The stunning piece by D*Face chosen for this issue cover and soon to be exhibited at the Urvanity fair of Madrid very well sums up our state of mind at the beginning of 2018. What is it about? Awareness about the mess of the world yet with biting irony. A sort of militant aesthetic of desperation. For this new issue, we decided to go back in the street. With Bahia Shehab, a witness and player of the Egyptian revolution through the means of activist stencils. With Ian Strange and his sunk constructions: hopefully a prelude to awakening the political consciousness of the American suburbs. With Cranio and his “noble savages” who have a good laugh exploring the consumerist colonization of South America. With Kashink and her blurring of genders. And then, paradoxically, with an interview of Felipe Pantone, who shows us a future of speed and electricity through the twisting around of images drawn from old CPTs. There will also be a hint of nostalgia with Maxime Drouet who embarks us on his pretty “vandalized” trains or JonOne properly museified. We will conclude with a note on an infomercial dedicated to Richard Orlinski, a man we so deeply admire for so many reasons too
long to explain. Worry and irony. Happy new year to all of you.

From the letter to the spirit of Street Art
Urban Art has landed on its feet. Festivals, murals, and solo shows are back on! But what purpose is Urban Art pursuing now?
Spirit of Street Art, are you here?
Through the letters, scattered words, and biting sentences they disseminate on the walls of our towns, urban artists shout political and poetical statements using sometimes sophisticated, sometimes brute designs that all seem to emphasise the importance of conveying a message. In this issue, we add our contribution to the endless debate about form and content, meaning and aestheticism, especially through the The City Spelled Out focus and the NEON inaugural exhibition in Athens, which shed light on the lettering works that increasingly shape our urban life in times of doubt.
Then, we will leave Athens for London, where the public space (walls, passageways, subways, etc.) has become a land of conquest and ephemeral artistic and political expression with various cultural influences. In order to last, murals are becoming institutionalised and transforming the city.
A bit like what Napoleon Bonaparte did. This issue will also explore the possible parallels between the French Emperor and the Street Art movement on the occasion of the masterful appropriations of Jacques- Louis David’s Napoleon Crossing the Alps by Banksy and Tristan Eaton.
There are, though, many other sources of inspiration and regeneration that fuel Street Art: WiseTwo draws from local traditions, and Francisco Bosoletti from romanticism and Renaissance art, while Swoon resurrects the ghosts of her past and ventures into the realm of new media. Peeta likes to trick our visual perception using geometry, while DEIH and Brusk build fantastic worlds that follow their own self-generated rules.
Spirit of Street Art, you are here!

Your summer in the shadesof spray bombs
We announced a summer of Street Art, and we have kept our promise!
Let’s travel around Europe to celebrate! Our first stop will be in Madrid to immerse ourselves in its vibrant art scene, a real place of encounter and a crossroads of graffiti and street artists from all walks of life. Madrid is constantly transforming beneath their spray bombs, from open-air museums to more or less official underground spots.
Thirsty for more? Then let’s head to Ostend, Belgium, and moor at The Crystal Ship. Reopening this summer after being closed last year due to the pandemic, the festival has reshaped this coastal town into a hot Street Art destination.
After that, we will drive three hours over to Amsterdam to check out the STRAAT: graffiti heaven on the outside, a Street Art museum on the inside.
Still hungry for more? Then let’s dive into the world of NFTs – a new Eldorado for some, yet a mire for others. Is Street Art undergoing its digital mutation? Undoubtedly! But to go back to the basics, we will take a look at how Street Art is a poster child.
Watch out for the 2021 edition of the Urban Contemporary Art Guide to be released mid-October! Those in a hurry can already pre-order it from our online shop shop.graffitiartmagazine.com and our crowdfunding campaign https://kkbb.graffitiartmagazine.com
Multifaceted, multicultural… Street Art keeps conquering new territories!

Masks off! The new Street Art season is on!
Like a good vintage wine, the 2021 batch of urban art has been eagerly awaited. Artists are back on walls, galleries are reopening, urban art fairs are on, and fans are flocking to festivals.
To guide you through this year’s cuvée of urban art, it seemed only natural to compile an overview of the best destinations for Street Art in all its diversity: some names will sound familiar, and others will be heard for the first time. This issue will look at around fifteen urban art festivals and events throughout France and Europe, permanent and ephemeral Street Art spots (such as Spot13 and Transition Abbeville) as well as other initiatives.
Let’s not forget that the Street Art scene is international and grows from the encounters between artists from various cultural backgrounds with diverse sensitivities and techniques. In that regard, New Delhi represents a perfect blend of solo and collaborative works, local artists and big international names. And the result is unique.
Equally unique is KAWS’s success story. Art or marketing? We will ask the question while also questioning its relevance.
This issue also pays tribute to the fathers of urban art. Jacques Villeglé, the 95-year-old inventor of ‘lacerated posters’, considered a pioneer of Street Art, will share some highlights of his life with us, looking back over his artistic career of more than 70 years.
We invite you to dive into Hereditas, Gonzalo Borondo’s immersive exhibition at the Museum of Contemporary Art of Segovia; Wild Drawing’s anamorphic works, and the surrealist creations of Claudio Ethos. And finally, we will embark on a journey through the bubbly world of Bouda, and the brightly-coloured planet of Dulk and his fantastic beasts.
This summer, Street Art is going wild!

Fingers crossed…
Cultural spaces, festivals, urban art fairs and galleries are slowly reopening… These new convivial moments could make us forget our isolation. Street artists and their fans are reuniting in the shadow of new murals. The scent of spray cans and paint smells like unabashed Street Art.
Oh, freedom! Oh, long-awaited insouciance!
After such a strange year, we are craving frivolity… In this issue, we explore the close relationship between Street Art and comic books, plus the ingredients that make both so addictive.
We are craving new horizons, too, so we will take you to the Street Art scene of Montreal to tell you all about the districts and murals you should check out… But travelling long-distance to paint or see murals is likely to remain problematic for a while, with street artists and their fans having to stick to their local scenes. This is why we are highlighting two destinations that are easy to access (for those of you in France!): the Street Art Fest Grenoble-Alpes (FR) featuring 200 murals and the Street Art City of Lurcy-Lévis in the Allier department (FR), where more than one hundred artists have taken over a former training center.
We thought we could also travel through the various perceptions of reality developed by the artists featured in this issue. While Nychos observes and dissects living things with surgical precision, Leon Keer likes to confuse us and play with our senses, turning drawings into objects… Lor-K turns the waste of our societies into street artworks, while Mateo develops a similar transformative approach that questions our cultural identities. As for BK Foxx, she captures moments, sparks emotions and changes mere walls into snapshots of daily life that make our smartphones green with envy. In yet another style, Mikael B has forged his own abstract language, inviting the audience into his imaginary world.
What if we look at the world through the lens of Street Art? 


Flowers of Street Art

We are still longing today for the reopening of cultural places, festivals, and more generally, the return of our freedom of movement… But street artists have not lost their freedom of expression nor action. Let’s call for a spring of Street Art!
Let spring be the occasion to go back to the origins of graffiti and Street Art, the invention of spray paint, the spark that democratised creation and allowed artists to leave their studios to conquer cities, factories and… our hearts.
Even the ancient city of Rome has succumbed to the benevolent onslaught of street artists. Many districts are now filled with murals, standing alongside the masterpieces of antiquity and the Renaissance. Rome and the Renaissance have always been a source of inspiration to street artists, something which PBOY and his Underground Sistine Chapel on the outskirts of Paris reminds us of.
...
Street Art conveys messages of hope and emotions about the world around us, about the flaws of our societies and our environment. This issue will bring you the poetic works of Pejac, who “starts with small things to ask big questions”; the figurative portraits of Hopare, who beautifies the delicate faces of his female models; the florid abstractions of Toxic, a pioneer, passionate, and historian of graffiti; the stencils of BYC, who observes and captures the evils and drifts of our society; the playful and colourful bricks growing in the cracks of our city walls of Jan Vormann; and finally, the bestiary of the Nevercrew duo, which awakens our environmental consciousness…
May spring bring Street Art!

Street Art will never die
Here we are, still waiting for the world after… The Street Art scene does not totally sit still, but it has not fully woken up either, constantly threatened as it is by COVID-19. We can only hope that our collective and individual desires will fill the upcoming months with joy, serenity, and predictability. May 2021 be a succession of festivals, murals, art fairs, and openings!
While we wait for better days, it is time to go back to the roots of Street Art and graffiti in the New York subway of the 1970s, with Keith Haring, Dondi, Futura 2000, Phase 2, and co. The fashion of the 1970s is gone but the creativity it spurted very much endures in all its forms: concept, figuration, activism, territorial appropriation, etc.
After New York and its subway, we will take you through the many districts of Marseille as well as its culturally diverse Street Art scene where creativity never sleeps. You will get to discover the Panier district, the Friche and so many other spots that taste of the Mediterranean Sea.
Street Art has not had its last word! Madrid will be wearing new murals for the 2021 edition of Urvanity Art. The Musée en Herbe is fighting to maintain its beautiful programming of exhibitions to an audience of young and old. A tenaciousness that has its downside, too. Faced with #Mariannepleure (#Marianneweeps), many of us wonder why someone covered Shepard Fairey’s emblematic piece: artistic detournement, political statement or mere self-promotion? The truth probably lies somewhere in between.
...
To conclude, Ben Frost’s odd and daring work will reunite us with the joyful characters that populated our childhood comic books and make us reconsider our relationship with pills.
What if Street Art was the cure?

Perspectives on Street Art |
What are the perspectives for Street Art? Let’s put on the rose-coloured glasses and imagine a brighter future, without forgetting the rough time many of us are going through. As we stated in the last issue, Street Art, like the phoenix, rises from the ashes.
Sometimes, perspective is simply a matter of viewpoint, just like a virus can also be a good thing with urban and viral invasions of the type Invader was here. Or maybe of visual impressions, like the illusionist artists who play with our senses and give rise to immersive murals with strokes of paint and genius. KATRE’s lines boldly remind us that you should not believe everything you see. Looking for new perspectives, we will have a joyful swim in the Molitor pool, where Tarzan’s feats paved the way for generations of street artists: an underground version of Street Art followed by a more official one. One place, several perspectives.

While we wait for the full reopening of the Molitor, let us take you to the rich and vibrant South African Street Art scene with a trip to Cape Town (ZA). A vitality that draws on a cultural melting pot as well as local wildlife, an inexhaustible source of inspiration. ROA, too, draws on wildlife, and on local fauna in particular, to catch our eye wherever he goes.
We will continue our journey with a stop in the world of Gabriel Moreno, which gathers in a refined style, femininity, overconsumption and violence; before moving on to the original universe of LADY AIKO; and Joram Roukes’s exceptional accumulations and collages. And last but not least, we will follow the tracks of urban archaeologist Vhils and discover new faces marked by hardship.

The entire team of GraffitiART wish you Happy Holidays and may the New Year 2021 be full of revival.
Take care. Stay safe.

Street Art rising like a phoenix
EDITO #52 | October-November 2020

Will Street Art be any different in the world of tomorrow? To  answer that question, we had     to go back to its roots and origins. Street Art is adapting, evolving, vanishing, transforming, innovating… Some could speak of creative destruction.

The quest for the roots…
To investigate this topic, we met New York graffiti pioneers and dug into the archives of the Berlin Wall. But individuals and places were not enough… In our quest, we wanted to understand the role of crews in the spread and growth of Street Art. We travelled to Tokyo to discover its local scene and talked with artists all over the world: Futura 2000 and Cope2 (United States), Rero (France-Brazil), Spyk (Belgium), Lisa King (Australia). We also bluntly asked the thorny question of the role of money in Street Art.

…and sources of youth
Street Art regenerates, as shown by the recent performance of the Toulouse-based artist James Colomina under the Pont Marie in Paris, or the first edition of Grimaud Art Urbain, a festival that brought Street Art to a historical Provençal village. But maybe it is just the natural process of a movement in permanent rebirth. Social and political battles as well as canons of beauty evolve over time. Street Art is ephemeral… It is wiped out and then rises from its ashes… Long live Street Art!

Welcome Spray Bud!
Today, a newcomer in the world of GraffitiART, Spray Bud, is joining us. Let’s build a Spray Bud World together and share Spray Bud Adventures! www.spray-bud.com.

Street Art in the world of tomorrow
EDITO #51 | August-September 2020

Everywhere around the world, the spread of murals and Street Art festivals is rebooting our creativity and warming our hearts during this tough period.

From potitical performances… 
Now that social issues are hot topics on the world’s agenda, occupying the public space has become a strong militant act, even a political statement, as illustrated by the BLM slogan that has spread through the streets of America. We will share our thoughts on this crucial yet complex matter in the article ‘Is Street Art always political’?

… to aesthetic works
From Belgrade to the district of Little Italy in New York, we will show you works driven by militant ideas or governed by pure aestheticism. We will look into the origin of Land Art and explore its affinities with Urban Art. Here again, the double quest for beauty and meaning is everywhere.
Back in the heart of cities, we will take you on the crusades and fights of Tristan Eaton and COMBO Culture Kidnapper. However, the ‘chaos’ of society will be balanced by Telmo Miel’s aesthetics and Imon Boy’s profound ingenuousness. Looking for direction, the geometric shapes and colours of Alberonero and Jeroen Erosie will provide us with a stable anchor. All these proposals, struggles and oppositions contribute to building the world of tomorrow.

2020 Edition of the Urban Contemporary Art Guide on its way
If you are as impatient to discover the 2020 Edition of the Urban Contemporary Art Guide in newsstands as we are, as well as the artists who made up the Street Art scene of 2020, you can pre-order the Guide or show your support by contributing to our KissKissBankBank campaign. A new team is in charge! And there are new KKBB premiums.

Street Art is beautiful!
Together, we will get through this crisis... We are all eager to get back to normality in our workshops, our galleries, our festivals, our creations... The recent tumults have created new impulses of solidarity and creativity. And if we had been able to avoid this, many of the works seem premonitory a posteriori. Like Cassandra, many artists have been shouting themselves hoarse without their messages being understood. We will explore the signals that we have ignored.
The roots of street art lie in activism and protest, in the underground and demonstration, in community spirit and hip-hop and punk cultures. A return to the connections between music and street art was necessary. Our adventures also lead us to rediscover Paris, capital of street art, from its catacombs to its monumental walls, and Wynwood with its rainbow of colours. Two destinations where street art takes on different modes of expression, but the DNAs are more convergent than some might think. The universes proposed by the 1UP Crew, the «colourist surveyors» JonOne and HoxxoH, the intimists Sainer and Henrik Uldalen and the realist Odeith give all the diversity and their nobleness to urban contemporary art.
From mid-May 2020, you can find Graffiti Art and our archives dating back to the origin on our Graffiti Art Magazine app available on AppStore and Google Play.
We dedicate this issue to all the victims of the coronavirus and to all those whose sacrifice have allowed us and allow us to get through this crisis. Thank you

¡Viva la Revolución!
For the beginning of spring, we bring you to Havana where street art mirrors society from political and partisan propaganda to a quest for new ideals (environment…) and aesthetics. We also find a vibrant atmosphere and spirit of sharing at Le Mausolée, where Lek & Sowat take us on an urbex dive into a world of enthralling geometric shapes. Street art modes of expression are being shaped and influenced by technology, now in the DNA of many such works. From 23 to 26 April, the Urban Art Fair in Paris will be the opportunity to immerse ourselves in creations through a must-see VR experience.
This issue also highlights the talented Herakut and Murmure Street duos, Logan Hicks’s experimentation and nocturnal wanders, as well as the social activism of ±MaisMenos±. The spotlight is on Hush, too, who glorifies the female – half goddess, half geisha. Our adventure then ends with a one-way trip to the poetical and colourful world of Mr. Doodle.
Your enthusiasm for the White Page Challenge and our monthly newsletter, as well as your support in relocating the printing of the magazine to the Paris region encourage us to engage more and more with our community.
Other initiatives will come. Stay tuned!

Rebuilding bridges between the roots of street art and the reality of today’s urban contemporary
art is a necessity for us. So, we have included new columns in which you will learn about the
main destinations and spots of the international street art scene. Our first stop was Israel,
where creativity is as burning as the topics artists tackle. In the same spirit, we have followed
Jace on his expedition to confront his Gouzou with the ghosts of Chernobyl. An impossible
dialogue? Maybe not.
From public space hijackings to studio creations, references and detournements of antique
and classical works abound. What if urban art could reconcile the Ancients and the Moderns?
To touch on this complex matter, we have talked to the main players in this game.
Creative wealth draws on diverse inspirations. INTI’s solar universe takes root in a cultural melting
pot filled with mythological references and grounded in profound optimism. Ray Caesar has
surrounded himself with imaginary friends born out of his childhood traumas. Stephen Powers
and Wasted Rita find their creative material more readily: in the flaws of our consumer society
for the first one, and in wild feminism for the second. Yet both share a mastery of words and a
taste for calligraphic play. As for the plastic artists Supakitch and Grems, they put aesthetics
at the centre of their new visual expressions.
Last but not least, we have reviewed our logistics to limit our CO2 emissions. Let us each
do our part.

In the troubled hours of the Brexit negotiations, earlier this October, Devolved Parliament by Banksy was sold in auction for 11.1 million euros. This work from 2009 remains particularly relevant today for it crystalizes the growing mistrust of institutions. Irony of history or premonition of an activist artist?
The disastrous collateral effects of the United Kingdom leaving the European Union also pervaded the last Moniker Art Fair. The occasion for us to speak about Artivism and go back to the origins of art in the public space: freedom, the environment, buying power…
The public space is a street art melting pot that offers endless possibilities of expression: from detournement –the signature tactic of French artists CLET and OX– to political murals –that of  Argentinian artist Hyuro–, and purely esthetic pursuits –like the “ephemerals” of Gérard Zlotykamien, a pioneer of urban art which practice dates back from the 60s. Representatives of the diversity and vibrancy of urban contemporary art, the English artist Ermsy revisits classic cartoons, while the French Seaty glorifies urban cultures and human emotions in unique visual works that speak to all of us.
A chapter is closing. The entire team of GRAFFITIART wants to thank Jean-Martial Lefranc for the work he has accomplished over the last years. Recognized by artists and galleries, today GRAFFITIART is the perfect link between creation, urban contemporary art lovers and collectors. Eager to keep our community vibrant, GRAFFITIART is launching GRAFFITIART News. You can subscribe to our newsletter on www.graffitiartmagazine.com to receive our exclusive insights!

As of this new school year, we should no longer take things seriously. This is why this new Graffiti Art issue looks into artists with a strong background in irony. We started by visiting the naïve-style house of Carrie Reichardt. This hell of a woman makes fiercely feminist wild and literal art that can only rejoice its audience. Another impressive feminine figure is the conceptual British artist Lucy Sparrow, who exposes consumption for what it is: a comfortably disgusting system.
And since supermarkets shelves are one step away from landfills sites, we stayed in the UK and followed Dan Rawlings into wastelands to discover how he hand-cuts wrecks with a blowtorch to return them to their natural state faster. Ironically still, this issue published a couple of days away from the Brexit tastes very British. But as we don’t want to show favoritism, you’ll find a lengthy
interview of Spanish artist Aryz that brings us back on to a more rigorous figuration and French artist Romain Froquet tells us about his upcoming solo show. As for the focus, it will explore the way in which Instagram is revolutionizing how urban artists manage their careers. Nowadays, it’s all about winning new followers through a constant flow of breathtaking and, preferably, cynical
images. Next autumn, we’ll have many reasons to put a mirthless smile on our face. But let us wish good luck to the people flying to London! As of Halloween, they’ll need to keep calm, or maybe just swim to other side.

The season of the final battles is heading toward a dangerous summer. On big screens, the
Avengers have managed to get rid of Thanos, the champion of Malthusianism who wanted
to eradicate half of the population on earth for the other half to survive. On small screens, the
conclusion of Gameof Thrones tastes like ashes, a bit like these giant fires we are growing used
to in a world saturated with carbon dioxide. In reality –if this concept still means something–
the main battle will happen in the United States, where democracy could die in the aftermath
of the 2020elections. How will artists react to the deliquescence and corruption pervading the
WhiteHouse, the Congress and the quiet hallways of the Supreme Court? Will Shepard Fairey once
again put his icon making talent at the service of the candidate promoting freedom and progress?
If only a charismatic candidate were to arise from the good side. Urban art is entertaining, as you
will read in the focus we dedicate to summer festivals. But beyond humor, critical distance and
derision, it might be time to find ways to raise a political awareness that will eventually express
itself in the ballot box in eighteen months on the other side of the Atlantic. The days of criticizing
the consumption society, exploring the limits of pop culture or keeping the flame of vandalism
are over, now it is time to create though-provoking images able to convince people not to place
leadership in the hand of billionaires or providential men but in those of the people themselves.

“Conquête Urbaine” (Urban Conquest), the retrospective exhibition held at the Musée des Beaux-
Arts of Calais sets the pace of this new issue. Urban art has become a safe passage to reach
a more and more attentive audience. Calais is the first European city in the Brexit line, and it is
only fair that it praises an art practice with little regard for borders, that takes hold of every matter
and challenge of today’s culture. Starting with bodies: a topic our focus on tattoo artists will
tackle. Continuing with stone, with a portrait of Does, an artist working with mineral mediums. This
issue also contains two lengthy interviews. One of Swoon, who inaugurates a solo show that will
delight the audience of the new Fluctuart space. What is Fluctuart? A barge dedicated to urban
contemporary art on the docks of the Seine, “River conquest”. Another of Mist, coming back
with his ultra dynamic abstraction: “Quantum conquest”. After making the dreadful cover of our
last issue, Bom.K is portrayed on the occasion of his Parisian show. “Historic conquest”, we will
talk about the exceptional exhibition of Basquiat in the Netherlands, while his works are breaking
auction records. “Phylogenic conquest”: a visit in Alexis Diaz’s studio will show the master of
animal hybridization at work. And to put an end to all this tiring agitation, we will end up in Spain,
where Ampparito’s quiet irony will calm us down. What should we conclude from such urban
expansion? No border of course.

Memory is the main theme of this issue. The work by Bom-K featured on the cover and presented by the Joël Knafo gallery at the Urban Art Fair, tells us that even memories deeply rooted in our global heritage end up disappearing and withering with time. From his studio, John Wentz and his silenced characters speak to us about incommunicability. Madame chooses to express herself
through maxims and new typographic forms. These retro-futuristic pieces might well evoke Jules Verne and Gustave Eiffel. What is Brad Downey trying to do? Inviting us to have another look at urban signage with a hint of humor and derision. Sebas Velasco’s work explores the play between blurriness and sharpness: the more distance you take, the more his works look sharp; and as you
get closer, they become blurrier. As if time was brushing off details and giving memories a single meaning. 2501, a special guest of this issue, confronts a refined technological esthetic to the most trivial urban daily life. He reminds us that today, all our whereabouts and endeavors are a cloud of data stored as memories within machines’ minds. Looking at men through a multifaceted-3D lens is David Mesguich’s signature style. And when we look at the superimpositions of Sismikazot, it is as if an artificial intelligence was trying to identify the relationship between two images captured on a wall and in everyday situations. Memory, network, technology. Artists probe the machines observing us. It is time for spring to come back.

Here is a little behind the scene of this GRAFFITIART edition. This issue presents a fast-changing urban art scene we owe to the proliferation of techniques used by our artists. Our adventure starts with John Fekner’s political stencils in the New York of the early 80s, the place where everything begins. After that, the family line splits up in every direction. Niels Shoe Meulman keeps using
canvas but manages to blend lettering and abstract expressionism. PichiAvo too proposes a bold crossbreeding of flop and Renaissance mannerism. Further in the issue, canvas is dropped and replaced by mixed media compositions. Bordalo II –with an exceptional exhibition in Paris–gives shape to a 3D bestiary made of accumulated waste. A childish approach prolonged by Sean Chao and Ufocinque. Chao’s mode of expression draws from the Czech miniature dioramas of the 50s. And Ufocinque metamorphoses urban environment with paper-cut monuments. Then Mark Jenkins and Tilt add up to this gallery. The first one reflects on city despair through mannequins that turn into still performances, and the second deconstructs and renews graffiti using plasterboard, a raw urban material. Finally, a focus on women in street art brings balance to this selection that we hope will be as exciting to read as it was to produce.

Making icons has become the ultimate ambition of any artist looking to surface from the big polyphonic hubbub of the second half of the 21st century. Expert in the field, Shepard Fairey is able to turn Barack Obama into the Holy saint of Hope and revive the French Republican Marianne. Invited in Moscow, Fairey appropriated Mayakovsky tragic poetic figure, a companion of the Bolshevik revolution who committed suicide at 36 after a game of Russian Roulette, which ending he might not have controlled by heavily charging his revolver. It is precisely what the American artist points out: images are ambiguous but icons are absolute. They compel everyone whatever form they take. All political powers from Lenin to Putin have celebrated the Mayakovsky myth: an inspiring figure, an absolute troubadour, and, conveniently, a great genius so concerned with his art that he left it up to others to dirty their hands with trivial politics. Shepard Fairey restores the ambiguity of the Mayakovsky icon by associating it the dreadful quote by Brecht: “Art is not
a mirror held up to reality but a hammer with which to shape it”. In contrast with this gallery of icons, Faith XLVII invites us to explore mystery, to look at her works with our own darkness, leaving the spectator free to interpret her images. Further down the road,  photographer Fred Mortagne liberates us with the disappearance of his riders in the meander of contemporary architecture.
Peace is restored away from the turmoil of our senses.

The must-read book of this upcoming autumn is definitely The Sleepwalkers by Christopher Clark. In this work, the author tells us how subtle –yet totally avoidable– political slides brought the Europe of the 1910s to WWI. While Brexit is getting bogged down and the far right took in power in Italy as well as in a growing number of countries of the European union, this new issue of GRAFFITIART asks the question: are we witnessing the emergence of a pre-war art? Italian artist Biancoshock uses visual jokes to capture urban reality, since humor has become the vernacular tongue of social media. But what do these images really say? Dereliction and absurdity seem to write a sort of a manual to survive in our increasingly hostile environment. In Germany, with a different spirit, Moses & Taps™ express a relentless desire to stay free, with the idea that freedom is only worth something if it comes at a cost. In the United States,
Kevin Peterson and his hyper-realistic paintings already speak about the after-war: his children pair up with animals in search for the adults who caused this disaster and make them pay. Paint it black? Maybe, but let’s keep our eyes open.

In this new issue of GRAFFITIART, we finally manage to give an historic overview of the urban art movement. We felt that something was wrong in telling you about artists without being able to place them in some sort of continuity, evolution and transformation. The three temporalities are finally tackled in this issue. We are looking at the past with an exploration of Rammellzee’s world, the link between hip-hop, graffiti and primitive art. Vhils and Faile splendidly talk about the present of the movement, at the crossroad of pop, expressionist figuration and true contemporary art. Then our focus on the rise of urban art foundations sheds light on the “museum” future that awaits our artists. We feel optimistic that this three-folded approach highlights the coherence of the urban approach. Without even mentioning its spatial expansion. It’s hard to be picky when street art brings us on a magical journey through time and space: from the Nuart festival in Scotland to the Crystal Ship in Belgium through the new Marseille residency in a convent, and… New York City, Los Angeles and South America that Remed embraces in his shamanic art. Urbi et orbi. Blessed be urban art.

Do we like commemorations? Not really. Ok, maybe a little. So we will take a moment to pop the champagne cork for the tenth anniversary of GRAFFITIART Magazine Magazine. What a journey since the time when Samantha Longhi and Nicolas Chenus decided to launch the reference review of street art! Back then, the Commission Paritaire des Publications, a sort of board of censorship French-style, had refused to recognize this magazine that promoted “vandalism”. What a good laugh! Today, there is not a single mayor who does not come begging these “vandal” artists to embellish their neighborhood. For this issue, no statement, no tribute, but a special guest: Invader, who celebrates his 20 years of career. An icon? Yes. For his technique: he managed to make his work last in the street. For his themes: he drew from technology and pop culture. And for his market recognition. He stands as an example. You will discover another special gift in this issue: the exclusive interview of the very secret Pejac. And for our birthday, maybe, and for the fun of it, certainly, the Canemorto group welcomed us to follow them in their manic quest for artistic gestures and logically, we welcomed them to use the magazine for their own purposes. A rather nice initiative that we will need to repeat. We will also be at the Urban Art Fair starting on April 12th. We are busy bees… with no time to look back!

Issue 59 | October - November 2021

Issue 58 | September 2021

Issue 57 | July - August 2021

Issue 56 | June 2021

Issue 55 - April-May 2021

Issue 54 - February - March 2021

Issue 53 - December 2020 - January 2021

Issue 52 | October - November 2020

Issue 51 | August - September 2020

Issue 50 | June - July 2020 

Issue 49 - March - April 2020

Issue 48 - January / February 2020

Issue 47 - November / December  2019

Issue 46 - September / October  2019

Issue 45 - July / August 2019

Issue 44 - May / June  2019

Graffiti Art magazine, the leading print media for Urban Contemporary Art, is a bimonthly magazine distributed throughout 15 countries. 
Recognized by both artists and galleries, Graffiti Art is the perfect link between creation, Urban Contemporary Art lovers and collectors. 
Graffiti Art explores related fields, supports creation and boosts the diffusion of Urban Contemporary Art among the widest audience.

1. Sie stimmen zu, dass die Nutzung von Magzter.com, der Anwendung und ihren Diensten ausschließlich auf Ihr eigenes Risiko erfolgt. Weder Magzter.com noch seine Partner, Mitarbeiter oder Drittanbieter von Inhalten garantieren, dass der Dienst völlig unterbrechungsfrei, fehlerfrei oder narrensicher gegen betrügerische Aktivitäten ist. Sie garantieren auch nicht, dass Sie genau die Ergebnisse erhalten, die von der Website oder dem Produkt erwartet oder versprochen werden.

11. DER DIENST UND ALLE VERÖFFENTLICHUNGEN WERDEN „WIE BESEHEN“ UND „WIE VERFÜGBAR“ ZUR VERFÜGUNG GESTELLT. MAGZTER, SEINE TOCHTERGESELLSCHAFTEN, LIEFERANTEN, LIZENZGEBER UND VERTRETER SCHLIESSEN AUSDRÜCKLICH ALLE GEWÄHRLEISTUNGEN JEGLICHER ART AUS, OB AUSDRÜCKLICH ODER STILLSCHWEIGEND, EINSCHLIESSLICH, ABER NICHT BESCHRÄNKT AUF DIE STILLSCHWEIGENDEN GEWÄHRLEISTUNGEN DER MARKTGÄNGIGKEIT, EIGNUNG FÜR EINEN BESTIMMTEN ZWECK UND NICHTVERLETZUNG. Ohne das Vorstehende einzuschränken, übernehmen weder Magzter noch seine verbundenen Unternehmen, Lieferanten, Lizenzgeber oder Vertreter eine Garantie dafür, dass (i) der Dienst Ihren Anforderungen entspricht, (ii) der Dienst unterbrechungsfrei, pünktlich, sicher oder fehlerfrei verfügbar ist, ( III) DIE INFORMATIONEN, DIE DURCH DIE NUTZUNG DES DIENSTES ERHALTEN ODER IN DEN VERÖFFENTLICHUNGEN ENTHALTEN WERDEN KÖNNEN, RICHTIG ODER ZUVERLÄSSIG SIND, ODER (IV) DIE QUALITÄT JEGLICHER VERÖFFENTLICHUNGEN ODER DES DIENSTES IHREN ERWARTUNGEN ENTSPRECHEN. SIE SIND ALLEIN VERANTWORTLICH, EINE ZUVERLÄSSIGE INTERNETVERBINDUNG UND IHR GERÄT ZU ERHALTEN UND AUFZUBEWAHREN. MAGZTER IST NICHT VERANTWORTLICH, WENN SIE INHALTE NICHT HERUNTERLADEN KÖNNEN. JEGLICHES HERUNTERLADEN ODER ANDERWEITIGE ERHALTEN VON MATERIALIEN DURCH DIE NUTZUNG DES DIENSTES ERFOLGT NACH IHREM EIGENEN ERMESSEN UND AUF IHR RISIKO. SIE SIND ALLEIN VERANTWORTLICH FÜR SCHÄDEN AN IHREM COMPUTERSYSTEM ODER MOBILEN GERÄT ODER DATENVERLUST, DIE AUS DEM HERUNTERLADEN SOLCHER MATERIALIEN ENTSTEHEN. KEINE RATSCHLÄGE ODER INFORMATIONEN, OB MÜNDLICH ODER SCHRIFTLICH, DIE SIE VON MAGZTER ODER ÜBER DEN DIENST ERHALTEN, BEGRÜNDEN EINE GARANTIE.

2. Sie werden diese Informationen pflegen und umgehend aktualisieren, um sicherzustellen, dass sie wahr, genau, aktuell und vollständig sind. Sie sind dafür verantwortlich, die Vertraulichkeit Ihres Kontos und Passworts zu wahren und den Zugriff auf Ihren Computer einzuschränken, und Sie erklären sich damit einverstanden, die Verantwortung für alle Aktivitäten zu übernehmen, die unter Ihrem Konto stattfinden, einschließlich der Auswahl und Nutzung aller Inhalte und Dienste.

3. In keinem Fall haften Magzter.com oder eine natürliche oder juristische Person oder ein Dritter, der an der Erstellung, Produktion und Verbreitung der Inhalte auf der Website und der Anwendung beteiligt ist, vertraglich oder gesetzlich für Schäden, einschließlich, aber nicht beschränkt auf, direkte, indirekte, zufällige, besondere und Folgeschäden, die Ihnen während oder bei der Nutzung von Magzter.com entstehen. Durch die Registrierung auf der Website oder das Herunterladen der Anwendung erklären Sie sich damit einverstanden, dass die in diesem Abschnitt genannten Bestimmungen für die gesamte Nutzung und den Inhalt der Website und der Anwendung gelten.

3. Ohne vorherige schriftliche oder autorisierte Genehmigung von Magzter dürfen Sie die von Magzter erhaltenen Inhalte nicht ändern, kopieren, verbreiten oder verkaufen, da alles, was hier veröffentlicht wird, Eigentum von Magzter oder seinen Lizenzgebern ist. Da eine solche unbefugte Nutzung auch gegen geltende Gesetze, einschließlich Urheber- und Markenrecht, verstoßen kann, verbietet Magzter dies streng und sperrt Ihren Zugang und Ihr Konto, wenn eine solche illegale Aktivität nachgewiesen oder entdeckt wird. Sie sollten auch für die durch diese unerlaubten Aktivitäten verursachten Schäden haftbar gemacht werden. Sofern vom rechtmäßigen Eigentümer der Veröffentlichung nicht gestattet, erkennen Sie an, dass Sie durch das Herunterladen von Veröffentlichungen, auf die Sie über den Dienst zugreifen, keine Eigentumsrechte erwerben. Sofern nicht ausdrücklich durch das Urheberrechtsgesetz vorgeschrieben oder durch die Funktionen des Dienstes erlaubt, dürfen Sie diese nicht verändern, zurückentwickeln, veröffentlichen, übertragen, anzeigen, an der Übertragung oder dem Verkauf teilnehmen, davon abgeleitete Werke erstellen oder sie in irgendeiner Weise kommerziell nutzen oder bereitstellen ohne die ausdrückliche Genehmigung von Magzter und dem Eigentümer dieser Inhalte an Dritte weiterzugeben. Wir gewähren Ihnen keinerlei Lizenzen, weder ausdrücklich noch stillschweigend, am geistigen Eigentum von Magzter oder den Lizenzgebern von Magzter.

5. Sie erkennen ausdrücklich an, dass Magzter.com nicht für verleumderisches, beleidigendes oder rechtswidriges Verhalten anderer Nutzer oder Dritter oder deren Inhalte jeglicher Art haftet und dass das Verletzungsrisiko aus dem Vorstehenden vollständig bei Ihnen liegt.

8. Magzter behält sich alle Rechte vor, die von Ihnen veröffentlichten und eingegebenen Inhalte zu überwachen, um festzustellen, ob Sie diese Allgemeinen Geschäftsbedingungen und andere von Magzter festgelegte Betriebsregeln einhalten. Magzter hat das Recht, über die Inhalte zu entscheiden und diese nach eigenem Ermessen zu löschen.

9. Magzter ist ein Vertreiber und KEIN Herausgeber der Veröffentlichungen und daher hat Magzter keine redaktionelle Kontrolle über den Inhalt, einschließlich Meinungen, Ratschläge, Aussagen, Dienstleistungen, Angebote usw., der in den Magazinen dargestellt wird. Daher übernimmt Magzter keine Verantwortung für die Richtigkeit oder Zuverlässigkeit der darin enthaltenen oder über den Dienst zur Verfügung gestellten Informationen oder Fakten, die nicht von autorisierten Magzter-Mitarbeitern im Rahmen ihrer offiziellen Befugnisse bereitgestellt werden. Dementsprechend haben wir keine redaktionelle Kontrolle über die Veröffentlichungen. Alle Meinungen, Ratschläge, Aussagen, Dienstleistungen, Angebote oder andere Informationen oder Inhalte, die von Dritten geäußert oder zur Verfügung gestellt werden, einschließlich derjenigen, die in den vom Dienst angebotenen Veröffentlichungen gemacht werden, sind die des jeweiligen Autors bzw. der jeweiligen Autoren oder Herausgeber und nicht von Magzter. Magzter haftet nicht für Verluste oder Schäden, die dadurch entstehen, dass Sie sich auf Informationen verlassen, die Sie über den Dienst oder aus den Veröffentlichungen erhalten. Der Dienst kann Links zu anderen Internetseiten und Ressourcen Dritter enthalten und Magzter übernimmt keine Verantwortung oder Haftung für die auf solchen verlinkten Websites verfügbaren Mitteilungen oder Materialien. Diese Links werden nur zu Ihrer Bequemlichkeit bereitgestellt. Es liegt in Ihrer alleinigen Verantwortung, die Allgemeinen Geschäftsbedingungen zu verstehen, die gelten, wenn Sie die Website eines Drittanbieters besuchen oder über diese eine Bestellung aufgeben.

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Girish Ramdas ist Mitbegründer und CEO von Magzter, einem in New York ansässigen Startup, das im globalen digitalen Verlagsgeschäft für Aufsehen gesorgt hat. Magzter hat seit seiner Einführung im Jahr 2011 80 Millionen Nutzer aus mehr als 150 Ländern mit Tausenden von Zeitschriften, Zeitungen und Büchern von mehr als 4.500 Verlagen weltweit. Er verfügt über mehr als 25 Jahre Erfahrung im plattformübergreifenden Publishing, einschließlich Print-, Mobil- und Webentwicklung. In dieser Zeit war er Mitbegründer und Leiter von drei erfolgreichen Start-up-Unternehmen. Er hat Zeitschriftenunternehmen die Digitalisierung ermöglicht und hilft ihnen, ihre Inhalte in der digitalen Welt zu monetarisieren. Girishs umfassende Branchenerfahrung in Online-, Mobil- und Verlagsökosystemen hat ihn zu einem Experten für die Akquise, Vermarktung und Monetarisierung digitaler Inhalte auf allen Plattformen weltweit gemacht.

 Für den Fall, dass Sie auf unserer Plattform auf anstößige Inhalte stoßen, haben wir eine Beschwerderichtlinie eingeführt, um auf Ihre Bedenken einzugehen.

Magzter Inc. (”Unternehmen”, ”wir”, ”uns” oder ”unser”) weiß, dass es Ihnen wichtig ist, wie Ihre persönlichen Daten verwendet und weitergegeben werden. Bitte lesen Sie die folgende Datenschutzrichtlinie (die ”Richtlinie”), um mehr über unsere Datenschutzpraktiken zu erfahren.Indem Sie eine der vom Unternehmen betriebenen Websites und deren Subdomains besuchen oder eine unserer mobilen Anwendungen und anderen Methoden der Inhaltsverteilung(zusammen der ”Dienst”) nutzen, erkennen Sie an, dass Sie die dargelegten Praktiken und Richtlinien akzeptieren in dieser Richtlinie und Sie stimmen hiermit zu, dass wir Ihre Daten auf die folgende Weise sammeln, verwenden und weitergeben.

Magzter Inc. ist der weltweit größte und am schnellsten wachsende plattformübergreifende digitale Zeitungskiosk mit Selbstbedienung mit über 80 Millionen Nutzern seit seiner Gründung im Jahr 2011 und Tausenden von Zeitschriften und Zeitungen in über 40 Kategorien und über 60 Sprachen. Magzter hat seinen Hauptsitz in New York und ist vor Ort in Amsterdam, London, Mexiko-Stadt, Chennai, Mumbai, Neu-Delhi, Bengaluru und Singapur vertreten und wird bald in andere Länder expandieren. Magzter wurde im Juni 2011 von den globalen Unternehmern Girish Ramdas und Vijay Radhakrishnan gegründet und ermöglicht Zeitschriften- und Zeitungsverlagen auf der ganzen Welt, digitale Ausgaben ihrer Titel zu erstellen und an globale Verbraucher zu liefern.

 Magzter ist bestrebt, unseren Benutzern eine sichere Plattform bereitzustellen. Bitte beachten Sie, dass Magzter lediglich eine Plattform für Verlage zur Verbreitung ihrer Inhalte ist. Wir kontrollieren oder unterstützen die auf unserer Plattform veröffentlichten Inhalte nicht. Wir können nicht für die Handlungen unserer Herausgeber oder deren Inhalte verantwortlich gemacht werden.

Magzter ist nicht dafür verantwortlich, eine Partei zu entschädigen, die aufgrund eines Inhalts oder eines Teils des Inhalts, der ihre Rechte verletzt, Schäden oder Kosten erlitten hat. Magzter haftet nicht für zivilrechtliche Schritte wegen Rechtsverletzungen, die durch einen Inhalt oder einen Teil des Inhalts verursacht werden, der die Rechte Dritter verletzt.

Magzter bietet den weltweit größten ”All-You-Can-Read” - Abonnementdienst namens Magzter GOLD an, der digitalen Lesern zu einem monatlichen Abonnementpreis unbegrenzten Zugriff auf mehr als 8.000 Zeitschriften und Zeitungen bietet.Darüber hinaus verfügt Magzter mit der bahnbrechenden ezRead 2.0 - Funktion für seine Apps über die größte Anzahl an Geschichten weltweit.Nutzer von Smartphones und Mobilgeräten mit kleinem Bildschirm können die Zeitschrifteninhalte so genießen, wie sie gedacht sind, nämlich mit Artikeltext Es ist leicht zu lesen und wird von atemberaubenden Videos und hochauflösenden Fotos begleitet.

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Bitte füllen Sie dieses Formular aus, falls Sie Hilfe bei der Veröffentlichung Ihrer Inhalte auf Magzter benötigen

 Vor Magzter war er Präsident von Dot Com Infoway (DCI) und Galatta Media. Zu seinen Aufgaben gehörten strategisches Marketing, Partnerschaftsentwicklung und die weltweite Monetarisierung von Inhalten. DCI wuchs von einem kleinen Team von 3 im Jahr 2000 auf 300 im Jahr 2011 und beschäftigte sich mit der Web-, Software- und App-Entwicklung für Kunden auf der ganzen Welt.

Seit der Einführung hat sich Magzter dazu verpflichtet, mit globalen Organisationen zusammenzuarbeiten, um die bestmögliche Zeitungskiosk-Technologie und den besten Service für unsere Kunden anzubieten. Egal, ob Sie Magazin-Abos für Ihren Kundenstamm anbieten oder einfach nur mehr erfahren möchten, engagiert sich Magzter für das Wachstum Ihres Unternehmens. Um mehr zu erfahren, füllen Sie bitte den folgenden Fragebogen aus:

 Das DMCA ermöglicht es uns, die entfernten Inhalte wiederherzustellen, wenn die Partei, die die ursprüngliche DMCA-Mitteilung eingereicht hat, nicht innerhalb von zehn Werktagen nach Erhalt der Kopie Ihrer Gegendarstellung eine gerichtliche Klage gegen Sie einreicht.

Diese Richtlinie deckt den Umgang des Unternehmens mit personenbezogenen Daten(”personenbezogene Daten”) und anderen Informationen über Sie und Ihren Computer oder Ihr Gerät ab, die das Unternehmen erfasst, wenn Sie auf den Dienst zugreifen. Wir können personenbezogene Daten von Ihnen erfassen, wie nachstehend ausführlicher erläutert, und wir verwenden diese personenbezogenen Daten intern im Zusammenhang mit unseren Diensten, unter anderem zur Personalisierung, Bereitstellung und Verbesserung unserer Produkte, Dienste, Inhalte und Werbung und um Ihnen die Möglichkeit zu geben um ein Benutzerkonto und -profil einzurichten, um Sie zu kontaktieren, um Ihre Anfragen für bestimmte Produkte und Dienstleistungen zu erfüllen und um zu analysieren, wie Sie die Dienste nutzen. In bestimmten Fällen geben wir möglicherweise einige personenbezogene Daten auch an Dritte weiter, jedoch nur wie in Punkt 4 beschrieben.

Dieser Titel ist in Ihrem Magzter GOLD-Abonnement enthalten

 Analysieren Sie die Qualität von Inhalten und geben Sie den Herausgebern entsprechendes Feedback

 Wir haben einen Beschwerdebeauftragten benannt, der alle Beschwerden im Zusammenhang mit anstößigen Inhalten bearbeitet.

 Wir bitten Sie, jede Beschwerde im Zusammenhang mit anstößigen Inhalten per E-Mail an die oben genannte E-Mail-Adresse an den Beschwerdebeauftragten zu richten. Wir bitten Sie außerdem um die Angabe der folgenden Angaben, wenn Sie eine Beschwerde einreichen

und die App, die Ihnen die Möglichkeit bietet, verschiedene Zeitschriften, Bücher, Nachrichten sowie magazin- und publikationsbezogene Inhalte (gemeinsam als „Veröffentlichungen“ bezeichnet) zu bestellen, zu abonnieren und deren Lieferung zu erhalten und sich diese digitalen Versionen der Veröffentlichungen liefern zu lassen

C.Wir sammeln auch Informationen im Zusammenhang mit Ihrer Nutzung der Anwendung, um personalisierte Empfehlungen abgeben zu können.Wenn Sie uns die Zugangsdaten für Ihr Drittanbieterkonto zur Verfügung stellen, verstehen Sie, dass einige Inhalte und / oder Informationen in diesen Konten(”Drittanbieterkontoinformationen”) möglicherweise an Ihr Konto bei uns und an dieses Drittanbieterkonto übermittelt werden, wenn Sie solche Übertragungen autorisieren An den Dienst übermittelte Informationen fallen unter diese Richtlinie.

 F. Die von uns erfassten personenbezogenen Daten ermöglichen es uns, auf Ihre Anfragen zu reagieren, unsere Produkte und Dienstleistungen zu verbessern, die Werbung und Inhalte, die Sie sehen, anzupassen und mit Ihnen über neue Produkte zu kommunizieren.

ist der weltweit größte und am schnellsten wachsende plattformübergreifende digitale Zeitungskiosk mit Selbstbedienung mit über 85 Millionen Nutzern seit seiner Gründung im Jahr 2011 und Tausenden von Zeitschriften und Zeitungen in über 40 Kategorien und über 60 Sprachen. Magzter hat seinen Hauptsitz in New York und ist vor Ort in Amsterdam, London, Mexiko-Stadt, Chennai, Mumbai, Neu-Delhi, Bengaluru und Singapur vertreten und wird bald in andere Länder expandieren. Magzter wurde im Juni 2011 von den globalen Unternehmern Girish Ramdas und Vijay Radhakrishnan gegründet und ermöglicht Zeitschriften- und Zeitungsverlagen auf der ganzen Welt, digitale Ausgaben ihrer Titel zu erstellen und an globale Verbraucher zu liefern.

 N. Wir verwenden Nutzungsinformationen auch, um sicherzustellen, dass Benutzer unsere Nutzungsbedingungen einhalten. Mithilfe der Nutzungsinformationen eines Benutzers können wir beispielsweise bestätigen, dass ein Benutzer eine Zeitschrift oder andere Inhalte nur zulässig oft oder auf eine zulässige Anzahl von Geräten herunterlädt.

 Damit erhalten digitale Leser zum monatlichen Abonnementpreis uneingeschränkten Zugriff auf über 8.000 Zeitschriften und Zeitungen. Darüber hinaus verfügt Magzter mit der bahnbrechenden ezRead 2.0-Funktion für seine Apps über die größte Anzahl an Geschichten weltweit. Nutzer von Smartphones und Mobilgeräten mit kleinem Bildschirm können die Zeitschrifteninhalte so genießen, wie sie gedacht sind, nämlich mit Artikeltext Es ist leicht zu lesen und wird von atemberaubenden Videos und hochauflösenden Fotos begleitet.

Graffiti Art - Issue 37 - January / February 2018

Graffiti Art - Issue 37 - January / February 2018

In dieser Angelegenheit

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