GraffitiBremen

It’d been 4 years since my last Nuart Aberdeen experience, and this time I had the luxury of being on the scene prior to the festival starting in full.  This year’s festival theme was Rewilding , and as always, the line up of artists and speakers was impressive, as was their commitment to the exploration of the theme and their alignment to the core Nuart values as a whole. Swoon Swoon kicked the festival off with a special screening of her stop motion short film, ‘Cicada’ and a talk with her fellow New Yorker culture critic Carlo McCormick at the ‘Night at the Museum’ event.  Swoon came out of wheat-pasting retirement especially for Nuart Aberdeen and created a series of paper figures tucked away in old brick alcoves, seaport alleys and public green spaces in Aberdeen. I speak for many when I say that these were a joy to track down, and I did so with native Aberdonian street art hunter Lewis Duncan. From the volunteers and artist assistants to academics, festival organisers and o

It’d been 4 years since my last Nuart Aberdeen experience, and this time I had the luxury of being on the scene prior to the festival starting in full.  This year’s festival theme was Rewilding , and as always, the line up of artists and speakers was impressive, as was their commitment to the exploration of the theme and their alignment to the core Nuart values as a whole. Swoon Swoon kicked the festival off with a special screening of her stop motion short film, ‘Cicada’ and a talk with her fellow New Yorker culture critic Carlo McCormick at the ‘Night at the Museum’ event.  Swoon came out of wheat-pasting retirement especially for Nuart Aberdeen and created a series of paper figures tucked away in old brick alcoves, seaport alleys and public green spaces in Aberdeen. I speak for many when I say that these were a joy to track down, and I did so with native Aberdonian street art hunter Lewis Duncan. From the volunteers and artist assistants to academics, festival organisers and o

From the Louvre, to El Prado or Rijksmuseum, fascinating constructions all over the world have safeguarded and preserved art for our pleasure. Yet inside such imposing art temples, one can often feel small, perchance disconnected. Confined to a closed space, albeit amazing from an architectural standpoint, we reach more often than not, a level of art saturation and tend to seek out the open spaces these fantastic museums have to offer, if only to catch our breath during our visit. It is no wonder that in the midst of these museums’ permanent collections, art exhibitions are often absorbed, dispersed, or even overlooked. For these reasons, and to preserve the “collective power of creative expression from leading artists, architects, and collectors”, Francis Greenburger, founder of Art Omi , announced earlier this month the development of Art Omi Pavilions that will invite visitors to explore 12 to 18 individual Pavilions which will display legacy stand-alone exhibitions of highly dis

From the Louvre, to El Prado or Rijksmuseum, fascinating constructions all over the world have safeguarded and preserved art for our pleasure. Yet inside such imposing art temples, one can often feel small, perchance disconnected. Confined to a closed space, albeit amazing from an architectural standpoint, we reach more often than not, a level of art saturation and tend to seek out the open spaces these fantastic museums have to offer, if only to catch our breath during our visit. It is no wonder that in the midst of these museums’ permanent collections, art exhibitions are often absorbed, dispersed, or even overlooked. For these reasons, and to preserve the “collective power of creative expression from leading artists, architects, and collectors”, Francis Greenburger, founder of Art Omi , announced earlier this month the development of Art Omi Pavilions that will invite visitors to explore 12 to 18 individual Pavilions which will display legacy stand-alone exhibitions of highly dis

Scorched.  Damaged.  Bitten.  Wounded.  Undermined.  Abused.  Falling, falling… fallen?  JDL Street Art once again grips us where it hurts the most, mirroring our freefall into a manmade darkness that can only last while we willingly give in and give out, while we willingly surrender to the dive and accelerate the fall.  Falling, but not yet fallen.  It’s all in her trademark, distinctive in both content and form, art and neighborhood, message and location. No wonder that her latest work about the climate crisis, symbolized by a female version of Icarus, falls and rises from the top of the symbolic Serpentone Corviale building in Rome . Stretching over one kilometer, the massive Corviale housing project was originally intended to house a growing population in the southern suburbs of Rome.  Architect Mario Fiorentini who designed and led the development of the project between 1972 and 1974, originally intended for the Corviale to be a utopian and self-regulating community, an altern

Scorched.  Damaged.  Bitten.  Wounded.  Undermined.  Abused.  Falling, falling… fallen?  JDL Street Art once again grips us where it hurts the most, mirroring our freefall into a manmade darkness that can only last while we willingly give in and give out, while we willingly surrender to the dive and accelerate the fall.  Falling, but not yet fallen.  It’s all in her trademark, distinctive in both content and form, art and neighborhood, message and location. No wonder that her latest work about the climate crisis, symbolized by a female version of Icarus, falls and rises from the top of the symbolic Serpentone Corviale building in Rome . Stretching over one kilometer, the massive Corviale housing project was originally intended to house a growing population in the southern suburbs of Rome.  Architect Mario Fiorentini who designed and led the development of the project between 1972 and 1974, originally intended for the Corviale to be a utopian and self-regulating community, an altern

What would they say? From hand chiseling blocks of stone to shaping, polishing and leveling stones with the use of a wide range of sophisticated power tools, these unsung heroes have been romancing the stone since the ancient times, contributing to the development of historic and modern structures.  David de la Mano and Pablo S. Herrero pay tribute to these anonymous wizards by giving them a space to “breathe”, right in the heart of the “Golden City”, Salamanca , a historical city famous for its sandstone and outstanding constructions. There must be some magic behind these rough hands that work the stone.  While architects may have originally designed a building, construction, statue or edifice, stonemasons however remain the skillful craftsmen who bring life to these structures that have defined our world and civilizations.  From the Egyptian Pyramids, to Stonehenge, the Taj Mahal, Petra, Uxmal, the Parthenon and the great Churches and Cathedrals of medieval Europe to name just a f

What would they say? From hand chiseling blocks of stone to shaping, polishing and leveling stones with the use of a wide range of sophisticated power tools, these unsung heroes have been romancing the stone since the ancient times, contributing to the development of historic and modern structures.  David de la Mano and Pablo S. Herrero pay tribute to these anonymous wizards by giving them a space to “breathe”, right in the heart of the “Golden City”, Salamanca , a historical city famous for its sandstone and outstanding constructions. There must be some magic behind these rough hands that work the stone.  While architects may have originally designed a building, construction, statue or edifice, stonemasons however remain the skillful craftsmen who bring life to these structures that have defined our world and civilizations.  From the Egyptian Pyramids, to Stonehenge, the Taj Mahal, Petra, Uxmal, the Parthenon and the great Churches and Cathedrals of medieval Europe to name just a f