urban art

The following guest post is by Houda Lazrak

A fantastic topography of fabulously executed artworks by street artists from around the world has found its way onto the rooftop of Mexico City’s Antique Toy Museum, or MUJAM. I stumbled upon this hidden space while visiting the city’s Colonia Doctores neighborhood. Soon afterwards, I had the chance to speak with the man behind the project, Roberto Shimizu, Creative Director of MUJAM.

How and when did you first become interested in street art?

It all started when I was ten years old. My father took my family on a trip to New York City.  And every time we were in NYC, we went to bookstores. My brother and I had an unlimited budget for books. It was the only place my father would let us spend money as children. The first book I ever bought was Subway Art by Martha Cooper and Henry Chalfant. I was just looking for graphic stuff, but it ended up changing my life. I still have it on my desk at the museum today.

How did you become involved in the scene here in Mexico City?

I went to Japan for one and a half years after receiving my degree in Architecture in Mexico City. I moved to Tokyo to work at a high-end architecture firm, but I quickly realized that I didn’t identify with Japanese culture. I came back to Mexico City, and my father asked me to assist him with his business. He had a 5000 square foot warehouse in the Doctores neighborhood with bare walls. He gave me full access to, and it became my playground! I started by doing open calls for street artists through Facebook. I also reached out to music and theatre groups. Many noted Mexican street artists – such as Saner — first started painting here.  Other renowned artists who’ve painted here include: Ripo from Barcelona; Jaz from Argentina; Jeremy Fish from San Francisco; Pixel Pancho from Italy and Roa from Belgium. In 2007, it was dubbed the 5 Pointz of Mexico City.

And can you tell us a bit about what has happened since – in the past decade?

Once the warehouse took off, I realized I wanted to do something bigger. I invited Roa to paint an official mural on the wall of MUJAM. And in 2010, I organized the first big mural show in Mexico City with eight artists painting in different neighborhoods. That we sought permission from building owners, used cranes, and officially invited artists was very new at the time.

What triggered the start of the rooftop project Azotea Mujam. It is fascinating!

The warehouse was prime real estate, and so we had to rent it out. I couldn’t convince the new renters to keep the existing murals. Those walls were part of Mexico City’s street art history, but they wouldn’t hear it. We had to whitewash all the murals. But my intention was, and still is, to keep working with emerging artists. My father had founded MUJAM in 2006 as a showcase for his personal collection of antique toys. Today the museum houses over 40,000 pieces. Above the museum was an empty rooftop, so I decided to start Azotea Mujam and invite artists to paint up there.

Who was the first person to paint there?

Scarlett Bailey was the first artist to paint on the MUJAM rooftop in 2015. A talented Mexican illustrator living in New York City, she was a cartoonist for The New Yorker for many years. On the rooftop she painted icons of New York City’s fashion and media worlds with the Mexico City ‘hood’ as a backdrop. It was the sole work up on the roof for four months.

It seems like the entire rooftop has been painted since! How did it become so popular?

It was through word of mouth! Once the word spread, it became popular pretty quickly. I was fascinated by how much attention it received. I’ve had to whitewash some artworks to make room for others. Azotea Mujam is often the start of a collaboration between the artist and other painting projects, as well — including more prominent wall spaces in Mexico City that I organize.

How do artists react to this very unique context of a toy museum?

They love it! I think artists have a particular fascination with toys. Many famous musicians have also visited, and often when they enter the museum, they become like children. Perhaps, as artists, they are always playing.

How do you select the artists that paint on the rooftop?

I receive emails daily. I ask the artists for their portfolios. Some of them don’t have any, and that’s fine too. Like I said, I am interested in offering opportunities to emerging artists, and I’ve had very nice surprises. I am not focused on getting big names. That was never the intention of the project. What is most important to me is the relationship I develop with the artists and how they can go further from here. Regardless of how big the city projects that I organize are, Azotea Mujam is what’s most rewarding to me.

Do you encourage the artists to focus on toys in terms of the content of their artwork?

I always suggest that the artists spend a couple of days in the museum, sketching the toys they like, as that is the main theme of the rooftop. Sometimes I ask for sketches, sometimes not; it depends on the artist.

There’s a surprising variety of surfaces available for artists to paint on. Did you purposely bring in these different elements?

Yes, I added those myself to the rooftop, so there would be different options of textures and surfaces for artists to experiment on.

What’s your main goal with Azotea Mujam

To create the new generation of Mexican street artists, of both men and women. I see the rooftop as a place where seeds are planted for the future.

The space and the building itself are very interesting. Can you tell us more about its history? How it was acquired? And what have you and your family done with it since acquiring it?

MUJAM’s building was one of the most important buildings for Japanese migrants back in the mid 1900s. Many of them arrived to Mexico City with just a suitcase in hand. My father and grandfather built this building for that Japanese community to have a starting point. After that, my grandfather had the idea of importing Japanese toys; that became his business.  And it, eventually, became the building housing my father’s toy collection.

When I was up on the roof, one of the neighbors was doing laundry. So the roof is still used for practical purposes! How do these folks respond to artists painting here and sharing their work with visitors?

They love it! It was somewhat abandoned before. The artists gave it a new life. I receive many requests to host commercial events there: photo shoots, video shoots, branding events, launches… Perrier even offered to rent out the space. I always turn them down out of respect for our neighbors. I’ve only lent it to very small organizations who are themselves just starting off. I want to keep it pure.

Who are some of the other artists who have painted on the rooftop?

Poni, Paola Delfin, Atentamente una Fresa, Birdy Kids, Alaniz, Los Dos, Alegria del Prado, Gangsby, Daniel Buchsbaum, Spencer Keeton Cunningham, Nabs D, Mr. Lemonade

Have you anyone special on your wish list to paint here? 

I would love to collaborate with Os Gemeos. I like their social and political works.

The rooftop is not open to the public. How do you get people to visit it?

I don’t really try to. I want to keep it like a speakeasy. People will find it if they come into the museum and mention they like street art. We will guide them upstairs and open the door to the rooftop. Just like we did for you!

Can you tell us a bit about this neighborhood – Colonia Doctores?

Back in the 30’s and 40’s – when my grandparents moved here – it was the city’s most flourishing, residential area. With buildings designed by a French urban planner, all of the streets were named for doctors. I consider it the city’s most important district  because the government’s offices are located here. Anyone who wants to register their newborns or report a death must visit Doctores. It is home to: the biggest morgue of the city, the biggest police precinct and the first public hospital, along with the first running water. The first residential zone created by the government, there are three metro lines cutting across it. In the 1980s-90s, people started leaving. But they are coming back now! Doctores is projected to grow in the next ten years, as it is right next to the Roma neighborhood, which is now booming. The cycle of the district is very interesting.

Images

1 Alegria del Prado

2 Senkoe

Scarlett Bailey

Los Dos & Azer

Los Dos

6 Paola Delfin

7 Vale Stencil

Photos and interview by Houda Lazrak

Note: Hailed in a range of media from WideWalls to the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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When Don Rimx began painting his portrait of Nuyorican poet Jesús “Tato” Laviera last month, I had the opportunity to speak to the poet’s sister, Ruth Sanchez Laviera. “Don Rimx represents my spirit and my brother’s spirit,” she said. “As soon as I met him, I knew he was the one to paint a mural honoring my brother.” And last Saturday, Oct. 28th, after the mural was officially unveiled at Taino Towers and 123rd Street was renamed for Jesús “Tato” Laviera, I posed a few questions to Rimx:

Your mural depicting Jesús “Tato” Laviera is wonderful. When were you first offered the opportunity to paint his portrait?

I was contacted about a year ago.

Can you tell us a bit about your process? What steps did you take to make this happen?

I began by reading or watching every interview I could find that had been conducted with Jesús “Tato” Laviera. I spent time at Hunter College’s Centro: The Center for Puerto Rican Studies reading Jesús “Tato” Laviera‘s poetry and whatever literature and criticism I could find by him and about him. I came to understand and appreciate just how important a voice he was in the Nuyorican movement. I even had the opportunity to  live in the same apartment in Taino Towers that Jesús “Tato” Laviera lived in and to speak to many folks who knew him.

How about the painting itself? How long did it take you?

I worked 12 hours a day for five days.

And the mural unveiling, along with the renaming of this corner? What was the experience like for you?

It was wonderful! I feel so blessed to have experienced it all. Among the speakers were City Council Speaker Melissa Mark-Viverito and Maria Cruz, executive director of Taino Towers. There was also a poetry reading, along with reminiscences by family and friends.

Congratulations!  We are so happy that this opportunity came your way. It’s great to have your vision and talents shared with us — once again — here in NYC.

Photos: 1 & 2 Lois Stavsky; 3 & 4 courtesy of the artist; featured in the third photo are: Ruth Sanchez Laviera to the left of  Don Rimx and Council Speaker Melissa Mark-Viverito to his right

Note: Hailed in a range of media from WideWalls to the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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Few artists capture the soulful grit of NYC as strikingly as Fernando Romero aka Ski and Mike Baca aka 2Esae, collectively known as UR New York. Their most recent exhibit, A New York Story — a captivating ode to NYC — has graced the walls of Pop International Galleries since early October.  Pictured above is a work of mixed media on canvas simply titled URNY. What follows are several more artworks that will remain on view through mid-week.

Day Dreaming, Mixed media on canvas

Backstreet, Mixed media on wood panel

Don’t Kill My Vibe, Mixed media on canvas

La Bodega, Mixed media on wood panel

Already Read, Mixed media on wood panel

Pop International Galleries is located at 195 Bowery at Spring Street and is open Mon-Sat 10-7 | Sun 11-6 and by appointment. Opening this coming Saturday night at 7pm is a two-man show featuring Sen2 and Reso. To attend the opening reception, RSVP at rsvp@popinternational.com .

Photos of artworks: 1 – 3, 4 & 6 Lois Stavsky; 5 courtesy of Pop International Galleries

Note: Hailed in a range of media from WideWalls to the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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Inspired by the MISSOKO BWITI tradition from the MASSANGO and PUNU tribe he joined when in Africa, the wonderfully imaginative West Coast-based Chor Boogie has recently completed a massive mural in Salem, MA. Commissioned by the Punto Urban Art Museum, the intriguing  artwork, entitled LOVE CHILD, celebrates the gift of life. The artist describes it as “An Offering of Visual Medicine for the SOUL,” as the LOVE CHILD’s arms are open and ready to embrace you.

Closer up

Chor Boogie with his mural

And in progress

Images courtesy of the artist

Note: Hailed in a range of media from WideWalls to the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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Montreal boasts a wide array of intriguing murals by both local and international artists. The mural pictured above was painted by Julien Malland aka Seth Globepainter for an ongoing mural project organized by MU, whose mission is to transform Montreal into an “open air gallery.” What follows are several more murals we came upon on our recent visit to Montreal:

Tel Aviv-based  Dede Bandaid and Nitzan Mintz — who are currently here in NYC

Montreal-based French artist SBuONe for Montreal’s 2017 Mural Festival

Montreal-based Kevin Ledo does Leonard Cohen for Montreal’s 2017 Mural Festival, close-up

Hamburg-based 1010 forMontreal’s 2017 Mural Festival

Photo credit: 1, 2 & 5 Tara Murray; 3 & 4 Lois Stavsky

Note: Hailed in a range of media from WideWalls to the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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Presented by RexRomae Gallery and curated by Street Art News founder Rom Levy, Martin Whatson‘s solo exhibit Revive opened last Friday, September 29th, in Santa Monica. Featured in Revive are paintings, prints and sculptures representative of the Norwegian artist’s vibrant graphic imagery fashioned in juxtaposition to his greyscaled stenciled art and staid backgrounds. Pictured above is Whatson‘s recreation of  Salvador Dali’s Figure at the Window — forged with acrylic, spray paint and marker — that originally surfaced on the streets of Norway in 2015 during the Nuart Street Art Festival.  What follows are several more images of artworks on exhibit in Revive:

“Behind the Curtain” — which made an appearance in Miami in 2015 as a large scale mural

“Framed” — originally conceived in 2013  for the Sand, Sea and Spray Festival in Blackpool, UK. 

The artist’s famed butterfly as sculpture

Martin Whatson‘s iconic astronauts — with butterflies fluttering on their fingertips

The celebrated Martin Whatson with his brightly graffitied rhino

The exhibit continues through this weekend at 328 Santa Monica Blvd. in Los Angeles.

Contents for this post provided by Luna George; photos by Angela Izzo

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The following guest post is by Houda Lazrak

While in Mexico City shortly before the devastating earthquake, Roberto ShimizuCreative Director of The Antique Toy Museum of Mexico (MUJAM) and co-organizer of Mexico City’s street art festival All City Canvas, introduced me to over a dozen murals — mainly in the neighborhoods of Roma Norte, Doctores and downtown. Featured above is by Mexico City – based Curiot who — upon returning to Mexico City after living in the US —  painted a center for youth who struggle with difficulties within the traditional school system. What follows is a sampling of several more murals, organized by Roberto Shimizu, that I saw:

Arty & Chikle, the first gay street art couple to come out in Mexico City

Valencia-based Escif — at the Plaza de las Tres Culturas, where the Tlatelolco massacre occurred on October 2, 1968. Students met in this plaza for a peaceful demonstration and reportedly hundreds of them were shot and killed when the military opened fired on them. The image depicts former Interior Secretary Luis Echeverría requesting President Gustavo Díaz Ordaz to order the shooting. Decades later, Echeverría was put on trial for the massacre.

UK-based D*Face

Mexico City-based Edgar Flores aka Saner

Mexico City-based Hilda Palafox aka Poni

LA-based El Mac on his mural: The image I painted is based on photos I took of a social activist and poet named María Guardado, who was tortured and left for dead in 1980 by government forces during the civil war in El Salvador. She was one of thousands of civilian victims of that war, during which the US-backed Salvadoran government employed death squads to kill and terrorize everyone from poor farmers to nuns to students. Maria survived and fled the country for Los Angeles, where today she is still a passionate fighter for social justice.

All photos by Houda Lazrak

Note: Hailed in a range of media from WideWalls to the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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Presented by New Design High School and Mass Appeal, Rooftop Legends continues to transform the rooftop of the former Seward Park High School into a first-rate open-air gallery. The mural featured above was painted by the legendary Claw Money. The following photos were captured at last Sunday’s celebration of urban art culture and community curated by New Design High School Dean Jesse Pais:

Greg Lamarche aka SP.ONE 

Queen Andrea at work

Cern

Bluster One

Pure TFP at work

Cekis at work

Photo credits: 1-4 Tara Murray; 5-7 Lenny Collado

Note: Hailed in a range of media from WideWalls to the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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Deeply passionate about street art and graffiti, Green Villain has curated dozens of walls in a range of styles in Jersey City and beyond, including many in NYC.  On September 29th, the public is invited to celebrate the launch of Green Villain‘s second volume in an ongoing book series documenting various projects. Vol. II: Mural Program is a 124 page time capsule of the past four years of productions. The mural pictured above was painted in Jersey City by Victor Ving of Greetings Tour in 2015. What follows are several more images of street art and graffiti  — featured in the new book — that have surfaced in Jersey City. Specific locations of the artworks are provided in Vol. II: Mural Program.

Zimer, Jersey City, 2016

Rime, Jersey City, 2015

Dmote aka Shank, Jersey City, 2015

Clarence Rich, Jersey City, 2017

Rotterdam-based Eelco, Jersey City, 2014

Austrian artist Nychos, Jersey City, 2016

All are invited to join the Limited Edition Photo Book Launch —

Date: September 29th
Time: 6PM – 10PM
Address: 218 Central Ave, Floor 2, Jersey City
Music: Soul/Funk Vinyl Selections by Open Crates 
Catered Food and Beverages by River Horse

The following photographers contributed to Vol. II: Mural Program:  Charles A Boyce,  Vincent Marchetto, Marek Pagoda, Gregory D. Edgel, Billy Schon, Andrea Riot, Jayne Freeman and William Benzon.

Note: Hailed in a range of media from WideWalls to the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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Opening this coming Saturday, September 23, at Los Angeles’ Corey Helford Gallery is D*Face’s only U.S. solo show this year. The legendary UK-based artist — who has recently shared his talents with us New Yorkers in Downtown Manhattan with the Lisa Project NYC, at Coney Art Walls and at the Bushwick Collective — set out to resurrect romance in the contemporary era. Aptly titled Happy Never Ending, D*Face creates a family of dysfunctional characters, as he takes on such issues as illusive intimacy and conspicuous consumerism.

Regarding his new works, D*Face states: “For me this work is about the tragedy of losing someone you love. Not just in the physical sense of death but also in the metaphorical way that romance has become such an artificial thing in recent years. Courtship used to be a craft, something careful and considered; marriage was an everlasting bond of trust and commitment. Today, though, romance is comparable to a shop bought commodity – instantly attainable at the touch of a button or swipe of a screen. In a constant search for someone or something better, people treat others as if they were mere objects – infinitely attainable and instantly disposable.”

He continues: “With this new series of work I wanted to re-kindle the lost romance of a bygone era, back when, even in death, the memory of a loved one could last an eternity and a marriage went beyond just a symbolic gesture. For the show I want to construct a mini chapel where we can actually hold a real ceremony and a graveyard in which I want people to leave momentos to the people they have lost. If romance is truly dead, then I want to resurrect it for the modern age.”

By rethinking, editing and subverting imagery — such as currency, advertising and comic books — drawn from decades of materialistic consumption, D*Face transforms these now iconic motifs, figures and genres in order to gain new insight into today’s values.

Happy Never Ending‘s opening reception will be held this Saturday from 7-11pm in Gallery 1 at Corey Helford Gallery. The exhibit remains on view and is open to the public through October 21st.

Photo credit: Spraying Bricks, in-process shots from D*Face’s studio 

Note: Hailed in a range of media from WideWalls to the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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