Details: In January of 2013, WOOL was invitated to form a group of Portuguese urban artists to participate in what was promised to be the 'largest exhibition ever held, of Street Art'., named Tour of Paris 13, a project by the Mairie du 13e Paris, coordinated by Mehdi Ben Cheikh, Director of Galerie Itinerrance. With volunteer work of participants that during many months would worked inside the tower (and occasionally outside) in the most utmost secret; only was revealed to the public during the month of October.This tower, with a total of 4.500m2, divided by 10 floors (36 flats) and located in one of the most dynamic neighbourhoods in Paris, which was just waiting for its destruction, as part of a project to modernize the municipal housing, became a colossal temporary museum of Street Art, open to all for free and without any commercial approach, was a tribute to this type of Art.
The invitation originated a challenge to a group of artists, which intended to aggregate several generations and spirits of the national Urban Art and portrait from Graffiti to the stencil, all the languages, and / or techniques commonly referred to post-graffiti, with contemporary influences of figurative illustration. The challenge was accepted by all and it took four 'pilgrimages' to the number 5 of Rue Fulton, where the interventions of (and alphabetically) ADD FUEL, CORLEONE, EIME, KRUELLA D'ENFER, ±MAISMENOS±, MAR, MÁRIO BELÉM, PANTÓNIO, PAULO ARRAIANO, SAMINA and VHILS, gradually occupied completely and strategically the 2nd floor of the Tour Paris 13, according to stylistic criteria that guaranteed the legitimacy of their individualities.
The affectionately called “Portuguese floor” was “the key point to achieve the success of this project”, as still stated today by the mentor Mehdi Ben Cheikh.
Biography: Viral, direct, incisive. ± (2005) is an intervention project that has been reflecting on the model of political, social and economic organisation that manages life in current societies. It questions, above all, the social implications and consequences resulting from it, displaying its programmatic expression reduced to an equation of simplicity and opposites: more/less, positive/negative, black/white.