All posts tagged: Roti

Alexandra Parrish : 14 From 2014

Alexandra Parrish : 14 From 2014

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Happy Holidays to all of you charming and sparkling BSA readers!
It’s been a raucous sleigh ride with you and we thank everyone most sincerely for your support and participation this year. A sort of tradition for us at the end of this December we are marking the year with “14 from 2014”. We asked photographers and curators from various perspectives of street culture to share a gem with all of us that means something to them. Join us as we collectively say goodbye and thank you to ’14.
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Alexandra-Parrish-Curator

Writer and curator Alexandra Parrish has contributed her personal accounts and observations on BSA with her experiences in organizing Atlanta’s Living Walls festival and her various travels abroad. BSA was very fortunate this year when Alex wrote directly from Kiev during the democratic uprising there, where she explained a new sculpture installed amidst the crowds in Independence Square. Not surprisingly, it remains her favorite installation of the year.

“Members of the Euromaidan movement in Kiev face the sculpture titled “New Ukraine,” illegally installed in solidarity with the on-going civil unrest in Ukraine by French artist Roti. This photo was taken on the 16th of January, 2014, the day President Yanukovych attempted to thwart opposition by passing a series of anti-protest laws, and just a few days before a conflict with deadly consequences between protestors and riot police. While the area has been wiped clean following Yanukovych’s resignation, “New Ukraine” remains to this day a monument to the many months of struggle and lives lost, but more importantly, a symbol of renewal and hope.”

~ Alexandra Parrish

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Roti. Kiev, Ukraine. (photo ©Maxim Dondyuk)

 

Read Alexandra’s original piece, A ‘New Ukraine’ Sculpture In Kiev By Street Artist Roti

 

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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!<<>>><><<>BSA<<>>><<<>><><BSA<<>>><><<>BSA<<>>><<<>><><BSA

 

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Tour Paris 13 : Fluorescent & Towering Show Book

Tour Paris 13 : Fluorescent & Towering Show Book

Another book to tell you about today! Remember when BSA took you to Paris that time and we skipped the line and went into all the floors of this soon to be demolished building?

“The numbers are astounding; 105 artists, 9 floors, 36 apartments, 30,000 visitors.

One hour.

That is how much time Street Art enthusiast Spencer Elzey had to himself inside the largest gallery of Street Artists and graffiti artists ever assembled specifically to transform a building for a public show. As he looked out a window to see the snaking lines of Parisians and tourists restlessly waiting to get in, he couldn’t believe his luck to be able to walk through the exhibit by himself and get off some clear shots before the throng hit.”

That is how we described it in November 2013 when Spencer took us on a whirlwind tour of TOUR 13.

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Tour Paris 13 (photo © Jaime Rojo)

Published last month this towering book with the page edges sprayed neon orange was released by Mehdi Ben Cheikh in French and English to commemorate the event, and seeing the installations this way is going to make you wish the place wasn’t destroyed. 500 new photos previously unpublished allows you to see the show as you travel from the cellar to the top floors.

You may wish you had more background on the artists and the context and clearly not all of the artistry is of similar quality but you will be satiated by the images and thankful that they were recorded during their brief duration. Published by Editions Albin Michel, in partnership with the Itinerrance Gallery, this show will continue to soar long after the dust has settled.

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Entes . Tour Paris 13 (photo © Jaime Rojo)

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Inti . Tour Paris 13 (photo © Jaime Rojo)

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Ethos .Tour Paris 13 (photo © Jaime Rojo)

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Seth .Tour Paris 13 (photo © Jaime Rojo)

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Moneyless .Tour Paris 13 (photo © Jaime Rojo)

Artists included in the Tour Paris 13 project:

108, 2MIL FAMILIA, A1ONE, ADD FUEL, AGL, AGOSTINO IACURCI, AMINE, ALEXÖNE, ARRAIANO, AWER, AZOOZ, BOM.K, BTOY, C215, CEKIS, CELESTE JAVA, CLET, COPE2, CORLEONE, DABRO, DADO, DAN23, DAVID WALKER, DEYAA, EIME, eL SEED, ENTES, ETHOS, ETNIK, FENX, FLIP, GAËL, GILBERT, GUY DENNING, HERBERT BAGLIONE, HOGRE, HOPNN, INDIE, INTI ANSA, INTI CASTRO, JAZ, JB ROCK, JÉRÔME GULON, JIMMY C, JOYS, JULIEN COLOMBIER, KAN, KATRE, KEITH HARING, KRUELLA, LEGZ, LEK, LE CYKLOP, LILIWENN, LOIOLA, LUDO, MAIS MENOS, MAR, MÁRIO BELÉM, MARKO, MARYAM, MATÉO GARCIA, MAZ, MONEYLESS, MOSKO, MP5, MYRE, NANO, NEBAY, NEMI “UHU”, NILKO, ORTICANOODLES, PANTÓNIO, PEETA, PHILIPPE BAUDELOCQUE, RAPTO, REA ONE, RODOLPHE CINTORINO, ROTI, SAILE, SAMBRE, SAMINA, SEAN HART, SÉBASTIEN PRESCHOUX, SENSO, SETH, SHAKA, SHOOF, SHUCK 2, SOWAT, SPAZM, SPETO, STeW, STINKFISH, SWOON, TELLA’S, TINHO, TORE, UNO, URIGINAL, VEXTA, VHILS, and WISIGN

 

Click HERE to read BSA’s coverage of this project before the building was demolished.

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Atlanta Struggles With Legacy of Two Destroyed Murals and New Regulation

Atlanta Struggles With Legacy of Two Destroyed Murals and New Regulation

Last week on our BSA Film Friday feature we brought you the story of two murals in Atlanta that were destroyed by the community because certain elements of each offended them. The documentary “A Tale of Two Murals” by Public Broadcasting Atlanta and PBS, directed by Trevor Keller, faithfully followed the story that began in 2012 during the Atlanta Living Walls festival. This week we bring you a new essay on the occasion of a new ordinance proposed by the City of Atlanta to regulate the process of reviewing and approving these murals going forward. A former intern and Communications Director of Living Walls, Alexandra Parrish submitted this essay to BSA to give her opinion and perspective on the events during the last two years and what she believes will be the impact of new pending legislation. 

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A brigade of supporters washing the buff off of Roti’s mural in Atlanta (image courtesy and © of Trevor Keller and PBA from “A Tale of Two Murals”)

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By Alexandra Parrish

In the past five years, Atlanta has shaped up to be a veritable hub of the arts. Within this period, the city has witnessed a cultural renaissance thanks to a myriad of impassioned arts organizations and creative individuals. It should be mentioned that the largess of these initiatives came not from city officials, but rather propelled from the ground-up. Of those that have garnered international acclaim is Living Walls, the non-profit arts organization responsible for the installation of over one hundred murals across city limits.

As it stands today, Living Walls, among several other arts organizations and practicing artists are under attack.

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A brigade of supporters washing the buff off of Roti’s mural in Atlanta (image courtesy and © of Trevor Keller and PBA from “A Tale of Two Murals”)

Let’s back track for a minute. Five years ago, Living Walls hosted the first street art conference in Atlanta, inviting over twenty artists from around the globe and their own backyard to complete a series of murals. The impetus behind the event was to garner discussion about public space in Atlanta that seemed overpowered by the freeways that divided neighborhoods, overwhelmed by billboards and generally ignored by the city. Although street art could not solve these problems, it got people talking. Due to the success of the first event, the once deemed “scrappy” organization continued, and murals began to display across the city as the annual conference came and went.

Along the way, Living Walls made a few mistakes. First, the organization was into the third year of operation when the city noted that despite approval by private property owners, every mural that Living Walls was responsible for were done so illegally. The city had in place an ordinance that required the approval of public art from three different city agencies in order to determine if the work was signage. By that time, Living Walls began to seek non-profit status, and in an effort to follow to the law at hand, they obliged to the arduous process of approval. From then on, Living Walls staff made the effort so that every mural was subjected to this procedure.

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A detail of Roti’s mural in Atlanta (image © Google  from “A Tale of Two Murals”)

Second, one mural completed during the 2012 edition sparked controversy. Hyuro, a renowned Spanish artist, completed a mural of a woman in a series of undress in the neighborhood of Chosewood Park. The nudity offended some people; some even deemed the work ‘pornographic.’ When the city was notified, the Office of Cultural Affairs (OCA) remarked that the work that they approved had, in fact, not made it on the wall: the original sketch by the artist depicted a number of folding chairs. The controversial work was ultimately buffed since it did not appropriately follow procedure.

The third mistake wasn’t exactly a mistake on paper. In 2012, on the tail end of the Hyuro controversy, the French artist Roti painted another expansive mural in the corridor of the Pittsburgh neighborhood. Living Walls, and the artist, followed procedure: the sketch (which made it on the wall, this time) was presented to three departments and approved. About a month after the mural was finished, controversy stirred again. Unfortunately, this is where the story begins.

I believe it’s important that I offer full disclosure: I am the former Communications Director of Living Walls. I started working with the organization back in 2011 as an intern, and continued until I eventually moved from Atlanta in 2013. I am also the partner of Roti, whom I met during his stay in Atlanta two years ago. I’ve witnessed these events unravel before me, and I’ve felt powerless as to how to react. Today I feel the inclination to respond to these events, because with many miles between me and Atlanta and everything that is about to happen, I finally understand.

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Walking past Roti’s mural in Atlanta (image courtesy and © of Trevor Keller and PBA from “A Tale of Two Murals”)

We were in New York City when Roti and I heard the news: Camille Love, Executive Director of the OCA notified Monica Campana, Living Wall’s own Executive Director, that Roti’s mural had to be buffed. No explanation was given initially, but it would only take a matter of hours until we learned that several community members had objected to what they perceived as the murals “demonic” imagery. While Campana rightly justified that the city had approved the content and refused to buff the wall, about six men (including a former congressmen who I still can’t believe held office after watching this video) decided to do it for her – illegally. Despite their attempts, the water-based paint that haphazardly covered Roti’s mural stood no chance. In a matter of hours, over 100 people gathered with soap, water and sponges. Along with the help Department of Transportation, they managed to salvage the mural.

Roti and I were completely floored by the chain of events. I think for any street artist who travels the world painting murals understands that once they’ve done their work, it no longer belongs to them. It belongs to the people who have to see it every day, the communities of which it is in. I urged Roti to issue a statement about his work, but he refused to make any concessions. It didn’t belong to him anymore. We were just witnesses to the theater underway.

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Hyuro’s mural in Atlanta (image courtesy and © of Trevor Keller and PBA from “A Tale of Two Murals”)

When I returned to Atlanta, the saga of Roti’s mural continued. Two council members from the area hosted a press conference to “discuss a resolution” with concerned parties. Conspicuously, Living Walls was not invited, nor anyone else who was in favor of the work. Word travelled fast and as soon as the cameras turned on, a crowd had gathered just opposite Roti’s mural. Those in front of the camera stood in their opposition to the mural, while those standing behind the camera maintained their support. The pundits spoke their grievances and the cameras were turned off. The hostility simmered to a boil once many from the community who believed in the work felt slighted, and seeking the opportunity to discuss their differences, were immediately shot down. I saw fingers pointed, voices raised and accusations slung. It was the most unfortunate event I have ever witnessed, and I will never forget.

Roti’s mural was buffed grey soon thereafter. Those council members who so vigorously opposed Roti’s mural assembled a committee that was determined to draft legislation so that an event like this would never happen again. In the spring of this year, they finally presented the legislation. Once the arts community caught wind of the initial proposal, valid issues were raised. Of the most paramount concern was that this ordinance would give city officials the right to make aesthetic decisions about private property, and anyone with knowledge of American civics can understand that this is a clear encroachment on first amendment rights. The ordinance, which was quickly ostracized by many Atlantans (not only in the arts), was shelved up until last week when the city council decided to take it up again to vote for approval.

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A neighborhood meeting about the fate of Hyuro’s mural in Atlanta (image courtesy and © of Trevor Keller and PBA from “A Tale of Two Murals”)

This brings us where we are today, and where my long-winded explanation of this series of events will come to a close, but only after I offer my consideration of this entire situation. I understand the sentiment shared by those community members who did not approve of Hyuro’s and Roti’s murals is exacted because of just that: they were not notified, so therefore they weren’t given the chance to say yay or nay until the work was already up. I could get into specifics and blame the council members for this point (they represent these communities, and had approved of the work), but I’ll leave that aside. The point is, these people felt disenfranchised by the artwork. But can a hefty bureaucratic measure resolve this issue? Simple answer: no.

That brings me to another concern. The legislation requires a lot of work on behalf of the artist and private property owner. I’ll give the city some credit where it’s due that they are trying to “streamline” the process by funneling all the paperwork through one office, but the paperwork in itself still requires too much red tape over the freedom of expression. I would even dare to suggest that it would deter individuals (or smaller organizations than Living Walls) from making so much as an attempt to follow this draconian procedure. In other words: this legislation stifles creativity.

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Hyuro’s mural in Atlanta (image courtesy and © of Trevor Keller and PBA from “A Tale of Two Murals”)

This civic creativity is what has put Atlanta on the map in terms of the arts and culture. It came from the porches, bars and backyards. These informal networks, which are made on a daily basis, built the cultural capital of Atlanta. And it is precisely because they had the freedom to do so. That is why I will go so far to claim that this legislation is an attack on the arts in Atlanta, because if it is passed, it will eventually alter this practice. If murals are accountable to time-consuming subjugation, so is the imagination of these artists.

I may no longer live in Atlanta, but the city is still part of my identity. I’ve traveled to different places around the world and have had the pleasure of meeting many people who knew of Atlanta, not only because it hosted the Olympics back in 1996, but also because of it’s flourishing arts scene. If the city takes this step to restrict artwork, they will undoubtedly place a constraint on the creative industry that has followed. Those “scrappy” organizations like Living Walls may fall short to the city’s demands, and others may never even surface.

For the sake of creativity, let it be.

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Hyuro’s mural in Atlanta (image courtesy and © of Trevor Keller and PBA from “A Tale of Two Murals”)

An addendum:

*After a public meeting this week with the committee spearheading the legislation, councilmember Joyce Shepard has decided to take more time to review the proposed ordinance. Additionally, she suggested that perhaps arts and legal experts could offer further consultation. While I would like to dictate some optimism on behalf of this news, I find it politics at best. When initial proposal faced criticism from arts organizations and artists alike, city council attempted to thwart constructive input by rescheduling a public meeting nearly five times. This news echoes the habitual avoidance demonstrated by city council since the onset of the proposed legislature.

However, let us hope that the ostracism of the arts community by the city council in drafting this public art ordinance is subject for reversal. Perhaps, this time around city council will review these points made above, which sound loudly among all artists in Atlanta.

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To see the documentary “A Tale of Two Murals” in its entirety, please go to http://www.pba.org/programming/tale-two-murals/

Our thanks to Trevor Keller for the screenshots from the film used to illustrate Ms. Parrish’s essay.

 

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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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BSA Film Friday 02.28.14

BSA Film Friday 02.28.14

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

Now screening :

1. Roti “To the New Ukraine”
2. Getting “GREASY” with Narcelio Grud
3. Mr. Toll from DEGA Films
4. NDA from DEGA Films
5. “I Can See You” in Iraq

6. Experimenting with Projection Mapping

BSA Special Feature:Roti “To the New Ukraine”

From Chris Cunnigham comes  this short version of a documentary that follows French Grafiti artist ‘Roti’ as he works on his most ambitious project to date, we get a glimpse of an untold side story in Ukraine’s revolutionary struggle.”

Read more about it on BSA here. A ‘New Ukraine’ Sculpture in Independence Square by Roti

Getting “GREASY” with Narcelio Grud

From the man who showed us how to paint with discarded fruits and vegetables, we see a sweetly crude painting with the one thing that is keeping the world running while simultaneously killing it. Narcelio takes on the sticky stuff and gets greasy.

Mr. Toll from DEGA Films

In a category all his own, Mr. Toll sculpts with his fingers the ironic and the naturally beautific (warning: may not be a word). Over the last 3 or 4 years, you could say prolific. The 3-D is a welcome variation, and surprisingly easy to overlook as a possible adornment deliberately placed there by a building owner.

 

N’DA from DEGA Films

Hard won street cred can sometimes be achieved one character at a time, no matter how brutishly plain or comically pequeno. What a character N’DA is! Painter, wheatpaster, illustrator, idiosyncratic outside artist – don’t underestimate and don’t overlook this one.

 

“I Can See You” in Iraq – A film by Sajjad Abbas

Translated as “I can see you” the giant eye placed on the top of this building is a way that was Street Artist Sajjad Abbas wanted to keep Iraqi politics on their best behavior. Even though he got permission from the government to install it, soon enough it had to come down because some people thought it had to do with the Freemasons. Here he offers an unvarnished direct recording of the installation and de-installation, less documentary than document.

Experimenting with Projection Mapping

From computational designer Lukas Z here is a fun example how much you can do with projection mapping and some pin tape these days on the street. Our forays into the projection world over the last 5 years tell us that this is one small example of the possible, but this is well realized.

File under
1. tape-art.
2. projection mapping.
3. audio responsive generative visuals.
4. openframeworks

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A ‘New Ukraine’ Sculpture in Independence Square by Roti

A ‘New Ukraine’ Sculpture in Independence Square by Roti

French Street Artist Trucks 4 Ton Marble Sculpture with Kiev Crowd Watching

The Prime Minister and his cabinet have quit and the freezing crowds are still demanding the resignation of President Viktor Yanukovych. Here in sub-zero Independence Square amidst the Molotov cocktails and burning tires appears a “New Ukraine,” thanks to the just carved sculpture of the same name. Street Artist Roti channeled his rebellious graffiti ethos into this project featuring the image of a Ukrainian woman emerging from the depths. He hopes to inspire the demonstrators who have been mobilized for two months plus.

Inflamed since their presidents’ sudden withdrawal from a trade agreement with the European Union (EU) in November, most say the real oxygen that is feeding this populist fire is disgust with a political class that became corrupt. With this unsanctioned gift of public art Roti examines and tests the ambiguous nature of illegality that also possesses beauty, claiming public space for a rippling people’s movement that now looks like a revolution.

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“New Ukraine” by Roti (photo © Chris Cunningham)

 
Writer, scholar, and occasional BSA contributor, Alexandra Parrish was perfectly placed in Kiev this winter to see the uprisings swell and to witness the carving out of this now historical public sculpture by Roti, as well as its placement. We are pleased that she shares with us today an essay that provides context and background for Roti’s gift to The Euromaiden (Євромайдан, #EuroMaiden #EuroMaidan) and to the related events.

Roti’s “New Ukraine”
by Alexandra Parrish

“Throughout history, art has served as a representation of religious, cultural, political and social movements,” remarks Roti, the 25-year-old artist cum laude. Today, while many artists seemingly work for the market alone, others continue to negotiate the relationship of art to society. French artist Roti is certainly moving towards his own interpretation of such, particularly after the installation of his 2-metre sculpture titled “New Ukraine” in the centre of Kyiv to express his solidarity with the current revolution underway.

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Roti at work in his studio. (photo © Chris Cunningham)

By trade, Roti is a stonecutter specialized in sculpture; in a separate pursuit, he’s negotiated illegality in public space via graffiti for the past decade. An artist in all regard, Roti’s surreal work depicts the spiritual realm, the intangible realities that exist in the mind. He’s found much success with his style, which has allowed him to travel with his work to New York, Atlanta, Paris and London.

However, it was his trip to Ukraine for the Gogol fest back in September of 2013 that sparked an intense appreciation and curiosity about the spirit of the art scene underway, predominately in the capital city of Kyiv. He spent a month deep within the community of artists who have “built beauty out of nothing;” in this experience, he learned how the individual could be a part of a collective. He promised to return, one day.

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Roti at work in his studio. (screen shot from a yet to be released film © Chris Cunningham)

In late November of 2013, rumblings of a new revolution in Ukraine began. Acts of peaceful civil resistance and demonstrations activated Independence Square, the centre of Kyiv. These demonstrations were a direct response to president Yanukovych’s decision to retrench from trade agreements with the European Union in favor of a renewed arrangement with Russia.

The movement, affectionately referred to as “Euromaidan,” has been generally characterized in Western media as an aspiration for EU-integration. However, Ukrainians continue to endure freezing temperatures and police intimidation for a more humanist cause – they are through with Yanukovych’s corrupt government and they demand a better quality of life (the average Ukrainian earns about $300 per month).

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Roti at work in his studio. (screen shot from a yet to be released film © Chris Cunningham)

Roti, after observing the resistance through media outlets and Facebook feeds, felt a strong urge to return. Initially, he felt compelled to just be there. After much consideration, he realized he needed to do something. For months, he’d worked on the concept of a sculpture he assumed would install one day in Paris. Yet the movement happening in Ukraine assigned a new meaning to his initial idea – a woman, emerging from water – an allegory for the current revolution.

Two days after his initial proposal to several friends involved with Euromaidan, he booked a ticket to Kyiv. Two days after that, he miraculously managed to find a rose-marble stone and a workshop. The entire process fell into place so smoothly that his efficiency followed – generally, he would work 14-16 hours a day carving and polishing the stone. By the 13th day, the stone was complete.

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Roti at work in his studio. (screen shot from a yet to be released film © Chris Cunningham)

In the end, he saw life in the sculpture. The ripples had energy and movement. The face of the woman, while modeled after a friend and talented performer of the Dakh Daughters, represented the strength and perseverance of the Ukrainian population. Roti himself felt as if he’d emerged from a descent into the murky waters of insecurity. The sculpture, which he titled “New Ukraine,” became alive in symbolism, hope and energy – everything he felt during his experience and understanding of Euromaidan.

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Roti (photo © Alexej Zaika)

The installation took place on the day of Orthodox Christmas, January 7, 2014. At around 6:00 p.m., the procession into Euromaidan began with the Dakh Daughters, who performed traditional Ukrainian folk songs about patriotism and freedom; a truck carrying the 4-tonnes sculpture trailed their spirited performance. “Around 200 people followed us into the centre,” Roti observed.

Everyone was curious, even confused, as no announcements had been officially made. This was, after all, an illegal installation. No authorization was given. However, it didn’t take long for those perplexed observers to understand why this was happening. “New Ukraine” was more than a gift; it was a proclamation of hope. After the sculpture was successfully hoisted from the truck to the ground, people sang and danced into the night in celebration.

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Roti (photo © Alexej Zaika)

Two months into Euromaidan, the celebration of Christmas and the “New Ukraine” sculpture were hardly indicators of an end to the protests, although demonstrations began to decrease in number. On January 16, Yanukovych forcefully passed legislation that would colossally curtail a number of free speech rights, notably the right to assemble and protest. This move sparked civil unrest that ultimately culminated into a violent stand off between protestors and police.

The first deaths of the revolution were reported in the week that followed. Protests spread to nine other cities across Ukraine, marking a fundamental shift in the Ukrainian revolution. While Yanokovych has agreed to make concessions towards peace, talks have yielded no success. The situation may seem dire to some, but there is some hope out of all of it. Increasingly more government buildings are now occupied and riot police and government troops are vastly outnumbered.

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Roti (photo © Alexej Zaika)

Since the rise in tension, greater media attention has been given to the movement and supporters across the world have asked their leaders to enact concessions on the Ukrainian government. During the World Economic Forum in Switzerland Friday, January 24th, 50 Ukrainian sympathizers stood outside with signs that read “thank you for your concern, now do something.”

In a way, this sentiment can be addressed to many of us. Social movements and revolutions require more than assembly, they also command a shift in ideology and action. Roti’s “New Ukraine” sculpture in Kyiv is almost an unconscious rallying call to continue the independent and free ethos of graffiti with new disciplines.

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Roti (photo © Alexej Zaika)

“If I use art illegally, in the graffiti spirit, by giving all this energy inside the stone,” Roti explains, “it can leave an eternal trace of this movement.” Likely, this stone will remain for hundreds of years as a continuous reminder of the Ukrainian revolution.

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Roti (photo © Chris Cunningham)

This article also appears on The Huffington Post 

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Our special thanks to Alex Parrish for sharing her essay with BSA readers.
 
 
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I Love Paris In The Winter… New Street Art Dans la Rue

La neige! C’est romantique!

It is snowing in many city Street Art spots this time of year – transforming the evolving visual conversation on the street to something more. It may make you walk faster past it on your way to school or office or apartment, but for Demian Smith, editor at Alternative Paris, it is a source of inspiration, even romance. Today he shares these latest snowy Parisian Street Art scenes exclusively with BSA readers along with his ruminations.
 

The cradle of the French revolutions, a steep and hilly area in north-east Paris known as Belleville, was covered in snow just a day or so ago, and my first thought was to withdraw from this beautiful, dangerous spectacle.

2501 (photo © Demian Smith)

Why expose myself voluntarily to the heart-rending and often precarious trials of seeking out artwork displayed in the streets without censure? Was I going to see an old masterwork? —No.*

However, after reflection, I overcame my repugnance. I had, in my excursions, noticed, among the multifarious artistic creations, so many heterogeneous elements; that is to say, dozens of artists and respondents of all social positions and of so many nationalities, that I began to think it would perhaps be useful to my compatriots at Brooklyn Street Art to view photographs by and by a sincere recital, photographed with a Canon 350D, of the events that are ever more frequently taking place in this part of Western Europe.

Le Module de Zeer (photo © Demian Smith)

All photos were all taken in Belleville in north-east Paris, currently the most active zone for street art and graffiti anywhere in France.

Bvault (photo © Demian Smith)

Jean le Gac (photo © Demian Smith)

Roti (photo © Demian Smith)

Artist Unknown (photo © Demian Smith)

Fred le Chevalier (photo © Demian Smith)

Fred le Chevalier, Gzup and Diamant (photo © Demian Smith)

Fred le Chevalier (photo © Demian Smith)

Ben Vautier (photo © Demian Smith)

Stinkfish (photo © Demian Smith)

MW (photo © Demian Smith)

Artist Unknown (photo © Demian Smith)

Denk Becky (photo © Demian Smith)

Da Cruz for L.E.M.U.R. (photo © Demian Smith)

Cony, Tomek Pal Crew (photo © Demian Smith)

Artist Unknown (photo © Demian Smith)

Mural at rue Denoyez (photo © Demian Smith)

Rue Denoyez (photo © Demian Smith)

 

* Text is adapted from a passage in the 1871 publication, ‘The Insurrection in Paris, by an Englishman: An eye witness account of that frightful war and of the terrible evils which accompanied it’ (1871), on the author’s impressions of Belleville. -Demian Smith

 

Demian Smith is editor at Alternative Paris, which reports on Paris’ street art, graffiti and fringe culture. Our special thanks to him for sharing this with BSA readers.

 

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