New walls from Madrid from only a few weeks ago at the Urvanity Festival, before the city became known as a hub for Coronavirus, went on full lockdown – today closing all of its hotels…
We start off the collection with graffiti writer from Montpellier, France named Franck Noto aka Zest. His gestural abstracts are just the kind of bright swipes of energy that capture a commercial market these days, and here he brings those energies to the street as well.
Noto combines the different energies found in Graffiti and brings them
out through the basic shapes and the primary colors he uses. The bright
colors symbolize the aspect of urban art that immediately catches the
eye of passers-by, even before they give a positive or negative opinion
on what they see. As for the transparency of the forms, it reflects an
accumulation of energies and movements.
Presented by Swinton Gallery at this year’s edition of Urvanity Art Fair in Madrid, Canadian artists Laurence Vallières’ installation turned heads and made people think. Ms. Vallières is well known for her sculptures, mostly of animals in peril made out of hard cardboard. Her outdoor installation at Urvanity had a lot to say with two images that stop people in their tracks.
The center stage in the outdoor area features a murdered triceratops and a triumphant Mickey Mouse astride the hapless animal with blood on his hands, possibly dining on its entrails. Art, of course, can be interpreted in so many ways, and that’s one of its inherent powers. To us, this sculpture represents the centuries of American colonialism around the world and the trail of blood and misery left behind by the conquerors. At the least its a stab at corporate power.
Or does this represent a more generalized corruption in the highest offices – with unashamed displays of nepotism and greed run amok. More literally you may think of those clueless bounty hunters who boast about their kill of the last members of species.
No matter your analysis of the art piece and what it represents to you in particular, this is a powerful socio-political critique given the mainstage at Urvanity Madrid 2020, and many will have an opportunity to see it firsthand.
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening : 1. “Offset” by Nevercrew at Urvanity in Madrid 2. Icy & Sot: “Our house is on fire” By COlabs / Marco Figueroa 3. Said Dokins on Cultura Colectiva
BSA Special Feature: “Offset” by Nevercrew at Urvanity in Madrid
Welcome to BSA Film Friday with a new mural from the Urvanity commercial art fair in Madrid that culls together 30 or so galleries and mounts a public art campaign during the same week. “Offset” by the Swiss muralists called Nevercrew presents a massive pile of bears, one stacked upon the other.
The manner of arrangement of the bears presents creatures of the wild as no more than commodities, in the same way that corporations and countries think they can “purchase” offsets through a surreal trading market where one purchases the right to pollute and kill our atmosphere. In a positive light, the title “Offset” may refer to the practice of biodiversity offsetting, where previous wrongs are righted following a mitigation hierarchy to produce “no net loss” of biodiversity.
Also, bears are really cute.
“Offset” NEVERCREW in Madrid for Urvanity Art Fair 2020
Icy & Sot: “Our house is on fire” By COlabs / Marco Figueroa
The pacing is quick, the reversal of the timeline adds a sense of mystery and mastery to the brothers’ fox-witted ability to communicate horror in a rather elegant way.
The body as an object. The body as a sexual object. The body objectified.
Combine these notions with soft sculpture in a public space and you will begin to experience Junja Jankovic’s new work in Madrid as we lead up to Urvanity 2020, the newest campaign of contemporary urban art that focuses on galleries and artists working in the public sphere.
The Croatian fine artist studied in Zagreb and New York and lives “on her home island of Lošinj where she runs a screenprint studio and a gallery in an abandoned sardine factory,” she says in her bio. These soft sculptures mimic the digital reality now interacting with city reality – inviting you to be a part of them.
Joining her are Samuel Salcedo’s hyperrealistic and emotional heads, seemingly rolling around Plaza Juan Goytisolo in a possibly disturbing way. The Barcelona born sculpture commands the space, then holds your attention with subtle ironies and humor. You’ve seen these faces before, but not like this.
A third participant in Urvanity’s public show this year is graffiti writer Abel Iglesias and his scattered abstractions applied to the intense weight of a steel cube. Running between Valencia and Barcelona the young experimenter is unhindered by formalism, offering a trip to 90’s Memphis and inflatable pastel motifs of whimsy and geometry. This perplexing form in dark solitude brings a new gravity to an often floating oeuvre of Iglesias.
Contemporary Urban Art fans, collectors, gallerists are coming together again this year in Madrid for Urvanity, a unique survey of current movements and trends along the Street Art/ graffiti/ urban art continuum, with a focus on canvasses and sculpture.
Again this year comes a strong program of talks with some scintillating professionals who have high profiles in many sectors of this ever-expanding field of art in the public sphere. We hosted last year and the conversations we had were enriching, the people whom we met well versed and passionate.