I come from Tel-Aviv ,
which is physically located in Israel ,
but mostly feels like an independent island
of sanity/insanity in this crazy land .

My beginning with street art lay in graffiti which I started doing somewhere in 1999 (under the name MAKE), back then we didn’t really have any graff scene here in Tel-Aviv or in Israel at all and you could count all graffiti kids around the country on one and half hands

How did you came to street-art ?
Long story short – around 2003-4 I started to experiment with characters . Started with stickers and passing through couple characters I came upon one that eventually got me my current name and stuck for awhile, It was a kind of clone but I wanted it different so C was replaced with K . Years later I’m not doing a single character anymore and half the time I don’t even sign my work outside but trying to develop a kind of deeper conversation between myself, the city and the occasional viewer. And since few years ago I started to be more involved in the contemporary art scene in Israel, then the environment of the white cube came into my life and allowed me another platform of self expression.

You are born in Ukraine. Are Ukrainian culture and graffiti scene an influence to your visual language ?
I moved from Ukraine to Israel in 94 , back then there was no graff scene in either of the places . I am surely inspired from the Ukrainian folk culture as this where I’m coming from . I always feel that I didn’t get enough of that and trying to learn more . I think that eventually the work doesn’t reflect one place that I belong to because I can’t say I belong to one place or culture, so the work is neither Ukrainian, Israeli or International. Its more of a hybrid, evolution of thinking that becomes through adaptation to new environments around me.

Who and what inspires you ?
I think what inspires me the most is the constant changes around us. Of course I’m always looking back , at history of humankind , art history and my own roots , but those things are always in the back of head and they’re more like a library you to for reference . The everyday life , the news , the people , the city , all those things that change with me or without me are the ones that fascinate me the most . I think that’s one of the reasons I have this feeling and hope that I wont ever be able to accomplish myself as an artist , there’s way too many things I want to paint , sculpt and create in many other ways .

What do your work express about yourself ?
My work is probably the best way to see who I am and how I reflect my surroundings , as I’m not so good with words most of the time , I prefer to communicate with images, and only through viewing a large amount of my work you can understand something .

You released your first artist book with a lot of your photos and illustrations. Is it a self-published book?
Yes, Its self published , probably because

I always thought that the DIY way is the best way

and it assembled from 160 pages of images only in a hardcover . This book was a way for me to get away from all the big projects I’ve been involved with over the last year, like solo show and group show in Tel-Aviv museum, and focus on something more private . In a way this book is an attempt to bring you behind the scenes of  my work , get into my head , with all the weirdness that comes along . It assembles bits of work from past years and also work that was done especially for it.

 

Is it still possible to found copies?
You can still get it at http://kloneyourself.bigcartel.com/ .

Is there an active graffiti & street-art scene in Israel? Are Tel Aviv and Israel good places to paint ?
Israeli graffiti scene definitely grew since the days I started , in the last 4-5 years there was kind of awakening for it , and now it feels as if it was always here . Its still kind of small , but small and kicking . Tel-Aviv is a great city to paint , both because of good weather 90 percent of the year and also because this city doesn’t really know how to digest graffiti/street art yet . Of course you need to be careful of cops and over-concerned citizens , but on the other hand , it all depends how , where and when you do it , and its quite easy to get away with painting good spots . Plus , its a constantly changing city , and after years of painting I still keep finding new spots and ways to paint without going over anything old and thats something you won’t see a lot . About Israel the country, the painting is a bit different from city to city , and of course its always easier to paint any city if you’re a “tourist” there .

Which artists from Tel Aviv should i know ?

There’s few people in Tel-Aviv that I can point out for originality and staying true to their work , some paint less and some more , those are some names of people that caught my eye and mind in the past years and I believe will keep developing in one way or another – Robat , Foma , Zerocents , the 035 crew (Korse , Cros , Jake and Remo) , Know Hope and Natalie Mendel .

If I visited Tel Aviv, which are the places I shouldn’t miss ?
The beach for sun and sand, Jaffa for the best Hummus, Capzoola shop for the spraypaint and chill , and South Tel-Aviv for painting .
Anyone who’s coming to Tel-Aviv is welcome to give me a shout and I will always try to help in some way.

 Klone’s website – Klone on ekosystem.org [big]
Check also the huge photo report in Tel Aviv from Just.

On the 3rd February 2012 the Hamburg District Court has reduced the sentence of 14 months of jail on appeal to a fine of 1500 €. The court argued that the acts already lie back up to four years. In addition, the “inhibitory ability” of the defendant is severely restricted. Even a prison sentence would not deter him from further crime.

….here is a recent interview (german) he gave: OZ Interview 2012

HONET is one of my favorite train painters from France. His stuff never looked like typical “Hip Hop Style”.

In my eyes he was one of the few who started to “give a fuck” on the “Hip Hop Realness Attitude”. His stuff is much influenced by his punk and oi roots, later on by “urban dandyism” as he says. He is one of the few how is able to switch between art world and yard activity.
It’s always nice to see some fresh panels of him.
There are just a few trainpainters who are as long active as he.

Shl: Hello Honet, Please give a short introduction. And why did you choose the name HONET?

HNT: When I started it was fashionable to have a name with american words and connected with violent meanings like “crime time” or “bad boys”. Honet is more…”funny”and “cynical” in some ways!

Shl: I remember an interview where you explained yourself in the following words: “Samba&Fred Perry,
small,bald head, egoistic ,thievisch, lying, bitter
and antisocial , honet ( = honest)” ( published in
„Graffiti in Paris“ by Sybille Metzte-Prou
,2001, Schwarzkopf&Schwarzkopf ) Is this still your definition? If something changed–why ?

HNT: Are they the exacts words??? (anyway,I think I never read this book!)…so if I have to describe myself actually, should be something like: “Prada, Samba & Fred Perry, graffiti-adventurer & urban-dandy…with only one goal: to laught about life !”

Shl: I’m especially interested in your trainworks. When did you paint your first train? Do you have some special memories?

HNT: Sure! The really first time, some famous graffiti-writers from this time (early 90′s ) invited me to join them. We went by car outside Paris and did some cool damages on 2 silver-with-red-doors commuter trains. Colorz, Oeno, Veas and myself under the name of “Poe”. Then I decided to do it again by myself. With some friends, Natyo and Earl, we discovered a metro yard and found the way to go in. We came back one week after and I did a top-to-bottom and a panel before getting chased by a guard, but what-a-souvenir !!!

Shl: The book „Graffiti in Paris“ shows panels consisting of a character and a style. When did you start with that kind of characters? What was your idea behind that works, cause most of the characters showed skinheads?

HNT: Before being a graffiti-writer I was listening to punk-rock music, especially a cult French punk group called “Berurier Noir”. They were not only good as “musicians” but they had a “strong image” and an “attitude” (I was a great fan of Public Enemy at the same time, who had a strong aesthetic, too). Then I met two guys, Shun and Poch. We started to paint a lot together on trains and they were both totally into punk,oi music and skinhead culture. Step by step I discovered that Graffiti is not necessary connected with hip-hop: I’ve met lots of Writers, especially from Spain, who were into the same mind as us. Listening to Ska and wearing Fred Perry !
I’m not ONLY listening to punk music, I’m even more into electro or new-wave but I really like the Skinhead and Mod cultures. Ghetto dandies/ rude boys: that’s, for me, the perfect reflection of my life and the way I do graffiti. Then I used those Skinheads characters as a way to say: ” I don’t care about your rules, I’m walking my own way. I’m free and I’m waiting for you to follow me !”

Shl: Around 2000 i saw more and more of your works ,
especially the characters, in the streets. Why did you
change to paint more in the city?

HNT: Painting trains just became, not “boring”, but it was about “going nowhere” : one more train, one more picture, in a middle of tons of other train pieces from arrogant new-comers ( who probably dissapeared since that, crash down by some others ! ). I needed to grow up, to find a new way to rise in the middle of this crowd. I didn’t change, I just decided to explore new areas and use my trainpainter energy for new challenges but I’m still talking about the same thing: “GRAFFITI” and the faces that I’m painting are the symbol of it: hard attitude / a bit of romantism, minimal technic for a strong impact.

Shl: You still paint trains – but what has changed in your definition about trainpainting? What has generally changed in trainpainting?

HNT: Yes I still paint trains from time to time because I like it and I like to share those magical moments with my friends ( who are all train-painters ! ) but I’m trying to be more “relax” about it and fight against this obsession and my paranoïa. I’m more actually into searching for new metro-systems that I never painted before and where nobody, or just some jet-seters, went before me !

Shl: On your website , everybody can find something about your travels around the world. It seems that you are one of the oldest, still active interrailers .When
did you paint the first train out of France? And When was the first interrail tour? What has changed since your first interrail experiences? Do you enter international yards alone or with local painters?

HNT: We started in 93, first we went by car, Shun, Poch and myself to Belgium, Holland and Spain in the beginning of summer. Then we did an interail in september, we visited Stockholm, Helsinki, Copenhagen, Berlin and Munich. I’m still in contact with some crazy guys that I’ve met at this period like the MSN, VIM, FTC or the CDC and I’m still meeting them across Europe from time to time. Some I’ve met only few days, few hours in the night, but I will never forget them and we are all something like “forever friends”. Even if I see them only once in 10 years !
That’s also the reason why I’m trying, as much as possible, to paint with the locals. I don’t care about giving an “hardcore image” painting alone, I like to communicate and exchange experiences with people…of course sometimes they are just “unprofessional annoying young kids” but most of the time we have really good feelings and lots of fun together ! I don’t care about a nice panel with a good picture in an easy yard…I prefer a good action with cool partners in a risky hangar, even if we don’t paint at least !! that’s the most interesting part of this graffiti life, as I said before: sharing magicals moments !!

Shl: What do you think about the development that more and more west european painters go in the eastern parts of europe and rock their systems?

HNT: Of course, interailling is now a heavy industry : every writer is travelling and I like it, especially for the eastern ones, that’s a great oppotunity for them to discover the world. I like to watch how it turns into a big and massive mess for destruction ! I hope that soon some new waves will come from China, Mexico or Irak ?!
And : “hahaha”…I don’t beleive that the western painters are rocking the wild-east, maybe just a few like some guys from Berlin but the others just focus on easy targets like Bucharest subway. Instead I can see lots of east-writers, from Poland, Slovakia, Czech Republic, Hungaria , crews like EWC, RCLS or GLK and now from Russia. They do big dammages when they are coming around. They have no fears and just laugh about our “human-rights” countries !

Shl: Do you still do trains in france, especially in paris? Did the development of the fast buff change a lot in your opinion about trainpainting?

HNT: I stoped painting trains in France in 2003…not because of the buff ( because sometimes french trains can run for a long time ) and I told you, I like the action more than the result. But I was tired to ONLY think about trains 24/7 and tired to became more and more paranoiac. Waking up every monday morning at 05:00 AM waiting for a cops house search ! That took to me too much time and energy. Now I need to enjoy life, spend good times with my friends and some time for working on all my differents projects !

Shl: ok that’s all – right know it s your turn – what else you would like to say …

HNT: Everyday I’m thinking about my friends, from Liege, Stockholm, Berlin or even Russia, about my partners, the SDKWUFCs, VAD, TMA, P2B and WMD, about all we have done together and all the things we’ll do in the future and it makes me so happy, it makes me mad every minute of my life…Graffiti is the strongest Art movement in the History and I’m so proud to be just a brick in the temple !

1- A photo of one of your artwork from 2011.

Our last work,  a new step in our work. We are studying, from about
two years, this new way of drawing stencil. Now we have just did this and
another stencil on the street and hundreds of sketches. We are very far
from what we’d like to see, these are  proofs, experiments 10 years
after our first stencil on the street in 2001. On the street we use
the same technique of the Stencil Poster, we paste up a paper stencil
like a poster then we paint on it and then we destroy the matrix, so
the stencil die on the wall, it’s not reproducible.
It was not very easy to change, we abandoned the parallel lines
that were a mark for our stencil. We introduced lines and dots in
stencils many years ago and we called that way of stencils Hole School,
in the website Stencil Revolution. Now there are a
lot of stencilers using halftone to create their stencil, today a
lines or dots stencils are very common.
What we want to do now is using one color stencil as always but
destroying the lines in thousands of fragments like an impulsive
schetch and doing something else than portraits, very difficult.
We want, as in the past, to go as far as possible from the classic
stencil immaginary in the form and in the content.
We hope to reach some result, time will judge us.

2- One thing you did in 2011 that you are particularly proud. We are never totally proud of ourselves, we are -most of the time-
unsatisfied by our work and may be it’s the reason we still work on
our art.
The work that was more intense this year was that in Køge -Denmark-
for Walk this Way festival in april.

3- Something you loved in 2011.
The Crisis, we are happy that this Occidental crisis will make reflect
many people.
The best arts movies were directed in Italy during a period of crisis.
May be crisis will help some artist to express something authentic.
Some new real piece of art.

4- Someone you hated in 2011.
In 2011 we hated ourselves.

5- One city, One festival & one exhibition.
Prague, Fame Festival, we were at so few exhibition this year… may
be we will go to see Caravaggio in Palazzo Venezia the 31.

6- A photo of someone else artwork or the name of an artist you
enjoyed a lot the work.
This years we were fortunate to take part to a festival in Foligno,
Attack,where we watched the three horses of Erica il Cane, we like his
imaginary and his skill in drawing so big murals. It’s very important to
see a mural in person and not only on a photo on the web.

7- One book
We prefer don’t tell our book, no one read nowadays.

8- One web video.

9- One website
I don’t navigate very much

10 – One place to eat in Roma.
In our house, Lex in particoular is a good chief. If not we recommend
Sora Margherita in  piazza delle Cinque Scole.

11- One last word
Thank you for the interview.

http://stenlex.net/
http://www.ekosystem.org/tag_big/sten

La professionnalisation d’un grand nombre d’artistes qui sont sensés intervenir dans la rue a de multiples conséquences. L’an dernier la tendance pénible de la scène street-art etait les ventes aux enchères. Le plus insupportable étant pour moi certains blogueurs fraichement spécialisés qui relayaient ces enchères en direct sur leur twitter. Cette année une des grosses tendances a été la réalisation d’énormes fresques dans le cadre de festivals. Si dans un premier temps on a tous été impressionné par ces grandes peintures, on a un peu l’impression d’assister désormais à la mise en place d’un street-art officiel dénué de violence, de spontanéité ou d’humour.
Du coup la découverte cette année de OakOak a été un vrai bol de fraicheur. Quelqu’un qui ne semble pas avoir fait une école de commerce ou de Community Manager pour gérer son image, qui ne fait pas parti d’un réseau. Mais surtout quelqu’un qui intervient dans la rue en utilisant réellement celle ci, son mobilier, les imperfections des murs, avec un résultat qui amuse et étonne. La réalisation peut sembler parfois un peu bancale ou naïve mais par rapport aux productions trop maitrisées des désormais stars des grands festivals, la fragilité des interventions de OakOak leur confère encore plus d’éclat.

OakOak: ” J’ai commencé a faire des interventions en 2006 d’abord par des pochoirs de portraits  puis de plus en plus j’ai commencé a essayer d’utiliser vraiment l’espace qui m’entourait, et utiliser le mobilier urbain.
Je n’ai jamais fait de graffiti avant. Il y en a tellement de trés bons dans ce domaine que je leur laisse justement
 Les modèles sont des artistes comme SPY, Varini, Slinkachu, 6emia, j’aime ce principe d’intervenir le moins possible et de changer totalement le sens d’un détail, d’une faille dans un mur.
Je marche beaucoup dans la rue, et c’est en trouvant un endroit particulier, un détail, que généralement l’idée vient… apres il suffit de trouver la meilleurs façon de la mettre en place.”

11 choses sur 2011 par Oak Oak

1- Une photo d’une de tes interventions dans la rue.
1- A photo of one of your artwork from 2011

2- Quelque chose que tu as fait en 2011 dont tu es particulièrement fier.
2- One thing you did in 2011 that you are particularly proud.

The urban scream / le cri urbain de MUNCH

Ma photo préférée de 2011, définitivement, car grand fan de Munch
My favorite photo in 2011, because I’m a big Munch fan.

3- Quelque chose ou quelqu’un que tu as aimé en 2011.
3- Something you loved in 2011

Bah çà va paraitre un peu con mais mon premier livre, la création et tout ce processus…
It may sound a bit dumb, but I really enjoyed working on the making of my first book.

4- Quelque chose ou quelqu’un que tu n’as pas supporté en 2011.
4- Something you hated in 2011
La crise de l’euro, il me semble que je n’ai entendu QUE ça à la radio, télé, journaux…
Euro Crisis, I have the feeling it was the only topic on the radio, Tv, Newspaper.

5- Une photo du travail de quelqu’un d’autre.
5- A photo of someone else artwork.
j’ai adoré cette installation.
I loved this one.

Mehmet Ali Uysal

6- Un morceau de musique – One track

assez fan de born free de M.I.A – pretty fan of M.I.A.

7- Une vidéo trouvée sur le web – a web video

8- Un site internet – A website.
Grand fan de bd, je suis régulièrement le site de boulet, j’adore son humour
http://www.bouletcorp.com/

9- Un film – A movie
En 2011 Drive était top! ouais je sais ce n’est pas très original pour 2011….
Drive was on top ! I know i’m not really original.

10- Une BD – A comic book
Calvin et Hobbes pour la bd, 2011 ou pas.
Calbin & Hobbes. No matter the year.

11- Un dernier mot – A last word
amusons nous!!! / Have fun !!!

Oakoak blog
OakOak book/Edition Populaire 15€ only

1- A photo of one of your artwork from 2011.
title : New World Order
Graphite, acrilic and ink on wood 60 cm x 35cm  

2- One thing you did in 2011 that you are particularly proud.

title : the diamonds aren’t forever
Berlin 2011  wool and nylon in the air  3mt x 2mt x 2mt

3- Something or Someone you loved in 2011
Moneyless: I definitely found love, and therefore everything I’ve done is affected by this.

4- Someone you hated in 2011.
Moneyless: All suckers, copiers, and plagiarists Around The World

5- One city, One festival, or One place.
Moneyless: Grottaglie , Fame Festival and his  final party !

6- A photo of someone else artwork you enjoyed a lot the work.

Moneyless: 108 no doubt.

7- One book
Moneyless: 100 artistes du street art – Edition de la Martiniere

8- One song

Promises Promises- Viceroys (1969)

9- One website
Moneyless:  http://cargocollective.com/martinamerlini

10- One movie or a tv show
Moneyless: NO MOVIE NO TV !

11- One last word
Moneyless: I want to say Bless and  much Love  to all my brothers and sisters around the world, and remember that they are my biggest inspiration ever !

Moneyless.it
Moneyless on flickr
Moneyless on ekosystem.

Zosen recently released the magazine Carcelona “20 anys a la millor botiga del mon”.
It gathers plenty of interviews with artists, activists, musicians and people of different generations who live or lived in Barcelona and have met Zosen between 1990 and 2010.

—-

1- A photo of one of your artwork from 2011
Zosen: “Vagabond Love” is a mural from Infart Festival,Italy ’11

2- One thing you did in 2011 that you are particularly proud.
Zosen: A mural in collaboration with Sixe after years and years of no painting together.

3- Someone you loved in 2011
Zosen: El Topo from Caracas but living in Gent.

4- Something or Someone you hated in 2011
Zosen: The toys from London,Barcelona and everywhere copying styles!

5- One city or One festival.
Zosen: Lisboa and Sziget festival (Budapest)

6- A photo of someone else artwork.
Zosen: My friend Camille Lavaud

7- One book, or one fanzine
Zosen: Que pagui Pujol is a book about the punk and d.i.y. scene in Barcelona during the 80′s.

8- One web video

Spoek Mathambo – Control

9- One website
Zosen: monicacanilao.com

10 – One place to eat in Barcelona
Zosen: A chinese restaurant for chinese people in Ali Bei street close to Estació del Nord. (Good for vegetarians!)

11- One last word
Zosen: LOVE AND RESISTANCE!

• Zosen
• http://zosenbandido.com
• http://animalbandido.com
• http://www.ekosystem.org/tag/zosen

Suso33: “They offered me the possibility to produce a simple video for Nach´s latest record, a band I admire and who makes my emotions arise. The song was “Los Elegidos” (The Chosen ones) featuring Talib Kweli and Akhenaton. When offering total freedom of creation I assumed it as an entirely personal project to get totally involved in and I started working on it, experimenting and researching, not to solve issues but to suggest different possibilities.

Instead of one hand I used both of them, and instead of drawing I did… I don´t know, I can´t tell you as it still is a “painting in progress” and when you rub it off, you are creating part of the next painting, so you can´t not tell by just the drawings as it is a piece of art created to be seen entirely, only in movement and this is what provides its own identity.

In this audiovisual creation the hands are a plastic element that appears in a choreographic manner, as if they were a dance or paint themselves in that sort of sequence shot that does not leave space for regrets. It had to be done basically in just one shot, therefore it increased the difficulty of creation, however the edition ended up more developed. Finally we included sound effects to create a dialogue between the image and the sound towards the image, in a way that it wasn´t just the image illustrating the sound, that is, it was the creation of a piece and not simply a musical video clip.

In general, in my work, process and actions are much more important than the resulting object; it is something that I have been developing for a long time, as in the “PinturaEscénicaenAcción” (ScenicfPaintinginAction) or the different videos that I have produced in the past years. Therefore I have felt very comfortable carrying out this work with the possibilities offered by this type of equipment; also I have been lucky to work and create things with SaotST and Nach, to whom I thank for the trust they put in me regarding this risky proposition.”

http://www.suso33.com/