The Square23 gallery was born 10 years ago, as a container of ideas and development. Over time, he becomes a gallery specializing in Graffiti_Writing-Urban Art. He has collaborated with many world-class artists, also looking for young artists in the Italian. We have inaugurated many artists with their first personal exhibition, succeeding in launching them on the world circuit.
We thank all the people who have and will want to work with us.Thank you for supporting us.
Director: Loritano Davide
La galleria Square23, è felicissima di presentare il leggendario street artist londinese SWEET TOOF, per la prima volta in Italia con la sua mostra personale “BOROCCO BOOGALOO”. Membro della celebre crew inglese Burning Candy (BC), Sweet Toof è un'icona storica della scena writer londinese underground, la cui identità è sempre rimasta anonima e avvolta nel mistero. Nato a Brixton, 46 anni fa, ha studiato alla Royal Accademy of Art. Per decine di anni ha dipinto e collaborato con tantissimi artisti della scena internazionale, tanto da essere stato incluso da Banksy nel suo film “Exit Through of Gift Shop” (2010), insieme a grandi come Blek The Rat, Nano 4814, Nuria, NoNose ed Eine, mentre lavorano sui marciapiedi di Parigi Londra e Madrid. Da Londra ad Amsterdam alla Svezia, passando per New York, caratteristica distintiva dei suoi graffiti sono teschi corredati da morbide bocche dentate a forma di alligatore ed un personaggio ricorrente chiamato Lenny. Concept maturato dall'artista dopo essersi guardato allo specchio, "in crisi dopo una rovinosa rottura", con l'immagine ingrandita e distorta delle arcate dentali, unica parte visibile della struttura scheletrica umana. Una sorta di Memento mori sulla caducità dell'esistenza. Un immaginario quello di Sweet Toof, che fonde influenze legate alla tradizione della "Vanitas" nordica diffusa nel XVI secolo, che rimanda alla vanità della vita ed al culto della “Santissima Muerte” e delle “calaveras” in Messico, che celebrano, accettano ed onorano il trapasso come parte integrante del viaggio dell'esistenza. Definito nel 2008 dal quotidiano britannico The Independent come “uno degli street artisti più infleunti della nuova generazione”, nel 2011 è stato chiamato a realizzare le scenografie per il “Safewalls Art project” del Cirque du Soleil. Alcune delle sue opere sono entrate a far parte della collezione permanente del Victoria and Albert Museum e sono state esposte nel corso della mostra "Street Art Contemporary Prints" nel 2010, insieme ad altri noti street artist fra cui Banksy Fra le mostre internazionali e progetti di street art intrapresi, c'è "Dead Letter Playground" alla Leo Kesting Gallery di New York, "Project Amsterdam Street Art" "(ASA All Stars) alla Go Gallery di Amsterdam, e Dark House al Factory Flesh di New York. Siamo pronti per aprire le porte alla sua prima personale Italiana, lasciando un velo di mistero su quello che troverete presso la Square23 Gallery il prossimo 23 Giugno. Square23 Gallery. English Version: The Square23 gallery is very happy to present for its first Italian exhibition SWEET TOOF titled "Borroco Boogaloo". Sweet Toof is a historical icon of London graffiti. He also worked for tens of years working for Brixton, collaborating with many artists worldwide. Posted by Banksy in his film "Exit Through of Gift Shop" because of its important history and activism. Important collaboration with the Circle du Soleil, where he creates backgrounds and sets for shows. According to a story by Olly Beck, Sweet Toof looked in a mirror "in crisis after a disordered rupture", with the enlarged and distorted image of the "crescents of teeth", the "visible part of our skeletal frame" "as a reminder of mortality.  Beck relates Sweet Toof's concerns and images with the 16th century Nordic "Vanitas" tradition of remembering the transience and vanity of life and the Mexican celebration of skull images in accepting, honoring and celebrate death as part of the journey. In 2008 he was included by the Independent (newspaper) as a new generation of street artists. Sweet Toof works both as a solo artist and in collaboration with others, included in the "Burning Candy" crew, (including crew members "Tek 33", "Cyclops" and "Rowdy" Now we are ready to open the doors to his first Italian show, leaving a veil of mystery on what you will find on June 23rd. Square23 Gallery.Read More
ASTRO Link for the Event: https://www.facebook.com/events/258740901328117/ Bio: Astro created his first graffiti art in 2000 in the northern suburb of Paris. Focusing on lettering and Wildstyle at first, this self-taught and passionate artist brings his knowledge and technique towards an abstract art which mixes curves, calligraphy and dynamic shapes. Inspired by artists such as Hartung, Vasarely and Mucha, Astro has created his own world by exploiting the subtlety of shadows and lights, the strength of colours, and the perspective of depths. At ease with large formats, through walls on which he inscribed his art in the heart of the city, this muralist also likes working in a studio. Thanks to the spontaneous and impulsive imprint which characterizes him, Astro deceives the viewer’s eye by distorting the flatness of facades and paintings, creating impressive optical illusions. His energy and his originality make Astro one of the major street artists, as shown by his presence at many international festivals ( USA, London, Italy, Germany, Portugal…). Astro is now part of the CBS crew from Los Angeles. Will be his first solo exibition in Italy. Astro will make a wall in center of Turin!!! For more informations ,please contact the gallery HERE: email@example.com or call this number: +39_3349980390Read More
ase, aka Andreas von Chrzanowski, a founding member of the reknown East- Germany Ma'Claim Crew, has been a photorealism pioneer for over two decades, primarily using the medium of spray paint to embrace the power of movement through the universality of hands. "Power" and "movement" have individually played key roles in the backbone of his German roots, inspiring him to communicate his strong messages of unity and power by overlaying hands. The overlaying "movement" is not just the physical body movement but political movement, generally being left without a particular context in which the viewer is left to visualize the remaining story and/or emotion, relative to their current situations. Having travelled to over 20 countries he has literally left his fingerprints in each, continually leaving bits and pieces of a language understood by all - after all a hand gesture can tell a thousand words. Now the Square23 Gallery is very happy to be able to present for the first time,the art of Case. I am the director Davide Loritano and I directly wanted to call Case, for my respect that has years and years of constancy !!! I want to give a Case's wall to Turin. The wall will be in the G.Bidone street.! case_maclaim Ph: by Livio Ninni - UrbanProjects
Square23 Gallery have collaborated with VHILS for make an artwork for our festival in Milano "START". The Staff have make a specific wall for Vhils, dimension are 15x18m. We are very happy for worked with Alexander and his staff. Thx for All Guys,and see you soon!!!
The artistic collaboration with the two fabulous Polish artists was crazy. They have different techniques but they can tie almost magically. The gallery organizes a festival in Milan in 2015, and the two artists performed a wonderful work "Dead Phone" with figurative and dreamlike elements for the art of Sepe, geometric with inspiration to Russian postwar architecture for Chazme718.
His art was called "ecological". Its unique style. Artur Bordalo, better known as Bordalo II, is the Portuguese artist who uses waste and recycled materials to shape his fantastic creatures: giant animals, fish, birds and insects. Recycling and assembling tires, damaged bumpers, broken bicycles, car pieces and other waste material, Bordalo II brought its "Big Trash Animal" to walls around the world, from Norway to Azerbaijan, from the United States to Poland . From Square 23, in its first staff in Italy, Bordalo II reduces the size of its "Big Trash Animal" by keeping the style and message unchanged, but also using other recovery materials that allow such a level of detail impossible to reach on surface of a wall. "Decomposed" is a criticism of the consumer society: works depict nature (animals, in this case) through the materials responsible for its own destruction. photos by Livio Ninni
"Frequency Spectrum", Nevercrew's show. After Milan and Dublin, where they decorated the new European Facebook sites, Swiss duo of street artists Nevercrew comes to Turin, in the Square23 gallery spaces, with "Frequency spectrum", their reflection on perception and communication between reality and surreality. Pablo Togni and Christian Rebecchi more than "duo" are "one". They work together since 1996, together with the common interest in painting and street art. They have exhibited and participated in international projects and festivals in Belgrade, Cairo, Hamburg, Monaco, Zurich and Lugano. Their work is characterized by some key concepts such as mechanism, composition, section, parts, memory, choice, relationships, contrasts, exploration, surrealism. All of this is linked together, melted into living compositions and changing because it lives, evolving in time and space. Combining different languages is their stylistic figure: assembly chains, organic beings and mechanical gears, marine monsters, "living structures" intersect in their work just like the styles they use, between graphic synthesis and hyperrealism spray. Their structures are models of living systems, of visions that are perceived in their entirety and in their structure through the use of the "section" that allows them to see how they are in them, in the case of a mechanism or spaces of a house or structure of a living being. The relationship between the parties and the memory is extended to the whole reality, the place and the spectator, leaving the latter the possibility of completing the mechanism with his own experience, with his story and therefore with his many interpretations. In "Frequency Spectrum", in particular, attention focuses on perception and communication, on their difference and constant interaction.
Text of the catalog by: Pietro Rivasi Photo by: Livio Ninni Microsoft has told her story in the video spot "Surface Stories". The Colosseum Theater in Turin has provided the artist with the facade on Via Bidone. From Tokyo, where he participated in a big public art project, Zedz, one of the most renowned street artist on the international scene, arrives in Turin, from Square23, for his first solo show in Italy, supported by Ceres, in collaboration with Inward EXTRACT TEXT CRITICAL oF PIETRO RIVASI Zedz the route starts from the writing, which is his first contact with art in the mid-80s, and since then, his research focuses on the lettering. From the stamp to the three-dimensional representations, Zedz has created a completely new and different subject from all the 3D research carried out by other leading artists with a background in writing. His point of view is based on a three-dimensional static representation that starts from a "orthogonal" view of the geometries that generate the letters, drawing from the tradition of industrial technical design. The letters are treated as architectural structures that can even become "habitable" if they are translated into large installations, simply being images, such as living space plans, or becoming meticulous three-dimensional models of paper, wood or other materials. Tireless experimentator and multidisciplinary artist, Zedz has pursued a coherent research that combines writing, architecture, graphic design, animation and wall painting. Translation from writing to architecture, in particular, is one of the main nodes of the Dutch artist's career, which in this area has created, including through important partnerships, some of his most important and innovative projects. "Tokyo to Torino" is a snapshot of Zedz's current state of research, and the title of the exhibition is an explicit tribute to the fundamental elements of his art: Japan and Italy, his two "second homes", visual repetition of graphic signs, an important feature of his street name that he had significantly influenced evolution and whose effect is made even stronger by the alliteration, and finally the concept of travel / displacement, an indispensable experience for the creative process. The artist, through the works presented, which he likes to call "studies," describes a world where lines and two-dimensional backgrounds generate overlapping volumes in a game of transparencies, perspectives, clean cuts and complete forms, fine lines or thick; the seemingly abstract works immediately refer to a futuristic imagery, and are once again an evolution of lettering research. ZEDZ - BIOGRAPHY First graffiti on the streets, then studies at the Gerrit Rietveld Art Academy in Amsterdam and, after graduation, work as an independent artist / designer looking at the typography for the realization of its three-dimensional abstract objects. "Zedz", his name, is the backbone of his work and comes from the graffiti he has been dedicated since he was a teenager. Today, with his works, Zedz aims to break the boundaries of design, lettering and graffiti. In this respect, we have to read the collaboration with Maurer United Architects, which has led to a series of proposals on the theme "Graffiti / Architecture", and works placed in different cities built with huge 3D pieces that serve as urban furnishings. More than in galleries or walls, Zedz's work can now be admired and hand-handed in large, open public spaces. Its areas of interest are architecture, design, public art, graffiti, plastic models, paper and wood, in an interaction and collaboration between different disciplines. ABOUT Square 23, Via San Massimo 45, Torino "Tokyo to Turin", staff Zedz 2 July to 20 September 2015 Hours: by appointment Opening: Thursday, July 2, 18 pm Sponsored by: Ceres With Inward collaboration - Observatory Urban Creativity T: 334.9980390 - E: firstname.lastname@example.org Sponsored: Ceres Collaboration with INWARD Graphic by Spacenomore Thank you for your heart !!! at the Colosseum Theater Andrea Spoto and sister, without you the work outside would not have been possible !!!
As the title anticipates, look forward to a search on shapes and blue color in all its declinations, between parallel lines and axonometry, to create new shapes and unreleasures. His research has been recognized by the artisans of the art system as unedited and absolutely personal: the multiple layers of layers and lines, the forms always regulated by precise logical and geometric references, and his manic study of the lettering made him one of the most recognizable and most appreciated artists in Italy, often traveling between Venice, Rome and Milan, but also reaching cities such as Amsterdam, Sarajevo, New York and Moscow. Joys began his artistic career in the nineties, in Padua, where he still lives and works today. Like many writers, he begins writing his name on the wall and focuses his research on lettering, first as a need for existence, then as a need for evolution. For years the artist has extended his language to sculpture, using different materials but always maintaining a unique style: the same style that for almost 20 years makes it unmistakable on walls around the world. Photo by Livio Ninni
"5005" is the blue, dark, intense, deep color code, used by ETNIK and a symbol of darkness pervading the atmospheric atmosphere in which its compositions and urban landscapes fluctuate. With Etnico, the "invisible" cities of Italo Calvino become the "prospect" cities that show their dark side: imprison man, disrupt nature, and destroy living beings. There is no escape. The battle nature faces against the constant growth of cement is vain. Men have no escape, isolated in their solitude, or imprisoned in their forms. In the works on display, the city - deconstructed in fluctuating geometric structures, including palaces, barracks, classical views and industrial architectures - becomes a cage in which the human being (s) is trapped. What emerges is an ironic and sharp critique that encapsulates the contradictory relationship between Etnik and the city: on the one hand constraint and prison, on the other source of inspiration and expressive "cloth". In all works the letters that make up its "Etnik" tag are a constant presence, though apparently unrecognizable in their transformation into geometric masses. SQUARE 23 ART GALLERY via San Massimo 45, Turin 8 May - 26 July ETNIK - COD: 5005 by Alessandra Ioalè
Collective Exibition of Artists'Vinyls_Cover Art
STREET VINYL Solo SHOW BY XORA Discs cover as contemporary artwork: sometimes ad hoc, such as Andy Warhol's famous Velvet Underground banana sticker; other times as a posteriori, as when the Manic Street Preachers telephoned to Jenny Saville to ask for a picture canvas on a newspaper. Rock, pop, soul, jazz, dance, punk, hip-hop, electronic, classical: an entire record world that gives life to fruitive chemistry between musicians and artists to a new model of creativity. At the Square 23 Art Gallery of Via San Massimo 45 in Turin, from March 4 to April 1, 2017 an exhibition realized in collaboration with Xora promises an exploration of the world of disks, with a collection that spans the last 30 years of the artistic works on vinyl covers of great artists and cult bands, with particular attention to the world of street art. From American writers like Futura 2000 to Rammellzee, Jean-Michel Basquiat and Keith Haring, to the more contemporary as Kaws, with its original artwork and Space Invader mosaics. There will also be original artwork for artists such as JR, Dface, BLu, Borondo, Nychos, Faith47. You will see, for example, a limited edition spray paper made by the mysterious Banksy for the Norwegian music band Röyksopp, or the A / P made for the occasion in Turin directly from Obey, aka Shepard Fairey.Non only an exhibition: collectors will have the chance to find and buy rare disks and cover art, thanks to Xora's long-term research to offer Street Art lovers, almost unrepeatable, the ability to open new horizons what concerns urban art. And if street art today is often unreachable, the show will be an opportunity to have an original piece of art and a precious work with an important revaluation coefficient. Gallery Square23 consolidates, with this exhibition, the collaboration with the Colosseum Theater through the brand Xora. A collaboration that thanks to the works of Zedz, Peeta, NEVERCREW and the last of Bordalo II on the facades of the theater of Via Madama Cristina 71, as well as thanks to exhibitions in Via San Massimo 45, has brought Turin to a prominent place in the panorama of street art and writing at an international liub. Special thanks to: Andrea Spoto for the idea of the exhibition and the fundamental help to structure it. Colosseum Theater for continued support and consolidated collaboration. Press Office: Cocchi Ballaira Photos by Livio Ninni - UrbanProjects
"No Man's Land" is an abandoned railway area, space under a junction of the ring road, a tunnel, the interstitial between two dark subways. No man's land is the main subject of the painting of the former "graffiti writer" Francesco Barbieri. From this border area, the artist has learned to observe and see everything that surrounds him with a critical sense but also with enchantment, carrying trellises, antennas, palaces and opalescent skies spilled with smog into his canvases. CRITICAL TEXT OF CHRISTIAN OMODEO When, in April 1992, sociologist Marc Augé published in France "Not places. Introduction to an Anthropology of Surmodernity, "one of the fundamental texts for analyzing the relationship between human society and urban space in the contemporary world, the country still discussed a fairly unusual chronicle. Only a few weeks earlier, the Louvre subway station - recently refurbished and adorned with copies of statues kept in the museum - had in fact been targeted and vandalized by spray-gun bombs from some graffiti writers. Newspapers and televisions gave ample space to the swarm on that occasion, presenting the contemporaneous approval of the first anti-scratch laws as proof of the effectiveness of the institutions. At a distance of years, it is legitimate to start a re-reading of those measures and wonder whether the introduction of those norms did not trigger an increase in vandalistic trends in the French writing graffiti of the 1990s and 2000, instead of wiping out the impact. To deny the graffiti the right to be present in the public space was one of the main signs of the refusal of public institutions to deal with the emergence of new urban cultures and, at the same time, the testimony of an inability to bring about the new theoretical framework made available by studies such as Marc Augé. In the fall of 2005, while the suburbs of some French cities were being caught by bands of unemployed young people, twenty years of fidelity to those guidelines laid down in the early 1990s was regarded by many as one of the main causes of riots of the banlieues. Others, such as then Interior Minister Nicolas Sarkozy, reduced everything to a banal reprisal of boys born and raised in dormitories unable to share the Republican spirit. The public debate quickly polarized around these two fronts, hampering a serious political analysis of the situation and the resulting leaps of possible reforms. It was in this context, while the French media daily dictated urban guerrilla stories that the enormous photographic portraits of those same boys who were soaking up the banlieues appeared on the walls of noble palaces in the wealthy neighborhoods of Paris. Medium-large printers portrayed halfway between the funny and the aggressive, to irony the distorted image of the French suburbs offered by the media and part of the national political class. "Portrait of a Generation" is still one of the most emblematic projects of street artist JR, but is above all the first attempt by this ex-graffiti writer to arm a new language, based not on the spray can on the interconnection between digital camera and plotter printer. Offering his own idea of the relationship between human society and urban space had now taken over the search for a unique style for his own letters. A new search field, everything to explore, saw the day. The urban landscapes of Francesco Barbieri are difficult to assimilate to photographs of JR. However, they share with their work a somewhat similar need to convey a precise way of seeing and living urban space, typical of those who have spent in graffiti writing. In the case of Francesco Barbieri, a collective imaginary has been removed and made up of glimpses of invisible cities in our eyes. Its landscapes are centered on urban areas that our gaze ignores consciously. They are geographic maps of a surrounding world that we are self-reproaching, almost like photographs taken with a smartphone's eyes closed while we're on a city train or subway. "Nobody's Ground," the title of this exhibition, is a prelude to the unreal relationship - driven by the only artificial desire to consume or transit - that many have with urban space. He assumes, later, a claim accent, because Francesco Barbieri educates the eye of his viewers and invites them to rediscover the beauty of those urban spaces so far excluded from their gaze. The dreamlike tone of many of his compositions recovers those investigations aimed at revealing the soul of urban spaces,Guy Debord and Situationalists were baptized in the 1950s with the name of psychogeography. The intimate relationship with some corners of the city, however, goes back to the walks described by Japanese designer Jirô Taniguchi in The Walking Man. His lyricism, however, recovers that sophisticated and silent relationship to the urban space typical of the first photographic portraits of cities taken by Eugène Atget in Paris in the late 1800s. Tant street art transforms urban experience into viral images, destined for the Internet rather than a canvas. Francesco Barbieri does exactly the opposite. It tells the city so much cheerful, because it prefers an intimate vision of the urban landscape. It appreciates the chromatic rendering of atmospheres loaded with strong colors, in which the stylized profiles of industrial architectures reemergue. The letter and the word have no room in its production, but Francesco Barbieri's new lyricism makes the definition of visual poetry and remains the most suitable one to define the paintings and drawings exposed in the walls of Square 23. Paris , March 7, 2015 Christian Omodeo
A Solo Show curated by Luca Indemini_ between legality - challenging the concept and redefining it from time to time - and freedom - of action and expression. Clet Abraham did not leave the "road" and perhaps did not even choose the "road". It could be said that it was found by road and signposts, bulky presence in cities, "colonels of your movements through a language that standardizes us." Signs represent authority. Obligations and prohibitions. Clet, enthralled by the colors and the light of the vinyl of the signs, decided to replace them with the canvas to meet people and interact with their meaning, imperative and constrained. With his work he tries to make them less banal, infusing life in the black man - the "common man" - who lives enclosed in the limited and limiting space of the sign. Everything started in 2009, with the crucified Christ on the "T" of the unexpired street signal. Since then, Clet's interaction with road signs has moved mainly in three directions. Through the Passion, always revisited on the signal of the road no way out; Angels and Demons on the Obligations of Leadership; or the divine hand that emerges from the clouds pointing implacably to the children who run on the danger signal usually found near the schools, has developed a series of suggestions related to the theme of spirituality. Simplifying it from dogmatists and taking it to the street. Among the passers-by. And the motorists. Starting with the black man removing (or sawing) the signal of prohibition, then the artist's reflection on issues of freedom and legality develops. "Road signs are the imposition of institutions, the more they mark the territory." Other points of reflection on the subject are offered by the belt that loosens the loose ban, the ball to the foot added to the homework of the work in progress or the sinking ship, dragged from the anchor of the obligation of direction. There is then a third less definable area of work, only to the lighter and playful appearance. The common man driving the ban on access; the vitruvian man imprisoned in the ban on the prohibition, the arrow piercing the heart or the coin from a euro. And among these, also the works designed for the cities that host them. The common man who unveils the Shroud of the Shroud in Turin, the Eiffel Tower that is engaging in the turning ban in Paris, or the Union Jack emerging in London from the ban. In January 2011, the "common man" lives a fundamental evolution / revolution. It definitively frees the boundaries imposed by the signs, becomes sculpture (human dimension) and passes on the Bridge to the Thanks of Florence. For seven days, before being removed. In Turin Clet, to give three-dimensionality again to his character, he returns to the genesis of his work on the street, transforming the Crucifixion into the sculpture on the unmarked road sign. Opening hours: 11-20, Tuesday to Saturday Galleria SQUARE23, Via San Massimo 45, 10123, Turin Info: 334.9980390 HYPERLINK "mailto: email@example.com" firstname.lastname@example.org
Catalog by G. Culicchia + stencil limited edition Torino, October 31, 2013 - January 8, 2014 NEOPLASIA Pao's works from the road to the gallery and back Pinguins, octopus, rabbits, fantastic creatures, abnormal and surreal invade the streets of Turin, they come to Paratissima all'ex Moi and occupy the spaces of Galleria Square 23 of Via San Massimo 45. From the road to the gallery, they transform the "matter" into something ironic and animated and invite to a reflection on contemporary society affected by neoplasia ". From Greek neos, "new", and plasis, "training", cancer indicates, in pathology, "an abnormal mass of tissue that grows excessively and unmatched compared to normal tissues." As a neoplasm, contemporary society continues to grow in a chaotic way, growing out of control, out of control; influences and corrupts the life cycle of the planet, destroying balance and ecosystems. Hybridization and mutations determined by genetics, as well as pollution and radiation have become common events we are accustomed to. The boundaries between the genres are overcome, the differences canceled, it is not possible to distinguish between natural and artificial. Nothing really is what it looks like. Pao 's exhibition is articulated in three different moments:. Exhibition of works from Square 23 (Via San Massimo 45, 31 October 2013 - 8 January 2014). Participation in Paratissima as a special project (ex Moi, via Giordano Bruno 181, 6-10 November 2013). Road interventions in Via San Massimo and around the former Moi More than an exhibition, "Neoplasia" is a scientific laboratory. A kind of stack of innovative projects that examine pathological cases, genetic experiments and other anomalies. The paintings come as a collection of images, while the different objects are provided with a technical data sheet describing the "scientific and technological" . In small bowls, insect mode, they find ladybirds, aliens and bees made on 1/144 scale models of the "Fat Man" nuclear bomb dropped on Nagasaki. In the passage from the canvas to the road, Pao uses different techniques and languages: on the canvas it gives great importance to form, investigating more complex paths and deeper speeches; in the street, he talks a lot about the context and attaches greater importance to the message he wants to communicate. Through experimentation on materials, prospective research, visual distortion, and curve geometry, Pao seeks to overcome the two-dimensionality of the canvas and, in parallel, the three-dimensionality of our world. INFO Square 23, via San Massimo 45, Torino "Neoplasia", Pao October 31, 2013 - January 8, 2014 Hours: 11-20 Mon-Fri, or by appointment Opening: Thursday 31 October, 18:00 square23.blogspot.it - info @ square23.net Press info Press office Square 23, Simona Savoldi Tel: 339 6598721 - E-mail: email@example.com Catalog with Giuseppe Culicchia's texts + 100-page stencil printing inside.
"Hybrids" is an atypical personality. All the works have been made with four hands by Corn79 (Riccardo Lanfranco) in collaboration with other street artists: 108, Andrrea, Aris, Etnik, Eon75, Fabrizio Visone, Francesco Barbieri, Giorgio Bartocci, Giulio Vesprini, Hide, Jeroo, Mach505, Made514, MrFijodor, Proembrion, Rems182, Reser, Romi, Ruas, Vesod, Zoer, ZorkMade. "Hybrids" is a unique opportunity to discover the two-decade search for Corn79: by writing to street art, from the mandala tag. The path that brought Riccardo Lanfranco to realize the cycle of works that make up "Hybrids" is long and detailed. The journey begins in the nineties, the time it enters the world of writing both as an artist and as an important event organizer (Street Attitudes / Picturin). Later, around the middle of the twentieth century, it embraces "post graffiti" or "street art", where the signature (or the peculiarity of writing) is replaced by a pictorial, figurative or abstract representation. Rich in graphics, fascinated by Op art and psychedelic culture, Riccardo begins a second life, choosing as a personal figure an intricate geometry system similar to the Buddhist "mandala" or the Hindu yantra: a circular diagram formed by the association of points, triangles, circles and squares, a complex symbolism that allows the observer an unexpected spiritual path. In the representation, this symbol of ancient history and the many modern interpretations resonates with the experience of writing so that each painting is at the same time given motifs of geometric perfection - borrowed from religious tradition and profane symbolism - and chaotic elements , as the imperfections of urban walls or the use of watercolor paint, often used for the seabed. The transition from signing to "mandala" is important and complex: from the hectic and instinctive activity of the writer's activities, the design and slow work of the geometric representations passes: the tools, the times, the execution methods, the dimensions and especially the subjects. The signature in Roman characters, the ultimate expression of Western individuality, is replaced by a geometric symbol of Eastern inspiration, which embodies values such as spirituality, calm, meditation and empathy, antithetical to the poetics of writing. In its radiance, this change of direction expresses the will to break with the background of origin to reach a different language, which carries messages and values far away from street art, to a large extent, often ruffianally pop or banally politicized. Support remains, urban infrastructures remain and therefore the perishability of the wall work, destined to ruin and disappear due to the weather, just as in the Buddhist tradition, where the "mandala" is periodically "destroyed" to remind the fallen of things and their rebirth. "Hybrids" is the point of arrival of this journey: an atypical personality, in which all the works were made in four hands, in collaboration with other artists. The reason for this choice is sought in the desire to tell both the lives of the artist: on the one hand, the past, the fundamental source of his research, recalled by a "team work" on canvases and cards that evokes the typical teamwork of writing , where the crew plays a key role in the "getting up" of the name and often also in the creation of large works or in situations of particular danger; from the sky the present, in which the abstract figures entering the circumscribed perimeter of the tunnel assume the form of algorithms, moving subatomic particles, molecules and galaxies, infinitely large and infinitely small that determine the limits of human perception and refer back to the spirituality of works on the wall, from which they are detached in technique, in size and often in forms. "Hybrids" is a unique opportunity to appreciate Riccardo Lanfranco's twenty-year research to study the evolving collaborations that have already been consolidated (Mr. Fijodor, Etnik, Vesod, Reser ...) and to discover completely new twists (108, Bartocci, Aris ...) that will enrich another path, another one, starting from here. Pietro Rivasi (Icons Modena, D406 gallery) francesco barbieri · 108 · giulio vesprini · giorgio bartocci · vesod · aris · ethnic · square23 art gallery · mrfijodor · corn79 riccardo lanfranco · andrrea · eon75 · fabrizio minone · hide · jeroo · mach505 · made514 · Proembrion · rems182 · reser · romi · ruas · zoer · zorkmade
The Dreamers is a New York City exploration of city life, subway and alleyways, a trip between its inhabitants and those in the street who have made their home. Steve Panariti crossed Harlem, Manhattan and Brooklyn to continue to Coney Island, returning an instinctive tale of a sleepless homeless population, veterans asking for a dollar as help and aging women too quickly. New York models herself in an always different and sometimes inconsistent form of revelation. For decades it has been inspired by the great street photography authors, such as Mary Ellen Mark, Elliott Erwitt, or Bruce Gilden, who suddenly surprised the flash passers-by or Jeff Mermelstein, who caught extravagances in a mix of races , gestures and crafts. In the streets run by Panariti, the pieces of a real, grotesque jigsaw puzzle move. Real characters, such as muscular women and dormant keepers, or played on abandoned magazines, on billboards denouncing the disappearance, on murals, where a girl seems to be absorbed in her dreams. There are alternatives to typical urban elements, asphalt, cardboard, junk, insignia, food kiosks. Absent everyday technology objects: "dreamers" do not have computers and do not type on smartphones. They are at the same time the subject of a new photo, the mobile one, that focuses more on content and relationship with the context because the smartphone allows you to approach almost invisible to subjects to be photographed. Contrasts, unforeseen and deliberately random shots are the connotations of "The Dreamers", which records, in a direct and immediate relationship, the moods, gestures and social phenomena that make up the essence of the road. Thx to Irene Opezzo
Street Art has become three-dimensional. It has surpassed the two-dimensionality of the wall, to even more boldly invade urban space. From graffiti to the altar. The pace was short, for the mission was similar. And to do it were Urbansolid. The Street Art Pioneers in 3D. Two artists who, having refined the knowledge of molded and of the most traditional sculptural techniques, have decided to re-adapt their artistic and laboratory experience to the communicative urgencies of our day. Because art must speak to the people, and the people need to see what reality a socially committed artist is able to unveil If the real search artist is not the one who seeks, but finds - and indeed finds - in the classics the departure for his own path, we could in a few moments rewind the film of the history of the plastic arts and find again, in plaster creatures and concrete of the Urbansolid, traces of a very old tradition. Ancient enough to go back to the large alabaster slabs upon which the Assyrians sculpted scenes of war in the 7th century BC, or the mythological sculptures of the Parthenon of Fidia. Passing for the celebratory reliefs of the great enterprises of the conquest of the Roman emperors, sculpted on the surfaces of the triumphal arches, to the bestiaries and to the biblical or fantastic repertoire of medieval didactic sculpture, which invaded archives, portals, jambs and capitals. A sculpture that was an open book, and it was in order to educate the people. It is from here, from this last assumption, and from this past-never-past idea, that we must begin to understand what impetus has pushed Urbansolid to bring sculpture into Street Art. The debut was milanese, and it happened almost three years ago, for precision during the days of the Mobile Show 2010. An unexpected out-door, theirs, but which left the mark in the memory of those who lived it. Twenty-five white human headings half-drawn, just above the lips, seemed to emerge from the floor as if they were a legion of homonymous insults against a "one" who was tempted to "emerge." The twenty-five insurgents knocked their nose in protest, while the other was trying to get ahead, pushing upwards with their hands clinging to the floor as if they were immersed in a liquid lie. It was then the turn of the famous pyramid of "Lingotti Anticrisi" installed in Milan in the Business Square, just in front of the Stock Exchange, one morning of September 2011. Nowadays Square 23 Gallery in Turin is choosing to bring the urban sculptures of Urbansolid for the first time in the Piedmontese capital, in a personal exhibition that will extend far beyond the exhibition space. "Cement". This is the title of the show. Because of the concrete bloom and protruding their provocations, on a visual journey halfway between the space and the wall. It is the message that goes to the citizen. Become tactile. Prolonging in chaos with the insinuating strategy of bass and high relief. A message every time explicit, which is reflected in the symbolic clarity of its own plastic representation. And a social complaint cleverly outlined by the multiple logic Street Art, then. But in plaster and cement. And from the high caustic content.
nglish Clumsy hominids, hallucinated Minotaurs, gigantic fish and scared dinosaurs: the imaginary world of MrFijodor’s creatures arises from dreams, takes shape on paper, develops inside the walls of abandoned places and finally becomes a gallery of black and white characters, all realized on canvas and wood. The work of the urban artist MrFijodor, exhibited in occasion of his first solo show in Turin at Square23, encompasses a fictional bestiary, made of dream animals, myths and paradoxes. You will find the yeti, the bigfoot and the leviathan, the biblical figure that Herman Melville embodied in the cachalot and that apparently really existed on earth. You can also find creatures of the past as well as creatures arisen from contemporary urban myths - inhabitants of that dreamlike and fantastic world that haunted people’s dreams for thousands of years. Starting from some notes made on his own dreams and nightmares and inquiries into the archaic mythology, ranging from creepypasta characters to beings related to cryptozoology, MrFijodor shapes grotesque but familiar figures. With the simplicity that distinguishes his style, surreal and spontaneous, the artist gives a face to ancestral fears, to dreams and to the inhabitants of our subconscious. “The Pillow Theory” invites us to reflect on how those topics characterizing ancient myths still take the lead in our everyday life and condition the way we engage with who is different, with the unknown and with the society in general.
Italian Illustrator and Urban Artist
Alessandro Caligaris is one of the most illustrious Italian illustrators. The gallery has always believed in his art, first presenting his graphic novel "Hoarders", and we very much enjoyed his personal exhibition "Collection on Demand" .A.Caligaris with this exhibition he presented many small works, drawing real, fantastic, difficult, and very real life images. Making the visitor look to his entire vision of art but also his life. You can visit the page, at the link below, on the FB page of the gallery. Good vision.
Corn79 and Mrfijodor in recent months have been protagonists at various events: from Sao Paulo to Brazil, where they painted some of the walls of MuBE (Museu Brasileiro da Escultura) and the Cultural Center of CPTM (Companhia Paulista de Trens Metropolitanos) at Street Art Museum in Ignazio Michelotti Park in Turin (former municipal zoo). In May they exhibited at the "Punto Due" gallery of Calice Ligure during the exhibition "1997 - escape from ordinary", while in July they participated in the collective "Beyond the city wall", shoulder to shoulder with artists of the caliber of Shepard Fairey " OBEY ". At the end of September, Corn79 and Mrfijodor, in the frame of the Picturini (Torino Mural Art Festival), will begin making a murals on the exterior facade of Hirosima Mon Amour, Turin's main music pole - of course the theme will be Music! On the occasion of the personal exhibition at the Square 23 Corn79 and Mrfijodor gallery they present a series of different works, in many respects opposi. An open dialogue between the two artists and the users, who through the works on display will see the origins of a common experience with muralism, graffiti, street. An experience now implicit, but always enclosed within the boundaries of the paintings exposed. The Corn79 geometric and moving figures cross the dreamlike color experiments and MrFijodor oxidations. Oppositions are not, in fact, only dialectics, but can be synthesized in the binary and parallel discourse that artists will propose to an audience, which, perhaps, will not contradict but mediate two complementary styles.
Personal show of Ale Puro from 24_09_2013 to 24_10_2013 Gallery Square23, Via San Massimo 45, Turin "In the pure state" The works of Ale Puro Opening: Tuesday, September 24, 18 pm "In the pure state" is the title of the street art artist Ale Pure, scheduled from 24 SEPTEMBER to 24 OCTOBER at Gallery Square 23. "In the pure state" are pictures of a world seen from the eyes of a child. In his works, Ale Puro maintains the raw and spontaneous style of sketches inspired by Modigliani, Haring, Blake and Basquiat, attaching great importance to the instinct and the simplicity of the lines. His characters, carefree and reflexive, ironically reflect the simplicity that surrounds us, but which is often overwhelmed by today's society based on the necessity of superfluity. His designs are suspended between reality and fantasy, his works encompass small stories of disarming serenity, short trips to a fanciful but at the same time real world. ALE PURO Class 1984, 16 years old Ale Puro enters the world of writing. Inspired by different cultures due to his travels to the world, especially Mexico and India, he soon abandons the classic graffiti style to embrace the current Street Art that gives him more freedom of expression. From 2008 to today he has performed live paintings around the world and has participated in collections in Mexico, Monaco and in Italy, Milan, Pavia, Vigevano, Bergamo, Genoa, Savona.
Gallery Square23 in collaboration with the Association MOMUS Arte and Design have the pleasure to present the personal exhibition of Andrea Mattoni. Reblogging is the first stage of a special project by the young artist Varese, featuring several works on canvas and CD, focusing on the analysis of the spread of images and web registrations and social reality. Mattoni proposes over the works on canvas the recent works realized through painting on special supports such as the covers of the CDs Simple ordinary items taken from the everyday life on which the artist intervenes reproducing the icons that populate the network and our cultural imagination, especially the twentieth century. From the frames of the cinema to the portraits of renowned musicians and artists, from famous works of art from the twentieth century to numerous written texts that recall significant passages and reflections of contemporary artistic research. The reblogging operation stems from the artist's specific interest in the intense activity of bloggers currently on the net, as well as through writing, equally with images on similarly-accessible diaries, known as tumblr, specially built to obtain an alternative to the blog. The tumblelog is thus the subject of Billoni's privileged interest in manipulating icons and photographic shots, performing a visual remix, then bringing them outside the web in order to focus on how much their visual power still counts today.
Lichtenstein, Warhol, Mickey Mouse, the seventies, the deconstruction Russian punk movement, advertising, Fiat, Vespa in the world "Urban Pop" by TvBoy everything is out of context and reinterpreted. The show-event of TvBoy - an artist belonging to the neo-pop movement and the protagonist of the underground Italian and international underground - is a dive into his art made of references and quotations, irony and innocence, denunciation and lightness. TvBoy is not just a name, it's the alter ego of the artist. A figure figure, a character with its head encapsulated in the TV, lost between the child's tenderness and the rocker's power, representing the generation that grew up in the seventies and eighties, looking at cartoons, collecting Panini figurines, under the pressure of marketing and advertising logic. TvBoy is our childish side, is the spirit of rebellion, is the introspection that leads us to confront the absurdity of everyday life. Starting from the road, his message has reached all of Europe and the world, leaving a mark on the streets of Milan as the walls of Havana or in the streets of Barcelona, the city that the artist as his creative atelier. In Turin, for the first time, TvBoy presents his works: works on canvases and paper that tell us, with the power of the image, our "Urban Pop" world. BIOGRAPHY Born in Palermo in 1980, TvBoy has lived in Milan where since 1966 he has become part of the art scene of Italian and international street art, becoming one of the major exponents. After studying painting and illustration at the University of Bilbao he graduated in Milan in "Industrial Design". He has exhibited his works in numerous galleries and international museums, including the Superstudio Più di Milano in 2010, with the publication of the Skira catalog and was invited by the Ministry of Foreign Affairs to participate in the "Italians in the World" pavilion of the Venice Biennale 2011 and at the official collateral event of the Venice Biennale 2013 "Back 2 Back". It should also indicate, exhibitions and participations all'Iguapop Gallery in Barcelona in 2007, the Pavilion of Contemporary Art in Milan in 2007, at the Auditorium Parco della Musica in Rome in 2008, the We Love Asbæk Gallery in Copenhagen in 2008, the Progr Art Space in Switzerland, in Berne, in 2008, at the Artisans' Art Festival in Lebanon, in Beirut in 2008, and in the Zaragoza History Museum in 2006. And then again, urban art events in Spain, Italy, Germany , Switzerland, Cuba and Lebanon. Since 2005 she has been living in Barcelona, where she has her studio and is a professor of design. He has produced projects on prestigious Italian and international brands such as Fiat, Seven, La Rinascente, Smart, Lotto, Nescafé and others. Since 2008, TvBoy has become a brand with collections in fashion and accessories sectors.
Francesco Skià. Class 1987, at age 19, began to make the first graffiti on the street and for about 5 years she participated in exhibitions and writing initiatives. "Vertigine" is the title of his first personal at Square23 Gallery. "The room starts to move, the doors slamming, the windows open, and a wind of thousand colors overwhelms everything. Fly books, photos, drawings. Flying memories and fears and ghosts dancing in the vortex around me. The abysses of a thousand paranoia. Questions, like pebbles of a dark, hidden path. The secret of things. His head in a cage, his arms clasped by black ribbons of fear that cancel all resistance. There is no way out of this reality. And there is no breath, and there is no light, no heat, and no joy. There is no love. Close your eyes to not feel more invisible. Close your eyes to see. Close your eyes to find out where the origin of this vertigo is. "
Where Halo Halo passes nothing remains as before. Each surface becomes a canvas, there are no boundaries or borders. His almost obsessive tract goes beyond the frame, continues on the walls, transforms the environments. Not even the Square23 gallery remained immune to its passage. In assembling the "Pythagoras die drowned in yogurt" staff, Luigi Garofalo, his name in the registry, was closed in the gallery for five days: he consumed 5 black markers to paint, point by step, walls and ceiling. An emotional cartography, from which faces, portraits, and letters are written, and here and there its hidden signature. The glimpse through the windows overlooking Via San Massimo is amazing, you have the feeling of being in front of an embroidery, a tapestry of light lace seems to have replaced the walls. On this background are paintings and canvases, which tell the style change in Halo Halo technique. From the works of origins - black and white lines intertwined to create imaginative landscapes, which he, often drawn to bus stops -, Garofalo went to the use of color. From pencil to watercolor, a new source of artistic love. His work keeps that instinctive impression, which is its trademark, but is enriched with a new dimension. That chromatic. And his intricate structures seem to get out of the plane of the canvas, they become matter-of-fact. Among the "castles" illuminated by pink, yellow, blue, red, purple emerge fantastic structures, to compose an imaginary architecture. Chromatic suggestions that leave the spectator the chance to space with imagination in search of his own image. After moving from paper to canvas to large surfaces, the introduction of color, with its amazing results, seems to be a prelude to a new evolution in Halo Halo's search for the three-dimensionality of sculpture.
Riccardo Nervo is a Torinese artist. Along with the gallery staff we tried to produce an innovative show, Riccardo was locked inside the gallery for 5 days. We have recreated a bedroom and a studio where he could produce jobs hanging on the walls of the artist, all in the eyes of the passers-by, who could see it throughout his day, since he had breakfast at dinner while he slept. The artist was enthusiastically enthusiastic about the project that had a tremendous success via the internet, as he was continually picked up by a webcam that broadcast live-streaming every hour of the day.
Project by Square23 Gallery with astro ODV inside of the Teatro Colosseo in Turin Italy. In the same time start his first out of France Solo Show "In&Out"Read More
Italian based artist Etnik has just finished his latest wall by the name “DUEL” in Turin, Italy with a collaboration with Square23 Gallery. Painted during the Easter week and finished Tuesday morning, it took the artist 5 days to complete. Etnik used his signature imagery to represent the contrast between urban landscape and nature with floating geometric forms which are creating large composition on the same wall separated by the structure of the house, which almost brings out a 3D effect from this artwork.Read More
Square23 Gallery, in collaboration with the Colosseum theater in Turin, designed the work of Peeta. The Italian writer He worked with his lettering using a perspective technique called anamorphism, the entrance of the theater, changing its appearance and its volumes . He has made a wonderful, easy-to-see work. We would like to thank Claudio Spoto and all the staff of the Theater to believe and support us continually. Photos by StreetLayers Vinny CornelliRead More
The Colosseum Theater in Turin has provided the artist with the facade on Via Bidone. From Tokyo, where he participated in a major public art project, Zedz, one of the most prestigious street artists on the international scene, arrives in Turin, from Square23, for his first staff in Italy, supported by Ceres, in collaboration with INWARD ESTRATTO CRITICAL TEXT OF PIETRO RIVASI Zedz's path begins with writing, which represents his first contact with art around the mid-1980s, and since then his research focuses on lettering. From the stamp to the three-dimensional representations, Zedz has created a completely new and different subject from all the 3D research carried out by other leading artists with a background in writing. His point of view is based on a three-dimensional static representation that starts from a "orthogonal" view of the geometries that generate the letters, drawing from the tradition of industrial technical design. The letters are treated as architectural structures that can even become "habitable" if they are translated into large installations, simply being images, such as living space plans, or becoming meticulous three-dimensional models of paper, wood or other materials. Tireless experimentator and multidisciplinary artist, Zedz has pursued a coherent research that combines writing, architecture, graphic design, animation and wall painting. The translation of writing to architecture, in particular, is one of the main nodes of the Dutch artist's career, which in this field has also made important collaborations through some of his most important and innovative projects. "Tokyo to Torino" is a snapshot of Zedz's current state of research, and the title of the exhibition is an explicit tribute to the fundamental elements of his art: Japan and Italy, his two "second homes", visual repetition of graphic signs, an important feature of his street name that he had significantly influenced evolution and whose effect is made even stronger by the alliteration, and finally the concept of travel / displacement, an indispensable experience for the creative process.The artist, through the works presented, which he himself likes to define "studies", describes a world where two-dimensional lines and patterns generate volumes overlapping in a play of transparency, perspective, net cuts and complete forms, subtle or thick lines; the seemingly abstract works immediately refer to a futuristic imagery, and are once again an evolution of lettering research. ZEDZ - BIOGRAPHY First graffiti on the streets, then studies at the Gerrit Rietveld Art Academy in Amsterdam and, after graduation, work as an independent artist / designer looking at the typography for the realization of its three-dimensional abstract objects. "Zedz", his name, is the backbone of his work and comes from the graffiti he has been dedicated since he was a teenager. Today, with his works, Zedz aims to break the boundaries of design, lettering and graffiti. In this respect, we have to read the collaboration with Maurer United Architects, which has led to a series of proposals on the theme "Graffiti / Architecture", and works in different cities built with huge 3D pieces that serve as urban furnishings. More than in galleries or walls, Zedz's work can now be admired and hand-handed in large, open public spaces. Its areas of interest are architecture, design, public art, graffiti, plastic models, paper and wood, in an interaction and collaboration between different disciplines. INFO Square 23, via San Massimo 45, Turin "Tokyo to Torino", Zedz staff 2 July - 20 September 2015 Opening times: by appointment Opening: Thursday 2 July, from 6 pm Sponsored by: Ceres With the collaboration of Inward - Observatory on Urban Creativity T: 334.9980390 - E: firstname.lastname@example.org Sponsored: Ceres Collaboration with INWARD Graphic by Spacenomore Thank you for your heart !!! at the Colosseum Theater Andrea Spoto and sister, without you the work outside would not have been possible !!!Read More
New project for Corn79, the great Italian artist has in fact over the past days painted this new and large wall in collaboration with Square23 Gallery and the Tesso Association of the homonymous Turin district. The constant variations in terms of elements and structures in the productions signed by Corn79 allow us to make a different comparison with those that are the stimuli and the themes with which the author is usually confronted. This constant desire to change their ideas in the context of a heterogeneous path, on the one hand, undermines the value of a never-savvy search, on the other allows us a different analysis and can alter our personal perceptions towards new and unexpected perceptive shores . Linked to a strong background in the world of graffiti, the subsequent evolution for the Italian author has meant a stimulus most linked to the abstraction of form. To intensify this pictorial flywheel, we find a personal geometric survey and in particular linked to the Hindu vantra and Buddha Buddhist mandalas, the ideal propagator both thematic and visual of each of the works developed by the artist. The proposed works therefore absorb this imaginary proposing a constant idea of building highly symbolic elements. Material, dreamlike, and astral elements are then chained together to create true configurations of different shapes, each with its own precise stimulus, which can squeeze the eye to a kind of astral plant. This assiduous research brings the artist to develop two distinct paths, two different entities that gather the need for a stylistic balance and at the same time pose an ideal synthesis and visual analogy. Choosing to deal with space through dirty and obscure backgrounds, catalyzed by genuine paint castings, passed through different tones, nourishes the visceral value of the works. They represent the most subtle and emotional part of the interventions, compared to the solidity, precision and order of the elements in space. Particularly linked to the shape of the rim, re-propagated through different material and stylistic alterations, Corn79 collects these impulses by injecting them into the urban fabric of the Borgata Tesso district in Turin. The resulting work is therefore a gigantic constellation of different elements enclosed within a tonal march and above all a concentric path towards the great matter / sun placed in the center of the space. A new astral projection, characterized by a strong black background, obscure and unknown, and driven by gravitational elements that give us the impression of moving within the space.Read More
START – Street Art Fest, una maratona di quattro giorni che ha celebrato le diverse espressioni della cultura “urban”. Street artist coinvolti: il portoghese Vhils, Roa dal Belgio, gli italiani Etnik e Pixel Pancho, dalla Polonia Chazme e Sepe, l’olandese Zedz e infine il duo svizzero Nevercrew. A curare la realizzazione delle opere è stata la galleria torinese Square23, con la quale tutti gli artisti avevano precedentemente collaborato. Ma inziamo subito la visita di START! All’entrata ci accoglie l’imponente opera di Zedz, che intreccia colori e linee in una geometria imprevedibile. Nell’opera è inoltre ben nascosto il lettering del nome dell’artista, realizzato seguendo un’originale ricerca in cui le lettere vengono trattate al pari di strutture archiettoniche. Riuscite a scovarlo? Superato l’ingresso, sulla sinistra ci accolgono le opere di Roa ed Etnik. START - EtnikSebbene l’identità di Roa rimanga un mistero, il suo stile di certo è inconfondibile: l’artista dipinge giganteschi animali rigorosamente in bianco e nero, a volte esponendone lo scheletro o gli organi interni. La scelta del soggetto dipende dalla fauna tipica del luogo in cui realizza l’opera e per Milano sembrerebbe essere un piccolo roditore. Forse una marmotta? Ai visitatori non resta che scoprirlo. Accanto al bianco e nero dell’opera di Roa, risaltano vivacissimi i colori di Etnik, in un contrasto che stupisce e cattura lo spettatore. Negli ultimi anni la ricerca di questo artista si è sviluppata attorno al tema della città moderna come “gabbia urbana”. Per questo ritrae la natura, rappresentata dal tronco di un albero, mentre viene inglobata violentemente da pesanti blocchi di cemento, che finiscono per disintegrarla. Proseguendo verso l’angolo opposto dell’arena, ecco che troviamo raggruppate le opere di tutti gli altri artisti. Innanzitutto quella di Vhils, che in tre giorni ha realizzato questo incredibile ritratto, avvalendosi solo di un martello pneumatico per scavare il muro. L’artista sceglie i suoi soggetti tra le persone comuni, tra gli sconosciuti che incontra per strada. Ma sono sempre volti che per la loro intensità hanno una qualche storia da raccontare. Accanto a Vhils, a sinistra e a destra, due opere degli artisti conosciuti come Nevercrew. La prima è una raffigurazione di un capodoglio intrappolato in un enorme blocco di ghiaccio. Sfruttando la tridimensionalità della superficie su cui hanno dipinto, gli artisti ci offrono una doppia prospettiva del cetaceo, contribuendo ancor di più all’incredibile realismo del soggetto. Nevercrew by Square23 La seconda opera fa invece parte della serie Augmented Reality, che combina tecnologia e visione artistica. Scaricando un’apposita app e inquadrando poi l’immagine dell’astronauta, ecco che all’opera si aggiungeranno dettagli visivi e sonori…ma non vogliamo rovinarvi la sorpresa. Dovrete sperimentare con i vostri occhi! Le opere di Nevercrew sono spesso una commistione di più elementi, dagli ingranaggi agli animali marini. Cetacei e asteroidi sono un tema ricorrente, per ricordare all’uomo che nonostante il galoppante progresso tecnologico non riuscirà mai a raggiungere le loro profondità o le loro altezze. Proprio di fronte all’opera di Nevercrew, si staglia l’immensa opera corale di Chazme e Sepe. I due artisti collaborano spesso, riuscendo ad amalgamare e a combinare due stili diversissimi in un risultato d’impatto incredibile. Il lavoro di Sepe, maggiormente figurativo, risente dell’influenza di illustratori e pittori soprattutto polacchi. I soggetti che dipinge sono distorti, grotteschi, deformati ma al tempo stesso intensissimi. Il tratto di Chazme, invece, si contappone con tutta la forza di una geometria aguzza e monolitica. È una critica feroce alla pianificazione urbanistica e architettonica delle città, che i passanti sono invitati a osservare e decifrare e possibilmente anche a combattere. Pixel Pancho Infine, accanto al palco, ecco l’opera di Pixel Pancho, che raffigura un soggetto tipico di questo street artist: un robot. Ma lontano dall’offrirne una rappresentazione futuristica e distopica, le immagini di Pixel Pancho rievocano piuttosto un senso di nostalgia, di disfacimento. Così lo spettatore è invitato a entrare in questo regno surreale, dove la distanza che separa robot ed esseri umani si assottiglia sempre più, diventando difficile da individuare. [robo-gallery id=”7415″] A questo punto, non resta che lasciarvi a un ultimo video, che racconta bene cosa sia stato il weekend dello Street Art Fest. Ricordate che le opere rimarranno all’Assago Summer Arena .Read More
"No Man's Land" is an abandoned railway area, space under a junction of the ring road, a tunnel, the interstitial between two dark subways. No man's land is the main subject of the painting of the former "graffiti writer" Francesco Barbieri. From this border area, the artist has learned to observe and see everything that surrounds him with a critical sense but also with enchantment, carrying trellises, antennas, palaces and opalescent skies spilled with smog into his canvases. CRITICAL TEXT OF CHRISTIAN OMODEO When, in April 1992, sociologist Marc Augé published in France "Not places. Introduction to an Anthropology of Surmodernity, "one of the fundamental texts for analyzing the relationship between human society and urban space in the contemporary world, the country still discussed a fairly unusual chronicle. Just a few weeks earlier, the Louvre subway station - recently refurbished and decorated with copies of statues kept in the museum - had been targeted and vandalized by spray-gun bombs from some graffiti writers. Newspapers and televisions gave ample space to the swarm on that occasion, presenting the contemporaneous approval of the first anti-scratch laws as proof of the effectiveness of the institutions. At a distance of years, it is legitimate to start a re-reading of these measures and wonder whether the introduction of those norms did not trigger an increase in vandalistic trends in the French writing graffiti of the 1990s and 2000, instead of wiping out the impact. To deny the graffiti the right to be present in the public space was one of the main signs of the refusal of public institutions to deal with the emergence of new urban cultures and, at the same time, the testimony of an inability to bring about the new theoretical framework made available by studies such as Marc Augé. In the fall of 2005, while the suburbs of some French cities were being caught by bands of unemployed young people, twenty years of fidelity to those guidelines laid down in the early 1990s was regarded by many as one of the main causes of riots of the banlieues. Others, such as then Interior Minister Nicolas Sarkozy, reduced everything to a banal reprisal of boys born and raised in dormitories unable to share the Republican spirit. The public debate quickly polarized around these two fronts, hampering a serious political analysis of the situation and the resulting leaps of possible reforms. It was in this context, while the French media daily dictated urban guerrilla stories that the enormous photographic portraits of those same boys who were soaking up the banlieues appeared on the walls of noble palaces in the wealthy neighborhoods of Paris. Medium-large printers portrayed halfway between the funny and the aggressive, to irony the distorted image of the French suburbs offered by the media and part of the national political class. "Portrait of a Generation" is still one of the most emblematic projects of street artist JR, but is above all the first attempt by this ex-graffiti writer to arm a new language, based not on the spray can on the interconnection between digital camera and plotter printer. Offering his own idea of the relationship between human society and urban space had now taken over the search for a unique style for his own letters. A new search field, everything to explore, saw the day. The urban landscapes of Francesco Barbieri are difficult to assimilate to JR photographs. However, they share with their work a somewhat similar need to convey a precise way of seeing and living urban space, typical of those who have spent in graffiti writing. In the case of Francesco Barbieri, a collective imaginary has been removed and made up of glimpses of invisible cities in our eyes. Its landscapes are centered on urban areas that our gaze ignores consciously. They are geographic maps of a surrounding world that we are self-reproaching, almost like photographs taken with a smartphone's eyes closed while we're on a city train or subway. "Nobody's Ground," the title of this exhibition, is a prelude to the unreal relationship - driven by the only artificial desire to consume or transit - that many have with urban space. It assumes, later, a claim accent, because Francesco Barbieri educates the eye of his viewers and invites them to rediscover the beauty of those urban spaces so far excluded from their gaze.Read More
Square23 Gallery's Project with Studio D'Ars Ex Tirano's Jail_Sondrio-Italy with the collaboration of Gabbiano Onlus. Artists: Etnik Corn79 MrFijodor Orticanoodles Alessandro Caligaris Sea Creative Andrea Ravo Mattoni Tenia UrbanSolid Skia' Enks Ale Puro Opiemme .Read More
Thanks to the collaboration with Andrea Spoto and Claudia Spoto (Director of Theater), we have made important works on the outside walls of the theater. We have collaborated with: Case Maclaim, Zedz, Bordalo II, Nevercrew, Peeta and many other projects are coming. The Colosseum Theater is the first in the world to host works by Graffitismo_ Writing and Street Art. Realizing a high quality artistic culture center."Theatre ColosseoSquare23 Project
The SEDES clinic after the works carried out in the San Salvario district, started collaborating with us, realizing for now two works on its two buildings, via G.Bonone, with Case Maclaim and Etnik A wonderful collaboration that has given the Turin city a high artistic livel."Clinica SEDES SapentiaePrivate commitments
Borgata Tesso is a peripheral district in Turin. Thanks to the collaboration with Architect Simona Vlaic, the gallery has produced some works by Writer and Street Artists, with the goal of sharing the economy inside, bringing people with tours organized by SAT, and trying to ignite the interest of all other Turin people but also coming from outside. Artwork imagine: Artist_Corn79"Borgata Tesso Wall with Corn79Simona Vlaic
A Project by Square23 Gallery with BEPART feat NEVERCREW "Black Machine" - Wall painting and installation on the Colosseum Theater in Turin Christian Rebecchi & Pablo Togni by NEVERCREW have just completed this extraordinary mural "Black Machine" made on the Colosseum Theater in Turin. The duo painted an 18m x 35m surface with paint on the wall, spray paint, stencils with neon light and real objects! "Playing with the curve of the sidewalk and drawing inspiration from the theater on which we painted, we decided to work on the idea of representation as a portrait, as a performance and representation of reality. We used direct references to the theatrical context to define a starting point but then we wanted to shift our attention to global warming related to human habits. " By framing the mural with the BEPART app you will discover the installation in a new dimension, to be considered an integral part of the work. Inserted into a sound environment, the digital extension enriches the observer's perception of the content. BEPART and Never Crew are in Turin in Paratissima, from 4 to 9 November 2015 in the Stand Square23 Gallery link for the Project: https://youtu.be/DPxEFKoz6iw"BEPARTAugmented Reality
In Turin there is SAT (Street Art Tourino), a project made by Claudia De Giorgis. It's very important to have a Tour in our city because it brings people of any class to our world and provides them with tools to better understand the work of these extraordinary artists. Our collaboration in the San Salvario district (Theater Colosseo) works well, welcoming more and more interested people.The tour has a professional guide explaining every artistic work, the techniques used, and providing each artist with information about their life and their artistic journey. Contacts: web-Site:https://streetarttorino.wordpress.com/"SAT Street Art Tourinomanager: Claudia De Giorgis
From 9 to 12 June 2016, the first edition of Start - Street Art Fest was held at Assago Summer Arena, with the participation of some of the most important international street artists: Chazme (Poland), Etnik (Italy), Sepe (Poland), Nevercrew (Switzerland), Pixel Pancho (Italy), Roa (Belgium), Vhils (Portugal), Zedz (Netherlands). Start will be open every day from 11am to 7pm: a four-day marathon that celebrates the different expressions of "urban" culture, gathering it in one big event and with the most representative artists of the various disciplines. The protagonist will be primarily street art, with internationally renowned artists involved with the Square 23 gallery in Turin, site-specific works, installations, performances and thematic events, but plenty of space will also have other street culture languages such as graffiti and hip hop with a series of collateral activities - in collaboration with Stradedarts - that will offer you the chance to see live breakdance demonstrations, performance by oarkour specialists, skate and bmx performances, listening to scratch of renowned djs international, and paint with cans on free murals in the graffiti writing area. In addition, the area will host the exhibition "Post Graffiti and Street Art Expo", the exhibition of photographer Cosimo Griso Alfarano, the calligraphy workshop and screen printing workshops, film projections, documentaries and interviews related to the world of street art , the Verso bookstore, with relevant books, and point-of-sale products such as Urban Market, the vintage market for collectors and curious. The Challenges of 3DC & Dafa rapper challenges - Hey-N The Guru & Mr Data - Dj Wza & Paziest & March & Bates. Two special events that will take place in the evening. On Friday, June 10, at 8.30 pm, Dimitri Vegas & Like Mike will be held, and on Saturday, June 11, the Booste DJ set will be held from 9 pm. All the works of the Street Artist will remain at the Assago Summer Arena until the end of July as urban decorations that will enhance the scenery of the Street Music Art 2016 event, of which Start - Street Art Fest is the inaugural event. Street Music Art is an innovative and state-of-the-art event bringing for the first time in an Italian festival the magic of reality augmented at the service of urban art culture. At the start of the 9th June, the extraordinary street art art actually increased "Synchronizing machine n ° 4" by Nevercrew thanks to Bepart - the Public Imagination Movement. A unique street art artwork: an animated digital installation that will only be visible through its smart devices by downloading the free Bepart app, available for Android and iOS. The work will remain at the Assago Summer Arena until July 29, and will also be visible in the Gps: pointing the room in the direction of the stage, you can see the content in the sky above the festival."START _Festival_Assago Forum MilanoLive Nation
On September 21, the Onlus Association of Il Gabbiano presented the project for the upgrading of the former prison in Tirano, to celebrate the thirty years of activity, for which it also benefited from the collaboration of the curators Daniele Decia of the historical Gallery Studio D'Ars of Milan, and Davide Loritano, gallerist of Square23 in Turin, who immediately joined the proposal by joining forces and elaborating the artistic project "Artistic Imprevist and social probabilities".Davide Loritano and Daniele Decia, the two curators chosen for the artistic direction of the project, are distinguished by the direct and in-depth knowledge and experience of the artists they work with and collaborate, some of whom are the most important members of Street and Graffiti Art not only at the level both national and international, and for proven experience as connoisseurs and promoters of well-established artists and emerging talents through the activities carried out in the respective Galleries, now become a reference point in Street Art's panorama. Square23, a young Torino gallery celebrating this year, the first 3 years of activity, and as Loritano explains, is born of his passion for graffiti and big murals, but also for contemporary art in general. "I chose this job, putting all my passion into it, even if we did not have the means at first. Since we started, we've been able to involve more and more artists, becoming a great family where all artists are at ease and start collaborating with each other. "The young gallery owner is very pleased with his work on the site and explains that its promotion strategy is based primarily on continuous research on local and European territory and on the programming of exhibitions of well-known and well-known artists alternating with the planning of exhibitions of emerging artists to create in collectors and amateurs and the public in a general mechanism of continuous interest in both categories of artist. "Torino has reacted very well, it is a very lively town both for graffiti and street art. It's full of kids and initiatives, there are so many associations that manage, find locations, call famous artists to work on buildings, on 30/40 meters, and seeing the city that was transforming we thought we were creating a gallery that emerged from the austere canons of the classic galleries. The artist, in my opinion, has to work to re-qualify the place where we live, so every artist who comes from us also works directly on the territory. This made people realize that something was changing or there was a different art form that was entering the galleries. I see that there is more interest in the authorities as well, giving us more space. "Decia, however, started his activity at the Ars d'Ars in Milan about a year ago, but has always lived in the first place contemporary art. as he says, "I'm born in a small country where in the '70s there were still really important artists; my friends and the people I was attending were young children of artists. As I grow up I understand and draw near to love art. I decided to reactivate something in this little village because since the '80s everything had gone down. Will live a cultural association. I take management of an exhibition space, with high level and value-added collaborators, with much experience of me, including the Paludetto del Castello di Rivara, and we make it a contemporary art museum. I think the only one on the west coast. I work with the Castle of Rivara and have the opportunity to collaborate with Luca Beatrice, Olga Gambaro, and to know personalities like Achille Bonito Oliva and Germano Celant, in short a bit. So I get closer to art as long as last year I decided to accept the proposal made by the Studio D'Ars owner, "with the intention of making it contemporary but of a condition, doing what it is now the contemporary: "if in the 1980s the contemporary were Mondino, Stefanoni, Scanavino, Buonalumi ... now the contemporary are Street Art, Underground and NewPop." And he goes on to say that although Milan is a tough city full of sharks, galleries, "having a small space in a really good position, because in the center, and making it a lab of artists, giving it white papers on that which can put them in, is an added value compared to many other existing galleries; not so many in Italy to let the artist interact with space as he thinks. For me, it's fun to test them and figure out who's about to do, play them, play with them, live them ... I remember the first wall I did inside ... I did it with Bros, up to four , to trace it, we slept from four and a half to seven in the morning and we went to the wall and ended a quarter to five ... at five o'clock. ""Urban Art in Jail Tirano _Sondrio (ITA)Collaboration with Gabbiano Onlus
Born as a program off Artissima, international festival of contemporary art, Paratissima is today an important part of this month of November Turin entirely dedicated to contemporary art. Since yesterday, the festival has taken possession of the rooms of Torino Esposizioni. For the tenth consecutive year, from November 5 to 9, 2014, Paratissima offers a series of unmissable events for fans of the genre. Over 600 artists this year; young designers, painters, sculptors, designers, photographers: exhibitions, workshops (especially the workshop organized by Guido Harari, nicknamed "the photographer of rock"), shows, the program is varied, from traditional art galleries to galleries of urban art, is born URBAN GAP a Project by Loritano Davide the director of Square23 Gallery- Galleries at Paratissima is dedicated to this innovative art form), allowing everyone to choose according to their affinities. Davide L. hava call the best of Italian Galleies for make a hight quality art fair in Turin. Through the project "Parafuture - Budding Artists", the youngest are also invited to participate in Paratissima by discovering contemporary art and taking part in guided tours and workshops with artists and creators. All that remains is to invite the curious to check out the program and watch the video presentation focusing on the theme of the event: Not Wrong, but Creative."Urban GAP _ Urban Galleries Art Faira Project of Square23 Gallery with Paratissima