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Archives de Tag: Graffiti

Le site industriel rue des Grands Mortiers est une friche culturelle occupée depuis 2001 par la Compagnie Off et le pOlau – pôle des arts urbains.
En cours de réhabilitation, il sera inauguré en janvier 2015.
Son nom, le Point H^UT, fait écho à sa tour de 22 mètres qui s’élèvera depuis le hangar central.
Le 18 et 19 février 2014 a eu lieu une rencontre entre artistes visant à penser la ville du futur à l’horizon 2032 (« Du virtuel au vivant, la ville aux mains des artistes »).
En marge du projet « Objectif 2032 », (co-porté par le Festival d’AurillacHorsLesMurs et le pOlau …) j’ai filmé l’Action Painting d’Antoine Bonnet Alias « Kik », (membre du Graffiti Research Lab (France) et de la Brigade Neurale) en plein bombardement d’une façade du chantier.

Pour voir le projet original c’est ici :

Et le mode d’emploi est là :
http://graffitiresearchlab.fr/dl/Throwie.pdf

Amusez-vous bien !
^_^

Le Nid-de-Poule Cracking (voir ma petite gallerie : https://sayf.wordpress.com/urban-hacking/nid-de-poule-cracking ) est un nouveau jeu exploitant une faille de sécurité urbaine.
Je vous invite à lire ce petit billet publié sur le site du Collectif Citoyen Métèques & Aliens.
http://cc-meta.cc/2014/01/13/nid-de-poule-cracking/
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?? Vous êtes encore là ? Allez ! Ouste !

Depuis 1996, Julien « Seth » Malland , peintre globe-trotter, auteur, éditeur, illustrateur, graphiste réalise des fresques figuratives et des carnets de voyage/collages magnifiques.
A l’occasion du festival  Mix’terres (N°6) qui s’est déroulé à Blois et par l’intermédiaire de mon ami « Le Mouchard » j’ai pu le rencontrer et échanger quelques mots en explosant au passage la théorie des six degrees of separationcar nous n’avions pas une connaissance et des lieux improbables (usines désaffectés, terrains vagues…) en commun mais des dizaines, datant de la fin des années 90 et à 200 km de distance. Pour ma part j’estime que dans le milieu du graffiti, la pensée de Frigyes Karinthy est obsolète et le degré de séparation qui nous connecte à un autre writer tombe à 3 sur la planète Terre et à 1 dans une ville de moins de 100 000 habitants…
C’est une chose de rencontrer un illustre peintre de rue, s’en est une autre de s’apercevoir qu’il est de plus l’auteur d’une série de livres sur le graffiti les plus vendus en France ( Kapital, Wasted Talent…). N’ayant pas la télévision (NOTV Turn It Off) je ne savais pas non plus qu’il était présentateur de l’émission « Les nouveaux explorateurs » sur Canal+ et qu’il avait parcouru le monde à la recherche des murs perdus ( voir à ce sujet, Globe-painterprix spécial du jury au festival du carnet de voyage de Clermont-ferrand 2007 ainsi que Tropical Spray sur ses peintures au Brésil ). Et comme ici nous aimons tous les pêcheurs de rue, les voyageurs et les artisans, voici quelques photographies de son énorme fresque (crédit photo : Stéphanie Hubert) suivi d’une petit entretien que nous avons eu quelques jours plus tard.


Blois, France.
Juin 2012.

Sayf : En 2003, tu décides de voyager sept mois dans des dizaines de pays et sur trois continents, le graffiti comme leitmotiv. Tu remplis donc tes carnets de voyage et décide d’en faire un livre « Globe-Painter » (sorti en 2007) qui va devenir un véritable concept chez toi.

Seth : Non, je suis d’abord parti pour voyager, pas spécialement pour peindre. Mais n’étant pas satisfait de ma condition de touriste, j’ai décidé d’orienter mon voyage vers ma passion, la peinture et le graffiti. Meilleurs moyens pour moi de rencontrer, échanger. Connaître et découvrir ces pays de façon différente.
Une manière de voyager plus dans l’échange que dans la contemplation.
Ensuite grâce à la masse de matière que j’avais ramené : carnets, photos, documents, textes j’ai voulu partager ces expériences dans livre Globe-painter, qui réunissait l’idée de peinture publique et de voyage.

Sayf : Donc, le Globe-Painter c’est l’inverse du Local-Painter, je pense au Pixaçãos de São Paulo ou même à la scène de NY et de Philadelphie, voir aux graffitis de gangs. Est ce que le blaze à de l’importance dans ta démarche ou portes-tu un message particulier avec tes œuvres ?

Seth : Ce n’est pas l’inverse c’est différent. Une autre façon d’utiliser les murs. Non pas pour écrire mon nom. Je n’ai pas les problèmes et les attentes d’un pixador de São Paulo ou d’un gamin du Bronx. Pour moi la peinture n’est pas un moyen de marquer un territoire, dire au monde que j’existe ou me révolter contre un système. La peinture c’est pour moi rencontrer, communiquer, échanger. Par contre tout comme le taggueur, le pixador ou le Cholos de L.A, j’ai le même besoins en m’appropriant un espace, de m’ancrer dans mon présent et dans un environnement, le plus librement possible.

Sayf : Il existe une scène internationale « d’illustrateurs de rue » comme « Blu » (Italie) et « Escif » (Espagne), pourtant les institutions culturelles ont encore du mal à intégrer ce travail dans une politique urbaine à grande échelle. Selon toi, c’est le support qui en est la cause ou l’outil « Bombe » ? Est ce que les décideurs considèrent ces peintures comme du 3e Art (Peinture) ou du 9e Art (Bande dessinée) donc moins prestigieuses à leurs yeux ?

Seth : Je ne sais pas. Au contraire je trouve que dans le monde entier, à part peut-être ici en France ou la politique culturelle qui se dit si ouverte est pourtant une des plus conservatrice qui soit, la réalisation de grands murs se multiplie. Il n’y a qu’à regarder les blogs de Blu, Os gemeos, Aryz etc… Ils n’arrêtent pas de peindre partout. C’est un phénomène mondial qui a du mal à prendre chez nous parce que justement nous faisons ce genre de distinction 3e Art ou 9e je ne sais pas. C’est de la peinture publique c’est tout.

Sayf : On sent depuis 2008, un nouveau « Seth » émerger, avec un style beaucoup plus fin et affirmé Comme si Hayao Miyazaki s’était perdu entre la France et le Brésil. On retrouve la découverte de l’environnement par l’enfant, l’innocence subversive, « Ponyo sur la falaise » une référence ?

Seth : Oui j’adore Myazaki, mais je n’ai pas vu Ponyo. Mes voyages m’ont formé et m’ont donné les clefs de ce que je fais aujourd’hui. Ne pas mettre de barrière entre art premier et art contemporain. Mais surtout l’ouverture vers d’autres cultures. Cette ouverture m’a également remis en question et permis d’accepter mon identité. J’ai une culture française, un style illustratif qui peut se rapprocher des bd ou des livres que j’ai lu, des tableaux qui m’ont marqués, d’Hergé, à Mœbius en passant par Magritte ou Klimt, et c’est grâce à cette base que je m’ouvre aujourd’hui aux autres et les intègre à mon imaginaire.
Le thème de l’enfance s’est imposé de lui-même, une recherche de pureté, une incarnation de la créativité et de l’espoir, dans un monde de plus en plus dominé par la bêtise et l’aliénation.

Sayf : Si les studios Ghibli t’appelent demain pour un projet, tu es opérationnel ou tu préfères produire seul et rester indépendant ?

Seth : Non j’y cours ! travailler avec le maître ! quelle chance…

Sayf : Des urbanistes lisent cet entretien, tu as un petit mot à leur dire au sujet de l’impacte de tes peintures sur la population et notamment des enfants ? Dans quelle mesure serait-il possible en amont de penser l’illustration citadine ?

Seth : J’ai envie de dire aux urbanistes : « Laissez nous faire !  » Arrêtez de penser pour les autres. Les urbanistes ont construit des cités dégueulasses parce qu’adeptes de Le Corbusier. Aujourd’hui ils veulent se rattraper en pensant des espaces et des villes plus vivables et veulent tout contrôler jusqu’aux murs privés.
Faites vos expériences urbanistiques, mais laissez nous les murs. Il ne faut pas penser l’illustration citadine, il faut juste nous donner un peu d’espace pour créer.

Sayf : Ta peinture à Orléans (Fleury-les-Aubrais) est fantastique, ton passage à Blois pour la plus grande fresque de ta vie à été un grand succès, en 2013 tu viens à Tours pour boucler ton trip Région Centre ? Quels sont tes projets ?

Seth : Je reviens d’Ukraine où je viens de tourner un documentaire. Je vais continuer mon tour du monde. Je prépare une exposition sur toile, et j’ai un livre de prévu en décembre qui retrace tous ces voyages. Et puis après on verra, j’attends toujours des projets de grandes peintures. Pourquoi pas Tours…

Sayf : Merci à toi, c’est le temps des politesses, aurais-tu l’obligeance de balancer un Big Up ?

Seth : Je ne suis pas très Big Up. Mais Big up à ceux qui rêvent encore.

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Je vous invite à aller checker les oeuvres de Seth ici : http://www.globepainter.com , ainsi qu’à vous procurer ses différents livres aux éditions alternatives.

Cholo writing is the style of graffiti used by Mexican gangs in Los Angeles. Unlike its bulbous comic counterpart on the East Coast, Cholo has roots in curiously formal calligraphic and black letter traditions. This unique typographic language has been documented in a new book, Cholo Writing: Latino Gang Graffiti in Los Angeles (Dokument Press), by François Chastanet, who previously published a photographic survey of graffiti in São Paulo, Pixaçao (disclosure: I contributed the foreword). Chastanet, an architect, graphic designer, typographer and photographer from France, has spent much of his time documenting graffiti and its relationship to architecture. His current analysis illuminates how important these cultural writing (and tagging) forms are to their makers, and how they mark territories much like flags and coats of arms. In this interview Chastanet gives us a condensed lesson in Cholo’s history.

Cover of the book, Cholo Writing: Latino Gang Graffiti in Los Angeles by François Chastanet (click here for a look inside ).

Heller: What is Cholo writing?

Chastanet: The term cholo derives from an Aztec word xolotl meaning ‘dog’ that was later turned on its head and used as a symbol of pride by the Mexican-American community in the context of the ethnic power movements of the 1960s, from which emerged the idea of La Raza or Chicano nationalism (e.g., Brown Berets in Watsonville). Cholo writing originally constitutes the vernacular handstyle created by the Mexican gangs in Los Angeles as far back as the 1940s: a neglected phenomenon that has a specific place in the history and development of the urban graffiti of the Western world, it is probably the oldest form of the “graffiti of names” in the 20th century, with its own aesthetic, evident long before the explosion in the early 1970s in New York. Cholo writing or placas can be seen as cousins of the baroque gothic calligraphies typical of Mexico, as a genuine expression of a border culture between Mexico and the United States. It has had a major influence on the visual expressions of Californian popular culture, including the lowrider, surf, skate and hip-hop movements.

The book Cholo Writing explores the genesis of these specific letterforms that paradoxically gave a visual identity to Los Angeles’ infinite banal suburbia. For the first time ever a historical series of photographs from the early 1970s in L.A. is presented together with a contemporary collection, which gives a unique insight in the history of Cholo writing from an aesthetic point of view. Howard Gribble, an amateur photographer from the city of Torrance in the south of Los Angeles County, documented Latino gang graffiti from 1970 to 1975 with the simultaneous idea of “portraying the city.” These black-and-white photographs, frontal visual recordings of various Cholo handletterings, constituted an unique opportunity to try to push forward the calligraphic analysis of Cholo writing, its origins and formal evolution.

Heller: What are the messages in this form of graffiti? Are there any “stars” of gang graffiti, or is it meant to be anonymous?

Chastanet: The gang culture is a truly simultaneous phenomenon of the suburban Californian dream. Latino gangs are a parallel reality of the local urban life, with their own traditions and codes – from oral language, way of dressing, tattoos and hand signs to letterforms. Without ignoring the violence and self-destruction inherent to la vida loca (or “the crazy life,” referring to the barrio gang experience), one needs to document the visual strategies of this subculture to survive as a visible entity in a suburban environment. These inscriptions have a totally different function than what we call graffiti nowadays, i.e., tags representing individuals’ nicknames mainly (usually with additional crew names associated with them). These wall-writings, sometimes called the “newspaper of the streets,” are territorial signs whose main function is to define clearly and constantly the geographic limits of a gang’s influence area and encourage gang strength, a graffiti made “by the neighborhood, for the neighborhood.” Writing a group’s name makes it immortal. The image stays while the carnage between gangs continues—name writing has always been closely linked to death and memory. So, in Cholo writing the image of the name of the gang is at the heart of the writing practice. Most of gang members produce graffiti but at different levels: in each gang there are lettering specialists, usually one skilled writer writes for the whole group for large inscriptions, and some guys are genuine lettering experts, both today and in the past.

Roll call of names in Cholo writing, c. 1970s. (photo: Howard Gribble)


Heller: There appears to be a lot of references to gothic and inscriptional lettering. Is this studied on the part of the gang members, or naïve? Are there any rules governing Cholo, whether artistic or territorial?

Chastanet: Everything but naïve. How we make things, how we represent ourselves, how we display our name in that case: the style tells who we are. Drawing letters is a practice where identity and origin questions are essential. Cholo inscriptions has a specific written aesthetic based on a strong sense of the place and on a monolinear adaptation of historic black letters for street bombing. There are very precise calligraphic codes, constant through time and different generations of gang members, even if continuous evolutions appear. To represent their name with the maximum aura and “officialdom” Chicano writers have chosen since the 1960s (and even probably before) black letters like Engravers Old English or Goudy Text Old Style (mainly in uppercases) appearing in all sorts of official printed ephemera of that time (like school diplomas, birth certificates, etc.) to create the classic Cholo handstyle. Lettering manuals like Speedball Textbook for Pen & Brush Lettering by Ross F. George—his work appears in the Speedball Lettering catalogues from the 1930s and ’40s—seem also to be obviously known by some Los Angeles gang writers. In the Mexican community gothic calligraphy consciously communicate tradition, taking the written name to a certain degree of importance, to an almost religious level. What is impressive is to see that this style has a kind of geographic homogeneity through Los Angeles county even if each gang, each territory tries to have its own “corporate” identity through lettering details inside the Cholo script rules.

Detail of Cholo writing, c. 1970s. (photo: Howard Gribble)


Heller: The look of Cholo writing is decidedly different from East Coast and European graffiti, in part because it’s monochrome rather than chromatic. Why is this?

Chastanet: Los Angeles gang graffiti is much older than what we see as normal or regular graffiti today, which are variants around the New York model of tags (based on the gestural signature aesthetic), throw-ups (quick efficient bubble letters) and pieces (based on comics lettering with highly colored inside surfaces, outlines and background). To the contrary, Cholo writing and placas are traditionally black. This is mainly due to the fact that their influence is based on typographic headlines and titles from newspapers for example, mainly black prints. At the same time, their ambition is not decorative but mainly functional, it is clearly a tool for gangs to create a simple, efficient and legible signage system. Nevertheless, nowadays you can see more places written with all sort of colors; white or silver are occasionally used on walls with dark backgrounds for better visibility of course. Their lettering culture is much closer to epigraphy, in a way, no ligatures between signs. Since the beginning of the 1980s a kind of New York style of graffiti—(mainly individual and going all-city, not confined to the neighborhood/turf limits—started to appear in Los Angeles streets, but it has only a very limited influence on gang graffiti.


Heller: You had to go through many gang neighborhoods to document Cholo. Did you have any scuffles?

Chastanet: Not really, but I was close to it several times—I had to run a couple of times. Approximately half of the photographs are shot from the car while driving slowly. Howard Gribble was using the same method back in the 1970s. I was usually shooting photos in the early morning, from 7:00 to 11:00 a.m. (mobsters don’t wake up very early), and after 12:00 p.m. it was only possible to do some recognizing of neighborhoods by car and walking, no cameras with me. It was problematic because most of the gang graffiti is removed within 12 hours by the different municipalities of Los Angeles county. Basically, I wanted to work with an SLR camera first, but the street context didn’t permit it many times. I had to be as discreet as possible so I used a digital point-and-shoot camera—sometimes taking the picture under my arm and shoulder to hide the camera while walking. In all neighborhoods most of the people believed I was a cop. Rarely it was possible to engage in conversation, but I was not expecting it. I had to jump over fences for some pictures, and also had some problems with LAPD while shooting photos from the banks of different freeways.

Cholo writing on a Los Angeles street, c. 2000s. (photo: François Chastanet)

Heller: You’ve documented graffiti in São Paolo, Brazil, and now L.A. What is it that appeals to your eye and sense of aesthetics? Do you have your sights set on another genre of graffiti to document next?

Chastanet: In my work the main idea is to document original graffiti phenomena that created their own visual culture, different from the New York kind of graffiti that became almost a worldwide conformity today, partly because during a long period New York graffiti was the only graffiti visible in traditional media. Tags and pieces from New York were also over-documented in the graffiti fanzines and books world. A book like Subway Art by Henry Chalfant and Martha Cooper (first published in 1984) had a massive impact worldwide and made the global emergence of graffiti possible worldwide, spreading mimicry among the youth. Even young Japanese writers don’t write with their own characters and choose to follow the existing practices based on the Latin alphabet (only a few are using Japanese signs). The New York myth of the origins is still so strong today that very few people worldwide try to surpass it or to find another way, their own way linked with a specific urban context. And the internet reinforces the recurrent tendency toward sterile mimicry, a lot of “me too” people.

Only few original alternative models exist independently to the now global New York experience/aesthetic—the São Paulo pixação scene and Cholo writing in Los Angeles are two pretty rare examples and constitute geographical aesthetical particularities. We can observe the emergence of a genuine “urban efficiency” in (illegal) architectural lettering, the illegal and hand-crafted context bringing new formal solutions. The fact that these letterings are illegal is essential; pixações from São Paulo can be seen as an alphabet designed for urban invasion, a beautiful “total coverage” writing system. So both the pixações and Cholo letters can be seen as an expression of the consequences of the 21st-century megalopolis conditions on the drawing of letterforms, as an unexpected evolution of the Latin alphabet. São Paulo and Los Angeles Cholo writers were able to create their own original identity through letterforms, this fact being pretty unique in the visual communication of subcultures. As an architect interested in urban planning, and a graphic designer and typographer by academic training, it was hard not to be interested be this.

Detail of contemporary Cholo writing, c. 2000s. (photo: François Chastanet)


Heller: Do you link this to typographic or calligraphic history?

Chastanet: Like many people I always have been fascinated by the history and evolution of letterforms, calligraphy, etc. But I had the feeling that calligraphy was a field mainly marked by historic mimicry rarely questioning what is writing today, what is writing without a broad pen (the contrast of “translation,” according to Gerrit Noordzij’s analysis of the letterform) or without a pointed flexible pen (the contrast of “expansion”), but with tools of the 20th century such as ballpoints (Bic Biros) and felt-tip pens (Pentel’s SignPen) producing writing without contrast (without classic thick and thin effect). In a way, calligraphers produce calligraphy, not today’s writing or useful models for the masses. Nobody is using a broad pen anymore in its everyday practice, even graffiti writers that were obligated to use broad pen markers because the only really big markers existing on the market—for many years were broad pens—recently created their own tools, giant markers with round tips (mop markers and squeezers). We have to accept that we are now a monolinear writing civilization based on ballpoints and felt-tip pens way of thinking since more than 50 years now, and the consequences of this is too rarely observed in today’s type design production (mainly never-ending re-conducting the historical existing type of contrast with only slight variations in proportions, weights and outlines). Nevertheless, quality typefaces like Flora by Gerard Unger—who worked on his own handwriting with a ballpoint for this font—or ABC-Schrift by Hans Eduard Meier constitute interesting projects.

Album cover for Rank Strangers (Taxim Records) using Cholo lettering by Rick Griffin.

Both São Paulo and Los Angeles offer us a chance to see other and different ideas, changing the structure of the letter itself, even if the people practicing it are not totally conscious of what they are doing. These two examples are not just vernacular phenomena, there is an authority, a real knowledge in the mastering of drawing written signs, imparted year after year through generations (like calligraphy and its transmission through history), a shared knowledge with a relatively long history in the case of Los Angeles. I am not interested in vernacular for vernacular, I am interested in trying to describe the genesis of innovative shapes, mainly letterforms, urban contexts offering many examples from my point of view. It’s a matter of drawing quality, whatever the categorization of a given practice (whether institutionally recognized or not), playing with letter strokes and intelligence of composition with architectural space. Large-scale writing (off the page) is maybe one of the last spaces where handlettering/gestures resist the keyboard ever-growing monopoly.


Heller: What other graffiti or cult letter cultures intrigue you?

Chastanet: China and Japan (kanji civilizations) are definitely interesting me. I have seen some interesting examples of inscriptions mixing Japanese and short English acronyms made by the Bosozoku, Japanese motorcycle gangs (pretty strong in the 1970s and 1980s) and also some graffiti poetry and messages traced to Kyoto’s different temples by the same anonymous author, inscriptions made in the 19th century apparently. I also have personal type design projects around questions of monolinear writing, changing the usual referent in a font project, i.e., working from today’s different handstyles of the Latin alphabet.

by Steven Heller
Source : http://www.aiga.org/

Steven Heller, co-chair of the Designer as Author MFA and co-founder of the MFA in Design Criticism at School of Visual Arts, is the author of Merz to Emigre and Beyond: Avant Garde Magazine Design of the Twentieth Century (Phaidon Press), Iron Fists: Branding the Totalitarian State (Phaidon Press) and most recently Design Disasters: Great Designers, Fabulous Failure, and Lessons Learned (Allworth Press). He is also the co-author of New Vintage Type(Thames & Hudson), Becoming a Digital Designer (John Wiley & Co.), Teaching Motion Design(Allworth Press) and more. www.hellerbooks.com

In 1995 when I started doing graffiti, there were not many books and magazines & nothing on Internet to see what was happening.
Since the beginning, I’m only interested by tags & throwies, the pieces are sometimes pretty cool but I don’t always find the energy inside…
The first fill’in that struck me was from USA ( Iz, Cap, Ghost, Quick, Reas, Espo, Chino, Cope 2, JonOne, Veefer, Oze…)
But in 1997, some french magazines & fanzines began to include photographs of painted walls providing an overview of the Europe style and made an effort to give us the right thing about « hardcore » graffiti, which was popular among French writers of our generation.
When I discover the stuff of GT, UV & VMD crew, I felt less alone in my delusions and thought to myself  :
 » This is it ! There are guys in France who have some good taste ! « 



« Pro » is one of the best writer of our generation.
Parisian born in 1976, influenced by American comics, science fiction and horror movies, painting pieces in a retro-futuristic style with Egyptian symbols and secret societies signs + post-apocalyptic scenery…




« Pro » foremost for me a pioneer in France in terms of fluidity of the line.
This week I talked with him about our first met in 2001 and I thought it would be an opportunity to make a post with some recent photographs.
Even if I present some paintings and sketches of his own (which are crazy too) I want you to remember this typical flow of a throw-up master !



http://www.pro176.com/
http://princepro176.blogspot.com/

Red Bull has released a new project called « Street Art View ».
The project is an interactive Google map that showcases graffiti around the world from the comfort of your computer.
Anyone (in theory) who come across street art on their way can tag it on the website and help build the collection…a nice tracking tool for police huh ? ^_^


The « Street Art View » site was developed at LODUCCA, Sao Paulo, Brazil, by creative director Guga Ketzer, creative Raphael Franzini, and art director Gustavo de Lacerda.


Sacha Jenkins, graffiti writer (SHR), Author (“Piecebook: The Secret Drawings of Graffiti Writers”) & co-founder of ego trip magazine,  producer of the White Rapper Show, former editor of Mass Appeal, theater writer (Deez Nuts !) and Astoria resident, breaks down for Gasface a widely accepted story of the birth of Hip-hop from the other side of the Tri-Borough Bridge.
Here’s a new interview clip from the good folks at Media Gasface :

source : ARTE tv via Gasface

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