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Bulgarians repeatedly vandalise Soviet monuments in protest

"The Russian Embassy in Bulgaria has issued a note demanding that its former Soviet–era ally clean up the monument in Sofia's Lozenets district, identify and punish those responsible, and take 'exhaustive measures' to prevent similar attacks in the future, the news agency reported Monday.

The monument was spray–painted on the eve of the Bulgarian Socialist Party's celebration of its 123rd anniversary, the Sofia–based Novinite news agency reported.

The vandalism was the latest in a series of similar recent incidents in Bulgaria – each drawing angry criticism from Moscow.

Early this year, unknown artists painted another monument to Soviet troops in Sofia in the colors of the Ukrainian flag.

In August last year, a Soviet army monument in Sofia was painted pink in an 'artistic apology' for Bulgaria's support of Soviet troops who suppressed Czechoslovakia's Prague Spring revolt against Moscow–based communist rulers."

(Anna Dolgov, 19 August 2014, The Moscow Times)




2013anniversaryappropriationBulgaria • Bulgarian Socialist Party • critical commentarycriticismcritiquecultural critiquecultural insensitivityculture jammingCzechoslovakiadisrespectgraffiti art • Lozenets • monumentpolitical art • political criticism • political protestPrague Springprotest artprotest worksPussy Riotre-purposeRed Armyreimaginedreinscribe • reinscription • revision • revolt • Robin (Batman) • Ronald McDonald • Russian embassy • Santa Claus • Sofia (Bulgaria) • Soviet armySoviet eraSoviet monuments • Soviet troops • Soviet Unionspray paintingstreet artsupermanUkraine • Ukrainian flag • unknown artist • vandalism


Simon Perkins
08 OCTOBER 2012

The Feral Diagram: Graffiti and Street Art 2011

"This diagram was meant as a challenge to the prevailing art world hegemony. It was created to prove the argument that graffiti and street art were already at the center of the art world whether they were officially recognized or not.

Utilizing the same graphic vocabulary as Alfred H. Barr, Jr (the first director of MoMA for the cover of the catalog for Cubist and Abstract Art exhibition in 1937) to create an impression of authority equivalent to his diagram. The Feral Diagram picks up chronologically where Barr left off, thereby subverting and redirecting the officially recognized historical trajectory.

Six years after the first draft of this diagram, the acknowledgement of graffiti and street art as important movements within the fine art community, if not the most important movements at the beginning of the new millenium, has come to light with major museum retrospectives, a never ending stream of books on the subject, websites, products, etc."

(Daniel Feral, 2011, Flickr)

Fig.1 revised "Feral Diagram 2.0" version.



19372011 • Alfred Barr • art movementauthorised voicechartcritiquecubist and abstract art • Daniel Feral • diagram • Feral Diagram 2.0 • Futurism 2.0 • graffitigraffiti art • graphic vocabulary • hegemony • historical imaginings • historical trajectory • information graphicsMoMANYC • Pantheon Projects Group • posterpowerstreet art • The Feral Diagram • visual artvisual communicationvisualisation


Simon Perkins
13 JUNE 2012

Tape Art

"Watch what happened when Foot Locker and Converse invited a collective of street artists to create tape art installations inspired by the new Converse winter collection created for Foot Locker."

(Uploaded by footlocker on 15 Nov 2010)



2010actual environmentadvertisingartworkback and forth • Chuck Taylor • Converse Inc • Converse Padded Collar 2 • creative advertisingcreative workdesign collectivedrawing • drawing with tape • extended play • Foot Locker • giant turntable • graffitigraphic artillusionillusionistic spaceillustrationillustrative stylemural • new Converse winter collection • painting as illusionperspectiveperspective viewscratchingstreet artstreet artistsstreetweartape • tape art • tape art installations • turntable • turntablist technique • vinyl recordvisual perspectivevisual representation


Kay Van Bellen
01 OCTOBER 2008

Blu fait bouger les murs

"Muto est une "animation ambiguë" de 7 minutes 26 secondes, peinte sur les murs de Buenos Aires, accompagnée par une bande son grinçante du percussionniste italien Andrea Martignoni, co–fondateur de l'inventif Laboratorio di Musica e Immagine dans les années 90. Son auteur, qui a également grandi à Bologne, porte le pseudonyme de Blu.
Blu n'utilise pas de bombes ni d'échafaudages, il rallonge les manches de ses brosses, retrousse les siennes et il peint, il efface, il recommence, se transporte, et il prend le temps de bloguer ! Blu badigeonne ainsi les murs de Berlin, Londres, Sao Paulo, Bethlehem, Vérone, Milan, Bologne, au Mexique, au Guatemala, au Nicaragua, au Costa Rica... De plus, ses sujets n'ont rien d'innocent. Ils sont sévères, critiques, incisifs et réfléchis.
Son site est un carnet de croquis dont les onglets se nomment murs, dessins, nouvelles, liens, vidéos, boutique. Blu ne perd pas le nord. S'il sait garder le contact avec un public qui le regarde travailler, il apprend à négocier avec les galeries et les musées et il commet de fantastiques films d'animation dont le support sort du cadre habituel pour investir l'espace urbain, souvent en collaboration avec d'autres artistes de la rue.
Muto, réalisé seul avec une petite caméra DV, est son dernier né. Son trait noir sur fond blanchi contraste avec les couleurs outrées des graffiteurs et s'intègre astucieusement avec les murs de la ville pour faire ressortir la narration."

(Jean–Jacques Birgé)



Simon Perkins

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