Artist RUN just finished his piece on the walls of the Village Underground project space and has kindly sent in a few pictures which are shown below. This commission came as a bit of a surprise for the artist since the guys at VU rang him at the last minute and asked him whether he would like to fill the 6 days off advertising gap by painting the outside walls
The job took about 5 hours and depicts one of classic RUN’s feaure already seen across London streets and beyond.
Artists Blu and Ericailcane joined forces in Bologna and have produced a rather mighty mural in Bologna, Italy. Ericailcane got in charge of the animals while Blu put up the cage and other elements.
BEFORE
AFTER
“Where now? Who Now? When now?
Unquestioning. I, say I. Unbelieving. Questions, hypotheses, call them that. Keep going, going on, call that going, call that on. Can it be that one day, off it goes on, that one day I simply stayed in, in where, instead of going out, in the old way, out to spend day and night as far away as possible, it wasn’t far. Perhaps that is how it began. You think you are simply resting, the better to act when the time comes, or for no reason, and you soon find yourself powerless ever to do anything again. No matter how it happened. It, say it, not knowing what. Perhaps I simply assented at last to an old thing. But I did nothing. I seem to speak, it is not I, about me, it is not about me. These few general remarks to begin with. What am I to do, what shall I do, what should I do, in my situation, how proceed? By aporia pure and simple? Or by affirmations and negations invalidated as uttered, or sooner or later?
Generally speaking. There must be other shifts. Otherwise it would be quite hopeless. But it is quite hopeless. I should mentions before going any further, any further on, that I say aporia without knowing what it means. Can one be ephectic otherwise than unawares? I don’t know. With the yesses and the noes it is different, they will come back to me as I go along and how, like a bird, to shit on them all without exception. The fact would seem to be, if in my situation one may speak of facts, not only that I shall have to speak of things of which I cannot speak, but also, which is even more interesting, but also that I, which is if possible even more interesting, that I shall have to, I forget, no matter. And at the same time I am obliged to speak. I shall never be silent. Never.”
Opening paragraph to The Unnamable by Samuel Beckett
Contemporary philosopher Alain Badiou asks if we can name a truth, anticipating and forcing into knowledge all the elements contained in that truth, risking a totality of knowledge related to it; a problem, for example, in politics where this turns to totalitarianism. He says, “The construction of a truth is made by a choice within the indiscernible…But the potency of a truth depends on the hypothetical forcing…The problem is to know whether such a potency of anticipation [hypothetical forcing] is total…My answer is there is always, in any situation, a real point that resists this potency.
I call this point the unnameable of the situation. It is what, within the situation, never has a name in the eyes of truth. A term that consequently remains unforceable. This term fixes the limit of the potency of a truth. The unnambeable is what is excluded from having a proper name, and what is alone in such exclusion. The unnameable is then the proper of the proper, so singular in its singularity that it does not even tolerate having a proper name. The unnameable is the point where the situation in its most intimate being is submitted to thought; in the pure presence that no knowledge can circumscribe. The unnameable is something like the inexpressible real of everything a truth authorizes to be said.”
Alain Badiou from Infinite Thought
The unnameable is something I have personal experience with. The secret and the truth. I’ve held both of these things, safeguarding, I thought, others and myself. Both secret and truth can be destructive if kept silent. But it has been my experience that once spoken, the unnameable is an agent of transformation; it comes in facing what’s real.
Read more of my interview, When Context Takes The Game, conducted by Becky Huff Hunter for This ‘Me’ of Mine.
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Beckett, Samuel, Three Novels Molloy, Malone Dies, The Unnamable, Grove Press, New York, The Unnamable, originally published under the title L’Innommable, copyright © 1953 by Les Editions de Minuit. Translation copyright © 1958 by the Estate of Samuel Beckett, pp. 285-6.
Badiou, Alain, Infinite Thought, Continuum International Publishing Group, London, New York. Trans and ed by Oliver Feltham and Justin Clemens, 2005 – 2011. “Philosophy and Truth”, pp. 43 to 51, originally titled “The ethic of truths: construction and potency” quote p.49.
I always expect to see new stuff painted on the walls of Great Eastern street, this street would be probably top of the chart of creativity in London.On my way to Signal gallery to see the new Baldwin show, I had the camera in one hand and the eyes looking around. Continue reading Art on the wall – Great eastern street (London)
Part of our 3 street art works series you should see today. Mike Makatron, Quinta and Peeta.
Mike Makatron – located on Byron Bay (Australia)
Quintal – located in Lisboa (Portugal)
Peeta – located in Podova (Italy)
We have been following the rise of Carne Griffiths, an artist painting with unusual mediums such as tea, who has become an established and respected figure in the art world.
‘Momentary’, his biggest solo show to date, he told us, is opening today to the grand public so we met the artist and asked a few questions –
Art-Pie – 1. Can you tell your readers about yourself in a few words?
Carne Griffiths – I’m a painter with a passion for drawing and nature, my background is as an embroidery designer, and I have a fascination with outsider art and with the unconscious process of Automatic Drawing.
A-P – 2. Can you tell us about your creative process and where does your inspiration come from?
C G – My creative process is fuelled by energy – I like the spontaneity of painting also, watching what the materials do themselves on the page, how inks mix when left undisturbed… then from this chaos I like to manipulate the image – normally using fountain pens and calligraphy ink, I add fine detail, cross hatching and flowing lines to balance the composition. I like the combination of control and freedom, and the way the two elements combine in a drawing.
A-P – You are using interesting and unusual material, such as tea, to paint. What else do you use and how did you come about including these in your creative process?
C G – I generally use materials that give an unexpected or unknown effect – painting is intuitive, the tiny movements made when creating a piece of work are often impulsive for me rather than calculated – and this for me is the magic within the work.
A-P – “Momentary” at Lilford gallery is your next upcoming solo show. Without giving too much away, what can we expect from you in this show?
C G – Yes the momentary exhibition opens tomorrow – It is the largest collection of works to date, Lilford is a large gallery and I wanted to do justice to the space, the show is a response to the speed we are living our lives, the concept behind it being simply slowing down and taking time to look.. I have introduced new aspects to the work to reinforce this concept, a virtual reality drawing that you can walk through, and a mix in collaboration with Fluidnation’s Ben Mynott whose music influenced the work created and who in turn created a 3 hour mix as a backdrop to the exhibition.
A-P – 5. Any other business you want to tell us about?
C G – I will be about during the exhibition adding to the Virtual Reality drawing and also creating work on the black wall that has been prepared for the installation, the show runs until the 21st of August and being the first solo collection of work for 2 years I’m a little apprehensive and excited to show it.
Inspired by nature’s expansive colour palette these new works present a vivid alternate reality.
We only included a picture of one of his numerous and fantastic new pieces (see above) and we encourage you to get yourself down to the gallery, you will not get disappointed.
Although we did not include pictures for other works, Carne tells about below and we believe that after reading about it, you will feel the urge to go and check out the show – we certainly are…
‘Let’s stop time‘
invites the viewer to slow down and take time to reflect on the beauty within their surroundings, a chaotic solitary moment becomes a place for meditation.
‘Eternity‘
captures the beauty and chaos of a single brush stroke within which an alternate reality is revealed like a dream or a momentary glimpse into the life of a stranger all in a single moment.
In’Perfectly Still‘, the ‘Hourglass‘ and ‘Elevation‘
time is brought to a standstill and the beauty of nature among chaos is evident, all three works begin as an abstract composition, embracing chaos and the freedom of single strokes of paint, accidents and chaos in which we seek to find order. Rising from this chaos we find beautiful accidents of nature or creation depending on our beliefs and ideologies, it seems almost irrelevant how they occur.. what is common is the beauty in infinite detail.
The show opens today to the public. The gallery is open 7 days a week so you can pop in and see the works whenever is convenient for you!
Lilford gallery, 8 The Old High Street, Folkestone, Kent CT201RL
We were thrilled to receive James’ submission for our upcoming edition of The Creative Bubble, a multi-discipline pop up event atRoxy Bar and Screen, London. James has been following us for a while and we are delighted to give him the opportunity to showcase his work.
We asked a few questions to the man about himself and his art –
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Art-Pie – Can you tell our readers about yourself in a few words?
James Kinsella – I am Visual Artist, practicing and living in Vienna, Austria. I received my M.A. in Visual Arts Practices from IADT Dun Laoghaire, Dublin.
I have an ongoing work The Socialmaterialbank project, it is an art platform that identifies and maps critical issues that are of immediate concern to our global community. We present the public with questions on these issues and invite the participants to share their responses on the Socialmaterialbank. We collect and document the participant’s responses and collective instructions, on our platform – the Socialmaterialbank. Website at www.jamespkinsella.org
Through painting and screen-printing I explore how we build and perceive our concept of home by ‘investigating’ my subconscious and unconscious records and views of Vienna!
Art-Pie – Can you tell us about your creative process and where does your inspiration come from?
James Kinsella – I believe that through art we can engage with local communities and through participation, commoning and consensus arrive at and create a better and more sustainable world. I paint, draw, photograph and create instillations and I have a social practice (Participatory) where I use my varied art skills to engage with local people at festivals, events and galleries here in Vienna.
Art-Pie – Give us the name of three artists you admire or like?
James Kinsella – I really like all artists as they dedicate so much of their energy to the arts. But as I presently live in Vienna, here I admire Egon Scheele, Gustav Klimt and Viennese Actionism – Brus, Mühl, Nitsch and Schwarzkogler.UK artists, Tracey Emin, David Hockney and Lucian Freud
Art-Pie – Street art is something we like at Art-Pie, what is your take on that form of art?
James Kinsella – Street art has always engaged and impressed me, it occupies public space and is an ancient effective, low cost, un-censored way of communication with the public. To me it’s sort of a democratic way of claiming public space and questioning the statuesque. My wife is a Roman Archaeologist and I had the privilege to attend a lecture by an American Lecturer, that included text on Roman graffiti and street art – it was amazing, shocking, surprising and beautiful lots of sex and erotica. I really admire Art- Pie for their consistent exposure, support and promotion of Graffiti artists, please keep it going as support is needed.
Art-Pie – Are there any other projects or shows that you will be involved with for the rest of 2015 that you want share with us?
James Kinsella – I post my up and coming shows on my website: www.jamespkinsella.org I am organising a number of shows presently but no fixed dates at the moment.
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WHAT – The Creative Bubble, POP UP Art Gallery, Spoken Word, Poetry, Short Films, Music & Networking
WHERE – Roxy Bar and Screen, 128-132 Borough High Street, London SE1 1LB
WHEN – Wed 29/4/2015 (POP UP art gallery opening night) / Thursd 30 (Spoken word)
Another great set of Spanish street art, another great collaboration between artists: Sabek | Dingo | E1000 | Winsor | Shibe | Ciril | Astro Naut
This is it. Last stretch before the start of The Other art fair and the display of delightful artworks as usual. We are also looking forward to see our friends at Jester Jacques gallery who will hold their fort in the bar area – nice.
True to themselves and always believing and supporting of the emerging art scene, Jester Jacques gallery will most certainly please use with a pertinent selection of artists for the fair. Artwork from Rob Bellman, Chris Daniels, Super Future Kid, Steven Quinn and Nicholas Goodden will be showcased.
We have included below our favorite artwork for each artists and hope to see you at the fair.
Nicholas Gooden
Super Future Kid (left) | Chris Daniels
Steven Quinn (left) | Rob bellman
We could not help but snapping away the multitude Faile tags we came across during our last trip to Dublin.
