were getting done. So due to my experience working with so many different people around the world in small villages in Poland, China and Hong Kong this aspect of the project was the easy part.

The crochet was our language. Once you show them how it all works and explain the project to them you get the respect right away. They liked seeing me working so fast and were shocked that it was actually possible to do this so fast. So once you get their respect it is actually quite easy to work with them. The language of making and producing art is beautiful and universal and you get the connection right away. Some of the women were volunteers but most of them we hired to work on this project. Of course there were other elements in this project that were more difficult but I have never in my life had a problem working with women.

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Olek (photo © Pranav Mehta/St+ARTIndia)

BSA: In addition to its aesthetic nature, how do you think about your work when you consider that it is literally sheltering women tonight as they sleep?
OLEK: The most shocking thing for me in India was these massive amount of people who are born in poverty and under a lower class or caste and they are convinced that they will never ever see or experience anything different from what they are accustomed to and people with a higher status in their society see them as “untouchables” and inferior. They were born poor they should die poor – that is the mentality. So for the time where we were working on this project they felt that the spotlight was on them and for once they weren’t invisible as cameras and people and noise was all around them and I think they felt that there was something special about them.

Maybe when they come to the shelter at night to sleep and see it transformed they will feel different and maybe they will be inspired to do something else with their lives. My intention as an artist was to show them that there might be a chance to change what was supposed to be in their lives to what it can actually could be. That of course is too little of a contribution from my part.

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Olek (photo © Pranav Mehta/St+ARTIndia)

BSA: What did you learn about these shelters that you would like people to know?
OLEK: Right now there are more shelters opening around Delhi than before. It is important for people to know that if they are homeless they have the shelters at night to sleep with a roof over their heads. But the sad part to me is that the conditions in the shelters are not so great. I saw them wearing their same clothes every day and I realized that what they had on them is all they have in their lives. Yet I didn’t see sadness on their faces. They are used to living under these conditions and they see it as their life. So all this time I was thinking how actually the project should be about getting them out of the shelters and provide them with education. Access to education is important everywhere. It changes everything. The beautiful kids I think don’t even go to school. They spend all day on the streets.

So I felt that the project was only half done and I didn’t have the time or resources to do the next step with them and spend more time with them. It was devastating to me to see the amount of pollution and garbage and dirt and in some cases I have this impression that some of them didn’t want to be helped because they believed that that was their lot in life by divine decree. I couldn’t understand that and the whole trip was confusing. So the experience left me half empty in way with a sense that the project was done – but only half done.

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Olek (photo © Pranav Mehta/St+ARTIndia)

BSA: When you were a teenager you read a biography of Jerzy Grotowski and his various travels, including his descriptions of India. How did that writing affect your experience visiting the country for the first time?
OLEK: I studied theater for a while in Poland when I was a teenager and I would go to theater festivals and that really influenced who I am right now. Grotowski had a brilliant mind and was an influential theorist and when I read that he went to India and that the trip totally changed him I was very impressed and I thought India must be a special land. I’ve been wanting to visit India for a long time but I was also waiting for the right time to visit – when there was a purpose for the trip and the right project.

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Olek (photo © Pranav Mehta/St+ARTIndia)

But the land that he saw with his eyes was during the 1970’s. I wish I had more time and I will have more time, to go back and travel and re-visit and really see the country more fully. But I think that what influenced me wasn’t necessarily about the religion, the colors, the textures, the beauty of the country. What influenced me the most was the poor India. I have never seen so much plastic and garbage in my life on the streets. I saw cows eating plastic on the street. The garbage and pollution is just growing and growing and it is insane. So this was my influence from this trip and I think I could never compare it to Grotowski’s trip during the 70s. But I can see how the trip to India changed him and influenced his life in theater.

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Olek (photo © Pranav Mehta/St+ARTIndia)

BSA: Tell us about your sari. We don’t remember seeing you making one of those for yourself before.
OLEK: I bought a sari because I was invited to attend a wedding while I was in India and I wanted to feel appropriate. I probably don’t fit in most places but when I’m invited I like to pay respect to the local customs. So together with my assistant we went to the store full of saris and took in the whole experience. You buy a sari then you have to hire someone to put it on you and I loved it. From the beginning I told people that I wanted to wear a sari while working instead of wearing western fashions. People noticed how comfortable I was wearing a sari for the first time and when they remarked about that I told them I’m around so much fabric all the time that I can easily wear a sari.

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Olek (photo © Pranav Mehta/St+ARTIndia)

It is interesting because to me a sari is a sexy dress. Your body is so exposed so it was confusing to me to see all the women wearing such a dress in such a conservative country. It is a very comfortable dress and nothing falls off of you. They pinned everything to keep it all in place. You go to get fitted and out of the same fabric a tailor makes the top and the underskirt and you can choose from many designs for the top. The tailor is not in the store where the sari is purchased. You have to leave and go someplace else for the fitting. But they can make it all in two hours. I loved seeing the women in India being very comfortable with their bodies. Women of all shapes and sizes wear the saris with the utmost comfort.

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Olek (photo © Pranav Mehta/St+ARTIndia)

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A brief interview with Giulia Ambrogi from the St+art India Foundation:

BSA: For her installation Olek was assisted by a number of diverse volunteers whom she first taught about the crochet needs of the project. What was the incentive that motivated all these people who helped her?
Giulia: Actually most of the women were already trained because they belong to the “Indian crochet community”, a reality that we were pretty surprised to discover. All of them knew Olek’s work and were extremely enthusiastic to have such an occasion to be together and to practice their passion for a wider cause. This big community doesn’t have many initiatives dedicated to crochet so this project, by being so ambitious, public and based on a social cause was per se the main incentive  for all of them.

Many other volunteers instead have been with us since the day 1 of St+art Delhi 2015. They are mostly really young and they just love urban art and what all we are bringing in the city. Thus, they are keen to be part of the project, to be in a stimulating environment and to give their contribution. It was amazing to see how all these people from different backgrounds and different ages (from 18 to 60) collaborated together and how strong was the feeling to be a big family.

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Olek (photo © Pranav Mehta/St+ARTIndia)

BSA: Women in India are often at huge disadvantage financially and socially when compared to the status that men hold in society. What is the significance of bringing women artists to install their work on the streets of India?
Giulia: First of all realize artworks in the streets is already a sort of revolution. Public spaces, especially if peripheral, are most of the time neglected and are crowded mostly by lower social classes. The process of creating huge artworks for everybody’s eyes and the attitude of the artists and the team of involving everyone and gathering people under the signs of art-making and artworks – which is absolutely new in India, is an empowering breakthrough or a certain kind.

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Olek (photo © Pranav Mehta/St+ARTIndia)

By calling women artists we enhanced this prolific dynamic. It meant that we introduced a  change, showing both to men and women that no matter the gender and the class, everyone has the same strength and rights of living, appropriating and positively acting in  public spaces. Olek’s work brings back to the streets a tradition that is usually practiced by women in the private and closed environment of their homes. Also, this work highlighted the power of people, especially women, when they cooperate together. Aiko’s work celebrates the most dangerous and powerful woman in Indian history, Rani Lakshmi Bai, who became and still is the symbol of women empowerment.

Many things are changing in India and it is a transitional moment in which we try and hope to give our contributions by designing artistic interventions based on critical and current topics.

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Olek (photo © Pranav Mehta/St+ARTIndia)

BSA: We have written before about Aiko’s participation in St+ART Delhi. We wrote that her contribution was a departure from her highly sexualized iconography. Would it have been impossible for her to paint her sexually charged women in India? Can you tell us about the character whom she chose to paint and why she selected that character within the context of the festival?
Giulia: By painting her characteristic women in very sexualized scenes, her work would have been meaningless within the Indian environment. Not just deeply disrespectful it would have been totally sterile because it would not have been in dialogue with the cultural context. Since the beginning of the project Lady Aiko asked about Indian culture with the intention of creating a powerful and empowering work in relation to the country.

After some brainstorming she fell in love with both the story and the iconography of Rani Lakshmi Bai. She was the most dangerous leader in Indian history, a symbol of resistance to the rule of the British Company. In her brief time she cast aside many conventions to unite peoples of all castes and religions in her cause.

She encouraged other women to do the same and trained them to fight and support the army. She cut across the social norms of the time, refusing to accept her fate ‘as a woman’. So in this case Aiko’s piece was mainly the symbol of women empowerment…and much sexier than pin ups in this sense!

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Olek (photo © Pranav Mehta/St+ARTIndia)

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Olek (photo © Pranav Mehta/St+ARTIndia)

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Olek (photo © Pranav Mehta/St+ARTIndia)

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Olek (photo © Pranav Mehta/St+ARTIndia)

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Olek (photo © Pranav Mehta/St+ARTIndia)

 

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The organizers would like to thank fashion companies Tarun Tahiliani and Manish Arora for contributing materials and labor, Allkraftz & Usha Sewing Machines, The Polish Culture Institute, the Delhi Urban Shelter Improvement Board (DUSIB), and all the volunteers and participants who helped make this project happen.

We would like to thank the organizers of ST+ART Delhi; the curator Giulia Ambrogi and Pranav Mehta for the photos. And of course to Olek for taking the time to answer our questions.

 

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Axel Void and DalEast In New Delhi for St+ART India 2015

Axel Void and DalEast In New Delhi for St+ART India 2015

Axel Void and DalEast are somehow brethren here in New Delhi at the 2015 edition of St+Art India, if not because of a shared style then because of a shared appreciation for things you cannot see – alchemists with an uncanny ability to reveal.

 

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Axel Void begins his mural. (photo © Pranav Mehta)

Today we have excellent shots of the new murals by both of these artists taken by photographers Pravan Mehta and Akshat Nauriyal, sure to make you step back a little and appreciate some people’s ability to re-cast a public space into something much more.

Axel helps us out here with a description for his mural in Azadpur Market entitled “जिं द गी” (life), part of his “Mediocre” series. It is a simple depiction of a still life, he says, ” One of the most frequently recurring themes in the history of classical painting.”

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Axel Void. Process shot. (photo © Akshat Nauriyal)

He says he was inspired by the Azadpur fruit and vegetable market, one of the (or possibly the) largest in Asia, where he was surrounded by people, cars, sounds of the metro, buyers, sellers, a family of monkeys, and goats, chickens, pigs, and cows. “The wall is painted over the Delhi Cold Storage and next to the Azadpur Mosque,” he says.

After the Axel Void piece you’ll see DalEast, who tends toward the philosophical and spiritual in his compositions of forms taking shape before you. DalEast takes a somewhat typical piece of architecture and transforms it with a flooding rush of birds flowing through an open arched doorway. It is a constellation of energy and life that flying at you when the curtain goes up, instantly metamorphosing a public space into a possibly sacred place.

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Axel Void. Process shot. (photo © Akshat Nauriyal)

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Axel Void. Process shot. (photo © Akshat Nauriyal)

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Axel Void (photo © Pranav Mehta)

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Axel Void. The finished mural on the wall of Asia’s largest fruit and vegetable markets. (photo © Pranav Mehta)

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DALeast. Process shot. (photo © Pranav Mehta)

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DALeast. Process shot. (photo © Pranav Mehta)

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DALeast. Process shot. (photo © Akshat Nauriyal)

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DALeast (photo © Akshat Nauriyal)

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DALeast. Process shot. (photo © Akshat Nauriyal)

 

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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!
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AIKO in New Delhi for St+Art India 2015

AIKO in New Delhi for St+Art India 2015

New York Street Artist Aiko is cutting a new stencil in a dusty warehouse space with huge windows, but instead of being in an industrial neighborhood in Brooklyn, this time she’s in New Delhi. The new image of a woman and child and sword is not quite standard fare for the feisty streetwise Aiko, who has depicted scantily clad women in very sexualized scenes as a way of expressing power in the last few years. Perhaps bowing to local norms, the new Indian mural is much more modestly attired, yet still an image one will interpret as powerful.

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Aiko cutting the stencils at the studio in Delhi. (photo © Akshat Nauriyal)

Here for the 2015 edition of St+Art India, a mural festival featuring mainly Street Artists from around the world, the artist whose work has appeared on New York walls many times is here with the help of the Japan Foundation. With excellent assistants on the ground Aiko knocked out the first of many murals in India’s capital which we’ll be posting for BSA readers.

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Aiko at work on her wall with the help of assistants. (photo © Akshat Nauriyal)

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Aiko at work on her wall with the help of assistants. (photo © Pranav Mehta)

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Aiko at work on her wall with the help of assistants. (photo © Akshat Nauriyal)

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Aiko (photo © Akshat Nauriyal)

 

 

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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!
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India’s First Street Art Fest and the Largest Ghandi Portrait Ever

India’s First Street Art Fest and the Largest Ghandi Portrait Ever

“St.ART Dehli 2014” Hosts 60 Artists

As Street Art continues to go global here in the twenty-teens, today we bring you images showing that Dehli has become one of the latest cities to showcase it. In what is billed as India’s very first Street Art festival the south Delhi neighborhood of Shahpur Jat hosted a collection of international and local artists this spring to paint murals while a public who is not quite acquainted with public art asked many questions.

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Hendrik ECB Beikirch and ANPU take shots of their collaborative portrait of Mahatma Ghandi. / St.ART Delhi 2014 (photo © Akshat Nauriyal)

Working out of the newly rustic indoor venue “Social Space” in the trendy neighborhood of Hauz Khas Village (HKV), the St. ART Delhi effort was a combination of a gallery exhibition and a street art festival that invited 60 or so international and Indian artists earlier this year to create public works.

Overseen by co-founders Hanif Kureshi and Arjun Bahl and curated by Italian Giulia Ambrogi, the festival was possible with the help of a collection of artists, professionals, art school students, and friends who  joined with the Goethe-Institut and the Italian and Polish cultural institutes in Delhi. With volunteers, supplies, and a lot of community outreach, the event organizers were able to bring the artists and help get walls for them-  an effort which took about a year and a half of serious planning to bring to fruition.

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Artez. St.ART Delhi 2014 (photo © Akshat Nauriyal)

In an underdeveloped area undergoing the same gentrification found in edgy parts of large cities around the globe, the artists found that the long term residents sometimes resisted the change but eventually embraced it, if tentatively at times.

“Pondering was what we had to do for much of the day as the locals were still getting accustomed to strange folks painting their walls and generally made life a bit difficult for the artists and the crew,” writes Siddhant Mehta on the blog of the festival’s site when describing the cautious reaction of folks when seeing painters and scaffolding.

Some residents even requested images of religious iconography before any artworks were created, while some artists entertained requests for cartoon characters or children’s games to be incorporated in their murals.

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Sé Cordeiro. St.ART Delhi 2014 (photo © Akshat Nauriyal)

Co-founder and typography designer Kureshi freely admits it was an easy non-controversial choice when deciding on the portrait that went up on the police building. “After 2 months, we finished around 75 pieces around Delhi including the tallest one on the Delhi Police Headquarters,” says Mr. Bahl as he describes the tallest portrait of Mahatma Ghandi anywhere which covers a 150’ x 38’ – a collaboration between Indian painter Anpu Varkey and German street artist ECB.

Of the 60 artists who participated, many were from India, which may have contributed to a sense of cultural balance in the mural collection created in the neighborhood. Whether is was TOFU from Germany, M-City from Poland, or Alina from Denmark, many of the artists reported that small crowds gathered to watch and, with time, offered gifts such as peanuts or a cup of chai to their foreign guests.

As the global Street Art scene continues to open its arms wider it is promising to see that a new public art festival like this has begun in such a grand way in a brand new location. It is also heartening to see planners who take into account the preferences of the neighbors, and who act with a sense of goodwill when offering public art for arts sake.

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Harsh Raman. St.ART Delhi 2014 (photo © Akshat Nauriyal)

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Okuda. St.ART Delhi 2014 (photo © Akshat Nauriyal)

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Andy Yeng and Tofu. St.ART Delhi 2014 (photo © Akshat Nauriyal)

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Tofu. Detail. St.ART Delhi 2014 (photo © Jayant Parashar)

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Tona. St.ART Delhi 2014 (photo © Akshat Nauriyal)

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Foe. St.ART Delhi 2014 (photo © Enrico Fabian)

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Foe. St.ART Delhi 2014 (photo © Akshat Nauriyal)

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Mattia Lullini. St.ART Delhi 2014 (photo © Akshat Nauriyal)

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Alina Vergnano. St.ART Delhi 2014 (photo © Akshat Nauriyal)

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Alina Vergnano. St.ART Delhi 2014 (photo © Pranav Mahajan)

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Bond. St.ART Delhi 2014 (photo © Akshat Nauriyal)

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Alias. St.ART Delhi 2014 (photo © Akshat Nauriyal)

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Alias. St.ART Delhi 2014 (photo © Akshat Nauriyal)

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Tones. St.ART Delhi 2014 (photo © Akshat Nauriyal)

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Tones. St.ART Delhi 2014 (photo © Akshat Nauriyal)

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Tones. St.ART Delhi 2014 (photo © Akshat Nauriyal)

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Ranjit Dhaiya. St.ART Delhi 2014 (photo © Akshat Nauriyal)

BSA extends our thanks to Thanish Thomas for his diligence in getting these images to us and to Hanif Kureshi, Arjun Bahl, Giulia Ambrogiall, Mridula Garg, Akshat Nauriyal, and the entire team at St.ART Delhi 2014.  Click HERE to learn more about St.ART Delhi 2014.

 

 

St.ART Delhi Street Art Festival Part II

 

 The Tallest Mural of India – Mahatma Ghandi at St.ART Delhi

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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!

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This article is also published on The Huffington Post

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Images Of The Week: 03.16.14

Images Of The Week: 03.16.14

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Here’s our weekly interview with the street, this week featuring Amanda Marie, bunny M, City Kitty, Dan Witz, Foxx Face, Invader, JerkFace, Mattia Lullini, Pixel Pancho, PJC, Retna, Sean 9 Lugo, and Twobit.

Top Image >> Pixel Pancho keeps it all in the robot family (photo © Jaime Rojo)

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Amanda Marie did a series of new stencils recalling childrens books and tales from generations ago. Because she lays down a light foundation before stenciling, the images have ghostly glow, an energetic halo effect. (photo © Jaime Rojo)

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Amanda Marie. Detail. (photo © Jaime Rojo)

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FoxxFace (photo © Jaime Rojo)

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JerkFace fragments his work and experiments with space for Bushwick Collective. (photo © Jaime Rojo)

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Mattia Lullini for the Street Art Delhi Festival in India. (photo © Mattia Lullini)

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Retna. Detail. (photo © Jaime Rojo)

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Silver Retna (photo © Jaime Rojo)

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Twobit (photo © Jaime Rojo)

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bunny M interprets Anne Boleyn (photo © Jaime Rojo)

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Dan Witz (photo © Jaime Rojo)

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Invader (photo © Jaime Rojo)

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Artist Unknown (photo © Jaime Rojo)

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City Kitty (photo © Jaime Rojo)

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Sean 9 Lugo (photo © Jaime Rojo)

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Untitled. Manhattan, NYC. March 2014. (photo © Jaime Rojo)

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