The artist Rero began his journey as a graffiti writer in his teens, and a quarter century later, he is still provoking audiences with text. Paris streets may have hosted his initial exploration of language and symbolism. Still, as a street art hero of the last decade and a half, it’s his canvasses that have garnered his texts attention at Centre Pompidou, CentQuatre, and Grand Palais in Paris, as well as the MAC/VAL in Vitry-sur-Seine, MAC in Bogota, and the Art Science Museum in Singapore, among others.
RERO. Untitled (BUSY DOING NOTHING…), 2023. Spray paint on stone. (Image courtesy of Rero and backslash, Paris)
His latest exhibition, titled “Ophiuchus,” continues his exploration of language and symbolism, the art of cancellation and negation, with a thick black line that strikes through words and expressions, or, conversely, connects them, resembling Sanskrit calligraphy. At the moment, he is focusing on the symbolism of the snake through history; “The polysemous theme of the snake has inspired Rero for several years,” says the press release. “Initially intrigued by the ability of this cold-blooded animal to shed its skin, the artist is now questioning the symbolism of the snake according to each culture, using the Ophiuchus constellation as a prelude to his reflections.”
RERO. OPHIUCHUS (Serpentarius), 2023, artwork fragment. (Image courtesy of Rero and backslash, Paris)
This is a conceptual act, of course, examining and eventually killing the snake. The contradictions in his selecting, the crossing out of words and phrases. Looking at the thematic act, you may wonder to whom or what is he referring as the serpentine today, or is this strictly a historical investigation, as we turn toward Ophiuchus for an explanation, as he holds the serpent in both hands.
RERO. Untitled (HOW MUCH IS ENOUGH…), 2023. Paint on canvas. (Image courtesy of Rero and backslash, Paris)RERO. Untitled (HOW TO LIVE…), 2023. Paint on canvas. (Image courtesy of Rero and backslash, Paris)RERO. Untitled (THE PARTY IS OVER…), 2023. Burt wood. (Image courtesy of Rero and backslash, Paris)
RERO / Ophiuchus
From June 10 to July 15 Opening Saturday, June 10 from 2 to 8pm in the presence of the artist. Click HERE for more details about the works.
Backslash 29 rue Notre-Dame de Nazareth 75003 Paris
When you have a minute, it’s good to stretch your legs and walk through your neighborhood to see the hot spots for graffiti and street art periodically because the local artists often like to re-fresh the selection. In this neighborhood of Barcelona, you will often find new pieces by the neighborhood heroes along the Riu Congost, a small stream that winds its way from very dramatic natural gorgeousness north of the city. Here we have some new stuff courtesy of photographer Lluis Olive-Bulbena, who was on hand to document some fresh stuff from Aryz, Japon, Stain, Emak and Zone – which runs the gamut from graffiti, street art, to illustration and diagrammatic of the mind.
The Bushwick Collective’s Block Party 12th edition ended with a bang and big crowds. This year Joe Ficalora, the founder, organizer, and curator, threw a warehouse party as part of the festivities and included a full-size replica of a New York Subway train designed by Danny Cortes and tagged by dozens of graffiti writers from the Metropolitan Area. We gave you a sneak peek of the train last week HERE. Today we bring you complete documentation with details shots of the train. BSA spoke about the project with Mr. Cortes, Edward Rivera, Mike See, and Joe Ficalora.
“So it’s amazing to me that you have taken something massive like a 1980s subway car, shrunk it down at one point to a highly detailed miniature…. and now you’re blowing it back up again!” says a BSA interviewer.
“It feels amazing, to tell the truth,” says artist Danny Cortes while a small team of fabricators and painters working feverishly on the full-scale car for an installation at the Bushwick Collective Block Party.
“Which one’s harder to do? The full-sized version or the smaller one?”
“The miniature,” Danny says with no hesitation. “Because the intricate details are so tiny and difficult to mimic something, you know? But it’s all; it’s so much fun. It’s so much fun.”
Cortes has been having a lot of big success in recent years making his painstaking replicas of New York scenes that make you feel warm and nostalgic for the streets; bodega storefronts, ice storage machines slaughtered with tags, box trucks, blue US mailboxes covered with stickers, the front of CBGB’s club, ice cream trucks, even tiny video VHS tapes of classics like “Wild Style.” And like the best writers in the day, he has been blowing up – scoring exhibitions and sometimes a celebrity client.
“I can show you what I’m working on,” he says, “I can show you, uh, one that I got for Drake for July” he reaches in his pocket to pull out his phone to show you his replica of a subway train pulling in under the tiled sign that says “Atlantic Avenue”. “So Barclays Center commissioned me to make this for Drake for his tour that’s coming in July. I’ll show you on Instagram. So it has almost the same concept.”
Mike See, who has been working long hours for days with Edward Rivera (aka Shutter Ed) and a team of people to fabricate this train, doesn’t even seem fatigued. When he talks about the sophisticated techniques of creating the lights, the windows, the seats, the finishes, and even the strap hangers – you can tell he’s excited to be a part of a crew. He may be more excited to have seen some graff heads who stopped by to tag the train in progress.
“A bunch of legendary graffiti artists came through – they cleared the warehouse for certain people to come in and be secretive. They did what they do, and there are layers of graffiti history from New York City graffiti right here. Is amazing. Outsides, insides, .. it makes you imagine the movie ‘The Warriors.’”
“Legends in the game,” says Cortes of some of the tags they have collected on this tribute train. “These are names that have been doing it for years and used to hit this same style of train for years. So this makes it more authentic. Not only is it like a stamp for me, but it’s also, it’s important to bring realism,” he says as he describes the process of layering, distressing, and applying finishes to the original pieces and tags to make them appear as authentic as possible.
“That’s why I faded out sometimes, right? You know, just to give it that overlay look and the fade distress, the stress look. That’s my style. The gritty, dirty, rusty. Yeah. What’s an eyesore to somebody else’s eye? It’s beauty to me, okay. So I accomplished that on this piece right here with my team.”
This replica of a subway car has been tagged for this special project by GIZ, SAINT, GHOST, THEAM, IR, CES, SPOT, JAKEE, KED, PGISM, ACNE, BERT, AND LANDO, DANNY CORTES, NEP, NOE, CHEO MSG, AND MIKE SEE among other graffiti writers.
Graffiti writer, formally trained artist, graphic designer, muralist, and tattooist, Awer was born in Polignano a mare (IT) but is now Berlin based. His newest outdoor mural returns him to Italy, near The Caves of Castellana that open in south-eastern Murge. Like his liquid dancing surrealism of psychological topographies, the forms in the caves are melting and organic in appearance. Here in the city of Bari, which is part of Grotte di Castellana, Awer says he has flooded the arches of the building of the Viterbo Foundation with his painting, “modifying its architecture and giving new life to the portico.”
AwerOne in collaboration with Liverbia Dipinti di Storia. Castellana Grotte, Italy. (photo courtesy of the artist)
He tells us that he is reminded of the historical Castellana floods, which are still ever-present in the memory and psyche of its inhabitants. In his paper “Flood history in the karst environment of Castellana-Grotte,” author Mario Parise says that “The oldest part of the town lies at the bottom of a karst valley, which was hit by many flood events in the last centuries.” Later, he calls to mind the scenes created in this new mural, “Karst areas represent a very distinct type of environment, with marked local and regional differentiation of ecosystems and geotopes that are expressed by their specific morphology, hydrographic and ecological characteristics.”
AwerOne in collaboration with Liverbia Dipinti di Storia. Castellana Grotte, Italy. (photo courtesy of the artist)
Awer has described his work online as being “dominated by irregular streams of parallel lines that, as if moved by waves of a sound rhythm, spread brightly like energy trails.” Naturally, or supernaturally, this new mural for @libervia_dipintidistoria perfectly mimics the earth and perhaps the topography of the mind as well.
“The vibrant dance climbs up the building enclosing itself in a vortex that opens a portal to the abyss,” Awer says, “an invitation to the underground worlds that the city of Castellana mysteriously hides in the dark depths of ITS caves a bit like each of us, an invitation to seek out one’s dark side unknown to so many, what could be the best of us.”
AwerOne in collaboration with Liverbia Dipinti di Storia. Castellana Grotte, Italy. (photo courtesy of the artist)
Remember last summer when you realized it was already August, and you didn’t go to the beach or for a hike yet? I vow not to let that happen this summer. New York is full of summer fun opportunities; getting outside the city, even for a day is revelatory. If you want to catch street art, step outside in many neighborhoods across the five boroughs. If you want your art viewing experience to be accompanied by live Hip Hop performances and plenty of places to grab a drink amongst the live aerosol painting on the street, just go to the Bushwick Collective’s annual block party, which is happening right now.
Similarly, we shudder to see campaigns to humanize the robot “dogs”, like this puff piece in the New York Post featuring an office visit to normalize them – in fact using one to create a painting.
“The robots march across canvasses with paint-covered paws.
Pilat’s works have become a favorite of Silicon Valley’s tech arrivistes.”
Uh, it’s not a dog, and it will probably be weaponized against you in the future. C’mon Sport! Let’s play catch!
Here’s our weekly interview with the street, this week featuring: Skewville, Matt Siren, David Puck, Martin Whatson, Loose, Anso, Rham Bow, Narol, Forever Up, Fuckz, 156 CRU, Ebony, Aims Pukers, Feye, and Sper.
The Bushwick Collective Annual Summer Block Party, now on its 12th edition, has established itself as an official opener of the Summer season in New York City. With its combination of art, music, and food, this is at its root a street art initiative founded and provided by local resident and business owner Joe Ficalora. Joe continues to show his steadfast dedication to the community with a significant, free open event for everybody in the family to enjoy.
Artists from around the world and local artists are invited to create vibrant and large-scale murals that encompass all disciplines, including graffiti in a very big way, on the walls of buildings in Bushwick. Making public space safer for the public to enjoy, many streets are closed off, allowing attendees to roam freely and explore the various murals, including many that are being created by the artists as passersby watch. Live music performances by local performers and DJs add to the festive atmosphere, with food trucks, vendors, and art installations – a true community event for people of all backgrounds.
Here are some of the new murals and installations underway. We’ll bring you a recap of the newly finished pieces soon. Enjoy!
Our weekly focus is on the moving image and art in the streets. And other oddities.
Now screening: 1. Edoardo Tresoldi Studio Visit
2. Homemade Security Patrol Robot by Handy Geng.First-Century. Via Art21
3. Sun Setting Recreated in The Netherlands 3 A: “The sun’s going down like a big bald head.” Courtesy William S. Burroughs
BSA Special Feature: Edoardo Tresoldi Studio Visit
You may have wondered about the mind of the sculptor Edoardo Tresoldi, whose public works have drawn thousands to inspect the wireframe echoes of grand architectural wonders, illuminated to show only their transparent skins. We certainly have.
Homemade Security Patrol Robot by Handy Geng.
Inventors are visionaries; we’ll all agree. They also must be persistent. We admire individuals who can anticipate future needs and create inventions that shape the world, but we adore the ones who face numerous obstacles and setbacks but persevere in their pursuit of their ideas, exhibiting determination, resilience, and a refusal to give up on their inventions. A sense of humor helps.
Sun Setting Recreated in The Netherlands
Ludmila Rodrigues in collaboration with Mike Rijnierse re-create the everyday phenomenon of the sun setting inside the city of Delft in The Netherlands.
“The sun’s going down like a big bald head.” Courtesy William S. Burroughs, Laurie Anderson, and Sharkey’s Night.
Joe Ficalora, the Bushwick Collective founder and curator, invited us to stop by the warehouse where tonight’s Warehouse Party will be held and offered us an exclusive peek at the Subway Art Installation that Artist Danny Cortes, and his team – headed by Mike See and Edward Rivera have been working on. This replica of a subway car has been tagged for this special project by GIZ, SAINT, GHOST, THEAM, IR, CES, SPOT, JAKEE, KED, PGISM, ACNE, BERT, AND LANDO, DANNY CORTES, NEP, NOE, CHEO MSG, AND MIKE SEE among other graffiti writers.
“So, the concept behind Danny’s miniatures fascinates me,” he explains amidst the swirling cloud of sawdust, the cacophony of drills, and the booming voices. “They are incredibly small, which presents a unique opportunity for an exclusive experience, allowing you to truly step ‘inside’ his miniature world.” BSA (Brooklyn Street Art) was fortunate enough to be invited for their own exclusive experience. Here we give you a chance to catch a preview glimpse of the train-in-the-making, set to be unveiled tonight at the grand opening of Ficalora’s annual celebration of street culture, urban art, graffiti, Hip Hop, and sidewalk selfies.
As always, this year’s Bushwick Collective block party sparks numerous collaborations. “The synergies within our circle are remarkable,” Joe affirms. “We rely solely on our resources to create exactly what we need; you know what I mean?”
The level of detail on this train is astonishing. It showcases layers of tags and pieces on the exterior, some acid washed and weathered, while others shimmer with a silver tint. Inside, vibrant tags of New York graffiti heroes from the movement hustle for space, accompanied by door panel pieces, vintage advertising, faded throwies, curved orange seating, and even meticulously crafted 3-D printed straphangers that match the originals in size and shape.
Miniatures of New York scenes are brought to life regularly by Bushwick’s very own Danny Cortes, who faithfully recreates architectural and street-inspired works brimming with nostalgia and imbued with character. In a stroke of curatorial wizardry, Joe Ficalora, the founder of the Bushwick Collective, has decided to commission two enlarged versions of these miniatures, playfully warping perception and conjuring your own memories of New York and its streets.
Over the course of a dozen years, the initiative of bringing hundreds of artists to paint in this Brooklyn neighborhood has undeniably transformed not only the physical landscape but also the scene and spirit of the area. It has become a more welcoming and inclusive environment than one might expect. You will witness fresh combinations, collaborations, and occasional superstar appearances here. However, the essence of the “collective” still remains at the core.
Another one of Joe’s curatorial endeavors for 2023 includes enlarging one of Cortes’ miniature sculptures—an iconic bodega scene—which the artist himself was working on yesterday from a lift. “Zach Curtis from Michigan is also here, and we decided to collaborate once again, this time transforming his miniature model of street life into a mural. The concepts behind the two pieces- the train and the bodega – beautifully align.”
More on this captivating project will be shared here later. Make sure not to miss the grand arrival of the train, scheduled for tonight and set to be showcased throughout the weekend here in Bushwick, Brooklyn.
ITINERARIES OF BODY AND FLESH IN THE PUBLIC MUSEUM SPHERE
Art, technology, and science are often mentioned in the same sentence these days, including occasionally in street art. Indeed elements of all three have always been present in the coded communications of graffiti writers and street artists; a multicolored reflection in the petri dish of society, occasionally examined microscopically. At its very base, Street Art has always used the public sphere as a laboratory for experimenting with new creative ideas, leaving many of us to ponder and pine upon the results.
A new exhibition called “Bio-Rescriptures” finds a Mexican street artist/muralist going literally into the scientific laboratory and combining his expertise in calligraphy to create new works of science and art. Part of the more extensive exhibition “Atentar desde los códigos (Attack from Codes)” at the Interactive Urban Museum of Puebla (MUI) in Puebla, Mexico, Said Dokins, a renowned artist in the street art field known for his murals using ornate calligraphy in large format in public spaces, expounds upon his discoveries in the lab and extends our appreciation of the comingled fields of arts and sciences.
The main intention of the exhibition is to explore the interaction between the human body and microorganisms, blending graffiti and stencils with biotechnology and genetic engineering. Dokins challenges traditional notions of the body as a closed and individualized entity by examining the interconnectedness between the human body, the microbiome, and the environment.
The exhibition showcases various experiments and installations. One involves recording the growth of microorganism samples collected from the daily itineraries of 45 students from the Tecnológico de Monterrey. The participants placed their handprints on agar plates, which were then incubated to visualize the growth of microorganisms. This creates a dynamic microbial “footprint” (handprint) dependent on each person’s geographic space.
Another exhibition aspect involves calligraphic executions using pathogenic and non-pathogenic bacteria from the human body in culture media. Dokins uses bacteriological ink from these bacteria, such as Salmonella and E. coli, to create Bio-Writings and Bio-Stencils. These abstract calligraphies challenge conventional norms and structures, creating a new dialogue between the written and the living. Microorganisms become a sort of bacteriological ink, forming intertwined and hybrid writing.
In addition, Dokins explores the potential of bacteria in calligraphy through genetic engineering. He uses horizontal gene transfer to exchange genetic information between bacteria, allowing them to emit light when exposed to ultraviolet light. The bio-fluorescent bacteria are then used as a bio-ink to perform calligraphic exercises, resulting in bio-fluorescent writings.
The project involved collaborations with distinguished researchers and professors from Tec de Monterrey Campus Querétaro, including Dr. Aurea Ramírez, Dr. Carmen González, and Dr. Paola Angulo, who contributed their expertise in microbiology, genetic engineering, and molecular biology, respectively. The project was also supported by a photographer, Leonardo Luna, who captured the essence of the project, and visionary artist Roberto Palma, who brought the mapping to life. The auditory experience was orchestrated by sound producer Daniel Arp, creating a wet biology-based sound landscape to enrich the exhibition’s narrative.
The exhibition Atentar desde los códigos is curated by Piedad Martínez and Juan Carlos Montes, which organizers say proposes the need to explore the tensions and conflicts arising from discourses and heritage appropriation exercises concerning sociocultural logics. In this exhibition, artists such as Rocío Cerón, Malitzin Cortéz, Ivan Abreu, and Said Dokins present the outcomes of their artistic residency at the Tec de Monterrey campuses in Puebla and Querétaro.
Bentonville, Arkansas is more known for Crystal Bridges Museum of American Art, The Momentary, the Ozark Mountains, hiking/biking, cosmopolitan amenities, luxury homes, millionaires (and a couple of billionaires), – than it is for being a vibrant organic street art scene. Nonetheless, art dealer and curator Charlotte Dutoit and her team at Justkids have been bringing street art names to do public installations here for a decade or so, and the dynamism of the works adds the influence of ‘the street’ to the city while preserving its scrubbed wholesome whitebox sensibility.
Here we have the newest public art installation from Spidertag from Argentina, who BSA showed to readers more than a decade ago when he was creating artworks with string and nails. At the time, he was sharing a studio at an alternative art spot in Madrid called La Tabacalera and creating unpermissioned, uncommissioned, works that wended their way through small streets – one nail to the next. Later he disrupted his own public art practice with experimental, electrified, glowing results that became more permanent than temporary.
His newest captivating creation artfully combines technology, design, and artistic ingenuity, interactivity, and playful energy to the city. Curated by Justkids and made possible through the support of OZ Art NWA, this permanent public art piece, named Interactive Neon Mural 16 (INM#16), shines brightly in the heart of the Downtown square. Encompassing 4,700 square feet, this monumental masterpiece represents Spidertag’s most ambitious project to date, inviting viewers to actively engage with the artwork by manipulating the light and motions with their phones.
It is not usual to see a fusion of art and technology within the realm of muralism, but examples do exist in many cities we’ve traveled. Spidertag continues his of extensive research and experimentation, honing in on cutting-edge components that allow him to construct luminous murals, defy traditional techniques, and surprise viewers. INM#16 is a complex maze composed of 77 harmoniously arranged geometric shapes, including circles, triangles, waves, lines, and rectangles, mounted on aluminum mesh panels. This composition actively engages the audience, enabling them to alter the colors of the shapes through a dedicated app, ensuring a distinctive and dynamic viewing experience with every interaction.
“Creating art that is accessible to everyone is incredibly rewarding for me, which is why INM#16 was designed to generate a unique experience for each viewer,” says Spidertag. According to Justkids, the project spanned over a year from conceptualization to installation, with the team managing technical aspects, logistics, lighting, and electronic elements, to ensure the successful realization of Spidertag’s vision.
“We are thrilled to collaborate once again with Oz Art NWA and enrich Bentonville’s remarkable public art collection,” says Charlotte Dutoit. “He brilliantly merges the spectacular and the playful, and the artwork truly comes alive at sunset!”
SNIK, the artist duo known for their hand-cut stencil art, has announced their latest project, “EXHALE.” The endeavor spans the remote Norwegian island of Utsira and the city of Stavanger, exploring our connection to nature. The island’s small community lives harmoniously with the cycles of growth and decay, inspiring SNIK’s work. Three murals—Pathways, Afterthought, and Exhale—were created on Utsira, depicting the overwhelming presence of nature, and reclaiming serene subjects. The murals aim to blend with the environment, utilizing muted color palettes that respect the island’s peaceful partnership with its inhabitants.
SNIK, based in Stamford, UK, is known for their distinctive style, complex hand-cut stencils, and haunting portraiture. Their intricate work has gained acclaim among collectors for its vivid colors and their attention to detail. Their commitment to traditional stencil methods sets the work apart from digital techniques, even as the art captures dynamic action, featuring everyday subjects and emphasizing the beauty of the ordinary. In addition to the Utsira project, SNIK also created a mural called “Overcome” in Stavanger.
Welcome to Memorial Day Weekend in NYC, when New Yorkers remember those who died in wars, and we have parades, barbecues, smoke reefer on the stoop, ride the Circle Line, go to the Met Museum, hit Ellis Island, stroll through the park, play kickball with your neighbors, see fireworks, ride your bike across the bridge, blast loud music out of car windows, spray paint on walls, bring food to the elderly, and head to the beaches, which are officially open now.
Each year we try new foods too, because there are so many dishes you have heard of but haven’t tried – one venue with live music here in Brooklyn is touting a menu that Smash Burgers, Lobster Rolls, Snow Cones, and Fresh Coconuts. Haven’t tried all of those before, but that does sound like a recipe for summer. It’s Fleet Week so welcome Sailors! Welcome immigrants! Welcome trans folk! Welcome summer. Welcome Jews, Muslims, Hindus, Christians, Sikhs, Atheists. Get in here! Celebrate us all ya’ll. This is worth fighting for.
Here’s our weekly interview with the street, this week featuring: City Kitty, CRKSHNK, Jet, Eternal Possessions, Manik, Gent, SKAM, BEOR, Natadee, Ivan J. Rogue, Phaser, Goders, Peso Neto, Liz Christy, Danana Tree, Mini Mantis, Peto, Budar, Geps, Riotk, void, Mung, Dats, and Kalypso Manu.
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
