I can’t believe it’s been over a year since anyone on Vandalog mentioned Cuellimangui. In my opinion, he is one of the sickest artists working from Chile(originally from Spain) at the moment and it’s rather surprising to see how underdocumented his works are. I hope you all enjoy this psychedelic trip with Cuellimangui and keep your eyes open for more trash-wave bubble gum visions from Chile to you.

Photos courtesy of Cuellimangui

Waone and Seth Globepainter. Click to view large.

Waone and Seth Globepainter recently collaborated on a knowledge-inspired mural in Kiev, Ukraine at Kyiv Mohyla Academy.

Detail – Waone

Detail – Seth Globepainter

Click to view large

Photos courtesy of Waone

Last year, while I was working with Living Walls at Miami Art Basel I had the pleasure of talking to Elian about the politics of graffiti, art, and public space. I was intrigued by how he presented his world and relationship with street art in Córdoba, Argentina. I decided to pick up where we left off a few months ago… 

Laura: Let’s start with the basics, shall we? What influences and inspires your work?

Elian: My influences exist in everyday events, ordinary moments; one can grow from what’s reachable.

At Spanish Cultural Center in Córdoba

Laura: We spoke once about the difficulties of maintaining an art movement in a city like Córdoba, why do you think this phenomena occurs, what characteristics does Córdoba hold that puts it in this situation?

Elian: The characteristic that puts Córdoba in this situation is mainly due to cultural politics. Córdoba is a city that has always been traditional and conservative in terms of artistic expression, and like any second (or third) city in a country, state funding don’t necessarily go towards promoting subcultures or developing movements; the state’s budget goes towards cultural tourism and known entities like museums, cultural centers, historical districts, cultural patrimony, etc. But, I love being having the ability to break those parameters, it is not an easy task; on the upside, it gives room to do self-realized work without the dependency of any outside governmental entity, or any organization or business. And I prefer it that way.

At Spanish Cultural Center in Córdoba

Laura: What’s new in the street art movement in Córdoba?

Elian: Street art in Córdoba, like many cultural and artistic movements, is totally unpredictable… At times it grows and then suddenly it slows down. For now, artist that develop their skill in public space, or graffiti writers, or simply emerging artists and those who are self-taught, have been given more opportunities in spaces that traditionally were not available; for example art galleries, cultural centers, etc. On a personal note, I believe that the opening of Kosovo Gallery has pushed this phenomenon towards artists that have crossed the street in their line of work; the gallery has offered a space where more attention is brought to this form of expression.

At Spanish Cultural Center in Córdoba

 Laura:  Tell us about your process, what do you look for in a wall? What do you see in a space before you tweak it up?

Elian: In regards to my work, physical structure is essential. Since I began to paint in the streets (approximately 10 years ago) my preferences have gone through many incredible transformations. Before, I preferred a space with a lot of visibility, a clean wall with a perfect surface. Currently I appreciate a lot more a wall that has been dishonored through the passing of time, crumbled by neglect in a neighborhood. Also, spaces that offer a variety of naturally occurring textures, walls made out of a particular material, molds and other architectural factors that generate movement with the geometry that I offer in my works. Selecting walls will always be attached to the richness of the work; today a wall in perfect condition does not say much to me.

Post-neglect

Laura: What’s your preferred platform to execute your work in?

Elian: I feel that this is connected to the surroundings. Today, I want to work in a place that is missing something, a peripheral neighborhood. I want to be able to transform the mood in a plaza, to be able to affect a person’s day to day life in a positive way… Places where electoral (political) façade doesn’t necessarily reach, those communities that the state ignores.

Big Tools for Deep Cuts. Click to view large.

Laura: What’s your next move? What should we look forward to in your work?

Elian: As far as Elian goes… what you should expect is constant mutation, change. I think that what interests me the most about art is exactly that curiosity that is ignited; learning and searching towards a deeper theory and craft.

Photos courtesy of Elian

Sego

The world of street art has changed dramatically in the past decade, so much so that there is a rigid culture of how to do street art, where to do it, and how it is organized. Some tradition remains of clandestine artistry and evasive messages found plastered in urban centers all throughout the world, but we have culminated a new practice of presenting street art in a more organized, institutionalized form: the street art festival.

This somewhat new phenomena in the movement of street art has exposed new audiences to this form of expression and many that had previously associated graffiti, street art, public art with illegality and rebellion, are currently beginning to see some street artists as artist with merit, some admiration, who are worth the visibility of the streets. I believe this shift in public opinion about street art arrives with the creation of street art festivals popping up in every hemisphere. Street art festivals appeal to cities because it beautifies them and a city that takes part in any dialogue that involves art, culture and discursive action is a city that is partaking in modernity and resourcefulness (another word that I am using to substitute the otherwise very well known systems of capitalism and neoliberalism…) Before you assume that I am against street art festivals or that they serve to sell an idea of art that is very far removed from the origins of what street artists intended to do in the 70s in subway trains, I confirm that I see a lot of positive shifts when cities participate in street art festivals. Maybe I am biased after working for a non profit that puts together a yearly conference and concepts throughout the year, but I can assure anyone and be a witness to the progressive changes that art can bring to a community that has traditionally separated art from public knowledge and participation. Elitist practices are shaken up when a group of young dreamers gets together and creates more noise in the art community than their local modern art museum, this seems to be important and a pretty damn good use of grass roots tactics and a flavor of elusiveness (cause let’s face it, street art festivals don’t satisfy everyone and we gotta work with some mastery of vagueness to put up murals that scream cultural codes that are otherwise ignored.)

Based on my experience it has not been easy to participate in festivals, it is the hardest job you can think of in the art world. Little to no pay, blow up mattresses (if we are lucky), sleep deprivation, and nasty weather, but it is the best experience I have been a part of. But it never occurred to me, despite all the roadblocks and sweat, blood and tears, just how plausible it is to program and direct a successful festival in the United States, I could not imagine with honesty and certainty how different it is in other places…

That is until I spoke with Entes &Pesimo last year when they began planning Latir Latino. It appeared difficult to me mainly because some of the decisions that we took when organizing the conference, could not happen in places like Lima. Decisions like rejecting corporate sponsorships or work with big brands to aid our mission are some that are limiting when working in different societies with more restricting economic options. So okay, means are tougher to come by, donations (and its culture) are hard to make when people have barely anything to get by and disposable income does not exist… These were the tactics I was familiar with and none of those worked for Entes & Pesimo, but they successfully launched Latir Latino, along with a documentary.

Entes & Pesimo. Click to view large.

This year, the pair launched Latido Americano and in order to avoid some of the corporate aspects of a festival, they decided to work with the city of Lima and its downtown municipality to create murals in the heart of the city. Their intent to create a festival in Lima, in South America, focused on creating a new wave of movement that comes from within, creating from the periphery that is South America, and to maintain more influence in the many faces of street art and the festivals that usually occur in the United States and Europe. Since then, many other festivals have taken place and many more are in the works… So I decided to give a special focus to this new wave of Latin American street art festivals, they are occurring at an incredible speed and I promise to keep you all up to date…

I want to share with you the first installment of this series that will show the happenings in South America, while also introducing new contexts from where these festivals are held. This will be a space to discuss and watch all the creativity and formation of a new influence in street art: Latin America.

After the jump are a few shots from Latidoamericano March 2013… Read the rest of this article »

Last month, one of my new favorites, Pastel, recently had his first solo show Dasein at Hollywood in Cambodia Gallery in Buenos Aires, Argentina.

Pastel aims to create a commentary on a the current existence of man and space, to reflect on how these two have been separated and one can no longer see the reflection of the creator and the space that was built to be lived in.

Pastel: 

As a result, the lack in what it means to inhabit, live in, to dwell does not refer to the lack of dwellings. The main absence is due to a need to find the essence of inhabiting, to learn how to inhabit, to live in.

Photos courtesy of Pastel

Click to view large

Spaik’s recently worked on a mural in the Cultural  House in Colon, Mexico, titled, ‘Somnolencia Infinita’ (‘Infinite Somnolence’) 

The title does not offer a strict description of what is displayed in the mural, maybe the intention is to highlight the many potentials a cultural center can offer to its community: the characters are lively, folkoric and enthusiastic.

Spaik is recognized by the use of rich, cool colors and local aesthetics, while still reaching the appeal of a wide audience,  as well as his creativity in the manipulation of surfaces and structures.

Photo courtesy of Spaik

Tim Hans visited London recently, where he met up with seven artists for our continuing “Tim Hans shoots…” series, where Tim photographs some of the world’s most interesting street artists and graffiti writers. First up from Tim’s London trip is Ronzo, for which Laura Calle conducted this accompanying interview:

Laura Calle: Can you tell us a brief story of what inspired you to create materials for public urban spaces?

Ronzo: Sometimes you just get new ideas from walking through the streets and talking to people. Most inspiration comes through that and through other artists, what’s happening in world right now, music, film, popular culture and many other things. You see spots in the city and you see opportunities. You think: This would be a great spot to do something… It’s a great gift to have but also a bit of a curse. Ones you start – you can’t stop!

LC: What’s it like to set up a large scale sculpture in such a densely populated city like London?

Ronzo: It’s good fun. You need a truck with a big crane. Also pray that the roof doesn’t collapse and a massive monster crushes everyone walking by. But once it’s up, the sun rises and people on their way to work stop, thinking “WTF – Where did this come from?” It’s beautiful.

LC: What are the main differences you experience when making sculptures for the streets versus murals in public? Do you think the public interacts with those mediums differently? How so?

Ronzo: Sculptures are just a bit more of a niche. They take 1000 times more work to do. That’s why nobody does them I guess. But that’s great – It that makes them more special when you spot one. Also cool – You can walk around them. You can’t really do that with a painting. (But paintings are cool too)

LC: Does your audience influence your art or the approach you take to your pieces?

Ronzo: Tricky one. The feedback you get from an audience always filters back into new work of course. Although I want to do keep doing what I think is dope. And not the other way round. Of course your audience finds it interesting too in the end.

LC: What’s next for Ronzo?

Ronzo: Big tingz. New paintings, new sculptures, new installations. Details are classified top secret at the moment but will be revealed through the year. Please stay tuned…

Photo by Tim Hans

Siemiek in Canta Gallo, Peru

I spoke briefly with Peruvian artist Seimiek about a trend in street art I’ve seen a lot of in the past 2 years, one that that extends street art outside of the city and interacts with a new audience; perhaps forming new intent and meaning behind the works done by artists who’ve started to put colors in forgotten towns.

Siemiek in Canta Gallo, Peru

Laura Calle: I’ve noticed a lot of street artists have started to put up works outside the city, how do you think this changes the dynamics in your art?

Seimiek: I went outside of the city in search of new places to paint, in which case I did find new spots and the experience changed into something that gave me new ideas. New places, new ideas.

Siemiek in Canta Gallo, Peru

Laura Calle: What was your initial reason or purpose that has influenced you to paint in places like Canta Gallo?

Seimiek: I wanted to find new spots. When I went to Canta Gallo for the first time, there was a reaction by people that made me want to continue working there. I think, that that is what has made the whole experience so awesome. People will tell you, “come here, paint this spot, here here!” and then you go and finish painting that spot and they tell you how much they like it or how why they aren’t into it. That’s what made me come back. The difference in painting in the city is that you will finish something, sometimes you finish it only half way, and you leave the spot to sometimes find it gone in a few days.

Siemiek in Canta Gallo, Peru

Photos courtesy of Seimiek

“Resignation”

It’s been a while since INTI has worked in his homeland of Chile, so it was a pleasant surprise to see this mural at the Museum Cielo Abierto San Miguel.

INTI is known for his large scale portraits of single characters, but here we see a stylized metamorphosis of half good half evil, or maybe the natural vs. the cultural.

“Resistance is not Terrorism”. Click to view large.

A smaller, but quite political piece in Valparaiso, Chile.

Photos courtesy of INTI

Last week, el Decertor began working on a small township called Huachipa near Lima, Peru. I spoke to him about the context of his pieces and asked for a bit of background about the environment he works in.

decertor:

I chose this mural because it has a direct view from the hills, it is titled “Porvenir” (“To Come”) because of the elements I used: the brick symbolizes the future of a town that is emergent, the boy is the heir to this dream and apparent progress. There is also a plant growing from the brick, which is a repetitive element in my work that I generally associate with resistance, strength, and faith.

decertor:

This area is home to some brick enterprises and factories, the land has a clay-like texture, which is the key material for the manufacturing of bricks. It is a very positive activity for the families in the areas, whom mostly make a living from that industry. This area is rapidly growing in its population, therefore families living there have to organize and mobilize their rights effectively, so that they have property over their homes. Frequently, they are kicked out by “land owners” or “companies” who don’t care about the community that is being built, nor the amount of time and effort families dedicate to this area.

decertor:

In addition to the brick companies, there’s also a large area where grass is grown to sell for profit by square meters. I did this intervention at a high point in a hill where you can see in the landscape the brick and grass companies. In the Andean world, hummingbirds are a good luck charm and if a person runs into one it signifies something good is to come.

Photos courtesy of el Decertor