Kivi & Amzer

As summer is approaching and it is de facto a little hot, I went to see Swan Kivi’s side, in Urkrainie Ukraine, to find out how we painted at the port of Odesa. Take out your sunglasses and your tube of sunscreen.

Приближается лето, и становится немного тепло, я поехал посмотреть дом Киви в Украине, чтобы узнать, как мы рисовали в порту Одессы. Выньте очки и солнцезащитный крем.

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Hello Kivi and Amzer, can you briefly introduce yourself? 
Kivi: Hello!  I’m Kivi, I have 25 years old, Amzer is 31 years old.  We were born and live our whole life in Ukraine, the city of Kiev.  I’m a teacher of fine arts by education, now I teach for children of primary grades, Amzer works in the restaurant business

Привет Киви и Амзер, можете кратко представиться? 
Киби: Привет!  Я Киви, мне 25 лет, Амзеру 31 год.  Мы родились и всю жизнь живем на Украине, в городе Киеве.  Я по образованию учитель изобразительного искусства, сейчас преподаю детям младших классов, Амзер работает в ресторанном бизнесе

Can you tell us how long you’ve been painting and how you started?
Amzer: the first graffiti in 1999 was painted under the supervision of a grandmother. In 1999, I was 11 years old.  I told my grandmother that I want to go draw. My grandmother was a gymnastic coach. I calmly painted at 5 in the morning in the summer on the street. I was scared that someone would see me, and my grandmother watched that no one would go while I was drawing.  my grandmother turned out to be a great guard These are great memories for life. I have been actively painting since 2004. I wrote for a long time to AMC, but due to problems with the law, I was forced to change the name to Amzer. In my life, there was everything from legal walls to illegal transport. I was inspired by X3M magazine, and the first rap artists after the collapse of the Soviet Union.
Kibi: I have always been a creative person, from childhood I drew and was passionate about any kind of self-expression. I met graffiti when I saw tags and flops on the streets, starting to watch magazines with wild styles, I fell in love with this.  My first graffiti on the wall was in 2011, before – I just watched and studied)) I liked to stand for hours against the wall and draw wild style.

Можете ли вы сказать нам, как долго вы рисуете и как начали?
Амзер: первое граффити в 1999 году было нарисовано под присмотром моей бабушки)) Вы можете это объяснить?  В 1999 году мне было 11 лет. Я сказал своей бабушке, что хочу пойти рисовать. Моя бабушка была тренером по гимнастике. Я спокойно рисовал в 5 утра, летом на улице.  Мне было страшно, что меня кто-нибудь увидит, и моя бабушка была на шухере, и смотрела что б никто не шел, пока я буду рисовать. моя бабушка оказалась отличным чекером. Это прекрасные воспоминания на всю жизнь.  Я активно рисую с 2004 года. Я долго писал в AMC, но из-за проблем с законом мне пришлось сменить имя на Amzer. В моей жизни было все: от легальных стен до нелегального транспорта. Я был вдохновлен журналом X3M и первыми рэп-артистами после распада Советского Союза.
Киби: Я всегда была творческим человеком, с детства рисовала и была увлечена любым видом самовыражения.  Я встретила граффити, когда увидела на улицах теги и флопы, начала смотреть журналы с дикими стилями, я влюбилась в это.  Мои первые граффити на стене были нарисованы в 2011 году, до этого – я просто смотрела и училась)) Мне нравилось часами стоять у стены и рисовать вайлд стайл.

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Do you draw before you start painting letters, and why choose this expression?
Kibi: I used to draw sketches for a long time before going to the wall, over time I started to draw a freestyle and most of my graffiti was done spontaneously without preparation if the place inspires me.  I like to make large-scale graffiti, sometimes dirty but high-quality lines.
Amzer: When I started to draw, I sketched a lot.  Now I’m practically not doing it. There are certain frameworks of style in which I create.  Sometimes it happens that I sketch with a pencil in one strip. I’m doing the quick express bombing.  My sketch is always in my head. Recently, began to look for new forms in his classic Flop. I strive for maximum speed while adhering to quality performance.

Вы тренируетесь рисовать, прежде чем начать рисовать буквы на стене, и почему выбираете это самовыражение ?
Киби: я рисовала скетчи в течение долгого времени перед тем как идти к стене, со временем я начала рисовать фри стайл, и большинство моих граффити было выполнено спонтанно, без подготовки, если эта локация вдохновляет меня.  Мне нравится делать масштабные граффити, иногда грязные, но качественные линии.
Амзер: Когда я начал рисовать, я много скетчил.  Сейчас я практически не делаю этого. Есть определенные рамки стиля, в которых я создаю.  Иногда бывает так, что я рисую карандашом в одну полоску. Я делаю быстрый экспресс-бомбинг .  Мой эскиз всегда в моей голове. В последнее время начал искать новые формы в своем классическом флопе.  Я стремлюсь к максимальной скорости, придерживаясь при этом качественного исполнения.

You are seen painting more freight trains generally than walls, why choose this support more than another?
We draw different surfaces, don’t focus on one support.  We create under the mood. Happens time we are only tagging in the city.  Sometimes we draw only legal during the day, combining it with nightly tagging and bombing.  It happens like now, we are not tagging, leaving all our free time on trains. It all depends on the mood.  Chaotically.

Вы, как правило, рисуете больше грузовых поездов, чем стен, зачем выбирать эту поверхность больше, чем другую?
Мы рисуем разные поверхности, не фокусируемся на одной.  Мы создаем под настроение. Бывает время, мы только тегаем в городе.  Иногда мы рисуем только легально днём, сочетая это с ночным теггингом и бомбингом.  Это происходит и сейчас, мы не тегаем практически, оставляя все наше свободное время для поездов.  Все зависит от настроения. Хаотично.

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What are your inspirations and how would you describe your style of letters?
Kibi: I’m inspired by the atmosphere in which I draw, it is very important.  I love the feeling of freedom, be it legal or illegal. I want to do more, bigger, and when I see that I can do it, it inspires me even more!  My writing style is quite feminine, sometimes smooth as if there were no emotions, sometimes sharp as if a storm were in my soul.
Amzer: Nothing inspires me right now.  Graffiti is a sport for me. I became a collector.  Hunter of interest. Plus it’s a lifestyle. I have been in this since childhood.  This is a part of me. I’m just curious to do more. And what would others see? I’m not interested in their opinion.  Enough of what they see that. My bat style))) quickly, clearly, minimalism, invisibility.

Что тебя вдохновляет и как бы ты описал свой стиль письма?
Киби: меня вдохновляет атмосфера, в которой я рисую, это очень важно.  Мне нравится чувство свободы, будь то законным или незаконным. Я хочу делать масштабнее, больше, и когда я вижу, что могу это сделать, это вдохновляет меня еще больше!  Мой стиль письма довольно женственный, иногда плавный, как будто не было никаких эмоций, иногда резкий, как будто буря была в моей душе.
Амзер: Ничего не вдохновляет меня прямо сейчас.  Граффити это спорт для меня. Я стал коллекционером.  Охотник за интересами. Плюс это стиль жизни. Я был в этом с детства.  Это часть меня. Мне просто любопытно сделать больше. И что бы другие увидели.  Мне не интересно их мнение. Достаточно того, что они видят. Мой стиль летучей мыши))) быстро, четко, минимализм, невидимость.

You are a painting duo but also together in life, can we what it can bring you more to paint as a couple compared to one group of friends?
Yes, absolutely, we are a couple and this gives us the advantage to introduce others to our work.  We are the only drawing couple in our country. We want to introduce the world to Ukraine through us)) through our creativity, to interest others to develop and express themselves. What does this give us?  can we call that increased attention to our couple an “advantage”? probably yes, this is the main thing, this is our uniqueness. when compared with friends, we understand each other more clearly, faster, and develop harmoniously together but on different sides

Вы рисуете вместе, но также вы вместе по жизни. Какие преимущества быть рисующей парой , сравнивая просто с группой друзей ? 
Да, безусловно, мы пара, и это дает нам преимущество познакомить других с нашей работой.  Мы единственная в этом роде рисующая пара в нашей стране. Мы хотим познакомить мир с Украиной через нас)) через наше творчество, заинтересовать других в развитии и самовыражении. Что это дает нам?  Можем ли мы назвать повышенное внимание к нашей паре «преимуществом»? наверное да, это главное, в этом наша уникальность. по сравнению с друзьями мы понимаем друг друга более четко, быстрее и гармонично развиваемся вместе, но с разных сторон.

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Can duos like Ether and Utah or Lady Pink and Smith inspire you?
We really like them!  Absolutely! They are an example, in particular, Utah and Ether show how not to stop and go beyond the borders of their country.  They don’t inspire us, but they are great)).

Могут ли такие дуэты, как Эзер и Ютах или Леди Пинк и Смит, вдохновить вас?
Нам они очень нравятся!  Абсолютно! Они являются примером, в частности Ютах и Эзер показывают, как не останавливаться и выходить за пределы своей страны.  Они нас не вдохновляют, но они великолепны)).

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Sometimes we see Kivi in ​​fairly short outfits, I imagine it can be very hot in Odessa. In an environment where the actors are mainly men, have set the codes of writing lived in very cold areas like New-York or Philadephia, it may seem transgressive to be so poorly dressed. Is it a way to find certain femininity and to assume it?
Kibi: Haha) of course this is partly a way of attracting attention, and it is quite effective, as without it.  But I want to draw the attention of observers that I’m a girl, and graffiti doesn’t make me a man. But I’m worthy to draw with a man on an equal footing.

Иногда мы видим Киви в довольно коротких нарядах, я думаю, в Одессе может быть очень жарко.  В среде, где рисующие в основном являются мужчины, имеющие внеклассные правила, жившие в очень холодных местах, таких как Нью-Йорк или Филадельфия. Им может показаться чрезмерным то, что они так плохо одеты.  Это способ найти определенную женственность и принять это?
Киби: Ха-ха) Конечно, это отчасти способ привлечения внимания, и он достаточно эффективен, как без этого.  Но я хочу обратить внимание наблюдателей, что я девушка, а граффити не делает меня мужчиной. Но я достойна рисовать с мужчиной на равных.

And You are okay with that Amzer? 
Amzer: I take it well, we have been together for a very long time, we have gone through many obstacles together, I have 100% confidence.  In painting in a swimsuit I don’t see anything vulgar. Graffiti is self-promotion. And this is a great opportunity to advertise our names.

И ты в порядке с этим Амзер?
Амзер: Я хорошо понимаю, мы были вместе очень долгое время, мы вместе преодолели много препятствий, я на 100% уверен.  Рисуя в купальнике, я не вижу ничего вульгарного. Граффити это самореклама. И это отличная возможность рекламировать наши имена.

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Can’t we see this as a criticism of society were to attract attention a pair of buttocks is more effective than the best of theories formulated by Einstein?
We can perceive and discuss any criticism when it makes sense.  We live in a modern world. And now everything is changing rapidly.  And perception is changing rapidly. A pair of buttocks, unfortunately, really becomes the power of PR.  But not we started it. And we cannot change that. This is modern society. But why not take advantage of this if it brings attention to our graffiti in the end.

Разве мы не можем воспринимать это как критику общества, когда привлекает внимание пара ягодиц более эффективно, чем лучшая из теорий, сформулированных Эйнштейном?
Мы можем воспринимать и обсуждать любую критику, когда она имеет смысл.  Мы живем в современном мире. И сейчас все быстро меняется. И восприятие быстро меняется.  Пара ягодиц, к сожалению, действительно становится силой пиара. Но не мы это начали. И мы не можем это изменить.  Это современное общество. Но почему бы не воспользоваться этим, если это в конце концов привлечет внимание к нашим граффити.

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How do people and authorities view writing in your city?
Badly!  Earlier it was possible to agree for any incident with money.  Bribe! Now it’s harder. many surveillance cameras. More police patrols.  But there are understanding cops who let go after a conversation. But this is with luck) in general, the observation is tightened every year.  in Kiev

Я тоже надеюсь, что вы сможете рисовать на самолете в ближайшее время.  Как люди и власти рассматривают письменность в вашем городе?
Плохо!  Раньше за любой инцидент можно было договориться с деньгами.  подкупить! Теперь это сложнее. Много камер наблюдения. Больше полицейских патрулей.  Но есть понимающие копы, которые отпускают после разговора. Но это на счастье) в общем, наблюдения ужесточаются с каждым годом в Киеве.

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Do you have any projects to come?
Yes, of course, our projects in development so far.  We both have caricatures in the form of a bat and kiwi fruit, which can be found on streets in Kiev and other cities.  Over time, there will be more of them and you will see them in our film, which is under development.

У вас есть какие-нибудь проекты?
Да, конечно, наши проекты в разработке пока.  у нас обоих есть карикатуры в виде летучих мышей и киви, которые можно найти на улицах Киева и других городов.  Со временем их станет больше, и вы увидите их в нашем фильме, который находится в стадии разработки.

Great, we are waiting for that, do you have a word for the end? 
Thanks!  we are grateful for the opportunity to chat with you.  I hope many will find answers for themselves in our interview.  We wish everyone to find a soul mate who will understand and support you in any crazy ideas!

Отлично, мы ждем этого, у вас есть слово для конца?
Спасибо!  Мы благодарны за возможность пообщаться с вами.  Я надеюсь, что многие найдут ответы для себя в нашем интервью.  Мы желаем каждому найти родственную душу, которая будет понимать и поддерживать вас в любых безумных идеях!

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JDL alias Judith de Leeuw

The superb paintings of Judith de Leeuw could very well do without this hat, she does what she wants with the hair of her characters with manes all more sublime than each other. Capturing a bit of his soul in this interview, we realize how right Leonardo da Vinci was right when he advised in his painting treatise to take care of his soul to produce breathtaking characters.

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Hello JDL can you introduce you?
Bonjour lady K! It’s lovely to have a chat with you again. My name is Judith de Leeuw aka JDL street art. I’m born and raised in Amsterdam, Netherlands and I just turned 25 years old. I currently still live there but I’m more often painting abroad. I find myself at home for approximately 3 months per year. I graduated in Art & Design in 2016 followed by a one-year bachelor of fine arts at the Willem de Kooning academy. 

Yes, I’m glad me too to speak with you again, can you tell us since how many time you paint?
That’s difficult to say. As a small kid, I always loved to paint with brushes like the rest of the world. I have a memory of the first portrait I made when I was 4 years old.

I touched a spray can for the first time when I was about 15 years old, which was also the first piece that I made at night on the streets. It was on a Christmas night and the piece was looking terrible (of course). I started combining spray paint with realism in 2013 when I was around 18 or 19 years old. This was looking terrible as well. In 2014 I got my first commissions in art. My art started taking off really well around 2015, my skills improved very rapidly. This is also what turned me into an official registered and fulltime artist in 2016. It’s been tough, but amazing and beautiful years traveling the world and painting everywhere. I painted more than 35 murals over 35 different locations, continents, and countries. And, the 35 is only what I officially registered in my CV. The real number is probably even much higher. 

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Your characters are almost perfect, you have a good sense of compositions, proportions… How you explain that?
It really flatters me that you say they are almost perfect, but I really don’t agree. They are not even close to perfect at all. Perfect doesn’t exist at all and it’s also something that you have to accept as an artist. A good example is my recent visit to the exhibition Caravaggio, Bernini (and followers) in Rijksmuseum and I spotted so many small mistakes! It really made me realize that even them – historical legends – must have felt exactly the same as I do. That little nail that ‘just does not look right’, is really something that keeps me up at night. And I’m so sure that these painters have experienced something similar. Imperfection is just something we all have to find peace with as creators. 

That changes me nothing for me, I think your characters are almost perfect and is that all of your honor to want to progress again. I think they have really good movement and it gives them life, as well as when Leonardo da Vinci writes in his treatise on the painting that giving movement is giving life to what we create. I think is something that transpires in your painting, are you consciously looking for that or does it come naturally?
It came naturally but not completely. I think the biggest power within people’s minds is to accept that they are never done learning. So one of my biggest focuses is to learn, no matter what I do. Sometimes I lock myself up for months just studying images and philosophy. At some point, I discovered that tragic, emotional images really intrigue me in a very specific way. I can recognize that on several comparisons.  For instance, I have a much bigger love for war and societal street photographers then portrait commissions. Also, I prefer Caravaggio much more over Rembrandt. I prefer greek mythology over fairytales. These tragic elements in images and stories enable people to experience emotion in a very specific and deep way. There are many different techniques to create a tragic image. And one of them, yes, is movement.

That tragic things intrigue us is a very interesting topic to think about in general, it has been like that thousands of years BC. Maybe it’s because mankind wants to recognize something in creation, and it’s all constructed on how we want to see the world. Or how we see ourselves, and our role in the reality we live in. I never made a conscious choice in the evolvement of my art, I think its always just been a part of who I have been (or became). But I know it must also be how I see the world, or how I have experienced it. Having an interest in a topic gets you to read a book, reading a book gets information in your subconscious, and your subconscious is a part of you. That leads to the end result of your creation. 

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What you say is really very interesting and beautiful, I am not finally surprised that your figures are so sensitive. Leonardo da Vinci, still in his painting treatise, writes that to produce breathtaking paintings, you have to take care of your soul so that paint springs from this interior beauty. How do you build them?
It’s a very big and long process. That is also one of the reasons why my online media is only 10% of what I do. Firstly I do concept development. That contains a lot of different kinds of research. Reading books, study other paintings, or societal issues. If I’m choosing a societal topic the research also involves talking to the people involved in the theme. It’s a very difficult and long process because it involves a lot of information, which, you don’t always instantly understand. For example – one of my next paintings took me over 6 years to understand the real total picture of the theme. I always knew the theme, but some meanings only start to come up when you have the time to grow and reflect. When I have a clear image of the total picture and processed all of my information – I jump to photography. I start to pick up all the pieces that I have and bring them together to create an image. This image contains the basis of the painting.

It’s really very impressive to see that you reflect so much on your paintings, I think that’s what gives them this special aura. Can you tell us what is this painting that took you more than six years to understand it and why and how did you finally understand it?
It concerns one of my latest designs related to Greek mythology called ‘Icarus’.  Unfortunately, I can’t show it yet but I’m hoping to be painting it soon. My family had a print of the work ‘Icarus’ from Hendrick Goltzius on the wall when I was a kid. I always loved it – but didn’t understand why. 6 years ago (i was 19), I heard about the myth for the first time.  I understood it in a very simple way and it became more and more complex over the years as I grew.
It was the story of a father and son stuck in a labyrinth. The father created wings for him and his son in order to escape. The father (Daedalus) told his son (Icarus): ‘Don’t fly too high, because then your wings will melt. Don’t fly too low, because the waves will catch you. Icarus flew off and couldn’t take his eyes off the sun. He flew higher, higher, and higher thinking that he could do it all. So happy to be free, and so intrigued to see something so magical. Icarus came too close to the sun, his wings melted, and he died in front of the eyes of Daedalus.
I heard about the story again, again, and again, over the years and every time a little piece of knowledge was added on the theme. I studied all different sorts of philosophy over the years and it really made me see things from a much broader perspective. There is a lot to say and to think about. Not only in the arts – but also on a societal level.
Some philosophers opinionated this story forms the basis of the society as we live in today. (We live in blockhouses, walk in between the lines, etc.) There are so many different perspectives to reflect on the world with this story in mind.
Anyhow, I can keep going forever about Icarus… The conclusion is that I came to a realization and I made a piece about it. I’m really excited to create it! 

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What are you looking for when you paint?
That’s a good question. What am I looking for? What is a musician looking for when he/she is writing a piece of music? I’m just inspired, and I want to express myself and share my vision of the world with other people. I just can’t help myself. Even when I tell myself to stop, I keep doing it. But I’m not only doing it for myself. For instance, street musicians always made me feel so incredibly fulfilled. In between all of those grey skies, grey office buildings, and businessmen – there’s a small reminder of art and music. It’s a reminder that we all still feel something together, that we are all still free inside, all some sort of playful child,  and that’s what I want to give back to the world too.

A bit like when Kandinsky talks about inner necessity, it’s yours. Can you tell us what you work with on the wall only with aerosols or also brushes?
In the past 4 years, I mostly worked with spray cans as I have been less experienced with brushes. However- I do use them now as details from 1mm are much easier to create with a small brush. Try to paint newspapers (including letters separately) with spray, it’s not easy! Now I’m creating one of my first all-acrylic works on canvas, as they are too small for aerosols. It’s a much more fit medium for smaller surfaces and I’m not planning to limit myself to aerosols.

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You also talk about your paintings, I have seen less on the web, while they are as breathtaking as your walls, why this part of your activity is less highlighted?
That’s because I find my biggest inspiration in large scale murals in public space. The work that I upload on my (social) media is just 10% of what is happening behind the scenes. But I’m very conscious about the fact that how you present your art to the world will be a very big influence on your life. For instance, I’ve even curated some projects, and I never really told anyone. That’s because I don’t want to be distracted too much from my goal – so I don’t want other people to get distracted either. I have a goal, I have something that I love, and something that I want to reach. I want to create a very specific thing that I want to give my contribution to society and people. That is my goal for now, so that is what I am highlighting.

Do you have some projects in currently?
Most of my projects are canceled or frozen as I can’t travel or ship during the COVID-19. I also can’t count on the galleries anymore.  But for sure. I never stop working. The « Icarus » project is a « love » project all made from scratch. It was a lot of work as we had to arrange everything ourselves in a very difficult city and an important location but we are almost there now. We (me and my project manager) set up a 50 pages plan and had dozens of calls and meetings to do. It took us over a  month but the plan is done now. We’re sending it over to institutes and are awaiting approval. It’s going to be a wonderful mural at a top location.
Next to that, I’m doing a commercial project at a really big congress center in the Netherlands. It’s quite a lot of work but I feel blessed to still be able to paint and do my job as it’s not easy now for anybody. I’m shooting one of the designs this Friday and we (me and my assistant) will start painting soon. There is some potential on this congress center so hopefully, I’ll get something very interesting out of it. They also own outdoor walls – so who knows where we will end up. Next to that, there are some other things pending for the future mainly focused on the Netherlands. I hope to be traveling soon again to take things « back to normal ».

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Thank you for this conversation, I’m waiting to see you again, do you have some words for the end? 
Stay strong in this crisis – always keep fighting as we are survivors. I’ve been down for quite some time thinking this crisis will kill the cultural scene. But we -as creators- can make something unique and strong out of this tragedy. It’s our obligation to do so towards the world. It’s why we are in this world, so don’t just sit and cry. Use this time to reflect on the world, on yourself and your art, and turn it into something more powerful than ever. My piece on the crisis is coming soon.

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Crédit photographies © JDL
Website: https://jdlstreetart.com/

Franchir les murs, festival virtuel et visuel

Alors que le contexte sanitaire actuel ne permet pas la réouverture des cinémas et des salles de spectacles, que bons nombres de festivals sont annulés jusqu’à l’été, la Ville de Pau innove et lance le festival Franchir les murs sur www.pau.fr

Du 15 mai au 4 septembre, ce festival virtuel et visuel proposera des expositions, des films, des playlists, des illustrations autour des cultures urbaines à partir de précédentes manifestations mais aussi avec beaucoup d’inédits et de commandes pour soutenir la création artistique.

Le graffiti pour sauver des vies. L’art s’engage contre le coronavirus au Sénégal

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Un livre d’art engagé

En pleine pandémie du coronavirus, l’ouvrage Le Graffiti pour sauver des vies, richement illustré, montre comment l’art urbain s’engage dans la lutte contre le virus.
Depuis plusieurs semaines, les artistes graffeurs des collectifs RBS Crew, Undu graffiti et Doxandem Squad utilisent leur art pour lutter contre la propagation du coronavirus au Sénégal. Partout dans Dakar et ailleurs, des graffitis informent la population sur les gestes barrières universels à adopter pour se protéger et pour protéger les autres. Dans ce contexte, le street art permet en outre d’alerter l’opinion sur les risques encourus par les plus démunis et de rendre hommage au personnel médical. Avec cet ouvrage disponible en téléchargement gratuit, la Fondation Dapper souhaite mettre en lumière cette initiative artistique et sanitaire d’une envergure sans précédent. C’est aussi l’occasion de contribuer à la mémoire de ces œuvres éphémères et, plus largement, d’une pandémie qui aura marqué notre époque.

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Téléchargez la version de votre choix. La Fondation Dapper met gracieusement à votre disposition plusieurs versions de cet ouvrage numérique :

L’auteure :
Aude Leveau Mac Elhone participe à l’organisation des expositions de la Fondation Dapper, principalement au Sénégal. En 2018, elle a notamment contribué à la mise en œuvre d’une résidence artistique de graffeurs lors de la biennale d’art contemporain africain Dak’Art. L’année dernière, elle a été co-commissaire de l’exposition Vivre ! Photographies de la résilience sur l’île de Gorée. Aude est également secrétaire générale de la Fondation Dapper.

Les collectifs :
@doxandem_squad
@rbscrew_sn
@undugraff