Later this month, the new DUBL TRUBL collective is going to be having their first exhibition. It will be at Urban Spree in Berlin, and it opens on September 18th. A bunch of great artists are involved, brought together by Dscreet who is curating the show, and all of the work will be done collaboratively in pairs. You can learn more about the show here.
That all sounds great. Except that Skewville didn’t make any paintings or sculptures for the show. So instead, Skewville and Dscreet made a video. I’m not totally sure how people are going to react to this video, but I imagine there will be a lot of love, a lot of hate, and some viewers just left feeling a bit queasy. Anyway, enjoy…
I’ve been traveling a bit and I’m in London at the moment, so here’s me playing some catch up:
There seems to be a big question mark on the freshly launched Street Art Project from Google. I’ve been getting friends outside of street art sending me links to the NYTimes article about the project and asking what the hell to think, and everyone within street art that I’ve spoken with seems unsure of what to think about the thing. I’m also unsure so far. On the surface, sounds great: A major institution offering to archive, tag, map and promote the best high-resolution photos of street art around the world. But the more I think about it, the less exciting it sounds: Only a select few contributors (from the amazing Living Walls to the questionableGlobal Street Art), essentially replicating the functions of flickr without the ability for anyone to participate, using art to whitewash the reputation of a controversial company… Honestly, if I had the opportunity to contribute photos to this project, I probably would just because of the possible selfish promotional value, but at the same time I’m not sure that this project is of any real worth the the street art or graffiti communities. I don’t know. I’m just not sold on the idea that this is the best strategy or documentation or archival. Anyone have any thoughts on this thing?
Ken Sortais aka PAL Crew’s Cony had a show on in Paris earlier this month. The show has closed now, but it’s worth checking out the photos. The sculptures are very George Condo-esque, but Sortais has some real talent. The work isn’t completely removed from his graffiti, but he’s certainly not using his graffiti reputation or skills as a crutch for these gallery works, something that happens all too often with less talented artists as they move from the street to the gallery.
All of London is talking about the Roa and Ripo shows opening today at Stolenspace Gallery. I’m looking forward to the opening: Two artists whose work I enjoy, and it will be my first time at Stolenspace’s new location.
Next week four of the great early photographers of graffiti will be on a panel hosted by Jay J.SON Edlin at the Museum of the City of New York as part of the City as Canvas show. That’s one event not to miss. I may even come up from Philadelphia for it, so if you’re in NYC, you have no excuse not to go. Use the discount code in this flyer to save a bit on tickets to the event.
When Banksy announced today’s Better Out Than In piece this afternoon, people began running to a little thrift store on 23rd Street in the hope of scoring the deal of a lifetime. I would have run with them if I were in town. But luckily the thrift store was tipped off to what was about to happen. Banksy had just donated a “crude oil” painting. His crude oil series involves him taking old paintings, in this case one that he bought from this thrift store, and adding his own touches. Two early street artists, John Fekner and Peter Kennard, experimented with similarpieces long before Banksy, but Banksy has really pushed the idea and made it his own thanks to his habit of inserting his modified paintings in places where the unmodified paintings might normally hang.
This crude oil painting, titled The Banality of the Banality of Evil, features the addition of a nazi officer to the idyllic landscape. It’s in a thrift store that benefits Housing Works, a charity fighting “to end the dual crises of homelessness and AIDS.” Housing Works have put the painting for sale in an online auction ending in the evening on October 31st. As of this posting, the bidding has reached $157,200. If you’ve looking for a new Banksy and have $200,000 or so to drop, you can bid here.
When I started to hunt Montreal illegal street art, it appeared to me that a city is not static as usual people can think it. When you look closer, you can observe the walls change by the art that sticks on them. I was able to see the evolution of the streets and in the same time I saw ordinary places becoming amazing spots. When an artist, or a group of artists take over a wall, a door, and make it themselves, they give a soul to the city. Below you will see the transformation of some pieces whether completed or fixed. Interestingly, from a collective action or an individual one, it results that the urban environment is likely to be changed and magnified. The walls are for everyone but some of them exclusively belong to some artists. Hope they stay like this!
Dscreet has a solo show opening in London in a few weeks, and he’s just put out a teaser video for the show. Normally I tolerate teaser videos but don’t particularly enjoy them. Luckily, Dscreet is actually a filmmaker in addition to being a painter so the teaser actually looks pretty cool even as a standalone video. Check it out:
Dscreet’s show, The Other Sideshow, opens on July 12th at the Roktik Gallery at 214 Brick Lane in East London.