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    Artist Retrospective: Hyuro

    Tamara Djurovic the Argentine street artist also known as Hyuro made her mark in the form of massive murals that covered the facades of entire buildings, which appeared in various countries all over the globe.Her work on the street had a surrealist element to it. Filled with character the images she created told their own story. Often depicting women, Hyuro also embraced the landscape around her to frame these images. The buildings and environment themselves often playing a key role in the setting of her murals.Valencia, Spain, 2013The last recent years of experience brought me awareness of the responsibility we have with our work on public places and in different parts of the world, understanding art as a tool to bring out the change, to communicate and share ideologies, a different path to build bridges, break down boundaries and generate dialogues that are grown from the bottom. As I feel I contribute with my minimum daily life actions to what I believe, I see my job as another form of contribution. Hyuro said in an interview last 2015.“Morriña” in Carballo, SpainMorriña is a word of the Galician language that describes a feeling of nostalgia that linked to an anthropological point of view brings us closer to the culture as a provider of all that is not a product of nature. In this case the blanket metaphorically represents culture and all those traditions and customs that are lost with the evolution of modern timesTake a look below for a few more beautiful murals by Hyuro.Lioni, Italy, 2016Valencia, Spain, 2017“Recuperem La Punta, aturem la ZAL” in Valencia, Spain, 2018“Education” in Sagunto, Spain, 2018Manchester, UK, 2016This wall is intended to give voice to all the lost innocence, all children who are fighting for their own survival, unable, in front of the eyes of all, to live a childhood as they deserve.Ponte Delgada, Portugal, 2014Scotland, 2018Ostend, Belgium, 2017Hyuro’s  mural above was an exploration of the social condition of women in our modern society, in a somewhat cryptic and unorthodox way.Ravenna, Italy, 2015Visit more murals created by Hyuro in our #Hyuro page. More

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    “COSMOS” by David de la Mano in Uruguay

    Spanish contemporary artist David de la Mano recenlty worked on a new mural project entitled “COSMOS”. This project was carried out on the three floors of the entrance hall of the Catholic University of Uruguay.University has the same etymological origin as universe and universal that express, among other things, the sense of unity.Universitas was used to designate any association or community directed towards a common goal. Loan (15th century) from the Latin universitas, universitatis “universality, totality”, “company of people, community”, derived from universum (V. universe). In Latin it had the sense of “collectivity”, “guild”.According to S. Giedion” symbolization was born from the need to give perceptible form to the imperceptible. Primitive man searched the stars for symbols on which to project his wishes and fears and feel in the darkness of night under his protective influence. Recent studies suggest more than reasonable connections between our representation of the celestial vault and historical iconography, as well as the idea that “the sky has been a black support on which man has painted his conception of the Universe (…)”.Throughout this long period of time, it is highlighted, “there was an important change in the human mentality and from a magical and religious conception of the firmament, a scientific concept was passed that was reflected in the celestial planispheres, which went from being populated with gods and mythological beings, to be full of figures and schematic lines until reaching the graphic language of computers ”. Paleolithic men were probably the first to trace the shapes of the constellations, inaugurating what would later be called Astronomy, which before being science was religion and magic. (Extracts from the thesis Evolution of the drawing of the constellations by Luz Antequera Congregated).“COSMOS”  immersive project was conceived by the rector of the Universidad Católica Julio Fernández Techera. Artist Andrés Cocco also collaborated with David de la Mano to worked on this project.David de la Mano is known for his large dystopian murals featuring human and animal silhouettes, a minimalist style and his monochromatic use of black. David de la Mano creates distinctive artworks which are symbolic reflections on humankind and reminiscent of dark fairytales. The single anthropomorphic figures of the artist gather together and unite in an eternal and recurring movement; the individuals become the mass and vice versa, and they are driven by their dreams, ambitions, fears, vices, hopes, and internal conflicts.Scroll down below to view more photos of COSMOS. Photo credits: Sol Paperán, Nicolás Pezzino, and David de la Mano More

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    Five Artist-Collective Nominees Go Beyond Empty Talk to Deliver Acts of Solidarity in Turner Prize Exhibition

    For all the criticisms of stodginess, it is a testament to the ongoing cultural significance of the Turner Prize—the U.K.’s most prestigious contemporary-art honor—that it continues to incite passionate analysis from aficionados and naysayers alike. Though historically a controversial event, recent years have seen increased fervor for upending the familiar formula, usually in the name of today’s most popular buzzword: “solidarity.” 
    For instance, the 2019 finalists—Lawrence Abu Hamdan, Helen Cammock, Oscar Murillo, and Tai Shani—famously both shunned and welcomed the award with their joint acceptance of the prize, made as a “statement in the name of commonality, multiplicity, and solidarity.” 
    Herbert Art Gallery and Museum, Coventry, U.K., this year’s Turner Prize exhibition venue. © Garry Jones Photography.
    In May 2020, Tate Britain doled out ten individual artists’ bursaries in lieu of a single winner and the customary group exhibition. Again, the lofty goal was to “help support a larger selection of artists through this period of profound disruption and uncertainty,” as Tate Britain announced in a press release. 
    Now, in 2021, this turn toward the utopian continues, with this year’s iteration marking the first time the Turner Prize jury selected a shortlist consisting solely of artist collectives. Tate Britain has said that the nominees—Array Collective, Black Obsidian Sound System (B.O.S.S.), Cooking Sections, Gentle/Radical, and Project Art Works—“reflect the solidarity and community demonstrated in response to the pandemic.”
    Installation view of work by Gentle/Radical in the Turner Prize 2021 exhibition at the Herbert Art Museum and Gallery, Coventry. Photo: Garry Jones.
    Indeed, the fabric of all five collectives’ practices consists of various threads of social activism woven together through film, painting, installation, or sound. But the decision sparked backlash, with a chorus of think pieces (in ArtReview, Frieze, and elsewhere) lamenting the character of the 2021 Turner Prize. Nominee B.O.S.S. actually issued its own statement denouncing the Tate’s allegedly superficial commitment to social issues.
    Installation view of work by Gentle/Radical in the Turner Prize 2021 exhibition at the Herbert Art Museum and Gallery, Coventry. Photo: David Levene.
    All of this preemptive brouhaha has finally culminated with the official opening of the Turner Prize exhibition at the Herbert Art Gallery and Museum in Coventry, the U.K.’s 2021 City of Culture. The five collectives’ presentations stretch across four individual galleries, with the Welsh entrant, Gentle/Radical, serving as the curtain-raiser in an introductory space removed from its nominated peers. The community activists—not all made up of traditional artists—present a series of flags alongside a projection focused around Gorsedd bardic prayers, in a defiant post-colonial reclamation of Welsh culture.
    Installation view of work by Cooking Sections in the Turner Prize 2021 exhibition at the Herbert Art Museum and Gallery, Coventry. Photo: Doug Peters/PA Wire.
    Elsewhere, the ultra-hot Cooking Sections, who just closed a stellar solo show at Tate Britain, somewhat lazily relies upon a reheat of that recent exhibition, once again examining the effects of salmon farming. Since this duo is concerned with how our food consumption impacts the climate emergency, why not shed light upon a new aspect of that complex and enormous issue, given the opportunity of this highly visible platform?
    Installation view of work by B.O.S.S. in the Turner Prize 2021 exhibition at the Herbert Art Museum and Gallery, Coventry. Photo: David Levene.
    B.O.S.S. offers a dark room sparsely outfitted with a stark set of speakers paired with flowing banners animated by household fans placed on the floor beneath, all capped off with a black obsidian sphere on a plinth. A streamer announces that “Sound is the only system,” which comes across as a half-baked declaration: despite the conviction with which it is declared, the statement’s zeal is rendered moot by the absence of precise meaning. (If the installation underwhelms, it should be noted that B.O.S.S.’s public criticism also addressed the lack of adequate time for the group to prepare for the exhibition.)
    Installation view of work by Project Art Works in the Turner Prize 2021 exhibition at the Herbert Art Museum and Gallery, Coventry. Photo: Doug Peters/PA Wire.
    Project Art Works, hailing from Hastings, restages a “typical” artist’s studio. Their intervention initially appears to be an ordinary creative space, with framed works hung on white walls. Yet the gallery’s conventional white-cube feel is interrupted by a smaller enclave, installed smack-dab in the center of the room, that houses an archive of over 4,000 works by neurodivergent artists. Project Art Work’s accomplishment is rooted in this sleight of hand, disarming the audience with the slick banality of the initial setting, which amplifies the revelation that neurodiverse creators are responsible for all of the art on view—thus making it clear that greater visibility and acceptance for such “disabilities” benefits culture at large.
    Installation view of Project Art Works in the Turner Prize 2021 exhibition at the Herbert Art Museum and Gallery, Coventry. Photo: Garry Jones.
    Last but not least, the Belfast-based Array Collective, which focuses on social issues affecting Northern Ireland—including abortion rights, queer visibility, mental health, and gentrification—has created a makeshift pub which takes up the majority of their allotted gallery space in an installation that stands head and shoulders above their fellow nominees.
    The colloquial “pub” dates back to 1859, a slang shortening of “public house.” Though that fact is not explicitly referenced in the exhibition text, the idea of a location built solely as a space for a community to come together looms large here. A three-channel video work is mounted on the far wall, with members of marginalized communities relating mythological stories with knee-slapping barroom humor. I was moved to tears by one portion describing LGBTQ+ persons living in Northern Ireland during the Troubles. Despite the horror of that history, tales of “Catholic fairies” and “Protestant fairies” who managed to actively identify and recover a sense of love, kindness, and community provided the most powerful moment during this year’s remarkable Turner Prize exhibition.
    Installation view of work by Array Collective in the Turner Prize 2021 exhibition at the Herbert Art Museum and Gallery, Coventry. Photo: David Levene.
    Pitting socially-minded activist collectives against each other could be perceived as a contest of moral superiority, particularly when staged during a moment in which use of the term “solidarity” has become near-meaningless in its ubiquity. But even if the concept of solidarity seems saccharine—and even arguably outdated at this point—the Turner Prize jury correctly identified the pulse of current art-making. By that measure, this is a successful exhibition. It should appeal not only to those interested in contemporary art, but also to those with a stake in discourses propelling critical change in society today.
    “Turner Prize 2021” is on view at the Herbert Art Gallery & Museum, Coventry, U.K., September 29, 2021–January 12, 2022.
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    Fifth Edition of Parees Fest in Asturias, North of Spain

    The fifth edition of contextual muralism festival Parees Fest, promoted by the Municipal Foundation of Culture and which took place between September 13 and 19, has closed a fiveyear period of mural interventions with some thirty large-format works by local, national and international artists.Parees Fest has achieved in these five years that neighbors, organizations and specialists get involved in the joint elaboration of murals that are always tributes to Asturian characters, traditions and events, in a unique mix of art and history. Almost all the neighborhoods of Oviedo, and towns such as Olloniego, Trubia or Tudela Veguín, have walls that are no longer just walls, but memory and people.This year was a really special edition as we could manage to purpose again some activities (last year was under all the restrictions due to Covid-19), and also celebrated proudly this fifth anniversary.Mural by Alba Fabre SacristánThe Catalan artist Alba Fabre Sacristán created an exquisite impressionist mural, where light and movement draw the figure of two “Sidros” captured in full jump.The “Sidros” and the “Mascaradas de Invierno” are Asturian and pagan traditions. Members of these groups (traditionally men, but some women can wear the costume since 2019) are celebrating jumping, dancing, making noise with cowbells, and with improvised sarcastic comedy about what happened in the village during the year. This ritual existed in various places, but almost disappeared with Franco.It’s related to Winter’ solstice, fertility and the beginning of adulthood for young men. On the contrary of Carnival, masks are not to hide, but to show the archetypes of the characters of the comedy (the ugly ones, the handsome ones, animals, natural elements…)Mural by Emily EldridgeThe Primitive “Camino de Santiago”, different from the busiest French Way, starts in Oviedo and takes pilgrims to Santiago de Compostela.In 2015, it was recognized by the UNESCO, along with the “Camino del Norte”, as a “World Humanity Heritage Site”, the highest distinction that a cultural asset can receive. It is a magnificent route that crosses Asturias and Galicia, but is also known for its difficulty, due to the peculiarity of the landscape (all guides recommend an advanced level of hiking).The American artist Emily Eldridge created after some meeting with historians a mural full of colours, representing a “modern” pilgrim, with a skirt and painted nails, walking happily towards her next stage.Mural by Foni ArdaoAmong Parees Fest’ Asturian themes, those with literary content stand out, such as the murals dedicated to Clarín or Dolores Medio. To illustrate the famous story “Montesín” by María Josefa Canellada, a philologist and one of the main Asturian writers of the last century, the Asturian artist Foni Ardao explored the tender relationship between the lost goat and her little caretakers.A well-deserved honour to the first children’s book in Asturian, written in 1979, where we can see the goat Montesín in the arms of the girl, in the lands below l’Escorial, while the boy plays the guitar with his friend the magpie on his shoulder. Surrounded by nature and heated by a fire, the characters convey a lot of peace and sweetness.Foni added to his mural a tribute to his mother, Margarita, who died just over a year ago, represented by the flower bearing her name in the girl’s hair.Mural by Luogo ComuneFor this edition, the Italian Luogo Comune has painted a huge mural dedicated to Oviedo. The inspiration has been provided by citizen testimonies, the personal stories of dozens of people who participated in the campaign “What do you think makes the city of Oviedo special?”.The answers to this question, launched by Parees Fest and the City Council’s Citizen Participation Area, were transferred to the artist, who has composed a work that combines history and nature, the pre-Romanesque past and the proximity of the mountain in its iconography.Check out below for more photo from Parees Fest 2021. More

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    Ardú Street Art Project 2021 in Cork, Ireland

    Ardú Street Art project arrived in Cork October 2020 injecting a burst of colour, vibrancy, and life into the city in lockdown. Seven of Ireland’s most respected and renowned street artists were invited to create key city-centre locations, in response to a theme inspired by the 1920 Burning of Cork. Find work by Deirdre Breen at Wandesford Quay, Maser at The Kino, James Earley at Henry Street, Peter Martin at Kyle Street, Shane O’Driscoll at Harley Street, Aches at Anglesea Street, and Garreth Joyce at Liberty Street.The Ardú team are delighted to announce their return to Cork city’s streets from today September 27th, until October 11th, with four more large scale murals to brighten up the city centre landscape. Commissioning artwork from home grown talent of the highest level is the main aim of Ardú. The 2021 edition will welcome artists — Friz (Belfast), Shane O’Malley (Galway), Conor Harrington (London), and Asbestos (Dublin).Ardú organisers Shane O’Driscoll, Paul Gleeson and Peter Martin are excited to present the second edition of Ardú to the public, in a safe space where you can observe the murals come to life outdoors. “At a time when we face shared and personal challenges, each of our artist’s murals are a rallying cry to the city – a call to remember that we have been through terrible times before and we rose up. We can do it again.Having made such a positive impact on the city last year, we are excited to be back with another line-up of inspiring artists to transform Cork city’s streets.”Friz is the first artist to kick off this year’s series, she is currently painting at St Finbarr’s Road, Cork. Further details on the Ardú Street Art project, including each mural location, will be announced soon. Keep up to date with the process by following Ardú on social media: Twitter @ArduStreetArt / https://twitter.com/ArduStreetArt | Instagram: @ArduStreetArt | www.arducork.ie More

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    “Sweet Freedom” by Max Sansing in Gothenburg, Sweden

    This summer Swedish street art organisation Artscape joined the city of Gothenburg to help the city celebrate its 400-year anniversary. American artist Max Sansing created the eighth and finishing mural artwork ’Sweet Freedom’, making his first mark on European soil.Sansing has in the last few years become one of the US most prominent urban artists seamlessly blending his roots in graffiti with classic figurative oil painting aesthetics and strong symbolism. His colourful expression, often featuring portraits of young black people, has now found its way to the neighbourhood of Biskopsgården, placed on the public sports hall at one of the local elementary schools.“To be able to invite Max Sansing feels amazing. He is a politically conscious artist who unites symbolism, realism and expressive colours in a truly inspiring way and it will put Biskopsgården on the international art scene”, says Daniel Wakeham one of Artscape’s founders.Max Sansing received his informal training on the Chicago graffiti scene and has since then graduated from American Institute of Art. Aside from his murals he has had work on display in galleries reaching from Washington to Miami. For ’Sweet Freedom’, Sansing took inspiration both from Swedish nature and the Ghanesian expression Sankofa, translating roughly to connecting to your past for wisdom.The mural was made possible through a generous grant by the Sten A Olsson foundation for culture and science. “The art Artscape produces is free and available to all and through art their aim is to include and inspire. Our hope is that this joint effort will help to create a sense of pride and positive identity in Biskopsgården” comments chairman of the board Madeleine Olsson.“Biskopsgården is an area where hardly any of the events surrounding the 400th anniversary take place. A big and impressive work of art in the neighbourhood can both bring new visitors as well as underline a sense of community in the area. We’re really grateful for the support of Stenastiftelsen making this mural possible”, adds Tor Hedendahl, one of Artscape’s founders.The three storey high work of art was finished in September, being the latest piece in the region’s ever expanding collection of international street art. Before flying back home Sansing praised the Swedish working environment for how free he was to follow his creative intuition. “I didn’t even need to show a sketch and could figure stuff out as I went along. I kind of want to take this mural home with me. It was something special.” More

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    It’s on Us to Queer the Metaverse: A Digitally Savvy Athens Biennale Tackles the Promises and Pitfalls of Web 3.0

    Of the many era-defining societal shifts and inequities that the Covid-19 pandemic has brought into focus and accelerated, the change in the ways we use and navigate the metaverse are perhaps the least widely recognized and understood. Our dependence on the virtual realm seemed to swell overnight, as those who could moved their work to online rooms, minted NFTs, traded cryptocurrencies, and sent their avatars gaming with like-minded strangers. Only now are we realizing that this version of Web 3.0 being created has the potential to be as grim as the current moment in our physical world: For one, right-wing extremists recruiting and organizing in online quest games has very concrete ramifications in real life.
    In his nine-part Metaverse Primer, updated in June 2021 in response to the effects of the pandemic, venture capitalist and former head of strategy for Amazon Matthew Ball offers this definition: “The Metaverse is an expansive network of persistent, real-time rendered 3-D worlds and simulations that support continuity of identity, objects, history, payments, and entitlements, and can be experienced synchronously by an effectively unlimited number of users, each with an individual sense of presence.” Or, to put it in simpler terms, “No one really expected the next generation of the internet would come from mobile gaming, and yet here we are.” That some of the most in-depth writing about this new reality comes from a venture capitalist says it all.
    Nektarios Pappas performing The Last Judgement–Reloaded at the 7th Athens Biennale, “ECLIPSE.” Photo: Emilios Charalambous.
    “ECLIPSE,” the 7th Athens Biennale (AB7), cocurated by Ghanaian-American curator Larry Ossei-Mensah and Omsk Social Club—a Berlin-based group whose practice is anchored in speculative role-play gaming—under the artistic direction of Poka-Yio, homes in on questions surrounding the utopian promise of Web 3.0. It is up to us, this divergent curatorial team argues, to lay claim, create, meet, build, and thrive in those digital realms. It’s on us to queer the Metaverse.
    Fittingly, the list of participating artists includes many individuals and collectives working under pseudonyms and exploring the possibilities of digital practices. Afro-Hungarian artist Huntrezz Janos delivered a digital performance titled Eclipsatrix Exuvia during the biennial’s opening weekend, her bejeweled, chimeric avatar twerking and spinning on a screen inside one of the exhibition’s venues, a former department store. Nascent, a Berlin-based duo founded in 2018, is showing a multipart work titled Temporal Secessionism.  A series of digital clocks installed on all floors of the abandoned store, the work keeps track of three different time-measuring systems: one is based on real-time Bitcoin transactions; one shows the consensus of time that syncs all online servers; and another, dubbed “healing time,” moves according to the frequency of broken quartz, the crystal used in analog clockwork. On the 3rd floor, the pseudo-company Hypercomf (brainchild of the Greek artists Ioannis Koliopoulos and Paola Palavidi) has set up an office environment, replete with ergonomic chairs, branded mugs, and indoor plants, and desks made of pressed plastic waste. Some of these elements are coated with organic matter to enable mycelium growth, possibly inviting strands capable of decomposing plastics. Mycelium also happens to be the name of a popular Bitcoin wallet.
    Claude Eigan, Inner Saboteur II (2019), at the 7th Athens Biennale, “ECLIPSE.” Courtesy of the artist. Photo: Emilios Charalambous.
    Despite its digital-savvy focus, AB7 also raises issues concerning our fragile physical existence and the class and racial inequalities affecting it. The approach, however, is to address and activate viewers’ tacit and embodied knowledge, rather than beating them over the head with identity politics: the messages are communicated not discursively but instead appeal to viewers’ intuitions surrounding social hierarchies and racial divides. It’s portraiture in lieu of manifestos.
    In fact, there is a dazzling amount of photography on view by artists who consider, claim, and reimagine the ways in which to represent nonconforming, disobedient, or other-ed bodies. A series of portraits of members of South-Africa’s LGBTQ community by Zanele Muholi is stunningly straightforward; Kayode Ojo’s glossy portraits are jarring in their rejection of representational tropes, a rallying cry to turn our (luscious, warm) backs on excessive consumerism in favor of a celebration of the unbranded self. Awol Erizku’s still lifes, populated with signifiers of Black culture, are blown up to cover entire walls in what used to be the department store’s sports section.
    Andrew Roberts, RHYTHM RATTLESNAKE: The world ends with you, baby centipede (2020), at the 7th Athens Biennale, “ECLIPSE.” Photo: Nysos Vasilopoulos.
    There are numerous soundscapes and sound installations by artists, including Moor Mother, whose activist spoken-word and protest poetry, which deals with intersectional feminism, inherited trauma, and systemic racism, resonate through the main venue. An installation by the Belgian composer and artist Billy Bultheel, commissioned for AB7, fills the basement of the former Santaroza Courthouse in Dikaiosinis (or Justice) Square, which stood empty for 30 years. The biennial’s organizers initiated the building’s reopening to the public, as well as the cleanup of the small green lung—so scarce in Athens—that the square provides between two main thoroughfares.
    Labor and exhaustion was one of the curators’ considerations, too, often implied via its actual remedy—an invitation to take a seat. A series of upcycled chairs made at an Athens workshop, commissioned by London-based designer Yinka Ilori as part of his program for people in addiction recovery, greets viewers on the department store’s first floor. (Ilori was enlisted to design ONX Studio in Athens, the Onassis Foundation’s new extended-reality center, slated to open in 2022). On the upper level, fantastical animal-headed furniture by Nuri Koerfer invites viewers to pause and sit on the sculptural works.
    Ayesha Tan Jones performing The New Elementals at the 7th Athens Biennale, “ECLIPSE.” Photo: Nysos Vasilopoulos.
    In the biennial’s third venue, an abandoned office building, Miles Greenberg, who’s the youngest artist on view at 22, enthralls with the video work Late October (2021). A protégé of Marina Abramović, Greenberg edited footage from a seven-hour durational performance he staged Paris last year, in which seven Black performers (including himself), each representing a figure from Greek mythology, perch atop slowly revolving plinths. Treating the body as sculptural material, the 20-minute piece speaks of the erosion of both artifacts and empires.
    Cajsa von Zeipel, Formula X (2020), at the 7th Athens Biennale, “ECLIPSE.” Courtesy of the artist and Company Gallery. Photo: Nysos Vasilopoulos.
    But perhaps no other work captures the oscillation between the two realms we have come to create and exist in than Formula X (2021), a sculpture in silicone, rubber, and steel by Swedish artist Cajsa von Zeipel. Like a Mad Max: Fury Road amazon of the metaverse, a hyper-human pregnant figure is steering a three-wheel ATV into the unknown. Her bags are packed with diapers for her first baby and soon-to-be born second, and treats for her two dogs in tow, everything strapped onto her body or the vehicle with leather and rubber biker gear. The work’s dimensions are larger than life-size, just like the expectations and strain put on single mothers, not only during pandemic lockdowns. She is fierce and in control as she rides over sushi, which lodges between the tracks of the wheels. Or is this a projected avatar emerging from a deeply exhausted human existence?
    The seventh Athens Biennale, “ECLIPSE,” is on view at various venues throughout the city, September 24–November 28, 2021.
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    “Mou Mou” by Elian Chali in Rabat, Morocco

    Argentinian artist Elian Chali recently worked on a mural project entitled “Mou Mou” in Rabat, Morocco. The mural is made of acrylic paint that stretches over 50 x 8 meters of the building’s facade. The project was done in collaboration with Jidar Festival, curated by Salah Malouli.Elian creates vibrant murals that balance a simple aesthetic with carefully calculated designs. He often incorporates anamorphic shapes into his murals, placing squiggles and squares at the corners of buildings, creating the illusion of floating patterns. Clean lines and flat color fields almost seem to be rendered digitally rather than laboriously hand-painted across hundreds or even thousands of square feet.His aesthetics are inspired by the Pop-Art, minimalism, Russian constructivism, and neoplasticism. Through his work, the artist seeks to open a discussion that goes from the social problems to the poetry of the habitat in which he creates.Scroll down below for more photos of the mural and check back with us shortly for more updates from Elian Chali. More