Eliana Willis

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    in Street Art

    New Mural by PARBO in Buenos Aires, Argentina

    Lucas Lasnier, aka PARBO recently worked on a new mural in Chacarita, Buenos Aires, Argentina. This mural work arises from talks in the middle of the pandemic with Alejandro the Owner of the coffee sshop “La Nueva Esmeralda”, a classic neighborhood store outside the commercial area of the city.La Nueva Esmeralda coffee shop was on the verge of closing the business during the strict quarantines throughout 2020 in Argentina. Fortunately, thanks to the help of neighbors and customers , who are mostly neighborhood taxi drivers who have this place as their fixed stop.Somehow the quarantine hit us all, in my case, being a visual artist who has been working in public spaces for 20 years, I went from having an active activity in the street to having to articulate my activity strictly indoors in my atelier. Already in 2021 with some airs of change and certain movements in the field of culture with activities that were recovering, I proposed to Alejandro the idea of painting a work on the side of his store, a self-managed work that helps us to resume our activities generating movement and attraction in order to somehow return and break the inertia of the pause imposed by the pandemic” PARBO stated.This mural takes up the old spirit of the early days when we painted not for the applause or for the money, simply for the pleasure of finding an excuse to tell something new on a wall and that is linked to a very particular moment in the world. in which we are living.Lucas Lasnierwas born in Mar del Plata and raised in Buenos Aires, Argentina. He is a graphic designer and visual artist, professions that develops as founder Director of  KidGaucho.He is a member of a generation of artists who have taken their talents in art and design environments beyond traditional galleries and commercial contexts. He threw paint on the street in 2001, experimenting first with letters and stencil graffiti. Being part of the pioneers in the local street art movement. Its performance is expressed in Buenos Aires and in different cities of Latin America and Europe.Stay tuned for more updates on PARBO and the international street art scene! More

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    in Street Art

    “Home Bodies” Solo Exhibition by Emma Stern at Carl Kostyál Gallery, Stockholm

    Carl Kostyál Gallery | Hospitalet, Stockholm proudly presents “Home Bodies”, New York-based artist Emma Stern’s second solo exhibition with the gallery and first show in Sweden. The exhibition will open on Thursday November 11th and will run until December 3rd. Preview: Thursday November 11th, 5-8 pm.Emma painted the series Home Bodies while living in London at the beginning of 2021. The country was under a strict and prolonged lockdown due to Covid-19 and Emma spent her days between the house and the studio. In this series of paintings, she explores the female body in typical housekeeping activities, questioning gender roles through the idiosyncratic, overly-sexualised poses of her cybers.Borrowing from the visual vocabulary of online niche subcultures such as fursonas, fandom and 3D erotica, Emma Stern plays with the quasi-pornographic representation of women in the virtual world, combining traditional painterly techniques such as monochromatic underpainting and chiaroscuro with virtual 3D programmes and modelling to create eerily anonymous, finely-worked ‘portraits’, reclaiming these man-made avatars for the female domain.“Stern comments on the consequences of biases and preferences, particularly within the male-dominated spheres of software and technology. She further inspects the effects of these biases through the female body as it would be seen in cyberspace. Her dreamlike aesthetic borrows from the visual lexicon of gaming culture, such as those seen in furries, fandom and various erotic 3D art message boards and creates arresting scenes that truly float in space.” Hypebeast, 2021“What my work is most critical of is the inherent inclination toward pornographic (or at least porn-adjacent) representations of women throughout cyberspace. As our virtual selves become ever-more inextricable from our physical selves, I’m interested in how the preferences of the programmers are imposed on virtual female bodies within the largely male-dominated arena of software and technology.” Emma Stern, Cool Hunting, 2019Emma Stern (b. 1992) lives and works in Brooklyn, New York. She holds a BFA from Pratt Institute’s School of Painting.Recent solo shows include ‘Boy, It Feels Good To Be A Cowgirl’, Almine Rech, Paris (2021), ‘Revenge Body’, Carl Kostyál Gallery, London, ‘‘Slow Fade’, The Newsstand Project, Los Angeles (2020); ‘Works’, Jorge Andrew Gallery, Brooklyn, NY (2017); ‘Tabs’, Stream Gallery, Brooklyn, NY (2015). Stern has an upcoming solo show at Carl Kostyál, Stockholm in November 2021.Recent group shows include ‘Stockholm Sessions’, Carl Kostyál, Stockholm (2021); ‘Resting Point of Accommodation’, Almine Rech, Brussels (2021); ‘The Artist is Online’, Konig Gallery, Berlin (2021); ‘Friend Zone’, Half Gallery, New York (2021); ‘06’, PM/AM, London (2020); ‘Escapism’, Meredith Rosen Gallery, New York (2020) and ‘American Woman’, Allouche Benias Gallery, Athens, Greece (2020). More

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    in Street Art

    “Tursunay Ziawudun” by Mahn Kloix in Marseille, France

    Street artist Mahn Kloix recently worked on his latest mural in Marseille, France. Located on 200 meter sqaured wall of the telecoms operator Orange and now dominating the scene is a portrait of Tursunay Ziawudun, a Uyghur who testified on her ordeal in the “camps” Chinese.Suspended from his ropes, the artist put the finishing touches to his portrait on October 7, on the immense facade of this building, rue Félix-Pyat, in the heart of one of the poorest districts of the second largest city in France. . And he signed his work on October 8 with a simple stencil, “Tursunay Ziawudun, by Mahn Kloix”.No message beyond this name and face, which the artist painted from an image from a BBC documentary where this 43-year-old woman recounts the rapes she suffered in one of the “camps” set up by the Chinese regime in the western region of Xinjiang, first in 2017, then in 2018.Several human rights organizations have accused Beijing of interning at least one million Uyghurs in Xinjiang in “re-education camps”, subjecting some to forced labor. Amnesty International has denounced “crimes against humanity”.Beijing denies this figure and talks about “vocational training centers” to support employment and fight Muslim extremism in this province which had been affected by attacks attributed to Uyghurs.Under an almost transparent lace veil, the look is soft. With his hand on the cheek, Tursunay Ziawudun seems “looking to the future”: “One of my challenges”, Mahn Kloix explains to AFP, “it is to talk about negative things without falling into the negative, to always give an image of hope”. This woman’s journey has been “violent”, explains the 40-year-old artist, who spent two years in Beijing, when he was still a graphic designer and above all a long-haul traveler. It was through this BBC documentary that he discovered Tursunay Ziawudun’s ordeal. “It took me to the guts.”“This is perhaps the hardest scar to forget”, explains this Uyghur survivor, in her testimony, reviewing her three gang rapes: “I don’t even want those words to come out of my mouth anymore, (…) in fact their goal is to destroy us all”, she asserts, about the Chinese regime’s policy towards the Muslim community in Xinjiang.“My theme today is oppressed minorities”, he explains. On a wall in Marseille, he paints Nüdem Durak, a Kurdish singer imprisoned in Turkey. On a garage door, still in Marseille, it is Yulia Tsetkova, a Russian activist prosecuted for defending the rights of women and LGBT people. In Eauze (Gers), Greta Thunberg, the young Swedish environmental activist. In Paris, on the WALL (Modular, Urban, Reactive) of Oberkampf, a kiss is scandalous, that of Shaza and Jimena, two women who had to flee Dubai where homosexuality is punishable by death.With Tursunay Ziawudun, it is another resistance that he highlights. “Paint this portrait on the walls of the historic telephone operator in France, in the country of the motto Liberty, Equality, Fraternity, the country which asserts itself as guarantor of human rights but which continues to trade with China, that makes perfect sense! “, he pleads with irony.Mahn Kloix originally began painting in urban spaces in New York City. Heavily influenced by the street art scene, Kloix’s contemporary fluid and free figuration is also expressed on canvas and paper. He pays tribute to young protesters in Istanbul, Tunisia, and Athens by conveying their similarities in his works. Their portraits are a leitmotif to highlight human and environmental struggles.Take a look below for more photos of “Tursunay Ziawudun”defaultdefaultdefaultdefaultdefaultdefaultdefaultPhoto credits: Fabrice Calmettes More

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    in Exhibitions

    Prospect New Orleans Made ‘a Million Compromises’ to Open. Here’s How Organizers Pulled It Off Without Compromising the Art

    Less than two months before the fifth edition of Prospect New Orleans was set to commence this past August, Hurricane Ida devastated the Louisiana city. The fate of the triennial—which was already postponed a year by the pandemic—was once again up in the air. 
    Looming over the dilemma was a kind of perverse irony. The show’s central theme is about how the cycles of the past shape the present, and Ida no doubt recalled another tropical storm, Hurricane Katrina, from which the inaugural Prospect triennial was born 13 years ago. And so organizers of this year’s event decided to push on, too. 
    “It became evident quite quickly that it was important for us to pursue the exhibition,” said Diana Nawi, who curated the show with Naima Keith. As with so many events canceled over the past year and a half, the city’s residents needed a “mark on the calendar.”  
    “What we’ve heard over and over again is how excited people are for Prospect to be open right now,” added Keith. 
    Diana Nawi and Naima J. Keith, the show’s curators. Courtesy of Prospect New Orleans.
    The first slate of Prospect’s 50-plus projects opened last month, with more to come over the following weeks, including new work by artists Dawoud Bey, Dineo Seshee Bopape, and Nari Ward. 
    The slowed rollout wasn’t ideal, but the landscape of New Orleans’s venues changed dramatically over the last year. It was one of the many concessions Keith and Nawi were forced to make as they battled an onslaught of logistical obstacles. Travel restrictions limited site and studio visit opportunities, while supply chain shortages challenged the production of certain artworks. The show’s catalogue, meanwhile, was delayed for months at a shipping port. 
    “A million compromises were made, but I don’t feel that the show was compromised in the slightest,” said Nawi. “It’s a stronger, better show for everything that has challenged it.”
    Most of the show’s participants evolved their contributions over the last year as well, some due to material considerations, others in the name of addressing the current political moment. 
    An installation of new work by Dawoud Bey Vistors on view in “Prospect.5: Yesterday we said tomorrow.” Photo: Jose Cotto.
    Glenn Ligon’s neon sculpture listing the names of toppled confederate statues has been updated with new entries, for instance, while new artworks by Willie Birch and Celeste Dupuy-Spencer reflect the January 6 attack on the United States Capitol. (All three artists’ offerings will go on view at the Ogden Museum of Southern Art this week.)
    For her part, Adriana Corral, who had planned to erect an inverted gravestone made of bulletproof glass, decided to reallocate her commission funds, donating the majority to mutual aid in New Orleans. 
    “I think the show is a really moving testament to what people are thinking about, what is important here in New Orleans, and how that reflects out to the larger nation and world at this moment,” said Nawi. It’s critical, she went on, “to bring people here and see what culture means, what the stakes of culture are here.”
    “Prospect.5: Yesterday we said tomorrow” is on view now through January 23 at various locations in New Orleans. 
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    in Street Art

    Borondo Painted Over One Of His Murals in Turin, Italy

    A mural by Spanish artist Gonzalo Borondo was whitewashed by the will of the same author. It was covered with white spray paint, sprayed by a man who entered the Colosseum theater in Turin, where the piece is exhibited. The mural was removed from the place where it was made originally without the author’s permission, and displayed in the exhibition.Years ago some restorers were engaged in ripping out walls in abandoned places. They claimed to be non-profit, but Gonzalo and his team recently discovered that some works were for sale on platforms like Artsy.com. This stolen work of Borondo was found at a pay-to-entry exhibition in Turin, sharing space with many other stolen ones.The exhibition, Street Art on Blu 3, which a third of exhibited works of art are created by 36 of the most renowned street artists from around the world including the most recognizable, Banksy.Borondo and his team made a gesture to discourage the fact of profiting from the free interventions that surely we all have made/followed/supported spontaneously in abandoned places — they have whitewashed the work. For them, it was the right way to convey the message.“In fact, these interventions in public space weren’t made with the intention to create objects to consume, but to dialogue and accompany their surroundings. Without their context, the interventions make no sense, the will and the intent of the artist have disappeared, so, in the end, the artworks don’t exist anymore”, Borondo and his team expressed.Check below for photos of the said action.rpt More

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    in Street Art

    New Mural by Kobra at the World Trade Center Campus, New York

    For nearly two years, renowned Brazilian artist Eduardo Kobra was unable to travel to the U.S due to the pandemic. Now, Kobra’s first post-pandemic trip has brought him to the streets of New York City, specifically the World Trade Center campus.Over the course of this weekend (10/22 – 10/24), Kobra worked on a new and historic mural right on WTC campus. The new mural portrays five women, each representing one of the continents—Africa, America, Asia, Europe, and Oceania. The work praises the need for a more feminine planet, with the strength and sensitivity present in women across the world. Given the mural’s unique location on and around construction sheds, Kobra installed a panel that expands through the giant sheds creating a three-dimensional result.Eduardo Kobra is best known for his massive-scale, brightly colored murals infused with bold lines. His famous photorealistic pieces often depict portraits of some of the most iconic people throughout history. He also produces three-dimensional works. Not infrequently, the core message of Kobra’s street art is the fight against pollution, global warming, destruction of forests and war.Scroll down below to view more photos of Kobra’s latest project. Photo credits: Joe Woolhead More

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    in Street Art

    “Chasm” by Daniel Popper at EDC, Las Vegas

    Sculptor Daniel Popper just showcased his latest piece at Electric Daisy Carnival (EDC), Las Vegas. His work is entitled “Chasm” which means a deep fracture in the earth or rock. It can also mean a profound difference between people, viewpoints and feelings. Close to 3 years ago Daniel Popper was asked to create this entrance way to Nomads Lands at EDC Las Vegas. The brief was to create this kind of post apocalyptic rave monument.Daniel Popper is a multidisciplinary artist known globally for his larger-than-life sculptures, and spectacular public art installations. From Cape Town, South Africa, Daniel has travelled the globe creating an array of sculptures, installations and stages.Many of his projects include collaborations with other artists, technicians, and artisans to incorporate electronic music, LED lighting, and projection mapping as key components. Daniel creates both temporary and permanent work in public spaces.Check out below for more photos of “Chasm”. Graffiti work done by A-Aron @ag_pntPhoto credits: @jonx More

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    in Exhibitions

    In Pictures: The New Museum Opens This Year’s Very Subtle Triennial, Filled With Earthy Tones and Muted Imagery

    The title of this year’s New Museum triennial is “Soft Water Hard Stone.” It’s a moniker that alludes to the natural world, to folk wisdom, and to the kind of quiet, insistent force that makes change over time—the idea being that even something as pliant as a soft current of water, over time, has an effect.
    Curated by Margot Norton and Jamillah James, with the assistance of Jeanette Bisschops, the resulting show does indeed land gently. It’s a show of a lot of things that either lay on the ground or look like they were just picked up off the ground, and things that vaguely evoke a ruin. It is all washed-out colors and neutrals and graphite grays. It has a cool emotional tone (though not a cold one).
    There are almost no big, central images—it’s a lot of things you have to look at like puzzles, for details. Even the big things and the figurative work feel faceless and diffuse somehow. The mental afterimage the show leaves is of a lot of people standing with their backs to you, talking in low tones.
    It offers plenty to think about. As I put together my own thoughts on it, here are some photos of the show, so you can get a taste for yourself.

    4th Floor
    Cynthia Daignault, As I Lay Dying (2021) and Gabriel Chaile, Mamá Luchona (2021) in the New Museum Triennial. Photo by Ben Davis.
    Tanya Lukin Linklater, An Amplification Through Many Minds (2019). Photo by Ben Davis.
    Jeneen Frei Njooti, Fighting for the Title Not to Be Pending (2020). Photo by Ben Davis.
    Various works by Kang Seung Lee. Photo by Ben Davis.
    Nadia Belerique, HOLDINGS (2020-ongoing). Photo by Ben Davis.
    Brandon Ndife, Pistachio (2021) and Market Fare (2021). Photo by Ben Davis.
    Brandon Ndife, Pinched (2021) and Ripe Today, Finally (2021). Photo by Ben Davis.
    Two panels from Cynthia Daignault, As I Lay Dying (2021). Photo by Ben Davis.
    A work by Erin Jane Nelson. Photo by Ben Davis.
    Gabriela Mureb, Machine #4: stone (ground) (2017). Photo by Ben Davis.
    Alex Ayed, Untitled (2021). Photo by Ben Davis.

    Stairway Gallery
    Alex Ayed, Untitled (2021). Photo by Ben Davis.
    Gabriela Mureb, Machine #3: belt (small) (2013-21). Photo by Ben Davis.
    3rd Floor
    Kate Cooper, Somatic Aliasing (2021). Photo by Ben Davis.
    Krista Clark, Annotations on Shelter 5 (2021). Photo by Ben Davis.
    Tomás Díaz Cedeño, 1000 Años (2019). Photo by Ben Davis.
    Haig Aivazian, All of Your Stars Are But Dust on My Shoes (2021). Photo by Ben Davis.
    Yu Gi, Flesh in Stone Ghost #8 (2021). Photo by Ben Davis.
    Krista Clark, Annotations on Shelter #3 (2021). Photo by Ben Davis.
    Ambera Wellman, Strobe (2021). Photo by Ben Davis.
    Laurie Kang, Great Shuttle (2020-21) and Root 2020-21). Photo by Ben Davis.
    Jes Fan, Networks (for Rupture) (2021) and Networks (for Extension) (2021). Photo by Ben Davis.
    Iris Touliatou, Untitled (Still Not Over You) (2021). Photo by Ben Davis.
    Works by Harry Gould Harvey IV (2021). Photo by Ben Davis.
    Sandra Mujinga, Pervasive Light (2021). Photo by Ben Davis.

    2nd Floor
    Three works by Goutam Ghosh. Photo by Ben Davis.
    Bronwyn Katz, Xãe (2021). Photo by Ben Davis.
    Angelica Loderer, Untitled (ribbons) (2021). Photo by Ben Davis.
    Alex Ayed, Untitled (Sail II) (2020) and Untitled (Sail IV) (2020). Photo by Ben Davis.
    Ima-Abasi Okon, Put Something in the Air: The E-s-s-e-n-t-i-a-l Mahalia Jackson Blowing Up DJ Pollie Pop’s Chopped and Screwed Rendition of Wagner’s Ride of the Valkyries — Military-Entertainment Complex Dub [Jericho Speak Life!]*(Free of Legacy)* (2017). Photo by Ben Davis.
    Works by Ann Greene Kelly. Photo by Ben Davis.
    Blair Saxon-Hill, Emergency Contact (2021). Photo by Ben Davis.
    Christina Pataialii, Footsteps in the Dark (2021). Photo by Ben Davis.
    Kahlil Robert Irving, Routes&Roots[(SaintLouis NewYork (returnflight)] MEMORY MASSES (2021). Photo by Ben Davis.
    Works by Ann Greene Kelly. Photo by Ben Davis.
    Wallpaper and various untitled works by Evgeny Antufiev and [foreground] Hera Büyüktaşcıyan, Nothing further beyond (2021). Photo by Ben Davis.
    Works by Evgeny Antufiev. Photo by Ben Davis.
    Foreground: Hera Büyüktaşcıyan, Nothing further beyond (2021). Photo by Ben Davis.
    Rose Salane, 60 Detected Rings (1991-2021) (2021). Photo by Ben Davis.
    Amalie Smith, Clay Theory (2019). Photo by Ben Davis.
    Gaëlle Choisne, Temple of Love—Love to love (2021). Photo by Ben Davis.
    Lobby Gallery
    Arturo Kameya, Who can afford to feed the ghosts (2021). Photo by Ben Davis.
    Amy Lien and Enzo Camacho, waves move bile (2020). Photo by Ben Davis.
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