Sten Lex about 2011

11 things about 2011
Sten & Lex

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

Sten & Lex

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OakOak – 11 things about 2011


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
La caravane passe

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
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
Mehmet Ali Uysal

6- Un morceau de musiqueOne track

assez fan de born free de M.I.Apretty fan of M.I.A.

7- Une vidéo trouvée sur le weba web video

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

9- Un filmA 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 BDA comic book
Calvin et Hobbes pour la bd, 2011 ou pas.
Calbin & Hobbes. No matter the year.

11- Un dernier motA last word
amusons nous!!! / Have fun !!!

Oakoak blog
OakOak book/Edition Populaire 15€ only

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ZOSEN – 11 things about 2011

To conclude that year, I will ask a few artists that we enjoyed at ekosystem, 11 little things about 2011.
I’m really happy to start with Zosen from Barcelona. When I think about Barcelona graffiti, my mind is full of shiny colors from Zosen & Sixe (but also from Kenor, La Mano or Pez). They really represent Barcelona style to me. So it’s a wonderful surprise to discover that fresh collaboration between Zosen & Sixe.

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 Infast festivalZosen: “Vagabond Love” is a mural from Infart Festival,Italy ’11

2- One thing you did in 2011 that you are particularly proud.
Zosen + Sixe in BarcelonaZosen: 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.
Camille LavaudZosen: 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!

 

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Art of Rebellion 3 – C100 interview

7 years after the 1st Art of Rebellion, you (C100) released “The Art of Rebellion III“.
On the intro of the new book you describe how things changed last years. Your intro is ambivalent. You are impressed that street-art became big & popular and at the same time you seem to regret that it became an industry.

You also painted a canvas with a slogan that I like very much: “Cash Rules Ruins Everything Around Me”. Are you still excited by today’s scene?

Yes, I’m still excited about the scene seen in terms of quality and its space for surprises, sometimes. But I think people who started before it became so popular and trendy witness how it changed from being underground to becoming almost commercial. Don’t get me wrong, I’m happy for many artists that they get paid now for their hard work but, however, sometimes I have the feeling that some artists transformed themselves into labels and became the thing they targeted in the beginning. That’s one of the reasons why I did the C.R.E.A.M. canvas – Money can make people do strange things…

Overall, it’s an ethic questions each artist has to answer by himself what is good for his “career” or not. I don’t want to sound like a preacher and leave it to everyone himself how to form his opinion on this!

In the 1st Art of Rebellion, most artists were very influenced by graffiti and street-art was quite naive. Work featured in this 3rd volume is much more mature and interesting I think. Do you think that today’s street-art is still related to the graffiti world or is it a kind of outdoor contemporary art?

No, I think in a way street-art still very often has the spirit of the graffiti world, the “Getting up” attitude and ignoring of existing laws for the sake of art. Maybe street art/graffiti is transforming into “outdoor contemporary art” but where is the big difference in this, honestly, aren’t these not just words to describe the same topic in the end? This whole debate is pigeon holing as overall it’s just art, isn’t it? In the end this collision between graffiti and contemporary art helped pushing the level of quality, which is good!

But I agree that the naiveté from the beginning is missing sometimes which I experienced in other fields like Skateboarding Snowboarding, BMX as well. At one point all these subcultures get professional and trendy which leads to the fact that newcomers appear (like toys in Graffiti) who tend to annoy the old schoolers….
I go by the motto: live and let live :)

I have sometimes the feeling that today’s scene is run by art-school students & what I call the “street-art bourgeoisie”. Almost all the artists featured in this 3rd volume are professional or are trying to live of their art. Is there still a space for graffiti as a hobby? The book is called “the Art of Rebellion”, are there still rebellion & innocence in street-art?

That’s a tough question, hmm – “street art bourgeoisie” is good name for this, haha!
To answer your question: In some way you can call it rebellious when you are ignoring laws for the sake of art and to wake up people. In comparison to other movements it seems ridiculous to speak of rebellion (i.e. fighting for freedom, against nuclear power).

I think there is still space for it to keep it as a hobby. I can only tell from my own experience. Even though I’m very busy in my jobs as a designer and author, I still enjoy doing street art and graffiti – as a hobby. Having that experience and spirit of graffiti has a massive advantage compared to being “just” an art school student who now thinks “this is cool” as your motivation comes more from the heart. For me subcultures like Graffiti, BMX & Skateboarding helped me grow up to the person I am and, thankful for that, I do my best to give something back to these cultures in showing the public the beauty of it.

Is there an artist that you would have enjoyed to include in the book, and for any reason isn’t?

Yes, Steve Powers, he had his reasons.

Would you like to make a 4th Art of Rebellion?

I remember when doing #1 I never imagined to do #2, same goes for #3. After this development I’d say that #4 isn’t unreal but no one knows when.

You also run a book collection named “Part of Rebellion”. I think you released 3 books: Flying Fortress, Erosie & Dave The Chimp. Can we expect to see a new one?

We worked on #4 about Kid Acne but decided to finish “The Art of Rebellion” first. We’ll see.

You live in Munich are there some local artists we should know?

Hmmm, most of them you probably know already: Flying Fortress, Sat One, Mr. Burns and Benjamin Röder.

Thanks for taking the time to have this little conversation Christian, Any last words?

You are welcome, eko. Thanks for being one of the main hubs in street art since day one!
Keep on keeping on! Peace, C100.

The Art Of Rebellion 3
the book about street art
C100

Languages: ENG
Softcover/Paperback, 21 x 26cm, 216 Pages, 29,90 €
ISBN: 979-3-939566-29-8

Online order at Stylefile

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Saner from Mexico – Interview

I took the opportunity of SANER book release to ask him a few questions.
All the illustrations come from the Saner book printed by Belio for their Die Young collection.

>Who is Saner ? Quien es saner?

Saner es un loco dentro de un mundo de extraños.

Saner is a a crazy person in a world of strangers.

>How did you came to graffiti ?

A través de mi hermano y mis amigos, en los años 97-98, viendo la calle pintada por crews de ese momento, Los CHK, SF y A. Inicié pintando con otro seudónimo y con pausas necesarias para replantear un estilo propio. Dejé de pintar graffiti durante cuatro años, pero en 2004 volví a esta forma de expresión para buscar un estilo personal.

Through my brother and my friends, in the years 97 and 98, looking at the streets painted by the current crews, CHK, SF and A. At the beginning I painted with another nickname and with the necessary pauses so I could have my own style, then I stopped painting graffiti by 4 years but in 2004 I returned to this mode of expression looking for a personal style.

>You’re a member of two notorious crews from Mexico: DSR & Eyos crew. Do you enjoy painting with other people?

Es interesante compartir experiencias con personas que no son de tu crew. Pienso que trabajar un lienzo o un muro con otras personas, generalmente alejadas de tu cotidianidad y sobre todo de tu estilo, siempre te permite crecer como artista.

It is interesting to share experiences with people outside of your crew. I believe that working on a canvas or a wall with people who are generally apart of your everyday life but most of all away from your style, always allows you to grow as an artist.

>From Europe, Mexico seems to be a quite violent place with kidnapping and drug relative crimes. Is Mexico an easy place to paint in the streets ?

De México, se sabe que es un país violento. Pero para pintar, creo que es un lugar tranquilo. Y aunque tiene sus riesgos, como en todas partes, depende del sitio que se elija.

Everybody knows that Mexico is a violent country. But for painting, I think that it is a quiet place. And even if there are so many risks, like everywhere, it depends on the chosen place to paint.

>Belio invited you in Madrid to work on the book. What surprised you the most in the spanish graffiti/street scene ?

Ahí encontré no sólo estilos artísticos distintos, sino cosmovisiones diferentes. La forma de concebir la vida y el mundo de alguna manera es distinta. La verdad, me agradó mucho ser bien recibido por la escena local. Artistas como Besdo, Gore, Alberto de Pedro, Kafre, Aryz, Grito, Fefe and remed, Zosen, Skount, Escif y compañía me trataron muy bien y también recibieron con mucho afecto mi arte.

There, I found not only diferent artistic styles, but different world views. The way that we conceive life and world is somehow different. The truth is that I liked so much to be well received by the local scene. Artists like Besdo, Gore, Alberto de Pedro, Kafre, Aryz, Grito, Fefe and remed, Zosen, Skount, Escif and friends treated me so well and they also received my art with affection.

>We know the Lucha libre mexicana masks (mexican catch) and Maya masks. Why do your characters almost always wear a mask ?

Las máscaras que uso son tradicionales en México. Los jaguares, coyotes, calaveras y demás personajes recurrentes aparecen en mi trabajo porque ese mundo paralelo es su verdadero yo, su rostro real. Pienso que al dejar de lado la máscara no somos nada.

The masks that I use are traditional masks in Mexico. The jaguars, coyotes, skulls and other recurrent characters appears in my work because that parallel world is the real self, the real face. I think that if we disregard the mask we are nothing.

>What are your main influences (in the art world and in the graffiti scene)?

Mis influencias son mis padres, hermanos y amigos. Sin duda alguna, en ese marco referencial es muy importante para mi obra el movimiento muralista mexicano: Siqueiros, Orozco, Rivera.

My influences are my parents, brothers and friends. Without any doubt, in this frame of reference it is very important for my work the Mexican Muralist Movement: Siqueiros, Orozco, Rivera.

>Could you tell us which were the last records you played at home?

Últimamente he estado escuchando Nach Scratch, The Tiger Lillies, At The Drive In y el podcast de XRL8R.

Lately, I’ve been listening to Nach Scratch, The Tiger Lillies, At the Drive In and XRL8R podcast.

>If I visited Mexico DC, which are the places I shouldn’t miss ?

Primero, llegar al Zócalo capitalino, que es el mero corazón de México (la catedral, la zona arqueológica). Luego comer en un puesto de quesadillas o tacos; visitar los museos de la zona: San Ildefonso, Munal, Antropología, Arte Moderno; también, ir al bosque de Chapultepec (es el zoológico más importante del país). Si tienes tiempo, ve a las trajineras en Xochimilco. Y, lo más importante, visita las pirámides de Teotihuacán.

First of all, you must go to the Zocalo, which is Mexico’s city heart (the Cathedral, the archaeological zone). Then you should go and eat in a quesadilla and taco’s stand; visit the museums around: San Ildefonso, MUNAL, the National Anthropology Museum, the Modern Art Museum; also you should go to the Chapultepec Forest (the most important zoo in Mexico). If you have any time left, go to ride a “trajinera” (a colorful boat) in Xochimilco. And the most important is to visit the pyramids at Teotihuacán.

and a last word ?

Thanks to Belio Team (Javier and Pablo), for all the support and the good moment that we have shared.


DY008: SANER
Die Young Collection
145 x 150 mm – 192 pages
ISBN: 978-84-613-4362-1
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Saner blog
Saner photo gallery

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9 things from 2009 by CT

To end 2009 and to start the new year.
I asked a few ekosystem friends and contacts 9 things about 2009.

CT lives in Torino. He paints minimal and geometric letters which often look like abstract shapes.

http://www.ekosystem.org/tag/-ct-
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1- One of your photo :

2- One photo you found on the web:

a church painted by David-Tremlett & Sol-LeWittA chapel painted by David Tremlett and Sol LeWitt.
(Tremlett decorating the interior, and LeWitt the outside of the chapel.)

3- One video you found on the web:

A Porsche commercial

4- One track (music):

TIME -Pink Floyd

5- One artist:

6- One color: White
7- One place: Here
8- One annoying thing: Rain
9- One last word: ReStart

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Objects 3 – Interview with Igor P

objects3

1. Why have you decided to release a 3rd chapter to “Object” ? What makes it different to the 2 previous books ?

I think, street art must convey a message to people and to be totally interactive. In Russia, street art has poor evolution, but I’m always interested in participating to the graffiti subculture evolution. In 2005 year I created a web-site : www.visualartifacts.ru. This web-site supported Russian street art. After a few months the idea came of “Objects” book.
First and second books contained best works of the Russian street artists and explored ex. USSR graffiti scene. In Russia there’s not enough interesting art projects. So, I had the idea of the Red Cube.

objects3_performance

Third issue like the previous one, is mostly dedicated to Russian street art innovation reviews and events in the street art community. But this issue was conceived as something more meaningful than an ordinary street art album.
“Objects” cubed – is a project aimed to stimulate creative experimentation among Russian street artists, a call to overcome two dimensional and typographic street art, which is unfortunately the  dominant trend in Russia. Our goal is redirect artists’ potential into the field of free art unrestricted to the urban surfaces only. So, this third issue is focused on three dimensional objects and space-volume compositions, created by various artists on the streets of the city. It’s the first time when the title reflects the contents so literally.

objects3_2

objects3_3

2. What has been the harder on the making of the book ?

Working on the books I had two big problems: artists are very lazy and are not ready for big projects and unique ideas. European street artists inspired by Russian art works and making a copy-past, this very sad. I think it is a big problem, that disturb evolution Russian artists.

3. Watching you book, we really have the feeling the Russia scene is extremely active with many diversity. But at the same time your latest personal project is named “Russian street-art is dead”?

But evolution cannot exist without experiment. Culture that blindly replicates tradition is a dead culture. One of the main intentions of this title – is a call to discover new areas of experimentation, to employ new media, to invent new forms of street expression, because, unfortunately, only a very few Russian street artists dare to tread new paths…
So, I came to the conclusion, that Russian street-art is dead. This subculture is very small and without evolution, it’s dead. “Russian street-art is dead” it’s my conception now, and my last exhibition confirms that.

objects3_4

4. Can you tell us the name of an artist from Moscow we should know about ?

I don’t really have a new interesting Russian artists to present now. There’s a few artists like me: Scheme, 183, 0331c and Misha Most, but it is not enough.
Right now, I’m working on my own public street-art projects. It’s a bit early to talk about a fourth book.

objects3_5

5. If I visited Moscow, which are the places I shouldn’t miss?

My recommendation art’s place in Moscow:
Moscow P.I. Tchaikovsky Conservatory,
Tretyakov gallery,
The Pushkin State Museum of Fine Arts.

Official web-site: www.objectsbook.ru

With Best Regards, Igor P.
Homepage: www.prokvadrat.ru

You can order Objects 3 from Europe and from Russia.

You can also download the pdf of Objects 2.

objects3_6

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Their favorite pictures of 2008

I simply asked 5 talented photographers to select 3 of their 2008 photos.
Please check this pages to see more jewels.

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Lichtfaktor crew

http://www.lichtfaktor.euhttp://www.behance.net/lichtfator
http://www.flickr.com/photos/lichtfaktorhttp://www.dailymotion.com/lichtfaktor

Lichtfaktor“Paddington” was done in London for Land Security.

lichtfaktor

“Traffic” was done in Germany for M-Real

lichfaktor - beko

the “Beko All Star” picture was done for a TV commercial in Istanbul check this link to see the video.

For us it was our most successful year in our liefs so far!
We had the opportunity to work in New York, Paris, London, Istanbul, Bolzano, Vienna, Brussels…
We have been invited to big Festivals like the Ars Electronica, found a Gallery, did some nice expositions and meet a lot of nice people.
For us there is nothing to add, except to say THANK YOU.

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di de

http://www.flickr.com/photos/di-de/

pom_ge_joos dide

Une photo d’action de POM, Gé et Joos parce que ce qu’ils font est toujours incroyable autant dans le format, que dans le placement et que dans la bonne humeur que ça apporte à tous sans avoir à se creuser la tête. On regarde, on sourit, j’adore ça. Et puis aussi parce qu’ils sont adorables et que j’ai la chance de pouvoir les suivre de temps en temps dans leurs sorties. Dernièrement, la 3e édition du festival One short One movie s’est appuyé sur leurs collages à l’UGC Capitole pour les thèmes des courts métrages. A (re)voir par ici.

Action photo from Pom, Gé & Joos. What they do is always amazing because of the size, of the place and for the smiles they bring to everyone.

lois di de2008 aura été pour moi l’année du retour à l’argentique et surtout la découverte du moyen format qui a changé ma vie de photographe amateur…
J’apprécie particulièrement l’exercice du portrait avec ce nouvel outil pour moi. Voilà donc un portrait de Julien Loïs, ami coloriste et illustrateur qui vous laisse sur le cul en trois coups de crayon. Ici devant un détail d’une de ses dernières réalisations murales pour une librairie de BD.

In 2008 I came back to analog photography and I discovered Medium format film. It really changed my life of amateur photographer.
I particularly enjoy shooting portrait with this “new” tool. Here is Julien Loïs a friend of mine who is an incredibly talented illustrator. On the photo he was working on the wall of a comic shop.

ricardo di de

Et enfin, Ricardo, le factotum de l’association Nicole Crême, sérigraphe fou et talentueux avec qui Loïs et moi avons démarré une petite production d’affiches sérigraphiées de qualité.
Peut-être plus d’infos bientôt sur ekosystem…  ;o)

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vitostreet

http://www.flickr.com/photos/vitostreet/http://vitostreet.ekosystem.org/

parapluie vitostreetUne photo que j’apprécie particulièrement  (1 heure d’attente pour avoir cette photo)

I waited one hour to capture this one.

TitiTiti from Paris. L’une des plus belles œuvres à mes yeux d’art urbain sur Paris cette année.
One of the most beautiful urban art piece in Paris 2008 to me.

Sweet toof VitostreetCouverture du livre Paris Street Art 2008 aux Editions Prestel dont je suis co-auteur.
I used this one to illustrate the cover of  Paris Street Art 2008 book.

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Mister T.

http://www.fotolog.com/mister_t/

oeno mister tGhost subway station in Paris. I love this place because we can find some very old school pieces. (Oeno on this one !)

theworld2final2 mister tPerfect place (Quay d’Orsay), it reminds me some great moments. and the barges bring great light.

zecra mister tThis factory is certainly one of the last one that is not fully covered by graffiti around Paris.

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Just

http://just.ekosystem.org/http://just.blogsport.de/http://flickr.com/photos/justusjonas/

jsutMidnight marauders in Berlin

JustBerlin is broke and besides having no money for the anti-graffiti-fight
they too have no money for infrastructure / building costs etc. There
are so much abandoned places like this old & unfinished Parking-Garage.
Finding a chilled spot for doing some graff in the daytime and in the
middle of the city is no problem at all. (Hey Chris).

elephant

“He´s begging you to feed him – we´re begging you not to”
Meeting YOK in Bangkok who was painting this Mural for a Project trying
to get awarness for the bad conditions of Street-Elephants

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Above interview from his South Central Tour

eko: We knew you for painting & hanging your Arrow Mobiles in the past. During your South Central Tour you didn’t paint, or hang a single arrow.  Your works for this tour were based on expanded Word/Plays, typography, compositions, and even some very colorful abstract works.
Is the arrow period totally over for you ?

Above: Every tour I have done I in the past has had a theme, style and goal for that specific tour. For the past (2004) USA TOUR the goal was to hang the then newly developed Arrow Mobiles around large cities in the United States.
The (2005) EUROPEAN TOUR’s goal was to Paint arrows, the name “ABOVE” and install wooden arrows with fabric to elevated areas of walls around Europe.
The (2006) SIGN LANGUAGE TOUR’s goal was the transitional point from just hanging a wooden arrow, to incorporating more mediums like gluing fabrics to the arrows, screen printing the fabrics, and more Word/Play combinations. If you were aware of the Sign Language tour then you know that those arrow mobile installations were rooted in a (2) 4-letter word communication theory. For example each side of the arrow has 2 sides, creating a form of communication when the arrow spun around.  This is why it was called the Sign Language tour because it was a form of communication through movements instead of sounds.

The most recent SOUTH CENTRAL TOUR (2007-2008) was to take the Word/Play concept and grow and evolve with that. With the South Central tour I started to incorporate more words, larger sizes, typography, and compositions all in a painted medium. Currently in my life I am just going with the flow of my interests and seeing where it takes me. I’m not saying that the “Arrow” period is completely over but I would say that I have a lot more interests in other mediums and applications to express myself with my outdoor works other than just painting or hanging an arrow.

eko: You painted in many places with/without authorization. Tell us about how that was?

Above: One of the most appealing aspects of wanting to do the South Central Tour was because it was a new part of the world I hadn’t been to but also the fact that many/all of the South and Central American countries don’t really have any severe laws against graffiti. For this simple reason I wanted/could paint as much as I felt like because there were no real laws stopping me. For example in Sao Paulo and Buenos Aires I got stopped by the police at total of 5 different times and once with the officers carrying 5.56 ammo while I was painting illegally. I didn’t ask questions why they were not arresting me and taking me to jail but they just said I could not paint there and told me to leave. I’ve gone to Jail in New York City’s Central Booking for simply putting up Stickers, so you can imagine that being able to paint broad daylight illegally would be a real attraction to wanting to go there.
I would paint a lot of the time illegally during the daytime because many people on the street just thought I was doing my job. Some of the countries I visited were really poor and I when I would be painting illegally I would get approached by the local people asking what company I worked for! They just assumed I was doing some sort of ad campaign for a cell phone company

or something of that sort. I must also say that a real charm and beautiful part of South and Central American countries is their advertising. Most of the advertising on the streets are hand painted signs. This long time tradition of hand painted letters/signs made it even more the easier to paint large word/plays Illegally during the daytime as people are accustomed to this method and style.

eko: How many countries did you visit and how long did the journey take ?

Above: Technically speaking I started the South Central Tour some 16 months before even arriving to my first destination. With a tour of this distance and longevity it was crucial for me to start to get in touch with friends in that part of the world. After months of organizing and planning out the tour I finally started the South Central Tour in Rio De Janeiro, Brazil at the end of October. From Rio De Janeiro I traveled depending on the distance by buses and planes, all the way up to Mexico City, Mexico. I finished the South Central tour at the end of April, 1 week short of being 6 months long. When I was planning the South Central Tour some 16 months prior I had a list of 18 countries and 21 cities I wanted to visit. However the fun and unpredictable part of traveling is just going with the flow of situations and staying shorter/longer in some places than expected. At the end of the South Central tour I had visited 13 cities in 11 different countries.

eko: Did you plan a lot of your travels (contacting people, searching place to sleep…) ?

Above: Yeah, I started contacting friends and learning more about the South and Central American countries right after I finished the 2006 Sign Language tour. Doing a lot of in-depth research about cities helped out, but also thankfully for my website and the internet in general it was easy to get invitations, and to contact artists in each country/city. I can’t say it enough how appreciative and thankful I am for the friends, and supports that make/made these long travels and tours able to happen. It could be called crazy or just blind faith but I would get emails from other artists or people in a city saying that if I was going to be passing through their city that I could stay with them, and they could show me around their city. With incredible support and a network of fellow artists I was and am able to do these travels. All the friends along the way that helped me sleep on your floor, gave me food, shared a beer together, painted with or just simply hung out together I give you a big THANK YOU. The Biggest THANK YOU is due to my friend RIPO who traveled along and did his own unique tour and paintings for the 2nd tour we traveled together.

eko: You were robbed at gunpoint and your camera was stolen in Buenos Aires, how did you avoid loosing your photos during the trip ?

Above: My good friend El Tono and I were painting in a somewhat unsafe area of Buenos Aires when 2 young thieves with guns robbed us. Normally I don’t bring my camera with me when I paint for this exact reason, but because the area we were painting in was somewhat far to come back to we decided to bring them and take photos right after we finished. We should of left our cameras at home!  How I avoid loosing photos is before leaving each country/city I back up and burn off my images to DVD’s as well as leave them on my friend’s computers as well. I did loose some good photos from my camera that got stolen in Buenos Aires but it’s nothing to cry about, that’s life.

eko: According to you is there a new “Barcelona” in South/Central-America ?

Above: Along the South Central Tour I found a lot of countries and cities had little to no laws against graffiti. This makes any of those cities attractive to want to paint in but just because there are no laws doesn’t mean that there is a community or scene of artists that are pushing each other or taking it to the streets. Barcelona in the past was known for the cops being super laid back and chill as well as having a lot of active artists and writers going out every day/night to paint. These two factors in conjunction with each other make a city explode with energy, color and fuels a large growth of progression for the artists and locals alike. I saw this on different levels depending on the city but the cities I saw that had both of these crucial elements present were; Buenos Aires, Sao Paulo, and Mexico city.

eko: What are your plans now ?

Above: Strange enough I’m typing this interview on a plane flight from San Francisco to Rome. This summer I was invited to take part in making some amazing screenprints with the Italian Printmaker STUDIOCROMIE.

I anticipate having a great time working on these projects as well as traveling around painting for 3 months in Europe. I really want to get my hands on those art printers. Aside from that I just want to keep trying to grow and challenge myself as a person and artist. I feel it’s important in my life to constantly keep pushing myself and and experimenting/taking risks with my art. The world is large and small at the same time so I want to keep venturing out to new areas of the world.

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