Futurism 2.0 Blackall Studios

Odwiedziłem dzisiaj wystawę Futurism 2.0 w Blackall Studios. Ciekawe płótna i nie tylko. Nowi futuryści to Augustine Kofie, Phil Ashcroft, Boris Tellegen (Delta), James Choules (sheOne), Matt W. Moore, Mark Lyken, Sat One, Christopher Derek Bruno, Moneyless, Mr Jago, Nawer, O. Two, Morten Andersen, Keith Hopewell(Part2ism), Jaybo Monk, Poesia, Derm, Jerry Inscoe (Joker), Remi/Rough, Divine Styler and Clemens Behr. Polskę dumnie reprezntuje Nawer. I visited today very interesting exhibition Futurism 2.0 in Blackall Studios. Nice canvases and more. New futurists are: Augustine Kofie, Phil Ashcroft, Boris Tellegen (Delta), James Choules (sheOne), Matt W. Moore, Mark Lyken, Sat One, Christopher Derek Bruno, Moneyless, Mr Jago, Nawer, O. Two, Morten Andersen, Keith Hopewell(Part2ism), Jaybo Monk, Poesia, Derm, Jerry Inscoe (Joker), Remi/Rough, Divine Styler and Clemens Behr.

We stand on the last promontory of the centuries! Why should we look back, when what we want is to break down the mysterious doors of the Impossible? Time and Space died yesterday. We already live in the absolute, because we have created eternal, omnipresent speed. – Marinetti, Futurist Manifesto, 1909.

SYMMETRY ACROSS CENTURIES

In 1912, just three years after the manifesto was published, the Futurists exhibited in London for the first time. A hundred years later on September 27th, 2012, just three years after the creation of Graffuturism.com, the Graffuturists will exhibit for the first time in London at Blackall Studios.

THE IDEALS OF DYNAMISM AND PROGRESSION

At the core of both movements are the parallel ideals of “dynamism” and “progression.” Both of these keywords conjure a sense of action, motion and movement, wavering disturbances of change pulsing forward, like an electrocardiogram, along a historical continuum into the future. Marinetti extolled the virtues of a dynamic art form that was alive and motivated; Poesia, the founder of Graffuturism.com, has stated that the word Graffuturism was inspired by the desire to articulate a progressive impetus for graffiti.

URBAN, ONLINE, GLOBAL

Uplifting arms together in spirit, both these movements revel in the urban environment as a petri dish for the advancements and inventions of their age. Just as Futurism embraced the Industrial Age and its recently mechanized urban centers, Graffuturism embraces the Digital Age and its recently wired urban-global community. For the Futurists, the ideals of dynamism were expressed in images of their century’s new inventions, such as the motor car, the steam engine, the airplane, the telephone; whereas for the Graffuturists, the icons of salvation are the subway car, electric/ diesel freight trains, markers, spray paint, rollers, fire extinguishers, and so on. A different set of symbols for this century, but still imbued with the same impetus.

GRAFFITI, PAINTING AND ABSTRACTION

Because of the global composition of the group, the Graffuturists consist of disparate backgrounds, professions, and locations. They create in different styles, but their unifying theme is abstraction, their medium is painting, and their influence is graffiti. In their work on the streets and on canvas, these painters aspire to a high level of proficiency at their craft, which creates a visual poetry of depth and complexity. The Graffuturists could be classified as a High Style New Millennium Painting movement, consisting of a long dialectic and cross-pollination between advanced graffiti and fine art painting techniques.

Wildstyle Graffiti is combined with Abstract Expressionism or Geometric Abstraction, then transposed through the artist’s unique vision into a personal vocabulary of hybrid techniques, an experimental mix of the high and low, the intellectual and visceral, the visionary and the primitive. Whereas the Street Art movement of the mid-2000s tended to focus on collaged and wheat-pasted illustrations and figurative stencils, this group of artists focuses on the act of Painting, whether on the street or off, whether with spray paint or oils, with a fat cap or a sable brush.

Just as Be-bop developed from jazz, Raw Magazine from Superman comics, and Wildstyle from Original Writing, Graffuturism progresses from graffiti, and then takes up the oily-rag torch to ignite the future.

Daniel Feral (Pantheon Projects / 12oz Prophet)

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

%d bloggers like this: