MURO LX_2017 Urban Art Festival

Galeria de Arte Urbana

MARVILA

Zesar Bahamonte, Double Double Bass.

This work is part of the series Colores Nuevos and the last one was held in Saint-Die-des-Vosges (France). The artist takes gable's charactheristics to his advantage, blending in the arm of the guitar, and creating two characters - a self-portrait and his assistant and brother Victor.

The theme, however, remains - The representation of musicians and street artists, in their relations, in the power of joint work and in their speeding up at the hour of the show.

Godmess, Família.

A romanticized vision of painting with soft colors but with a vast chromatic density. It is an image of overcoming, comfort and future perspective, a fictional image of a family that comes from a place has reached a subliminal place this idea of path and movement towards this breaking of barriers, jumping walls and erasing the borders of our contemporary world.

Miguel Brum, Filosofia Ignorante.

When we come in contact with new cultures, we drink knowledge, symbolized by the chalice and the snake, taking into account all the symbologies of these same elements.

Nuno Alecrim, CAPÍTULO MMXVII.

This work is focused on multiculturalism evident in the Ibero-American context - corresponding to the standards, which also make reference to the indigenous comunities who are the essence of each of these cultures. The distance separating each of them (ocean / borders) and the various languages (writing). The globalization (color) that in today's times unites us and mixes like in no other era.

Colectivo Licuado, The meeting between the past and present.

An interpretation of Portuguese history is represented in a meeting between past and present.

We see the explorer, with the ship and the book, in an allusion to the Portuguese Discoveries, and a younger woman with the nails in her hand, symbol of Freedom and Revolution of April 25th. In its dresses are also represented motifs alluding to Portuguese tiles.

San Spiga, Eusébio.

The Argentinean artist, returns to the second edition of the Festival, in the same format as last year's edition - spontaneously intervenes in the territory, leaving his paste-ups with themes similar to those applied in the first edition of MURO - typically Argentinean themes, with characters like Evita Perón and Diego Maradona. In addition to these pieces, the artist brought new works, resulting from last year's experience - photographs of children from the Padre Cruz neighborhood playing ball and Eusebio's images.

San Spiga, Eusébio.

San Spiga, Maradona.

San Spiga, Evita Perón

San Spiga, Se Hace, Se Aprende | Young footballer.

Kobra, Etnias.

Here is represented Raoni Metuktire, the Brazilian indigenous leader of the Caiapó ethnic group.

The work emphasizes the importance of the native peoples as representatives of a cultural heritage not only Brazilian, but common to all the countries of Latin America and calls for its conservation.

Kruella d'Enfer, Oferenda.

The piece represents a branch of flowers characteristic of Ibero-American countries, as if they had been brought and offered to the city of Lisbon, represented by the Vase.

Steep Aeon, Consejo del água.

Part of Herbolarios Street series. This series represents a set of mystical characters and their connection with nature, in an urban context.

The Caver, Amizade Autêntica.

This work highlights authentic friendship and esteem, represented by a man and his dog. This duo emphasizes the strength of the friendship relationships between people (and between people and their pets) i order to achieve happiness.

Cix Mugre, Mi Madre.

Homage to women and the importance of the mother figure in both Mexican and Ibero-American culture.

For this, the artist represents the pre-Hispanic Goddess Coatlicue - mother of all gods and the figure of the Virgin of Guadalupe - Mother of God. The name Martina, is a personal homage to the artist's own mother.

Medianeras, Multicultural.

Character that includes different colors, graphics and iconographies, in homage to the diversity of Iberian American landscape, fauna and flora. The character has no face, because it is of this whole community.

GLEO, Golden Heart.

The piece created for the Festival is based on the legend of El Dorado and the artist's personal life story. The child represented is Ana, Gleo's cousin, who grew up with her in a very poor region of Colombia, where large families could not raise all their children, using the help of putative families who guaranteed education, food and basic necessities for the children.

At the age of six, Ana was very fond of wearing Gleo's clothes, which infuriated her, until one day they had a big argument. Ana was upset to see Gleo hurt, so she folded, cleaned and returned all the clothes to Gleo, returning to put on her old dirty clothes, claiming that if the price for Gleo's love was never to use her things, she would never touch them again . This marked Gleo a lot, and that is why she brought this artwork to the Festival - a reference to what really matters - love and our soul.

Jhon Douglas, Festa do Conhecimento.

Composition with ethnic elements, with a main focus on the mask, without direct reference to some culture, but very related to our human behaviors - the mask that we put daily to face problems or situations.

LS, O respeito entre Povos.

This work aims to show respect among all Ibero American peoples, and not only, in a movement against religious and racial discrimination.

Hazul Luzah, Lugar.

This artwork is part of Fluid series, which deals with the harmonization of polarities. The curved line and the straight line, the masculine and the feminine, the being and the object, the real and the symbol. All in tune, forming a whole that coexists and breathes gently. Work with a human connotation and simultaneously ritual. Set of elements imbued with symbolic value that represent both daily and ceremonial. Elements: Crystal, Number 3, letter H, Lady / Goddess, Menir, Vase.

Kramer, Electro-Cidade.

Mural painted with strong and defined features, from which live and detailed faces appear, seen in the streets or in the depths of the artist's imagination, in contrast to the urban landscape - its main source of inspiration.

The series Multidões portrays a meeting with chaos, brute, urban poetry, the singularity, the identity of the mass, of the self, of our time, of the land where we sprouted from.

Flix

During his travels, this Venezuelan artist analyzes space and it's urban elements while imagining future layouts. The urban elements are the inspiration for his creations and the key in the compositions, always trying to leave a mark in forgotten or vacant spaces, giving them a new life - Sporadically intervenes traffic lights, poles, hydrants, concrete cylindrical tubes, abandoned buildings, fences, walls and facades in isolated places.

FLIX, Turpial.

Flix is recognized for his distinctive record of turning objects, walls and places through a strong geometric coloring, with an Aztec influence.

Flix, Galo de Barcelos.

The artist performs interventions in urban space and furniture, using various materials, dynamizing the way the city is lived, treating it as a setting for everyday stories. In this way, it seeks to provoke sensations and new looks on the urban space and furniture. Interventions in the Salgadas neighborhood - The lateral facades include the Rooster of Portugal and Turpial of Venezuela, with the purpose of making the connection between the two countries through their national birds.

Flix, Santo António.

Flix, Roseira.

Flix & LS, Chico.

Homage to LS father, who recently passed away.

MAR, Smart for Art.

The artists MAR and RAM collaborated on one piece with Smart's support to promote the new Smart for Two. Their distinct style are in the center of the pavement, in a humanized colored figure, fruit of the meeting of their interventions - Two that become one.

RAM, Smart for Art.

Klit

The Portuguese artist was inspired by the Mayan legend of the winged serpent Quetzalcoatl, which is one of the most important pre-Hispanic deities. According to legend, upon seeing human sacrifices in the city of Tollan, this god revolted, descended into the city in human form and prohibited such practices.

From that moment, he refused to be worshiped as a god, renouncing any kind of luxury and lived humble with the community, promoting agricultural teachings and craftsmanship that made the city prosperous.

Credits: Story

Galeria de Arte Urbana (GAU)
Fotografia - © CML | DMC | DPC | Bruno Cunha 2017

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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