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Street Art Anarchy News

NUART Festival 2014: “Beneath the pavement, The Beach” Starting September 4th till October 12th in Stavanger

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NUART FESTIVAL 2014. “Beneath the pavement, The Beach”
Where? In Stavanger Norway. When? Sept 4 – Oct 12

The 2014 edition of the NUART Festival features some of the worlds leading names in street art from NYC pioneer John Fekner to recent Iranian rebel rousers Icy and Sot.

Nuart is set to launch what’s looking like one of the broadest most challenging street art festivals yet. Concept Art, performances, urban interventions, paste ups, writers, taggers, stencil artists and the ubiquitous mural artists are all set to descend on this sleepy little hamlet on the coast of the Norwegian Fjords.

Joining them will be a rag tag team of renowned industry professionals, cultural critics, authors and academics in our Nuart Plus series. This year sees the Plus series of talks and debates expand to include talks, presentations, panel debates and film screenings from the likes of Brooklyn Street Art’s Steve and Jaime Rojo, Evan Pricco the managing director of Juxtapoz Magazine, RJ Rushmore founder of Vandalog, Natalie Hegert from Artslant, Carlo McCormick and many others…

You can find more detailed information here www.nuartfestival.no

 

Ernest Zacharevic’s Interview in first US show for Black Apple Art’s: “Contraband 2”

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Contraband 2 is the second yearly edition of a one night only urban art show (on August 8th 2014) organised in Los Angeles by Black Apple Art Gallery, exhibiting for the first time in the US some of the most exciting street art talents from Europe. The one night event is accessible by guest-list only (click here for the guest-list) and will be attended by many underground actors, from local graffiti artists to major art collectors.

Street Art Anarchy had the chance to interview the artist Ernest Zacharevic as he arrived in Los Angeles to paint new works for the city and the show in situ. An opportunity to discover more about this rapidly emerging talent that has conquered the hearts of European collectors in the recent years with his iconoclastic approach to urban arts, bringing traditional techniques to graffiti:

Street Art Anarchy: Not many graffiti and street artists release or even use their full name publicly, what made you decide to do it?
Ernest Zacharevic: When I was younger and rebelled with my art I always took responsibility for what I did and I guess that stayed with me. When I do a piece, legal or not, I am willing to stand behind it and take responsibility for it.

SAA: You went to art school and have studied art academically since a very young age, how did this academic training and education balance on your decision to join the urban art movement?
EZ: What encouraged me in the first place having the academic discipline was the desire to rebel against it. And to have a group of creative kids who wanted to feel free outside of the classroom where they are not being graded on your progress and being a part of a more rebel movement then the school. I see the two very differently from each other and I always kept them apart because they were working against each other. Later in life I have found ways to blend them both together and it’s something that I still explore.

 

SAA: Your street works very often play directly with their environment, how do you feed such a rich and diverse inspiration?
EZ: Every piece has it’s own way that I come up with it. Sometimes it’s the locations that suggest something that sparks ideas and other times an idea that has me looking for a location. The main challenge and excitement I get comes from the street work so that is what I’m always looking to do rather than being in the studio and working on a canvas.

SAA: You are known to use brushes on the streets instead of spray cans, why is that?
EZ: It’s exploring the academic art which I was taught back in school. And the street culture… I’m not fascinated with graffiti because of the use of spray cans or running from the police. I use what I can and what I use best and I think that sets me apart form others as well. It’s a much slower process in the street but it gives me more of a sense of security when people see me doing it with brushes they don’t connect it as “graffiti” so they judge it more on the artwork it;s self and not the act of what I’m doing.

SAA: What made you come to Los Angeles for this very first time?
EZ: Well I had never been to the US before and had been talking to Eric Perlman from Black Apple Gallery for some time. When he told me about the Contraband show coming up and invited me to come out to LA, do some walls and participate in the show things all came together so we made it happen.

SAA: How different is the LA street art scene from the other places you have painted?
EZ: Hard to tell I’ve seen lots of diverse works here from local and also international so reminds me a lot of London and Tokyo a bit since it’s a big city so hard to just give LA one label.

SAA: How many pieces are you planning to leave on the city?
EZ: Two or perhaps three…

SAA: How long did it take you to prepare your new works for Los Angeles and the Black Apple Art show?
EZ: All my projects for shows I start when I get there…. a bit like my street work.. when I get to where I am going and get a feel for the place, the walls, people and feelings and then I put that into my work both in the streets and the studio. I explore I talk to people and don’t really prepare in advance. I do some mental preparation for the trip but I wait until i get into the new environment to inspire my works.

Photos: Courtesy of Black Apple Art Gallery

“From Street to Art”: An Overview of Italian Street Art in New York – Exhibition Featuring 2501, BR1, Sten & Lex…..

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“From street to Art” is an overview of Italian Street Art through the work of 10 contemporary artists, hosted by the Italian Cultural Institute of New York, and curated by Simone Pallotta. The exhibition presents the individuals who have determined the Italian Street Art scene over the past two decades, presenting works which portray authoritative and personal artistic vision. The purpose is to show a development of a new generation of artists who share a strong urban presence and establish a dialogue with the Italian artistic avant-garde. The exhibition investigates a generation of artists, who are beginning to shape the future of art in Italy, and of Italian art in the world: 2501, Agostino Iacurci, BR1, Cyop & Kaf, Dem, Eron, Hitnes, Sten & Lex, Ufo5. The exhibition opens this Friday at 6PM and ends on August 20th, 2014, featuring works of 2501 released on Street Art Anarchy’s new Gallery Works section and graciously loaned for the exhibition by our clients and collectors.

Details:
Date: Friday, June 20, 2014 – Wednesday, August 20, 2014
Hours: Opening June 20 from 6 PM
Venue: Italian Cultural Institute, 686 Park Avenue 10065, New York
Organized by: ICI
In collaboration with: La Fondazione NY, TRAMP, MIONETTO Prosecco

 

Opening of the Urban Art Festival in Amsterdam

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Story & Photos: Nicole Blommers

The second international Urban Art Festival is taking place in Amsterdam from the 30th of May until the 1st of June. The first edition was held in 2010 at the OT301, what will also be this year’s main location. Urban Art Festival will host a group show with 40 (inter)national artists. The line-up of artists is immense, with The London Police, Sjocosjon, Zender, Mr Dheo, Royalsteez, Eelco van den Berg and dozens of other artists from Netherlands and Europe.

The 40 artists are presenting their art on canvas, installations, sculptures and video art. Leading urban art styles such as street art, neo-graffiti and abstract art are highlighted in the exhibition. In addition, numerous activities are taking place – several mural paintings, podium discussion, art market, a family day and the Dutch premiere of the graffiti documentary Style Wars 2. Oh, exciting.

You will find among the artists’ line-up for this year’s festival:
Artistic duo The London Police have been active for over 15 year and conquered the art world with their familiar black/white ‘lads’. Zender started graffiti at the age of 13. After some time he starts improving his techniques and gets asked for commercials, illustrations and paint jobs. Mr Dheo is primarily known for his photo realistic and graphic element productions. This gives his work a very personal style in growth and development. SjocoSjon from Amsterdam is an all-round illustrator and most definitely not a stranger in the scene. You have probably already seen his art on Hannekes Tree container and Tuinstraat garage. Eelco van den Berg’s work is mostly drawn by hand. It is distinguished by its strong use of color and lines, combined with highly decorative elements.
Complete line-up: www.urbanartfestival.net.

The festival program includes various activities, side events and interventions. The exhibition, with the concept ‘solid:art – solidarity’, is the main focus at OT301. For one day there will be an art market, where young and upcoming artists are presenting their work. The Urban Art Academy is offering a one day workshop with a customized course about theory, technique and practice. All artists will contribute to huge mural paintings. As a visitor you can then watch and admire the live techniques of art in the making. An urban art expert will guide visitors during a city & art tour along iconic, historic and hidden places, and of course urban art. In an expert talk and podium discussion visitors are invited to participate in a discussion about a theme that is related to young urban art. The festival will be showing the graffiti documentary Style Wars 2 for the first time in the Netherlands. The documentary directors will be present for a chat and talk.

Details:
Urban Art Festival Amsterdam
Friday May 30th till Sunday June 1st 2014
Main location: OT301 – Overtoom 301, Amsterdam
Website: www.urbanartfestival.net
Facebook: www.facebook.com/urbanartnow.network
Invite: www.facebook.com/events/289191034579351

 

 

 

The New Wall Order: A Post-Graffiti Conspiracy (Video)

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Story by Marco Contardi, video directed by Tommaso Matteocci 

In Milan a fistful of post-graffiti artists recently launched their own ‘NWO’ – a play with the conspiracy theory of ‘New World Order’ – displaying instead a cool performance through their vision of the ‘New Wall Order’… As if to say that the street-art and post-graffiti fields are being ruled by a kind of “art-Illuminati”: a satirical NWO is needed!

A New Wall Order

No chemical trails here (except perhaps for the paints used); but ‘just’ the last works by six fresh post-graffiti artists: each and all characterized by a very personal creative iter which gifted them with a brand new, out-of-the-box, and evocative style. In one of the many Milan important art locations (the ex-Spazio Ansaldo), they have been busy painting their portraits of the New Wall Order – in a chorus including six of the most interesting Italian street-art voices.

The artists cranking out the New Wall Order are 108 and his ‘dark side’ silhouettes from a primitive future, 2501 with his spot-on black-white linear symbologies, CT and his snap-fit deconstructed and reconstructed letters, Giorgio Bartocci with his multi-layered dancing dual characters, Ufocinque and his labyrinthine illusions and truths, and Eleuro with his ‘bizarro-fiction-alike’ scenarios.

Enough talking; now we leave you with the NWO ‘post-graffiti video conspiracy’ (which is directed by Tommaso Matteocci and features beats from artists Asso Spades, Outemat Music and Jazzatron) highlighting 108, 2501, CT, Giorgio Bartocci, Ufocinque and Eleuro’s wallpaintings. Enjoy it and… remember to watch your back!

NWO New Wall Order from N.W.O. New Wall Order on Vimeo.

Our interview with Invader the day before his arrest by NYPD

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ART4SPACE one night event by Invader

ART4SPACE one night event by Invader in New York City

Last October, two of the most famous contemporary urban artists: Invader and Banksy, suddenly announced a take-over of New York City. The simultaneous urban invasion / art show triggered a massive art-hunt by fans and medias, as well as a massive man-hunt by the NYPD.

In what seems like the classic tale of rejection of a new art movement by authorities, at the time then Mayor Bloomberg disappointed millions of New Yorkers when he publicly called-out urban arts as vandalism. In response to the mayor, the police put in extra-efforts to look for, arrest or harass graffiti and street artists suspected of “vandalism”.

Invader in New York City

One of Invader’s new works in New York City

This interview was set up the day after a screening of Invader’s documentary ART4SPACE, a 25 minutes film following the artist’s adventures through one of his projects and wildest dreams: the invasion of space. The artist answered Street Art Anarchy on a variety of subjects, from his techniques, to the invasion of New York City and the illegality of street art.

While Banksy managed to elude authorities, Invader got arrested the day after our interview. He was eventually released; but to protect the artist during his New York trip we decided to not publish the interview until now.

Street Art Anarchy: Which invasion is harder: space or Earth ? Paris or NYC?
Invader: Space and NYC because I am less at ease in both as I ‘m more used to Paris and Earth.

SAA: How long will the New York invasion last?
I: This is something I never tell.

SAA: How many new pieces will you install?
I: Same as above. As long as the invasion is not completed I don’t even count my pieces.

SAA: Did you bring your pieces from France or do you create them here?
I: I do both. Some pieces have been specifically thought for NYC but prepared in my studio and, as usual, I also try to find some local tiles – bigger- to create some pieces on site depending on the spots I find.

 

SAA: How do you pick your spots in the city?
I: I walk a lot and I am constantly looking for spots, even when I watch a movie, I pay more attention to the urban landscape it features than to the story.
Finding spots is the longest part in my process, there are lots of criteria to fulfill. The perfect spot has a good location, is aesthetic (for me), and has exactly the right size to welcome one of my piece…etc

SAA: If you could hit any spot in New York, what or where would it be?
I: I see NYC as an ensemble, my dream is that it is invaded enough so that you can find a space invader in every area…
Furthermore I can’t tell you neither where I would like (nor where I will!) put one of my piece.
For the side story, the twin towers were invaded as I put a small mosaic on the bridge between them in 2000. That might have become one of the most iconic Space Invader for me.

Surprise appearance by Invader to introduce the movie

Surprise appearance by Invader to present the movie

SAA: What is the motivation behind Invader ? Your inspirations/aspirations?
I: Invade ?
I am an artist who started a project by accident 15 years ago now and I follow my very own program – invading- as long as it is not over. I don’t know if it will be over someday or maybe when I die.
I mean as any other artist I need to do what I do. I was inspired by video game (and more generally the birth of new technologies) but why this in particular, I can’t say.

SAA: How has your artistic vision evolved since your very first invasion?
I: I don’t know if my vision evolved as it was already very strong at the starting point. I knew I was an artist and I discovered my way.
Nevertheless my technics and style have evolved!

SAA: Should street art be legalized ?
I: I don’t know. It won’t be the same, not because it “has to be illegal” or the “vandal” kind of stuff but because the conditions driven by this illegality create some specific artworks. If it was legal, the artworks and the energy won’t be the same, we might lose something.

SAA: Is it a coincidence that you and Banksy are in New York at the same time?
I: Yes, a total one.

SAA: What do you think of Mayor Bloomberg’s view on « vandalism » and his dedication to eradicate it (one of his first moves in office was to create the NYPD Vandal Squad)?
I: I think most of graffiti and street art are not vandalism so we shouldn’t feel concerned!
Someday people will realize all those censors were mistaken as for lots of art movements.

SAA: Outside of being an artist, do you collect art as well and do you consider some of your fellow street artists’ works as art to be collected?
I: Yes I do and I have the great chance to be able to exchange pieces of art.

(Photos: Street Art Anarchy)

 

 

Sheryo & The Yok: Surfing & Painting in Mexico

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Sheryo & The Yok are back in New York from their trip in Mexico, where they painted new pieces inspired by the Oaxacan Pacific coast (southern Mexico).

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The artists sent us pictures that we will keep on posting via our instagram of their new genius street creations in Las Olas, Puerto Escondido & La Punta. Here: Cannibal Mahi Mahi.

This trip also contributed to the inspiration and creation of new intricate artworks painted in Mexico by Sheryo & The Yok that we are releasing today: four original mixed media works, painted on fabriano paper available here.

 

Named by Complex Magazine as one of the “Top 10 Street Artists to Watch” in a row (2013 and 2014), the street artist duo is already well known in Australia and Singapore and have recently set up base in Brooklyn where they immediately embraced the local street art culture. Their mind-bending works in Bushwick and the late 5Pointz, along with the frequent new murals popping up in various parts of Brooklyn and Manhattan quickly integrated their unique style and dynamism as a new dimension to the New York street art scene.

Almost always on the road, traveling & painting, pushing through seemingly endless limits of both real and imaginative borders, their work can be spotted in cities like Berlin, New York, Tokyo, Sydney, Taipei, Beijing, Paris, Singapore Bangkok and Hong Kong, as well as many other parts of the world that usually involve surf.

The Yok is also the mind and editor behind the street art magazine Kingbrown, where one can follow his encounters and interviews with other artists such as Broken Fingaz, Swoon, Aryz, etc…

 

 

Sheryo & The Yok in Mexico

Sheryo painting in Mexico

New York based Brazilian graffiti artist PIXOTE interview in Vice Magazine

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PIXOTE: AMERICAN PIXAÇÃO

Story By Ronny J. Holmes, reposted from Vice

All photos by Rafael Di Celio

 

Writer’s Block is a bimonthly column that takes a low-brow approach to profiling various street bombers and modern-day vandals with a mixture of stories, off-the-cuff interviews, and never-before-seen pictures.

I met PIXOTE at a bar in the Lower East Side a few days after a mutual friend introduced us. He’s one of the few pixação writers in New York City. Pixação is a Brazilian graffiti style characterized by bigger-the-better characters and letters made up of what looks like cryptic wingdings, Nordic runes, and cave paintings. This style of graffiti was birthed in the sprawling, dilapidated metropolises of Brazil. With SABIO, a fellow Brazilian expat, PIXOTE created TWD, a NYC-based graffiti crew with members worldwide. It’s an acronym for Til’ We Die. It also stands for The Warrior’s Dream, or whatever else you can jigsaw together when you’re shooting the shit.

We headed downstairs to a private dinner party that’s held weekly for friends of the bar, and well, friends of friends. We couldn’t move in the crowded basement, so we decided to get some fresh air upstairs. That’s when PIXOTE got a call from SABE, an established writer from Manhattan. SABE told him about this warehouse he cased on the East River that’s only accessible by shimmying a quarter mile on a two-foot ledge made of decrepit wood, riddled with barbed wire and stray nails. He hung up, turned to me and said, “Perfect.”

As we made our way into Brooklyn I had a minute to pick his brain about his crew, his style, and his ambitions as a writer.

VICE: What is TWD?

PIXOTE: It’s a graffiti crew and a movement. Every member is a graffiti writer and an artist across the board. We share and strive for a similar aesthetic across mediums like music, fine art, film, and design. We’re all very diverse. We actually had an exhibition at Art Basel together. We called it “The Warrior’s Dream” and it was comprised of installations, drawings, paintings, zines, and posters. It was a collective work by all of us. We took a street thing and brought it to the galleries. The Warrior’s Dream represents having a goal or mission and trying to conquer it no matter what. Nothing was given to me. I’ve had to fight everyday since the day I got here.

When did you leave Brazil and where did you live when you got to the States?
I got here in 1994, just me and my mother, and I’ve been supporting us ever since. When I was younger I was exposed to a lot of violence in Brazil, so my mother wanted to show me a different life and new opportunities. We left Rio and never looked back. We moved around a lot, I lived in a couple different Manhattan neighborhoods, but I would say that the Lower East Side is the one that shaped me the most.

Did you have a hard time assimilating?
When I first got here, my english was poor, but I was a musician so music seemed like the natural route. There was a guy named Supla, who’s also Brazilian, who played in a couple hardcore bands, most notably Psycho69. When I was 16 or 17, I started playing guitar with him in a hardcore band that I won’t mention, but it was a pretty experimental band that mixed Brazilian elements, like bossa nova, and merged them with punk rock. I played at places like CBGB’s alongside bands like Agnostic Front and Cro-Mags. I became really close with the hardcore scene at the time.

That was a golden era for downtown Manhattan. What else were you involved in?
Skateboarding. It’ll always be a very important part of my life. Around the time that Kids [the 1992 Larry Clark film] came out I remember skating with some of the original Zoo York and Supreme riders. Harold (Hunter) was family to me. I remember he used to live around the corner from me on 14th Street and Avenue C. We would skate all day then he would always come sleepover at my crib, and my mother would make us food. I remember going to parties with Harold and Leonardo DiCaprio around that time—it was wild.

Is this around the time that you started writing graffiti? It seems like it’s the natural youth sub-culture progression.
I’ve been catching tags since I was ten or so, but this was around the time I started to get more serious about it. When I was in Rio I didn’t even know about pieces, throw-ups, and all that shit. In Rio de Janeiro and Sao Paulo the pixação culture has always been there, and even though they vary from each city, the name of the game was tags. Just tags. In Rio, the tags are mostly logos but in Sao Paulo you have this Viking feel and they each developed their own distinct style that doesn’t exist anywhere else in the world—similar to how Philly has it’s own style. I respect that. I remember going to Sao Paulo with my dad on buses and looking up at 20-story buildings that had giant tags on them. In Brazil, the more elevation you get the more respect you get, so that’s why size is an important thing to me. To put this in perspective, the writers who hit the clock in Rio had to climb onto a small ledge 15-stories high just to catch a tag. Every time I’m that high, I’m one step away from sure death, so I repeat various mantras to keep myself from losing it.

What kinds of mantras? Are you a spiritual person?
My mother is a very spiritual person and she instilled some of those superstitions in me. I’m very into Candomblé. It’s an Afro-Brazilian religion that stemmed from the African Diaspora similar to Santería. It involves a lot of soulful elements like trances and sacrifices imparted to you by your Orisha, which is kind of like a spirit god. According to various gurus and shamans I’ve seen over the years, the personal deity who looks after me is Ogun. Ogun is a warrior who carries a machete and clears the field for harvest.

Sounds like a nod to “The Warrior’s Dream.”
Yeah, I guess it is. I will always be Brazilian, so whether it’s religion or graffiti, I’ll stick to my roots, because it’s all I have.

New York has a very close-minded view of what graffiti should look like. Has that affected your creative process at all?
Due to the recent surge of newer writers who are using a similar style to pixação, I think they’re commodifying it and that sort of bothers me because I’m skeptical of their authenticity. New York does have a very close-minded view of what graffiti should be, so when I first started getting up people were dismissive because they didn’t understand where I was coming from. Now that I’m a bit more established, I’ve started to gain the respect of writers and crews that have a strict New York-centric graffiti mentality.

Anything else you want to say?
Until we die, we’re keeping The Warrior’s Dream alive. Shout outs to SABIO, ERASMO, FRESH, PILCHI, and SYE5.

Follow PIXOTE on Instagram.

Tunisian street art: A post-dictatorship Renaissance

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Tunisia, the country that has become the starting point of the Arab Spring three years ago, is still struggling with its transition to democracy despite being rid of Ben Ali. Religious parties remain strongly represented in the government, having a good electoral hold on the more traditional rural areas, slowing down the opening-up process. Tunisians from larger cities, especially the youth, are hungry for freedom and fear an “Iran-isation” of the country.

 

In 2011, when French street artist JR went to Tunisia for his Inside Out project, he gave the tools to locals artists and activists to do their own street art posters. They were quickly, if not immediately ripped off by locals.

Today, it seems the winds are turning, as multiple street art events are emerging across the country:

Excerpt From Tunisia Live:

A series of graffiti installations and street performances are circulating around greater Tunis this week as part of “Esprit Bat7a,” an internationally-organized urban arts exhibition.

Painters from Tunisia, France, Germany, Spain, and the UK are hitting walls at Place Barcelone in downtown Tunis, the Maison de Culture in Ben Arous, and the eastern suburb of La Goulette. Members of Open Art Tunisia and France’s Kif Kif International organized the event, which members say is the first of its kind in the Maghreb.

The exhibition also features breakdancing performances, a citizen’s debate, rap and musical performances, and film screenings.

“Esprit Bat7a” translates to “spirit of the square,” and means having an open mind.

The first graffiti installment took place Monday and Tuesday at Place Barcelone in downtown Tunis. Events continue throughout greater Tunis until Sunday, December 15.

tnuisie

The Tunisian city of Kasserine is also hosting its first festival edition of “Urban Street Arts” from December 16-20. Founded by local graffiti artist Karim Jabbari, it will feature both Tunisian and foreign street artist. It will feature concerts, choreographies and live painting.