Staff has 42 articles published.

The Art of listening: documental que explora el proceso de creación musical ?

in Blog/Español

Documental que explora el proceso de creación musical

La música es algo que pareciera tan cotidiano que en muchas ocasiones nos resulta difícil comprender el complejo proceso que se requiere para la realización de una pieza.

Ya lo expresaba Damien Chazelle en su película Whiplash: “la música no es sólo el producto final, detrás de cada melodía, cada ritmo, cada nota, existe disciplina, dedicación y pasión”.

The Art of Listening es un documental que explora todo este complejo mundo que involucra la música. En el documental el espectado podrá ser testigo del proceso de creación de melodías…un camino nada fácil.

El trabajo es dirigido por Emmanuel Moran y Michael Coleman y se basa en entrevistas realizadas a ingenieros de audio, productores y músicos, quienes comentan su experiencia dentro de este ámbito que resulta fascinante y a la vez complejo.

The Art of listening se encuentra disponible en línea y puedes verlo sin ningún costo.


El rap de Obasi Shaw conquista a Harvard

in Blog/Español

Liminal Minds es el primer álbum que la institución acepta como tesis

Obasi Shaw se gradúo con honores en Harvard luego de presentar las 10 canciones que compuso y que forman parte de su disco de rap que presentó como modelo de titulación.

Shaw es fiel seguidor del rap y encontró en él una vía para para expresar su descontento ante la (aún) situación de discriminación y racismo hacia los afroamericanos que residen en Estados Unidos. Liminal Minds es el nombre de su disco que ya se encuentra disponible en su cuenta de Sound Cloud.

Los cuentos de Canterbury, textos del escritor Geoffrey Chaucer y el autor de Ve y dilo en la montaña, James Baldwin, fueron narraciones y figuras de la literatura que formaron parte de la inspiración para las letras de sus canciones.

Un conjunto de temas cuyo formato algunos catedráticos han aplaudido por ser no sólo una crítica social, sino también un material que puede llegar a más personas.


Con información de Excélsior y El País.

Meggs: The environment matters.

in Blog/English/Entrevistas

Meggs : Medi

Meggs is an artist based in L.A. and born in Melbourne, Australia. He’s one of the founders of the Everfresh Crew, a unique collective of street artists that opened Everfresh Studio in 2004. Meggs is known for his unique and very expressive style filled with references to pop-culture, the natural world and socio-cultural issues. He painted one of the main walls of the festival, making reference to the environmental conscience we need to build up.


By: Andrés Medina / @delabuena

How did you get into the graffiti world?

The thing that attracted me to graffiti, I guess as a young kid, I saw graffiti when I cought the train to school and stuff like that, and comic characters really inspired me. I actually wasn’t heavy into graffiti during my teen years, I was more into skateboarding, but I knew a lot of friends in graffiti so… But when I went to university, I studied graphic design, I really didn’t know at that point what an art career was… being a professional artist, but I obviously liked drawing and creating stuff, so graphic design was the obvious choice. I started to do some networking and with a group of guys we started the Everfresh Studio. Some of those guys were more into the graffiti scene, some others where into putting out posters, others stencil… but when I got involved in that, kind of gathered techniques, and that’s when I really got into it.


In terms of the walls you’ve painted around the world, what differences do you find between them?

That’s a good question; actually at some point, I worked the existing textures of the walls and their personality, but I think there’s always the excitement of painting places with out permission or painting in abandoned buildings; there’s always a character and a story there, and that’s why those walls are interesting to paint because it’s almost like you do less on them, but you know that’s what gives them something cool. I love that. Photographically they look really cool. I really like places where the graffiti culture is not that big you know, like recently I painted in Hilo, Hawaii… in these kinds of walls, the environment has a really big impact because they’re not used to it, so it has a very big response, you know? And this wall is more into the aesthetics, and you know it’s a festival… I’ve never really painted in a festival that was also into music and other stuff.


What’s your mural about?

I kind of have an ongoing series of work now that is very aligned with my own life path. I’ve become more environmental aware, I’m motivated to try to live in a more sustainable way and communicate a message within my work that allows us to appreciate the environment and evaluate, you know? That’s why the Sea Walls Project was so important for me. So, this piece in particular is a photo of me holding a conch, it represents a lot of what I absorbed when I was there and so it’s kind of appreciating and understanding that the ocean is a giver of life and that’s something we should all be aware of. Doing it here is bringing a piece of Hawaii to Montreal, as much as creating a beautiful image that people can appreciate is about people getting into taking care of nature and the ocean.

Meggs 2 : Medi

(Meggs 2 / Photo by: Medi)

So this year’s Mural edition has been magical, with lots of music, art and messages from the street art community. We are very excited to hear about next year’s edition, but until then, we salute all of the street art lovers and embrace you to keep doing the effort of traveling to Montreal and living this great cultural experience.

Jason Botkin: Community spirit

in Blog/English/Entrevistas

Interviewing an artist from Montreal was important for me cause the perspective is very different from the artists that only come for the festival. Local artists have other things to say, have other opinions about the festival. Jason Botkin is probably the most involved artist with Mural Festival because he is very close to the founders and actually part of the equation that resulted in the birth of Mural.


By: Andrés Medina / @delabuena

How did art come to your life?

As a kid I always liked art, I drew. But It wasn’t my passion, I was really into snowboarding, it was hot sh*t for me. I went to Calgary, in Alberta, and picked up a semester of art school there. The plan was I would do school there until December; snow comes, boom I’m off to the mountains and build up as a professional of snowboarding. But the first day, the first class, it was so intense it blew my mind.


You were actually thinking of being a professional snowboarder?

Yeah! But after that very first class, I was completely changed… I snowboarded five times that year, and then I just quit. It was an instant transition, it wasn’t even a transition, it was just like there was no more confusion about who I wanted to be or what I wanted to do at that point. But you know, the whole exercise was… the teacher asked us to go out into the hill and pick a tree and draw it as well as you could, the very first day. And everyone was kind of stressed to draw the best tree; we did that for like an hour and a half. We came back, took a break, and then he was like, “Ok spend another hour and a half, same tree, same position and now draw the tree as badly as you possibly can. Do the poorest drawing you can.” Fuck that! All right! By he time we had to talk about the two drawings, I realized that the better drawing was really a drawing about insecurity and about how nervous I was about drawing; it was a shitty drawing. The other drawing wasn’t great, but it had so much fluidity and freedom of just being itself… that’s when I realized that drawing could be talking about movement, relationship about body and surface, ideas, emotions; it could be anything. It blew my mind because at that point I thought art was about illustration, I was really excited, and I realized that I understood only a very small amount of the subject.


When did you start working on the street?

Well, after I graduated I stopped making art completely for a long time; I just decided it was bullshit. I got lots of different jobs, I went to Japan, I studied ceramics… I really didn’t understand it anymore, the whole politics of the role of art, and all the weird shit that was in relationship with the artists… the galleries, the institution… I was not down with it. I was doing shit at school, drawing in napkins or a piece of newspaper and the whole idea was that the drawing was going to live but only for two days. So I was doing a version of street art, a version of something that had no value, had no longevity of life. It has always been that way. But then, in 2003, I got back into doing art maybe, and around 2008, I did a show at a gallery; in 2009 I did another one… and then right after that second show, I started the En Masse project that was all about black and white collaborative drawing, working with different artists from different backgrounds. That happened in 2009 and then the project started expanding quickly, many of those artists where street artists, graffiti artists. And so, that was my first introduction to that community. So the fact that street art didn’t really have a value or the fact that it was temporary, was immediate for me, it was like, “Yeah that’s f*cking rad!” And for me the biggest influences in school where the Mexican muralists. That was the sh*t for me, I was always political and passionate about social issues, and fearlessness… So that was my introduction to street art.


Talking about the situation that makes us evolves as human beings, does your art have a speech? Does it have a socially conscient message?

It depends on the context. Originally, when I was approached, not the festival but the business association of Saint-Laurent, my first reaction was to do a series of homeless people on the street, portraits of homeless people. Not to glamorize their situation but just to paint a portrait of hope and compassion, because I think homeless people, part of the reason we are afraid of them, is because they are like us but without the nice clothes and sh*t like that; they are us but naked and very vulnerable and often very disturbed. And there’s a big problem with homeless people on that street… the business association was like, “No! Can’t have that, that’s too much, that’s a problem for us, we want to get rid of the problem…”, and I was like, “No! It’s the elephant in the room, you can’t pretend it’s not there, it’s f*cking huge and it’s sitting right down on your lap.” So I said, ok, what is the alternative? They said, “We would love it if you could paint some waves and plants… nicer stuff, colorful; we want colors.” So, at the end of the day, the goal is the same: we want to improve our community, we want to improve the environment, we want to be able to do things better. The tools are different, but I’m still able to talk about it you know? So every time the press comes or whatever, we are able to have this conversation.


Jason Botkin : Medi

(Jason Botkin / Photo by: Medi)

D*FACE: Working the old to get something new

in Blog/English/Entrevistas

This conversation happened under the dark roof of ONOIR restaurant. I had previously met D*FACE in Mexico City while he was painting a wall so there was some kind of familiarity. It’s always a pleasure to have a chance to speak to D*Face because he is one of the most respected artist in the game.


By: Andrés Medina / @delabuena

D, can you tell me a bit about your origins, your childhood and how you created your art style?

The origins of my art style… hmm… I guess it’s really simple in my mind, I wasn’t academic so… my parents wanted me to be academic, they wanted me to study math, science, politics… and, well I was never gonna be that kid. I wasn’t stupid, you know? But it didn’t stick with me, so I kind of found my own ground, in my own interests, and those things where: graffiti, comics, skateboarding… that’s pretty much the story to my life. My parents didn’t understand it, I mean we’re talking early eighties, at the time when skateboarding was considered to be an outcast of society, graffiti was completely a hood kind of thing to do, so for my parents… they didn’t like their child doing these kind of things.


When did it all begin, what led you to the art world?

I guess I was failing academically, I wasn’t gonna be a doctor or whatever, whatever my mom thought I should be, I wasn’t gonna be that person. I already got into skateboarding, breakdance, bmxing and smoking weed, getting f*cked up and having a good time. And finding these thing united people, you know? You’re part of this group of people that was very, very unique at the time. That was the kind of thing I connected to. And when I connected to it, I kind of couldn’t see anything else, so school didn’t even exist.


Did you ever think of doing all these activities in a professional way?

Nah, f*ck no, there was no such thing. I mean you got to imagine, when we did all these things, that vision didn’t exist. I just was really into it. No dude, there was no preconception and I was cool, I liked that.


How was the transition of finding your style?

I’m still finding it. I’m still evolving, I know why I can do the instantly D*Face but I don’t feel like that’s what I want to do all the time, I’m trying to find something else. I like what I do but…


What are your thoughts on the art world these days, you own a gallery so what’s your statement?

What a gallery has always been, based upon representing artists first, it’s because there was no one was doing it right, I thought, “Someone has to do it right.” And for a long time, I was looking for that place, nobody stepped up, so I was like, “F*ck it! I’ll do it”. I never studied any of this sh*t, it was literally like, “This art form deserves more than a show but no gallery is paying attention to it…” so that’s why I opened a gallery.


Tell me about the mural you are painting in this edition of Mural Festival.

This mural is kind of difficult for me; different for me cause I’m trying to do something that looks like it existed before I existed. I want to create the sensation of asking yourself, “Was that there before or… I don’t remember that being there… How old is that?” That becomes very interesting; I like that concept. I’ve painted a lot of murals, but not like this one, I want to see how people react to it. A lot of what we do is adding to… we add, put on top of… Now it’s about removing, taking something away.


Meggs and DFace : André Bathalon

(Meggs and D*Face / Photo by: Andrés Bathalon)

Mural Festival 2016: Walking through Montreal’s street art

in Blog/English/Festivales

(DFace / Photo by: Haloppig Urban Art Consulting)

By: Andrés Medina / @delabuena

The world of street art is growing by the minute. This cultural movement is getting stronger and more prestigious around the world. The most representative and famous artists of street art are doing their thing in the main cities of the planet, and in everything that surrounds the movement, like galleries, managers, merchandise, festivals, etc., is getting bigger as well. Street art festivals around the world have been proving the huge importance that people give to this art form.

Bik Ismo : Haloppig Urban Art Consulting

Montreal is one of the most multi-cultural cities that exist in the globe; its beauty lies on the people that inhabit it and in the magic of their streets. This city has been showing how much it cares about street art with a bigger voice since 2013 through the creation of Mural Festival. Quoting one of its founding members, André Bathalon, “…we where in Wynwood admiring the greatness of the whole experience of being there and appreciating the walls when we decided we needed to do something like that in Montreal. We started doing the production of the festival and since then everything has been going very fast, the government loved the idea so we’ve been able to grow and give a more magical experience to the people.”

Fafi : Haloppig Urban Art Consulting

Mural Festival is about democratizing street art, music, culture and having fun. For eleven days, you can enjoy live painting, installations, exhibitions, gastronomy and the joy of discovering Montreal’s streets with the enthusiasm of finding the artist’s walls.

Mateo : Medi

This year’s invited artists where: D*Face, Felipe Pantone, Fafi, Buff Monster, Bikismo, Meggs, Grems, Jason Botkin, Mateo, Maser, Stikki Peaches, Klone Yourself, and many more (you can check out the complete lineup at: Besides the artists that where invited to do live painting at Mural, there where other renowned names that where part of this year’s exhibitions like: Miss Van, Mr. Brainwash, Mr. André and Jef Aerosol.

Grems 2 : Medi

 My experience at this year edition was great; the thing I enjoyed the most was the attitude of all the people involved in the festival: organizers, artists, musicians, staff… everyone has a great attitude and enjoys the festival.

Stikki Peaches : Medi

The great thing about Mural Festival is walking through the whole experience. You can start by partying at the bloc parties and making your way through the exhibitions while you visit the walls. Artists are very accessible and actually the whole thing is about taking street art to the people, it’s not pretentious at all. I really recommend this festival to all of you that want to approach street art.

Jason Botkin : Medi



All City Canvas Live Coverage of Sea Walls: Murals for Oceans in New Zealand

in ACC Network/English/Festivales

Captura de pantalla 2016-03-31 a las 12.18.33

Enriqueta Arias | Content Director All City Canvas


All City Canvas had the opportunity to be part of the latest edition of PangeaSeed Sea Walls: Murals for Oceans festival in Auckland & Napier, New Zealand.

PangeaSeed, in collaboration with the Napier City Council, Alternative Arts Initiative and The Idea Collective x Museum of Transport and Technology (MOTAT), wrapped it up its satellite event at MOTAT and its first-ever Sea Walls: Murals for Oceans public art project in Napier.

We have an exclusive recap of what happened down there! We spent a few weeks with some of these cool cats: Amanda Lynn, Twoone, Meggs, Lauren YS, Cinzah Merkens, Askew One, Phibs, Techs, Aaron Glasson, Spencer Keeton, Jason Botkin, Vexta, Dirty Bandits, Kai Kaulukukui, just to mention a few.

From the bottom of our sea salty heart, all of us at All City Canvas would like to thank the PangeaSeed Sea Walls: Murals for Oceans team, participating artists, all the wonderful volunteers, supporters and partners who’s contributions and tireless efforts helped to make this edition of the festival and our participation a total success.

Kia Ora! ?

Together, we can save our seas via art + activism = ARTivism! #paintforapurpose


Recap All City Canvas Live Coverage of Sea Walls: Murals for Oceans in New Zealand

in Blog/English/Festivales

Askew One work in progress in Napier, New Zealand. Photo by Magda CoccinellaAll City Canvas had the opportunity to be a part of the latest edition of PangeaSeed Sea Walls: Murals for Oceans festival in Napier, New Zealand and we have an exclusive video recap of what happened down there.

PangeaSeed, (@pangeaseed) the international marine conservation organization, in collaboration with the Napier City Council and Alternative Arts Initiative wrapped it up its groundbreaking partnership to create a series of Sea Walls: Murals for Oceans in New Zealand to raise awareness about the plight of the ocean. It will be a beautification process, with a 30 renowned contemporary artists from New Zealand and overseas will descend on the city to paint murals on large-scale concrete walls in Ahuriri and the Napier area.

Napier is a very timely and appropriate location for this Sea Walls: Murals for Oceans activation, given that New Zealand is characterized by unique flora and fauna and a variety of landforms contained within a small island nation. The world’s oceans cover 70% of our planet. As New Zealand is an island nation, the health of the ocean, land and people are all linked together.

Historically having an isolated and endemic ecosystem far into modernity, the arrival of Polynesians about 1280 and then later European settlers began to have significant impacts on this system, with the intentional and unintentional introduction of new species and plants which often overwhelmed their natural competitors, leading to a significant loss of native ecology and biodiversity, especially in areas such as bird life and the ocean.

The festival took place on Hawke’s Bays pristine coastal town of Napier. A perfect location for this activation, with an abundance of blank walls in great visible populated areas. Sea Walls will be the first mural painting festival to take place in Napier.

This project has great potential and became a catalyst for positive change within the local community and beyond. PangeaSeed Foundation, the Napier City Council and Alternative Arts Initiative aimed to address issues that affect Napier’s coastal communities via inspirational public art. They believe that art, design and new media can transcend cultural and linguistic boundaries.

Our ACC contributors of Chop ‘Em Down Films –Zane Meyer & Derek Hackett– captured the amazing vibe of the festival and this pretty much sums up what happened during the first days of painting! #killervibes

Enjoy and Share!



Stay tuned, because we will release all finished murals and artists topics very soon!

*Cover photo of Jason Botkin and Cinzah’s collaborative mural at the National Aquarium of New Zealand in Napier. Photo by Yoshitaro Yanagita

The Art of Shepard Fairey at The Young New Yorkers Silent Art Auction

in Blog/English/Exhibiciones


Young New Yorkers (YNY), the non-profit arts program for teenage New Yorkers partnered with All City Canvas and Celaya Brothers Gallery, includin supporting organizations such as

Scratch DJ Academy, Authentic Transport, Paddle8, Mana —Soho Crates, Nelson Seo, Sixpoint Brewery, Submittable, MOSH, Balance Water, Cammisa Markel, GV Art Conservation, Industry City Distillery, Scott Rosenbaum / T. Edward Wines, Three Tiers Bakery and Tumblr.

The present a selected work of Shepard Fairey with 80 socially-conscious artists including Swoon, Gaia and Ben Eine, among others.



Young New Yorkers (YNY) provides court-mandated arts programs to justice involved young people in Brooklyn. New York is one of only two states in the U.S. that arrests and sentences 16- and 17-year-olds as adults. The criminal court gives eligible 16- and 17-year-old defendants the option to participate in a YNY program rather than spend time in jail, or incur other adult criminal justice sanctions. Upon successful completion of the program, a participant’s case is dismissed and sealed and they avoid a lifelong criminal record at as young as 16. To date, 100% of more than 250 participants have successfully graduated from YNY programs. YNY’s ultimate goal is to empower participants to transform the criminal justice system through their own creative voices.

“I wholeheartedly support Young New Yorkers; not only as an art program and constructive alternative to teens being incarcerated, but it is also highly therapeutic. It builds problem solving skills that can boost self confidence and allow participants to feel more empowered to pursue their dreams as well as deal with their realities.”—Shepard Fairey affirmed

The Auction will take place on April 7, 2016 at 7:00 pm by Young New Yorkers at A+E Studios 160 West Broadway in New York, NY 





Sea Walls: Murals for Oceans at The Idea Collective x MOTAT in Auckland, New Zealand

in Blog/English/Festivales

PangeaSeed Foundation, in collaboration with the Museum of Transport and Technology (MOTAT) and Alternative Arts Initiative wrapped it up its first satellite event in Auckland to precede the first-ever Sea Walls: Murals for Oceans public art project to be hosted in the coastal town of Napier, New Zealand.

During the first week of March 2016, four internationally renowned PangeaSeed Foundation supporting artists contributed to the Idea Collective at MOTAT, which aims to stimulate, challenge and inspire participants to engage with innovation. Artists Lauren YS (USA), Meggs (Australia), Twoone (Japan), and Vexta (Australia). The artists addressed topics pertinent to environmental innovation and conservation of marine life through thought-provoking large-scale murals at the museum.

Lauren YS - Photo by Enriqueta Arias
Lauren YS – Photo by Enriqueta Arias
Meggs - Photo by Enriqueta Arias
Meggs – Photo by Enriqueta Arias
Meggs - Photo by Miya Tsukazaki
Meggs – Photo by Miya Tsukazaki
Meggs - Photo by Miya Tsukazaki
Meggs – Photo by Miya Tsukazaki
Two One - Photo by Enriqueta Arias
Two One – Photo by Enriqueta Arias
Two One - Photo by Enriqueta Arias
Two One – Photo by Enriqueta Arias
Vexta - Photo by Enriqueta Arias
Vexta – Photo by Enriqueta Arias
Vexta - Photo by Miya Tsukazaki
Vexta – Photo by Miya Tsukazaki



Art for the People’s Sake

in ACC Network/English

Welcome back to this edition of the All City Canvas vlog!!

– Ana Marietta’s art residency in Queretaro, Mexico with Balneario Gallery
– Kevin Ledo in Jordan for aptART – Awareness & Prevention Through Art creating awareness for gender equality
– Check out our first OMG! Art Moment
– Warm up of our ACC Live Coverage of PangeaSeed’ Sea Walls: Murals for Oceans in New Zealand.

Keep these projects in the loop! Don’t forget to Subscribe! ?

Follow us on our social media and see you on the flip-side!

I Don’t Scream for an Audience, I Shout at the Holy

in ACC Network/English

We had the chance to talk with Canadian artist Carlito Dalceggio about his latest exhibition ‘I Do Not Scream For An Audience, I Shout At The Holy’ at Celaya Brothers Gallery in Mexico City.

He presented a series of rebel, multidisciplinary, profoundly spiritual and
symbolic artworks. Butterfly wings, kites, peacock feathers, masks, organic motifs that
remind us of Mexican popular art with a peculiar reminiscence of Picasso’s cubism,
Rauschenberg’s abstract expressionism and Matisse’s primitivism. The explosion of color, the
energetic compositions and the liberating gesture of the strokes awaken the senses, the
instincts and the imagination.

This short story shows how Carlito sees the world and his creative process demonstrates us that he doesn’t scream for an audience, he shouts at the holy.

Dalceggio reminds us of the bohemians that Balzac and Baudelaire spoke of;
those characters with a wandering, nostalgic and cheerful existence, in search of social
regeneration; romantic revolutionaries against the system. It is all about escaping from
conformity, which is why his work is not conceived as a mise-en-scène to merely
entertain an audience, but as a ritual, a cry – of one and all – to liberate our spirits.

Eyes Through the Eyes of The Soul!

in ACC Network/English

Welcome back to this edition of the All City Canvas vlog!

Special recap of Interesni Kazki in Gainesville, Florida for 352 Walls Urban Art Project.

Italian Invaders!! ??

· Keep your eyes out for Gola Hundun’s upcoming art show: ‘Intelligenza Vegetale’ in Bologna, Italy

· Francesco Orazzini presents his first solo show in Mexico City: ‘Carne Viciosa’ at ArtSpace Mexico.

· ACC contributor Zane Meyer of Chop’ Em Down Films brings a little recap of Pow! Wow! Hawaii Festival in Honolulu. ?

Keep these projects in the loop! Don’t forget to Subscribe! ? Follow us on our social media and see you on the flip-side!


Art Week Mexico 2016

in ACC Network/English

La semana pasada asistimos a las distintas ferias de arte contemporáneo en la Ciudad de México. Esta vez les traemos un poco de lo que vimos en cada una de ellas.

Concluyó un año más de Zsona Maco México Arte Contemporáneo, Material Art Fair y Salón ACME, además de los eventos paralelos en algunas de las galerías más visitadas de las Colonias San Miguel Chapultepec, Coyoacán y Roma; así como Index Art Book Fair en el Museo Jumex.

Zsona MACO Sur destacó con la participación de la Galería Karen Huber, la cual mostró el trabajo de Manuel Solano. Por su parte Peana Projects presentó el trabajo de Juan Fontanive, además de las galerías Hilario Galguera y GE Galería de Monterrey; la primera con una selección impecable de Bosco Sodi y Daniel Buren, la segunda incluyó el trabajo de James Rielly, Ray Smith y el artista israelí Yigal Ozeri.

Por su parte, Material Art Fair logra transmitir su idea de hacer el arte mucho más accesible al público. Sus directores–Brett W. Schultz y Daniela Elbahara, ambos codirectores de la galería Yautepec–afirman que buscan cambiar el modelo económico, para que éste se adapte y ayude a las pequeñas galerías, así como agentes que tienen poca o nula visibilidad en la escena comercial contemporánea.

Finalmente, pero no por eso menor importante, ocurrió la cuarta edición de Salón ACME, en un espacio ubicado en la colonia San Miguel Chapultepec. El proyecto surgió bajo el concepto de los antiguos salones de arte que se llevaban a cabo de manera internacional, y donde se exhibían propuestas artísticas actuales.

En este episodio tuvimos oportunidad de platicar con la galería Eitoeiko de Tokio, GE Galería de Monterrey, Paul Kasmin de Nueva York; y tuvimos una pequeña charla con el artista británico Adrian Lee.

Disfruten, comenten y compartan ?


Pow! Wow! Asia Tour 2015 by Chop’ Em Down Films

in Blog/English/Festivales


POW! WOW! HAWAI’I started this weekend!! So, the guys of Chop’ Em Down Films made this cool reel with their live coverage of the Pow! Wow! Asia Tour. Jasper, Kamea, Jeff and the whole team is gathering of contemporary artists who engage with the broader community through the process and creation of art, expanded its presence within Asia.

A series of week-long events took place in Japan and Taiwan between October and November, it featured renowned artists such as Case, Kinsey, Fafi, Ben Horton, Faith47, Kevin Ancell, Jeff Soto, Naturel, Omen514, Usugrow, Kami, Sasu, Yoshiyasu Tamura and more.


POW! WOW! Japan was centered in Tokyo with over a dozen live murals being created simultaneously within a one-block radius in the Tennozu area. Exhibitions happened in Shibuya, Harajuku, as well as a Block Party Finale presented by Hawaiian Airlines on Bond Street in Tennozu.

On the heels of POW! WOW! Japan, the art festival then continued across three major Taiwan cities, Taipei, Taichung and Tainan, which will house new murals that completely transformed the country. Follow the journey via our official POW! WOW! Asia Tour video.

[spacer height=”20px”]


POW! WOW! Asia Tour 2015 Video from CHOP EM DOWN on Vimeo.

Filmed by Zane Meyer and Cory Ring of Chop Em Down Films
Drone by Zane Meyer And Larry

Edited by Zane Meyer

JUSTKIDS x Brazilian Artists Bicicleta Sem Freio Team-Up On a Limited Edition T-shirt Series

in Blog/English

JUSTKIDS and Brazilian artist Bicicleta Sem Freio team-up on a limited edition t-shirt series

After producing numerous acclaimed and sold out Fine Arts prints JUSTKIDS will be unveiling a unique limited edition t-shirt in collaboration with famed Brazilian Artist Bicicleta Sem Freio.

Produced by hand at the JUSTKIDS lab in Italy, these T-shirts are one of a kind and are sporting BSF’s iconic images from their last London solo show “Ratcat Dinner”.


Bicicleta Sem Freio, aka Douglas de Castro and Renato Pereira, are worldwide recognized for their sexy ladies illustrations, expressive line work and warm, vibrant color schemes. Bicicleta’s style draws references from their roots in music, Brazilian culture, their love for the 80s and pop iconography, and have been emerging on large-scale public installations all over the world, including recently on a mythical Oscar Nemeyer building in Brazil or on Venice Beach for UFC fighter Ronda Rousey. They willl also be part in a few days of the very hype Pow! Wow! Hawaii festival in Honolulu.

The shirts come in two different flavors, Black/White & White/ Color, each one is limited to only 50 pieces, packaged in a custom-made box and numbered with a certificate of authenticity. This unique collaboration is available via and will drop on Wednesday February 3rd at 12PM EST 5PM for $50/£35 each.






¿Quién no es Smithe?

in ACC Network/Español

Una de las preguntas más díficiles que nos pueden hacer es: ¿Quién eres?

En un juego retórico y existencialista–siempre–es más fácil expresar lo que no somos, y es así como también logramos reforzar quiénes somos en realidad.

Esta vez les presentamos el trabajo de Smithe, un creativo, en toda la extención de la palabra, y como no fuimos capaces de encasillarlo en una sola oración, jugamos con una serie de dobles negaciones que afirman, y re-afirman todo aquello que Smithe no es y, por lo tanto, sí es.

Bienvenidos al mundo de un loco lúcido al que admiramos de sobremanera, y no sabemos cómo le alcanza el tiempo para crear de la manera en la que lo hace.

La música del video corre a cargo de .Stendal. Pueden descargar su disco aquí:

¡Disfruten y compartan!



in Blog/English

Disenia Showroom Media Day fotos-2

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The Latin American ecommerce design transcends the boundaries of the digital with the opening of its Showroom in the Condesa borough of Mexico City.

Now design lovers will enjoy the best curator of Mexican and Latin American products and art in a space dedicated exclusively to satisfy the curiosity of those wanting to see, touch, smell and tested products that have drawn their attention to the web platform Disenia.

With this offline bet, Latin American store design seeks to complement the experience already offered on all platforms: online shop, blog and networks. In each of these efforts they are aimed to agree the tastes of those who most appreciate both emerging and different fashion, industrial, graphic arts and proposals.

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Showroom Disenia not escape this philosophy and, as such, is a space where you can breathe, you can buy appreciated and design.

Visitors will find projects that are setting standards in the scene of the national design and Pay’s, Lørdag & Sondag, Minhk, The Metropolitan, Arta Ceramics, JPEG, Male and RTD, plus marks from countries like Chile, Argentina, Colombia and Venezuela, represented exclusively by the platform in the country.

Among the team’s plans for Disenia to close the year 2015 is to position the Showroom as must for design lovers in Mexico City with multiple open to the public during the month of December events, besides the promotion of unique products, will involve other creative proposals as live music, food and art.

Disenia stems from the concern to provide a meeting point between the best proposals of Latin American design and interest of design enthusiasts worldwide.

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Disenia Showroom Media Day fotos-7

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Its creators believe, gathering in one place this supply and demand creative, can become a successful promotion and distribution channel that encourages emerging talent and established, both in Mexico and the rest of the continent.

If you are in Mexico City don’t forget to pass by and check out some cool art by Latin American artists such as Daniel ‘El Topo’ Rivero zines and really cool designer items as well.

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Captura de pantalla 2016-02-02 a las 20.55.49

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in Blog/English

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By Nicole Chaput

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Alexander McQueen Spring Summer 2014 London Fashion Week Copyright 'One Time Only' Publication Editorial Use Only
Alexander McQueen Spring Summer 2014 London Fashion Week – Wonderland Magazine.

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I remember the day it happened. February 11, 2010. I remember I saw one of his scarves on sale as I walked past Saks Fifth Avenue some days earlier. It was as if the store had anticipated the rising demand for his designs after his tragic death.

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I remember I went to see how much money I had saved: only monogramed skulls could warm up Alexander McQueen’s death. I wrapped around my neck the scarf, it was olive green silk and I did not need another reason to purchase it. This was not the first time I bought a garment as a coping mechanism, but the need to hold something that resembled him had never been so urgent.

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Two things concern me when thinking about Alexander McQueen: his death falling into the realm of cliché tragedy and his work being misconceived as a mere product.

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Appreciation for the Fashion Industry is challenging considering its exclusive nature and its growing commercial value. Art products in general are prone to become indicators of wealth. Owning an important or well-known artwork yields associations that are hardly ignored. If the arts are prone to categorize individuals into a probable socioeconomic status given that they can afford luxurious items, then this is even truer for Fashion products because they do not hang in your dinning room; they cling to your body and become part how you are perceived by acquaintances and interactions. A Birkin bag by Hermes is as much of a social indicator as having a Picasso painting on your wall. But the Birkin will be spotted by everyone who looks at you and the painting will only be seen by the people invited to your home. High Fashion is no doubt a statement of accumulated wealth and a profitable investment inside exclusive social circles.

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Because of the effect High Fashion has on consumers and its classicist derivatives it is often stigmatized. The Fashion Industry is commonly conceived as expensive product making and the craft that goes into it is often overlooked because of its negative connotations. Fashion Design and almost every other art form has to lean somewhat on the commercial side to continue its production and especially in today’s compromised economy. Many argue that what sells from these Fashion Houses is the price tag insinuated by a given logo. It is no surprise that the logos are getting larger each season. The craft put into Fashion seems to be forgotten by consumers and suppliers are succumbing to such demand and that is why it is not surprising at all that Fashion products are seen as clothes and not artworks. Fashion seems to be threatened by the bad taste of consumers who only want to let the world know they can afford a Louis Vuitton clutch bag. Although many houses like Chanel have caved into the circuit of tacky logos that simulate luxury at the expense of their art making, some designers have repelled this notion, and for doing so, Alexander McQueen holds a special place in my heart.

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Alexander McQueen graduated from St. Martins College of Arts in London and his garments immediately stood out to Isabella Blow, his main investor. Almost every collection by Alexander McQueen was inspired on Pop Culture products like film, music, myths and relevant historical figures. McQueen’s content always reflected an analytical attitude towards the role of Pop Culture in our society and art making. McQueen is particularly notorious for his theatrical runways, where he created intricate atmospheres for his garments to exist in. McQueen calculated the music, the stage, the attitude of each model, the climate, the lighting and even the title of each collection. His fashion shows were carefully orchestrated and deepened the audience’s conception of a given theme. He was not only designing clothes for a brand, he was designing environments and grotesque habitats for his androgynous models. McQueen seemed to be more invested in creating an atmosphere and presenting that atmosphere rather than his garments in isolation from the built in setting. The models adopted the character scripted by McQueen and their presence in the runway was more a performance than a typical walk. McQueen’s fashion shows had complex choreographies that added to every single garment. The garments designed by McQueen were not to be looked at as garments, they were meant to be looked at as the garments worn by the people living in the atmosphere he had created.

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Yet, the theatrical essence of his shows was a reason for complains from important buyers. Buyers argued that they could not appreciate the garments because of all the other things going on during the presentation. After these complain, McQueen had to compromise his creations. He could either continue to pursue his performances as performances or cut back on his theatrics to appeal more buyers. His collections went back and fourth and his mental dilemma was clear as seasons went by. The sad truth was he needed buyers to continue his making even if that meant his work would be less genuine. No one wants to sell out, but this problem is faced by most artists who have to settle for what will be sold more even if that means creative output will drop significantly. Although Alexander McQueen did cut back on his extravagant performances; for the most part he stayed true to his creative ambition.

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McQueen emphasized this issue in the Art World and his frustrations by it were present in his shows. The ever-present negotiation of the artist between making an artwork with a profound insight or an important social commentary versus making something that will sell is common. This issue reveals a lot about consumers today and how it is a larger concern to buy something that will have some kind of social profit (i.e. belonging, popularity, reassuring social status) rather than something that has a more metaphysical or educational significance. Education, thoughtfulness and the metaphysical concerns that are behind aesthetic output are worth nothing in many sectors or today’s society. Content has lost its significance and that is punching art into a corpse that performs as a mere product eligible for consumption. I suspect buyers are opposed to criticisms on capitalism as well because such analysis defeats their purpose. Are corporations slowly extinguishing artistic content related to capitalism to maintain and expand their ever-growing range of consumers? Awareness on the matter may jeopardize their mission.

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Alexander McQueen was one of the most innovative artists of this century. Sarah Burton is currently the creative director of his brand; yet, I do not think she acknowledges McQueens vision. Maybe her refusal to continue his theatrical shows is a respectful I will not try to be at your level of genius or maybe it is strategy to give the buyers what they want and profit from more sales. I like to think it’s the first option.

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This brutal artist died six years ago, but his legacy continues. His criticisms towards the fashion industry and consumerism as well as his propositions for alternative universes are still remembered fondly.

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A moment to remember his most memorable moments:

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This collection was inspired by Stanley Kubrick’s, The Shinning.

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Alexander Mcqueen Spring Summer 2001 Copyright 'One Time Only' publication

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I think this was one of the most complex collections by Alexander McQueen. The fashion shows started late, intentionally. The audience had in front of them a large cube of mirrors. The delay of the show forced the audience to look at themselves in the mirrors for some time, forcing a collective wave of narcissism and triggering an uncomfortable shared vanity.

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This collection was inspired by the Sydney Pollack 1970 movie ‘They Shoot Horses Don’t They’; it was choreographed by Michael Clark, who helped McQueen recreate the widely known dance marathon motif.

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McQueen launches his 2004 men’s autumn/winter line in short film where he made and designed the set. Although McQueen included some male garments in his previous collections, this is his first established menswear line.

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PARIS FASHION WEEK from october 4th to october 11th 2004 Ready to Wear SPRING SUMMER 2005 ALEXANDER MC QUEEN

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McQueen had 36 models go through the end of the runway, when they were returning they would organize themselves in rows and columns. The purpose of this remained unknown to the public, but by the middle of the show, when the models have all aligned, the number and the purpose of this set up is revealed: it is a chess game. At the end of the show, the models fought against each other in the same way as they would if they were chess pieces.

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FALL/WINTER 2007: In Memory of Elizabeth Howe, Salem, 1692

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This collection was dedicated to a witch that died in the Salem witch trials. He traced his mother’s bloodline and realized that one of his relatives had been killed in one of the trials and decided to dedicate this collection to her.

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SPRING/SUMMER 2009: Natural Dist-inction Un-natural Selection

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When the models were walking down the runway, the fabrics and materials of each garment moved like the glowing fur of animals while the technological intervention to make such prints was evident.

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FALL/WINTER 2009: The horn of plenty

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This collection glares back at fashion and mocks it for trotting in the same spot. McQueen put all his consumers into the fashion recycling bin.

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This collection was Alexander McQueen’s last RTWW collection before his death. The way people reacted to it made it seem like this was the designer’s creative climax. It makes me wonder if he knew this was going to be his last collection and if he planned his suicide all along. Did McQueen know he was saying goodbye?

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