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      “Tamarugo II” by INTI in Aalborg, Denmark

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      In the heart of Aalborg’s historic workers’ neighborhood, amidst the capricious dance of sun, rain, and Arctic winds, INTI has unveiled his latest masterpiece over twelve days of intense creation. Titled “TAMARUGO II”, this mural stands as a testament to the enduring spirit of the Atacama Desert’s native Tamarugo tree, a symbol of life and resilience for its local inhabitants.The Tamarugo, known for its ability to thrive in one of the driest places on Earth, serves as INTI’s central motif. In his own words, the artist describes his intention to juxtapose the delicate beauty of spring with the unconventional allure of this hardy tree. The result is a composition that speaks volumes about survival, adaptation, and the intrinsic beauty found in places of extreme challenge.Born Inti Castro in 1982 and artistically known simply as INTI (meaning ‘sun’ in Quechua), the Chilean artist has risen to international acclaim as a leading figure in Latin America’s street art scene. His journey began on the vibrant streets of Valparaiso, where he started tagging at the age of thirteen, drawn to the freedom and expression that street art offered.While the streets provided his canvas, INTI honed his skills further through formal artistic education at the Fine Arts School of Viña del Mar. Here, he embraced the techniques of a professional painter while continuing to draw inspiration from his life experiences and street art roots.INTI’s murals are characterized by their vibrant colors reminiscent of Latin American festivities and infused with the enigmatic energy of ancient South American cultures. His work weaves together themes of life, death, ancient spirituality, and Christian symbolism, often featuring mysterious characters that add layers of narrative depth.Deeply inspired by pre-Columbian and Andean cultures, INTI’s art not only preserves but also redefines these cultural icons and symbols in a contemporary context. Each mural, bathed in warm orange hues that echo the sun’s embrace, invites viewers to explore a visual narrative that bridges ancient traditions with modern interpretations.With “TAMARUGO II”, INTI invites the community of Aalborg and beyond to contemplate the resilience of nature and the human spirit through the lens of his vibrant, technically dazzling artistry. As an ambassador of Latin American street art to the world, INTI continues to captivate audiences with his profound reflections on life, culture, and the enduring power of artistic expression. Photo credits: INTI,  Hans Joergen Fruensgaard(adsbygoogle = window.adsbygoogle || []).push({}); More

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      “Layers” by SeaCreative by Cartagena, Spain

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      A captivating addition to the urban landscape of Cartagena, Spain, emerges in the form of “Layers,” a vibrant mural created by Fabrizio Sarti, known artistically as SeaCreative. This artistic intervention is part of the One Urban World 2024 festival’s mural painting section, hosted by @muchomasmayo and coordinated by @krasertres, with collaboration from the Graffiti and Street Art Service of @juventudct from @aytocartagenaes @urban.ct.SeaCreative’s artistic journey began in the early 1990s, deeply rooted in the world of writing and fueled by an irrepressible passion for drawing. By the early 2000s, his relentless stylistic exploration organically gave rise to SeaCreative, a fusion of urban art, illustration, and graphic design. Over two decades of creative output, SeaCreative has collaborated with diverse brands, galleries, associations, municipal administrations, and private entities, leaving a significant imprint on the global art scene.“Layers” in Cartagena stands as a testament to SeaCreative’s multifaceted artistic approach, inviting viewers to delve into its depths where urban aesthetics intertwine with illustrative storytelling. This mural not only enriches the visual tapestry of Cartagena but also serves as a vibrant dialogue between the artist’s evolving style and the rich cultural backdrop of the city. As SeaCreative continues to push the boundaries of urban art, “Layers” remains a striking example of how art can transcend boundaries and connect communities through its layers of creativity and expression. (adsbygoogle = window.adsbygoogle || []).push({}); More

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      Nuart Aberdeen Festival 2024

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      From June 6th to June 9th, Aberdeen once again played host to the electrifying Nuart Aberdeen festival, transforming the city into a vibrant canvas of contemporary street art. Now in its eighth edition, this internationally acclaimed festival brought together 11 distinguished artists under the theme of ‘Living Heritage,’ igniting creativity and cultural dialogue throughout the Granite City.Nuart Aberdeen, founded on the principles of artistic innovation and community engagement, has become a beacon for street art enthusiasts worldwide since its inception in 2017. This year, the festival continued its tradition of blending local heritage with global perspectives, showcasing a diverse array of artworks that ranged from awe-inspiring murals to thought-provoking installations.The 2024 edition of Nuart Aberdeen featured a stellar lineup of artists renowned for pushing the boundaries of urban art. Lineup includes Know Hope, Bahia Shehab, Case Maclaim, Cbloxx, Hera, KMG, Mahn Kloix, Millo, Molly Hankinson, Niels ‘Shoe’ Meulman, and Wasted Rita. Each artist brought a unique vision to the city, exploring themes of identity, sustainability, and the preservation of cultural heritage. From large-scale murals that dominate city walls to intricate, hidden gems tucked away in unexpected corners, the artworks not only beautified Aberdeen’s urban landscape but also sparked conversations about the intersection of art and heritage.Beyond its aesthetic impact, Nuart Aberdeen has consistently delivered significant economic and cultural benefits to the region. By attracting tens of thousands of visitors each year, the festival has bolstered local businesses and reaffirmed Aberdeen’s status as a cultural hub in Scotland. Moreover, the festival’s commitment to sustainability and community involvement ensures that its legacy extends far beyond the lifespan of the artworks themselves.Nuart Aberdeen 2024 was made possible through the collaborative efforts of Aberdeen Inspired, Aberdeen City Council, and Reed Projects, with support from various local businesses and community organizations. This partnership underscores the festival’s commitment to fostering creative expression and cultural exchange in Aberdeen.As Nuart Aberdeen 2024 draws to a close, the city remains transformed, enriched by the legacy of this year’s festival. The artworks, now integrated into the fabric of Aberdeen, will continue to inspire and provoke thought, serving as a testament to the enduring power of public art in fostering cultural understanding and community cohesion.Nuart Aberdeen 2024 has once again demonstrated why it stands at the forefront of global street art festivals, combining artistic excellence with a profound respect for heritage and community. As Aberdeen looks toward the future, the echoes of this year’s festival will undoubtedly resonate, inviting both locals and visitors alike to discover the magic of urban art in the heart of Scotland’s Granite City.A parting note from Nuart Festival Director and curator, Martyn Reed:“The ephemeral nature of much of the culture we work with and produce at Nuart can be regarded as intangible cultural heritage. This incorporates the parts of our shared past that live in the present -everyday rituals and practices, cultural expressions, celebrations, festivals, stories, songs and craft that help to define who we are. These don’t have to be as old as time, this is heritage that lives in the present. This was the theme that we set out to explore this year, and as we sit here to unpack and decompress, we share WhatsApp messages and photos, trawl through thousands of drop box images and share those stories that become “sticky” with meaning. It’s this “stickiness” of certain stories during Nuart that keeps the work on the wall far more than the paste and paint. So I’d urge everyone, in this media saturated world of pretty murals, to spend a little extra time thinking about what and who is behind these final hero shots and how they contribute to making the city a slightly better place to be in these trying times.We’d like to thank all of our crew, artists, partners, press and extended Nuart Family the world over.  (adsbygoogle = window.adsbygoogle || []).push({}); More

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      What’s a Banksy Museum Without Banksy?

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      Work by the anonymous street artist is hard to find. At a museum devoted to him, it’s even harder.To enter the Banksy Museum, which opened this month above a Bank of America on the lower lip of SoHo, a visitor must wade through the thicket of vendors crowding Canal Street with bootleg Apple products and almost-convincing Prada handbags splayed out on blankets.It’s a fitting approach. The Banksy Museum does not own or display any actual Banksys but rather 167 decent-enough reproductions of them, life-size murals and paintings on panels treated to look like exterior walls that stretch through an exhibition space, designed to resemble the street.The Canal Street entrance to the Banksy Museum, amid gift stores and street vendors.Hiroko Masuike/The New York TimesThat these replicas of Banksy’s oeuvre since the late 1990s are more or less faithful to their source material. That has less to do with the competence of the anonymous artists who executed them than it does with the simplicity of Banksy’s aesthetic: photo-derived stencil work, more about social commentary than technical proficiency. A Banksy work does not astound with technique or formal innovation, nor is it meant to. Designed to be quickly made and quicker understood, they rely on easy visual gags that don’t always amount to much, all punchline and no windup (a man walking a Keith Haring dog; riot police and protesters having a pillow fight; a boy catching snow on his tongue that’s actually ash from a dumpster fire). His early political satire, like Winston Churchill with a mohawk and teddy bears lobbing Molotov cocktails, had all the profundity of a dorm room poster, a shallow populism that explains his trajectory — populism being a sure route toward cultural phenomenon.The world’s most famous street artist who prefers to work in the shadows, Banksy has traveled that route since the mid-2000s, inspiring a singular devotion. The appearance of a new work is heralded as a cultural event, its removal often met with protests. Few other artists are treated as prophet and savior, and fewer still who insist on a complete allergy to public life. 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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      “High Tide” by David De La Mano in Salamanca, Spain

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      In the quaint municipality of Juzbado, located 20 km from Salamanca, a new artistic gem has emerged within its urban area. Titled “High Tide,” this mural is now a proud addition to a curated selection of works by esteemed artists such as Ampparito, Taquen, DOA, Pablo S. Herrero, and Marta Lapeña, among others. This remarkable project is coordinated by Javito and guided by the vision of Juzbado’s mayor, Fernando Rubio.Completed just a few weeks ago, “High Tide” draws inspiration from the historic “Cielo de Salamanca” by Fernando Gallego. It forms a part of the artist’s ongoing exploration of Salamanca’s rich heritage. The mural aims to underscore the enduring significance of Gallego’s work, celebrated for its historical, aesthetic, and scientific value.While the representation of constellations in “High Tide” does not strive for the same fidelity as the original mural, it serves as a bridge connecting past and present. This modern interpretation reflects our timeless fascination with stars and galaxies, illustrating how the cosmos not only broadens our horizons of knowledge but also places our existence in the vast scale of the universe.Through this mural, Juzbado embraces both its historical roots and its contemporary cultural vibrancy, inviting residents and visitors alike to ponder our connection to the celestial wonders above.Take a look at more images below and keep checking back with us for more street art updates from around the world. (adsbygoogle = window.adsbygoogle || []).push({}); More

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      “From Chaos” by SHOK-1 in Amsterdam, Netherlands

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      Street artist SHOK-1 unveils his new work “From Chaos” at the Straat Museum in Amsterdam.This piece depicts a giant version of a classic spray paint drip, from which grows an intricate X-ray flower. The dots of the spray pattern were painstakingly painted, one by one, showcasing SHOK-1’s meticulous attention to detail. “From Chaos” symbolizes the emergence of beauty and order from disorder, reflecting the artist’s fascination with the interplay between chaos and structure.SHOK-1 is the pioneer of aerosol X-ray art, and his unique works can be seen on murals around the world. Blending street art and science, SHOK-1 spray paints x-ray-like visuals of mostly human, animal, or plant origins. Darkly beautiful and packed with subtle layers of delicate detail, he has perfected his no-tape, no-stencil technique, which is one of the most challenging subjects a painter could attempt. As a self-taught artist with a degree in Applied Chemistry, SHOK-1 champions rationalism in an era where anti-intellectualism is on the rise and scientists and experts are often denounced in favor of sub-literate opinions.(adsbygoogle = window.adsbygoogle || []).push({}); More

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      Artist Interview: Arthur Bray of Yeti Out

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      In this interview, we explore the captivating world of visual contemporary artist Arthur Bray, co-founder of the renowned pan-Asia music collective Yeti Out, Arthur has left an indelible mark on the underground music scene across the globe. From his humble beginnings promoting parties in East London to headlining festivals like Coachella and Wonderfruit, Arthur’s journey has been a testament to his passion for music and culture.Through Silk Road Sounds, the record label he spearheads under Yeti Out, Arthur bridges the gap between electronica, post-punk, and experimental dance music, shaping the creative landscape of cities that never sleep. Join us as we delve into Arthur Yeti’s artistic process, influences, and the vibrant tapestry of sounds that define his unique style.Rom Levy: Arthur, thanks for joining us today. Could you start by describing your early music influences and how they have evolved since moving from Hong Kong to the UK for university?Arthur Bray (Yeti Out): Yeah, absolutely, Rom. Growing up as a multicultural kid, half English, half Chinese, a big part of who I am and my approach is rooted in the fringes of culture, at the borders, you know? My music influences range from Tibetan rap music to UK grime and garage, or UK rap. It’s all dynamic and follows a curious approach!You’ve played across various venues in the UK. How do you feel the diverse club scene there has shaped your approach to music and the scene?Every city has a different scene, but it’s always about discovery. London sets the bar high in terms of musical experience and club culture. We’ve talked about this before, but the dive bars and small intimate places like Cakeshop in Seoul or Music Bar Lion in Tokyo are just as impactful as the big rooms and festivals. Playing at Coachella in 2019 was a whole different experience compared to the after party for Louis Vuitton pre-fall 2014 when Pharrell was there. Every party and music event is unique so it’s about reading the room and making sure your USB is ready.Alongside your twin brother Tom, you developed your career. How does working closely with a sibling influence your creative process and performance style?Working with a sibling means everything is straightforward —no sugarcoating, so decisions are quick. We’re quite transient with most of our projects, so a lot of times decisions are made across time zones and when we’re in different places. Right now, Tom’s in Vietnam doing a gig, and I’m in Art Basel Hong Kong. We’re like passing ships but constantly in sync, driving things forward. There’s no rulebook, but it works because it just does.Your digital name “Yeti” comes from a unique story involving a college roommate. Can you share more about this?You’ve really done your homework, Rom! Yeah, my college roommate was a bit of a character, he was mythical, a little crazy but a lot of fun. We started throwing parties at university and then started a blog called Yeti in the Basement. After that, we started doing parties with Yeti Out. We were inspired by the idea of freedom and no rules. Everyone has a Yeti inside them; you just gotta let it out.In one of your quotes, you mention the balance of playing known and unknown tracks. How do you curate your music selection to maintain this balance, and what impact do you think it has on your audience?It’s all about keeping the dance floor entertained and allowing for discovery. A DJ friend from Bali once said, ” The bigger the club, the more you have to keep in mind a wide range of listeners, so you play two tracks that the dancefloor might like, and one for yourself. If it’s a more intimate club, then you play two for yourself, one for them.” But I guess there’s no rules, overtime it’s like collecting research from social studies. The more gigs I play, the more I learn about different audiences. It’s an ongoing learning journey.Recently launched Yeti x Lousy collaborationReflecting on the evolution of your role in music, how do you see your music and career developing in the future?The music landscape is so wide. DJing is like curating; you put one song in front of another. But if you take the same mentality with putting on events, working with artists to release music on record labels, organizing after parties, or programming a community radio station. It’s all about curating and bringing people together through music in a way that fits organically. Considering your background and experience in the music industry, how do you view the relationship between music and community building?Music is a powerful tool to bring people together. Whether we’re in Sweden listening to electronic music or in Dubai, it doesn’t matter if we don’t speak the same language. We’re sharing a moment, enjoying the same rhythm. Music is a key ingredient in community building, and if I can be a conduit for that, then that’s a beautiful thing.Your experience spans different cultures and music genres. How does this cross-cultural exposure influence your identity as an artist and your approach to creating music?I’ve been thinking about this recently. Perhaps, it’s all about life design, and these job titles don’t really matter, since we all have a perspective anyway. Whether you’re a DJ, art curator, a shopkeeper or accountant, we all leave the house wearing clothes in the morning, so there’s a decision there. Does that make us stylists? Not really, but it could be, we just haven’t claimed that role because we’d rather spend time on other things of interest, but that doesn’t disregard that there’s a viewpoint being made in that instance. We are whatever we want to be, and the next step is just about sharing that with the world and being confident with the process. Through sharing, some may connect with your ideas and that will cause ripples and hopefully inspire others to do the same; connect, collaborate and continue this creative ecosystem of what they believe in. Always work hard, but never forget to have fun.Yeti & Friends M+ Museum Takeover PartyGiven your involvement in various projects and collaborations, what has been one of the most exciting projects for you?The most exciting projects are always on the fringes of culture. For example, having a radio station studio in a luxury mall where we play underground music, or throwing parties in a chicken shop in Chungking Mansion or organizing Hong Kong’s first ever Boiler Room in a former prison. These unexpected combinations, like playing at Coachella or curating a Yeti & Friends takeover at M+ Museum with Hong Kong punk bands and Cantonese rappers, are what excite me the most. It’s about bringing different worlds together and finding gratification in that. Most recently, we worked with talented Hong Kong street artist Lousy on a collaboration titled “Primal Funk” on a capsule collection which continued his work “Lousy Playground” that debuted at M+ Museum for our Yeti & Friends showcase. Its awesome working with friends and making ideas come to life through products and experiences. Lastly, how can people stay in touch with you and listen to your music? Which platform do you recommend?We have a monthly show on NTS Radio alongside FM BELOWGROUND – the community radio station we co-founded. Stay tuned to our movements across Instagram, SoundCloud and Bandcamp where our record label Silk Road Sounds continue to release music driven by nocturnal energy from afterhours across Asia; post-punk, techno, rap & so on!Hong Kong-based selector, A&R and culture writer Arthur Yeti is the co-founder of pan-Asia music collective Yeti Out which cut its teeth promoting parties in East London before relocating to Asia to build upon the region’s underground music scene. The euphoria of late nights and early mornings are transformed into graphic-heavy artwork and audio tapes akin to the crew’s resident sets on NTS radio & RINSE FM, alongside the Hong Kong community radio station which Arthur co-founded FM BELOWGROUND, while the artists signed to Yeti Out’s record label Silk Road Sounds is a reflection of youth movements that shape creative culture in cities that never sleep, connecting the fringes of electronica with post-punk and experimental dance music; styles that steep into Arthur Yeti’s sets for headline festivals like Coachella, Wonderfuit, Clockenflap, Off-Sonar parties & Asian underground dance haunts like Mihn, All, OIL, Savage, Cakeshop & WOMB. More

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      Wall to Wall Street Art Festival in Melbourne, Australia

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      Melbourne’s vibrant street art scene takes the next step in its creative evolution with the unveiling of the city’s first official street art precinct, set to transform a long-forgotten industrial pocket of Mordialloc into a hub of creativity and expression. Returning for the first time since the pandemic, Australia’s original street art festival, WalltoWall and Kingston Council are bringing seven of Australia’s top street artists and three acclaimed international artists together to adorn the area with a stunning array of large-scale mural works from 26-28 April. Melbourne has long been revered as an international street art capital, and this groundbreaking project breathing new life into Mordialloc’s industrial laneways, ushers in a new era of artistic innovation and cultural revival for the city. Renowned artists such as Smug, Adnate, Celeste Mountjoy (creator of Filthy Ratbag), George Rose, and French artist Zoer, among others, will lend their talents to the project, infusing the precinct with their unique styles and perspectives. In addition to the tapestry of colourful and eclectic murals, the streets of Mordialloc will come alive on Saturday 27 April with a block party presented by Wall to Wall and Mordialloc’s newest culinary precinct, Urban Ground. The party will feature DJs including Byron Bay’s April Kerry, owner of Fitzroy record store Natural Selection, Charles Eddy, Berlin DJ and artist Blo, and Melbourne artist and DJ, Adnate. Food trucks, market stalls, workshops, tastings, open studios and hourly tours and tastings of contemporary spirits courtesy of renowned local distillery Saint Felix will ensure it’s a party not to miss. The project, curated by Shaun Hossack of Melbourne street art collective Juddy Roller (Silo Art Trail, Wall to Wall, Collingwood Housing Project) in collaboration with Kingston Arts and Mordi Village Trader, will see the transformation of Lamana Road and surrounding laneways into the vibrant Mordi Village Arts and Cultural Precinct. The initiative aims to celebrate and showcase the transformative power of street art while revitalising neglected urban spaces. Hossack said of the event: “Melbourne is known as a mecca for street art but still lacks well curated areas where major artworks can be viewed one after another, like an outdoor gallery. The scale of Wall to Wall is unprecedented in Melbourne’s beachside suburbs and will help cement Mordi Village Arts and Cultural Precinct as a beacon of creativity and community engagement.” “Street art was born in the heart of cities, but with the evolution of Juddy Roller’s Silo Art Trail and Wall to Wall – which originated in Benalla and this year is a multistate offering having just taken place in Murray Bridge – we can expand the artform across Australia” he said. Kingston Mayor Jenna Davey-Burns also expressed her excitement for the project, emphasising the growing importance of street art as a form of public expression and cultural enrichment: “Street art has emerged as one the leading forms of expression without bounds, out there on the walls instead of stuck inside four walls” she said.Take a look below for more photos of the festival and stay in the loop with us for more street art news around the globe. (adsbygoogle = window.adsbygoogle || []).push({}); More