Où trouver Paris Tonkar magazine #20 ?

Vous pouvez télécharger la liste des points de vente en France du magazine en cliquant ici : Fichier des points de vente.

Paris Tonkar, c’est la référence du graffiti et du street art depuis 1991. Magazine associatif 100 % indépendant (des galeries notamment) ! Le numéro 20 débarque en mode « International » SPÉCIAL RUSSiE avec une NOUVELLE FORMULE optimisée depuis quelques numéros. 100 pages quadrichromie et un sommaire international imposant (Russie, Allemagne, Hollande, France…), RASKO réalisant son impressionnante couverture comme pour marquer le coup de la profusion de writers qui existe en ex-URSS !

Paris Tonkar magazine

⇒ MERCI DE PRÉCISER à partir de quel numéro (celui en cours de commercialisation ou le prochain) vous souhaitez débuter votre ABONNEMENT. Cela est possible dans la case pour laisser un message lors de la finalisation de la commande.

Boutique en ligne : ici.

Vous pouvez payer en ligne (CB sécurisée) OU par CHÈQUE (bancaires et postaux tirés sur des banques françaises) ou BONS ADMINISTRATIFS.

Pour les commandes par CHÈQUE (à l’ordre de i.H.H.C.), il vous suffit d’envoyer votre commande sur papier libre (en précisant bien nom, adresse, durée d’abonnement et/ou ancien[s] numéro souhaité[s]) accompagné du règlement par chèque (à l’ordre de i.H.H.C.) à l’adresse suivante :

PARiS TONKAR magazine / iHHC
Boîte 41
116, avenue du Général Leclerc
75014 PARIS

Meeting with Burs and Bozik from Russia

We met Burs and Bozik from Russia the last year, they were in Paris to prepare an exhibition.


Can you explain what you make exactly? Letters, characters…?

Burs: I write letters. This may be my name or Vice versa. Now I began to write different phrases. Mostly I write things that inspire me. Sometimes I create them myself. Sometimes, somewhere, hear them, and understand the sentence. I want to write on the wall. Recently on the street wrote the sentence: « Do what you love ».

Bozik: I draw everything. From tags and stickers to large murals. I like to draw sacred geometry, I like to draw animals and I like to draw a letter and fonts.


You are in same crew, can you tell us more about?
Burs: we came up with the team « good » with my friend Anton . Back in 2011 . We wanted to create a team of unique and original people . This team was created to do good for people . But after a while I realized that we inspire many people to work and people talking with us , began to engage in any kind of creativity . This is good . One of the only salvation of man lies through creativity ,Creativity makes man free , through the process of creativity man is tuned to positive vibrations . Creativity is changing and expanding human consciousness . Man develops through creativity . That’s what we understand . And that’s what the team strives for « good » – to develop .


How long have you known each other?
Bozik : We met live 2 months ago, but I was familiar with the work of Bursone and his team for a long time. I always liked what they did.
Bursone : I met bozik 2 months ago, in his hometown of Kazan, at the combination festival. I felt a good vibe when I met him. After getting acquainted with a lot of drawing on the street, and I realized that we are very similar to him.


What are these similarities?
Burs: we are close in spirit people – to put it briefly .
Bozik: We are very similar in that we are both in a positive mood. For a long time I did not write my name on the street, I wrote the word Love in English and Russian (ЛЮБОВЬ). Roman and his team have long been writing the word ДОБРО (Good, kindness). And it’s almost the same thing. Love and Good are inseparable. Therefore we are united.


When did you start drawing?
Burs : I started drawing graffiti in 2004. I’ve been drawing for 13 years and there have been breaks in my creative work related to the understanding of my art. I have experimented a lot in my search for my forms. But I’m still looking for more and more forms of letters. This is the process where you are constantly developing your style.
Bozik : graffiti started to draw in 2001, but then I did not draw much, and I had a long break, then I started drawing in 2011 and still draw every day.


Why make pause, how many time, and what did you do?
Bozik: I had a break in drawing. I have not painted on the street for about seven -eight years. At this time, I painted on paper and painted canvas. I painted a lot of abstract and surrealistic paintings. I experimented a lot and gradually came to the point that I began to draw with dots. I really liked it. When I started to draw graffiti again – the first drawing after the break I drew. I really liked it and for many years I drew only dots.


How did you start drawing?
Burs : I was inspired by 1 person from my area to draw graffiti. This is Pacer tad in 2004?. The first time I met graffiti when I saw his work. They inspired me very much.
Bozik : I started drawing as a child, drawing trucks, motorcycles and ninja turtles. Graffiti began to draw with the appearance of a musical CD Rap-music 2000, it was a powerful collection of Russian rap. My first piece I drew from the cover of this album.


Bursone : After my inspiration, I ran to the shop for spray paint. And when I first tried drawing, I really liked the feeling of drawing. I liked my vibrations while drawing. can you describe these vibrations? I can say that I didn’t feel so good before I met graffiti.
Bozik : I’ve always liked the drawing process itself. I like the state of the art while drawing. When I draw, I forget everything. Time disappears. I feel calm when I draw on canvas and I feel invigorated when I draw illegally.


What kind of studies did you do?
Burs: I did not conduct classes , I drew if it was required by my soul . And if I wanted to do something to Express through
Bozik: I studied at high school and the oil technical university.


How did you study drawing?
Bursone : This is a personal process and everyone has their own. I wanted to achieve interesting forms of graffiti, good combinations of colors. I didn’t do it all at once, sometimes I was upset that I couldn’t do it. But after a day I ran back to the shop for paint to make my drawings even better. After 5 years of drawing, I saw my development. I had no talent for drawing. I don’t need it. The main thing is to love my business. That’s what I realized.
Bozik : I haven’t specially studied drawing anywhere. I constantly painted on the rear ports at the school institute. And I did not like to study and therefore always painted. I received all the basic drawing training while standing against the wall. He learned to draw people and animals not on paper but on the wall. In general, when I started drawing graffiti, I always bought paint and spent all the money on it. I drew little sketches but drew a lot on the walls. This is probably why I have a lot of bad fonts and drawings. I always try new techniques to apply it outside.


Do you draw only for an exhibition or draw something else?
Bursone : I draw mostly on the street, I like that passers-by can see the art of different artists on the street. It’s an open-air gallery. Isn’t it beautiful?  I have always painted only on the street, in illegal places. I drew on the roofs of St. Petersburg, in the city where I live for 10 years. I drew on everything I can imagine. This is my first exhibition, I want to thank the owner of the gallery « in Art we trust » Jonas, for this opportunity. I am very pleased with this opportunity.
Bozik : We make paintings for the exhibition, but most of all I paint on the street. 90% of what I paint is illegal work on the street. I think it’s the best exhibition ever. In my own city, I have been drawing on the street for many years for another name so that the police wouldn’t find me.


Why want to show art to passers-by?
Burs: Because art is a holiday of the soul, and when you have a holiday , you want to share it . People like to see art . They are charged , they are inspired to new thoughts on new ideas .
Bozik: Streetart and graffiti is a very convenient creation to show it to a casual spectator. These people may never go to the gallery, but they will see our drawings on the streets. It can inspire a new generation to create something good.


Do they really want to?
Burs: I can’t answer that question . I do not know. Sometimes they are unhappy with what they saw creativity . But who knows, maybe he should be unhappy . And the other on the contrary will be inspired by the drawing on the street , and will become an outstanding artist .
Bozik: I don’t know if passers-by need this. Like it or not. Always someone likes someone doesn’t like it. But something inside me tells me that I can make some places even better. I can decorate them).


How is the legislation in Russia about tags?
Burs: In Russia it’s very simple . If you tag and you get caught, the fine is 8 euros , and you’re free
Bozik: In Russia, if you are caught for a tag on an ordinary building or fence, then you will be taken to a police station, you may sit in jail until morning, then they will write you a fine of 500-1500 rubles (8-20 euros) and let them go home. But if you draw on historical buildings and monuments, they will first write a huge fine and in some cases they can put you in jail for vandalism.


How is the reaction of people?
Burs: In most cases there is no reaction . All people are in the matrix of their problems and things that they need to have time to do . They don’t have time before you, before you paint. I always wonder about that. But on the other hand, I don’t do anything criminal , I just draw .
Bozik: Everyone thinks differently. some people like and some don’t. In Russia you can hit if you draw or try to detain to call the police. But more often yell on you. Few people say positive things.


Have u word for end?
We would like to thank the whole family and friends for supporting us. we thank everyone with whom we painted and will paint! We love everyone and everything! we feel that we are all one. our game is beautiful. our illusion is wonderful. life is a joy! Thank you.

M. Wassup’s making of

Some of us travel with a watercolor book to sketch the world with the tip of the brush, but others sketches it with the caps on subways, and walls. Wassup book of travels is all over his Instagram account, a day to day journey printed on plane tickets like a collection. Although it seems to be a travel book, it is also an artistic issue.

I am under the impression that we are experiencing vacations for months, they started like six months ago in March everything is lasting like August only too long. Lockdown had me tackled my articles through the unfamiliar of some Youtube, or Instagram accounts from writers around the world. At the ends of the earth impossible to travel to when Schengen was closed, and now that we are almost free but not totally. I am about to say again: yes it is disorienting to scroll Instagram writers’accounts from Miami to Jakarta. I see myself watching a 1up short movie painting a subway in Berlin under climes penetrated by flashes of fireworks, people were stunned. I also see myself watching photos of Kivi’s of the beach of Odessa, or San’s photos of Honolulu. Those photos are not only important because they refer to something essential when the distance offers the possibility. Those accounts provide for action photos, live atmosphere, portrait.

Among them, you have M.Wassup’s account, with block letters LOVE through Europe, Asia, or South America. Some pictures show letters on various trains from Italy, Germany, Swedish, and boats from Bali, graceful under Indonesian climes, where the shadows of the palm leaf stripe the colors spread out to the walls. Most of the photos which gather information about it seem to be jealously preserved from intrusive eyes. Like his letters on a train in Sao Paulo, drooped, we get to see very little, more a panoramic picture of the city, gloomy comment. Or the ones on Moscovite subway where we get the perfect head of the machine breaking off the convergence lines with its tubular box. Wassup creates a mysterious atmosphere out of his letters.

Enigmas ruptured that Wassup seems to prefer to maintain with poetic intervals (the study of the creative process). Pixels spout out of the scintillation of a wire wheel machine bumping into a subway door. A cloud of paint only visible because of a light bulb glistening inside a tunnel somewhere in the world. Those photos limit how we perceive the work to introduce the process of creation. They free the paint from the “esthesis” (how we perceive the work) of a frontal camera angle, it looks despotic, upon its throne. Just like an anamorphosis, those camera angles create a new perspective where the blue of the sky plays with the obscurity of the metropolitan labyrinth, where the horizon of the sun breaks those of the tiles of its stations. The look of a female spectator wearing or not a bikini, it abolishes the dryness of a picture purely informative. They put the paint in context, and they tell what was going on during the creative process, they make it alive.

Poetry intensifies these camera angles where sometimes we see the painters go through by narrow entries, some verticals dizzying tubes, some never-ending ways along the railways, forbidden support like an excellent fruit…those pictures to seize those attitudes calculating the space and the time parameters to measure their work comparing them to the excessiveness of the big cities and their complexity, capturing the gestures of the painting bigger due to the length of the work, imposing, on enormous support as well; prominent ride horse onto the head of that big iron horse resting under surveillance inside its underground stable; and the last shots of the getaway blocked; we could think that the process of creation could end up here. Coming out of that improvised workshop, where the day to day life seems to be put on hold. But the air of the surface can not announce the end of the act of the interventionism of the artists from the 70s and the beginning of everyday life again.

The air puts its continuity together, the logical sequel of the process of creation which feed itself from life, one you can not lockdown inside the claustrophobic atmosphere of the studio. The set of pictures which are defined as the unusual Wassup’s travel book could be taken along a coastal path, the curve of a craggy road, a private parking lot. That making of which is not affordable to any passenger or walker who then becomes a spectator is not just a bonus. It gives life to the painting by revealing all the performative process, the complexity of the painter’s context. They reveal the evolutionism of the modification the painter made. The piece of work does not spout spontaneously anymore on the support as a creationist act it elaborates in life. The ordinary which feeds the painting, which takes possession of the man, and alters by its presence. By replacing the usual nobility repository of the frame to use it as a support, could we consider that the transposition of the alteration paint announces the desire to honor the daily?

Find him on Instagram: https://www.instagram.com/mr.wassup/?hl=de

Translation by Sarah Gozzi.