Urban art is visibly changing. Artists who started in the streets are now developing their art while maintaining their singularity. Some of them talks about current political and social problems, while others adapt their practice to the context of gallery exhibitions. Several exhibitions attest to the impact of urban practices on contemporary art production. In this issue, Stuart reports on this art that keeps renewing itself, through emblematic examples. The artists Mist, from Montpellier, and Rime, from Brooklyn, reveal how their painting is evolving, while keeping graffiti in the center of their work. Cleon Peterson describes his last exhibition «Blood & Soil», where he tackles with haunting violence current political issues on the eve of the mid-term US elections. Bordalo II, keep the street as a playground, recycling waste to turn it into gigantic sculptures to alert people on ecological problems: the extinction of animal species due to consumerism. Detour through London where the Lazinc gallery pays tribute to Rammellzee, unclassifiable artist who has not unveiled all its mysteries. The Louis Vuitton Foundation, for its part, exhibits 120 works by Jean-Michel Basquiat, who evolved from tags to prestigious collaborations with Andy Warhol, to become an important figure of art history. This freedom, inherent to urban art, and the refusal of certain codes that keeps street cultures experimental, is also tangible in the choice of locations where events are hosted. A festival held at 3,000 m high mountain proves that urban elements can rub shoulders with nature. Or in the suburbs, that lack of art galleries, the Street-Art Festival creates an event combining live paintings on XXL panels, exhibition, DJ set… Stuart invites you to discover cultural news that certify this real mutation, bringing that culture to a new dimension.
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