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      “Guardianes del Agua” by Adry del Rocio in Chiapas, Mexico

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      Perched on the steep face of the Chicoasén Dam in Chiapas, Mexico, Adry del Rocío’s latest mural brings the structure to life with vibrant imagery and deep meaning. The mural, spanning 120 x 200 meters, depicts of a child cradling a glowing source of water surrounded by colorful parrots, honors both the natural beauty of Chiapas and the workers of the Comisión Federal de Electricidad (CFE). These workers have maintained the dam, a vital source of clean energy, since 1974.Adry’s mural is a symbolic celebration of life, harmony, and the rich biodiversity of the region. The parrots, native to Chiapas, soar across the mural, representing the freedom and abundance of the land, while the child symbolizes the future generations tasked with preserving this balance. In her artist statement, Adry describes the mural as a tribute to the “mystical heirs” of this legacy, those who work tirelessly to sustain Mexico’s clean energy.Collaborating with CFE Nacional and Privativo Social Strategy, Adry’s mural not only brightens the dam but serves as a reminder of the importance of sustainability and environmental stewardship. The project was a team effort, with Adry expressing gratitude to her brother Carlos Alberto and the many others who helped bring this ambitious vision to life.Adry del Rocío, a globally recognized street artist, has received more than 60 awards throughout her career. Her work on the Chicoasén Dam stands as a vibrant testament to the power of art to celebrate both culture and clean energy in Mexico.(adsbygoogle = window.adsbygoogle || []).push({}); More

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      “Burning Down” by Pener in Olsztyn, Poland

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      In the vibrant streets of Olsztyn, Poland, the mural “Burning Down” by Bartek Świątecki, aka Pener, stands as a striking fusion of abstract geometry and energetic movement. This large-scale artwork uses vivid shades of yellow, orange, and red to evoke a dynamic, almost explosive atmosphere, suggesting the idea of a cityscape consumed by flames. The sharp, angular forms typical of Pener’s signature style capture the eye, creating a sense of disarray that contrasts with the methodical precision of his lines and shapes.Pener, an artist known for his abstract deconstructions of traditional graffiti, blends his love for modernism and street culture in this mural. His unique approach to form and structure, influenced by virtual reality aesthetics, is visible in “Burning Down,” where futuristic architectural designs seem to collide and crumble. This mural, like much of Pener’s work, explores the relationship between order and chaos, reflecting the tension between the modern city and the natural forces that shape it.Born in Olsztyn in 1981, Pener has developed a minimalist style rooted in deconstructing graffiti and introducing elements from mechanical structures. Over the years, he has honed this technique, creating works that appear both futuristic and deeply grounded in the spaces they inhabit. “Burning Down” exemplifies this evolution, showcasing his talent for transforming public walls into canvases of bold abstraction.(adsbygoogle = window.adsbygoogle || []).push({}); More

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      Whimsical Parade of Banksy Animals Sends Fans on a Giddy Hunt

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      Each day for nine straight days, a new Banksy artwork appeared somewhere in London. For some, it became a citywide treasure hunt.The first Banksy piece to show up was a mountain goat, spotted by passers-by on a wall near the River Thames. The second work, a pair of elephants, appeared overnight on a house in southwest London. Then came some playful monkeys, a howling wolf, two hungry pelicans and a cat.For nine straight days, Banksy, the famed and elusive street artist, unveiled a menagerie of animal artworks around the city, a prolific outburst that thrilled Londoners.For Banksy fans, finding the works became a daily, citywide scavenger hunt.“It’s like an adventure,” said Daniel Lloyd-Morgan, an artist who sketches live street scenes. “It’s turned into a safari around London.”Every day since the first one appeared, Mr. Lloyd-Morgan checked social media to figure out the location of each new Banksy and pay it a visit. “This is like a happening,” he said. “So basically I put everything else on hold.”It was an unusually whimsical outpouring from Banksy, a British artist known for his socially and politically charged street art, which has appeared in New York City, the West Bank, Ukraine and other areas around the world. More recently, he sent an inflatable boat with dummy passengers to surf across a crowd at the Glastonbury Festival in England, a commentary on the plight of migrants crossing the Mediterranean Sea.But what message was Banksy trying to send with the animals scattered across London? That has spurred speculation, even as the works have delighted the residents of the neighborhoods they popped up in.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Manfred Kirchheimer, ‘Indispensable’ New York Filmmaker, Dies at 93

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      For decades, he meticulously crafted short films and documentaries in relative obscurity. Then, in his 80s, he enjoyed a burst of productivity and acclaim.Manfred Kirchheimer, a filmmaker who was drawn to stickball, jazz, subway graffiti, gargoyles on old buildings and the memories of aging immigrants, and who after decades of slowpoke perfectionism earned a reputation as a master of nonfiction cinema, died on July 16 at his home on the Upper West Side of Manhattan. He was 93.The cause was cancer, his son Gabe said.Mr. Kirchheimer often wrote, produced, directed and edited his movies as well as photographed them. He worked hard to get funding from nonprofit sources, and he earned a living as a freelance film editor and a film professor at the School of Visual Arts in Manhattan from the mid-1970s until the mid-2010s.His camera moved at the speed of people-watching: lingering for an extra moment to relish a certain scene, turning to something else in the bounty of street sights, then returning his gaze somewhere it had already been, hungry for a second helping.He found dignity and delight in what other New Yorkers overlooked or even disdained. Mayor Ed Koch, for instance, called subway graffiti blight, but Mr. Kirchheimer exulted in the subway exteriors of the late 1970s as traveling canvases. He made the subway the main character of his 1981 movie, “Stations of the Elevated,” with a soundtrack by Charles Mingus that suggested that graffiti could have the same rough, improvisational genius as his jazz.The subway cars that Mr. Kirchheimer filmed featured a portrait of a hitchhiking snowman; a verdant landscape overseen by a smiling, big-eyed sun; and cryptic messages in bubble letters — “HEAVEN IS LIFE,” “am nor disaster!” He followed the trains from Woodlawn Cemetery in the Bronx, at the city’s northern edge, past South Bronx tenements whose stoops hosted playing children, all the way to the beaches of Coney Island.Mr. Kirchheimer exulted in the subway exteriors of the late 1970s as traveling canvases and made them the focus of his 1981 movie, “Stations of the Elevated.”Manfred Kirchheimer/Cinema ConservancyWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      New York’s Secret Signatures

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      Across New York City, people have written their names in places that only a select few ever get to see.Good morning. It’s Wednesday. Today we’ll look at hidden signatures in places you might not expect people to scribble their names. We’ll also get details on Senator Robert Menendez’s decision to resign in the wake of his conviction on corruption charges.James Barron/The New York TimesThis is not about the many things in New York that are hidden in plain sight. This is about things that are just plain hidden — little secrets that are understood only by those who know they are there.Specifically, signatures — the unseen John Hancocks of the people who made something or built something.For generations, the workers at the Steinway & Sons factory in Astoria, Queens, signed the pianos in places not even a virtuoso could find — until the managers said, No more.And construction workers have a long history of signing a beam that is put in place forever — a tradition that extends well beyond New York and usually includes people who designed or financed the building, or are the reason it is being built. Former President Barack Obama signed such a beam at the topping-out ceremony for his presidential center in Chicago last month. His signature won’t be visible in the ceiling of the room where the beam is going, which a spokeswoman described as “an intricately designed, angled affair.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      “Re-vision of a Granada Landscape” by Alberto Montes in Granada, Spain

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      Alberto Montes, a renowned Spanish urban artist, has unveiled his latest creation titled “Re-vision of a Granada Landscape” at Livensa Living Granada Cartuja. This mural, Montes’ first in Granada, is situated on the rooftop of the student residence.The artwork showcases the unique flora of Granada, featuring plants like borage, Clypeola Eriocarpa, and pomegranates.Through a combination of composition and color, with an emphasis on green, orange, and ochre tones, the mural captures the essence of the Granada Mediterranean landscape and fosters a dialogue between the artwork and its surroundings. The fragmented aesthetic employed by Montes seamlessly integrates the mural into the architectural environment. Ultimately,the artist aims to evoke reflection and enjoyment among viewers, while also providing an aesthetically pleasing backdrop for student interaction.Alberto Montes (born 1995 in Los Corrales, Seville) is a prominent figure in the Spanish mural scene. With a Fine Arts degree from the University of Seville and a Master’s in Interdisciplinary Production from the University of Malaga,Montes boasts a career that spans Spain, Portugal, the United States (Miami and New York). The recipient of a scholarship from the Antonio Gala Foundation and the winner of the XXX Madroño Awards (Madrid, 2022), Montes is a celebrated artist with a growing reputation.This mural is a collaborative effort between Livensa Living, a leading owner and operator of student residences, and Rebobinart, a company specializing in urban art production. The artwork marks the fourteenth urban art installation sponsored by Livensa Living, and it adheres to the company’s philosophy of promoting both established and emerging artists across their various residences in Spain and Portugal.(adsbygoogle = window.adsbygoogle || []).push({}); More

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      “Spaces & Between” by Misterpiro in Malaga, Spain

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      Esteemed urban artist Misterpiro has taken center stage at Livensa Living Málaga Feria with his latest creation, “Spaces & Between”. This striking mural isn’t just visually captivating, it embodies the very essence of connection between people and their surroundings.Misterpiro, a recognized name in the international urban art scene, has graced cities like London, Rome, and New York with his artistry. “Spaces & Between” marks his Malaga debut and signifies a significant milestone – the 13th urban art installation commissioned by Livensa Living across Spain and Portugal. Their dedication to enriching the residential experience through art is evident. The two murals themselves are impressive, towering at 3.3 meters high and stretching 23 meters long. To bring his vision to life, Misterpiro utilized a vibrant palette boasting over 40 unique paint shades.The mural isn’t the only transformation happening at Livensa Living Málaga Feria. The complex is undergoing a comprehensive renovation, with a focus on functionality as well. Recognizing the evolving needs of their residents,Livensa Living is converting 120 individual flexible accommodation units into doubles, maximizing their capacity.Beyond functionality, the renovation extends to the common areas. These spaces are being revitalized to reflect Livensa Living’s design philosophy. Expect a refreshing infusion of vibrant colors, youthful prints, and nods to Malaga’s rich culture and traditions. The goal is to foster a sense of community and well-being for residents, visitors, and the neighborhood itself.With Misterpiro’s captivating mural and the thoughtful redesign of the common areas, Livensa Living is creating a dynamic and inspiring environment for students and young professionals. Their commitment to artistic expression and community building shines through in this exciting transformation.(adsbygoogle = window.adsbygoogle || []).push({}); More

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      Beyond Outlaw: New Paths for Aging Taggers

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      At Lehmann Maupin, exhibitions of new work pushing the form of street art forward, from San Francisco’s Barry McGee and Osgemeos, the Brazilian artists he inspired.Street art is in a funny place. More than 50 years since its invention as the urgent, unruly markings of kids scrawling their names on walls and the flanks of subway cars, it has evolved into a worldwide language and commercial behemoth — from a position outside the mainstream to one in its center. Its progenitors, having reached late middle age, are still searching for ways to push the form forward, even if that way moves beyond its improvisatory and outlaw mode into something tidier and more well mannered.Two exhibitions of new work by the artists Osgemeos and Barry McGee at the Lehmann Maupin gallery in Manhattan illustrate divergent paths for the aging tagger. Neither represents a significant departure for either artist so much as retrenchments of their well-defined practices, honed for gallery consumption over the last 30 years. But familiarity can be instructive, a map for longevity over novelty. Their work suggests the street is more of a mind-set than a medium.Their presentations here are linked, but not by style, which could scarcely be more different. Osgemeos (Portuguese for “the twins”) — the Brazilian identical twin brothers Otávio and Gustavo Pandolfo — are enamored with the nascent hip-hop culture of late 1970s New York City: style writing, break dancing and D.J.-ing, which the ’80s had floated down to South America. The brothers began making work as teenagers, bombing fat letters that chugged along like a rail car around their native São Paulo.Eventually they expanded into baroque murals featuring cartoony humanoid figures rendered in an obnoxiously lurid palette that looked more like a hallucinatory children’s television show than anything happening on the street. (Even now, it’s easy to imagine their characters launching into an extended reverie on words that start with the letter A, say, or listening intently as an adult patiently explains the concept of anxiety.)Osgemeos, “Cultivando os Sonhos (Cultivating Dreams),” 2023, mixed media on MDF Board.via Osgemeos and Lehmann Maupin, New York, Seoul, and LondonOsgemeos, “A Vênus (The Venus),” 2023, mixed media on MDF board with sequinsvia Osgemeos and Lehmann Maupin, New York, Seoul, and LondonMcGee, about eight years older at 58, is a product of San Francisco’s countercultural tendencies. He came to tagging as a reclamation of public space from the incursion of commercialism, and as an empathetic witness to those whom that commercialism dispossessed; his work is often punctuated by a slumped caricature with sagging eyes and defeated air.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More