a bit of Vhils

bw, mostly Vhils

vhils luv

e esta porque sim:

here.

Ciredz mountain lift off

Roberto Ciredz
and here.

know hope

from here.

C215

passou em Lisboa.

a Banksy ballerina

for the weekend.

Banksy for Green Peace

ainda não fui ver: Sam3

ao vivo.



Sam3.

fairplay

na Amadora.

Banksy in Bristol

Banksy's Bristol Show

Robin Rhode

Snake Eyes (2004)

Landing (2005)

Wheel of Steel (2006)

Yo Yo (2005)

Table of Contents (2006)

Teapot (2005)

Stone Flag (2004)

imagens daqui. a ideia desenho-pessoa é uma ideia muito antiga, ainda nas fábulas e contos tradicionais -o lápis que desenha objectos e animais- uma ideia desde sempre presente na animação e que Rhode passa aqui para a street art. as suas paredes não significam nada sem a figura humana.

Shepard Fairey's Obama

Uma das imagens não-oficiais da campanha de Obama foi a do artista Shepard Fairey.

Mas se a eleição o catapultou para a primeira página, já era bem conhecido anteriormente pelas suas imagens 'Obey'. Achei interessante um artigo que o acusa de plágio, com o qual não concordo, pois os limites do plágio num tempo de circulação quase livre de imagens são muito frágeis; muitos outros artistas usam imagens alheias.

rui!

cidade melhor? nãhh..
Curiosidades que ajudam a deslindar: por muito acaso fui dar a "verbal self-defense". Pérolas...
"Why Verbal Self-Defense is a Skill We Need.
It has undoubtedly happened to you. There you are, in the middle of a fierce argument with someone, and suddenly you realize that you not only don't particularly care about the subject of the argument but you can't understand how you got into the altercation in the first place!
This isn't trivial. Hostile language is dangerous to your health and well-being; it's toxic stuff. People who are frequently exposed to hostile language get sick more often, are injured more often, take longer to recover from illness and injury, and suffer more complications during recovery. As an obvious result, they tend to die sooner than those not so exposed. "
Ah... the beauty of internet. Just for the record: what a huge, humongous heap of trash this is.

Odeith, the illusionist

http://www.odeith.com/

"I found Portuguese Graffiti to be amongst the best in the world. I got off of the bus in Lisbon and my jaw immediately dropped. The street art is beyond good here- its colors are bright and its message poignant." (daqui, do Traveller)

And some links from the generous Traveller:
Graffiti in Portugal: the other side of the wall
Interview with Mr. Dheo
Interview with Eskema
More photos of Portuguese Graffiti

Os Gêmeos

Octávio e Gustavo Paldolfo, de São Paulo, "ficaram conhecidos em SP por seus grafites com mensagens políticas nas ruas da cidade." (daqui) Em 2006 em Nova Iorque, este ano na ARCO de Madrid. Esta presença em Madrid, cidade de movimento, despoletou um interesse generalizado em Espanha:

"Octavio y Gustavo Pandolfo son los artistas del graffiti que se esconden tras el tag Os Gemeos, y sí, son gemelos idénticos. Sus primeras obras se pudieron ver a principios de los ochenta en las calles de Sao Paulo, su ciudad natal. Sus pinturas murales tienen un inconfundible estilo en el que aparecen personajes con grandes cabezas amarillas y cuerpos cuadrados que congelan situaciones de la vida cotidiana: el amor, una detención o la nostalgia del recuerdo. Actualmente llevan a cabo exposiciones por todo el mundo y la última se pudo ver en Madrid. En esta muestra observamos que habían vestido a algunos de los personajes que aparecen en sus obras con prints de Prada y Louis Vuitton. " (texto e imagem daqui, um blogue interessante, de Borja Rodriguéz)

Em 1999 passaram por Portugal, não para uma Bienal ou Exposição ou... mas de férias, em Carcavelos.

Some unique styles have developed in Brazil as a result of its relative isolation from the rest of graffiti culture. What are the big stylistic and tools differences?
"At first we were the same as the others, painting b-boys and generally staying close to the themes in hip hop culture. As time passed, naturally things changed. We never forgot the roots, but we decided to go our own way.
As for techniques, here in São Paulo things are different. We decided to use different materials (for example, latex) not only because it is more economical, but because it's more available, it covers so well, and because it supports what we find in the streets. We always use latex for backgrounds and then outline in spray. Yellow latex and red spraypaint are used just for bombing. For the big panels, we use only spray paint. We think that latex goes with our culture.
Perhaps because we had no information about graffiti in the beginning, it helped us a lot. We never watched anyone else painting. The only things that we had were some flicks and a piece of film that showed us graffiti. So we tried to discover how these things were done. We think we ended up discovering other things as a result. "
A entrevista toda, aqui.

Aqui, na Deitch. Este Verão, Os Gémeos colaborarão na pintura de uma fachada da Tate. São Paulo velejando...

"In the first commission to use the iconic river façade of Tate Modern, the gallery will present the work of six internationally acclaimed artists, whose work is intricately linked to the urban environment. Street Art at Tate Modern, sponsored by Nissan QASHQAI, opens on 23 May and is the first major public museum display of Street Art in London.
All six artists are represented in major collections around the world and regularly shown in gallery exhibitions and biennales but their work began in public urban spaces and remains indebted to Street Art and graffiti traditions. The artists are: Blu from Bologna, Italy; the artist collective Faile from New York, USA; JR from Paris, France; Nunca and Os Gemeos, both from Sao Paulo, Brazil and Sixeart from Barcelona, Spain. " (daqui)
Entre Maio e Agosto de 2008, na Tate. Ora aqui está uma coisa que eu vou ver!

Rigo 23

Rigo, nascido Ricardo Gouveia, é pintor, muralista e artista político nascido na Ilha da Madeira. Emigrou jovem para os Estados Unidos e estudou no San Francisco Art Institute obtendo, em 1991, o BFA e. em 1997, o MFA na Stanford University. Reside em São Francisco, California. É particularmente conhecido na comunidade de São Francisco por ter pintado sinais públicos de “sentído único” em ruas principais da cidade. É um dos fundadores do Colectivo Clarion Alley Mural Project e foi membro activo até 2006. Participou com diversas instalações na Bienal de Liverpool. É considerado por alguns críticos e curadores, pertencente à primeira geração de artistas saídos da San Francisco Mission School. Desde 1984, Rigo utiliza dois dígitos do ano como parte do seu nome, p.ex. “Rigo 23", em 2003.

Este é também o texto que descreve Rigo na Coleção Berardo que tem três obras deste artista madeirense, agora californiano, imagino que seja o texto da Colecção Berardo que tenha sido utilizado na wikipédia.



Rigo 23, em entrevista: "There are potentially as many roles for art in our society as there are artists. In fact we live in such a pluralist and overstimulated environment that there are even different societies being addressed by different artists. The type of role I see for myself is to remain part of the open and sensitive strands of whichever society I'm mostly engaged with. As artists we argue for the consideration and acknowledgement of cultural phenomena that might otherwise be overlooked. As artists we are communicators, and for me there is no bigger thrill than to communicate with as varied an audience as possible."

Outra biografia, esta do SF MOMA:
"Rigo came to the Bay Area to study art from his native Madeira Island, Portugal. He received his BFA from the San Francisco Art Institute in 1991 and his MFA from Stanford University in 1997. Rigo has been awarded public commissions including murals for the San Francisco International Airport, the Gerbode Foundation, and the San Francisco Arts Commission. He creates images that are direct comments on culture and society. His San Francisco murals One Tree, Innercity/Home, and Sky/Ground have made him a popular spokesperson for urban residents. Rigo was a 1999 SECA Award recipient at the San Francisco Museum of Modern Art, and has shown his work extensively in the Bay Area as well as internationally. He is represented by Gallery Paule Anglim in San Francisco. "



Rigo prefers to follow his own Direction, um excelente artigo do SF Gate:
The signature work of Rigo 98 is not inside SFMOMA but just outside, on two walls of the adjacent Williams Building. Down the east wall a huge painted arrow says ``Ground'' and points in that direction. Up the south wall the arrow says ``Sky'' and points up.

Both arrows are painted black and white, offset by bold stripes in the fashion of street signs.

``People are trained to look at them for instructions, so it follows a good delivery system,'' says the artist, now called Rigo 99. His name advances with the year, as it has since he arrived as Ricardo Gouveia from Madeira Island off Portugal and reinvented himself as Rigo 85, wall muralist.
Working mostly South of Market, he uses traffic-sign language and script, which he describes as ``official iconography that I am self-appointed to use.''
As a street artist, adding life to bleak buildings, Rigo has painted about 20 walls, either on small stipends from the landlord or by covering the cost himself.

``I like the direct access of it,'' he says. ``It's addictive. I walk around and see a bare wall, and the juices start flowing.''

At 32, he is finally being paid for his imprint. He's just been commissioned to create a mural for the concrete exterior of the Berkeley Art Museum. He's thinking about prisons and computers, ``the two fastest- growing industries in California,'' he says.

The two-sided mural next to SFMOMA was made with a $30,000 private grant. Rigo approached it as he always does, by walking in the vicinity to get a feel for political undercurrents.
The Williams building is historic and must be preserved, but a huge condo complex is scheduled to be built around it. The sky will be raised and the ground dropped when construction crews arrive to follow Rigo's bold directions.
``It's addressing the development in this area,'' he says, ``where the sky begins farther up.''
At nine stories, it is his tallest work, and Rigo is afraid of heights. He works from a swing stage, the kind dropped for window cleaners. It is kitted out with a drop line, level and paint roller. He diagrams each piece in his Excelsior district studio. Once he gets on the scaffold, he works daybreak to dark to finish as quickly as possible and maintain the element of surprise.

For his SECA project, Rigo climbed higher still, to the top of the Pac Bell skyscraper, which looks down on the back of SFMOMA, west across Yerba Buena and out to Twin Peaks. He painted a canvas mural of that cityscape. Included, like little hidden pictures, are several of Rigo's other murals.

The canvas, called ``Looking at 1998 From the Top of 1925,'' covers one wall of his room at SFMOMA. On the opposite wall is a California Bear flag with the bear cut out. This flag desecration might infuriate native Californians if it weren't so spot- on true. The grizzly bear on the flag has been driven near extinction and is headed for a door marked ``Emergency Exit.''

That conveys Rigo's sense of irony. He started by copying advertising, and now he's noticed the advertisers are copying him. ``They're using the same strategy I myself was appropriating,'' he says, ``so it's hard to be upset. But it's amazing how fast things are co-opted.''



"One of my favorite San Francisco artists named Rigo did this piece. He also did the most excellent public art piece in 1995 called One Tree. You can view it here: here. This one lonely tree is situated in a fairly industrial part of town, warehouses and freeway entrances abound. I love coming across it when I drive in that part of the city. " (em super hero design)



É muito curioso encontrar este artista português a mudar a paisagem em São Francisco. Mais, saber que pertence a uma corrente artística americana, afinal um país de adopção. Ricardo Gouveia andou no liceu na Madeira mas frequentou depois o ensino superior artístico em São Francisco, minha cidade americana favorita. Aqui está em casa, aqui é exposto e aqui recebe bolsas para poder desenvolver o seu trabalho. Esse trabalho, ironicamente, inclui uma crítica impiedosa ao país que o acolhe. No contexto de um recente texto sobre imigração/integração, devo afirmar e reafirmar que os Estados Unidos são de facto um grande país. E do trabalho de Rigo 23, gostei mesmo muito.




Rigo Artwork, Painting by the Numbers
A conversation with Rigo'00
In Full Site: Rigo '99
This Space for 'Huh?'