Paris: FIAC Highlights 2018

Two weeks after FRIEZE in London, Paris attracts the center of the art world for a week with FIAC (Foire Internationale d’Art Contemporain).

Located in the spectacular venue of the Grand Palais, the 45th edition of FIAC featured 195 galleries from 27 countries. The five-day fair, held in the majestic setting of the Grand Palais, combines contemporary and modern art under one soaring steel-and-glass roof, and attracts about 75,000 visitors, according to the organizers. The Frieze and Frieze Masters fairs, which separate contemporary and modern, each attract 60,000.

Here are some highlights from this year’s edition

Yael Bartana

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FIAC – 18-21 October 2018
Grand Palais
Paris

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London: Moniker Art Fair 2018

MONIKER ART FAIR 2018

Moniker Art Fair returned to East London last week, celebrating their 10th edition, by taking over the upper floor of The Old Truman Brewery and extending their 30,000 square foot fair space outdoors with their first-ever Formula-E art car painted by British street artist D*Face, as part of their ongoing collaboration with Kaspersky Lab.

Uncensored presented in partnership with Urban Nation

For the 10th edition, Moniker Art Fair has also partnered with Berlin’s Urban Nation Museum to present ‘UNCENSORED, a wholly unfiltered and unrestricted celebration of the revolutionary elements of urban contemporary art with a series of immersive installations.

Upon entering the upper floor of the Truman Brewery, visitors were greeted by a giant maze by French duo Lek & Sowat and had to navigated through to get to the entrance of Moniker.

MONIKER ART FAIR 2018MONIKER ART FAIR 2018
MONIKER ART FAIR 2018MONIKER ART FAIR 2018

Uncensored Installation Hall Co-Curated by Urban Nation features the works of Lek & Sowat (France) / Herakut (Germany) / FaithXLVII (South Africa) / Ann J Lewis (USA) / Li’Hill (Canada) / David Mesguich (France) / Dan Rawlings (UK)

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MONIKER ART FAIR 2018MONIKER ART FAIR 2018
MONIKER ART FAIR 2018


In parallel Moniker also featured Artists Open Studios with VESOD (Italy) Vermibus (Spain) / Bom.K (France) / Axel Void (USA) / Dont Fret (USA) / Skewville (USA) / Louis Masai (UK)

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MONIKER ART FAIR 2018MONIKER ART FAIR 2018

Moniker also hosted a series of talks and conferences in partnership with the Nuart Journal, and film screenings including X Art documentary

MONIKER ART FAIR 2018MONIKER ART FAIR 2018

Galleries and international artists showing works at the Fair include :
Under The Radar Gallery (London, UK) / Jewel Goodby Contemporary (London, UK) / Thinkspace Projects (Los Angeles CA, USA) – Solo show by Kaili Smith / Jealous Gallery (London, UK) / Landmark Street Art (Carlisle, UK) / BSMT SPACE (London, UK)/ 1963 Gallery (London, UK)/ Egle Zvirblyte (Lithuania) / Curious Duke Gallery (London, UK) / The Art Hound Gallery (Cambridge, UK) – Solo show by Lauren Baker / Well Hung Gallery (London, UK) / Graffik Gallery (London, UK) / Spoke Art Gallery (NYC and SF, USA) – Solo show by Erik Jones / The Moleskine Project presented by Spoke Art / The Secret Art Prize / Fοusion Gallery (Barcelona, Spain) / Fanakapan (London, UK) / Vinyl on Vinyl (Manila, Philippines)

MONIKER ART FAIR 2018
MONIKER ART FAIR 2018MONIKER ART FAIR 2018
MONIKER ART FAIR 2018MONIKER ART FAIR 2018MONIKER ART FAIR 2018MONIKER ART FAIR 2018

Click below to view a photo gallery of the London Moniker Art Fair 2018

MONIKER ART FAIR 2018


Moniker Art Fair
4-7 October 2018
Truman Brewery

https://www.monikerartfair.com

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London: Banksy self destructs live at Sotheby’s

With the crazy art week and all the collectors gathered in London for the Frieze Art Fair and plethora of glamourous art events, a series of artworks by elusive artist Banksy were presented at prestigious auction house Sotheby’s, including his iconic Girl with Balloon for the evening auction of 5 October 2018.

Girl with a Balloon (2006) was the final lot of the night, and just as the canvas hammered at £953,829 ( totally 1,042,000 GBP after taxes) — exactly the same figure as the artist’s previous auction record, achieved in 2008 — an alarm was triggered inside the work of art. Onlookers turned just in time to see the canvas slip through its faux-gilt frame and be shredded into pieces.

 

Pics courtesy of Sotheby’s

“It appears we just got Banksy-ed,” said Alex Branczik, the auction house’s head of contemporary art, Europe, immediately after the sale. “He is arguably the greatest British street artist, and tonight we saw a little piece of Banksy genius,” he said, adding that he was “not in on the ruse”, although it is not clear whether other members of staff were. Some commented on the unusually thick frame, which could have easily concealed a shredding mechanism.

After a man dressed in black sporting sunglasses and a hat was seen scuffling with security guards near the entrance to Sotheby’s shortly after the incident, speculation mounted that the elusive artist had himself pressed the button that destroyed the work. According to the provenance, Girl with a Balloon was acquired directly from the artist in 2006.

“We are busy figuring out what this means in an auction context,” Branczik said. “The shredding is now part of the integral art work. We have not experienced a situation where a painting has spontaneously shredded, upon achieving a record for the artist.”
One potential outcome, according to a spokeswoman, is that the destroyed painting could be preserved as a document of the guerrilla tactic. “You could argue that the work is now more valuable,” Branczik said. “It’s certainly the first piece to be spontaneously shredded as an auction ends.”

On his social media account Banksy captured the moment with a caption ‘Going, Going, Gone…’

View this post on Instagram

Going, going, gone…

A post shared by Banksy (@banksy) on

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London: PAD Art Fair

The 12th edition of the Pavilion of Art and Design (PAD) fair kicks off on October 1 with a fine line-up of 58 returning exhibitors. Set in Berkeley Square, Mayfair, PAD focusses on masterpieces across design, art, antiquities, tribal art and collectible jewellery.

10 new exhibitors join the prestigious roster of returning galleries and include: Achille Salvagni (London), Veta Stefanidou Tsoukala (Athens), 18 Davies Street (London), Karen Swami (Paris), and Robert Zehil (Monaco) in the fields of design and decorative arts; Hélène Bailly (Paris) in the field of 20th century art; Walid Akkad (Paris), Lorenz Bäumer (Paris), Valery Demure (London) and G by Glenn Spiro (London) in the field of collectible jewellery. With the arrival of these new renowned exhibitors, the fair will have a focus on collectible jewellery this year with a dedicated alley.

With the recent launch of PAD Genève and the ever-growing success of PAD Paris, PAD reinforces its position as Europe’s leading cross-collecting fair group based in three prime locations.

Here are some selected highlights.  Click on the images for more information.

PAD Art + Design Fair
1-7 October 2018
Berkeley Square
Mayfair
London W1J 5AX

Posted in Art Fair, London | Tagged , ,

Paris: District 13 – International Art Fair

The first District 13 – International Art Fair will be held from 26 – 30 September in Paris at Drouot, an iconic institution of art history. Located in the heart of the capital, District 13 offers the public a curated selection of international galleries and international renowned street artists.

District 13 finds its inspiration in the city’s 13th district, with a long history of supporting street art with Street Art 13, an open air museum led by Galerie Itinerrance and the Mayor of the 13th District, as well as the more recent project Tour 13 (covered here).

Opened in 1852 in Paris, Hotel Drouot is the world’s largest auction house. Over the years, this institution has forged a place as a focal point for contemporary art. Works from the greatest names throughout the history of art, including Picasso, Matisse, Braque and Dalí, have been sold under the hammer of Drouot’s auctioneers.

For the first time ever, Drouot will be hosting a fair dedicated to Urban Art – a movement that is undergoing a complete transformation and lies at the heart of the debate and future of contemporary art.

District 13 will host a series of events.

Participating exhibitors include a carefully selected range of galleries and international street artists (from Paris, Los Angeles, Hong Kong, etc): Garey The Third (OTI),Galerie Itinerrance, Subliminal Projects, Galerie LJ, Corey Helford Gallery, Dorothy Circus Gallery, 39.63 Project, Hellion Gallery, HEY! Modern Art & Pop Culture, Galería Lira, Pure Evil Gallery, Art & Craft Galerie, Avenue des Arts, Orlinda Lavergne Gallery, Yosr Ben Ammar Gallery , GCA Gallery, France Albin Michel Editions Beaux Livres, Galerie At Down, France Backside Gallery,France Swinton Galler, Graffik Gallery, What’s Art Gallery, Lavo//Matik.

The programme also features conferences, meeting with artists, guided tours, and an auction for the final day of the fair.

District 13 International Art Fair
26- 30 September 2018
Drouot
9, rue Drouot
75009 Paris, France

Posted in Art Fair, Paris | Tagged ,

London: Static ‘Modern Muses’

Since 2006 London based artistic duo STATIC, made of Tom Jackson and Craig Evans have been producing bold original work abstractly exploring duality and conflict through figurative assemblages.

Mixing stencil and spray paint with vivid collages with feathers and glass, lego, mother of pearl inlays; STATICs aesthetic is as dynamic as it is intricate.

Blending pattern with portraiture, their signature style is heavily influenced by modern ‘tribes’ and mythologies.
Mixed media creations primarily examine perception with colours and shapes seemingly suspended through the use of layered materials.
Through iconic signs and symbols charged with their own histories, STATIC are looking to challenge the viewer to examine their own cultural identity.

Their new exhibition ‘Modern Muses’ features four layered glass originals, a series of hand painted multiples that accompany the originals and 10 hand painted multiples featuring their signature Chinook Chandeliers.

Check their social media as they will also be running competitions to win this week.

STATIC – M O D E R N M U S E S
@ Robi Walters Gallery
12 Ingestre Place, London W1F 0JF
27th – 30th September 2018

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London: Conor Harrington ‘The Story of US and Them’

Conor Harrington - the Storyof Us and Them

Irish born painter Conor Harringtonreturns to London with a new solo exhibition “The Story of Us and Them” at HENI Gallery in London. Fascinated by art history, Renaissance and the Baroque era, Conor Harrington continues to explore patriotism and contemporary social political themes, combining classical oil painting techniques and graffiti influences.

The exhibition features 12 new large scale works featuring two fictional male figures dressed in ornate baroque uniforms fighting each other and brandishing their bright coloured flags as weapon.

The viewer is immediately transported in this semi fictional tale, through bold red and blue vibrant colours, while the energetic brushstrokes accentuate the feeling of drama and movement.
Duality is an omnipresent theme : realism vs onirism, a sense of political division occurs through the use of colours, flags.
Conor Harrington’s painting techniques have also evolved with more loose paint gestures, the use of solvent and extinguishers to create some blurring effects while some elements of the composition are in focus with intricate details such as the uniforms or expressions of the faces.

Conor Harrington - the Storyof Us and ThemConor Harrington - the Storyof Us and ThemConor Harrington - the Storyof Us and ThemConor Harrington - the Storyof Us and Them

“The works are set against a background of a fictional nation state and feature two so-called ‘blind patriots’ engaged in combat,” the gallery says. “By using predominantly red and blue in their apparel and the flags they brandish, Harrington draws on the various political and cultural connotations associated with this pairing to make a comment on society today.”

Conor Harrington - the Storyof Us and ThemConor Harrington - the Storyof Us and Them
Conor Harrington - the Storyof Us and ThemConor Harrington - the Storyof Us and Them

Conor Harrington - the Storyof Us and Them
Conor Harrington - the Storyof Us and ThemConor Harrington - the Storyof Us and Them
Conor Harrington - the Storyof Us and ThemConor Harrington - the Storyof Us and Them
Conor Harrington - the Storyof Us and ThemConor Harrington - the Storyof Us and Them

View the full set of pics here

Conor Harrington: The Story of Us and Them
14th September — 13th October 2018

HENI Gallery
6-10 Lexington St, London W1F 0LB

Posted in London | Tagged , , , | 3 Comments

Streets: Aida Wilde – Less Homes 4U

Aida Wilde

London based artist AIDA WILDE continues her interventions denouncing the rapid gentrification of London’s iconic and creative areas like Hackney Wick.
Her powerful text based street interventions incorporate social media terminology as a tool for activism.

Earlier in September, during the Art on the Streets conference, she presented her work about the gentrification of Hackney Wick, the curation of the Lord Napier project for Hackney Wicked ( from Shithouse to Penthouse), and A Hackney Wick Funeral, uniting countless artists in homage to Hackney Wick’s vibrant artistic past.

Croydon, a borough located south of London, often nicknamed ‘Cronx’ due to its infamous and controversial reputation, from Kate Moss to the 2011 London Riots, has been undergoing a lot of real estate development and revitalisation in a bid to change its image and attract new crowds.

In the city center many of the local shops have now closed to give way to big brands and so on.

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Aida Wilde

For the Croydon Rise Festival, a street art festival curated by Monoprixx, Wherethereswalls and Rise Gallery, aimed to become the largest free open air museum in Europe, Aida Wilde decided to create a bespoke shop front window namely apt ‘Less Homes 4U’.

Using her signature vibrant neon pink dotted wallpaper and black block text imagery, Aida Wilde continues to denounce the gentrification process.

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Aida WildeAida Wilde
Aida WildeTeam Pic by @Wherethereswalls

Together with her glamorous assistants Aida pasted up bold messages on the shop window:

‘LESS HOMES 4 U’
‘IT’S OUT WITH THE HIPSTERS, IN WITH THE YUPSTERS’
‘ENOUGH IS ENOUGH’
‘LONG DRAMATIC PAUSE…’
‘AFFORDABLE HOUSING FOR NO ONE’

A sign next to the window indicates ‘WHERE ONLY THE 1% COUNT’, with the O being strategically stroked off.

Aida Wilde

In parallel in the Rise Gallery, the public is invited to add notes to Aida Wilde’s installation ‘My mother’s aspiration for me was…’

 

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London: Banksy at the British Museum

Banksy British Museum

Back in 2005, Banksy installed this ‘cave painting’ titled ‘Peckham Rock’ in one of the galleries of the British Museum without permission, and without anyone noticing.
He gave it a fake identification number and label, and it remained on the wall for three days before the Museum was alerted to the prank via Banksy’s website.

This time the British Museum has invited Banksy back to the Museum to ‘officially’ exhibit the hoax piece in the upcoming ‘I Object‘ exhibition opening on 6 September 2018, highlighting the history of dissent and protest around the world.

More info on the British Museum website
http://britishmuseum.org/whats_on/exhibitions/i_object.aspx

I Object
6 September – 20 January 2019
British Museum
London

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Giant Turtle mural by Hisham Echafaki

We are pleased to share a new project we have been collaborating with London based artist Hisham Echafaki in Saint-Aubin Chateau-Neuf in Val d’Ocre, France.

Initially known for his intricate surrealist compositions and three dimensional paintings (covered here), the contemporary artist braved the intense heatwave to paint this hyperrealistic monumental turtle.

Strong advocate and protector of the fauna and flora, Hisham Echafaki wanted to pay tribute to one of the endangered species as well as a nod to a Hermann turtle, member of the village since the past 45 years.

See more pictures of the work in progress.

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Paris: Banksy Festive Rats

To conclude Banksy  invasion of Paris, the elusive artist celebrated also the festive spirit of the French capital with a series of stencilled rats.

Popping champagne bottles while happy rats are flying high on top of cork bottles.

Location as always: Montmartre first, and then in the Marais district with a Bar called ‘Chez Marianne’, of course.

To complicate things further, Banksy returned several times on the same locations, updating the stencils in colours and shape as you can see on the little animations, giving them a lively feel, as they were getting stolen, repainted or covered under plexi .

In the overcrowded area of the contemporary art centre ‘Centre Pompidou’, the elusive artist returned to paint a bigger mischief rat holding a cutter.

Lastly the  City of Love is celebrated with a little rat couple dressed in 19th century outfits, lovingly gazing at the Eiffel Tower in the background from under a bridge.

Such a romantic! Happy Summer !

 

 

Posted in Paris, streets | Tagged , , , , , ,

Paris: ‘Illustres- C215 autour du Pantheon’

Illustres! C215 autour du Pantheon

Portraits of illustrious men and women painted by the French street artist Christian Guémy, better known as C215, adorn the French National Monument Pantheon and surrounding streets in the fifth arrondissement of Paris until 10 October.

This year, the Centre des Monuments Nationaux is presenting “Sur les murs, histoires (s) de graffiti” on nine monuments of its network (see our previous coverage here). On this occasion, the artist C215 was invited to make portraits of men and women honored at the Pantheon, and thematic visits are also set up in the monument, to discover the many historical graffiti present in the heights of the monument, spaces usually inaccessible to the public.

Christian Guémy pays tribute to the figures of the resistance, like Brecht, Zola or de Gaulle, whose names are associated with streets, squares and institutions. In all, 28 portraits of historical personalities, some of which are buried inside the Pantheon, are painted on the walls of the 5th district.

Illustres! C215 autour du PantheonIllustres! C215 autour du Pantheon
Illustres! C215 autour du PantheonIllustres! C215 autour du Pantheon

The tour titled “Illustres! C215 autour du Pantheon ” begins in the crypt of the monument, which hosts an exhibition of the artistic approach and the techniques used by the artist to create these colourful portraits: stencils, blades. A series of photographies illustrate the artist’s creative process, while a movie presents an interview of the artist.

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Illustres! C215 autour du Pantheon

Within display cabinets, C215 is creating a dialogue between the illustrious portraits and symbolic objects. Thus, literary works, handwritten letters, and professional objects of Marie Curie, Germaine Tillion, Andre Malraux, Victor Hugo or Antoine de Saint-Exupery are exhibited and highlight the area for which these illustrious people are honoured.

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Illustres! C215 autour du PantheonIllustres! C215 autour du Pantheon
Illustres! C215 autour du PantheonIllustres! C215 autour du Pantheon

Punctual visits to the upper parts of the Pantheon allow the public to discover some of the historical graffiti.

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Illustres! C215 autour du PantheonIllustres! C215 autour du PantheonIllustres! C215 autour du PantheonIllustres! C215 autour du Pantheon

At the same time, C215 painted 28 portraits in the streets of the 5th arrondissement surrounding the Pantheon and invite the viewer to discover the lives of these extraordinary personalities.
For example a huge portrait of Marie Curie adorn the walls of the Institut Marie Carie.

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Illustres! C215 autour du PantheonIllustres! C215 autour du PantheonIllustres! C215 autour du PantheonIllustres! C215 autour du Pantheon

A full map of the C215 Illustres tour is available here

Illustres ! C215 Autour du Pantheon
Until 10 October
Place du Panthéon
75005 Paris

CMN ‘Sur les Murs, Histoire(s) de Graffiti’

https://graffiti.monuments-nationaux.fr/

 

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London: Hope to Nope – Graphics and Politics 2008-2018

Hope to Nope : Design & Politics 2008-18

We are pleased to be part of the latest exhibition at the London Design MuseumHope to Nope – Graphics and Politics 2008-18′.

Design can influence public perception, but great design can change it. From campaign designs to protest symbols, ‘Hope to Nope: Graphics and Politics 2008-2018’ explores the impact of graphic design in political and social movements over the last ten years.

Alongside traditional posters and banners, the exhibition charts the rise of digital media and social networking, which have given graphic iconography an extraordinary new reach.  The political events featured include: the 2008 financial crash; the Barack Obama presidency; the Arab Spring; the Occupy movement; the Deepwater Horizon oil spill; the Charlie Hebdo attacks; Brexit and Donald Trump’s presidency.

The exhibition is structured in three distinct sections: power, protest and personality – which explore how design is used in politics to change public perceptions.

‘Power‘ starts off with the Obama campaign’s unofficial, but hugely popular, ‘Hope’ poster by Shepard Fairey, which is later compared to the failings in the design of the Remain campaign’s materials. It also features examples of Brandalism subverts advertising posters from 2015 Brandalism ad takeover in Paris (covered) with VW spoof ad by Barnbrook and Curfew Zone by Dr.D.

Hope to Nope : Design & Politics 2008-18

Regarding UK politics, the Power section highlights the Union Jack flag made with fragile tape by Sarah Boris, which was featured during several marches against Brexit in 2016 as well as designs from the RemaIN campaign.

Hope to Nope : Design & Politics 2008-18
Hope to Nope : Design & Politics 2008-18Hope to Nope : Design & Politics 2008-18

Examples show how graphic design is used by the establishment to assert national and political authority like the Hillary Clinton presidential campaign, or used by its opponents like Soviet posters which were turned into a gay rights campaign and Dread Scott’s flag in support of the Black Lives Matter movement.

Hope to Nope : Design & Politics 2008-18Hope to Nope : Design & Politics 2008-18Hope to Nope : Design & Politics 2008-18Hope to Nope : Design & Politics 2008-18

A large graphic timeline dissects the gallery, charting the role of new communication technologies such as Facebook and Twitter in global events of the last decade.

Protest displays graphic design by activists and demonstrators. The largest section in the exhibition, it includes newspapers from the 2011-12 Occupy London camp, an umbrella used during the 2014 Hong Kong ‘Umbrella Revolution’ and a 2m-high replica of the inflatable duck from the 2016 protests against Brazilian president Dilma Rousseff. This section also looks at the 2015 Je Suis Charlie and Peace for Paris marches, as well as responses to the 2017 Grenfell Tower disaster with the 24 hearts initiative by Sophie Lodge, demonstrating the important role played by graphic design in channelling anger and creating solidarity.

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Hope to Nope : Design & Politics 2008-18Hope to Nope : Design & Politics 2008-18

An installation film by Paul Plowman evokes the experience of public protest, combining hastags, forage and images from five protests : #womensmarch,  #grenfell, #turkey, #catalonia, and #southafrica. These demonstrations cover diverse political viewpoints, from fighting for democracy to calling for justice, and emotions ranging from solidarity to fierce anger.

The final section, Personality, examines the graphic representation of leading political figures. Donald Trump’s trademark features are caricatured across the covers of more than 50 international magazines, including The Economist, TIME and Der Spiegel.

Hope to Nope : Design & Politics 2008-18

As we approach the ‘Nope’ of the exhibition we are faced with a scary and entertaining animation: an animatronic (mis)fortune telling machine tells and distributes messages by the new US President. This is the work by Nathaniel Lawlor, Andy Dao, Jon Barco and Bryan Denman.
‘With the over-saturation and bombardment of Trump in the news cycle, we saw how easy it was becoming for people to tune out the banter of these soundbites and Facebook headlines, so we thought—what better way to remind people of their gravitas than by showing them this could be their actual future?”

Hope to Nope : Design & Politics 2008-18Hope to Nope : Design & Politics 2008-18
Hope to Nope : Design & Politics 2008-18
Hope to Nope : Design & Politics 2008-18Hope to Nope : Design & Politics 2008-18

View the full set of pics here

Hope to Nope: Graphics and Politics 2008–18
Until 12 August 2018
Design Museum London

Posted in London, Shows | Tagged , , ,

Paris: Banksy Bataclan Tribute

Continuing his Paris invasion, Banksy chose a poignant subject and spot on location.
A new stencil appeared on the exit door of the Bataclan theatre in the 11th district of Paris.

Extremely strong symbolic as it is this exact exit door where victims of terrorist attacks tried to escaped during mass shooting on 13 November 2015, leaving 89 dead and over 300 injured.

Painted on the black background of the exit door, a white stencil features a woman with a lace veil, which gives a mystical and protective aura like a Madonna.

Her face is inspired by a marble sculpture by Italian artist Giovanni Battista Lombardi from 1869.
She is dressed in a uniform , reminiscent of the rescuers that did everything to save the victims that night.

The mourning woman is holding some files in one hand, maybe the victims reports and a delicate lace handkerchief on the other.

Using just a monochrome stencil, Banksy creates a strong moving memorial to the victims of terrorism in Paris, as well as a big up to the rescuer teams.

For further updates on Banksy in Paris check here

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Paris: Artists and Robots at the Grand Palais

Artists & Robots - Patrick Tresset

The Grand Palais (RMN) in Paris is currently showing an impressive exhibition ‘Artists and Robots’ dedicated to AI: artificial imagination, a common term to design robotic art, generative art and algorithmic art.

The exhibition invites audiences to experience works created by artists with the aid of ever more intelligent robots. Around thirty works offer visitors a glimpse into an immersive and interactive virtual world, a tangible experience of augmented reality, of space and time overturned.

Artificial intelligence is now transforming human existence and also affecting the very nature of the artist’s artwork , from its production, exhibition, to its distribution, conservation and reception.

Immersive works, paintings, sculptures, mobiles, cinema, design, and music: all the creations presented in this exhibition arise from artists working with robotic programs invented and provided for the purpose of art.

Artists & Robots - Leonel Moura

With the use of increasingly powerful software, artists gain a greater autonomy  and an infinite capacity to work with shapes and interactivity. The software programs employed are not only intelligent, but also generate new shapes and figures that allow to see and give pause for thought.

The exhibition is structured in three folds.
The first section present ‘The creative machine’. Robots are always on the move and their movements are sometimes so ‘physical’ and amusing that it is could be easy to give them an animal or human dimension, or even a ‘psychology’.
Featuring works by Jean Tinguely, Nam June Paik, Nicolas Schöffer, Leonel Moura, Patrick Tresset, So Kanno and Takahiro Yamaguchi, J. Lee Thompson, Arcangelo Sassolino.

Artists Robots - Jean TinguelyArtists & Robots - Leonel Moura Artists Robots - Arcangelo SassolinoArtists & Robots - So Kanno & Takahiro Yamaguchi 01Artists & Robots - Patrick TressetArtists & Robots - Patrick TressetArtists & Robots - Patrick Tresset

The second section is about ‘Programmed artwork’, where the robot is becoming invisible. Computing and algorithmic programmes infuse the artwork and technical expertise is set aside as we, the spectators, marvel at the majesty of infinite shapes that change according to the movements of our bodies.

Featuring works by Manfred Mohr, Vera Molnar, Iannis Xenakis, Demian Conrad, Raquel Kogan, Ryoji Ikeda, Pascal Dombis, Elias Crespin, Jacopo Baboni Schilingi, Edmond Couchot and Michel Bret, Miguel Chevalier, Joan Fontcuberta, Michael Hansmeyer and Peter Kogler.

Artists & Robots - StelarcArtists & Robots - StelarcArtists & Robots - Laurent Mignonneau & Christa Sommerer
Artists & Robots - RYOJI IKEDAArtists & Robots - Stelarc
Artists Robots - Edmond Couchot & Michel Bret
Artists & Robots - Miguel ChevalierArtists & Robots - Michael Hansmeyer
Artists & Robots - Peter Kogler

And lastly the space is dedicated to The robot frees itself’.
Deep Learning is making robots even more intelligent and active, to the point where they seem not only to rival humans, but to augment them, fuse with them, taunt them and possibly even duplicate them.

Featuring works by Christa Sommerer & Laurent Mignonneau, Catherine Ikam and Louis Fléri, Stelarc, Nicolas Darrot, Fabien Giraud and Raphaël Siboni, Koji Fukada, Oscar Sharp, Daft Punk, Pascal Haudressy, Memo Akten, ORLAN, Takashi Murakami.

Artists & Robots - OrlanArtists & Robots - Nam June PaikArtists & Robots - Tkashi MurakamiArtists & Robots
Artists & Robots - OrlanArtists & Robots - Tkashi Murakami

The contemporary works presented in this exhibition give us a good idea of the questions artists are asking, which mirror our own: What is an artist? What is an artwork? What can a robot achieve that an artist cannot? If it has artificial intelligence, does a robot have imagination? Who decides: the artist, the engineer, the spectator, all of us? Can we talk about a collective artwork?

View the full set of pics here

Artists & Robots
Le Grand Palais
Until 8 July 2018

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Paris: Banksy joins the celebrations of Mai 68 riots

While Paris has been celebrating the 50th Anniversary of the May 68 Riots with multiple exhibitions, elusive artist Banksy has hit the streets of the French capital with a series of new artworks.

May 68 in France – Ten million workers on strike, young people in the streets, public services at a standstill, a paralysed economy: the state faced a major social crisis which threatened to shake its very foundations. The entire country was affected, including all sectors of activity.

Facing the entrance of La Sorbonne University, Banksy put up a dark stencil of a man hiding a saw behind his back while an amputated dog is salivating looking up at a bone. Could be a play on words ‘Saw Bone’ which sounds similar to ‘Sorbonne’, but also is a very cynical symbol of our society, raising questions of sacrifice and perceived rewards from the powers in place.

Placement and context are always very important. This is where the major student demonstrations took place. Interestingly, less than 10 meters away from this ‘Saw & Bone’ stencil, Invader placed a pixelated commemoration plaque on the Place de La Sorbonne earlier this May.

Click on the pics to enlarge

Banksy painted additional little rats characters, with the tag 1968 and the 8 falling apart and being transformed into the bow of the famous Minnie mouse, nod to Disneyland, symbolising with his stencils that the 1968 uprising has lost its luster and morphed into capitalism.

Next to the Centre Pompidou, which hosts Le Musee d’art Moderne, the largest museum of modern art in Europe, Banksy painted a mischief rat, which was later transformed into a bigger one holding a cutter. He posted the caption on his Instagram: ‘Fifty years since the uprising in Paris 1968. The birthplace of modern stencil art.’ 

 

The entire city is celebrating the 50th Anniversary, from the streets to institutions. For further historical context about the 1968 riots, the Hotel de Ville is presenting historical pictures by photograph Gilles Caron who documented the student revolts while the Archives Nationales are showing the events of May-June 1968 as seen by the authorities of the time. Earlier in May we also shared the intervention of Spanish artist ESCIF on the external walls ‘Open Borders’ of the modern art institution Palais de Tokyo ( see full coverage here).

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Stay tuned as we continue our coverage of Banksy invasion of the French capital…

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London: Banksy Vote Love

Banksy - Vote to Love

For the 250th Anniversary of the Summer Exhibiton at the Royal Academy in London, Banksy submitted an artwork under the pseudonym Bryan S Gaakman, anagram of ‘banksy anagram’ and it was refused. However when curator Grayson Perry contacted him to submit something, Banksy did it again and it is now displayed in the gallery 3.

The artwork features a heart shaped balloon with plaster over a political board that was used for the Brexit referendum vote. The initial board favoured the ‘Leave’ campaign.
With his humorous style, the ‘Leave’ campaign has been replaced by a ‘Love’ statement. To add further irony, the price tag on the artwork is £350 millions, a nod to the infamous ‘Leave bus’ claiming that Britain would save £350m a week after Brexit.

The heart shaped balloon is an image close to Banksy, starting with his iconic Girl with Balloon (2002) who was also used worldwide for the #withSyria campaign in 2014

#Syria - Banksy London

The first Love Heart Balloon with plaster appeared at the MOCA exhibition ‘Arts in the Streets’ in Los Angeles in 2011.

Banksy
Pic by BirdMan

A Heart Balloon mural was painted in the streets of New York in 2013 during his artistic residency Better Out than In.

And a painted canvas  with the Heart Balloon was then sold in 2014 to support the Haitian Charity Auction for $650K.


Pic by Banksy

Throughout the years, Banksy expressed his views on political issues, and specially the Brexit.  We recall the mural in Dover in May 2017 featuring a worker chiselling away a star from the European Flag (see our previous coverage here).

Banksy in DoverBanksy in Dover

This was followed by the release of a revisited version of the Girl With Balloon featuring a heart with the Union Jack flag  for the UK Elections  in June 2017, which was later recalled due to criminal offence (covered)


Pic by Banksy

Banksy - Vote to Love

The 250th Summer Exhibition of the Royal Academy features 1300 artworks from internationally renowned artists and exciting new talents.

Come back again soon for our full coverage on the exhibition.

250th Summer Exhibition
Royal Academy
Until 19 August 2018
Burlington House, Piccadilly,
London, W1J 0BD

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Paris: Banksy for World Refugee Day

A new mural appeared in the streets of Paris . A black and white stencilled little girl standing on a wooden palette is painting a pink wallpaper over a Nazi cross.

It bears all the tales of Banksy. Timing and locations are key: It’s world Refugee Day and the artwork is located on the wall of dismantled refugee camp in the north of Paris.

Banksy - Porte de La Chapelle

It’s the first time that Banksy paints in Paris

The image is reminiscent of his 2009 artwork ‘Go flock yourself’, with the same wallpaper pattern.

The little girl is homeless as shown with her teddy bear and duvet stencilled on the lower part of the wall. Banksy continues to fight against xenophobia and continue to raise awareness about the refugee crisis.

Banksy - Porte de La Chapelle

Stay tuned for more Banksy news to come…

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London: Sandra Chevrier – Les Cages: We Can’t Be Tamed

Sandra Chevrier

StolenSpace Gallery is currently showcasing the latest body of work by Canadian born artist, Sandra Chevrier, as she makes her long awaited return to the UK. Evocatively titled ‘Les Cages; We Can’t Be Tamed’, the exhibition features a fresh series of Chevrier’s iconic ‘Cage Paintings’ – juxtaposing feminine subjects with comic book iconography in order to explore concepts of social expectation via the female gaze.

”A man can believe until his last breath that he is different from a Caged animal in a Zoo. But through all his life until his death; he will be living in a prison without walls and will still believe he is free when in fact, everyday he will be shackled, whipped, and exist in captivity. We are all slaves of something, of someone, of an idea.”

“The Cages series as been revolving around submission, oppression, unfreedom, confinement and imprisonment. Cages are Cages, whether they were build with steel or from the fabric of the mind. We cannot be free outside the Cage unless we are able to experience the freedom within it. The freedom is inside us. Freedom within a Cage. I have a dream. A dream that freedom is not just an idea or a word. Only; I am not sure what it is… Not yet.”

Sandra Chevrier

By applying the comic book trope of the masked figure, Sandra Chevrier conceals the identity of her subjects, rendering them as simultaneously heroic, yet restricted.
Obscured by scenes of hostility and struggle, they peer from the canvas, challenging the viewer to look beyond their own preconceived notions of femininity. Often the artist applies scenes of heroic downfall to her collages – images that display the vulnerability of their super-powered subjects and remind us of their limitations. Sandra Chevrier’s intention is to make clear the often impossibly high standards that society holds women to.

Sandra ChevrierSandra Chevrier
Sandra ChevrierSandra Chevrier
Sandra ChevrierSandra Chevrier

Sandra Chevrier
Les Cages: We can’t be tamed
Until 1 July 2018

StolenSpace Gallery
London

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La Rochelle: Graff on Tour(s) with Lek & Sowat

Lek & Sowat - Graff on Tour(s)

The Towers of La Rochelle, managed by the Centre des Monuments Nationaux (CMN), are currently presenting Graff on Tour(s) until 25 June 2018 with a focus on historical graffiti as well as artistic interventions by contemporary artists ( see our first preview here. Following a month residency, internationally renowned graffiti duo Lek & Sowat were given total freedom to create contemporary artistic installations in the Saint Nicolas Tower and the city of La Rochelle.

After having archived and documented graffiti on the national monuments as traces of history and archeology for decades, and referenced graffiti on thirty historical monuments, the CMN is dedicating its 2018 cultural season on historical graffiti with a series of exhibitions and events called “Sur les murs, histoire(s) de graffiti“ on nine of its national monuments curated by Laure Pressac .

Wandering in La Rochelle, a few signs announce an atypical invasion.
Local buses adorn abstract geometric and dynamic shapes…


Bus Yelo La Rochelle, Lek & Sowat ©Théo Larmaillard/CMN

Looking up we noticed that the French flag on the Saint Nicolas Tower has been replaced by a pirate flag floating high with graffuturism and calligraffiti letters. There is no doubt: Lek and Sowat have taken over La Rochelle.

Lek & Sowat - Graff on Tour(s)

Known for their interventions both in abandoned places such as Mausolee ( see here) or institutions such as the Palais de Tokyo ( more here), Lek and Sowat were particularly interested by the historical monument of the Saint Nicolas Tower due to its architecture, context and history.

Some quick historic facts: during the 14th century La Rochelle was a centre of maritime trade and the Towers were controlling entry to the port by the many trading ship. From the 16th to 18th centuries, the Saint Nicolas Tower and the Chaine Tower were also used as prisons for Huguenots (French protestants) and foreign sailors, followed by military prisoners from the 19th century. Over 600 graffiti have been recorded, engraved in the walls of the Rochelle Towers, as testimony of imprisoned sailors during the various wars.

Lek & Sowat were inspired and intrigued by the story of the junction between the Saint Nicolas Tower and the Chaine Tower, mentioned in an old historical book of La Rochelle, added to the calculations of the architect Juste Lisch whose illustrations concurred with the possible existence of an arch between the two towers.


Illustration by Juste Lisch (1864)

Based on this historical and utopian idea, they have imagined a graffuturist gateway with the help of their friend David ‘Tcheko’ La Tulipe.

Lek & Tcheko - Graff on Tour(s)
Lek & Tcheko

In the continuity of their work done at the Pavillon du Carre Beaudoin , both artists pursue their quest to push the boundaries of graffiti and contemporary art, this time by creating a multisensorial and immersive installation inside the Saint Nicolas Tower.

They wanted to recreate the feelings of fear and unknown so present when doing urbex (urban exploration), not knowing what you might find, but being excited as the same time.
Visitors descend the Saint Nicolas Tower’s stairs in total darkness until their feet touch the floor of the lower ground space. Then the adrenaline kicks in: Boom !

It’s an explosion of lighting effects and shadows, revealing a three dimensional metallic bridge with geometric shapes, reminiscent of the abstract geometric shapes found in Lek & Sowat graffiti paintings.

Vibration sensors connected to a set of nine lights trigger an infinite combination of light variations which evolve through the stamps of visitors. All the surfaces from the floor to ceiling are transformed and the shadows appearing from the metallic structure create characters and shapes on the walls of the Tower.

The immersive installation creates a new dynamic dialogue between the viewer and the historical tower, a vibrant and interactive display for all ages, where the viewer is also an active participant in the creation of the installation.

Shy visitors start an impromptu dynamic dance to activate additional lighting and discover more fractal shadows and projections, characters and shapes. The interaction is fun, liberating and addictive.

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View the full set of pics here

The arched shape of the ground floor combined with the artistic installation also reminds us of a cathedral and its colourful stained glass windows with the graffuturist metallic structure recreating the stained glass windows outlines, giving a sacred aura to the historical space.

With their installation Lek and Sowat successfully take graffiti and contemporary art to another dimension, while giving a second life to the historical monument.

Simply magical.

In addition to their installation, Lek & Sowat are releasing a special limited edition Tote Bag to support the protection of the French cultural heritage, available in CMN’s gift shops.

Stay tuned as we continue our visit of the CMN Cultural season across the summer
“Sur les Murs, Histoire(s) de Graffiti”.

Graffs on Tour(s)
Until 25 June
Saint Nicolas Tower
Lantern Tower
La Rochelle

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London: Mark Jenkins – BRD SHT

Mark Jenkins- BRD SHT

American artist Mark Jenkins returns to London for his third solo exhibition with Lazinc Gallery.
The show follows Jenkins’ success of his recent art installation, Project84, atop of London’s ITV building, raising awareness of male suicide.

Together with his collaborator, Sandra Fernandez, Mark Jenkins creates sculptural street installations that take the form of life-sized bodies, often interacting with the surrounding environment.
The physical casting process ordinarily uses either Mark or Sandra’s own bodies, essentially cloning themselves out of many layers of sellotape to create dark humoured and often sinister sculptures and place them within the public space. The work is intended to explore the conventional process in which we experience and view artwork and the pedestrian boundaries between art and life.

“BRD SHT, the show’s title, nods to a license plate in the film Brewster McCloud. In the film, it was a murderous substance and while I understand here in the UK it’s good luck, for me I’ve always thought about the frequency birds do it as a condition for reducing weight to allow flight. It’s a useful metaphor to understand that our own ability to sustain flight mentally is a matter of reducing our own emotional baggage, or shit if you will.” – Mark Jenkins

The exhibition features nine sculptures, three canvases and works on paper, as well as an installation on the gallery front of a fisherman figure hanging from the balcony.

Mark Jenkins- BRD SHTMark Jenkins- BRD SHT
Mark Jenkins- BRD SHTMark Jenkins- BRD SHTMark Jenkins- BRD SHT
Mark Jenkins- BRD SHT
Mark Jenkins- BRD SHTMark Jenkins- BRD SHT
Mark Jenkins- BRD SHT
Mark Jenkins- BRD SHTMark Jenkins- BRD SHTMark Jenkins- BRD SHTMark Jenkins- BRD SHTMark Jenkins- BRD SHT

View the full set of pics here

Mark Jenkins – BRD SHT
Until 30 June 2018
Lazinc Sackville
London

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Paris: Miss Van Retrospective at Galerie Openspace

Miss Van Retrospective

OpenSpace Gallery in Paris is paying tribute to leading female urban contemporary artist Miss Van with a special Retrospective. The exhibition, curated by Samantha Longhi and Nicolas Chenus presents more than 90 works from 2003 to today, and is running until June 14th.

Spanning across 15 years, the exhibition showcases her prolific body of works on paper, wood, and canvas. It’s quite an emotional journey which present her incessant sources of inspiration and Miss Van’s signature female characters set in diverse oniric situations.

Upon entering the gallery, early works with acrylic on canvas, are featured along side the most recent oil paintings Gitanas series.

Miss Van Retrospective
Miss Van RetrospectiveMiss Van RetrospectiveMiss Van Retrospective
Miss Van Retrospective

Key highlights include her little madonnas or ‘Virgen’, Princessas, Bailerinas, Twinkle, a room dedicated to circus with artworks from here 2008 ‘Still Little Magic’ series, as well as the ‘Atame’ painting who graced the cover of the Juxtapoz magazine.

Miss Van RetrospectiveMiss Van RetrospectiveMiss Van Retrospective
Miss Van RetrospectiveMiss Van Retrospective
Miss Van Retrospective

On the lower ground space hosts the ‘Hypnotic flower’, a wooden installation that was featured at the MOCA in LA in 2011 for Arts in the Streets and her masks series.


Miss Van RetrospectiveMiss Van RetrospectiveMiss Van RetrospectiveMiss Van Retrospective
Miss Van RetrospectiveMiss Van RetrospectiveMiss Van Retrospective

The evolution of body of works is simply spectacular. Her lolitas have blossomed into sensual Gitanas with a stunning colour palette and precision of the brushstrokes.

Miss Van Retrospective
Miss Van Retrospective

View the full set of pics here

Miss Van Retrospective
Until 16 June 2018
OpenSpace Gallery
116 Bd Richard Lenoir
75011 Paris

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La Rochelle (FR): Graffs on Tour(s) with the CMN

The Centre des Monuments Nationaux (CMN) is France’s biggest cultural and tourism operator. Its mission is to preserve cultural heritage and provide public access to 100 national historical monuments throughout France.

After having archived and documented graffiti on the national monuments as traces of history and archeology for decades, and referenced graffiti on thirty historical monuments, the CMN has decided to focus its 2018 cultural season on historical graffiti with a series of exhibitions and events called Sur les murs, histoire(s) de graffiti on nine of its national monuments curated by Laure Pressac .

From 31 March to 25 June 2018 the historical sites of La Rochelle Towers present “Graffs on Tour(s)” with a focus on historical graffiti as well as artistic interventions by contemporary artists. Over 600 graffiti have been recorded,  engraved in the walls of the Rochelle Towers, as testimony of imprisoned sailors during the various wars.

Following a month residency, internationally renowned graffiti duo Lek & Sowat (covered) have created a series of contemporary installations in the Saint Nicolas Tower and the city of La Rochelle, which we will focus on in more details shortly.

To kick start the cultural season with the Quinzaine du Numerique (QZN), five artists including Philippe Boisnard (FR), Vincent Dubois (FR), Collectif Impact (FR), Julia Masvernat (AR) and Julia Suero (AR), invaded the Lantern Tower  by creating a transmedia journey with digital installations, visual mapping, videos, and sound installations.

Through the ascending progression of the Lantern Tower, this transmedia path evokes the transition from figuration to abstraction as well as the transformation from analog material into digital material.

Upon entering the tower, visitors are given a booklet and at each stage of the journey, the public can discover more about the architecture of the building, historical graffiti and artistic installations and interpretations of the QZN.

QZN - Graffs on Tours - Vincent Dubois 06

On the second floor, Collectif Impact highlights the most important graffiti (depending on their quality, size and state of conservation) with visual mapping on the prison doors, while a life-size projection features testimonies of the past left by sailors, pirates and prisoners. A dark room reveals invisible graffiti using black UV light.

QZN - Graffs on Tours - Collectif Impact 03
QZN - Graffs on Tours - Collectif Impact 02QZN - Graffs on Tours - Collectif Impact 01

On the third floor, also nicknamed ‘dorm room’, graffiti are even more prolific. Through lighting effects, Vincent Dubois presents selected graffiti in a museum setting, with audio creations by Julia Suero for a full immersive experience.

QZN - Graffs on Tours - Vincent Dubois 04QZN - Graffs on Tours - Vincent Dubois 03
QZN - Graffs on Tours - Vincent Dubois 02QZN - Graffs on Tours - Vincent Dubois 01

A room with interactive games and books let you discover more about the history of graffiti.

QZN - Graffs on Tours La Rochelle 02QZN - Graffs on Tours - Vincent Dubois 05

The fifth floor features the first dungeon of the nineteenth century. Artistic installations by Julia Masvernat and Julia Suero invite the viewers into an oniric journey with ‘Magic Lanterns’ . Through a projection, shadows reminiscent of historical graffiti evolve on the walls of the room.

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QZN - Graffs on Tours - Julia Masvernat & Julia Suero 03QZN - Graffs on Tours - Julia Masvernat & Julia Suero 02

For many years the Lantern Tower was a place of confinement, and graffiti are traces left by these isolated and immured people. Philippe Boisnard ‘s installation is a 270 ° mapping on the sixth floor of the Lantern Tower, which poetically and graphically opens horizons through these walls. Each stone has been visually mapped and transformed into a new skyline, a distant desert, burning fire, depth underwater. Through computer generated images, the prison walls disintegrate and show the viewers  how imagination can go beyond confinement.

QZN - Graffs on Tours - Philippe Boisnard

Stay tuned as we continue our visit of the CMN Cultural season
“Sur les Murs, Histoire(s) de Graffiti”.

Graffs on Tour(s)

Until 25 June
Saint Nicolas Tower
Lantern Tower
La Rochelle

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Paris: BLO – ‘Anywhere, Out of this mind’

Berlin based artist BLO, from the Da Mental Vaporz crew, is currently showing a new exhibition entitled Anywhere, Out Of This Mind at Galerie 42b in Paris.

The new body of work features a series of oniric painted assemblages with a mix of grayscale abstract shapes and surrealist female portraits. The figurative intertwines with the abstraction of lines and textures. Painted figurative cut outs inspired by found contemporary images are pieced together with energetic abstract brushstrokes. Playing with textures, focus and blur, light and shadows, it creates a dialogue between the real and subconscious.

BLO - Anywhere Out of This Mind

A seductive choreography is set up by a series of assemblages, contrast and accumulation, layering of paint, erosion of textures and images. A dialogue is established between actions and reactions. Energetic abstract brushstrokes recall the gesture of the tag which blends with finesse and elegance onto the female body while silk and drapes bring elegance, lightness and sensuality to the female figures. Mastering anatomy and pose with great detail, the cut out paintings bring our focus on hands, legs, a mouth while the woman’s face remains blurred, as to transport us into a nostalgic and dreamlike world.

BLO - Anywhere Out of This MindBLO - Anywhere Out of This Mind
BLO - Anywhere Out of This MindBLO - Anywhere Out of This MindBLO - Anywhere Out of This Mind

We asked BLO a few questions to find out more.

How long have you been preparing for this show?

BLO: After a year experimenting with abstraction, and following my artistic residency in Perpignan (FR) in November/December 2017, I decided to return my focus to figurative painting while exploring fragmented compositions. So, I have been preparing for my current show for the past five months.

BLO - Anywhere Out of This Mind

What is the inspiration behind the exhibition title Anywhere, Out Of This Mind?

BLO: The title of the exhibition is a reference to a poem by Baudelaire, Anywhere Out Of This World, with the last world being replaced by ‘mind’, as an invitation into the subconscious world.

What are your sources of inspiration and creative process?

BLO: Based on contemporary photography and textures I have observed in the urban environment, I created preparatory collages on paper that served as first sketches for my canvasses and then let my inspiration flow on canvas until I am satisfied with the composition.

BLO - Anywhere Out of This Mind

What materials did you use?

BLO: For the first time, I have used very little spray paint. I focused on acrylic, oil paint, using pigments, varnish, and different types of inks and enamels to create a variety of textures on canvas.

Some of your artworks are purely in black and white while others are colourful. Can you tell us more?

BLO: After the past two years, I wanted to create grayscale paintings again as a tribute to drawings, specially ink drawings, with a focus on textures.

BLO - Anywhere Out of This MindBLO - Anywhere Out of This MindBLO - Anywhere Out of This MindBLO - Anywhere Out of This Mind

Photo credit: Butterfly Art News, Eli Cornejo, Nicolas Giquel.

BLO
Anywhere, out of this world
Until 16 June 2018
Galerie 42B, Paris

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Paris: Oli Epp ‘Epiphanies’

Oli Epp - Epihanies

Semiose Galerie in Paris is currently showing ‘Epiphanies‘, a solo exhibition by British artist Oli Epp. Born in 1994, Oli Epp is a recent graduate of the City & Guilds of London Art School and has taken the art world by storm. Despite his young age, Oli Epp has already taken part in a series of exhibitions from Australia, Denmark, the US and Spain and has a huge following on social media.

His body of work are inspired by his everyday experiences and observations. Often autobiographical, they share situations that involve the artist and his encounters with a touch of humour.

Oli Epp - EpihaniesOli Epp - Epihanies
Oli Epp - Epihanies

Using flatness and realism, simplified characters are portrayed with oversized heads, with an absence of facial features, self-absorbed in their post digital age with a focus on their branded items and communication pieces. Oli Epp’s paintings are a visual play between real and digital lives and a satirical representation of human interactions in a world of consumerism and communication.

Oli Epp - EpihaniesOli Epp - Epihanies
Oli Epp - Epihanies

Oli Epp – Epiphanies
Semiose Galerie
Until 6 June 2018
34 rue Chapon
75003 Paris

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Interview: Zoer (FR)

We wanted to find out more about French artist Frederic Battle aka Zoer, as he painted a mural together with Velvet at the Crystal Ship Festival in Ostende.

He accepted to answer a few questions:

Can you tell us more about your background?

Graduated from an industrial design school, I have been drawing since I know how to hold a pencil. Kid, I used to break my car toys myself to create new forms then draw car crashes or trafic jam. I started to write by scratching, tagging with a maker without any idea of what was happening then my best friend came and said “hey, why don’t you try to make some drawing on walls” and I start to write ZOER. Where I come from, at that time they were no so much graffity for this reason my letter was quickly combined to figurative elements inspired by comics, architecture and automobile with my drawing style. Then, I moved to Paris and met Velvet (Kryo) and get a stronger interest in graffity. In 2011, the association “Sans pression” from Nantes invited me to take part of “Voyage à Nantes” first edition. This invitation was the starting point of painting murals.

What / who are your sources of inspirations?

Comics, architecture and automobile.
Gerard Richter and Ron van der Ende
Sonic PNC
Electronic music which is really important for me, the first musical emotions, I’ve felt was with Daft Punk ep ” Musique” in 1993. Laurent Garnier is certainly the artist I listen the most.

 

You are a multidisciplinary artist, so what is your creative process and your preferred medium?

Painting is my favorite medium but I like challenge so I can not stop to explore and explore by combining different technics, mediums and styles.
Object are the key element of my creating process, I focus on it, try to extract the abstract part of it to make growing up a subject from realistic object but not used in a realistic way.

Can you tell us more about your artworks and how you would define your style? You seem to incorporate a lot of vehicules /cars in your artworks. Is there a specific meaning behind it?

My style is definitely figurative, generally in my painting, the chaos of the pictured scene is paradoxically balanced by the accurate depiction of the objects.
Automobile is the most complicated invention of the XX century in its technological contraints as much its social impacts. Whether it’s the subject or the support, cars, from a toy to an industrial shape, embodies the culture, aspirations and desires of succeeding generations. I tried to express this ideas in my painting.

How did you end up with Kaikaikiki and Takashi Murakami?
Can you tell us about your experience in Japan?

I was in a middle of the Mercantour (French Alpes) when I received this email from Takashi Murakami saying “I love you work, I would like to make an exhibition”. Few months after, I was in Tokyo.
Work with Kaikai Kiki gallery is a great opportunity, really inspiring. It is an incredible possibility of creation. Japan is mesmerizing

You are doing a collaboration with DrColors and Velvet for the Crystal Ship? Can you tell us more?
We were invited with Velvet to paint this mural and Dr Colors, old friend, came very nicely to give us a hand.
I met Velvet at design school we paint and make most of the projects together, we have created DIE_CAST_STUDIO.

What are your next projects as well?
My opening of my next show, La Forme, will be on April 7th at SC Gallery in Bilbao. Then I will go to Rabat / Morocco for a mural and in Saint-Gervais les Bains for the second edition of 2KM3, an innovative cultural project started last year, 11 artists was invited to paint an interior car park.

Photos courtesy of the artist

Zoer
More on http://www.zoerism.com

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Paris: D*Face – ‘Fornever’

D*Face Fornever

After painting a large new mural Turn Coat (covered) in the 13th District of Paris, D*Face unveiled his first solo show in France at Galerie Itinerrance. Entitled FORNEVER, the exhibition presented canvasses, sculptures, installations, HPMs, prints, and more. The British artist also experimented with a new medium – ‘Memory Trays’ – assemblages of found objects to bring a narrative dimension to his portraits. Thus, his subjects are plunged into the past as if they were nothing but an accumulation of memories, a discrete stencil is hidden inside a old novel, the faded picture of a pin-up comes out of a small pocket, or a key floats inside a glass bottle. The new imagery deals with how nothing is forever, with the old replaced with the new and the tensions that come with it.

D*Face Fornever

The first wall of the showing presented a ‘blue period’ with a multitude of formats from sculptures, such as ‘Riot Bottles’ and ‘Memory Trays’. This section featured sad characters, with an omnipresent blue colour palette, bringing out melancholy and the souvenir of lost time.

D*Face Fornever
D*Face ForneverD*Face ForneverD*Face Fornever

Opposite these lonely characters, a series of colourful canvasses focused on love relationships through different stages, and also echoed some of D’s monumental murals and album cover for the music band Blink-182. The themes of duality, love and violence appeared throughout the exhibition, from the Coke bottles transformed into Riot motolov cocktails or rose vases, to the rusted and painted saws featuring the male and female gaze.

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D*Face ForneverD*Face ForneverD*Face ForneverD*Face Fornever

To describe the exhibition, D*Face mentions – ”From London to Los Angeles, Tokyo to Paris, I’ve lived and worked in cities my entire life, and if there’s one thing that all have had in common, it’s a tension between the old and the new. Progress seems inevitable, yet history and tradition remain treasured commodities – hard to let go. Likewise, artists throughout history, including myself, have faced the same obstacle – how do we evolve without abandoning what distinguished us in the first place? As the rate of change increases exponentially, so too does the value of society’s collective memory, along with the few relics which remain to uphold the past. It was my ambition with the Fornever show to set past and future in dialogue with one another.
To initiate this project, I chose to revisit the image of the Riot Coke Bottle, but this time as an imitation of the iconic petrol bomb – the poor man’s grenade. A familiar yet daunting object, it’s been used to spark the fire of countless revolutions throughout history, so for me it was an irresistible symbol for change – an incineration of the old in sight of the new. What remains then are vestiges of the past, salvaged, repurposed and marvellously outdated, they remind us that no matter how hard we may fight the wheel of change, nothing can last forever – there is only Fornever.”

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D*Face Fornever
D*Face Fornever

View the full set of pics here

D*Face – Fornever
Galerie Itinerrance
Paris

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Paris: Lee Bae ‘ Black Mapping’

Lee Bae - Black Mapping

Perrotin Gallery in Paris is currently showing “Black Mapping” by Korean contemporary artist Lee Bae and looks back to the creative period of Lee Bae marked by the work of charcoal, in the form of paintings, sculptures and installations.

Since the early 2000’s Lee Bae is best known for his acrylic paintings associating a thousand variations of black and creamy white. Perrotin Gallery has chosen to highlight a lesser known creative aspect from the late 1990s to the early 2000s, which focused on the use of charcoal.

Lee Bae - Black Mapping

Lee Bae’s charcoal achievements are a crucial moment in the Korean artist’s career when he arrived in Paris in 1990, and the discovery of this new material is a turning point in his practice.

The choice of charcoal is due to several reasons: references to the China ink and calligraphy, but is also deeply rooted in the Korean tradition and reminded him of its origins.

Charcoal would allow Lee Bae to combine and align the two subjects that had always motivated him: a reflection on the material and a quest for blackness. In other words, on one hand the material in itself, for its sculptural qualities, and on the other hand, the material as a means of achieving tonality.

Lee Bae - Black Mapping

The installations of the Fire series are juxtaposed elements of raw material, burned and glued on canvas. Working the surface and revealing shadows, gradients and highlights, charcoal is a powerful creative element both literally and figuratively.

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Check a video by Simone Hoffman for Arte Metropolis that looks behind the scenes.

Lee Bae – Black Mapping
Until 26 May 2018
Galerie Perrotin
76 rue de Turenne
75003 Paris

Posted in Paris, Shows | Tagged , , , , ,

London: Mai 68 Posters from the Revolution

Lazinc - Mai 68 Posters

This May marks the 50th anniversary of the Mai 68 riots; a revolutionary string of student protests in Paris. Art was truly embedded in this revolution, with unique screen-printed posters being plastered along the walls of France.

Lazinc Sackville is currently exhibiting in London its own collection of these original posters for all to see. This unique collection of posters was last exhibited at The Hayward Gallery in 2008 and now forms part of Lazinc’s permanent collection of counter culture and propaganda works.

Lazinc - Mai 68 Posters

The 50 works are original, screen-printed posters produced during May and June in 1968 and plastered over the walls of Paris. The posters became the visual symbols of the revolution and they depict solidarity between France’s students and workers; opposition to De Gaulle and parliament; and the denouncement of a fascist regime.

One of the largest collections of this nature, the Lazinc Propaganda Collection includes Chinese Maoist posters dating back to early 1900’s, Black Panther posters, Russian Communist Posters from the 1970’s & 80’s, Cuban Revolutionary posters as well as British counter-culture posters from the 1960’s – 1980’s. These iconic works have been cited as the forerunners of today’s street art movement, and have been an inspiration to many of the contemporary artists Lazinc has worked with, including Banksy, Vhils and JR.

In addition films, imagery and memorabilia from the Mai 68 riots help contextualise the artworks in a historic setting, including archival photography, memorabilia and film footage captured during the riots.

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The gallery is also recreating a screen-printing room from one of the Atelier Populaire studios, the infamous workshop created in the occupied lithography studios of the École des Beaux-Arts set up by artists and students, .showing the working space in which the posters were created. Screen-printing was used due to the opportunity of mass-production and none of the posters were signed by individual artists.

Lazinc - Mai 68 PostersLazinc - Mai 68 Posters
Lazinc - Mai 68 Posters
Lazinc - Mai 68 Posters

“I love posters and their inherent power. They have been used as a tool of control or rebellion by everyone from counter-cultural groups to communist regimes, to subjugate billions of people. I still feel that they have their place in today’s society, take something like Shepard Fairey’s HOPE poster for the Obama campaign. A poster that in its own small way helped a black man to be voted as president of the USA, something no-one thought possible. The posters here were made by “Atelier Populaire”…
The whole idea was that anyone and everyone could contribute to the content of the posters, students, fishermen, postmen, factory workers etc. There would be assemblies where the poster choice would be made. These would invairably be printed through the day and night and then pasted up on the night-time, for the city of Paris to see what the issues at hand were. This was a pretty risky business due to the heavy-handed tactics of the French riot squad. This is a classic example of the disposed and dis-enfranchised using the poster to give voice to their concerns. The fact that time has not diminished them or their sentiment is a testimony to their power.” – Steve Lazarides, Co-Founder, Lazinc

Lazinc - Mai 68 PostersLazinc - Mai 68 Posters

The installation is left as if interrupted, posing the question of what the Mai 68 riots achieved and what is their contribution to art and history, the place of art within revolution?

Lazinc - Mai 68 Posters

View the full set of pics here

Lazinc Sackville
29 Sackville Street
London W1S 3DX

 

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Paris: D*Face ‘Turncoat’ Mural

D*Face Turncoat

British artist D*Face (covered) has just completed his second mural in Paris, at 155 boulevard Vincent Auriol, part of the ongoing open air museum in the 13th District with Street Art 13 Mural program.

This is the mural version of his painting ‘Turncoat‘, here on 25 meters high and 15 meters wide. This monumental work marks a departure in D*Face’s work. The portrait is made from a blue colour palette, while most of its pieces are based on a plurality of colors.

D*Face Turncoat

The artist, explained it as follows: “The colour scheme is new to me, it’s a new direction, each artist goes through his blue period, at the moment it must be my turn. . ” This palette represents a certain melancholy in his view of the world. The woman lips are tinted with a vibrant electric red, highlighting her power of seduction while her frowning brows and rebellious hair show her strong temperament. D*Face also added his signature wings and pop imagery to the mural.

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D*Face Turncoat

In parallel, the original painting ‘Turncoat’ is currently visible at the new solo exhibition ‘Fornever‘ at Galerie Itinerrance until 19 May.

View the full set of pics here

Posted in Paris, Shows, Street, streets | Tagged , , , , , | 1 Comment

Paris: Felipe Pantone – Dynamic Phenomena

Felipe Pantone - Dynamic Phenomena

Chromatic and cynetic master Felipe Pantone is currently presenting his first solo exhibition ‘Dynamic Phenomena‘ in Paris at Magda Danysz Gallery.

Born in Buenos Aires, Pantone is an Argentinian-Spanish artist based in Valencia, Spain.  Internationally prolific, Pantone enchants with his majestic murals, sculptures or monumental installations.  Invited to the 2016 edition of the Maus Festival in Malaga (covered), the artist completely repainted a bridge overlooking the river Guadalmedina.

Felipe Pantone’s approach is to question the current era and its propensity to place new technologies at the center of our daily lives, making us dependent on a superabundance of images and symbols. He himself is passionate about the advent of the internet that gives instant access to the entire history of mankind. The problems he addresses are contemporary and universal: movement, the notion of time, saturation, alienation and destruction

Felipe Pantone - Dynamic Phenomena

Felipe Pantone - Dynamic PhenomenaFelipe Pantone - Dynamic Phenomena

With his exhibition “Dynamic phenomena”, Pantone imagines geometric subjects on modeling software, taking up the aesthetics of 3D creation, which he then reproduces in XXL size or on canvases. He brings them to life by superimposing his installations into disturbing optical illusions reminding of an explosion or an electric shock.

Felipe Pantone - Dynamic Phenomena

In a powerful dynamic, Pantone adds abstract and stroboscopic touches to articulate black and white geometric shapes creating a futuristic style with psychedelic accents and metallic colours.

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Felipe Pantone - Dynamic Phenomena
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View the full set of pics here

 

Felipe Pantone ‘Dynamic Phenomena’
Until 12 May 2018
Magda Danysz Gallery
Paris

Posted in Paris, Shows | Tagged , , ,

Paris: ESCIF ‘Open Borders’ at Palais de Tokyo

ESCIF - Open Borders

From May 4th, Palais de Tokyo in Paris will pay tribute to the history and legacy of the May 1968 events with a intervention by Escif, where he reproduced some of the famous writings from that period of student revolts. His creation completes the project, which was started in 2015 by Greek artist Stelios Faitakis, who realized two murals dedicated to the legacy of the situationist movement and civil unrest of May 1968. This intervention is part of the 10th installment of the LASCO Project (covered) curated by Hugo Vitrani, the Urban Art programme of Palais de Tokyo launched in 2012 which features artworks by over sixty international artists throughout its building.

ESCIF - Open Borders

Escif states: “I’m looking for the limit, how to paint a mural that is not a mural (…) The wall is a limit, a tool of power with which we plan, control and manipulate the space of cities. Graffiti abuses of walls by ridiculing them, by transgressing their original function. A painted wall is then no longer a limit but a transversal channel.”

ESCIF - Open Borders

Overlooking the iconic Eiffel Tower, the Spanish artist’s mural features trompe-l’oeil elements like country flags, doors, fire escapes, and wild vegetation throughout the back walls of the Palais de Tokyo, while tags and slogans lacerate the walls.

ESCIF - Open Borders

The written texts are inspired by the graffiti drawn clandestinely in the toilets of the institution which have been archived by the artist, as well as writings that accompanied the student revolts of May 68.

ESCIF - Open Borders

The general composition of the painting is a nod to the board game ‘Snakes and Ladders’ and plunges the player into a journey between vice and virtue. This is a perfect vehicle for Escif to question the part of situationism and politics plays in the art of writing on walls.

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View the full set of pics here 

ESCIF – Open Borders
From 4 May 2018
Lasco Project
Palais de Tokyo
Paris

 

Posted in Paris, streets | Tagged , , , , , , , , | 1 Comment

Auxerre: Florent Maussion new mural for the RADD Festival

Florent Maussion - Auxerre

For the past three weeks French artist Florent Maussion has been painting a monumental mural on the silos of Auxerre (France) for the 10th edition of the RADD Festival opening on 25 April 2018.

Winner of the contest for the RADD 2018 theme “Which School for tomorrow?”, Florent Maussion’s sketch won the public and jury votes. The 600 square meters mural on the concrete silos features a child painting while surrounded by koy carp in a large blue-green background.

Florent Maussion - Auxerre

Some preparatory sketches and colour tests lay on the ground next to a model version of the concrete sentinels. The child portrait is inspired by a picture of the artist’s son.

Florent Maussion - Auxerre

He found his inspiration during his many trips to Japan. “I imagined a child, a schoolboy painting his own world. On his clothes, he wears a leaf of gingko biloba. This sacred tree of the East is a symbol of unity, hope and associated with longevity, it is also called the ‘tree of the grandfather and grandson’ because it carries the hope of continuation of the lineage including a prediction of immortality. ”

The artwork has many symbolics. Florent Maussion indicates “I chose to represent these freshwater fish to make the link with the Yonne river flowing at the foot of the silos. Koi carp are peaceful and familiar fish, peaceful in nature and easily accepting the cohabitation with other species, a symbol of love, virility, perseverance and strength. ”

Florent Maussion - AuxerreFlorent Maussion - Auxerre

Up 30 meters high, the cherry picker offers a breathtaking panoramic view of the city of Auxerre and beyond, but beware of the height and winds which can be tricky as the surface is round.

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After several days, the work is gradually taking shape with large blue and green trails and koy fish appears here and there.

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Florent Maussion - Auxerre
Florent Maussion - Auxerre
Florent Maussion - Auxerre

View the full set of pics here


Drone video by Martin Millot

Curated by Denis Roicourt, this monumental mural is part of the RADD festival  taking place from 25-28 April in Auxerre. Additional artists are also painting smaller walls through the city.
Full programme here

Posted in Festival | Tagged , ,

Interview: Colectivo Licuado

Colectivo Licuado

We followed Florencia Durán and Camilo Nunez from Colectivo Licuado, Uruguay as they painted a monumental mural for the Crystal Ship in Belgium.

Mastering spray paint with a hyperrealistic style, their creations juxtaposes culture and local traditions based on the context and environment in which they are working, adding their own style and a touch of art nouveau: skin tones, drapes, lighting and shadows are surreal.

With their mural, Colectivo Licuado paid tribute to Ostend, the city by the Sea. With two  two women, they wanted to illustrate a balance between the calm and the storm at Sea. The standing tall blond girl represents storms, with a lot of energy, drawing strings of winds, while the seated brunette is peaceful and having a protecting hand on the boat.

Colectivo LicuadoColectivo Licuado

We asked both of them a few questions to find out more:

B: Can you tell us more about your background?

CL: We knew each other studying industrial design 10 years ago. We always made student projects together , so we learned how to work as a team. Both of us always had interests in the arts. So years later we started painting in the streets as a hobby, but it quickly became our passion and our work, and we started to work really hard on this.

Colectivo Licuado
Colectivo Licuado

B: What is the situation in Uruguay towards street art/graffiti ?

CL: Street art is really new, less than 10 years. We are few of us, but little by little growing in numbers (be aware that we are 3 million people in all the country). So we are painting and growing together just to represent our country, because we are all really close.
There are more graffiti writers, they are really active and are also really close together.
In our opinion we need more big walls and more festivals that help us all to grow.

Colectivo Licuado

B: Colectivo Licuado is an artistic duo, so how did it started and what is your creative process?

CL: We started 7 years ago, like a hobby, but after our trip of South America, we realized that we could live from this and travel. So we started to work harder.
Nowadays, we think of an idea or message that we want to make in the wall. Lots of times it is something in relation to the environment of where we are going to paint the wall, some story, character, mythology. Then we always take some photos with a friend photographer, we ask for some of our friends to be our models, with a specific clothes and objects. Later with the photo we think about colours variations.

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B: What influenced you to start painting murals?

CL: We always drew or made something in relation to art, like photos and music. Once we started to paint in the public space it was really amazing to see people’s reaction. It is always a good excuse to share messages or our opinions and different people can see that, it is outside museums and galleries, it is for all and for the city, and it plays with the architecture. Also you always have a free canvas to practice and to show your work.

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B: What do you like/enjoy about painting in public spaces?
CL: We enjoy the opportunity to talk with many people in the streets, we enjoy the city in another way. It is also a chance to know other artists and cities. Each wall is a challenge for yourself and test your patience because are always some kind of difficulty.

Colectivo Licuado 
www.colectivolicuado.com

Posted in Festival, Ostend | Tagged , ,

Crystal Ship : New murals by Telmo & Miel (NL) in Belgium

Telmo Miel

For this year’s edition of the Crystal Ship Festival Dutch duo Telmo Miel created two murals in Ostend, Belgium. Telmo Pieper and Miel Krutzmann are the names behind Telmo Miel artistic duo, based in Rotterdam.

We last saw them in London in October 2017 during their Thinkspace exhibition at Moniker Art Fair ( covered), so we were pleased to see them in the streets of Ostend.

Combining multiple elements in a single composition, they layer references to the human and animal worlds to create complex creatures and fantastic scenario.
For the festival Telmo Miel painted a matching series called ‘Welcome’. Playing with the curved architecture, they painted a girl with an umbrella with a little monkey on her shoulder. The first version is under the rain while the mirrored version is under the sun.

Telmo Miel
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Telmo Miel
Telmo MielTelmo Miel

View the full set of pics here

Check our full coverage on the Crystal Ship here

 

Posted in Festival, Ostend, Street, streets | Tagged , , ,

Urban Art Fair (Paris)

Urban Art Fair Paris

For its 3rd Paris edition, the Urban Art Fair brings together thirty galleries from eight different countries at the Carreau du Temple from April 12 to 15, 2018.

With a selection of French and international galleries, the Fair is presenting a panorama of different techniques and mediums in the urban contemporary movement with works of more than 200 artists.

In parallel the Urban Art Fair is collaborating with Urban Films Festival, and will be featuring films related to the urban universe, with a focus on street art and graffiti artists’ films.

Amongst the participating galleries and artists, here are some highlights.

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Urban Art Fair Paris
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View the full set of pics here

Urban Art Fair Paris
12-15 April 2018
Carreau du Temple
Paris

Posted in Art Fair | Tagged , ,

Art Paris Art Fair: TILT Solo Exhibition

Art Paris Art Fair

With Switzerland being the guest of honour at Art Paris Art Fair (covered here), the Swiss Kolly Gallery focuses on the universe of French graffiti artist Tilt by dedicating a Solo Show. Tilt has won the First Prize of the Art Paris Art Fair, with “L’art est vivant – Promises prize”  

Art Paris Art Fair

With Tilt, work and life coexist closely, and its artistic, radical and singular vocabulary is marked by an anti-aesthetic approach based on destruction, disintegration and erasure.
Tilt likes to break codes, playing on the dislocation of plans, textures and density. The painting is abused. Tilt reveals a frontal vision of his artistic universe, where signs and references to the graffiti world are concealed, juxtaposed, in order to present a perfect synthesis of these street scriptures that he particularly enjoys.

Art Paris Art Fair
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Art Paris Art Fair

View the full set of pics here

Art Paris Art Fair
Le Grand Palais
Paris

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Interview : Matthew Dawn (BE)

We caught up with Belgian artist Matthew Dawn as he participates to the Crystal Ship Festival in Ostend, Belgium and discussed about his background and projects.

B: Can you tell us more about your background?

MD: I have a bachelors degree in “Digital Arts and Entertainment” – 3D art, game-coding and game design in lament terms. So nothing really street-art or fine-art related. Growing up, art and creativity in general has always been a big part of my everyday activities. I enjoyed sketching as a kid and teenager and love toying around with several instruments like bass, guitar and piano. Throw in some computer skills and know-how of video or photo-editing software and you have the base of my skill sets.


B: You have also worked on commercial projects with big companies such as Nike and Citroen? What learnings did you get from that experience?

MD: Commercial projects are good for putting money in the bank, not so good for expressing your artistic intent. A major insight I gained from those and several other experiences is how much my perception of money differs from theirs, I might find €1000 to be a lot of money whereas they barely shrug at spending €100.000. It taught me that it’s a matter of perspective and I can use that to my advantage.

 

B: What influenced you to start painting murals?

MD: It wasn’t really a choice, more something I rolled into naturally. I was already heavily into fine art and street art before I even picked up a spray can at the age of 21. I became friends with a couple of bombers and they took me with them because they’d seen my sketches. It was like “Hey you can draw, you should come with us. -Oh, okay. Sure.”
All that paranoia and stress wasn’t for me so I stepped out of the shadows and when to the legal walls in my area. I wanted to do full pieces and detail them at my own pace and really put the work in. From there on out it just grew, people approached me in the street, offered me some jobs that payed well at the time and it just got bigger and better from there on out.

B: What do you like/enjoy about painting in public spaces?

MD: It’s outdoors, gets me out of my studio. People come up to you, admire the work, compliment you. If you’re lucky they bring you warm drinks and cookies, all good vibes 🙂

B: What / who are your sources of inspirations or favourite artists?

MD: I look at pinterest a lot, I have big collections on there and it comes from everywhere, blogs, reddit,… but to name one or more artists that stick out,… man. I can’t there’s so many elements that I love of so many artists. I love Jeremy Man’s work ethic and dedication to the craft, I love Shawn Barber’s style, Rene Margritte’s work, James jean’s colors,…

B: Can you tell us more about your creative process?

MD: I start which ever way is fastest, doesn’t really matter to me how. Usually it’s some rough sketches in a slutty sketchbook that loves to get abused. From there I take it digitally, edit the sketches in photoshop or find photo’s online that match my ideas and create a collage out of them or go outside and take my own photo’s with myself or someone else as model.

Most of my personal work is built from live-drawing or photo reference.

B:Is there a specific message you want to convey in your artworks?

MD: I’m currently exploring the concepts of ego, ignorance, censorship, fame and success in my works and am loving the journey so far. I can have a specific meaning behind every piece but when I ask other for their views they always come up with things I have never  seen before myself or thought of so I don’t want to force my own view and just let the work do the explaining and let the people make up their own thoughts.

 

B: What are you creating for the Crystal Ship? Tell us more?
MD: I’m creating the third in my paper crown series which started after my promotional video of the TINYPINK went viral with +- 2M views.

B: What are your next projects as well?
MD: I’m planning a solo-show in the fall.

Matthew Dawn
http://www.matthewdawn.com

Posted in Interviews/ Studio visits, Ostend | Tagged , , , , ,

London: Miaz Brothers ‘Anonymous’ at Lazinc Sacksville

Miaz Brothers - Anonymous

Italian duo the Miaz Brothers return to Lazinc Sacksville for their third exhibition; Anonymous, continuing their Antimatter Series.

The show explores the concepts of anonymity and the metaphor of status in our existence. While both bodies of work portray beings, symbolic of a crosssection of society that scales class, location and time, the sixteen portraits for this new exhibition aims to present some transcendent answers for our present existence.
The artists’ work intentionally looks to the future and embodies that which is yet to come, which today remains indefinable.

Miaz Brothers - Anonymous

Using acrylic paint, the Miaz Brothers create enigmatic out of focus portraits, prompting the viewer to look beyond the line and to use both their own perception and imagination. Instead of explaining the meaning the meaning of their work, the artists encourage the viewer to develop their own relationship with the paintings.

Miaz Brothers - Anonymous

“It is an exercise for the inner spirit; a flexible experience of stretching the awareness of what we see and perceive; a stimulation for the consciousness and the limits of our idea of the world and its symbols. We are trying to force the viewer to interact with the image and to do so in a sensitive effort by filtering it through the perception and the process of identification to achieve something not fixed or limited but which is boundless and personal.” —The Miaz Brothers, 2018

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Miaz Brothers - Anonymous

View the full set of pics here

Miaz Brothers – Anonymous
Until 21 April 2018
Lazinc Sacksville
29 Sackville Street
London W1S 3DX

Posted in London, Shows | Tagged , , ,

Paris: Art Paris Art Fair 20th Anniversary

2018 marks the 20th anniversary of Art Paris Art Fair. Since its foundation in 1999, the fair has established itself as Paris’ leading modern and contemporary spring art event. The 2018 edition is playing host to 142 galleries from 22 different countries providing an overview of European art from the post-war years to the current day, while leaving room for the new horizons of international creation from Latin America, Africa, Asia and the Middle East.

Open to all forms of artistic expression, this year’s guest country is Switzerland and the fair is also focussing on the French art scene, as well as featuring monographic exhibitions in Solo Show and emerging artists in Promises.

Here are some highlights from the Art Paris Art Fair 2018.

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View the full set of pics here

Art Paris Art Fair
5-8 April 2018
Grand Palais
Paris

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The Crystal Ship 2018 – Part I

We have arrived on the city by the sea in Ostend, Belgium and participating artists to the third edition of the The Crystal Ship ( see line up here) are busy working on their murals and installations  across the city.

So here is a first recap of the walls in progress and installations we have seen so far:

Ben Slow (UK)


Telmo & Miel (NL)

A Squid Called Sebastian (B)

Colectivo Licuado (URU)


Dourone (FR) (See our interview here)

Etam Cru (PL)

Gaia (US)

Icy & Sot (IR)

Jaune (B)

Joachim (B)

Matthew Dawn (B)

Milu Correch (AR)

Oak Oak (FR)

Wasp Elder (UK)

View all the locations of the Crystal Ship on a map of Ostend HERE

The official opening starts on 7 April at Monacoplein from 2pm
Come back again soon for further updates on the Festival

Posted in Festival | Tagged , , ,

Interview: Dourone

We caught up with Spanish artist Fabio Lopez Gonzalo aka DOURONE as he participates in the 2018 Crystal Ship Festival to learn more about his creative process, his duo with Elodiellol their upcoming projects.

B: Can you tell us more about your background?

D: (Fabio)My background is a boy who lived far away from the center of Madrid and very far from his friends and for that reason he was a long time just drawing. When I was little I used to go to my grandmother’s house, I used to go shopping in the market and I always said “Granny, can we go down the drawing aisle?” That hall was a graffiti spot.

When I understood what that hallway was, I started to paint graffiti and since we did not have a group of graffiti friends we created the STA crew, that’s where all of 1999 started.

After my tour has been very varied, in my family there is a lot of creativity so I was never afraid to try different techniques, tools, etc. all my journey has been an apprenticeship and a self-taught evolution, since unfortunately I was not a very good student and I did not study Fine Arts or anything like that, it was also a very hard and very rewarding journey.

I always knew that I wanted to dedicate myself to something creative.

B: How was the situation towards street art/graffiti / legal and illegal graffiti when you grew up in Madrid?

D: When I started, I did not know very well what graffiti was, I did not listen the street art concept until much later.
My first graffiti was a tag but of 6 meters and the next day I bought a magazine from the store (authentic stiletto) and saw what the 3d was, the power line, a throw-up, a pomp, a wild style, a pastel model … and I also understood the rules of the game, in my time it was like this: a silver or throw-up can step on with a piece, and a piece can be stepped on with a mural, that on the one hand.
On the other side was the seniority and the quality of the work and on the other the level of vandalism of each crew.
When they stepped on you, there were the “fines” that consisted of staying at a place and time you had agreed on before, so that you could return the money or the spays that you had spent on the piece and if you did not pay the fine, you would hit with him, to gain respect based on fear.

Madrid in my time was a pretty tough spot, there were many crews and a lot of urban culture. I also think that there was a lot of respect for the older ones. Legal and illegal, the rule was that graffiti is not for sale.

B: Dourone is now an artistic duo, so tell me more about how it started and what is your creative process?

D: This is a nice story since the duo is created from a couple relationship ..
Dourone exists since 1999, when it started in graffiti, and in 2012, Elodiellol and I started our relationship and our professional history together.
We can say that when Dourone really becomes something more serious and professional.
Elodie is the part totally complementary to mine and that’s why I do not call it a duo, I call it 1 + 1 = 3, which means that between the two of us we reach create a third identity without nullifying us as unique.

We have both been learning together and putting everything in its place.

The creative process is the strangest part, I have to create it and put it on a support but I know that this creative process would not be the same if Elodie was not with me in all the conversations and exchanges of support and support in everything that I believe .
When we paint large murals we make them between the two and we get a coordination that works fluid and without errors, based on a lot of time working together.

B: What influenced you to start painting murals?

D: Since I was little I was very interested, so it was a natural process that took me to paint a mural.

In my time the graffiti artists were in the social group where I fit best because I love painting. Painting in public places was normal because graffiti is about that … and painting bigger also for me was a natural process: first you paint in a notebook later on a wall, then a facade of a building and then a tower …
It’s like first a silver, then a piece and finally a mural, for me it was about improving and learning.
When you paint large murals the creative process is much longer and you have a much more intense experience with your mural, and I am still surprised to see a large mural finished, it also has to be said that it is much more sacrificed, tired and sometimes the experience is made too long and it seems that it never ends.

B: What do you like/enjoy about painting in public spaces?

D: At first I liked the adrenaline of painting illegally and that they knew me more in the world of graffiti, then I liked the fact of painting on a wall.
I painted on quiet walls where I could spend many hours painting with my friends a well-worked mural, finally stop making letters to make more illustrations and I realized what it was to paint in a public place with a language that almost everyone understood or it came to influence people in some way.

Based on years of painting I have been accumulating many good experiences and that has been the engine to continue painting. Now it has become part of my life and my work, thanks to that I have been able to travel and meet a lot of people.

 

B: Your artworks featuring female portraits convey specific messages and values like Respect, Freedom, Trust, Can you tell us more?

D: As you say my female portraits spoke about respect, diversity and freedom. Those three values are very important to me in my life, but as I said, it goes by stages. Now I keep these three values and still learning from them but my work is being simplified and being more complex.
My new work deals with the beauty, composition, color and emotion that it transmits. Now I am very interested in emotions that are difficult to describe, it is a huge world since in each country and each customs has different words that define that emotion (rare)

B: Can you share anecdotal experience from painting a mural in another country? Have you seen any cultural differences through your travels?

D: I have many good and bad experiences but I can tell you two that are excellent.

The first one is from a mural we painted in Paris, and in the weeks they stepped on it with a tag. The tag had disappeared the next week. The next week they step on it with more tags and disappear again: someone was restoring the mural ..
All this story we were seeing through Instragram and we did not understand very well what was happening, so we went to the mural to see it and we realized that it was restored but not by a person who knew how to paint since it was very badly done but the final result was not bad.
The following year we returned to paint the same wall as every year, then a man of about 80 years old appears and tells us that he was expecting us that he liked what we painted a lot. Then he confessed that he liked a lot the previous mural and that he had been taking care of it and restoring it. At that moment we were amazed to know who was the person who had been fixing it because we would never have thought that this man would worry so much for a mural on the street.

And the other story was in France to but in Boulogne-Sur-Mer for their first street art edition festival.
We were painting on a 3 storey building and noticed that an old woman was looking at us from the windows of her house. The next day she came to visit us and bring us some sodas and biscuits without any word. She kept doing that every day until the very last day.
When she saw that we were about to finish it, she came to us and told us that she was living in this house, right in front of the mural we were painting since she was a little girl.
She took our hands and with tears on her eyes she told us:” You know that in this exact place you have your boom lift as you can see, there is a hole between the two buildings. You know why? In 1942, the Germans exploded a bomb right here. I witnessed everything… And now everyday, every time I will look through my window I will see your wonderful and colourful mural. Thank you so much for your present, you cannot imagine what it means to me..” We tried not to cry with her..

And yes of course, there are a lot of cultural differences from one country to another and that is what enrich our experience.

B: What are you creating for the Crystal Ship? Tell us more?

D: What I am creating for the Crystal Ship in an artwork that is based on one of those emotions difficult to describe. OPIA, ambiguous intensity of looking someone in the eye.

 

B: What are your next projects as well?

D: For this year there are already several closed projects such as the art fair participation in Paris (Urban art fair) a mural in Vannes in France (commission work).
And this year we are invited to participate to the Kaboo Festival in San Diego USA.
Now we are working hard to give us time to do all the projects we want to carry out this year.

More info on DOURONE

Posted in Interviews/ Studio visits | Tagged , | 1 Comment

London: Print is Power with Sisters in Print

Print is power - Sisters in Print

During the Other Art Fair in London, Aida Wilde (covered) and Sisters in Print held a series of workshops to share their skills and passion for printmaking, from cutting like a Ninja, print like a Butterfly to Macho only workshops.

Print is power - Sisters in Print
Print is power - Sisters in Print

The workshops featured all the techniques from monoprint, stencils, collages, screenprints and tools of the trade and their secrets.

Print is power - Sisters in PrintPrint is power - Sisters in Print
Print is power - Sisters in PrintPrint is power - Sisters in Print
Print is power - Sisters in PrintPrint is power - Sisters in PrintPrint is power - Sisters in Print

While the fierce ladies focussed on their techniques and prints with vibrant imagery and powerful slogans, men couldn’t help but cut a bold happy willy…
Expression in all its forms and good laughs were in order

Print is power - Sisters in PrintPrint is power - Sisters in Print Print is power - Sisters in PrintPrint is power - Sisters in Print

Big up to the energetic Queen Printmaker Aida, Juliette Stuart and the Sisters in Print, as well as GFSmith papers, Great Art UK and Screentec for providing the prints!

Print is power - Sisters in Print
Print is power - Sisters in PrintPrint is power - Sisters in Print
Print is power - Sisters in PrintPrint is power - Sisters in Print

Full set of pics HERE

 

Posted in Art Fair | Tagged , ,

The Crystal Ship 2018 in Ostend (BE)

The Crystal Ship is a contemporary art festival bringing art to the seaside in Ostend, Belgium.
For its third edition over fifteen international artists will create large scale murals and art installations using the City by the Sea as their canvas. The new artworks will be added to the existing fifty murals and interventions visible through the city, making it the biggest mural festival in Europe.

The official opening will take place on 7th April 2018 in Monacoplein, Ostend

2018 Participating artists include:
A Squid Called Sebastian (B) – Ben Slow (UK) – Colectivo Licuado (URU) – Dourone (FR) – Etam Cru (PL) – Gaia (US) – Icy & Sot (IR) – Jaune (B) – Joachim (B) – Johannes Verschaeve (B) – Matthew Dawn (B) – Milu Correch (AR) – Oak Oak (FR) – Telmo & Miel (NL) – Wasp Elder (UK) – Zoer x Velvet (FR)

Here are some pics of the 2018 invited artists we’ve met across our travels:


Gaia

Etam Cru - NuArt
Etam Cru

Crimes of Minds - Ben Slow
Ben Slow

Icy & Sot - NuArt
Icy & Sot


Jaune
Wasp Elder
Wasp Elder


Butterfly Art News
will be reporting live from Ostend in Belgium on the new murals and present exclusive interviews from participating artists.

So stay tuned for more details coming soon…

The Crystal Ship
7-8 April 2018
Monacoplein
8400 Ostend, Belgium

Posted in Festival, Ostend | Tagged , | 1 Comment

London: Fourth Plinth by Michael Rakowitz

Michael Rakowitz

Following David Shrigley ‘ Really Good’ sculpture,  Iraqi-American artist Michael Rakowitz, has been selected to create the latest sculpture for the Fourth Plinth in Trafalgar Square using 9,000 tin cans of date syrup made in Iraq. The artwork is a reconstruction of the lamassu, a winged bull created around 700BC at the Nergal Gate of Ninevah, Iraq, nearMosul vandalised by Isis in 2015.

Michael Rakowitz has built an international art-world reputation over the past 15 years, fusing his autobiography as an American with an Iraqi-Jewish background with social and political observation and activism, as well as the odd absurdist link to pop culture.

During a family visit to the British Museum when he was aged 10, he recalls his first encounter with an Assyrian lamassu, like the winged bull only with a lion’s body. “Suddenly I found myself immersed in this space that was unlike any I had seen before,” Rakowitz recalls, “which was going past those lamassu and going into the throne room reconstruction from Nineveh and seeing the lion hunt of Ashurbanipal.”

Michael Rakowitz

The lamassu on the plinth is not a one-off but part of another long-term project, also called The Invisible Enemy Should Not Exist. For this, Rakowitz is reconstructing the entire database of 7,000 works looted from the National Museum of Iraq in the aftermath of the US and UK’s 2003 invasion. All of the reconstructions are made from Middle Eastern foodstuff packaging and local Arabic newspapers.

The project grew from Rakowitz’s observation that the sack of the museum was the first event of the war about which there was a consensus. “It didn’t matter if you were for the war or against the war, this was a catastrophe,” he explains. “But that outrage about lost artefacts didn’t turn into an outrage about lost lives.”

He noted that many looted artefacts were votive statues. “One of the interpretations of those artefacts is that those were statues that the ancient Babylonians, the Mesopotamians, would bring with them to the temple of the god, and the idea was that you would leave the sanctuary at a certain point but you left that statue in your stead, as a surrogate for you, to continue praying. And when I saw the artefacts being looted, I said, ‘Well, now we have another surrogate: a lost artefact for the lost bodies’. All those things loop back into the human and environmental catastrophe.”


Michael Rakowitz
Michael Rakowitz

Rakowitz was already thinking about reconstructing the lamassu after seeing the footage of it being destroyed by IS. He had discovered its measurements by referring to the sketches of Austen Henry Lanyard, the British archaeologist who discovered the lamassu and brought two others to the British Museum — the ones Rakowitz had seen as a child. He was invited by the Fourth Plinth organisers to submit a proposal and remarkably, the plinth was the same length as the lamassu — 14ft. “I was like, ‘This is it!’ What else would I do?”

Michael Rakowitz

Instead of merely recreating the sculpture, the artist wanted to recreate the DNA of Iraki people who got killed as well, so he decided to use date syrup cans.

So why date syrup cans? Rakowitz first began working with them in a New York project in 2006, Return, in which he reprised his grandfather’s import/export business but attempted to deal only in Iraqi goods. He had found the date syrup in a grocery store in Brooklyn but it was labelled “product of Lebanon”. In fact, the syrup was made in Baghdad, put into large plastic vats, driven to Syria and canned there before moving over the border into Lebanon, where it was labelled and sold globally. That way, sanctions were circumvented and, post-2003, security tariffs avoided. But for Rakowitz the journey was another metaphor, of course: the dates travelled “the same exact path as Iraqi refugees”.

Michael Rakowitz

Iraqi dates “were considered the best in the world; what the cigar is to Cuba”, he says. But their demise reflects the tragedy of Iraq’s recent history. Date palm trees disappeared, “from 30 million in the Seventies, when Iraq was the chief exporter of dates in the world, to 16 million at the end of the Iran-Iraq war [1980-88], to three million at the end of the 2003 invasion,” he says.

Michael Rakowitz

So the plinth sculpture reflects a huge sweep through Iraqi history. “It’s telling the story of a destroyed Iraqi artefact, and what it’s made from is telling the story of a destroyed land, destroyed nature, destroyed ecology,” he says. “And the destruction of a symbol that was so elemental to the Iraqi people. Dates are the harbinger of good things to come: you put a date into the mouth of a baby in some places in Iraq so its first taste of life is sweet. And when you have the erosion of that sweetness, it’s not a good omen.”

This is the genius of Rakowitz’s sculpture: it is history, art history, social history and current affairs. Rich knowledge and impassioned polemic all bundled into a single, glorious yet poignant symbol looking over Trafalgar Square.

Michael Rakowitz

View the full set of pics here

Michael Rakowitz
The Invisible Enemy Should Not Exist
from 28 March 2018
Fourth Plinth
Trafalgar Square,London

Posted in London | Tagged , , ,

Paris: INTI ‘Profane’ at Galerie Itinerrance

Inti - Profane

Chilean artist INTI retuns to Paris for a third solo show called ‘Profane’ at Galerie Itinerrance, featuring new paintings and an impressive site specific installation.

For years Inti kept on traveling all around the world to paint murals . His wall paintings often show the Kusillo, a character originated from the south-american carnival, or figures coming from religious imagery. These intense creations organized through rich and meaningful compositions allow him to approach social issues. The artist draws symbols from different cultures and various fields, he takes them out of their context to give them a new meaning by juxtaposition.

For «Profane», Inti selected a dozen of his murals he recently executed across the world from Lisbon to Miami and China. Based on the subjects represented on each of them, he adapted his artistic practice to the size of the canvas and changed some elements to better clarify his intention.

Inti also created an immersive installation by covering the floor with stencilled skulls while a spectacular Pietà sit prominently in the center of the gallery space.

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Inti - Profane
Inti - ProfaneInti - Profane

This 8.5 feet high installation is the result of a long work for Inti who experimented with a new medium. It took him 6 months of work and 12 hours a day to finish it. Beyond a technical challenge, Inti managed to represent in volume a traditional figure of religious iconography and reappropriated it with his own codes.

Inti - ProfaneInti - Profane
Inti - Profane

Through this new body of work, Inti addresses various issues , like the conflicts between science and religion, with a critical eye without expressing a definitive answer. The same way he spreads numerous iconography and symbols in each of his paintings, he injects in his compositions a multitude of elements and leave the spectator free to interpret them. «Profane» transcribe very well the journey Inti experienced since his last exhibition. His numerous travels can be felt through his openness to the world and his sensitivity.


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Inti - Profane

«Profane» challenges us to reflect on the banality of our beliefs and dogmas, as opposed to the delicate, ephemeral and natural beauty of life.‘ – Inti

Inti - Profane

View the full set of pics here

Inti – ‘Profane’
Until 31 March 2018
Galerie Itinerrance
24bis boulevard du Général Jean Simon
75013 Paris

Posted in Paris, Shows | Tagged , , ,

The Other Art Fair London: Hisham Echafaki

The Other Art Fair - Hisham Echafaki

The new edition of the Other Art Fair London curated by Saatchi Art features 130 international emerging and established artists from 22-25 March 2018 at Victoria House London WC1. Here is a selection of our highlights from the Fair.

French artist Hisham Echafaki(covered) returns to London with a new solo exhibition.  Presenting a new body of works including his signature three dimensional paintings that look like real animals, insects and fishes.

The Other Art Fair - Hisham Echafaki

In parallel Hisham Echafaki also created new paintings inspired by Dutch masters and gave them a modern twist using optical black and white and colourful effects, from circles, squares and stripes.

The Other Art Fair - Hisham Echafaki
The Other Art Fair - Hisham EchafakiThe Other Art Fair - Hisham Echafaki
The Other Art Fair - Hisham EchafakiThe Other Art Fair - Hisham EchafakiThe Other Art Fair - Hisham Echafaki
The Other Art Fair - Hisham Echafaki

View the full set of pics here

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The Other Art Fair
London 22-25 March 2018 
Victoria House
London WC1

Posted in Art Fair, London | Tagged , ,

London: Glenn Brown – ‘Come to Dust’ at Gagosian Gallery

 

Glenn Brown - Come to dust

The Gagosian Gallery is currently showing “Come to Dust,” the first major exhibition by British contemporary artist Glenn Brown in London since 2009.

For Brown, the past and present are treasuries of raw material, offering countless images, titles, and techniques to be combined, appropriated, and deconstructed. Based on art history, as well as of literature, music, and popular culture, Brown creates complex and sensuous works of art that are resolutely of our time.

The title of exhibition, is inspired by a song in Shakespeare’s play Cymbeline, which evokes the ineluctability of death. Multidisciplinary artist, the exhibition features oil paintings, drawings in period frames, grisaille panel works, etchings, and sculptures.

Sources include Rembrandt, Delacroix, Greuze, and Raphael, as well as Abraham Bloemaert, Francesco Mancini, Gaetano Gandolfi, Elisabeth Le Brun, and Bernardo Cavallino.

Glenn Brown - Come to dust

In Brown’s oil paintings, hybrid figures painted in intricate swirls reveal the sumptuous potential of oil paint. While these paintings give the illusion of corporeal volume and fullness, closer scrutiny reveals the surfaces to be smooth and flat.

Rather than using paint to depict skin with observational exactitude, Brown presents translucent brushstrokes revealing the flesh and muscles  beneath the surface.

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The choice of picture frames adds an additional layer to the richly layered visual anachronism. Inverting the normal order of image-making and framing, Brown treats the frames as readymades, creating drawings in response to the particular colour, size, design, and narrative detail of each. Thus, the drawings and the frames are integral to each other.

In the exhibition, an entire room of recent drawings is hung salon-style, some mounted in elaborate Renaissance gilt and carved wooden frames.

Glenn Brown - Come to dust
Glenn Brown - Come to dustGlenn Brown - Come to dust
Glenn Brown - Come to dustGlenn Brown - Come to dust

The sculptures are very impressive, elaborate masses built from precisely placed strokes of very thick oil paint. In some of them, the cold, sensuous curves of nineteenth-century bronze statues are still visible but engulfed by growths of pulsating, gravity-defying oil paint. The contrast between the cold, hard metal with  the soft, luscious paint is highly captivating.

Glenn Brown - Come to dust
Glenn Brown - Come to dustGlenn Brown - Come to dustGlenn Brown - Come to dust Glenn Brown - Come to dustGlenn Brown - Come to dust

“Come to Dust” immerses the viewer in Brown’s enigmatic world. The figures and forms of history mutate, overtaken by hypnotic  colours and light. Transforming the allure of Old Master paintings and drawings, bordering on profanity, Brown tells a much darker and more complicated story, fit for our times.

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View the full set of pics here

Glenn Brown – Come to Dust
Until 17 March 2018
Gagosian Gallery
20 Grosvenor Hill
London W1K 3QD

Posted in London, Shows | Tagged , ,

New York: New Banksy invasion

We are always excited to see new works by elusive artist Banksy. He’s back to the streets of New York with a new stencil, featuring a rat running in a clock turned wheel, reminiscent of the incessant rat race.

It can be viewed between 14th and 6th Ave in Greenwich Village, so get there quick to see it in its glory before it gets ‘plexified’ or else.

New update:

On Thursday 15 March the famous Bowery Wall, which was previously painted by renown artists like Keith Haring, Os Gemeos, or  more recently Logan Hicks, unveiled a 70 feet new mural by Banksy, with the collaboration with graffiti artist Borf.

The mural protests the imprisonment of the Turkish artist and journalist Zehra Dogan, who was sentenced last March for painting the destruction of a Turkish town of Nusaybin, which was partly destroyed in 2015, with the country’s flag flying over rubble.

A screen shows a picture of Zehra Dogan’s painting with a message saying ‘sentenced to 2 years nine months and 29 days in jail for painting this picture’.

A series of hash bars like days in prison cell are numbered across the mural with one showing  Ms. Dogan looking at out of one of the cells, with her left hand gripping a bar that doubles as a pencil. “Free Zehra Dogan” is written in the bottom right corner

And there are more to come…. Stay tuned

Photo Credit: Banksy, nekyromero

Posted in New York | Tagged , , , , , , ,

London: Evoca1 ‘Caroline and the world on a stage’

Evoca 1 - Stolenspace

Dominican born street artist, Evoca1 (Elio Mercado) is currently presenting his first solo show in London at Stolenspace. ‘Caroline, and The World on a Stage’ explores the many conditions of human existence and the various misuses of power between people through the lens of a young fictional girl.

Evoca 1 - Stolenspace

Growing up in challenging social and economic conditions in the Dominican Republic, Evoca1 is acutely aware of these difficulties that arise through social division, as well as the power that art has to alleviate such adversity. Despite not attending art school due to his family’s financial situation, Evoca1 learned and developed his style as a n autodidact.

Multidisciplinary artist, Evoca1 is showcasing his most comprehensive body of work, from graphite drawings oil paintings, wooden sculptures and videos. He magically combines the childhood innocence and dreams looking at a circus with the darkness of abuse of power by society.

Evoca 1 - Stolenspace

Specifically about this show, Evoca1 has stated: “The oil paintings, drawings, sculptures and video performance in this show, serve as metaphors for our primitive world – a world which can sometimes resemble a ‘circus’. Through the eyes of a child, the puppet masters of our society are put on display and tried for their misuse of power and the calamity they create amongst us. The work mirrors our divided world in which people roll over all obstacles in their path in an attempt to gain popularity and experience “happiness” which is solely gained through the praise of others.”

Evoca 1 - Stolenspace
Evoca 1 - StolenspaceEvoca 1 - Stolenspace Evoca 1 - StolenspaceEvoca 1 - Stolenspace
Evoca 1 - Stolenspace
Evoca 1 - StolenspaceEvoca 1 - Stolenspace
Evoca 1 - Stolenspace
Evoca 1 - Stolenspace
Evoca 1 - Stolenspace
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Evoca 1 - Stolenspace

View the full set of pics here

EVOCA1 – Caroline & the Wolrd on a stage
Until 8 April 2018
StolenSpace Gallery
17 Osborn Street
London E1 6TD

Posted in London | Tagged ,