The sky is the limit

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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



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


And then there's another one

And then there's another one

And then there's another one

And then there's another one

And then there's another one

And then there's another one

And then there's another one

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


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


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


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

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

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


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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