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    Catch a Fish in Paris. Post on Social Media. Release.

    AdvertisementContinue reading the main storySupported byContinue reading the main storyParis DispatchCatch a Fish in Paris. Post on Social Media. Release.A new, younger generation of fishers is taking over the banks of the Seine, transforming a centuries-old tradition into an underground culture.The Seine used to be the fishing playground of older, working-class men who whiled away their retirement days at the river. These days, a younger and more diverse generation is disrupting the scene.Credit…Andrea Mantovani for The New York TimesJan. 11, 2021, 12:01 a.m. ETLire en françaisPARIS — On a recent wintry afternoon along the Seine, a Parisian teenager took a fishing rod out of a narrow holster, stuck a glittery rubber fish on a hook and cast his line into the water.The fisherman, Eliot Malherbe, 19, was soon joined at the river’s edge by his friend Kacim Machline, 22, an art student. But first, Mr. Machline spray painted a greenish striped fish on the concrete walls by their spot on the river, in an renovated former industrial area near the Jardin des Plantes on the Left Bank.The Seine used to be the fishing playground of older, working-class men who whiled away their retirement days at the river. These days, a younger and more diverse generation is disrupting the scene.Many of the younger anglers were first drawn to the Seine by the promise of other adventures. The city’s quays offer some of the city’s prime skateboarding territory, and for graffiti artists, it provides areas with little traffic so they can discreetly spray their tags during the night.While fishing’s more sedate pleasures might seem to lack the same thrill, that’s not the case, said Manuel Obadia-Wills, 40, a former graffiti artist and skateboarder — and now a fisherman during his free time.Kacim Machline creating some art before fishing.Credit…Andrea Mantovani for The New York Times“There is a buzz, an addictive side, a repetition until you reach the moment of grace,” Mr. Obadia-Wills said. “In skateboarding, it’s the perfect trick. As for graffiti, it’s all about the adrenaline rush when you are in a forbidden place. When you fish, it’s about the most beautiful catch.”Like skateboarding and drawing graffiti, fishing in the Seine, too, sometimes flirts with legality. Many fishers go out after work or school — although France has officially forbidden fishing after sunset since 1669 even during wintertime.During the official fishing season from May to January, young fishers meet at certain spots — near barges stretching for miles along the river and under which fish shelter, or by the Canal Saint-Martin or Canal de l’Ourcq, where the water is calmer and warmer than in the Seine.Eager to find unexplored grounds, though, some venture to restricted areas like under the Bastille square at “the tunnel,” as it’s known, a mile-long underground canal covered by a stone vault. The city recently sealed off its entrance to try to prevent people from getting in.The “tunnel” is a mile-long underground canal under the Bastille square.Credit…Andrea Mantovani for The New York TimesAlthough they are carrying on a centuries-old tradition of fishing in the shadows of Notre-Dame or below the Eiffel Tower, younger fishers have brought with them updated rules and codes.Foremost among them: The ultimate aim of the day’s catch is no longer about sharing a meal with friends and family. Instead, the goal is to share on social media close-up images of the pikes, perches, zanders, wels catfish and other species — and then releasing them back in the river.“Fishing is a sport and fish are our game partners, that’s why we release them,” said Grégoire Auffert, 21, squatting on a parapet of the Quai Anatole France facing the Tuileries Garden across the river. “You would never ask a tennis player to eat the ball.”Also, the new generation uses plastic artificial baits to lure the fish, not the natural baits like the worms still favored by beret-wearing retirees. The fish don’t swallow the lures, and fishers can hook them by their mouth cartilage, causing the least possible harm.The new customs are aimed at protecting the increasing biodiversity in the Seine. In the 1970s, there were only three fish species left in the river, but after decades of water purification policies, there are now more than 30 — although plastic bags, industrial waste and, lately, electric scooters with lithium batteries keep contaminating the river.“The milieu has been constantly improving and the coronavirus pandemic intensified it” by offering a quieter environment to fish, said Bill François, a marine scientist. He pointed out that this past year there have been fewer tourist boats running on the Seine. During the summer, he said, “we observed a very good reproduction.”Mr. Machline displaying  a perch he caught in the area of the Seine that connects to the Canal Saint-Martin.Credit…Andrea Mantovani for The New York TimesThierry Paquot, who studies urban life and teaches at the Paris Urban Planning Institute, sees the urban anglers as part of a push by city dwellers across France to be more in tune with nature.“There is a whole new range of practices heading in the same direction, like urban agriculture,” he said.He said a generation of young adults, suffering from growing economic precariousness, find a sense of community in the tradition of fishing, which they have transformed by an ecological awareness and by sharing their passion through technology.The fishing federation of the Parisian region has 8,500 members, all of whom buy an annual license for about $120. Add in those who occasionally purchase a daily license for $15, and those who fish illegally, and the total number of people who fish in the capital could be over 30,000, according to fishing store owners.“The number of fishermen remains quite stable, but now young people clearly outnumber people of a certain age,” said Marcelo D’Amore, who has been selling fishing gear in Paris for the past 30 years, first at a sporting goods chain and now at “Giga-pêche” — which means something like “mega-fishing” — a store he opened in 2016 in eastern Paris.The growing appeal of Parisian fishing to the younger crowd has drawn the attention of entrepreneurs like Fred Miessner, who says he noticed the trend in the early 2000s and nicknamed it “street-fishing.” With a business partner, Mr. Miessner — who also fishes in the Seine — launched French Touch Fishing, a fishing items wholesale company, and Big Fish 1983, a streetwear collection for urban fishers including hats, printed T-shirts and polarized sunglasses.Fred Miessner, right, with his business partner, William Fichard, in front of the office of French Touch Fishing and Big Fish 1983.Credit…Andrea Mantovani for The New York Times“We didn’t recognize ourselves in the old codes,” Mr. Miessner said. “We didn’t wear plastic boots, military fatigues or closefitting jerseys. We fished, and after, we went to parties with our friends without changing clothes.”His brand and others like it sponsor young fishermen who have become social media influencers in the community. Mr. Machline, the art student, receives hundreds of dollars’ worth of goods from a company in exchange for posts mentioning the brand to his 4,000 followers on Instagram.Some fishing customs remain unchanged in the social media age. While sharing photos of the day’s trophy catch is essential, fishers tend to avoid making their exact locations obvious to protect them from “crabbers” — as they call those who identify good spots from pictures.And bragging about the size of one’s catch continues unabated.On a recent late afternoon, after a day roaming the banks, Mr. Machline caught a plump 15-inch perch in the Bassin de l’Arsenal, a barge port near the Place de la Bastille where the Canal Saint-Martin meets the Seine. Mr. Malherbe, his friend, captured the moment on his cellphone, then the fish was re-immersed in the water.“I always stretch out my arms in front of me,” Mr. Machline said with a proud smile. “That way, the fish looks bigger in the picture.”A lesson for children organized by the fishing school Naturlish on the Canal de Saint-Denis.Credit…Andrea Mantovani for The New York TimesAdvertisementContinue reading the main story More

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    À Paris, on pêche, on poste, et on relâche

    AdvertisementContinue reading the main storySupported byContinue reading the main storyÀ Paris, on pêche, on poste, et on relâcheUne nouvelle génération de pêcheurs s’empare des berges de la Seine et une tradition centenaire se mue en véritable culture underground.La Seine a longtemps été le terrain de jeu de pêcheurs âgés issus des classes populaires, de retraités tuant le temps sur les bords du fleuve. Mais aujourd’hui, une génération plus jeune et diverse vient bouleverser ce tableau.Credit…Andrea Mantovani pour The New York TimesJan. 11, 2021, 12:01 a.m. ETRead in EnglishPARIS – Une brise hivernale souffle sur la Seine. Eliot Malherbe, un jeune Parisien de 19 ans, tire une canne à pêche de son fourreau, plante un poisson en plastique pailleté sur son hameçon et jette la ligne à l’eau.Son ami Kacim Machline, un étudiant en art, 22 ans, ne tarde pas à le rejoindre. Mais avant, il ajoute la dernière touche au poisson vert zébré qu’il a peint à la bombe sur un mur en béton à quelques pas du spot de pêche, dans un ancien quartier industriel désormais rénové près du Jardin des Plantes sur la Rive Gauche.La Seine a longtemps été le terrain de jeu de pêcheurs âgés issus des classes populaires, de retraités tuant le temps au bord du fleuve. Mais aujourd’hui, une génération plus jeune et diverse est venue bouleverser ce tableau.Nombre de ces jeunes pêcheurs ont été attirés sur les quais de la ville par la promesse qu’ils leur réservaient de nouvelles aventures. Les skateurs profitent déjà de cet espace dégagé, qui offre également aux graffeurs des coins avec peu de passage pour peindre leurs fresques, la nuit, à l’abri des regards.Pour un œil profane, la pêche ne semble pas pouvoir offrir une exaltation semblable. Pourtant, Manuel Obadia-Wills — un ancien graffeur et skateur désormais converti à la pêche pendant son temps libre — affirme le contraire.Kacim Machline peint un graffiti avant de se mettre à pêcher.Credit…Andrea Mantovani pour The New York Times“Il y a un ‘thrill’, un côté addictif, un côté répétitif pour arriver au moment de grâce”, explique l’homme de 40 ans. “En skateboard, c’est la figure parfaite. En graffiti, c’est la montée d’adrénaline dans un endroit où tu n’avais pas le droit d’aller. En pêche, c’est le plus beau poisson.”Comme le skateboard et le graffiti, la pêche en Seine outrepasse parfois la frontière de la légalité. Beaucoup de passionnés sortent pêcher après le travail ou les cours — même si la pêche de nuit est interdite en France depuis 1669, y compris pendant l’hiver.Pendant la période officielle d’ouverture de la pêche, de mai à janvier, les jeunes adeptes se retrouvent sur les spots incontournables — près des péniches amarrées sur des kilomètres le long du fleuve qui servent de refuge aux poissons, ou au bord du Canal Saint-Martin ou du Canal de l’Ourcq, là où l’eau est plus calme et plus chaude que celle de la Seine.À la recherche de coins inexplorés, certains s’aventurent dans des lieux interdits au public – comme le “tunnel”. C’est ainsi que les pêcheurs appellent le canal souterrain qui court sur plus d’un kilomètre sous une voûte de pierre depuis la place de la Bastille. La mairie en a récemment fermé l’entrée pour interdire tout passage aux piétons.Le “tunnel” est un canal souterrain de plus d’un kilomètre de long depuis la place de la Bastille.Credit…Andrea Mantovani pour The New York TimesCela fait des siècles qu’on trouve des Parisiens amateurs de pêche au pied de Notre-Dame ou de la Tour Eiffel. Ces jeunes-ci sont les héritiers de cette tradition, mais ils l’ont mise au goût du jour avec leurs propres règles et leurs codes.Désormais, une belle prise n’est plus synonyme de repas en famille ou entre amis. Au lieu de cela, les pêcheurs postent sur les réseaux sociaux des gros plans des perches, sandres, silures et autres espèces attrapées dans le fleuve — avant de les relâcher.“La pêche est un sport et les poissons sont nos partenaires de jeu, c’est pour ça qu’on les relâche”, explique Grégoire Auffret, accroupi sur un parapet du Quai Anatole France sur la berge opposée au Jardin des Tuileries. “On ne va jamais demander à un joueur de tennis de manger sa balle”, ajoute le jeune homme de 21 ans.Pour tromper le poisson, la jeune génération remplace les appâts naturels comme les vers — que les retraités coiffés de bérets privilégient encore — par des appâts artificiels en plastique. Le poisson n’avale pas le leurre, et les pêcheurs peuvent le ferrer par le cartilage de sa bouche, en le blessant le moins possible.Ces nouvelles pratiques visent à protéger la biodiversité de plus en plus importante de la Seine. Dans les années 1970, il ne restait que trois espèces de poissons dans le fleuve. Après des décennies de politiques d’assainissement de l’eau, on en compte désormais plus de trente – même si les sacs plastiques, les déchets industriels et, dernièrement, les trottinettes électriques avec des batteries au lithium polluent encore le fleuve.“Le milieu s’améliore constamment et le coronavirus a accentué le phénomène” en offrant un environnement plus calme aux poissons, explique Bill François, un océanographe. Il ajoute que les bateaux pour touristes n’ont quasiment pas navigué sur la Seine cette année. Pendant l’été, “on a constaté une très bonne reproduction.”Kacine Machline exhibe la perche qu’il vient de pêcher dans le Bassin de l’Arsenal, l’embouchure du Canal Saint-Martin sur la Seine.Credit…Andrea Mantovani pour The New York TimesSelon Thierry Paquot, philosophe de la ville et enseignant à l’Institut d’urbanisme de Paris, les pêcheurs urbains s’inscrivent dans un élan général qui pousse les citadins partout en France à se rapprocher de la nature.“Il y a un faisceau de nouvelles pratiques qui vont dans le même sens, comme l’agriculture urbaine”, dit-il.Il ajoute qu’une génération de jeunes adultes, confrontés à la précarité économique grandissante, trouve un sens de la communauté dans la tradition de la pêche, désormais transformée par leur conscience écologique et le recours aux nouvelles technologies pour partager leur passion.La Fédération de Pêche de Paris et de sa région compte 8500 membres détenteurs d’une carte de pêche annuelle coûtant 100 euros. Si on y ajoute ceux qui achètent occasionnellement une carte journalière à 12 euros et ceux qui pêchent illégalement, il y aurait plus de 30 000 pêcheurs dans la capitale, d’après les propriétaires de magasins de pêche.“Le nombre de pêcheurs reste assez stable, mais maintenant on voit clairement qu’il y a plus de jeunes que de gens d’un certain âge”, explique Marcelo D’Amore, qui a commencé à vendre des articles de pêche à Paris il y a trente ans dans une chaîne de magasins de sports. Il est désormais propriétaire du magasin “Giga-pêche” — ouvert en 2016 dans le 12ème arrondissement.L’engouement du jeune public pour la pêche à Paris n’est pas passé inaperçu auprès des entrepreneurs. Fred Miessner a découvert cette tendance au début des années 2000 et l’a surnommée le “street-fishing”. Avec son associé, ce pêcheur passionné a lancé French Touch Fishing, une entreprise de distribution d’articles de pêche, et Big Fish 1983, une collection de vêtements pour pêcheurs urbains avec des bonnets, des T-shirt à imprimés et des lunettes de soleil polarisées.Fred Miessner, à droite, avec son associé William Fichard, devant les bureaux de French Touch Fishing et Big Fish 1983, leurs entreprises d’articles et de vêtements pour pêcheur urbains.Credit…Andrea Mantovani pour The New York Times“On ne se reconnaissait pas dans les anciens codes”, explique M. Miessner. “On n’était pas en bottes en plastique, en treillis militaire ou en maillot Tour de France. On pêchait, et puis on pouvait aller en soirée avec des potes sans changer d’habits.”French Touch Fishing et d’autres marques sponsorisent des jeunes pêcheurs, qui deviennent des influenceurs sur les réseaux sociaux pour leur communauté. M. Machline, l’étudiant en art, reçoit l’équivalent de plusieurs centaines d’euros par an de la part de son sponsor en échange de publications faisant mention de la marque à ses 4000 abonnés sur Instagram.Mais certaines traditions restent inchangées, même à l’ère des réseaux sociaux. S’il est devenu essentiel de publier une photo de son plus beau poisson de la journée, les pêcheurs cachent toujours la localisation exacte de leurs prises pour éloigner les “crabbers” — surnom donné à ceux qui repèrent les bons spots de pêche grâce aux photos.Et bien sûr, se vanter de la taille de sa prise reste aussi de rigueur.Après une journée à parcourir les berges dans le froid de décembre, M. Machline finit par attraper une perche potelée de quarante centimètres dans le Bassin de l’Arsenal, le port de plaisance à l’embouchure du Canal Saint-Martin sur la Seine, près de la Place de la Bastille. M. Malherbe, son ami, immortalise l’instant avec son téléphone portable, avant que le poisson ne soit rejeté à l’eau.“Je tends toujours les bras devant moi”, sourit fièrement M. Machline. “Comme ça, le poisson a l’air plus gros sur la photo.”Une leçon de pêche organisée pour les enfants par l’école Naturlish sur le Canal Saint-Denis.Credit…Andrea Mantovani pour The New York TimesAdvertisementContinue reading the main story More

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    First Inventory of Damage to U.S. Capitol Building Released

    #masthead-section-label, #masthead-bar-one { display: none }The Presidential TransitionliveLatest UpdatesCalls for Impeachment25th Amendment ExplainedTrump Officials ResignHow Mob Stormed CapitolAdvertisementContinue reading the main storySupported byContinue reading the main storyFirst Inventory of Damage to U.S. Capitol Building ReleasedThe damage was largely limited to broken glass, busted doors and graffiti, the report said.Capitol Police surveyed the damage to an entrance to the U.S. Capitol building on Thursday, a day after a mob of Trump supporters broke in and vandalized the building.Credit…Jason Andrew for The New York TimesJan. 8, 2021, 6:07 p.m. ETThe office of the Architect of the Capitol in Washington, the office that preserves and maintains the building’s art and architecture, released Friday the first inventory of the damage sustained during Wednesday’s riot.Damage to the interior of the building was largely limited to broken glass, busted doors and graffiti, the report said, though it noted that statues, murals and historic benches displayed the residue of various pepper sprays, tear gas and fire extinguishers deployed by both rioters and law enforcement personnel. They will need to be carefully cleaned and conserved, the report said.Outside the building, two bronze light fixtures designed in the late 19th century by Frederick Law Olmsted, the American landscape architect, and that illuminate the grounds at night, were broken. The report also noted graffiti on the west side of the building near stands which are being constructed for the inauguration of Joseph R. Biden Jr. later this month.The Rotunda doors of the U.S. Capitol building sustained damage after rioters broke in on Wednesday. Credit…Jonathan Ernst/ReutersRioters who stormed the U.S. Capitol building on Wednesday afteroon overturned tables and smashed windows, but left the singular artwork intact.Credit…Andrew Harnik/Associated PressNo major artworks were reported damaged, despite the violent demonstrations inside the building by Trump supporters that took the Capitol Police nearly four hours to quell. A mob broke into rooms on the south side of the Capitol (including House Speaker Nancy Pelosi’s office), smashed windows and then marched through the National Statuary Hall, waving American, Confederate and “Trump Is My President” flags.Vandals in red “Make America Great Again” hats, many of whom photographed and recorded themselves, wreaked havoc in Congressional offices and the Rotunda. One man crammed a framed photo of the Dalai Lama into his backpack, while another smoked marijuana in a room with maps of Oregon on the wall. A 19th-century marble bust of former President Zachary Taylor was defaced with a red substance that looked like blood.Workers cleaned up broken glass and debris inside the U.S. Capitol building on Thursday.Credit…Brendan Smialowski/Agence France-Presse — Getty ImagesBut the large-scale, 18-foot paintings by Trumbull and other artists that depict scenes from the republic’s founding in the Rotunda, and the dozens of statues that fill the National Statuary Hall to the south that filled the background of many of the rioters’ photos, all appear to have escaped damage.The office noted on Thursday that many of its employees had worked through the night to clean up the trash, glass and other debris that littered the building and begin repair work.“Wednesday was a difficult day for our campus,” the architect of the Capitol, J. Brett Blanton, said in a statement. “As the Architect of the Capitol mission calls us to serve, preserve and inspire, it was particularly hard to watch the scene unfold.”AdvertisementContinue reading the main story More

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    Futura, a King of Graffiti, Returns to His Roots

    #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsThe graffiti artist Futura, born Leonard McGurr, near the Eric Firestone Gallery in Manhattan, where “Futura 2020,” his first solo exhibition in New York in 30 years, is on view.Credit…Celeste Sloman for The New York TimesSkip to contentSkip to site indexFutura, a King of Graffiti, Returns to His RootsThe artist has gone from painting subway cars to the runways of Comme des Garçons. After a hiatus, his two exhibitions are his first in his hometown in 30 years.The graffiti artist Futura, born Leonard McGurr, near the Eric Firestone Gallery in Manhattan, where “Futura 2020,” his first solo exhibition in New York in 30 years, is on view.Credit…Celeste Sloman for The New York TimesSupported byContinue reading the main storyPublished More

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    Graffiti-Laden Shelters Arise From an Uncanny Post-Apocalyptic Universe Crafted in Miniature

    
    Art

    #apocalypse
    #graffiti
    #miniature
    #sculpture

    November 19, 2020
    Grace Ebert

    “La Tourelle, IDF2068” (2020), 41 x 14 x 14. All images © Simon Laveuve, shared with permission
    Enveloped by trailing vines and mosses, the dilapidated shelters that Paris-based artist Simon Laveuve crafts appear to emerge from a post-apocalyptic universe as eerie safe-havens. Often elevated aboveground, the miniature buildings feature vertical constructions with various platforms and stairs leading upward. “My pieces, for the most part, have this aspect of shelter… I like to work on the height and the inaccessible. Protection and surrender. Fallen icons and their symbolism. Resistance and insubordination,” the artist says.
    Marked with signage and advertisements plastered on the walls, the decaying dioramas showcase an alternate world now abandoned. Graffiti marks the siding, and thick vegetation cradles the remaining environments. Each sculpture displays the destructive qualities of humanity, while ultimately showing the natural world’s ability to survive.
    Laveuve’s shelters are featured in Small Scale, Big World: The Culture of Mini Crafts, which is available from Bookshop. Explore more of the uncanny works on the artist’s site and Instagram, where he also shares glimpses into his process.

    Detail of “La Tourelle, IDF2068” (2020), 41 x 14 x 14
    “Vestige IV” (2020), 26 x 10 x 8
    “Station 9/4, IDF2068” (2019), 20 x 20 x 45
    Detail of “Station 9/4, IDF2068” (2019), 20 x 20 x 45
    “Le Navigator, IDF2068” (2020), 25 x 15 x 39

    #apocalypse
    #graffiti
    #miniature
    #sculpture

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    Rome Tracks Down the Man Behind All That Graffiti. No, It’s Not Banksy.

    AdvertisementContinue reading the main storySupported byContinue reading the main storyRome Tracks Down the Man Behind All That Graffiti. No, It’s Not Banksy.The tagger known as Geco is not as famous as the British provocateur, but he has made a name for himself in Italy.Graffiti in Rome that reads “Geco gives you wings.”Credit…Marilla Sicilia/Mondadori Portfolio, via Getty ImagesNov. 14, 2020ROME — The post on the Rome mayor’s Facebook page was triumphant: The police had tracked down a man “once considered uncatchable,” she said in announcing that after a yearlong investigation, the authorities had discovered the real identity of the elusive tagger known only as Geco.For years, his moniker in blocky letters has marked countless Roman subway stations and bridges, abandoned buildings and schools, parks and galleries. Stickers with his name have been affixed to innumerable street signs, lamp posts and news stands.“He has soiled hundreds of walls and buildings in Rome and other European cities, which had to be cleaned using public funds,” the mayor, Virginia Raggi, wrote on social media this week. She posted a photo of “hundreds of spray paint cans, thousands of stickers,” and other tricks of the trade that she said investigators had confiscated from the apartment of Rome’s most-wanted graffiti painter.The city authorities did not disclose Geco’s real name. But Italian news outlets identified him, without saying how they had obtained the name. And they gave few personal details about the man, who is thought to be in his late 20s and originally from Rome. His lawyer would not confirm his real name.Geco is not nearly as well-known as Banksy, the world’s most famous artist-provocateur, whose real identity remains a secret. But he has made a name for himself in Rome, where his tags seemed to be everywhere, while his true identity — in the spirit of his more famous counterpart — was kept a secret.Paulo von Vacano, a publisher and expert in contemporary urban art, said tagging “is something brutal, archaic,” adding: “You tag your name to show that you are king of the street. In the context of what he did, he did it very well.”Geco fueled his fame by tagging a perilously tall railway tower and by climbing to the roof of a municipal food market to leave an unusually verbose message: “Geco ti mette le ali,” or ‘Geco gives you wings.”While most Romans would concur that the Italian capital could use a good cleanup, including its graffiti, many grumbled that the city — and the mayor — had much bigger problems to contend with, from the ever-present scourge of potholes to infrequent garbage collection, not to mention the economic toll of the coronavirus pandemic.“He has soiled hundreds of walls and buildings in Rome and other European cities, which had to be cleaned using public funds,” Mayor Virginia Raggi, center, wrote on social media this week.Credit…Riccardo Antimiani/EPA, via Shutterstock“A writer treated like a mafioso,” a lawmaker for the center-left Democratic Party, Matteo Orfini, wrote on Twitter. “Reading and interpreting a city only through the lens of decorum and security can’t be the solution. In fact, it’s a (not small) part of the problem.”At least one “Free Geco” tag appeared on a city wall. But actually, he has not been arrested.Geco’s lawyer, Domenico Melillo, himself a graffiti writer turned street artist known as Frode, said the investigation was still in a preliminary phase and his client had not been formally charged.“Everything has to be verified,” he said.If Geco is charged with defacing public or private property and found to be a repeat offender, he could face up to two years in prison and fines.But Mr. Melillo dismissed the mayor’s Facebook post as little more than political propaganda which violated his client’s right to secrecy during the preliminary investigation. Mayors have understood that cracking down on graffiti has become a way to forge a political consensus, he said, adding, “They want to show that they’re doing something.”Through his lawyer, Geco declined to be interviewed.The Geco sting was carried out by an 18-month-old environmental police task force that works directly for the mayor’s office. It acted on numerous complaints by Ms. Raggi as well as the city’s infrastructure commissioner and an association for one of Rome’s biggest parks. They claimed damage to city property as well as various other buildings and green spaces.It was rumored that Geco had landed in the cross hairs of the mayor because he had mistakenly tagged what he thought was an abandoned building that turned out to be a Secret Service hide-out.The mayor’s office said Geco had also operated in other European countries, above all Portugal, where he had caused thousands of euros in damages in Lisbon.Some might argue that Rome had expanded its urban art scene thanks to his tags. When it comes to graffiti, there has always been a fine line between vandalism and creative genius, said Mr. von Vacano, the urban art expert.Many grumbled that Rome had much bigger problems to contend with, including the ever-present scourge of potholes and infrequent garbage collection.Credit…Giuseppe Lami/EPA, via ShutterstockMany celebrated contemporary artists, including Jean-Michel Basquiat and Keith Haring, began their careers as taggers. And countless street painters have achieved fame, and market value, from Banksy to Blu, another celebrated — and anonymous — Italian artist.Geco has never strayed from his roots as a tagger. In an interview on a Portuguese website, he defined himself as a high-volume bomber who wanted to “spread my name more than having a super-developed aesthetic.” He said his top priority was quantity, adding, “Quality comes later.”“He is pure,” Mr. von Vacano said. “He is everywhere, a free spirit, and like all street artists of his kind, he works in lawlessness. He does not interact with the art system.”While Ms. Raggi was celebrating the supposed downfall of one street painter, another was being celebrated at Rome’s municipal Gallery of Modern Art, with a retrospective of the American Shepard Fairey. The show, “3 decades of dissent” is now closed because of the coronavirus.And for a campaign launched last November to teach Roman schoolchildren to keep their city clean, Ms. Raggi hired a well known graphic artist to draw her as a manga comic figure. (In one, the mayor is shown frowning upon a graffiti writer.)Not long after, the artist, Mario Improta, known as Marione, was fired from the campaign after he posted a vignette on social media depicting the European Union as the Nazi concentration camp Auschwitz.“It’s clear that not everyone likes graffiti and it’s legitimate that someone can be annoyed that someone has tagged his house. But it’s a leap to think of a writer as a criminal,” said Andrea Cegna, the author of a book on graffiti.To praise the Banksys or the Harings, he said, you have to accept the contradictory part, the illegal part.“Because as is true of everything that is aesthetic, everything that has to do with taste,” Mr. Cegna said, “there is no right or wrong.”AdvertisementContinue reading the main story More

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    Interactive Event with Paint Kartel Teaches Seniors to Create Bold Graffiti in Belgrade

     All images © Street Art Belgrad and Paint Kartel, by Nemanja Stojanović, shared with permission A recent workshop hosted by Street Art Belgrade paired up members of the Serbian collective Paint Kartel with seniors interested in the public art form. Throughout the interactive event, participants learned about graffiti and its history, in addition to some […] More