A documentary exploring the muralist movement: the art of painting on impressive heights. Windowless gable walls were the first targets of graffiti painters, especially in urban areas under renovation, and since 2012, monumental graffiti has been in full revival, especially in the 13th arrondissement of Paris. Through a design intended as decoration, erasing the dreariness of the walls, artists skillfully revive these soulless surfaces.
Subtitles made by the Amara
org community The problem is that it's part of the movement
Yes, it's part of the movement
Because we all stem from that actually
Yes, but there are tags that are more beautiful
I see for example the Ouija Beach city
They have tagged but they are not even tags
This one is definitely not the best example
It's a bunch of shit that has a bomb and is a mess
But yes, but in the end they start like this and then what do they get to as they go along
Because I started by being a little shit
Yes, but you certainly had
What's your name? An artistic streak perhaps
Astro
It's marked there
Isn't there a shift there in the nostrils, the right nostrils? Yes, that I had to win
Did you do it on purpose? Yes
I think the worst thing I've been told is that a resident of Viteri lived in the building who told me just another black guy
Do you think there's not enough of them to go around? Yes
And then there's another one
Yes
He just told me one more black guy, you think there's not enough already just like that? Anyway, I was at a loss so I preferred to continue painting my black
I don't think it's too much like muralism, like graffiti
If I really had to insist and find an answer, I would say that I am more inclined graffiti
It's like a natural process
You put it on, you lift, you lift
You think, I don't know
And something happens, and it's there
And you work on it
Moralism has always been about doing things that I didn't know
It's like I didn't know what I was going to do
Moralism has always been a representative of great ideas
And I think the grace of today is the opposite
Learning to live in society, but with individualities
The first day, we're shaking a bit, we hesitate and everything, because it's not easy to climb to 46 meters
And then it's off, and we don't pay any attention at all to the height and the danger
There was no danger, we were tied up
You're talking
Did you hear the noise? I don't know about you, but I thought it was kind of creepy
Anyway, if we die from this, we won't be able to say it was a stupid thing
The buddy Bunti, this is
He fell off a plate
There's one who's going to stay, and that's Vils
Even when the world is destroyed, there will be these things left
I usually don't like what I'm doing
So after two years, if they go away, so much the better
Actually, I got a little confused
I've been
We talked, we talked to some guys, right here, while I was painting
And the guys were complaining about that, they were not informed of the visual that was going to be done
They would have liked there to be proposals in the mailboxes, and have people vote and stuff
That's good
That's the idea, that's what we should do
But they don't realize that we have other things to do and that we want to paint too if we do what we want
That was a pretty
I don't know, I can't remember why
We had already painted during, but not of these dimensions
We started to see circumstances that we had to improvise
We knew absolutely nothing
They didn't understand that graphite went to other dimensions and that it went to other scales
Painting in large formats, there are no limits
Yes, there are no limits
The walls can be the second painting of the city
But these are dead spots, this is not the case for the walls
This is a new way to be able to give life to cities
The great phenomenon that happened in the 60s, it's a breaking phenomenon at the same time to the extent that the wall is part of the urban space but in total disconnection so the wall becomes something else, it becomes a media support
The wall symbol, it's a border, it's a barrier
The purpose of graffiti, of muralism or fresco, is to break down this wall, to break this border, to open a perspective
I'm in that state of mind that I'm intervening somewhere
Certainly there can be a paradox in the fact of working on the street and at the same time exist within the art market, the gallery, certainly
Me what struck me, is to see that these artists have worked at least a good decade in complete ignorance
What you see in the production of murals, it's like an extension, an evolution or do you consider that the work is unique and there is a context? No, no, there is definitely a continuation
I don't think my job is at all is unique, no
Probably, what I and other painters muralists of my time, let's say, of the 80's, shall contribute to the development of current of street art
But street art has changed a bit the data
Although, as I was telling you, at the big terminal, all this mosaic not paid was a bit like to street art
We tried it, with the pictures too murals, we tried to give a kind of of germ, let's say, to what a real city could be among the other suburbs
That front, I wanted to do it because we are also in a era of
There you go, every graffiti artist must have typed his facade
Is this going to do it? You know, in light rays, in light
Okay
Above, a sun
On the sides of the circles, filled with calligraphy, a bit dark
Ah, but your sketch there, you have to finish it, Marco
And we're in a global game that I needed my facade, I needed to get gauge against
I'm not going to make it
Here, the wall for me, it exists in my head long before graffiti
In the 30's, I discovered all the Mexican muralism
And so he painted frescoes social, historical, social a bit about what happened there
So he was talking a little bit about the natives, the Indians that were there
He's talking about the conquistadors, then he talks about the workers, he talks about wars, he talks about everything in these murals
The Mexican muralist movement, in fact, it's a product of the Mexican revolution
One of the products of the Mexican revolution of 1910
But the process of change of painting, of plastic arts, it was a little bit before, towards the last decade of the 19th century
It's a whole change to the roots cultural, indigenous, pre-Hispanic peoples of Mexico
At the social and political level, I think it was the first moment modern of the mural painting
I'm not a muralist, but especially for muralists, have integrated in their methods the fact of painting a mural looks impressive to me
It's a big challenge and there's going to be some big rooms and big muralists who are going to be like great artists
I think the artists of this generation do something that breaks of the art
We're just at the beginning, I hope we're right at the beginning of this art movement because it's really an artistic movement as cubism could be and impressionism, except that it is the movement artistic movement of the 21st century
Neomuralism it's not street art, it's not graffiti, graffiti is ultra ephemeral, it's done on impulse, in the street
Now I prefer to call it neomuralism because it's not muralism, muralism was more like politics, there was another background, the historical and cultural context of muralism in the United States is completely bathed in the 70s, which are years of high mobilization and social mobilization
In the American context, there are some movements and two main movements that drain this politicization of the artists, it is on the one hand the movement civil rights movement, that are affected African American communities, but in their wake, the artists of all ethnic origins from universities, and then the second movement is of course the Vietnam War, the protest against the Vietnam war
This is schematically the two events of the strong mobilization of the artists in this pivotal period of the 60s, 70s
It's contextual works, contextualized, and the meaning of these works is to help with the context, that makes it possible to take this work out of context is in fact to make it disappear part of its meaning, because we couldn't do of these works a product nor movable, nor exchangeable, and therefore more than that
It's about investing and he's starting to be influenced by what he did in China in the '70s with moralism, social work, the street and all that
But like in China there was a dictatorship, and I'm part of the generation that comes after the dictatorship, so there is a lost generation where the people who were working in the street with social moralism in China, became very diminished, that is, it became something very underground
What we were expressing on the walls was liberating for the people
It represented the dream as a desire for freedom, for color
The painters' brigades were so effective that if you link the right-wing newspapers of the time, we were considered delinquents and even terrorists
When Pinochet's coup d'état took place, they started by erasing all our walls and then we were wanted
For 18 years you are not allowed to paint on the walls
Our group stopped its activities and everyone started to work in their own corner
We had gone underground, the world of silence
And now you still find the need to paint on the walls when today there is democracy in Chile
Muralism for me is an anti-system expression, and right now I'm not in the democracy that I wanted
Why don't you sign with your name? Because it's a collective work
Always
It's anti-ego
If neomuralism is decorative, then I'm not doing neomuralism then
The muralism at the base, the fact of going to paint on the walls, it was above all to develop a political message
The paintings, the murals outside, it's a kind of public diary
A huge fresco plays the role of journalism
He tells stories to the audience
And since he's outside, it's obvious how hard he hits the audience's consciousness
It must be said that it also serves for the education of the ignorant Mexican people in the 20s, even in the 30s
What is important in the process is to create a monumental work and to do an action, a performance for oneself, for the public
And to change the way we look at things
That people stop looking at their feet when they walk, it's more like looking up
That's what Grave's always been about too, painting walls in the street, outside, taking over blinds and things like that
It's also in order to share our pleasure of painting and making color
So if it's in giant, it's even better
The tailor, it's important with the walls, it's a small wall that has less impact and works less time
So this is the second to last day and what's kind of funny is that what he did last night, he's going over it again because he didn't like it
He's now making new patterns inside the sleeve
The stars with the flowers, he didn't like that much
And so there, I think he found a unity in the treatment
Abou, where are we now? We're in the third one
We also had a constraint on this wall, it's the height, 52 meters
So working with a gondola, an articulated arm, it was not possible
And anyway, we had no choice but to work with a bima because it was part of a renovation of the whole building
There was already a bima installed and a bima is a gondola that is attached to the wall by two huge posts that go all the way up
And the gondola itself is the width of the wall by one meter deep
And it's like an elevator going up or down
So it's very convenient because you always have the full width of the wall to paint
You just have that to move a height
But you don't have to back up
The grid technique is essential because otherwise you don't know where you're going at all
Just make the curve that's there that goes halfway through X
There's a big difference with the flying pods
Flying pods, you can shift and get maybe 5-6 meters back
The curve! Let's go back a bit, shall we? We'll go and take a step back
The idea was to be able to go as high as possible
To be in that verticality, in that pride
In the spirit of graffiti, which is to always pose as high as possible
These were my characters
The higher I could go, the bigger it would be
The prouder he would be, the stronger he would be
It makes sense on every level, whether it makes sense architecturally
Even on the work on the architecture of the building
To imagine it destroyed without a façade
And at the same time the way you put your mileage in it in suspension
And then that kind of trompe l'oeil when you're on the other side
I got comments on the few times I thought
And everybody was there, the destruction started, it's great
They didn't understand that it was an image
That's crazy
You passed your class somewhere
Cheat the eye was something that should really cheat the eye
For example the windows of Beaubourg
When I went to see, because I had painted them on wood
And we had mounted them
I went to Beaubourg and said why haven't they mounted on window yet
And then I saw that it was there
It's cheated by my arm
The wall in Paris, it was a technically difficult experience
I think that was the only one different from the other walls
Because there was a 47 meter wall
Where it was not possible to put a machine there
We had to make a steering wheel
There were technical problems
There was a moment when the cold froze the ropes
And we had a floor system down there
That was a little problematic
Other than that, it was just another wall
For the development of an idea, it's also complicated
Because there are about 9 or 10 people
Everybody had a proposal
We made a proposal and selected it
The main idea was to do one piece
If you looked at the building at five quarters, you could see one room
It wasn't a collage
There was also logistics
The machine is vertically mounted
We couldn't move it and paint it on the other side
That's why we only worked in the middle part
We were given a plan of the building
And we worked on that
That was our recipe
That's why we needed to pedal
And for 30 minutes, we weren't going
And we didn't have water on the other side
So we had to give him water
And we went upstairs
We arrived without strength
We had to rest for an hour
And we slept upstairs
We had to relieve ourselves
It was very curious
That was something we couldn't count
We went upstairs
We were 6 hours late
And we did everything right
The Maca Metallica only had four air buildings
And 2 buildings down
And we woke up in 3 people
Nothing happened
But I don't know if it was good
It was challenging or risky
It was challenges and risks
There's already this proportion of the wall that's pretty slender
Who guided this thing a little bit
I've been wanting to hit a big wall for a while
With machines, detail, etc
It was near the BNP but that I learned by doing it
So it's true that if I had known a little bit beforehand
I might have been a little more forceful
As I know how to do with the somewhat capitalist and stock market world
In the end it's not so bad
It's still more public and less provocative
They are rare artists who make very big frescoes
And here I take the example of Borondo
He's really one of the few who can make works that are great and alive
The people who come give me ideas of what I want to do
I love ice cream
Blue is good, but unexpected ice cream is even worse
It's not the blue that does it, who does it? Who does it? It's not the blue one who does it, who does it? As far as the strawberries are concerned, it's people who are able to make walls 30 meters high, they are really people, they are real artists, they are people who are not there by chance and they already have behind them, they have solid bases, they are already supported by collectors as well as by gallery owners and it's not this strawberry that's going to change their life, it's going to be one more small stone to the building
So the big technical difficulties of this performance was to be able to paint the two building facades in two days, two facades that are 40 meters high and with the paint that I had on hand, which was 40 liters of white and 40 liters of black
So at some point it's the feat, even this feat finally existed in the muralists at the time of the 70s, we thought, but how did they do that, it started from themselves
We jumped in the swings from the roof, in the water towers, we have vertigo, it passes at a given moment
It must be said that we are very busy too, that is to say we are on a platform on the eighth floor, we have a precipice where we are at 30 meters, but as we are very busy with the paintings, but where is the brush, but all that, but what did I do that, then I feel like being small, then that, then effectively the vertigo is masked let's say
It's a big challenge for me because I try to paint it in a very short time, plus I'm trying to paint very high, 20 meters, and I'm a little bit afraid of the height, so it's a challenge
I can tell you that I started out trying to paint taller and taller for a super egocentric motivation, but once it became fashionable and everybody was painting big things, there was a time when the ego left me a little bit behind, it's not the main motivation, it's the ego that helped me to believe in myself that I could do my work
But mostly, it's giving me the challenge
It's like a battle with the wall, sometimes it's over, sometimes it's not
I painted this battle because I'm crazy
I have no idea why I'm doing this
This battle is a little bit smaller than battle 700, which was about 640 m2, and this one is 540 m2
This is only 100 m2 of the battle, but I painted that battle in 4 months, and this one I tried to paint in a week
I don't know why I'm doing this, but I think I always intend to push myself forever
It's a challenge to be able to say it's hard
I'm going to burn my face off
So there, what did you do in one word? In a word, I changed all the wires, and I cleaned the strainer that comes after on your injections so that your diesel can go through properly
Since they went to the bottom of the tube, you have all the deposit that is deposited in your threads
Afterwards, it's very bad for the machine
It's hard because I can't sleep, I have to think at least two days before I see what machine I'm going to use, how I'm going to be there, whether it's going to be hot or not, how many days I'm going to take
All of these factors are getting you excited from earlier, you're thinking you have to deal with all of this
It's always difficult, there are always problems, there's always something against you
The wall is too big, the paintings are bad, you don't have what you need
All of this excites you, it gives you a little bit of adrenaline and you get motivated
When you get it right, I think you're just looking for that
You don't have time to feel yourself smoking a cigarette, you just look at it and it's over
He told us it was going to be sunny, it's raining, we started to paint, it's sunk in
It's Monday, like a Monday
Monday in the sun
A Monday in the rain rather
Thank you for bringing the umbrella
We discover extraordinary artists who express themselves through their bombs, through their hands
There are fantastic things and what's more, what's great is that it brightens up the wall and it really brings joy to the eyes of the walker
Yesterday, the pole disappeared from here
They don't know, they're using that fall
The pole
The pole, did you not find it? No
You know here? The pole? No, listen carefully, here
The pole, your wallet, you leave everything on the floor
No, the pole is here
But I understand, I understand
I understand, this is my pole that I have for there
It's not possible to leave it there
My friend, it wasn't me who stole your pole
Someone is responsible for this shit, right? Yes, there is someone responsible
The person in charge is not the security guard who has to serve your materials
Also, my pole, nothing, right? The pole I bought, as I don't know, it's a good thing I left it there
It's all right, it's all right
We're not going to turn up the time, okay? We're not going to turn the time up
It's just your pole, I'm not here to cross your pole
I've got your pole at the office and it's the same, I've got other equipment, they've nicked it
Do you understand? They took the materials too
Me, fuck, I did it, I did it
It's never worked as badly as in France
Shitty people
It's a shitty organization
Spar is a good place for moralists
Paris, the advantage of Paris is that it's a cultural city where there are many artists, where there are many tourists
Art has a very important place in Paris
When I came to Paris, I thought, and I didn't know it, I thought it would be a city where, with all this famous being the city of art, I would see art in the streets
Different kinds of art in the streets
And that's not true
Paris, it's dead art in the streets
Paris needs paintings on the streets
There are 31 pocket kings
31 games to make a pocket-king
5 meters
They'll be here in 5 minutes
So there you go, Stu's going to shake hands with the mayor
The hardest part is always the first wall
And we had to convince the social landlords that it was a good project
So we went and met with them, the different officials, to tell them that we wanted to get involved in the realization of monumental works in the 13th district, to try to conceive a kind of open air museum of street art
And the first work, it was made not far from the city hall of the 13th, not far from the place d'Italie, boulevard de l'hôpital, with a Polish artist called MCity
And we worked with him and with the social landlord Paris Habitat for this first project
And then little by little, we realized that there was a real popular craze, of the people in the beloved buildings
This is the left eye
The left eye, it's more closed than the right eye
And the right eye is not exactly in the same age as both eyes
Are you good? We went to the different landlords, all the ones that have gable walls, blind walls that we can work on
This is Pinel Square by the Coréoleurs Hospital
What did I choose? They changed
Ah, you have chosen? I chose that
I didn't choose anything
Wait, there's a mailbox they had put in
We, they had put what we could choose
Did they? I put this in an urn at the café on the Place Pinel
Ah, because they took away the other one that was ugly
Oh yeah, but that was one of three things
We could put them in an urn at the cab stand
That's pretty good
I had chosen this one
I was happy, you know
This is the one that makes me
Yeah, that's it
I thought that was a nice one
You have to do it again for the
Okay, excuse me
All right, I'm sorry
Hello
How are you? The 13th arrondissement, there is a strong visibility that attracts artists
And there's a lot of credit because of the names of the artists who have already been there on the spot
People like Aubet, Antonio, Inti, they're people who are prescribers
It depends on the neighborhood
Maybe that's also why in Paris there's not that much
It's a big part of the center of Paris
It's all Haussmanian buildings and you like them, you don't like them
But they don't have room for that kind of stuff
Now, the problem with Paris is that Paris is very small and space costs very expensive
There's not much space for artists to express themselves in the public space
We're on the spot
Perfect little raclette
After that, it's over seven in the thirteenth
It's a pretty special neighborhood that has a lot of different vibes
There are small houses towards Butoca and you have the big buildings of Chinatown
You've got the new neighborhoods being built on Avenue de France and everything
And then, there will be some architecture that may be more suitable for it
Sung? How many of you are working on this? Serious? Because you know how it is when, it's been ten days
Do you leave a white background? No, the white background
You're happy with that? Yeah, you okay? No more? Yeah, you can, no problem
Excellent, thank you
To be honest, the moralism is interesting to me in the way you communicate with the community
So, you must like this community to think that it's interesting to do an intervention
In Paris, and especially in the wall of Paris, there are a lot of kids behind and beautiful things
Sometimes it's very good, people like, they follow things and everything
But a lot of times they stay on the surface, they want nice colors, papers and stuff like that
They don't want to understand what's behind it
You think it's beautiful, but would you like to live in the residence and open your windows every day? I wouldn't mind at all if I lived across the street, absolutely not
Because maybe every day I would wonder in a different way about each of the three characters and the way they rhyme in their expression
And to say, here, I like the colors, the harmony of the colors is remarkable, it's very classic
I think it's not the problem of Paris, it's the problem of the system and many big cities have the same problem
I'm a Parisian, I bless the suburbs for giving us walls to paint on
The window, which is out of the way, you can't say that there is the same visibility, it was more complicated, So I had to work with people who trusted me or people who were willing
This is a little boy from the favelas of São Paulo who belongs to the community of Diadema
He was photographed by a friend of mine and what I like about him is his mixed race
He has an ethnic face that is very universal
I also liked the fact that it was reproduced in a large way, bending over and looking down, because it gave the feeling of a giant bending over the little people that we are
Frankly, between suburbia and Paris, and I would go even further, and the rest of the world, it's often for me, as far as I'm concerned, what I like is that relationship with people
And I say congratulations to the artist because it's beautiful
If they could come and do it at my place, that would be nice
There's no differentiation
People, when they like, when they see, there's always that little exchange, that little glint in the eye
What I see is just sublime
And I say it brightens up the city, it gives a freshness
Whether it's in Paris or Bogota or Rio de Janeiro, it's the same
And that's what we like too
Yes, it's true that in France, if politics is what it's all about, at least in urban politics
That is to say, it is enough for the mayor to say, we want paintings, there will be paintings
That, he's going to unblock everything for that
Then the problem here, I think, is the budgets
Nobody wants to put a budget in there
They're getting there in Kiev, they're getting there in South America, they're getting there
But in France, no, no, no, we are the third world, even fourth world, I don't know
But in any case, there is never any money
So there you go
But I shouldn't have said all that
On the other hand, in Europe, Paris is not necessarily the best place
At that time, we used to go to a graph festival, we were invited 30 artists to paint small walls
Now, it's the same stuff, except that you are offered 30 facades or 15 facades in Poland, I don't know, in Turkey
It's crazy, it's completely crazy
It's amazing
That's right
That's why I don't paint much in France anymore
How much did the rural painters earn? They didn't earn at all like a worker
They didn't earn like a peasant
They weren't making millions of dollars or pesos
But they were making a lot of money
Like a doctor in those days, like a lawyer, and so on
It was believed, somewhat rightly, that we were spending public money to make works of art
So, what was the use of art works for a population like, in fact, deprived, disadvantaged like the one in the Great Belt? In fact, it was not
It didn't cost anything, this mosaic
All the inner wings are made of glass paste because those who live in them are so violent, so crude, so brutal, that if we painted, it would be full of shit and talk
Like there was a technique that is not used anymore, but it was the technique of prefabrication, it was a particular technique where the facade was actually made in a factory and it was made in a mold on the ground
At that point I thought, and in mosaic, at that point I thought, given that you could paint, or more exactly make a mosaic on this mold that was on the floor, without having any extra expense, scaffolding, climbing, none of that, because it was done in a factory on the floor
So we might as well, why don't we make pictures and not just colors
That's how it came about
When people started painting big walls, also like me, in the beginning, it was hard to get permission for some walls
And then when you got permission and nobody told you what to do, because it becomes a commission and you don't want that, so you want to paint your thing and you want to have a good place
So it was pretty hard to get that
I think that's why a lot of people started painting big walls
But there you go, it's also good to remind people that on these projects, on these giant walls, it's not necessarily funding and it's really more the love of art
So that's kind of the preparation of the project, sticking an image of a building that's being boned as it goes along
It's kind of the future of building
So, there you go, it's something like that
And then on top of that, I added the letter K, like I do regularly on my work
I like the one on the left a little bit
What? Yeah
Yeah, but see, I wanted to do a little bit of the same one, but a little bit smaller to fit more stuff in because that one was too wide
And so now we're at the stage of just pasting the image and it's pretty damn big in the end
You don't realize it like that
When you're in front, you're there, it's good, you're almost done
It's two hours, four bands
The whole point of doing a feat, getting a kick out of it, and people don't realize it
And that's why it's also good to talk if you have the strength at the end to talk to people
Who is paying for this? Who are you paid by? Actually, we're sponsored
It's not for a little bit that they pay or the taxpayer
There are brands that are solicited and sponsor this performance
As we were saying earlier, there's some for them
It's really not a gift
It's the opposite
But for those who are happy about it, it's quite a gift
And by the way, this facade, I did it completely free of charge and at my own expense
And I'm happy with it, it's there
The people that walk by every day, they appreciate it, it's cool
Watch out! For the 50 meter wall, we were paid for the material, about 2000 euros for two months of preparation and one month, one month and a half of painting on the wall
The contract was correct, the artists had to pay everything on the face of the wall
Everything on the face of the wall! I don't think these artists should be paid anymore
No, they shouldn't be paid
What was your budget on this mural and why did you have so little? He was paid 500 euros and we paid for all the materials he wanted
And why did I have so little? Because I had 30 artists to bring in on the banks of the canal, it was a huge production, that we had to feed everyone, that we had to give everyone materials, so obviously the artists were paid very little
They did us the favor of intervening for peanuts
I thank Artasoy for trusting me on this
At no time did I have a validation to have with respect to the project
There's certainly also the fact that the building was abandoned, there's no inhabitants behind it, so there's not this constraint of saying I'm going to live with this paint every day
It's really hard to find a project where everything is perfect
But now we're not far off
We have the parking for the machine, we have the market, the property, the neighborhood
Besides the gable is well oriented
Until the fresco we know that the investment is at least 30,000 euros
It increases the value of the building behind it
I hope so, but
No, it's not
You know you! It is supported two-thirds by the middle of the inhabitants and one-third by the city
When it's a small association that doesn't have money, that doesn't have a thing, that asks me, I'll do it for nothing
When it's a big institution, when it's the city of Paris that asks for something and it doesn't have a budget, I say no, I prefer to say no
Because in this case, I think it's really taking us for bums
As far as the funding is concerned, it's very simple, there wasn't any
I met with the landlord and he gave me permission to work on the two gables and he explained me that of course there was no financing, no payment
So basically it was up to me to take care of the intervention
I picked up my phone, typed in aerial lift rental on the internet and then I called all the numbers one by one
Who rents everything, who rents nothing, I don't even know what their names are anymore
He I called them all
And finally at the end of the 30th or 40th call, I came across a little box called Ideal Pause, which is based in Aulnay-sous-Bois
And I ran into the director directly, I explained the project to him
He told me right away that he thought it was interesting
He didn't even ask to see my work
Yannos, what does that say about the gloves, about the budget gloves? In terms of glove budget, we are ricrac my man! It's the fucking crisis, I swear
This was my first facade of more than two stories, it was becoming a project
This one I financed myself, I found the sponsors to be able to finance the Nacelle
Who pays? The sponsors
There you go
I was financing the painting which was also sponsored by the brand I mentioned earlier
It was my first one, so I thought for the first one I'll do it like this, the next ones won't be like that, it'll be more on the merit that it's worth
That is to say, to be paid a minimum to be able to realize paintings of that time
Now I paint for myself every day
But when it's projects with Nacelle, I'm not the one who finances it anymore
It's the person who wants to do a facade
Is it physical or not? It's okay because you can still rest between each movement of the Pod, so it's not that physical
But by dint of the days though
Third day there is fine
Are you having a good time if you're where today? I'm a little tired of it
I'll tell you right now, we're not doing the roll anymore
That's next time
I'm hiring a bunch of Strom to help me do this
So the fact that graffiti artists don't get paid to do huge murals like that in the public space, that's a bit of a hold-up on the part of the graffiti artists
Because it makes us visible
But a hold-up that doesn't make any money, is that what you mean? Yeah
A holdup with phony money, you hear? That kind of fidelity
I started for the manual labor
It's dangerous because it's a job
And even though now it's a hype, it's a job that was done by someone who has to live
And that someone, to become better at what he does, he has to spend more time thinking about it
And if he doesn't get money from what he likes and what he's trying to do better, he's not going to spend any more time trying to do better
So it's not going to change much
But basically it's a job where someone spends a lot of time to do better
And respect, it's like respect by another kind of work
I think that's disrespectful, absolutely
For example, I had done a festival once, for the record, where we had invited artists to paint several walls in the city
And I find out at the end that I think 50% of the budget went to the company that painted the walls white before
Here in México, there is a lot of support
I don't know if it's support or really money
That's something we've noticed a lot because it's about the support, but in the materials
They give you the materials, but they don't pay you anything
They don't give you food
They would invite you to festivals and it's like "Oh yeah, I'll put your gallons of paint and some aerosols on you
" They give you 10, 20 cases
I feel like they owe you something
It's really a job
Then you remember that this wall or this project had a million pesos
And in your paintings, they put 100,000
And where are the 900? They support you, but it's more like a way to open up money for some institutions
To provide access to culture in all its forms for all, is the meaning of the convention that the State is about to sign to several cities that don't always have the means to aspire
13 walls, 13 cities, I think that was it
It was to celebrate the arrival of Mitterrand, that's one year of coming to power
So they picked 13 artists
Each artist was paid
Yeah, I think he was paid quite a bit
13 frescoes will cover 13 walls in 13 cities in France
The first completed fresco, the Spanish one, in Royaux, whose mission was to camouflage the modern wing, especially with the help of the lindal lysters
Cost of the operation, 140,000 francs
Different departments participated, and the Caisse des dépôts et consignations, and especially the city of Créteil
On the other hand, they didn't realize
That's a new fact, they didn't realize the paintings
The paintings were done by a team of house painters
The status of a moralist painter was very important
Diego Rivera, Siqueiro de Orozco, they were seen as a movie actor
They were the stars
Everybody addressed the great painters as a celebrity
But some painters, it was also a little idealized by the Mexican people
I don't give a shit about recognition
I almost thought of Vitri, especially the last one, or Pelleport, because it was a reception center for kids
So I know what I'm doing, where I'm doing it, what audience I'm doing it for
And then, if I want to make money, I already do it, and with the art market actually
500 on the internet
Yes, no, do you too, there are 5000
Thank you, to be judged
Are you on a contemporary art circuit? There's not enough money to pay decently, and for people to live decently from their art
The letters, the words
You can see that I am not a real artist
It's a kind of painter with particles, with particles of light, when the paint gets the light, absorbs the light and emits the light
I don't exhibit in indoor galleries
I do not sell paintings
In some cases, I have the funding to be able to execute paintings that have a great cost
And in other cases, I fund it and I have to do everything
I have the money to be able to finance the paintings
I don't think it's any better or worse, everyone is looking for his life with his work and tries to develop his paintings as well as possible
Of course, there are always people who don't like it at all, who think it's not graffiti, it's not street art, it's just crap
But there are also others who think, okay, we have to evolve, you have to do something different because graffiti has been around for 40 years, street art has been around for years
A lot of things have been done, so I think it's very important to be able to develop and progress
A typical graffiti piece is the construction of outlines, paintings, backgrounds, coils
It's a very comical style, rather than a painting style
I don't like this type of sticker on the stone
I preferred my piece to make an emotion through or that the stone has the energy of graffiti without being a typical sticker on the stone
It's not obvious
The technicality of this wall, the particularity, is that I made bright lines
For example, there is a bright line and you can see that there are several colors
There's white
Then there's a little yellow halo
Then there is an orange halo
And then it goes into the red
But this is all very specific
That means it has to follow
And as soon as there's a little bit less, you lose the fluidity of the line
This is technical
But it's okay
What's more technical than that? It's that bright line that really needs to be fluid
You can really feel the fluidity of the line
And then sometimes it's a little bit
We're going to make up for that
The little flicker, it's fine
There's some noise
The view is beautiful, but the place
The space on the basket is quite limited
That is, we barely have room with the equipment and everything
We barely have room to give ourselves to two
The basket, it moves quite a bit
No, it's fine
No, I'm okay? It falls off sometimes, but
I'm not depending on the spray
I'm trying to leave the spray on as much as possible
We need more strawberries like that in town
Sometimes you have to travel and you get to a place where you have a good quality spray, that's a problem
And especially because the spray is very hard
I think it's not so plastic like acrylic maybe
So, to avoid this problem and to get an aesthetic and to have a better color control, I'm trying to leave out the spray
This is a process that many are going through
This is a material that, so well, allows you to work very quickly on some things, in small format, when you face a large format, the truth is that it doesn't work much
It's been a little difficult to leave the spray off, but in the end, the last wall I did would have taken me two sprays
Actually, this is the invention of acrylics that made it possible to paint murals with a hope of a long duration
At first I wanted to do this on the roll, do big areas with a roller, but it's slate and hooks
It's been a real pain in the ass
Adapting, always adapting
It looks like it's taking well on the
Yeah, it's not even slate
I don't know what it is
Some kind of metal
For a first one, I got a bit of a crappy texture
It's more than grainy
It's pebble incrustations
I had painted on this before, but straight to the spray, not with a roller, because it's easier to spray directly
But there, given the size, I couldn't do everything with a spray can
No, but it was
I was a little apprehensive about the first few rolls, but it was
The rock doesn't drink too much, it's a Flint, so it doesn't drink
Try to use as much as possible the support so that it becomes an integral part of the work
You don't paint on a blank canvas, and that's what's interesting
That's what I'm trying to do on the big walls
I find that people who are involved in very large walls, they come with a drawing project which is more like a painting which is closed in itself and interacts very little with the context
Especially since most of them completely cover the surface of the wall
So you can't even say that there is a work on the textures
For the most part, I mean, there are always exceptions
There's a bucket of water
I don't like creating ambassador pieces
To do that, we have advertisements
So I just want to, you know, continue to have respect for the surface where I am intervening
For me, it's important to do this dialogue and not be so aggressive
When I get there and boom, I put in the middle a big pink thing
That's not my job
I can understand why people do it, but I don't like the English advertisement
So I'm trying to do something very different
For me, this dialogue with the surface, the surface in particular, it was more interesting
Not in the night, but it looks like an old canvas
You know, and I really like to respect how time works on the wall
So, I think it's important to respect this sense of the process of time, because time is also painted sometimes
You know, you can see it
To me, it's not beauty to cover all these years of degradation or something like that
That's the right job
But the wall is getting color, it takes on textures over time
So, I don't feel good if I come and stop cleaning it
It was a long process
If you come in and you go boom boom, to me, that's not normal
I like to keep that
And I think for cities, that's something important that nobody cares about sometimes
When I see an old building, I think it's very old
He looks disgusting
No, it's very nice
It's more beautiful than the rest of the building
Why is that? Because this building has a story behind it
Every city has a story
Each wall in its own city has its own layers of comrades who trained him
And when you smash the face of a local person, we have a relation between this wall and what he did
That's what he did too
It's also this building and this city
The idea was to develop the history of the factory
I did a little research on the wall that was here
What did he do? And I tried to arrange and get this thing done
I'm not going to tell you
No, no, no
I started to see the walls as something that absorbs the mystery that is around
It's especially from Lisbon where I grew up and where there was a lot of political walls
There was the advertisement and the political walls were forgotten
The advertisement was on the walls and there was the graphite on the billboards of the advertisement
Then there was more advertisement, more graphite and the board has started to develop
It was like the walls look like the history of the city and also to the pace of globalization which was more and more uniform
In Lisbon, Paris, London, New York or Shanghai, they had the same products that were sold but with a different language
I don't follow you every time
That's a lot of craftsmanship
We saw that you moved without touching the button
He no longer needs a driver
It's with the head, telekinesis
It's very good to draw like that, with the lever
That's a good job, my friend
This is going to be a good job
Asyusha
Ready, set, go! You're going to try to make some tools for yourself, a pole, something like that
Homemade, giant copas
Hook a chalk to trace
It also helped me trace from further away, to have more amplitude
Always try to adapt
It's a lot abroad that we learned that
It reminded me a little bit of my travels
That's what I like, that's what makes me think outside the box a little bit
It also helped me to do a little bit of wellness
That's what I like, that's what I like, that's what I like, that's what I like, that's what I like, that's what I like, that's what I like, that's what I like, that's what I like, that's what I like, that's what I like, that's what I like, that's what I like, that's what I like, that's what I like, that's what I like, that's what I like, that's what I like, that's what I am We'll just see if it's from here If it's from here, tomorrow I'm going to put it all here It's from here, right? That's less More good So the solution is Imagine working in silence without wind If it's over, I'll send you I'll be famous in the picture You sent me the picture to help me No water inside It doesn't work and the machine doesn't work It's going to spread because fortunately there is a conjunction of interest between precisely a renovation of the urbanism And the will and the need for artists to have this visibility I think it's all in the interest of the residents There is a real geopoetics Not geopolitics but geopoetics that can be put in place through mural painting and urban painting I think it's much smarter than bombing posters everywhere To make us eat communication that is sometimes very badly done To make us eat consumerism all the time But just to have a space that's more related to the imagination Where you can escape at some point in your day Frankly, it feels good The mural changed the world It's really disappointing The world will be a different place Everything in the world will be different Everything new is going to change the world In some time Then it's not new anymore And something new will change the world People in cities always need something new If I am afraid If I am afraid I need to get a grip on my share It's true that it's a really complicated project in the technical sense There are more than 600 meters of rope There are 30,000 euros of material deployed Between the carabiners and the ropes Up there you have two masts called vortexes There are three in France You should buy one in the United States There are four stagehands downstairs pulling on the ropes So they can make me go up and down the front To go to the sides Which allows me to go all over the front To be able to do the mural We made pulleys that are this big To have a much smoother reaction for the movements So here we are at the peak of our system The building can also be seen in the whole area of Clémé A mythical building that was built at the very beginning This allows you to see the face from all over the neighborhood And to have a visual impact, that's consistent What would limit me right now? Honestly, the only thing I'd like to do is go to the moon That's a pretty good limit Now we're on a technical limit Come on, let's be crazy, let's be utopian Maybe in 30, 40, 50 years there will be easier access And now I feel the rage that says What the hell is he going to do on the moon? If someone offered me a 30-story building Maybe even 100 meters high I would say with pleasure It sure is an incredible challenge Because you'd have to put in some detail That's what's hard about doing muralism It's getting into the details I can paint bigger, higher, yes But it doesn't give as much pleasure than painting in a human-sized wall It's getting to be work In this case, I improvised But it's big, it's a mission You take it as a mission It's a pleasure It's an ego pleasure Seeing it big It's not a pleasure to move On the monumental, spectacular dimension of the mural I have seen different phases of going backwards From the behavior of the artists For a while there was It's almost a concern in the urban order The need to mark That the paint was a sign It finally gave an identity To architectural ensembles Which were quite repetitive There was no differentiation So the paint played that role And I think in the first phase It seemed to me that art had this function And I saw that this function disappeared over time Because the architecture itself has become iconic And then you can't do better than architecture To see super big I would love to work with architects directly From the design of the building To put forms to you in the building And to paint over it afterwards A whole, a complex You participated in the making of the AZ urbanism That would be a real thing Which I think would still evolve How can it evolve technically? Maybe by mixing materials, techniques Then it means that in time it's more risky Well, here we are at Porte d'Italie Rue Paul Bourget And I'm doing an installation Which should be 15,000 origami And for a week we stuck a few thousand of them in the rain Everything was going pretty well Until Saturday when we had a tropical rain That turned the wall into a waterfall And as a result at least 2000 paper origami fell down Now we are replacing them with an improvised method By origami, paint origami After that, it will go into contemporary art, the evolution You're going to propose mosaics You're going to propose, you know I hope Invader will do a whole facade I don't know if he wants to but it could be It's already been done in contemporary art Mosaic, stained glass A giant whole glass window I don't know, but you can see there You take your bomb, throw it away and go to another thing Now you have to do it for real Is that okay? To the Gordon Matacla Yeah, that's it You have to have the means You have to have buildings to blow up It's not bad Forgotten is a project that deals with stadiums Which are in danger of being forgotten And after the Smiths areas, the ex-factories We chose to face the theme of small and media Which were focal points When stadiums are planned And now, with the metamorphosis of the metropolis They are assuming another meaning I just had a very small studio at home And I wasn't organized I wasn't very organized So I had a lot of weight there It was full of paper, plastic And I started gluing all the pieces And I started to explore different scenes Different materials And I tried to make it more like a sculpture But only as an assembly I call them animals of weight And the idea is to make the image of the victims Of pollution, of our actions So I think animals are the perfect carriers To represent the victims of our actions Do with what destroys them and what kills them Weight This is the best place for me It's a place where you can communicate with people If you have an idea or a way to think You can share it with people Because if you do something There are subliminal ideas behind it And when people look at Maybe they don't feel anything But you can put people thinking I think the important thing I think the most important thing to remember is That we must not forget It is that our art, our artistic practice Is linked to the street and its environment And directly related to the people who will look at it And to the audience And that we must not lose this thread And if we lose this Already our work is much less important Because we might as well be painting on canvas The strength of our job is that So this movement will continue And we'll keep that in mind Every painting is an experience Each painting is a moment of life And each painting is linked to a context And that's what's important I'll finish with the paint This is the story of a life This is the story of the search for a style The meetings, the experiences etc
And the final point will be the last breath I'm not looking for notarity I'm looking to make bigger plans for myself But no war in my life as a man Not necessarily for after I fall out of it It's just for me to enjoy myself And tell me I've done this in my life I've left men Not footprints Because even that I don't care It's ephemeral all life I feel good Where there's art I don't know what art is But it's something human It connects people We are the diamonds And yes, little one The best thing is to be an artist It will connect you so powerfully With people and around the world The writing, the movement It's linked with the breath Energy, there is a beautiful sentence That I often take from a poet Who used to talk about Arabic calligraphy Especially where he said Arabic calligraphy is the representation Geometric of your soul A pure thing like that Whether it's Chinese or Arabic When they write It goes with their breathing It's beautiful to
That's right, it'll go with the last one Mission My name is F
Stokes in Paris with Sonic Fiction my man Jerome with Jerome I have my ferro pile to the air Jerome my name is F
Stokes and I am the great Chicago Hope what is raw is the 85 dope my name is F
Stokes and I am the great Chicago Hope what is raw is the 85 dope Follies, yeah, we dream big and some live bigger Some grab the mic and some grab the trigger Job or not to them, we all niggas Head to the sky, feet to the pavement And we living so amazing, it's so amazing To be breathing, Lord, please save me from my demons Head to the sky, feet to the pavement And we living so amazing, it's so amazing To be breathing, Lord, please save me from these demons Sonic Fiction, my addiction It's reality It's reality My partner up in Detroit was popped with a hundred marijuana jars Now he living life like Oz And his wife wearing invisible scars All on the quest to be ghetto scars Calvin got a scholarship, look at him ball Came along with him sharing his brother draws Back when our soundtrack to Life was Biggie Smalls Trying to avoid that trip to City Hall To get to the top, I crawl No you, no I, it's all Cause we all fell victim to the law Do I fit the stereotype for the working class And can you see me shine through the broken glass Trying to write my past on a flight to what's right Trying not to crash Trying not to crash Head to the sky, feet to the pavement And we living so amazing, it's so amazing To be breathing, Lord, please save me from these demons Head to the sky, feet to the pavement And we living so amazing, it's so amazing To be breathing, Lord, please save me from these demons Head to the sky, feet to the pavement Head to the sky, feet to the pavement And we living so amazing, it's so amazing To be breathing, Lord, please save me from these demons Head to the sky, feet to the pavement And we living so amazing, it's so amazing To be breathing, Lord, please save me from these demons Subtitles by the Amara
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