Italian scenographer and sculptor Edoardo Tresoldi recently presented Opera, his new public art permanent installation last September 12th on Reggio Calabria’s seafront, promoted and commissioned by the local Municipality and the Metropolitan City.
Opera was created to celebrate the contemplative relationship between place and human beings through the language of classical architecture and the transparency of the Absent Matter. The open wire-mesh structure – consisting of a colonnade of 46 pillars peaking at 8 meters within a 2,500-square meter park – will offer a new monument fully crossable and accessible to locals and visitors alike. The installation will be part of one of the largest European public spaces and aims to become a new landmark in the region.
During the opening weekend a series of free music, performance and poetry events was held. The sound installation by Italian musician and composer Teho Teardo narrated the fusion between Opera and the site through a sound design articulated through the different moments of the day: morning, sunset and night. In addition, poetry events curated by Italian poet and writer Franco Arminio and a secret concert by the well-known Italian songwriter Brunori Sas.
Opera is a monument to contemplation through which the place further defines itself. Tresoldi plays with the grammar of classical architecture – as well as with the transparency of the wire mesh – to research new visual poetics in dialogue with the surroundings and the viewer. The pillars, Western cultural heritage’s founding archetypes, compose a courtly frame allowing for a further interpretation of the park.
The installation generates a mental agora that leads visitors into an ever-changing perceptive dimension thanks to the park’s varying heights and depths. Operaopens up relationships in several directions within an already materially open space: the perspective corridors run towards the landscape while the transparent pillars define an open structure that accommodates, accompanies and defines the spatial experience and establish a direct relationship between earth and sky.
Opera is Tresoldi’s second installation in Calabria after Il Collezionista di Venti in 2013, and the second major permanent public artwork in Italy after the Basilica of Siponto in Apulia, commissioned by the Italian Ministry of Culture in 2016.
Take a look below for more images of Opera.
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Environmental activist groups from the ‘Brandalism’ network have installed over 100 parody car advert posters on billboards and bus stops in England and Wales. The guerilla artworks featuring brands such as Range Rover, Ford, Volkswagen, BMW, Citroen, Lamborghini and Vauxhall were installed without permission in Bristol, Birmingham, Cardiff, Leeds, London and Exeter.
The billboard posters criticise the car industry for misleading adverts that have driven up demand for polluting vehicles and private car use – resulting in increased carbon emissions from road transport and worsening air pollution and congestion in towns and cities.
“Car adverts promote private car ownership as a status symbol. Themes of power, success and social status are mixed with exotic locations and empty roads to promote a myth of freedom and mobility. The resulting problems of traffic congestion, worsening air pollution and climate breakdown are left out of these glitzy ads.
Outdoor advertising billboards are used to promote new cars to motorists stuck in traffic. It’s absurd.
Our towns and cities have become so dominated by private cars that we’re struggling to implement sustainable alternatives as the health and social costs mount. The active promotion of polluting vehicles through advertising campaigns isn’t helping the situation. We need a cultural shift away from cars,”Peter Marcuse from Brandalism said.
Over 30 international artists including Paul Insect, Jimmy Cauty, street artist Dr.D, Fokawolf, satirist Darren Cullen, Matt Bonner and Michelle Tylicki created 45 different artwork designs.
One poster by Birmingham street artist Fokawolf: “Ignore the Kids, Burn the Planet’ with a picture of an SUV.
Brandalism is an international collective of artists that challenge corporate power, greed and corruption around the world. Intervening into ad spaces that usually celebrate consumption, Brandalism use ‘subvertising’ as a lens through which we can view the intersectional social & environmental justice issues that capitalism creates.
In January 2020, 41 artists instigated Australia’s largest unsanctioned art campaign in Melbourne, Sydney and Brisbane in the wake of devastating wildfires and inaction on the climate crisis. In 2015, the Brandalism group replaced 600 bus stop posters in Paris ahead of the UN climate talks critiquing major polluters such as Volkswagen and Air France.
Check out below for more photos of the advert posters.
Another billboard featured the highly fuel inefficient BMW X5 reading “Embrace the traffic jam, Driving you into Climate Breakdown.”
A mock Lambourghini advert by 006 – Michelle Tylicki presented the bright SUV within a hellscape of 16th century artist Hieronymus Bosch
Artwork by Paul Insect
Artwork by Dave Walker
Artwork by satirist Darren Cullen
Artwork by Hogre
Artwork by Matt Bonner
Artwork by Paul Insect
Artwork by Matt Manson
Artwork by Dr.D
Artwork by Jimmy Cauty
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Australian artist Fintan Magee has recently finished another mural in Ipswich, Australia. This work depicts two rail-workers behind beveled glass. The Arctic glass pattern in the painting was common in middle-class Queensland homes in the 1960s and was used in French doors and windows.
“Some of my earliest memories of Queensland architecture was my father’s silhouette through the glass doors when he got home. The work explores the role of de-industrialization in urban communities and on the suburban fringes of Australia. The figures in the mural appear distant, disconnected, isolated, and breaking up.”
“As middle-class homes become increasingly out of reach for working-class Australians and lower-pay and job insecurity continues to shape how we work, this painting explores how nostalgia shapes political views and how workers view their communities and the outside world. The work specifically looks at two rail workers from the city of Ipswich” the artist said.
Additionally, Fintan Magee says the inspiration behind the painting was honouring those continued to work essential jobs – keeping the economy functioning and food supply moving during the coronavirus lockdown.
Fintan Magee is a Sydney based social realist painter, specializing in large-scale murals. Magee has solidified his position as one of Australia’s leading public artists and has traveled extensively, completing projects in countries across the world, including Belarus, India, Jordan, Spain, Tahiti, USA, among many others.
Scroll down below for more images of the stunning mural.
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Chilean visual artist INTI had recently worked intensely on a new mural in Aalborg, Denmark as part of the 6th edition of the mural project ‘Out in the Open’ by KIRK Gallery. The mural entitled “TAIÑ MAPU / Our Land” is about the relationship between Denmark and Chile and how both countries are very focused at environmental issues and how the preserve nature and original cultures.
“While beginning this mural in Denmark (a country known for its environmental policies), the Mapuche people in Chile continue their historic fight for their land. The mural in Aalborg explores the common ground existing between two distant cultures. Where there mainly seem to be differences, both countries maintain a relationship of respect and harmony with the land we inhabit living in us.
Today more than ever we have to learn from those who have managed to live in balance with our ecosystem. How to keep a close connection to nature and treat it with care like a mother holding it in her arms” INTI said.
“I’ve been working with warm colors and spiritual symbols since this is a part of our story in Chile. In general, I like to challenge the spiritual – not religiously but as a reference to our culture and then mix it all together.”
Inti Castro, artistically known as INTI (meaning sun in Quechua), is one of Latin America’s foremost street artists and an artistic ambassador to the world. Coming from a family dedicated to the arts and music, he started tagging the streets of his hometown Valparaiso at the age of 13. Working on the street gave him a freedom to explore from the earliest days of his artistic practice. Yet whilst the wall was his natural medium, he also went through formal artistic studies at the Fine Arts School of Viña del Mar. There he acquired the rigor and training of a professional painter. Life experiences and his street practice rounded off his formation.
Check out below for more photos of “TAIÑ MAPU”.
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Contemporary artist Canyon Castator will be bringing us his distinctive visual universe of symbolic, complex and dreamlike scenery which he has created. Carl Kostyál & StreetArtNews collaborated with Canyon to create out this limited edition print entitled “A Clean Break”. This artwork will be released this August 19, Wednesday, 5PM UK time.
This screen print comes in an edition of 35 and measures 80 x 60 cm. It will be priced at 350$ and is signed and numbered by the artist.
“When LA locked down with shelter in place orders, later leading to complete beach closures, I found myself constantly having surf dreams. Surfing is by design social distancing and the fact that the state made it illegal was absurd to me. I became more obsessed than ever with checking the live surf cams of completely empty beaches and waves. I started following all of new swell moving into the LA area, knowing that it would fall on vacant shores. ‘A Clean Break’ grew out of that obsession.”
– Canyon Castator
“A Clean Break” will be available on StreetArtNews store on August 19, 2020, Wednesday 5PM UK Time. (12PM NYC, 9AM LA, 2AM Melbourne, 12AM HK, 1AM Tokyo)
Check out below for more images of the print.
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Contemporary American artist Travis Fish has been a rising name in the global art scene. Originally from Wisconsin, Travis lives and works in New-York City.
Travis Fish paints catchy motifs, shirts, pants, luxury sweatshirts and portraits as if he had put them on his large format canvases in no time. His art seems childish, naive, without clear lines, with watercolor colors, random spots and deliberate mistakes: “I paint as fast as I can, for fear of becoming too perfect. Spontaneity should be preserved at all costs.”
Travis fits well in the current trend of naive painting with child-like motifs. Seen in this way also with artists like Robert Nava, Oli Epp or Katherine Bernhardt.
I caught up with Travis to talk about his artistic process and the influence of fashion to it.
Jonas Wood and Travis Fish at Carl Kostyál booth in Felix, Los Angeles, 2020
Rom Levy: To begin, can you tell me a little about yourself and your background ?
Travis Fish: I was born in Wisconsin 1989. Went to art school at the School of the Art Institute of Chicago. After that I worked as a studio assistant for some painters I really respect. Following that I lived in Hong Kong and Korea for a few years, Then moved to New York in 2015.
What’s your working process like?
My process is a bit manic. I feel manic when I paint, you can see it in my eyes. The painting is on the ground. I dance around it a bit, trying to reach the middle. I use really watered down paint so things might spill around, so gotta deal with that. Usually I’m watching one layer dry so I can put the next layer down at the right time. Watching the paint dry is a part of it for me.
Let’s talk about your current subjects. What inspired them, and what are your source materials?
Currently I’m painting jackets, sweaters, and T-shirt’s. Mainly designer and grateful dead stuff. I started doing the clothes after a year of painting portraits of Migos. It started off where I would do a portrait of Offset, then Quavo, then Takeoff, repeat. I follow a bunch of fan pages that post daily. Then I started painting the clothes they would wear. I am a super fan. Fan art.
How long have you been developing this visual language?
I’ve been painting this way for about 4 years. It has been incubating over a decade and the visual language I am working within is a result of years of bad painting.
Offset at Malmö Sessions by Travis Fish
How did your interest in fashion become such a prominent part of your creative process?
My interested in fashion and adornment have not been lifelong. For most of art school I owned a single sweater. My interest in fashion was born out of my love for Offset. These are items of adornment that signify a certain level of wealth and mobility. This fashion is so fast. The speed at which new collections are released works with the speed of my painting. Fast fashion and fast painting. I find this contrasted with the permenance of painting, a very fruitful space to work in. From the technical perspective the sweater can give me so many different things to paint. It could be a sweater with text, or a nature scene, or a print, or whatever. There is always something there to push and pull.
Have you ever been intrigued to work on a mural / public art & urban art ?
I have made some big paintings(10×15’). So I think I would have some fun with a mural.
I am interested in the ephemerity of paintings, do you view your own work as precious? If you are unhappy with a work, do you tend to destroy it or would you rather put it in storage for a while and alter them at a later date?
I’m usually pretty happy with how they turn out ha. But if I’m not happy with it, I take it off the stretcher roll it up and put it away. Ive never destroyed a painting. I never rework paintings. I just like to start a new one. They are not precious when I am working on them, I have even been know to sleep under them, but when its finished it becomes a little more precious and the work becomes preserving it.
Let’s talk about the work you are making for Carl Kostyál in September. What type of works are you preparing? Does it connect to previous works, or did you try something new?
I’ll be working on the show with Carl right up until it’s time to hang. Right now I’m painting sweaters, but a lot could change in a month.
In addition to that, Travis Fish will have an upcoming solo show at Carl Kostyál, Stockholm in September and will be showing in Carl Kostyál booth at Dalla Art Fair in April 2021.
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French artist 100taur just worked on a mural painting done in collaboration with the City of Montauban and the Ingres Museum. The mural is the 2nd part of the trilogy around the work of Jean-Auguste-Dominique Ingres.
For little background on the artwork, Roger delivering Angelique is a painting painted by Jean-Auguste-Dominique Ingres in 1819, inspired by a song by the furious Roland of Ariosta. Angelique was a princess of the kingdom of Cathay, India. She was later brought by Roland to France to fall in love with him. However, she ran away and was captured by pirates who abandoned her on an island to offer her to the Orquemarine. That’s when Roger stepped in to save her, mounted on the Hippogriff.
“I represented Roger as a vampire bat, riding the Hippogriff and waving his spear to the orca – dragon, as a sign of deadly attack. This is the part of the wall I made first. Whether it’s Roger, the hippogriff or the orca, they are represented in a way that evokes the unwavering bond that lies between human and the monstrous.” 100taur said.
100Taur’s work is halfway between innocence and horror. He explores the concepts of difference and imperfection by creating fantastical half human and half animal creatures, evolving in a poetical universe. Each tiny details of his work is a tribute pays to the famous sentence by Francisco De Goya “The sleep of reason produces monsters”.
He shows us frightening mythical creatures through is childish eyes and made his most terrific nightmares harmless, almost charming through his art. Behind each of his drawings, paintings, sculptures or settings, a story is waiting to be discovered. 100Taur was born in 1982 and works in Toulouse. He has been interested in nature, sacred art, Japanese culture and mythologies from all over the world.
Check out below for more photos of the mural.
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