Browsing Category

Map :

Grazie al progetto Big City Life, iniziativa di arte pubblica partecipata per la riqualificazione urbana, culturale e sociale svoltasi dall’8 gennaio al 27 febbraio 2015 ed inaugurata il 9 marzo 2015, venti artisti, provenienti da diversi paesi, hanno realizzato dipinti murali monumentali sulle facciate delle undici palazzine del comprensorio di via di Tor Marancia 63.

Il progetto, ideato da 999Contemporary, organizzato da Francesca Mezzano e curato da Stefano S. Antonelli e Gianluca Marziani, è stato sostenuto economicamente da Roma Capitale Assessorato alla Cultura, Creatività, Promozione artistica e Turismo, da Fondazione Roma-Arte-Musei, dalla stessa l’associazione culturale 999Contemporary e condiviso con ATER del Comune di Roma, l’azienda territoriale per l’edilizia residenziale del Comune di Roma, con lo scopo di trasformare la borgata romana in un distretto di arte pubblica contemporanea unico al mondo, coinvolgendo in questo processo la comunità locale, le scuole e le associazioni di quartiere.

Il primo museo condominiale del mondo ha aperto l’anno scorso a Roma, in Viale di Tor Marancia. E’ un museo all’aperto, espone opere di grandi dimensioni di 22 artisti internazionali, è costato poco (meno di 200mila euro), è più frequentato di altri musei di arte contemporanea della capitale e, anche se non c’è biglietto d’ingresso, è piuttosto redditizio. A guadagnarci sono le circa 500 famiglie che da generazioni vivono nelle case popolari dell’Ater: con gli introiti generati dal loro museo – di cui sono gestori oltre che proprietari delle opere, presto potranno pagarsi le spese di riscaldamento. Da quando a Tor Marancia ci sono i murales, c’è un flusso di visitatori, turisti, troupe televisive e cinematografiche e di fenomeni curiosi. I curatori ricevono messaggi, soprattutto dalla Gran Bretagna, di persone che vogliono andare ad abitare nella “Blossom House” (vedi foto di copertina), mentre a volte i fedeli si raccolgono in preghiera davanti al Bambino Redentore. Chissà che anche la Madonna di Tor Marancia presto non avrà il suo flusso di pellegrini.

Quelli citati sono tre dei 22 murales realizzati nello storico Lotto 1 della ex borgata creata alla fine degli anni ‘20 quando, su terreni non proprio salubri, qui si insediano gli sfrattati dal centro di Roma, dove Mussolini sta sventrando il Borgo per creare Via della Conciliazione. A Tor Marancia nasce una specie di ghetto con 40 abitazioni tirate su in fretta e chiamate “case rapide”, di una sola stanza, con pavimenti in terra battuta e servizi igienici in comune. In fondo al viale c’è un laghetto che in autunno esonda; le palafitte che vengono tirate su danno alla borgata il soprannome di Shanghai: uno degli abitanti sostiene che i pesci saltavano direttamente dall’acqua alla padella sul fornello. Nel 1948, con la legge De Gasperi sul risanamento delle borgate, si costruiscono i primi veri edifici e poi il resto delle attuali case popolari che l’anno scorso hanno letteralmente cambiato facciata grazie a Big City Life e a 999Contemporary. La sfida era provare a generare un cambiamento nella vita quotidiana delle persone grazie all’arte, superando la semplice funzione estetica di decoro di una zona grigia.

Il progetto trova il luogo ideale di realizzazione nel comprensorio di Tor Marancia, un quartiere nel quartiere, un villaggio nella città. Rotto il ghiaccio con i “ragazzi del muretto”, mediatori culturali fra curatori e residenti, e stabilito un rapporto di fiducia, il progetto parte con il primo muro a maggio 2014: Seth e il Bambino Redentore che in punta di piedi invita a sbirciare dentro per scoprire il tesoro artistico urbano nella ex borgata. Ma entrare nelle grazie della comunità è stato laborioso: è stato necessario vincere la diffidenza, spiegare perché si dipingevano i muri e non si riparavano i tetti, convincere della genuinità del progetto. Durante la visita qualche giorno fa, una delle signore si è affacciata alla finestra e rivolta al curatore Stefano Antonelli gli ha cordialmente intimato: “Te devo parla’. Si me sali ‘n’attimo”. Quando si pensa a Roma, molti la identificano con Caciara & Megalomania, ignorando che il romano può essere maestro del minimalismo più sublime: che non sta in quell’infinito tronco e nemmeno nell’apparente modestia del breve impegno temporale richiesto (‘n’attimo), bensì in quei due temibili monosillabi (“se” e “me”), mai così eloquenti e incisivi.

Ottenuti i permessi dall’Ater e dal Municipio, al budget di 999Contemporary (90mila euro) si aggiungono sovvenzioni dalla Fondazione Roma e dal Comune. Gli artisti invitati sono 22, le opere nascono sul posto, sono legate al luogo, ai suoi abitanti e alle loro vite, alle curiosità sollecitate dalla storia del comprensorio e da quella ancora più immensa e ingombrante della città. Waterfall di SatOne (“il peggior Vandalo di Monaco di Baviera”) prende il titolo da ciò che avveniva mentre il graffitista tedesco rifletteva davanti al muro e ragionava sul da farsi: due dirimpettaie hanno conversato fittamente per tutto il tempo e le loro parole erano come una cascata d’acqua.

Altri titoli vengono da osservazioni casuali di una passante Il Vento di Moneyless), altre opere sono ispirate alla storia drammatica di un condomino, a cui è dedicato il più grande e poetico errore di ortografia nella storia dell’arte (Lek & Sowat, Veni vidi vinci). Ovunque ci sono messaggi in codice e dediche agli abitanti, come il volto anonimo della Pasionaria realizzato con velature a spray caldo/freddo da Guido Van Helten. I murales di Tor Marancia vanno dal figurativo all’astratto al concettuale (il muro vuoto di Brad Downey, che ha speso il suo budget per realizzare i desideri dei condomini del palazzo) e tutti gli abitanti sanno distinguere l’uno dall’altro, a differenza di molti studenti liceali.

Alla fine del tour di questa galleria condominiale di arte partecipata, approdata alla Biennale di Venezia, non dimenticate di fermarvi al “gift shop” per comprare il libro (999Contemporary, Castelvecchi) che racconta il progetto e i 22 murales: è il negozio di alimentari gestito dal ragazzo bengalese vicino all’entrata.

Share:
Reading time: 4 min

Alex Brewer aka HENSE is an American contemporary artist, best known for his dynamic, vivid and colorful abstract paintings and monumental wall pieces. Born in 1978, in Atlanta, Georgia, HENSE was raised in an artistic household, which allowed him to be surrounded with various influences since his early age. As a result, he showed an interest towards creativity early in his life, drawing and painting his favorite childhood heroes and characters.

HENSE’s teenage age were marked with the discovery of graffiti. In the early 1990s, Brewer started his journey into a street art scene, painting his first public pieces, and slowly making a name for himself. Working under the name HENSE, the artist has quickly became consumed with the graffiti culture. Nevertheless, Brewer was a bit different from other graffiti artists at that time – it was a mixture of formal education and experience in professional studios that have provided HENSE a great reception at the start of his career. All of these factors have lead Brewer to establish his unique, whimsical, abstract-inspired style.

INTERIOR/EXTERIOR was a title of multi-faceted exhibition of HENSE’s pieces, organized by the Wiregrass Museum of Art in 2014. As a sort of retrospective, the exhibition served as a platform to introduce audiences to the artist’s 20-years-long and successful career as an abstract painter. HENSE’s artworks featured in the exhibition included site-specific installation, paintings, wood-cut shapes and works on paper placed both inside and outside of the traditional museum space.

INTERIOR/EXTERIOR illustrated HENSE’s combined experience in the street and studio, highlighting his visual dialogue of spontaneous mark-making and explorations of elements that are absent of representational references. This dialog results in HENSE’s distinguished style depicted through elegant compositions saturated with bold lively colors and dynamic movement of fluid forms and gestures.

In 2014, HENSE has been commissioned for another big public project, this time in Detroit, Michigan. In a collaboration with Library Street Collective Gallery, HENSE has created a 6 stories tall massive-scale mural, painted on a 100×100 foot wall in the heart of downtown Detroit on the side of Bedrock Real Estates Madison Theater Building. It took HENSE and his several assistants almost 3 weeks of working and over 100 gallons of paint to finish the project. This large-scale mural differs from other HENSE’s work in a way that he selected colors ahead of time and had a little bit of an idea of what direction he wanted to go in. Usually, his works emerge from a spontaneous process, from a bundle of ideas regarding solely non-figurative elements of form, line, color, and composition. Apart from the above mentioned commissions, HENSE’s oeuvre includes many more projects, public commissioned work and installations that have led him across the globe.

One of the countries in which HENSE has left his mark is Australia, besides others. In 2015, the CBH Group commissioned HENSE to paint several grain silos in Northam, Western Australia, his second largest installation to date. The large-scale artwork, spray-painted on the concrete silos was organized and funded by FORM for PUBLIC 2015.

Other projects include the one made for The ISIL Institute in Lima, Peru, for which the artist painted an impressive-sized wall, 137 feet tall and 170 feet wide. In Washington D.C, HENSE painted the entire facade of a former church in his characteristic, colorful style. One of Brewer’s highest honors was a commission by The High Museum of Art in Atlanta to produce a site-specific installation as part of the museum’s summer exhibition Drawing Inside the Perimeter. HENSE lives and works in Atlanta, US.

 

Share:
Reading time: 2 min

Thierry Noir is the man to whom we owe the longest concrete painting in the world. His paintings, with their bright colors and their melancholy poetry, represent nowadays the art of the Berlin wall. His wall works survived longer than all the others even after the fall of the wall in 1989.

Thierry Noir was born in 1958 in Lyon, France. He came to Berlin in January of 1982 with two small suitcases, attracted by the music of David Bowie and Iggy Pop, who lived in West-Berlin at this time. By chance he settled in a squat overlooking the Wall at the border of East and West Berlin. One day in 1984 Noir spontaneously started to paint the Wall and continued to do so each day for five years with whatever paint he could scavenge from nearby construction sites. Noir’s aim was not to embellish the Wall but to demystify it. When asked, in one of his interviews, about his relation to the wall and his motifs to paint it he said: “I wanted to cover the wall with colors to wrap it up with paintings, to make it luminous, to show it like a mutation in the city, a mutation in art and nature. One hundred and thirty people were killed trying to jump over the Berlin Wall to escape West Berlin, so it cannot be beautiful.”

Noir had to work quickly to fill the concrete panels so as not to be discovered or chased away by the border patrol while painting.These restrictions determined his style: heads in profile with full lips outlined by simple black lines like in a comic, painted two-dimensionally and in bright colors. One head fit on one or two vertical Wall panels. After a little while, each of Noir’s painted panels got an individualized face. Since this time, Noir’s exploits and highly distinctive visual language have become world famous and immortalised in popular culture such as Wim Wenders’ 1987 film Wings of Desire and the cover of U2’s album Acthung Baby.

Noir is today being increasingly recognised as a key forerunner of the modern street art movement and in 2013 worked outdoors in London alongside renowned international street artists of the current generation such as Phlegm and ROA.

Share:
Reading time: 1 min

BLO is a French artist and a member of Da Mental Vaporz crew (DMV) who uses creativity as a device to question, invert or pervert aspects of daily life. There is a recognizable speed of the hand, looseness of line, as well as composition and materials (the frequent use of spray paint and ink marker) that directly draw from traditional graffiti. BLO is still actively working in urban settings, but is moving away from letter styles and illustrative characters. His current street work has become more figurative, drawing from religious imagery, sex, death, and classical painting. Within the exploration of this subject matter another parallel to graffiti is conceptualized–the assertion of power by actively defacing or reappropriating common images. This difference in context between the street and in the studio does not divide the work, but creates a visual dependency – a mutual relationship that ultimately strengthens both parts of his practice.

BLO’s involvement with graffiti stems back to his past in Lyon, France, where initially, his work was driven by not only the raw necessity to paint, but also to vandalize or in a sense, destroy. Although rooted in traditional graffiti in both material and composition, BLO’s current practice displays an acute sense of awareness in moving from an urban landscape to gallery spaces–not just a shift in medium, but one of context, audience and exposure. What for many is a difficult space to negotiate, it is within this quiet rift that BLO’s paintings breathe.

In keeping with this classical context, BLO’s use of recognizable images and themes create a direct basis of familiarity with the audience. The body, specifically the sexualized female form, harks back to aspect of the “male gaze,” where the influence of Egon Schiele is seen in the use of truncated bodies, loose lines and sexual confrontation. It is also within this reconfiguration of the physical body where aspects of the surrealist sculptor/photographer Hans Bellmer can be seen by BLO’s embrace of tension via the use of physical abstraction and negative space. Other iconic references pervade the work such as religious imagery (especially the iconic Virgin Mary and the Christ Child), mememto mori, and occult symbolism. Although working between the street and the studio can be problematic, BLO takes advantage of this gap by deftly playing with references and medium.

 

Share:
Reading time: 1 min

Alex Brewer aka HENSE is an American contemporary artist, best known for his dynamic, vivid and colorful abstract paintings and monumental wall pieces. Born in 1978, in Atlanta, Georgia, HENSE was raised in an artistic household, which allowed him to be surrounded with various influences since his early age. As a result, he showed an interest towards creativity early in his life, drawing and painting his favorite childhood heroes and characters.

HENSE’s teenage age were marked with the discovery of graffiti. In the early 1990s, Brewer started his journey into a street art scene, painting his first public pieces, and slowly making a name for himself. Working under the name HENSE, the artist has quickly became consumed with the graffiti culture. Nevertheless, Brewer was a bit different from other graffiti artists at that time – it was a mixture of formal education and experience in professional studios that have provided HENSE a great reception at the start of his career. All of these factors have lead Brewer to establish his unique, whimsical, abstract-inspired style.

INTERIOR/EXTERIOR was a title of multi-faceted exhibition of HENSE’s pieces, organized by the Wiregrass Museum of Art in 2014. As a sort of retrospective, the exhibition served as a platform to introduce audiences to the artist’s 20-years-long and successful career as an abstract painter. HENSE’s artworks featured in the exhibition included site-specific installation, paintings, wood-cut shapes and works on paper placed both inside and outside of the traditional museum space.

INTERIOR/EXTERIOR illustrated HENSE’s combined experience in the street and studio, highlighting his visual dialogue of spontaneous mark-making and explorations of elements that are absent of representational references. This dialog results in HENSE’s distinguished style depicted through elegant compositions saturated with bold lively colors and dynamic movement of fluid forms and gestures.

In 2014, HENSE has been commissioned for another big public project, this time in Detroit, Michigan. In a collaboration with Library Street Collective Gallery, HENSE has created a 6 stories tall massive-scale mural, painted on a 100×100 foot wall in the heart of downtown Detroit on the side of Bedrock Real Estates Madison Theater Building. It took HENSE and his several assistants almost 3 weeks of working and over 100 gallons of paint to finish the project. This large-scale mural differs from other HENSE’s work in a way that he selected colors ahead of time and had a little bit of an idea of what direction he wanted to go in. Usually, his works emerge from a spontaneous process, from a bundle of ideas regarding solely non-figurative elements of form, line, color, and composition. Apart from the above mentioned commissions, HENSE’s oeuvre includes many more projects, public commissioned work and installations that have led him across the globe.

One of the countries in which HENSE has left his mark is Australia, besides others. In 2015, the CBH Group commissioned HENSE to paint several grain silos in Northam, Western Australia, his second largest installation to date. The large-scale artwork, spray-painted on the concrete silos was organized and funded by FORM for PUBLIC 2015.

Other projects include the one made for The ISIL Institute in Lima, Peru, for which the artist painted an impressive-sized wall, 137 feet tall and 170 feet wide. In Washington D.C, HENSE painted the entire facade of a former church in his characteristic, colorful style. One of Brewer’s highest honors was a commission by The High Museum of Art in Atlanta to produce a site-specific installation as part of the museum’s summer exhibition Drawing Inside the Perimeter. HENSE lives and works in Atlanta, US.

 

Share:
Reading time: 2 min

Alex Brewer aka HENSE is an American contemporary artist, best known for his dynamic, vivid and colorful abstract paintings and monumental wall pieces. Born in 1978, in Atlanta, Georgia, HENSE was raised in an artistic household, which allowed him to be surrounded with various influences since his early age. As a result, he showed an interest towards creativity early in his life, drawing and painting his favorite childhood heroes and characters.

HENSE’s teenage age were marked with the discovery of graffiti. In the early 1990s, Brewer started his journey into a street art scene, painting his first public pieces, and slowly making a name for himself. Working under the name HENSE, the artist has quickly became consumed with the graffiti culture. Nevertheless, Brewer was a bit different from other graffiti artists at that time – it was a mixture of formal education and experience in professional studios that have provided HENSE a great reception at the start of his career. All of these factors have lead Brewer to establish his unique, whimsical, abstract-inspired style.

INTERIOR/EXTERIOR was a title of multi-faceted exhibition of HENSE’s pieces, organized by the Wiregrass Museum of Art in 2014. As a sort of retrospective, the exhibition served as a platform to introduce audiences to the artist’s 20-years-long and successful career as an abstract painter. HENSE’s artworks featured in the exhibition included site-specific installation, paintings, wood-cut shapes and works on paper placed both inside and outside of the traditional museum space.

INTERIOR/EXTERIOR illustrated HENSE’s combined experience in the street and studio, highlighting his visual dialogue of spontaneous mark-making and explorations of elements that are absent of representational references. This dialog results in HENSE’s distinguished style depicted through elegant compositions saturated with bold lively colors and dynamic movement of fluid forms and gestures.

In 2014, HENSE has been commissioned for another big public project, this time in Detroit, Michigan. In a collaboration with Library Street Collective Gallery, HENSE has created a 6 stories tall massive-scale mural, painted on a 100×100 foot wall in the heart of downtown Detroit on the side of Bedrock Real Estates Madison Theater Building. It took HENSE and his several assistants almost 3 weeks of working and over 100 gallons of paint to finish the project. This large-scale mural differs from other HENSE’s work in a way that he selected colors ahead of time and had a little bit of an idea of what direction he wanted to go in. Usually, his works emerge from a spontaneous process, from a bundle of ideas regarding solely non-figurative elements of form, line, color, and composition. Apart from the above mentioned commissions, HENSE’s oeuvre includes many more projects, public commissioned work and installations that have led him across the globe.

One of the countries in which HENSE has left his mark is Australia, besides others. In 2015, the CBH Group commissioned HENSE to paint several grain silos in Northam, Western Australia, his second largest installation to date. The large-scale artwork, spray-painted on the concrete silos was organized and funded by FORM for PUBLIC 2015.

Other projects include the one made for The ISIL Institute in Lima, Peru, for which the artist painted an impressive-sized wall, 137 feet tall and 170 feet wide. In Washington D.C, HENSE painted the entire facade of a former church in his characteristic, colorful style. One of Brewer’s highest honors was a commission by The High Museum of Art in Atlanta to produce a site-specific installation as part of the museum’s summer exhibition Drawing Inside the Perimeter. HENSE lives and works in Atlanta, US.

 

Share:
Reading time: 2 min
Page 2 of 2951234102030...Last »