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    Tania Marmolejo “Owning My Symbols” Limited Edition Print – Available December 29th

    Dominican Swedish American painter Tania Marmolejo and Volery Gallery have collaborated with ArtPort for her latest limited edition screenprint entitled “Owning my Symbols”. The artwork is a part of Marmolejo’s recent exhibition at Volery Gallery, Dubai — Master and Commander which is dedicated to the bravery of Iranian women in their fight to break the old constraints that have trapped them in a particular place and cultural time.The giclee + screenprint comes in an edition of 45 and measures 61 x 72 cm.Influenced by her Scandinavian and Caribbean heritage, Tania Marmolejo explores gender and identity issues. Her paintings juxtapose the intimate and personal with the monumental, creating large-scale paintings of ambiguous female facial expressions.Born in 1975, Santo Domingo, Marmolejo currently lives and works in New York.Owning my Symbols will be available on 29 December 2022, Thursday. 7PM HK Time (7AM NYC, 4AM LA, 9PM Melbourne, 12PM UK, 8PM Tokyo) at ArtPort website.ArtPort is a publishing house established in 2020. ArtPort supplies limited high-quality editions and prints by artists from the new contemporary art wave. Created around the theme of travelling, ArtPort aims to have people on board, offering them a journey through the art world and an easy way to bring it to their homes. Each edition is a unique and exclusive collaboration between ArtPort and leading contemporary artists. More

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    “Pointman – River Warrior” sculpters by Futura set to be unveiled in Singapore and Bali, Indonesia

    Futura is known for being one of the first graffiti artists to ever depart from lettering in the early 1980s and turn to abstraction. The artist grew up in New York. A teenager in the 1970s, those years which saw the rise of the graffiti and urban art movement, he quickly took an active part in this period of great artistic emulation and soon made his own mark thanks to his unusual style. Futura, therefore, holds a unique status in the history of graffiti, both as a pioneer and iconoclast of the movement.From the turn of the 80s, he developed the use of canvas in his practice, exhibiting alongside artists like Jean-Michel Basquiat, Keith Haring or Kenny Scharf. The key elements of the style which we associate with Futura today were already there: clouds of colour with subtle variations, fine lines that seem to be barely scratching the surface, and above all this astonishing fluidity that gives his work such a unique atmospheric mood. A personal touch and virtuosity make Futura an essential figure among urban artists today. After fifty years of career, he continues to be a painter with an ever-fertile creativity. One who was able, with his lofty abstract style, to stay relevant through the years and to free himself of reductive categories.Futura has unveiled two sculptures titled Pointman – River Warrior, set to be unveiled in Singapore and Bali as a social commentary on pollution. To demonstrate the gravity of Indonesia’s dire pollution crisis, a problem that has long been a central concern for Futura, the Pointman statues will be made out of repurposed waste materials collected together with Potato Head from the Singaporean/Bali waterways.  In Singapore, 14,300 black and white grocery bags were collected by environmental advocates, Sungai Watch, for the creation of Pointman. In Bali, everything from motor oil bottles to discarded water gallon lids sourced by a community organisation, Yayasan Kakikita were used. The Pointman statue in Singapore was at National Design Centre and another one, on a much larger scale, was unveiled in the courtyard of OMA-designed Potato Head Studios in Bali.Futura’s sculpture is an extension of Potato Head & OMA’s “N*thing is Possible” exhibition in Singapore Design Week, where they collaborate with world-renowned talents i.e Kengo Kuma, Max Lamb, Faye Toogood, and Andreu Carulla, amongst others, to showcase a visual representation of the hospitality brand’s efforts to a zero-waste lifestyle.Take a look at more images below and check back with us soon for more updates. More

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    Osona Artimur Festival in Barcelona, Spain

    Osona is a beautiful countryside area in the north of Barcelona, Spain. The local authorities bet for a large format urban art festival where 19 new murals and artistic interventions have found a new home in the walls of 5 different villages of the region this last October.Osona Artimur gathered top artists like Zoer, Ana Barriga, Satone, Eloise Gillow, Daniel Muñoz, and Isaac Cordal among other urban art top names create 19 new artistic interventions for the 1st edition of the Osona Artimur Festival curated by B-Murals in the countryside of Barcelona, in order to produce identity portraits of each different small town, from a contemporary approach and point of view. In this rural context, muralism and street art stand up as a unique mixture of tradition and innovation.Take a look at more images below and check back with us soon for more updates.Ana Barriga Oliva in Sant Julià de Vilatorta.Wedo Goas in Prats de Lluçanès.Satone in Sant Bartomeu del Grau.Isaac Cordal in Sant Bartomeu del Grau.Nano4814 in Alpens.Contemporary and abstract pieces shutter the traditional aesthetical criteria, looking for new portraits of local identities, as the murals of Zoer, Satone, Ana Barriga, Rosh and Nano4814 display. Additionally, rural contexts become new places for researching, innovation and promoting art.Invited artists: Zoer, Ana Barriga, Satone, Nano4814, Luogo Comune, Isaac Cordal, Rosh,  Alberto Montes,  Jan Vallverdú, Marta Lapeña, Eloise GillowArtists selected by open call: Twee Muizen, Sergi Bastida, Wedo GoasArtists working on participatory processes: Daniel Muñoz, Chu Doma,  Alessia Innocenti, Mateu Targa, ZosenPhoto Credit: Monika Pufflerova & Fer Alcalá. More

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    Coverage: “Master and Commander” Solo Exhibition by Tania Marmolejo at Volery Gallery, Dubai, UAE

    Last December 8th, Volery Gallery opened Master and Commander, a solo exhibition by Swedish-Dominican artist Tania Marmolejo.Tania Marmolejo works primarily with painting, portraying her experience of womanhood through figures of women with ambiguous facial expressions. Flat surfaces, soft strokes, and vivid oil colours, are the main characteristics of her work. With a background in graphic design and illustration as well as academic training in Fine Arts. Her work is inspired by German and Flemish art of the Renaissance and Baroque eras, and the Figurative and Abstract German Expressionism. Influences of Scandinavian art are also apparent in her choice of colours and minimalist subject matter.For Master and Commander fourteen paintings are on show, dedicated to the bravery of Iranian women in their fight to break the old constraints that have trapped them in a particular place and cultural time. The works subtly investigates and portrays references that have been used historically to demonstrate women’s virtue or the lack of it.These symbols include ripe fruits, flowing hair, bare skin, and scenes of animal interactions. Women with stories pouring out of their eyes, delivering their emotions through their facial expressions, their figures are captured in fields and indoor spaces playing and questioning these motifs, representing resistance to pre-made fantasies of femininity and womanhood, making them the masters and commanders of their destiny.The exhibition will run until January 3, 2023 at Volery Gallery, DIFC, Dubai, UAE.Gallery hours: 2:00 PM – 7:00 PM.Schedule your visit here.Scroll down below for more photos of Master and Commander exhibition. More

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    ‘Banksy of Borovsk,’ a Russian Muralist, Wages His Own War

    An 84-year-old artist, defying Moscow’s crackdown on dissent, wants his country to acknowledge misdeeds both past and present.An 84-year-old artist was standing in front of one of the many murals he has painted in his provincial hometown one recent day when a group of young women passed by. They had traveled some 60 miles from Moscow just to see his latest work, and they tittered at the encounter.“This is so cool,” said one. “You are the main attraction of town.”The artist, Vladimir A. Ovchinnikov, has long covered the walls of the town with pastoral scenes, portraits of poets and daily life, in the process earning himself a reputation as the “Banksy of Borovsk.” But it is his political art that is now attracting attention. At a time when dissent is being crushed across Russia, Mr. Ovchinnikov has been painting murals protesting the invasion of Ukraine.It is a comparison he does not appreciate. Unlike the mysterious British-based street artist, Mr. Ovchinnikov works for all to see. And where a politically charged new Banksy offering may be cause for sensation, Mr. Ovchinnikov’s murals are not always welcomed — at least, not by the authorities.“I draw doves, they paint over them,” he said.Mr. Ovchinnikov is a rare dissident in Russia, where public criticism of the war can land people in jail or exile. He said his age and his family history offered a modicum of protection, even though he has been fined, questioned by the authorities and pelted with snowballs.“I am different from the majority of people: I’m almost 85 years old, and I’ve got nothing to lose,” he said. “If you are of working age, you can lose your job, and they will pick you up faster. I, an old man, seem to be treated differently.”Borovsk, Russia, where Mr. Ovchinnikov lives.Nanna Heitmann for The New York TimesMr. Ovchinnikov repairing an old painting of a couple reading.Nanna Heitmann for The New York TimesHe also said his own history — he did not meet his father until age 11 because his father had spent 10 years in a gulag, and his grandfather and uncle were killed by the state — drove him to denounce violence and war. Upon his retirement as an engineer in Moscow, he settled in his father’s house in Borovsk. His father had chosen the town because as a former political prisoner, he was forced to live at least 60 miles away from the capital.For his service as the town’s public conscience, Mr. Ovchinnikov has repeatedly clashed with local officials. Amid the domestic crackdown that has accompanied the war, he has been playing a cat-and-mouse game with the authorities. Many of Mr. Ovchinnikov’s murals are covered over within days or weeks.Across from the town’s voenkomat, or military commissariat, the cream-colored walls on Lenin Street are smeared haphazardly with gobs of white paint. Underneath, Mr. Ovchinnikov said, is his painting of a girl wearing the blue and yellow of Ukraine as three missiles fly overhead. Underneath, in large, bold letters: “Stop this!!!”The State of the WarAid for Ukraine: In the latest attempt to buoy Ukraine through a brutal winter, international leaders have announced around 1 billion euros to repair the country’s infrastructure.Avoiding Questions: President Vladimir V. Putin will not hold his annual December news conference. The move comes as Russia’s economy falters and follows a series of military setbacks in Ukraine.Splintered Loyalties: The town of Sviatohirsk, in Ukraine’s east, is divided by where people’s allegiances lie: with Moscow or Kyiv.Brittney Griner’s Release: By detaining the athlete, the Kremlin weaponized pain and got the United States to turn over a convicted arms dealer. Can the same tactic work in the war?After painting over the graffiti, the authorities turned their attention to Mr. Ovchinnikov, fining him 35,000 rubles, about $560, and accusing him of “discrediting the Russian armed forces.”“A fine for the fact that I want peace,” Mr. Ovchinnikov said. “I’m discrediting our military. How disgraceful.”His supporters sent donations to help him cover the fine.Nearby, in the town’s small central park, Mr. Ovchinnikov pointed to a statue of Lenin. It is not unlike those standing in practically every Russian town to this day. “That’s our leader,” he said sarcastically. The statue, he noted with a wry smile, is pointing straight at the voenkomat.In 2014, when Russia annexed Crimea and fomented separatist movements in eastern Ukraine, Mr. Ovchinnikov drew a Ukrainian flag on the statue’s pedestal. “I didn’t have time to write ‘Glory to Ukraine,’” he said. “They came and picked me up right away.”A World War II memorial in Borovsk. On its back, Mr. Ovchinnikov erected his own memorial dedicated to the repressed.Nanna Heitmann for The New York TimesAn antiwar painting by Mr. Ovchinnikov that had been vandalized.Nanna Heitmann for The New York TimesRussia under Vladimir V. Putin has sought to airbrush its history.It prefers, for example, to portray Joseph Stalin as the leader who led the Soviet Union to victory in World War II, and minimize the scale of the crimes the state under his rule committed against its own people. Memorial, a human rights organization that won the Nobel Peace Prize this year for its work chronicling political repression, has been dismantled.In Borovsk, where he moved after retiring from his career as an engineer, Mr. Ovchinnikov is fighting a lonely battle to keep the memory alive.Tucked behind Lenin in the park is a vandalized black stone, a monument to the those who were repressed during the Stalin era. Mr. Ovchinnikov had campaigned for it — but he is the one who vandalized it. He had wanted the memorial to include the names of all those from Borovsk who had been repressed.“I wrote ‘trampled and forgotten,’ and higher on the rock, ‘return their names,’” he said, referring to the idea that he was restoring dignity to the victims, who are currently a nameless and uncounted mass.That, too, was covered up with paint.Nearby, at the center of the park, stands a memorial to those who defended the Soviet Union during World War II. On its large back wall in 2019, Mr. Ovchinnikov erected his own memorial, one dedicated to the repressed. He painted a huge banner with portraits of people who had been shot. “Executed Future,” he called it.“I wrote down the names of only those shot,” he said. “There are 186 of them. But those who met their end in the camps — I should have added them.”As he walked to the front of the memorial, he paused to examine the list of names of the soldiers who died during the war.“For every 100 people who died on the battlefields, 170 were shot by our authorities,” Mr. Ovchinnikov said. “Yes, they have something to hide. But I think that the only reason they don’t want people to know about the scale is that they don’t want people to know what our government is capable of doing.”Farther down the street, he took a piece of charcoal from his pocket and traced four numbers faintly visible under a fresh coat of paint: 1937, the year that Stalin’s repression peaked. “The fact we’re trying to forget our tragedy, our repression, is one of the reasons for what is happening in Ukraine now,” he said.Mr. Ovchinnikov with one of his antiwar paintings that was covered over by the authorities.Nanna Heitmann for The New York TimesMr. Ovchinnikov painted a dove underneath signs near a store entrance.Nanna Heitmann for The New York TimesMany people feel uncomfortable when confronted with the painful history — and present — and do not welcome Mr. Ovchinnikov’s art.In the town’s central market, an older man pulling a cart stopped in front of a mural of his that was commissioned by the local butcher. It showed an artist holding a large goblet in front of a still life with meat.“If I had my wall defaced like this, I would paint over it,” the man told Mr. Ovchinnikov gruffly.Other residents who appreciate his apolitical art but back the war are rankled by his support for Ukraine.“It was not right to draw that,” said Aleksei, 32, pointing to a mural with sunflowers and another one next to it called “Nostalgia,” which featured a Russian woman and a Ukrainian woman holding hands. “Nostalgia” had been vandalized: The Ukrainian woman’s eyes had been gouged out.“Ukraine is not on our side but against us, and we don’t need Ukraine to exist,” said Aleksei, who declined to give his surname. “They started the war. We didn’t start the war.”Last month, Mr. Ovchinnikov was pelted with snowballs when he was updating some antiwar graffiti by the main road.“First I wrote ‘Z: madness,’” he said, referring to the letter that has become a symbol of support for the invasion. “They painted over it. Then I wrote ‘Z: Shame.’ They painted over it. Then I wrote ‘Z: Fiasco.’”That was in November. Soon after, a major from the intelligence services came to his home to question him.“With the inscription, I had the goal of conveying to the population and guests of the city of Borovsk that the special military operation is a failure and that it must be stopped,” he wrote in his official statement, using the Kremlin’s euphemism for the war.“I do not repent for what I have done. I do not feel my guilt. I had to do what I did.”“I draw doves, they paint over them,” Mr. Ovchinnikov said about the authorities.Nanna Heitmann for The New York Times More

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    “Under the Skin” art by David de la Mano in the European Parliament in Brussels, Belgium

    David de la Mano was born in Salamanca in 1975, where he graduated in Fine Arts before focussing on Public Art for his PhD at the University of Valencia. From 1993 onward, De La Mano has worked extensively in urban public space, and developed his trademark style during numerous international projects. Relying predominantly on harsh contrasts of black and white, his reductive and increasingly emblematic paintings centre around narrative and symbolic figuration. David de la Mano is a contemporary artist known for his meticulous brushwork, his knack for large scale, almost systematic use of black and white, and his minimalist human silhouettes. With his original training in sculpture, he has focused his interest on public art, to which he has naturally and immediately integrated urban art, becoming one of the most important artists in this discipline.His work is made up of characters taken from great poetry that do not leave anyone indifferent. Through each piece, he works to transcribe his vision of the world around him, in the most personal and symbolic way possible. Between shadow and light, playing with shapes, contours and contrasts, David de la Mano gives birth to a world of perfect balance, where human beings and nature, always intrinsically linked, merge and then stand out, in perpetual motion. In addition, it stands out for its exploration of new spaces, supports and materials such as open or invisible spaces, permanent and ephemeral supports, and diverse materials such as urban furniture, or elements of nature.The Spanish artist with a very unique universe has nothing more to demonstrate of his virtuosity, and each of his frescoes around the world confirms it. For Mehdi Ben Cheikh, director of Galerie Itinerrance, “David de la Mano’s work is as relevant on the street as it is in galleries, and it retains all its power from one place to another”. The artist has developed numerous projects in Spain, Norway, Italy, Taiwan, the United States, Poland, England, France, Finland, Tunisia, Peru, Argentina, Brazil, Uruguay, Portugal, Holland, Germany, etc … and exhibits his works in private homes or in art galleries around the world. David de la Mano’s painting focuses primarily on the importance of social ties, primarily through the representation of human figures evolving in groups, often facing an obstacle or threat. Take advantage of the evocative power of silhouettes to stimulate the imagination of your viewers.The project “Under the Skin” was finished painting and mounting on December 5 on the third floor of the European Parliament in Brussels, created with MDF and assembled from different parts that generate scars in each of its limits.The work shows a growing sequence of confrontation and I accompany its presence with this poem by Miguel Hernández:“…For freedom I detach myself with bulletsof those who have rolled his statue through the mud.And I break free from my feet, from my arms,of my house, of everything.Because where some empty sockets dawn,she will put two stones of future lookand she will make new arms and new legs growin the cut meat.They will sprout winged sap without autumnrelics of my body that I lose in each wound.Because I am like the felled tree, what a sprout:because I still have life.”“Man Lurks” 1937-1939Miguel HernandezTake a look at more images below and check back with us soon for more updates. More

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    John Fekner – Detective Show – Bio Editions Book Release

    The latest release from UK publishing house Bio Editions is a photography book from John Fekner, entitled ‘Detective Show’. Featuring a foreword by legendary art critic, Carlo McCormick, the title explores the formative steps of street-art-as-installation, transporting readers back to 1970s Queens, New York, and shining a light on an era of authentic, artistic freedom.Detective Show maps the conception and creation of a strikingly unique outdoor urban art event organised in 1978, spanning the breadth of an unloved park in Jackson Heights, Queens, NYC. Contributors included Fekner himself, Don Leicht, and numerous acclaimed artists, including Richard Artschwager and Gordon Matta-Clark.Fekner ultimately decided to invite those he shared studio space with in the P.S.1 Contemporary Art Center to join him in hiding works across the park, including Richard Artschwager, Gordon Matta-Clark, Len Bellinger, Don Leicht, Frances Hynes, Claudia DeMonte and Karen Shaw among others.Envisioned as a ‘beyond the visible’ hide-and-seek art game of sorts, with visitors given clues and urged to seek out the works strewn across the concrete expanses or even hidden among the trees, Fekner’s objective was simply to create thoughtful interaction with surroundings through art, to the benefit of the public, young and old alike. The end result, he hoped, would provide what he thought of as ‘the magic of discovery by happenstance’.Careful to ensure that the painted and sculpted contributions worked in harmony with the space, Fekner notes he “had to place some restrictions on the artists – no monumental stuff that might disturb the park.”Interspersed between photographs documenting the scope and joy of the show, artists fondly recall a period of artistic freedom that felt unencumbered by the trappings of commercial art.“It’s hard to remember what an exciting and different time 1978 was in the art world. It was pre-PR machines, hype, mega-money, business plans,” notes DeMonte.“For a few weeks in the spring of 1978, about two hundred kids were exposed to original artwork in their own backyard, by some of the most renowned artists of the day,” adds Dave Santaniello, “and that experience changed their perception of their environment forever.”Fekner himself was particularly pleased by the low-key nature of the show’s impact: “The Detective Show was quite unlike current street art festivals with their spectacular large murals, bright colours and street fair atmosphere.“The show was quiet and removed; distanced from the usual New York art world locations and audiences. Extremely low key, it was a temporary art installation about subtlety, nuance, and the magic of discovery by happenstance.”Many of the artists involved in the show have since gone on to become revered names within the contemporary art world, some were renowned before they took part, and others went on to teach, or lead ‘ordinary’ lives. This only serves to further act as tribute to a show that was created with solely the art and those who would experience it in mind, a great unifying cause for creators that urged others to look for beauty in hidden places.In notable contrast to today’s large scale mural-style street art festivals, this 84-page book charts an ideologically-pure reinvention of the urban landscape for the benefit of all, made without corporate sponsorship or underlying motives.Like the show itself, the book – which includes numerous lovingly-printed photographs documenting the event, flyers, newspaper clippings & other ephemera, and written recollections by many of the artists themselves – is a love letter to the innovation of art within public spaces.Two editions of the book, including those featuring limited-edition prints, will be available from 5pm on 1st December 2022.In addition to the first Edition of 450, Bio will also release a special edition of 78, signed by John Fekner. These are sold along with a limited edition gicleé print with silkscreen varnish, signed and numbered by the artist.Detective Show will be available to order via Bio Editions’ website. Photography courtesy John Fekner / Bio Editionswww.bioeditions.com More

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    BACKW12DS – 12 Year Anniversary Group Exhibition

    Melbourne’s premier urban contemporary art gallery Backwoods welcomes you to celebrate the end of their 12th year in Collingwood, with a group exhibition featuring over 40 Australian and International artists, across multiple mediums of painting, drawing and sculpture.DAVID ‘MEGGS’ HOOKE
    Over the past 12 years, Backwoods has fostered bold and recognisable voices in contemporary graphic art.BACKW12DS presents artists from the gallery’s formation, present and future.AL STARKFeaturing: Taj Alexander, Charlotte Alldis, Simon Beuve, Robert Bowers, Evie Cahir, Morgana Celeste, Gabriel Cole, Dave Court, David Cragg, Noni Cragg, James Dodd, Rachael Edwards, Broken Fingaz, Matthew Fortrose, Lotte Frances, Helen Gory, Ellie Hannon, Ileigh Hellier, Georgia Hill, Jesse Hogan, David ‘Meggs’ Hooke, Kyle Hughes-Odgers, Jill Kempson, Adam Kinninmont, Tommy Lhomme, Leili, Fintan Magee, Jasmine Mansbridge, Brendan  Monroe, Daniel O’Toole, Mic Porter, Resio, Josh Robbins, Elliott Routledge, Liam Seear-Budd, STABS, Al Stark, Jacqui Stockdale, Masatomo Toi, Ben Totty, Hiroyasu Tsuri & Jason Woodside.KYLE HUGHES-ODGERSThe exhibition runs from November 25 – December 18ELLIOT ROUTLEDGE25 Easey Street, Collingwood, VIC, AUSTRALIAJAMES DODD More