with public art
For the past several months, a collective of artists in Dublin known as Subset has been coming up against the letter of the law, as the Dublin City Council (DCC) issues orders requiring Subset to paint over their colorful murals with swaths of monochromatic paint. Blindboy Boatclub, an Irish comedian and hip hop artist who was the subject of a Subset mural, points out the conundrum in an interview with JOE:
Subset have been brightening up dull spaces all over Dublin. People were engaging… taking selfies, having craic [fun conversation]. That’s what art is supposed to be, socially engaged. A genuinely engaging spectacle for real people, not just hidden away in a gallery for those with an art education. Dublin council have disappointed me. How is it OK to paint a wall one dull color of paint? But it’s illegal to paint the same space with multiple colors.
The sweep of mural removals began in late 2017, despite previous successful collaborations between DCC and Subset, as cited in the Irish Times. Although the murals are created on private property and with explicit permission from property owners, under current law the artists are still required to apply for permits for each painting. These permitting fees are calculated by square meter, and can cost thousands of euros.
As explained by RTÉ (Raidió Teilifís Éireann) Ireland’s national public-service media organization, “The permission available to the artists at present is fixed and rigid whereas they require a more fluid process allowing them to apply for spaces on an ongoing basis and vary their artwork in response to changing events. As it stands, the collective must apply separately for each mural. The amount of time, bureaucracy and expense required to do this detracts from the spontaneity and impact of their art, so they don’t apply.” In contrast, the more up-to-date and efficient licensing processes in Irish cities like Limerick and Waterford have been beneficial for both artists and the city governments.
In response, members of the Subset collective have teamed up with other artists to paint new murals throughout Dublin, with a goal of adding twenty five new works. Some are vibrantly colored, drawing attention to the role that such large-scale public artworks play in enlivening urban environments. Others feature grey palettes in solidarity with the #greyareaproject hashtag, which is being used to unite the pro-mural movement, and you can see examples of both below.
Residents are also using the hashtag on social media to document pre-existing murals, as evidence of the city’s rich mural scene. You can follow the conversation on Subset’s Twitter and Instagram and via #greyareaproject on both platforms.
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Media artist Refik Anadol’s work Melting Memories combines data paintings, light projections, and augmented data sculptures to visibly demonstrate how the brain recalls memories. The installation was created with a custom 16 x 20 foot LED media wall and CNC milled rigid foam, and was shown earlier in 2018 at Pilevneli Gallery in Istanbul. In the work, seething swirls move across the work’s surface, resembling cresting ocean waves, blossoming flowers, and shifting sand.
To generate the data, Anadol conducted experiments at the Neuroscape Laboratory at the University of California, San Francisco. An artist statement describes the technical process: “Anadol gathers data on the neural mechanisms of cognitive control from an EEG (electroencephalogram) that measures changes in brain wave activity and provides evidence of how the brain functions over time. These data sets constitute the building blocks for the unique algorithms that the artist needs for the multi-dimensional visual structures on display.”
Anadol is a media artist and director who specializes in site-specific public art that explores the intersection of physical and digital reality. Born in Istanbul, the artist is now based in Los Angeles, where he is a visiting researcher and lecturer at UCLA’s Department of Design Media Arts. You can see more of his work on his website, as well as on Instagram, Vimeo, and Behance.
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The second annual Nuart Aberdeen kicks off next month, celebrating the work of international street artists with workshops, guided tours, and film screenings throughout the course of the four-day festival. The public art platform aims to activate its local art scene while also encouraging visiting artists to collaborate with its twin city of Stavanger, which has hosted the original Nuart Festival for the last 17 years.
In 2017 the Scotland-based festival presented site-specific murals and interventions by Fintan Magee, Martin Whatson, Add Fuel, Jaune, and more. This year’s installations and temporary exhibitions will center around the theme “A Revolution of the Ordinary,” and include work by international artists Bordalo II, Bortusk Leer, Carrie Reichardt, Dr. D, Elki, Ernest Zacharevic, Glöbel Bros., Hyuro, Milu Correch, Nimi & RH74, Phlegm, and Snik.
The opening of Inky Protest, a collaborative exhibition between Nuart and Peacock Visual Arts, kicks off the festival on Thursday, April 12. The exhibition will feature work by artists such as Brad Downey, Mike Giant and Ralph Steadman, Futura, Martha Cooper and Jamie Reid. You can view a preview of the upcoming festival in the video below. (StreetArtNews)
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For the 400th anniversary of Madrid’s Plaza Mayor, urban artist SpY (previously) transformed the bustling square into a centralized place of respite. The temporary park titled Cesped, or “Grass,” was created by bringing in more than 35,000 square feet of sod, which formed a perfect green circle at the center of the pedestrian plaza. Over the course of its four day installation last fall more than 100,000 visitors lounged, played, and rested in the celebratory work.
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A Project Aims to Create the World’s Largest Hanging Garden Since Babylon Within the Branches of a 114-Foot Tree
The French masterminds of mechanical delight, Les Machines de L’ile, have an ambitious new project underway. L’Arbre aux Hérons (The Heron’s Tree) is set to be the largest hanging garden built since ancient Babylon, spanning over 160 feet in diameter and reaching 114 feet into the sky. Their Nantes-based team describes the historic muses behind the project:
Inspired by the worlds of Jules Verne and Leonardo Da Vinci, it is an unprecedented artistic project. After the Grand Elephant and the Machine Gallery in 2007, the Carousel of the Sea Worlds in 2012, the Herons’ Tree is the third phase of the Island’s Machines. Coming out of the minds of François Delaroziere and Pierre Orefice, it will be located along the banks of the Loire River, a few meters away from the house Jules Verne spent his teenage years in and where Jean-Jacques Audubon grew up and drew his first herons.
Les Machines de L’ile have been working on The Heron’s Tree since their inception in 2007, and in the spirit of democratic discovery, their team of skilled craftspeople have been sharing the prototypes with visitors to the Machine Gallery. The sketches and mock-ups for the project include a giant steel tree topped with two herons that each carry twenty passengers on circular flights. Half of the tree’s twenty-two branches can be traversed on foot by visitors, and all of the branches will support hanging terraces of plants and gardens to create a lush ecosystem. The tree itself will be set in an old granite quarry on the cliffs of Brittany.
The goal is to open The Heron’s Tree in 2022, and two thirds of the 35 million euro project cost is being covered by public funding. Les Machines de L’ile is seeking to fund the rest through crowdfunding: you can contribute via Kickstarter. You can also track the project’s progress on Facebook.
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Frustrated by the daily bombardment of advertising on the streets of New York City, artist Caroline Caldwell and writer RJ Rushmore decided to produce a project that would dampen the sheer volume of visual marketing strewn throughout their environment. The pair didn’t have the budget to prompt an entire overhaul, but they did have the incentive to construct an intervention that would offer an alternative glimpse to the city’s high volume of print-based advertisements.
For their 2017 project, Art in Ad Places, the pair recruited 55 artists and collectives from across the country to produce 55 works to be temporarily displayed on pay phone booths across New York City. The installations were each presented for a week, and documented by their collaborator, street art photographer Luna Park.
“Pay phones were a perfect choice because they’re disappearing from the streets,” Rushmore told Colossal. “So I’d like to say that our ad takeovers were intended as a swan song for pay phones. Plus, contemporary pay phones serve no real function except to serve advertising, and that feels wrong. Nobody’s using pay phones to make calls, so why do we put up with their ads?”
The 52-week campaign ended in December of last year, however it has recently been compiled into a new book that documents the year-long installation. Art in Ad Places: 52 Week of Public Art Across New York City is available through Rushmore’s street art blog Vandalog and features statements from each artist alongside essays written by the project’s three collaborators. You can see the entire range of poster-sized artworks produced for Art in Ad Places on the project’s website or Instagram.
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Mexican calligraffiti artist Said Dokins combines calligraphy writing with graffiti techniques to create public murals that address conflicts of power, destruction, and control imposed by both historic and contemporary regimes. His latest project, Heliographies of Memory, uses luminous tools to explore displaced memory, creating light paintings that use famous historic buildings or other iconic sites as temporary backdrops.
“‘Heliographies of Memory’ consist in a series of photographs that capture the calligraphic gesture, the very moment where the action of inscription is taking place,” said Dokins. “…The texts are written with light, so the words disappear as soon as they were suggested by the moves of the calligrapher, invisible to the simple eye, they just can be captured by a process of long-exposure photography, that reveal what happened, even though no one could see it.”
Dokins collaborates with photographer Leonardo Luna to capture each of his ephemeral interventions. Together they opened the 2017 OASTRALE Biennale of Contemporary Art in Dresden with a choreographed calligraphy presentation. You can see more images of their project Heliographies of Memory on Dokins’ Instagram and Facebook. (via I Support Street Art)
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