Urvanity Mahou Talks
A FRACTAL MOVEMENT
Urvanity Mahou Talks
Urvanity Mahou Talks returns to generate discussion around the New Contemporary Art and the Public Space. Today, urban art is in a phase of undeniable maturity, a movement that is more and more extensive in time, more relevant to the audience, more prolific in the technique, and above all, more branched and complex. The evolutionary capacity of the different movements, the old and the new, is manifested in a fractal and unstoppable way. The inevitable irruption of the digital revolution, as well as the enormous weight that storytelling and audiovisual documentation are acquiring in the projects (which also place it in a context of fierce climate crisis), makes it increasingly difficult to maintain a merely unidirectional and certainly limited view.
FROM FRIDAY 28 TO SUNDAY MARCH 1
COAM. Hortaleza street, 63
The gallery of the 21st Century possesses new challenges and has new goals. To give visibility to new languages, to empower new discourses and to legitimize the artistic work above all, to promote and boost these new proposals within the Art market. These three independent gallery owners will give us first-hand information about their experiences, their aims and their way of approaching the projects.
They say Art, to be considered as such, must move. Others say it must disturb and then there are those who simply applaud its eternal search for beauty. But beyond its emotional, agitating or complacent capacity, there is one aspect that is very little remarked: its expeditiousness. Being expeditious and taking chances, sometimes literally, is an increasingly important trait for gaining relevance, notoriety and attention. In this meeting between daring artists we will throw questions into the air with the aim of discovering what is behind the work of those who constantly challenge their fears.
Today, where contradictions of modern life clash with the welfare society, Art, once again, conforms itself as a tool of protest, along with other cultural manifestations, to create a movement of collective consciousness that makes noise in the face of the problem of climate change. Artists propose solutions for sustainable art in the presence of plastic oceans, air pollution or tons of waste. A dialogue between two artists who contribute with their grain of sand to the struggle.
COAM. Calle de Hortaleza, 63
THE ART OF DOCUMENTING THE STREET
Visual documentation and audiovisual recording is an art that has walked hand in hand with urban art since its beginnings and has evolved notably until our days. The importance of the work of photographers, filmmakers and documentalists is key to this artistic movement that is always in transit and which essence lies in the ephemeral. The exercise of recording it, gives Art another life spreading and going viral into the social media and publications. In this journey we want to listen to the stories that are hidden behind the cameras that capture them, we want to understand the looks that illustrated what happened. Without them there would be no trace left.
12pm-1pm – SOCIAL NARRATIVE, VISUAL IMPACTS // Jorge Rodríguez Gerada, artist
The average video consumption through mobile devices is 7 videos per hour. The contemporary urban artist has at his disposal a multitude of audiovisual genres and treatments to approach his work depending on the focus: some treat it as an artistic work itself, others document these pieces as a video-artistic exercise, others document the process and others seek to increase the impact of their works.
J.R.Gerada is one of the most narrative and humanist urban artists in the world. His endless exploration has led him to master the audiovisual component in order to provide the background behind his works which, beyond the striking image, always hides a greater story.
1pm-2pm – AEROSOL FLASH FORWARD // Projection Miguel Angel Rolland, cinematographer.
In 2004 influencers, selfies and sprays cans probably already existed. We only didn’t use these names. We’d rather say ‘aerosols’. You can still hear this name today, but not as much as we heard it in the past. In this session we will travel back in time to observe the enormous evolution of this movement, not only in the field of Urban Art, its lexicon and aesthetics, but also its audiovisual documentation. Sixteen years after the premiere of what is considered the first great documentary on Urban Art in Spain, we talk with its creator. He’s no longer the same, the same way the main characters aren’t either…
4pm-5pm – WALLS & WORDS // Global Street Art, Widewalls, All City Canvas & Adhesivo, Edith Vaisberg & Adhesivo Magazine
Apart from artists, documentary makers and filmmakers, there are also great motors of content creation related to the scene. Teams made up of communication and cultural professionals who work daily to give voice to all that is relevant in the scene. The specialized media are key in expanding the work of the authors and agents involved in this gigantic universe of urban and contemporary creation.
4:40pm-5:20pm – MOMENTUM // Zane Meyer, Cinematographer & founder of Chop ‘Em Down Films
‘Momentum’ summarises the great aspirations of brands, institutions, politicians and artists of all disciplines. Achieving ‘momentum’ means getting public attention, media attention and what Warhol called ‘The 15 Minutes of Fame’. How to get your big ‘momentum’ in the Urban Art sector? Chop ‘Em Down Films knows well where to start from.
It would be much more difficult to understand the origin and evolution of Graffiti and Urban Art without having access to the exciting archives of so many photographers, videographers and documentary filmmakers who have dedicated their work, recording infinite experiences. There would probably be no trace if it wasn’t for them. In this session we will be able to learn first-hand the stories and urban myths hidden behind the cameras of these “other artists”.
6:30pm-8:30pm – THE MAN WHO STOLE BANKSY // Projection Christian Amodeo, curator and screenwriter.
Urban artists who colonize and appropriate spaces to denounce social conflicts, taxi drivers who appropriate their art, public institutions that wish to appropriate some works while sanctioning others, and in the midst, the public disoriented by the constant contradictions about Urban Art. This documentary film is about the interesting journey to a very unknown context in Palestine and the visit of the universally recognized Banksy. The controversy is served.
COAM. Hortaleza street, 63
THE ART-TECH REVOLUTION //
From the invention of the spoon to digital composition and creation, the technological evolution of the human being is experiencing its most vibrant moment with the birth of a generation 2.0 that is increasingly gaining prominence in the urban diaspora.
12:30pm-2pm PUBLIC SPACE, DIGITAL SPACE // Diego Iglesias, founder of FART (Finding Art) + Daniel Canogar, Solimán López, Marian Garrido, Lola Zoido and Andrea Muniaín, artists.
Based on the digital art project by FART and Urvanity, five digital artists with a great projection and inclination towards urban spaces will exhibit their different points of view, experiences and projects to bring us a little closer to the abstract conception of Digital Art in Public Space.
5pm-6pm ART & FUTURE // Montxo Algora, ArtFutura Director
ArtFutura is a visionary and pioneering project with a trajectory that has been able to consolidate itself as one of the greatest digital art events in the world. Its admirable vocation represents the will to always look ahead. Montxo Algora, after 30 years as the head of the project, will share his experiences and his vision of the evolution of this exciting artistic phenomenon.The best of digital creation at the hands of one of its main precursors.
Program sponsored by Mahou
Multidisciplinary artist based in the city of Valencia. Linked to the world of graffiti since the beginning, he has configured a language that celebrates the importance of color by exploiting its livelier side. His compositions work abstraction, playing with whimsical combinations that give dynamicity to spaces where they intervene and spread their fun character to the observer. He has touched multiple fields and exhibits enormous versatility, covering murals, artistic installations, sculptures, pieces of furniture, works in ceramics, interior design and works in the urban landscape. It all connected through his interest in spatiality. Inspired on a futuristic and advanced society vision, he reinterprets what is established.
For years Gviiie paints in whatever surface he finds. Paper, tables and walls. His beginning in graffiti was during his teenage years, combining it with Graphic Design studies in Madrid’s Escuela de Arte 10 and in 2013 he finishes Cinema Studies in the University of Arts London. Back in Madrid he reconciles with painting by publishing sketches in the politic satire Spanish magazine Mongolia. He goes back to painting walls and developing his characteristic neo-rupestrian style until today. In 2016 his animation short film ‘Abayomi’ is preselected to the Spanish Premios Goya. In 2019 he’s invited to participate in different Street Art festivals around Europe and Gviiie presents his first Solo show with his studio work.
Empezó en el mundo del graffiti a finales de los años 80 y tuvo su propio estudio en los años 90 trabajando con diversos formatos artísticos como pintura, escultura e instalación. Clave en su obra han sido sus continuos viajes por el mundo y su interés por las culturas antiguas y el arte primitivo, con influencia de cosmovisiones ancestrales, en particular de la cultura andina prehispánica, dando lugar al uso de técnicas milenarias como cerámica o telares, ampliando así su lenguaje artístico. Otra gran influencia es la Naturaleza, presente prácticamente en toda su obra. Su trabajo puede describirse como un universo abstracto de intenso color, con un complejo simbolismo y un minucioso dominio de las formas geométricas y en ocasiones criptografía numérica, creando una estética muy personal que lo hace rápidamente reconocible conformando su identidad y originalidad artística y conectando al espectador con otras realidades. Ha expuesto en espacios y galerías de todo el mundo, en el Museo Nacional de Arte Moderno de Londres (Tate Modern) pintó la fachada en el 2008 en la Exposición “Street Art”. Actualmente, continúa combinando intervenciones artísticas en la calle, en festivales y proyectos, con trabajo constante en su estudio.
Installed in the cunning of a pseudonym that thus encourages discretion and freedom of anonymity, Grip Face (Palma de Mallorca) was formed from a very early age in the schools of drawing and classical painting. A multidisciplinary artist who generally fixes his coordinates in public space, he discovers at the age of thirteen the multiple possibilities offered by graffiti and urban graphic language, in whose dimension he soon feels comfortable to move his me- chanisms to his own terrain. In the intimacy of his mental laboratory, Grip Face captures the latent images of his time and gives them form under the tutelage of the aesthetic education he has received; from illustra- tion to graphic design, through installation and painting, he works with the most graphic languages to the most conceptual ones and at the same time, for years he has been creating a bridge between the public space and the exhibition space. His first book `Black Faces’ is the materialization on paper of this bridge; the publication includes both furtive interventions and the pieces destined to be exhibited in the Bilbao SC Gallery, all of which are included in the same project. The spaces he chooses in the metropolises, whether on the scorned edges of the suburbs or in the city centres, reproduce the remote links of the human being with Art. The passer-by comes face to face with icons that claim their attention and This is an iconic personal universe that seeks to induce the citizen to reflect and, perhaps, question him.
JORGE RODRIGUEZ GERADA
He was a founder of the New York City Culture Jamming movement and is an innovator in the international urban art scene. Since the late 90’s he has been replacing the faces of cultural icons chosen by advertisers with the faces of anonymous people to question the controls imposed on public space, the role models that are designated to represent us and the type of events that deserve more public discourse. Rodriguez-Gerada´s unique direction was first mentioned in Naomi Klein’s book No Logo and was a precursor of the use of anonymous portraits now common in street art. His spectacular interventions are created for the sake of bringing awareness to relevant social issues. His large scale time based land art works avoid negative impact on the environment, challenge the conformity in contemporary art and allow for a reflection that goes beyond the completion of the piece to focus on its concept, process, and the metaphor that comes forth because of the material chosen. He has created large scale murals and land art works around the world in locations such as the United States, Morocco, Lebanon, The Netherlands, New Zealand, Argentina, France, The United Kingdom, Bahrain, Spain, etc. Among his other projects are the smaller-format pieces for gallery exhibitions such as the ‘Fragment Series’, ‘Urban Analogies Series,’ and the ‘Memorylythics series.’ Gerada has also collaborated in many cultural projects and exhibitions around the world.
MIGUEL ANGEL ROLLAND
Miguel Ángel Rolland has a degree in Journalism from the Universidad Complutense, and was awarded with a scholarship by the Ministry of Culture, to study filmmaking in New York (New York Film Academy) in 2001. He has worked in the audiovisual industry as a Director of Antena (Canal ON), as a documentary scriptwriter (NHK Japan), and an advertising director. He was a founder of the professional association DOCUS MADRID and has also been a content and social media director in communication agencies and digital marketing, as well as a trainer in impact communication strategy and crowdfunding. Together with the agency Las Espigadoras, he created the DocImpacto meetings
Martha Cooper is a documentary photographer who has specialized in shooting graffiti, street art and architecture for over forty years. In the 1970s, Martha worked as a staff photographer at the New York Post. During that time she began to document graffiti and b-boying, subjects which led to her extensive coverage of early Hip Hop as it emerged from the Bronx. These photos, published worldwide, helped make Hip Hop the predominant international youth movement it is today. Martha’s first book Subway Art (with Henry Chalfant), has been in print since 1984 and is affectionately called the “bible” by graffiti artists. Her subsequent books include, R.I.P.: Memorial Wall Art, Hip Hop Files 1980- 1984, We B*Girlz, Street Play, New York State of Mind, Tag Town, Going Postal, Remembering 9/11 and Tokyo Tattoo 1970. She lives in Manhattan but can frequently be found at street art festivals worldwide. Martha’s work has been exhibited in museums and galleries worldwide and published in numerous magazines from National Geographic to Vibe. Recently Martha has been shooting an on-going personal project comparing neighbourhoods in Baltimore, U.S.A. and Soweto, South Africa. She is presently working on a book with 1UP, a notorious graffiti crew in Berlin.
Started writing graffiti at age 11. Since he was a teenager, he has traveled all over the world interacting with the international community of graffiti writers on the subway that functions as a sort of secret society. Between them they are given shelter at the same time as they play to compete with each other to see, for example, who gets to paint more metro lines or who manages to perform the most elusive actions. It is then, taking pictures of his pieces (main proof of having overcome the feat), when he began his passion for photography. He studied Computer Science at the Polytechnic University of Valencia but, after a few years as a systems engineer, he chose to study Art Photography at the EASD. After finishing his studies, he won the scholarship of the Lens School to do a Master’s Degree in Photography and moved to Madrid. Currently, he works as a photographer combining commercial commissions with the development of personal projects.
Montxo Algora is the founder of ArtFutura and has directed its thirty editions, presenting topics such as Virtual Reality, Global Mind, The Future of the Future, The Digital Promise, Collective Intelligence and The Second Skin. ArtFutura tries to anticipate the future of art associated with new technologies. His annual shows have been attended by crucial artists and thinkers in the digital culture: William Gibson, Theo Jansen, Toshio Iwai, Laurie Anderson, Hiroshi Ishii, Paul Friedlander, Moebius, David Byrne, Masaya Matsuura, Howard Rheingold, Timothy Leary, Tomato, Tetsuya Mizuguchi, Rebecca Allen, Ryota Kuwakubo, Orlan, Yoichiro Kawaguchi, Brian Eno, Marcel.lí Antúnez, Arthur Kroker, Xeni Jardin and many others. Montxo Algora has directed projects such as “Memory Palace”, with original text by William Gibson and music by Peter Gabriel and John Paul Jones. And he has curated exhibitions such as “Souls& Machines” (2008) at the Reina Sofía Museum in Madrid and “Creature Digitali” in Rome (2017).