A beacon of color, seventy two colors to be exact, is now standing along the Spanish coast, thanks to Cantabria native Okuda San Miguel. The candy wrapped pole is circled by the street artist as he covers it and called it his “Infinite Cantabria” just as the fires of summer begin to cool.
He says he wanted this, the first lighthouse on the coast to be painted, to reflect the natural wealth and diversity of the autonomous Cantabrian region on Spain’s north coast. Built between 1833 and 1839, the Cabo Mayor Lighthouse is already a major tourist attraction with a storied past, so it is an unusual commission for a street artist to be invited to paint it and an opportunity to shed new light on these troubled times.
With sweeping vistas in every direction, this new treatment from Okuda is a hit, with 10K visitors in its first weekend a couple of weeks ago.
Gonzalo Borondo stages an insurrection against the authorities who would hope to instruct you how to think about art in the public sphere, the right of the overlord to pollute the visual landscape at will, and the limitations of our imaginations in Segovia a nine-month installation.
A 32 billboard installation totaling
17 locations, the Spanish street artist and conceptual installation artist
evokes sepia-soaked memories of history as told through the view of those recounted
in a communal uprising here 500 years ago.
Extending beyond the frames with sculpture, layered textures, and projection, the post-industrial modernist documents events and takes liberties with his interpretation, a 5 chapter “INSURRECTA” that instructs and reflects with symbols and figures and open spaces. For those familiar with his vocabulary over the last decade+, it’s a fulsome maturity that commands as it expands, with poetry. Sometimes it plays with it background, other times the background has its way with the canvas.
Paying homage to Goya, his engravings of “Los Caprichos” and “Los Desastres”, he works within a narrow palette and innovates forcefully, playing with perspective and your willingness to interpret.
In his description of the Segovian people
and their fierce spirit of defiance and riotous acts in pursuit of autonomy and
self-reliance, he says he is inspired by “humanity confronting nature, the
discourse of the urban in the natural landscape, the effects of imposition on
society, the reappropriation of spaces by different agents.”
Leaning heavily on visual metaphor,
many in the graffiti and street art communities can identify with his take on reappropriation
of land, resources, and the expression of art in the public sphere. It has
become commonplace to expound upon street art as an “outdoor gallery”, but this
mapped and self-guided tour looks as close to a museum exhibition as we’ve
seen, and it’s even walkable for many.
As ever, you decide the route.
Gonzalo Borondo presents INSURRECTA alongside the City Council of Segovia in collaboration with Acción Cultural Española (AC/E). The project sees the Department of Culture commemorate the 500th anniversary of the communal uprising in the city.
Segovia, Spain, from 29 June 2020 to 23 April 2021
Barcelona, Spain has begun
the process of re-opening the city from the confines of Covid-19. Lluis Olive,
a frequent BSA collaborator tells us that phase I of re-opening includes bars
and restaurants but only at 50% of their capacity. Stores under 400 square
meters are also allowed to re-open. Groups up to 15 individuals are permitted
to gather in public as well. For him this is a welcome relief for much needed
And what does a street art
fan and photographer do when you let him outside after weeks stuck in his home?
That’s right, he captures the voice of the artists in the public sphere.
Here Mr. Olive shares a few
shots on the streets of Barcelona – artists’ view on the pandemic.
spooky set of images today from València, where an enormous torso of a
woman is set afire in the center of the city, billowing blackened smoke through
its cut severed body upward hundreds of meters into the air.
Only two years ago we gave you stunning photos by Martha Cooper of Okuda’s enormous geometric pop art sculpture aflame for this traditional festival (OKUDA Sculpture Engulfed in Flames for Falles Festival in València). The culmination of a city-wide street celebration that is enjoyed by hundreds of thousands in this city of 2.5 million. Now there is no one outside on Valencia streets.
Spain and most countries in Europe are closing their borders, going into some version of a 24-hour lock-down curfew, encouraging people to self -quarantine to protect against the spread of coronavirus.
Look at the images of the yoga posed woman with a face mask, cut in two, lit on fire, only her shoulders and neck, and head remaining. Is it violent? Is it poetry?
“Suddenly this image became a symbol of peace and calm, unity and solidarity,” says Spanish Street Artist Escif, the political sociologist who often infuses his figurative imagery with greater commentary on society.
Escif tells us that the Valencia government decided to burn just the body of the sculpture and to keep the face with the mask in the square – until this crisis ends. Surrounded by firefighters, this fire goes up. Yet this serene woman will remain after the flame is extinguished, what is left of her.
Danish painter Jacoba Niepoort
captures a figure mid moment, usually in movement and gently touched with
Here in Fanzara, Spain her new mural for the MIAU Festival is in two distinct parts, separated by bricked wall, interconnected by a chord. The malleable wire of energy seems to envelop the nude as she reaches toward a winged being which is taking flight, thin rope in claw.
This looks like a powerful creature. You may imagine this whimsical scene taking a difficult turn as soon as this bird is airborne and the entangled figure is dragged along behind, haplessly scraping along the ground and banging into houses, cars, and bushes until lifted up above the trees.
Hopefully that doesn’t occur.
Niepoort tells us that this is scene
not to be taken so literally.
“The mural is about the process of letting go of those things we have a hard time letting go of,” she says. Given the moment she has depicted here, there is little time remaining to let go.
“Have you taken down the names for your paper yet?” she asked me. “Stay by my side and I will dictate them to you: the Count and Countess of Caralt, the Marquess of Palmerola, the Count of Fígols, the Marquess of Alella, the …
~ A Barcelona Heiress, By Sergio Vila-Sanjuán
In the decade before the Spanish Civil War, Barcelona was on the verge of boiling over, and perhaps this castle in the Pyrenees mountains to the south was at its height of glory thanks to workers in its coal mines. The Count of Figols and his family enjoyed the view from the tower while the miners, some as young as 14 years old, kept toiling about 13 kilometers away – until they revolted in 1932.
“The mining company, the greater part of which was owned by Liverpool-born José Enrique de Olano y Loyzaga, First Count of Figols, prohibited union organization and paid its workforce in tokens redeemable only in the company stores.”
Revolution and the State: Anarchism in the Spanish Civil War, 1936-1939, by Danny Evans.
Today you can hashtag Figols (#figols) on social media and you can see the tower (Torre del Compte de Fígols) and wander through the ruins of the castle (Castillo Conde de Fígols) – and discover new graffiti pieces and paintings throughout the rooms. That’s what photographer Lluis Olive Bulbena did last week when he went to check out some fresh stuff he heard was painted here about 120 km north of Barcelona. We thank him for sharing his images with BSA readers from the castle of the Count of Figols.
Not your typical mural festival, Circular asks you to recycle your art materials to create your new piece.
Occurring on the outer rim of Madrid, this collection of thinkers and conceptualists challenge almost every concept of the sad digression called the “mural festival” today – with the sincere focus of bringing the practice back to the community and creating work in the context of it.
Artist Elbi Elem tells us that she and Sue975, Aida Gómez, Octavi Serra, Clemens Behr, Brad Downey and Marina Fernandez were living and working in this barrio in the southern part of Madrid for two weeks. Rather than “parachuting” in and immediately putting up a mural that has nothing to do with the city, she tells us that it was important to spend a week to get to know the barrio and the people.
“Then we chose a location and got the materials,” she says of the recycled items with which she built this sculpture. “It is metal and mostly tubes and plastics that were found in abandoned places and waste from some factory of the industrial area that we were in – like plastics that had been used for signs or skylights.”
Officially running from October 1-20, Circular says that the entire concept is meant to reconsider the role of urban art in a city and to return its scope and proportions away from the enormous expanses we have been seeing on the sides of skyscrapers to something that is more, well, human scale. In addition to supporting themes such as sustainability and scale, organizers say they’re less interested in being a tool for gentrification or revitalizing areas for tourism, and more interested in bringing art to neighbors.
“By taking the festival to this area of southern Madrid, we contribute to the decentralization of culture in the city, to the democratization of art and to bringing it closer to all types of audiences,” they say in a description of goals.
For Elem’s sculpture, which she calls a “floating art installation”, she welded the metal and tried to use colors that are natural to this human-made environment.
“At the same time the colors I used were also the same as the surroundings, being integrated with the landscape,” she says.
“I decided to work under this long-roofed area at the entrance of the main market. I liked the environment and the background and it was easy to hang the piece. I loved that place because you could see a lot of movement of people going to shop and it was interesting seeing their reactions,” she adds, “mostly of surprise.”
PichiAvo finishes Artistic intervention in the Livensa Living Diagonal Alto student residence.
Poseidon and the sea are both visible from here, so is Athena, another powerful Greek god. She ultimately prevails, if you recall. You can read HERE about their Athena intervention back in July.
Here we see graffiti/Street Art/muralist duo PichiAvo is prevailing as well in Barcelona during recent commissions in July and September. This time their signature style is employed for a real estate developer client and the results are tight as ever.
The Spanish painters’ deconstruction of classical iconography is becoming the stuff of legends, and here they present their tableaus in sectional designs that poke inside and out- elaborate expressions of gauzy and marbled high and low imagery blended in a complimentary way.
Our special thanks to talented photographer Fer Alcala today who shares his unique view and optical talents today with BSA Readers.
Community murals today from two artists last month in Barcelona working with the Contorno Urbano program that brings artists of many disciplines to a series of walls in the public space.
Today we have Claudio Drë and Minuskila, who each take different approaches to themes, his abstractly wildstyle, hers simply symbolic, graphic and possibly painful.
Chilean born, Barcelona-based former graffiti writer Dr. Drë began on the streets in 1996 with aerosol and eventually experimented with oil, acrylic, and canvas. His murals and fine art have been exhibited in Chile, Latin American and Europe. He has an affinity for the technical, the fine line, volume, and perspective. His new mural draws upon his original fascination for graffiti, geometry, psychedelia and the letterform, bringing each to a more futuristic dimension.
A member of the artistic collective Reskate Arts & Crafts , graphic artist Minuskula (María López) is original from the Basque Country in Donostia-San Sebastián and has dedicated much of her work to illustration and letter-styling, with some experience in muralism as well. Here she translates an illustrated metaphor large scale, calling the piece “Limits”.
The color palette of the new collection of murals at the 3rd edition of Parees Festival is softened, earthen, stable. Adding five new murals brings the total to 23 here in Oviedo The 3rd edition of Parees Festival in Oviedo in Northern Spain, only minutes from the Bay of Biscay.
As you review the techniques and schools of influence you can see the careful curation of the selection of muralists – each seemingly contextual, whether figurative or abstract of geometric.
Organizers say the newest artist participants, Mina Hamada, Hedof & Joren Joshua, Udatxo, Catalina Rodríguez Villazón & Matth Velvet, were chosen from a global selection yet are expected to be cognizant of their immediate environment in their conception.
There are themes based on regional culture, say the organizers, and “You can also add to this spirit the main characteristic of the event which make it something different from other urban art festivals in the country: the participatory processes: neighbors from every area where the walls are located collaborate with their authors in order to participate in the final design.”
As illegal Street Art morphed into legal murals we began to witness the entry of formally trained artists and professionals who not only abandoned the politically charged or socially challenging themes in favor of pleasant topics and commercial aesthetics but accidentally launched an arms race for the biggest, tallest, widest walls possible.
Soon the descriptions we received about new artist works shifted from discussions on themes and messages to statistics about square meters covered, the number of stories high the building was, and how many cans or gallons of paint were required to finish it.
artist, designer, and photographer Octavi Serra would like a larger wall
please. The one that Contorno Urbano gave him for their 11th mural
this year in Barcelona seems dreadfully small, and he has really big ideas. He
calls this mural “Insufficient”.
says his work often “focuses on capturing the irony, truisms and frustrations
of modern life,” and while this piece is evidently meant to be tongue in cheek,
he is tapping into a general sense of dissatisfaction that is part of a
materialistic culture, and part of the human condition.
letting the typography bleed off the edges, you also sense the claustrophobic
feelings that are playing with the artists mind. “There is this feeling of
never being completely satisfied even though reason argues that we should be,”
he says. “There is this desire to always have more, which make the road
impossible to enjoy.”
mural is part of the 12 + 1 public mural project of Barcelona – at the Civic
Center Cotxeres Borrell. Before the end of the year they are planning a
collective exhibition where works by all the artists who have participated in
the edition of the 12 + 1 2019 Barcelona project will be on display. The show
will feature artists Jay Visual, Ivan Floro, Margalef, Anna Taratiel, Nuria
Toll, Flavita Banana, Cristina Lina, Degon, Mr. Sis, Cristina Daura, Laia and