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YZ brings classical beauties to the streets of Berlin

Early celluloid startlets dripping with liquid opulence meet classical greek heroines draped in clinging peplos with these quietly elegant wheat-pasted pieces by French Street Artist YZ in Berlin. Bringing her vintage view of high culture to sometimes very decayed and mottled walls of neglect, the contrast creates a vibrational effect for the passerby, who might wonder how they got there. The black ink on silk paper creations are hers, but the images are archetypes from the popular imagination about women and their perceived role in society as decorative objects.
Words: Brooklyn Street Art

“The images are meant to be of alternately fatal, dreamy or provocative women that challenge our stereotypes,” says YZ, “Women are beautiful, strong, and confident. They are capable of changing the world, as they proved during the last century.”


YZ (photo © Thomas von Wittich for OPEN WALLS Gallery)


YZ (photo © Thomas von Wittich for OPEN WALLS Gallery)


YZ (photo © Thomas von Wittich for OPEN WALLS Gallery)

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BR1 | PUBLICIZE THIS CUT

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Advertising is a paid form of ideas, goods and services while publicity is free.

Advertising comes from an identified sponsor while publicity comes from a neutral and impartial source.

Advertising is controllable by an organisation while publicity is not controllable because it comes from a neutral source.

Advertising is less credible in comparison to publicity while publicity is more credible because it comes from an impartial source.

Advertising is what you or your organisation says and promotes about you or your organisation but publicity is what others say about you or your organisation.

Most of the time in advertising, social responsibility is ignored while in publicity special focus is given to social responsibility.

BR1, despiertA!
Cut of a plastic billboard, 300x400cm, Madrid, January 2013

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SP38 takes over STATTBAD

SP38 is a French street artist, painter, and performer who has been based in Berlin for the past 15 years. He papers the walls of his city, and many others across the globe with what he calls “urban poetry”.

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© Roland Verin (2013)

The artist paints very quickly, and repetitively, and refers to himself, regarding his art practice, as a “human copy machine”; a copy machine reproducing the same motifs, and texts on posters to paste them in various places, and countries, and as a human one because what he does is not entirely identical, and includes tiny imperfections that can be found in handmade works.

SP38 mixes silk-printing and painting techniques applied on posters. His words are juxtaposed with symbols such as golden rabbits or blue planes that multiply on his posters as patterns. They could be the wallpapers of children bedrooms. Coming from a tradition of the Lettrist movement or of the “Affichistes” artists such as Jacques Villéglé or Raymond Hains who created their own alphabets, SP38 created his own typography. Adding a limited range of four colours, and those simplified images, to his letters as a very graphic trademark, SP38 makes statements about rather serious matters very casually. “ESCAPE”, “OCCUPY”, “BOMB AMERICA”, “MADE IN DREAM”, “SLAVES”, “VIVE LA CRISE”, “VIVE LA BOURGEOISIE”, “NO PROPAGANDA”, “I DON’T WANT TO BE U’RE FRIEND ON FACE-BOOK”, amongst others, adorn the urban landscape. The freshly printed aspect of his posters echoes the subjects of his slogans that are right of-the-moment.

As many artists, like Jenny Holzer, whose main focus is to spread words or ideas in the public or urban space, SP38 thinks that, “ART MUST BE OUTSIDE”. His provocative and lighthearted slogans, his humour, fraught with irony, and sarcasm, enable him to provoke without being aggressive. He wants to trigger a reaction, a reflection, and potentially some involvement. He wriggles out of his provocation without annoying the viewer. Lightheartedness makes the catchy and lapidary slogans act as catalysts for a serene debate.

From Tuesday February 26th until Thursday February 28th SP38 will take over STATTBAD Berlin facade and create a 20 meter long mural.

Join us together with the artist in STATTBAR for a mini vernissage on February 28th from 19:00 onwards. The evening will be completed with music and drinks to make it a date!

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YZ: The house of Ladybird

10 years after leaving her iconic imprint on Kunsthaus Tacheles YZ returns to Berlin and will reveal a new installation tonight, from 20:00 onwards, at Platoon Kunsthalle.

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“Ladybird appeared dressed in white from head to toe.  She looked like the northern lights.  Moving like a bird hopping from stone to stone without opening it’s wings.  Her nest was a masterpiece of skill, care and delicate luxury.  She sang with grace and vivacity, with a voice reminiscent of the woods, the sky and vastness.  Musician, poet, wife of another time. Ladybird was meant to be bird, wings, angel.”

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YZ (pronounced ‘eyes’) is a French street artist who has gained international recognition since 2003 with her project ‘Open Your Eyes’. Later, with a similar minimalist approach YZ became interested in other faces. Through small variations of line and appearance appear personnel histories through the passage of time. Slavery and the struggle for civil rights in the United States, South Africa and elsewhere are subjects close to her heart and are the theme of her work.

YZ primarily works as a painter producing artworks on kraft paper that can be put on city walls like posters. She is also a photographer and a video artist and she combines these medias to create multi-dimension projects. Her work has been recently exhibited at the Fondation Cartier, the French Institute in Prague, the Grand Palais in Paris and the Moscow Biennale. Her art is centered on the question of humanity and authenticity in the context of modern metropolis.

Tuesday February 19th
08:00 PM
PLATOON KUNSTHALLE
Schönhauser Allee 9
10119 Berlin

Tags: YZ Platoon
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ALIAS, pasting pieces of intimacy in the public space

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Alias by Thomas von Wittich © Thomas von Wittich, 2012

Pasting pieces of intimacy in the public space
Alias’ work represents mainly children, some teenagers, some adults; individuals that are alone, and dealing with situations. It is a quiet introspection, which the artist captures in black and white graphically stylised figures, to which he sometimes adds some dense red colour.

In one image, we can see a kid wounded by gunshots looking at us, as if he was telling us, “you are my witness that I have been shot”. A child is sitting on a bomb, another one is hiding his face coming back from school, or on his way to school, a girl is praying, her eyes looking at the sky, a kid is sitting on a swing with his back turned. Rather than directly dealing with war or politics, Alias is focusing on how individuals are personally affected by their environment. It is like zooming on individuals and seeing things on their scale; zooming in on children in particular and observing how they experience that world and context they live in. 

There is a lot of compassion in Alias’ work as he delicately infiltrates the urban environment to reveal the existence of loneliness and personal crisis behind a larger catastrophe.

Discreetly suggesting compassion
Alias has been carefully choosing specific spots and objects in various cities for the past twelve years, where he applies his stencils where his images are going to take place. On building walls or untransformed recycled materials, Alias captures emotions that are not only his subject but also his material as much as paint or street walls may be. While a lot of street art pieces are big and highly noticeable, Alias’ stencil paintings are discreet. Both the chosen spots in the streets, and the material he finds, are an integral part of his work. He has a way of finding special spots that are going to contribute to the expression alongside the image itself. Conveying a very personal feeling he is dealing with. Those spots are as unique as what he is depicting.

By isolating people from the social background or situation they are in, Alias is triggering a direct emotional impact. All his subjects appear as little universes, neutral lands that all seem to want peace. It is the type of compassion you can find in the work of great artists like Bill Viola. It is art that makes us feel human suffering we can all relate to and that instills in us both condolence and reverence.

(words: Florence Reidenbach for Open Walls Gallery)

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JUST - LETTERS FROM ALEPPO

Letters from Aleppo a show by Berlin-based urban art photographer Just, is curated by Open Walls Gallery and will open at Stattbad on the 15th of February.

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Just’s photographic work is a journey. He studied photography in Scotland where he also worked as a picture framer while taking photos of the punk- and squatter scenes that he was part of. One scene led to another, and Just then went on to focus on the graffiti and street art cultures. American photojournalist, Martha Cooper said: “Just’s breathtaking photos are dramatic documents of daring graffiti artists in action. Through them you can vicariously experience the danger and thrills of rooftop writing.” 

The first part of the exhibition will introduce the viewer to Just’s images taken in Berlin and various places such as Hamburg, the Ruhr-Area, Poland, NYC, Tel-Aviv, and Bangkok.

His photos are detailing finished works as well as practice and getting into the intimacy of a certain scene is part of Just’s unique art process. The streets he had documented then, led him to the ones of Aleppo. In the same way that he was close to the street artists whose work and practice he was capturing, he joined the lives of the people he met in the streets of the Syrian city.

From documenting live action to reporting fragments of lives…

The second part is a three dimensional narrative installation: a diary reporting and relating a life experience of being immersed into another reality and into people’s lives. The installation is displaying letters relating this experience as well as photos that are illustrating them and a soundscape recorded by Thomas Rassloff, which assists in bringing the viewer in context. Both photos were taken in Syria last December and the letters Just wrote during his stay there, are displayed on large panels to confront the viewer with the written words, as much as with the images. They are describing a new daily life that is temporarily becoming his, being equally overwhelming. The opening of the exhibition coincides with the publication of those stories in a major Swiss reportage magazine, Reportagen.

Friendly supported by RIOT Arts

Stattbad Berlin
Gerichtstr. 65, 13347 Berlin
(S+U Wedding and S-Humboldthain)
Private view: Friday, February 15, 2013
Exhibition on display 15/02/13 - 02/03/13
Opening hours: Thursday-Saturday, from 17:00 to 20:00
Admission €3

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BR1 | COCA COLA FEEDING

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BR1, Madrid (Plaza del Carmen), 2013

300x300cm

(Source: br1art.blogspot.de)

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Which one?

BR1 Wich One? Turin 2013

Which one? BR1 - Torino 2013

(Source: br1art.blogspot.it)

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Stencil: ALIAS, Photo: bilderkombinat berlin

Stencil: ALIAS, Photo: bilderkombinat berlin