All posts tagged: Tor Ståle Moen

Elle + Klone. Up North Fest X BSA: Røst, Norway. Dispatch 5

Elle + Klone. Up North Fest X BSA: Røst, Norway. Dispatch 5

This is the third year for Northern Norway’s UPN Festival and this year it’s on an Island called Røst and includes a collection of artists eager to do site-specific and environmental works – one evolutionary development in the mural festivals that blossom throughout the world right now. This week BSA is proud to bring you images and interviews along with Urban Nation this year at UpNorth, where the seagulls never stop calling and the sun never goes down this time of year.


We wind up the week on the island of Røst with almost a mystical sense, perhaps because of the inspirational messages we continued to see within the statements of this year’s artists. Today we see the metaphorical storytelling of Elle at war on the seas and the striking installation by Klone Yourself (or Klone) called “The Songs of the Vikings”
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A surrealist illustrator experimenting with different styles and mediums on Street Art pieces and murals in cities, Klone’s works on walls often feature simplified and distorted forms, figures, and creatures occupying a space that is seemingly suspended in air. An uprooted Ukrainian immigrant now from Tel Aviv, the mid-30s artist is looking at existential matters today in the way you do when you have had to adjust to a radically new environment.

Klone. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

One examines fundamentals and pillars of a culture, its history, norms and language – and then struggles to find a place within it. For his installation in Norway, the artist studied the location and the history of the region, combined that study with his own history, and constructed “Viking” swords for a site specific piece that takes on many shadings of significance.

“The texts on the swords are coming from various sources: Viking poetry and songs, contemporary references like music and literature we grow up on, and personal remarks and thoughts on life and daily struggles,” says Klone about his striking installation by the sea. “In a way this is a series of protective runes, planted in the ground, like after a big battle, some of the text disappearing, some still exposed. Some of the truth is always gone, and it’s all relative.

Klone. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

BSA: Can you talk about this striking and meaningful installation you did by the sea for UpNorth?
Klone: My main goal for the UpNorth festival was to complete my installation that was planned specifically for it. The installation consists of wooden swords, cut out by me from found wood (mostly wood that was used for building houses on the island), with text written on the swords.

Later those swords got stuck into a hill structure on the island. This installation has and can have so many meanings, to both me and the random viewer, so I’ll explain some of my intention – and anyone else can take it somewhere else, as people already did while I was installing my piece and directly after it was completed.

The sword is a symbol of power through thousands of years. A wooden sword is a toy, meant to play with. In a way it is to prepare us for one day holding a real sword, real power, or at least real representation of it, no matter how prepared or not we are.

On a personal note – my name is Igor, and this is the name my mother gave me when I was born and later explained to me that she gave me a Viking name so I could grow to be a strong man. In a way I hope I did become kind of a Viking. A free man, at least as much as I’d like to think so, somewhat a pirate, and always on the move with deep respect for history and traditions as well as a love for innovation. For me this was a kind of a closure, to bring this installation to a place that felt like it’s meant to be.

Klone. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

BSA: How would you describe the environment working in Røst?
Klone Yourself: The Røst environment is insane. It feels like another planet over there and with the 24/7 daylight, its easy to feel so.

I think it’s amazing to experience a place so old and yet so wholesome and not destroyed by modern civilizations. Yes they have machines, Internet and restaurants, but it seems like the people just want to live their lives and are not really bothered by what’s happening around them.

BSA: How are you challenging yourself as an artist right now?
Klone Yourself: I’m challenging myself as an artist on a daily basis. My practice is always on a few levels of perception, depending on the time and the place of course. As I work in drawing, painting, installation, video and mural painting, the limits are far to be seen, and there’s so much to try and learn yet.

The most appropriate personal title for the piece is – “Song of the Viking” , as a tribute to songs written by Vikings to their gods, and as a tribute to this land now and then.

Klone. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)


The American experimentalist Elle tries anything once – including fire extinguishers, rollers, aerosol, wheatpastes, silkscreens and bus stop takeovers – legal and illegal. Her illustrative style often centers around a fantastical avatar, a heroic and sensual woman who is exploring new psychological landscapes.

Here in Røst the heroine of a shipwreck casts a wide eye at you as she climbs through a tumultuous and harrowing sea storm. The metaphors are many and so is the range of Elles ever-increasing skills.

ELLE. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

ELLE. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

ELLE. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

ELLE. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

ELLE. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

ELLE. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

Our thanks to our partner Urban Nation (UN) and to photographer Tor Ståle Moen for his talents.


See our Up North roundup piece on The Huffington Post

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Pastel + Lora Zombie. Up North Fest X BSA: Røst, Norway. Dispatch 4

Pastel + Lora Zombie. Up North Fest X BSA: Røst, Norway. Dispatch 4

This is the third year for Northern Norway’s UPN Festival and this year it’s on an Island called Røst and includes a collection of artists eager to do site-specific and environmental works – one evolutionary development in the mural festivals that blossom throughout the world right now. This week BSA is proud to bring you images and interviews along with Urban Nation this year at UpNorth, where the seagulls never stop calling and the sun never goes down this time of year.


“If you do this in London this would just be one wall out of many,” says UpNorth festival founder Gøran Moya,

“But on this island the artists can really make an impact. They can be part of changing history for this community. The festival is also all about doing this together. Because it’s such a small place the artists, crew and locals have a special opportunity to interact with each other. This makes the whole project more personal I think.”

Pastel. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

We had asked him to contrast the nature of what we call “Street Art” in its original environment versus the experience of creating and seeing it here at UPN.

“I think this will have a greater impact. For the artists coming to such a remote place where there is no history of urban art, but also for the community of the island. Most people don’t know anything of this artistic expression and can be very sceptical in the beginning. But they have always ended up loving it. They also take a pride in this.”

“We’re just trying to have new work that brings a contrast – Like getting Pastel to paint his colorful expression on a island without almost any vegetation.”

 

Pastel. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

An Argentinian architect and painter, Pastel routinely brings the natural world to the manmade irregular spaces in the built environments of modern cities. Not a stranger to the city, he’s equally engaged in the country – taking particular care to educate himself about the sliding matrix of environments that one walks through when visiting a place – social, historical, geological…

So it makes sense that his work here draws directly from the eating habits of sea and air in this land where both are the principal actors. His interesting twist is how flora becomes symbolic for social issues in Pastels projects – a catalyst for dialogue about the nature of nature and the nature of us.

 

Pastel. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

BSA: Can you describe that shell/flower arrangement, how it is related to the local vegetation, what you learned about the geography/agriculture/topography on Røst?
Pastel: The painting is based on the local flora that grow during the artic summer (24hs sunny) and the marine imagery. The seagulls jump into the water and catch sea urchin, then they drop them in the ground to crack the shell and eat it.

You can find all over the island these empty shells covering the ground. Because of changing climate conditions and the noticeable jump from to a subpolar oceanic climate to a cold-summer Mediterranean climate, the flora has become endemic and unique to the region itself.

 

Pastel. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

BSA: Can you talk about the greater significance of the work as it relates to environmental or social issues?
Pastel: In my painting I’m focusing on the flora as a way to talk about the local issues of each place I’m going to paint in. The issues may reference architecture and urban mistakes, socio-economical and historical problems. I think of my painting as a dynamic way to make architecture in public spaces (a kind of “urban acupuncture”), as a performance, hopefully improving the local identity of each place.

When I work on studio paintings I translate those meanings using poisonous plants instead of the local flora.

Pastel. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

BSA:What are some of the challenges for you as an artist right now?
Pastel: I guess one ongoing challenge for me is to improve my painting techniques. My biggest challenge may be that I am a difficult critic with myself. Also when I think of the concept of painting on public areas, I feel a great responsibility about the work I create in public space.

Pastel sharing what inspired him to paint this wall. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

Pastel. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

Pastel. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

 

Pastel. He thought he had completed his piece but then he had a change of heart and decided to switch the background color completely. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

Pastel. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

Pastel. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

Pastel. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

Lora Zombie begins. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)


Known more as a fine art illustrator than urban artist, Russian born Lora Zombie brought her fantastical sensibility to this very grey area, injecting her self-taught style of art-making into the familiar environment.

Her world-wide collectors will probably not make it up here, but then again much of her success as an artist can be directly traced to her presence on the Internet – and of course bouyant personality and the ubiquitous shocking blue hair.

Lora Zombie. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

“Lalala!” Lora says when we ask her to answer a few questions about her image of a girl getting a ride on the back of a bird at UpNorth.

BSA: Can you tell us about the piece that you did for UpNorth?
Lora Zombie: So my piece is more about just good bright harmony and joyful vibe! I wanted to spread some bright and flying feeling for Røst island!

 

Lora Zombie. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

BSA: How would you describe the environment working in Røst?
Lora Zombie: The Environment was wonderful. It felt like artist camping – fun and childish.

BSA:How are you challenging yourself as an artist right now?
Lora Zombie: Animation is my challenge at the moment. Conceptual animated video clips.

Lora Zombie. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

Lora Zombie. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

Lora Zombie. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

Lora Zombie. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

 

Our thanks to our partner Urban Nation (UN) and to photographer Tor Ståle Moen for his talents.


See our Up North roundup piece on The Huffington Post

 

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Spider Tag + NesPoon. Up North Fest X BSA: Røst, Norway. UPN Dispatch 3

Spider Tag + NesPoon. Up North Fest X BSA: Røst, Norway. UPN Dispatch 3

This is the third year for Northern Norway’s UPN Festival and this year it’s on an Island called Røst and includes a collection of artists eager to do site-specific and environmental works – one evolutionary development in the mural festivals that blossom throughout the world right now. This week BSA is proud to bring you images and interviews along with Urban Nation this year at UpNorth, where the seagulls never stop calling and the sun never goes down this time of year.


This year we tried to focus more on installations/sculptures than earlier years,” says Gøran Moya of UpNorth Festival, pointing to a discipline within the organic Street Art milieu that is sometimes overlooked but is elemental to the spirit of free expression that one often discovers in abandoned places. “Spidertag did his light installations in a time where there is 24 hours of daylight, but everything turned out amazing!”

Spidertag. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

He’s speaking of the glowing geometric shapes inside of an old barn structure by the sea which Spanish Street Artist Spidertag has focused on as an enclosed dilapidated stage for this installation.

He began his string art about a decade ago and BSA may have been one of the first to publish it actually, transforming and framing spaces in abandoned or neglected venues, bringing a workman’s toolbox and an alchemists zeal for new astral formations in places where most had given up.

Spidertag. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

Now he has been toying with this glowing string perhaps in the hopes that in six months when this place is purely nocturnal there will be a radiant reminder of the summer in Røst.

BSA: Can you tell us about the piece that you did for UpNorth?
Spidertag: I did 5 pieces in total; 4 interior and 1 outdoor. The challenge for me is that in summer in the north of Norway, there is no darkness, no night time. So, for my light installations it was a difficult…but I made it! And the wall will be turning on in a few month…

Spidertag. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

BSA: How would you describe the environment working in Røst?
Spidertag: Amazing location. The old and abandoned houses made of wood were perfect for my nails and also to contrast styles. Was a nice experience!

BSA: How are you challenging yourself as an artist right now
Spidertag: I continue to keep on developing; growing up and experimenting with my wires.

Spidertag. Up North Fest 2017. Røst, Norway. (photo © Spidertag)

Spidertag. Up North Fest 2017. Røst, Norway. (photo © Spidertag)

Spidertag. Up North Fest 2017. Røst, Norway. (photo © Spidertag)

Spidertag. Up North Fest 2017. Røst, Norway. (photo © Spidertag)

NesPoon. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)


Poland’s NesPoon is bringing the decorative element of lace to this Norwegian island, an historical patterning that one may associate with hearth, home, and the finer practices of handicraft.

It is an unusual element in Street Art, though not limited to NesPoon (New York’s Hellbent comes to mind), bringing a sweetness to the urban landscape that befits a feminine character, rather than the hardcore testosterone infused hooliganism that the scene may like to portray about itself.

NesPoon. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

We met NesPoon in Moscow at the Artmossphere Biennale last year when she was doing an installation focusing on the so-called “Precariot”, the current worldwide worker class that is made to be insecure about their jobs, healthcare, shelter, food, future. So don’t think this stencil work is purely about decoration – more likely it is about asserting the feminine into public space and claiming the right to steer the dialogue and set the agenda.

NesPoon. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

NesPoon. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

NesPoon. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

NesPoon. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

Our thanks to our partner Urban Nation (UN) and to photographer Tor Ståle Moen for his talents.


See our Up North roundup piece on The Huffington Post

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JAZ + Dzia at Up North Fest X BSA: Røst, Norway. UPN Dispatch 2

JAZ + Dzia at Up North Fest X BSA: Røst, Norway. UPN Dispatch 2

This is the third year for Northern Norway’s UPN Festival and this year it’s on an Island called Røst and includes a collection of artists eager to do site-specific and environmental works – one evolutionary development in the mural festivals that blossom throughout the world right now. BSA is proud to bring you images and interviews along with Urban Nation this year at UpNorth, where the seagulls never stop calling and the sun never goes down this time of year.


“We try to show a big spectrum of styles and have as much variation as possible,” says Gøran Moya.

Moya runs the UpNorth art festival with about 5 other people, he says. “Without these people this would not be possible.” This year Urban Nation from Berlin, including director Yasha Young, joined with the UpNorth team and co-curated the selections of artists as well.

BSA: How did this Street Art festival begin?
Gøran Moya:
It began with getting Phlegm to paint a big mural in Bodø in 2013. The positive response to this made me think that it could be possible to extend this into something bigger. We have some great locations up here. Something different. So in 2015 the first UpNorth Festival was arranged in Sulitjelma, the second in 2016 was in Bodø, and this year in Røst.

 

JAZ. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

BSA: How did you chose these artists this year for the festival?
Gøran Moya: This year´s festival is curated together with Urban Nation Berlin. We are just trying to get artists that we think fit the surroundings, but not in an easy way; Something that brings a contrast.

More from Mr. Moya tomorrow but now lets look at the two interventions from artists JAZ and Dzia.

 

JAZ. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

Franco Fasoli, or JAZ, has travelled to many cities over the last decade painting murals that often involve historical archtypes at war or readying for battle. Born in Buenos Aires, Argentina in the early 80s, he says his studies in ceramic art have also been taking form in his mind and he will be doing more sculpture.

We have actually seen two of his sculptures in person over the last year: the emerging lower half of a military horse coming up through the floor at the Artmossphere Biennale in Moscow last September and again earlier in Berlin for his anamorphic multi-limbed wresters in the PM/10 show at Urban Nation with Instagrafite last June.

For UPN here in Røst we find JAZ painting a new stately equine image as well, and you can see his affinity for the depth and volume of form even in his wall murals.

 

JAZ. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

BSA: This is an unique place for a mural festival – both because it is away from a major urban center and because the days are 24 hours long this time of year. How would you describe painting on this island this time of year?
JAZ: The environment in Røst is great and it is like a surreal dream to paint there- such an amazing place to paint. The contact with the locals is kind of limited, but there was a lot of super good energy .

BSA: You have been doing murals for many festivals and towns for a while. How is your practice evolving today?
JAZ: Right now I’m concentrating more on sculpture than before and I am working with new kinds of materials, new languages, pushing me away from the profile of only a muralist. I am interested in new views of my work, getting involved with institutions and using my background as a public artist to generate bridges between different art perspectives. The role of the “street artist” or “contemporary artist” is something that I don’t want to be too concerned with – I’m trying to not get fixed in either of them .

JAZ. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

JAZ. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

JAZ. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

JAZ. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

Dzia. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)


Another world traveller, artist Dzia didn’t have to fly too far from his native Antwerp to bring his geometrically influenced feathered friends to this Norwegian wall. With a masters in fine art from the Royal Academy, Dzia only joined the mural game half a decade ago and his active animal kingdom has brought him opportunities to work with big brands thanks to a commercially appealing technique.

Dzia. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

Here in Røst the wood façade of this one-story barn building is a natural analogue to the aviary scene he adds, even with such porous material soaking up the pigments of his paint. Nearer the chopping waves of the sea, his illustrative COD fish forms adds color to a plainly white waterfront building.

He says he loved all the time spent here and the other artists and his hosts. “6 nights on the amazing island Røst, 115km above the pole circle and 100km from the city Bodø, Norway, all 24h daylight and a magic midnight sun!”

Dzia. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

Dzia. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

Dzia. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

Dzia. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

Dzia. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

Dzia. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

Dzia. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

Dzia. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

Dzia. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

 

Our thanks to our partner Urban Nation (UN) and to photographer Tor Ståle Moen for his talents.


See our Up North roundup piece on The Huffington Post

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Isaac Cordal + INO. Up North Fest X BSA: Røst, Norway.  UPN Dispatch 1

Isaac Cordal + INO. Up North Fest X BSA: Røst, Norway. UPN Dispatch 1

This is the third year for Northern Norway’s UPN Festival and this year it’s on an Island called Røst and includes a collection of artists eager to do site-specific and environmental works – one evolutionary development in the mural festivals that blossom throughout the world right now. This week BSA is proud to bring you images and interviews along with Urban Nation this year at UpNorth, where the seagulls never stop calling and the sun never goes down this time of year.


Today we look at new work by Isaac Cordal from Spain and INO from Greece, with each artist telling us about their street practice up north.

“I think it was very interesting as Upnorth subtly left its footprint without overturning the aesthetics of the Island,” says Isaac Cordal about his experience at the UPN festival. You may be familiar with the miniature sculptural interventions by Isaac Cordal, whose corporate businessmen have sold their souls and are looking down at the traffic of the city from a ledge, contemplating their existence, dread, and guilt. Partly social critique, partly comedic play, partly redefining public space and scale, Cordal’s figures are reliably surprising. You can see that at UpNorth this year some of them are evolving as well.

Isaac Cordal. Up North Fest 2017. Røst, Norway. (photo © Isaac Cordal)

Brooklyn Street Art: Can you tell us about the new figures that you did for UpNorth?
Isaac Cordal: In a way they are part of the same series called “Isolated in the modern outdoors”. They are covered by a blanket with the colors of the houses of Røst. They are isolated in the middle of the sea with no possibilities of returning, without a house, like a kind of shipwreck. Unfortunately blankets have become the street fashion for many homeless people. Blankets remind us of other times, of the devastation, of the migratory crises and of the human being succumbing to the hostilities of the outside.

Isaac Cordal. Up North Fest 2017. Røst, Norway. (photo © Isaac Cordal)

Brooklyn Street Art: We notice that they look quite different from the little businessmen that many have become familiar with. What inspired you to change them?
Isaac Cordal: As I said before perhaps the idea is a little dense. In modernity itself we have intense reflections of the Middle Ages, there are still different speeds outside exponential progress, too many contrasts between rich and poor, the so-called globalization leaves a trail of images of people delocalized, confused in space and lost in time.

Isaac Cordal. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

Brooklyn Street Art: How would you describe the environment working in Røst?
Isaac Cordal: Working in Røst was an interesting experience since you had to adapt to the peculiar nature of it; there were not many buildings to intervene so that gave me the opportunity to experiment with its geography. With its 24 hours of light its landscape became something completely hypnotic at certain times. The hours of sleep are altered and the perception of time changes in a certain way.

Isaac Cordal. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

Brooklyn Street Art: How are you challenging yourself as an artist right now?
Isaac Cordal: I’m going to try to work more in the studio after an intense year from one side of the world to the other. Perhaps I will decrease a little more – until disappearing.

Isaac Cordal. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

 

Isaac Cordal. Up North Fest 2017. Røst, Norway. (photo © Isaac Cordal)

Isaac Cordal. Up North Fest 2017. Røst, Norway. (photo © Isaac Cordal)

Isaac Cordal. Up North Fest 2017. Røst, Norway. (photo © Isaac Cordal)

Isaac Cordal. Up North Fest 2017. Røst, Norway. (photo © Isaac Cordal)

Isaac Cordal. Up North Fest 2017. Røst, Norway. (photo © Isaac Cordal)

Isaac Cordal. Up North Fest 2017. Røst, Norway. (photo © Isaac Cordal)

Isaac Cordal. Up North Fest 2017. Røst, Norway. (photo © Isaac Cordal)

Isaac Cordal. Up North Fest 2017. Røst, Norway. (photo © Isaac Cordal)

Isaac Cordal. Up North Fest 2017. Røst, Norway. (photo © Isaac Cordal)

Isaac Cordal. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)


Muralist INO uses a monochrome palette and a splash of color with most of his photorealist/surrealist figurative metaphors to talk about society. Not exactly critique, often the commentary comes across as straightforward observation, openly stated.

INO. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

An aerosol bomber in his teens in Athens, his hard work in his early thirties has brought his murals to many international cities and he says UPN was a great opportunity to address a favorite issue of late, our lack of privacy. The new piece is called “Photobombing”.

Brooklyn Street Art: Can you tell us about the piece that you did for UpNorth? 
INO: The invasion of privacy in our societies is constantly increasing with the pretext that our lives are improving. This exposure may not concern some, but maybe they should think again about it.

INO. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

Brooklyn Street Art: How would you describe the environment working in Røst?
INO: It was interesting working on an island  that has only one policeman and 24 hours daylight.

Brooklyn Street Art: How are you challenging yourself as an artist right now?
INO: The production of images that will remain on people’s mind in this era of over-information could be a challenge.

INO. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

INO. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

INO. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

INO. Up North Fest 2017. Røst, Norway. (photo © Tor Ståle Moen)

INO. Up North Fest 2017. Røst, Norway. (photo © INO)

Our thanks to our partner Urban Nation (UN) and to photographer Tor Ståle Moen for his talents.


See our Up North roundup piece on The Huffington Post

 

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Ella & Pitr “Live Fast, Die Old” in Stavanger and Sandnes with Nuart

Ella & Pitr “Live Fast, Die Old” in Stavanger and Sandnes with Nuart

They are so sweet faced you would not guess that they are fire starters. French Street Art couple Ella + Pitr have a strong work ethic and a earnest dedication to fanciful flights of the imagination.

Ella & Pitr create an illusory metaphor for the #sandesarttrail, courtesy of Nuart called “Live Fast, Die Old”. Sandnes, Norway. June 2017. (photo © Tor Ståle Moen)

With a touch of domesticity that may make you think of home, often they bring a child-like fascination with stories and characters; playful monsters and grouches setting at play inside a number of possible narratives, depending on your interpretation.

Here in Stavanger and Sandnes (Norway), Tor Staale Moen had the opportunity to capture them around the winding stone streets of the two adjoining seaside towns, adding illustrations in public spaces. We thank him for sharing his images here with BSA readers.

 

Ella & Pitr (Faith47 in the background) ad take over in Stavanger, Norway. June 2017. (photo © Tor Ståle Moen)

Ella & Pitr ad take over in Stavanger, Norway. June 2017. (photo © Tor Ståle Moen)

Ella & Pitr ad take over in Stavanger, Norway. June 2017. (photo © Tor Ståle Moen)

Ella & Pitr ad take over in Stavanger, Norway. June 2017. (photo © Tor Ståle Moen)

Ella & Pitr. Aftenblad Wall. Nuart 2017. Stavanger, Norway. (photo © Tor Staale Moen)

 

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“Junction” : Sandra Chevrier and Martin Whatson in Stavanger

“Junction” : Sandra Chevrier and Martin Whatson in Stavanger

Stavanger, Norway may not have throbbing Street Art scene per se, but it does have a lot of cool murals (thanks to Nuart festival) and a few favorite artists who reliably please the crowds (thanks to Nuart Gallery). This week opened a dynamic duo of the contemporary pop art side of the spectrum working in tandem with complimentary styles for a new show called “Junction” in the gallery space.

Sandra Chevrier . Martin Whatson. Nuart Gallery. Stavanger, Norway. June 2017. (photo © Tor Ståle Moen)

The line outside stretched down the cobblestoned adorable block and around the adorable cobblestoned corner! Montreals based Sandra Chevrier has been quickly garnering attention since debuting at Reed Projects in 2013 with her masked beauties and Norwegian stencillist Martin Whatson has been touching on the vernacular of pop Street Art and hand-tagged abstractions in a way that has developed into his own style over these past few years. The collaboration is an easy reach for both and the resulting ironic/arresting images that only this mashup can produce.

Here are a few images from the new mural they collaborated on to celebrate Thursday’s opening – the show runs through the 28th of July.

Sandra Chevrier . Martin Whatson. Nuart Gallery. Stavanger, Norway. June 2017. (photo © Tor Ståle Moen)

Sandra Chevrier . Martin Whatson. Nuart Gallery. Stavanger, Norway. June 2017. (photo © Tor Ståle Moen)

The crowd waiting to get into see “Junction”, featuring new collaborations by Sandra Chevrier and Martin Whatson. Nuart Gallery. Stavanger, Norway. June 2017. (photo © Brian Tallman)

Event page HERE

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TOR STÅLE MOEN : Wishes & Hopes for 2017

TOR STÅLE MOEN : Wishes & Hopes for 2017

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As we near the new year we’ve asked a special guest every day to take a moment to reflect on 2016 and to tell us about one photograph that best captures the year for him or her. It’s an assortment of treats for you to enjoy and contemplate as we all reflect on the year that has passed and conjure our hopes and wishes for the new year to come. It’s our way of sharing the sweetness of the season and of saying ‘Thank You’ for inspiring us throughout the year.

Tor Ståle Moen is a Norwegian executive turned passionately engaged Street Art fan and photographer whom we first met in Stavanger during the Nuart Festival a few years ago. Donating his vacation time to volunteer with the artists at Nuart, the atmosphere is charged with Tor’s enthusiasm and knowledge about Street Art, artists, and the history of the people and Norway. Today Mr. Moen shares with us one of his photos from this year of art on a very quiet Norwegian island.


Artists: Ella & Pitr from Saint Etienne, France
Location: Utsira Island on the west coast of Norway
Date: August 27, 2016.
Photograph by Tor Ståle Moen

The beautiful island Utsira was the first public financed port in Norway. Since it was finished in 1870, it has provided safe shelter for lobstermen and merchant ships in the harshest part of the North Sea.

Today there are only 200 residents left on the tiny island – a vibrant mix of people of all ages and different corners of the world who share the love of nature and the windy life on an island far at sea.

Even though the community is tiny and isolated, their living tradition of welcoming strangers in distress sets an example to us all. In a time when world leaders calls for protective walls against foreign trade, religion and people escaping war and poverty – the people of Utsira reflects the opposite. They are known for their philanthropic engagement and heartfelt empathy.

Also when it comes to art, they have open-mindedly welcomed a number of street artists to work on their tiny island. The inhabitants are very proud of the art and memories the artists have left behind. The artists visiting have been struck for life by the beauty of the place and the warm, safe and welcoming atmosphere they experienced here.

This person, painted by the french artists Ella & Pitr on a roof top on Utsira, has obviously found his own peaceful and safe haven – and together with him I  wish all BSA friends a relaxing festive season and a tolerant and peaceful 2017

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Nuart 2016: ‘Post Street-Art’ and Our Changing Terminologies

Nuart 2016: ‘Post Street-Art’ and Our Changing Terminologies

For a considerable time now at BSA we’ve been discussing with authors, artists, academics, writers, historians, political scientists, sociologists, criminologists the topics of Street Art, graffiti, Urban Art, public art, and the milieu. Often considered is whether a piece or action is  illegal, legal, activist, aesthetic, mark-making, territory-marking, interventionist. With few exceptions, there are often exceptions when it comes to labeling works and the artists who make them.

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SPY. NUART 2016. Stavanger, Norway. September 2016. (photo © Ian Cox)

Perhaps with more emphasis than it merits, we regularly note that no point on our individual or societal timeline is static. The state of art and creative expression in the public sphere is one of continuous evolution along the continuum. From Villeglé and his ripping back of layers of street posters that revealed the colorful strata of public communications like a social scientist to Add Fuels’ surreal ripping back of the skin of buildings to reveal a decorative Trompe-l’œil Portuguese tiling, art of the streets has infinite through-lines that defy our ability to label them.

But we try.

Invariably, it pisses someone off. For the record, we’re okay with that.

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Henrik Uldalen. NUART 2016. Stavanger, Norway. September 2016. (photo © Ian Cox)

“Street Art” the term has had a number of definitions in common usage since at least the 1970s (probably earlier) that include things like handcrafts, jewelry, even the current ballyhoo, the mural. Today, because we’re all so much more enlightened and street-wise, we are convinced that no credible scholar of academia or the street would include a mural in the definition of Street Art, which must be illegal and (most likely) installed on-the-fly.

Recently Raphael Schacter made a claim to renaming a family of practices that moves beyond the confused state of labeling we are in to something with more clarity called “Intermural Art”. He says with his signature humor and cadence that “Street Art is a Period. Period.” – and that very soon, if not already, we are moving beyond that period.

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Jeff Gillette and Jaune collaboration. Pictured here is Jaune at work. NUART 2016. Stavanger, Norway. September 2016. (photo © Ian Cox)

Aside from the association that “intermural” has with both murals and with boys and girls playing dodge-ball in the school gymnasium (sorry that’s intramural), it somehow doesn’t capture a post Street Art period that is expanding to include so many practices and practitioners that it is altering things its path. But we get the point. Wait, did we just say “post Street Art”?

That’s what Martyn Reed at Nuart would like us to consider as a term that describes what he is illustrating with the curated installations this year for the festival in Norway. With a number of leaders of thought and letters doing some heavy lifting of street art antecedence and corollaries (and beer steins) at this annual festival over the last few years, it is with some careful consideration that he chooses his artists, and his terminology.

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Jeff Gillette . Jaune NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

According to the show description ‘Post-Street Art’, an inside exhibition that opened last Saturday and continues through October 16, is an expression that “has been adopted to describe artworks, artists and events that are “informed by” and “aware of” the strategies, forms and themes explored by Street Art but which couldn’t rightly be regarded as ‘Street Art’ or ‘Street Artists’ per se. The term could also be used to describe a new breed of studio practice-based street artist, whose interest in and knowledge of the contemporary art world often far supplants that of an engagement with the street.”

Yes and yes. Additionally, we have heard this studio-originated practice that is informed by street practice described as Urban Contemporary or more simply Urban Art. You may also wonder how the label intersects with Post Modern and Post-Graffiti, if at all. We will not turn over these little monsters to look at their stomachs just now. Instead, let’s see these new exclusive photos from Ian Cox and Tor Ståle Moen of some of the new installations at ‘Post-Street Art’ at Nuart 2016.

Participating artists include: Add Fuel (PT), Axel Void (ES), Eron (IT), Evol (DE), Fintan Magee (AU), Henrik Uldalen (NO), Hyuro (AR), Jaune (BE), Jeff Gillette (US), KennardPhillipps (UK), MTO (FR), Nipper (NO), Robert Montgomery (UK) and SpY (ES)

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Robert Montgomery. NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

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Robert Montgomery. Process shot. NUART 2016. Stavanger, Norway. September 2016. (photo © Ian Cox)

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Evol and Add Fuel collaboration. Process shot. NUART 2016. Stavanger, Norway. September 2016. (photo © Ian Cox)

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Evol . Add Fuel. NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

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Fintan Magee. Process shot. NUART 2016. Stavanger, Norway. September 2016. (photo © Ian Cox)

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Fintan Magee. NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

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Nipper. NUART 2016. Stavanger, Norway. September 2016. (photo © James Finucane)

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Nipper. NUART 2016. Stavanger, Norway. September 2016. (photo © James Finucane)

 

EXHIBITION – ‘POST STREET-ART’
11 September – 16 October 2016
Opening hours: Wed – Fri 12:00 – 17:00 / Sat – Sun 11:00 – 16:00
Tou Scene Beer Halls, Kvitsøygata 25, 4014 Stavanger

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JAUNE’s Miniature Worker “Dudes”: Nuart 2016

JAUNE’s Miniature Worker “Dudes”: Nuart 2016

Brussels based stencillist Jaune says he “proudly created with his hands, his heart and sometimes his head,” on his website and it looks like he has been using all three to place his little “dudes” in small hidden spots around Stavanger during the Nuart festival.

Lifting or pulling or digging or just standing around having conversations and checking texts, there is a camaraderie among the workers that is somehow reassuring. It’s a knowing brotherhood, a community of man. It is notable that there we haven’t seen any women in the mix – perhaps there is a women’s brigade somewhere else.

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Jaune. NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

You’ll see here that Jaune is a humorist and encourages you to think of public space as a place for adventure in a way that you may not have considered since you were a kid. He talks about his installations in Stavanger on his Facebook page.

“This is an easy way to explain my creative process : I just have coloured pipes in my head that constantly throw out some mini dudes. Then it’s the duty of the technical operation manager (that you see at the bottom) to try to catch one.”

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Jaune. NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

 

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Sitting by the dock of the bay with Jaune. NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

 

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Jaune. NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

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Jaune. NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

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Jaune. NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

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Jaune. NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

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Jaune. NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

 

We wish to extend our most heartfelt thanks to Tor Ståle Moen for sharing his photos with BSA readers for this year’s coverage of NUART 2016.

 

 

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BSA Images Of The Week: 09.11.16

BSA Images Of The Week: 09.11.16

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It’s the 15th Anniversary of 9/11 in New York. It will be a quiet day for us.

We hope.

So, here’s our weekly interview with the street, this week featuring Bast, Elian, EQC, Hama Woods, MCA, Mundano, Robert Montgomery, SacSix, Sayer, Shok1, TomBob, Zachem, and Зачем.

Our top image: Elian in Moscow for the first edition of Artmossphere 2014. (photo © Jaime Rojo)

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Plastic Jesus does his bit to stop this mean, selfish, racist, dishonest, greedy little man to become king. If he succeeds we’ll all lose – Even those who think they support him. The stench will reach us all. World War II didn’t just happen from one day to the other. It built up. It simmered. It took shape while people were distracted. Yo, this is surreeeus. (photo © Jaime Rojo)

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EQC fashions a Loteria Card with an image of you-know-who. (photo © Jaime Rojo)

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TomBob take on the proverbial See No Evil. Hear No Evil. Speak No Evil. (photo © Jaime Rojo)

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Robert Montgomery’s installation for NUART 2016 Tou Scene indoor exhibition. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

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Unidentified artist. (photo © Jaime Rojo)

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And now a little of the old soft-shoe shuffle. Hama Woods in conjunction with NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

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Shok1 for  Urban Nation Museum for Urban Contemporary Art (UN) at Lollapalooza. Berlin 2016. (photo © Nika Kramer)

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BAST (photo © Jaime Rojo)

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A filthy piggy by an unidentified artist. (photo © Jaime Rojo)

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Зачем in Moscow. (photo © Jaime Rojo)

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MCA toying around in Chelsea (photo © Jaime Rojo)

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A tribute to Gene Wilder as the original Willy Wonka. SACSIX (photo © Jaime Rojo)

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Mundano giving a shout out to recycling and recyclers in NYC.(photo © Jaime Rojo)

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Mundano (photo © Jaime Rojo)

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SAYER in Moscow. (photo © Jaime Rojo)

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Untitled. Manhattan, NYC. September 2016. (photo © Jaime Rojo)

 

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“ALIVE” at Nuart 2016: Spy, Robert Montgomery, Hyuro, Add Fuel and EVOL

“ALIVE” at Nuart 2016: Spy, Robert Montgomery, Hyuro, Add Fuel and EVOL

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For the ninth straight year, BSA brings Nuart to our readers – artists, academics, collectors, instructors, curators, fanboys /girls, photographers, organizers, all. Not sure who else has been covering this international Street-Art themed indoor/outdoor festival and forum as early and continuously as we have, but we’re happy to say that this Norwegian pocket of public art continues to hold its own among a suddenly bloated field of new festivals and events globally.

Many of the new murals and installations are complete or nearing completion, the panels and presentations at NUART PLUS are just ending, the new Nuart Gallery has opened with sales of Jeff Gillette’s new print and other fine art works, and the barbs and laughs of Fight Night has already begun to recede in the blurry haze.

Tonight the opening of Tou Scene unveils the new works by invited artists and participants of Nuart 2016 to celebrate their work and contributions to the conversations on the street and chart many of their routes into the fields of contemporary art and academia – or at least getting them more hits on social media.

Here are a few of the artists at work whom we haven’t gotten to in previous posts this week.

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SPY “ALIVE” at work on his mural for NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

The Spanish artist SPY returns for a second facade this year at Nuart, this one playing off of its particular physical proximity to a reflective surface. Without saying so, it says that the ongoing examination and experimentation of public dialog with art and artists is very much in play today.

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Robert Montgomery ad takeover in Stavanger. NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

London based conceptual wordsmith Robert Montgomery brings a poetic tenor to the Street Art conversation at Nuart with a couple of bus stop takeovers and the façade of new construction. Cryptically chosen passages resonate gently according to your interpretation: “The purpose of art is to touch the hearts of strangers without the trouble of having to meet them,” he has been quoted as saying. Wish we could have been there to hear Carlo McCormick speaking about Montgomery’s work and its relationship to the Situationists.

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Robert Montgomery ad takeover in Stavanger. NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

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Robert Montgomery at work on his mural for NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

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Robert Montgomery. NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

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Add Fuel sorting out his stencil for his mural at NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

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Add Fuel rips off the dull beige exterior of this building to reveal a stunningly decorative tiled pattern beneath. Actually, here he is at work on his mural for NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

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Add Fuel. NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

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Hyuro at work on her mural for NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

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Hyuro steps back to assess her progress. NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

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Hyuro at work on his mural for NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

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Hyuro at work on his mural for NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

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EVOL returns to Nuart a second time to inspect buildings he left around town previously and to do some new construction. Very exciting to see what he has in store for the Tou Scene exhibition opening this evening after the final NUART Plus panels are completed. NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

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EVOL. NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

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EVOL. NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

 

We wish to extend our most heartfelt thank you to our friend Tor for sharing his photos with us in exclusive for this year’s coverage of NUART 2016.

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