Walls

"Black machine" - Mural painting and installation realized on the Colosseo theater in Turin (I), 2015. Project in collaboration with Teatro Colosseo and Square23 Gallery. 45°03'08.1"N 7°40'47.4"E

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"

Recently Case Ma’Claim has spend some time in Italy where for the first time he has done a “Solo Show” at the Square23 Gallery. While there, he has decorated the streets of Turin with a fresh new mural, once again featuring his skill to paint photo surrealism.

Check out this giant bear installed by our friend Bordalo II at the Colosseo Theater in Turin, Italy for his latest solo show in collaboration with @square23gallery.

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.

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 Cornelli

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: info@square23.net 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 !!!

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.

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 .

"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.

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 .

Square23 project in Borgata Tesso district with Simona Vlaic, tvboy have make a stencil artwork with N.Mandela at few days his death. R.I.P. king of apartaid.