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Se viene el próximo estreno de la secuela de Style Wars.

About Style Wars 2


Style Wars 2 is a Graffiti documentary produced by Veli and Amos, a
Swiss-Slovenian artist duo. The movie is a sequel of the cult movie
"Style Wars" from 1983 and gives an update on today's Graffiti and
Street Art scene, in a very unique and entertaining format.

30
years after the release of Style Wars, the movie that helped spread the
graffiti movement from New York around the world, Veli and Amos, the
producers and main protagonists of Style Wars 2, hit the road to
discover new graffiti styles and meet the artists behind. A wild journey
takes them from Europe to New York and the Middle East, from galleries
to war zones.

The movie is a well-quoted homage to the original
Style Wars movie and at the same time tells the personal story of Veli
and Amos. Even though the movie's main focus is on graffiti, it
approaches the topic in a much broader way, and also alludes to
politics, art and lifestyle.

Small Talk with Veli & Amos

Urban Art NOW: For those that don't know you, who are Veli & Amos, and what inspired you to do Style Wars 2?

Veli & Amos: We have been working as an artist duo since 2008. We
both studied art and we regularly present our work in galleries all over
the world as well as in public space. Style Wars 2 is our first feature
film.The only inspiration to do a project like this came, when we first
saw the Style Wars 1 film. We used the quote the movie over and
over..We started to film our friends at first and then slowly a story
developed organically..

Urban Art NOW: Can you explain the significance of the original Style Wars?
Veli & Amos: Style wars is a cult movie.Everybody who cares about graffiti has seen Style Wars or Wild Style.


Urban Art NOW: What has been the general response (then) of two guys
from Slovenia and Switzerland making a sequel to a movie that holds such
an enormous cultural relevance?
Veli & Amos: We watched Style
Wars so many times that we knew it by heart. We saw parallels and
relations between 30 years before and today..We were motivated to
capture the styles and philosophy of contemporary and old school
writers. By exploring those connections we found new stories and
positions that are not present in Style Wars.
Years ago when we
showed the first raw cut of the film to Henry Chalfant, he was sceptic
about it. But after watching it, he just fell in love with the project
and since then he is supporting us..
Our close friends thought its a joke because it took us so long time to finish it.

We could also see the public response after we published 2 trailers on
Youtube. Many people didnt't believe its happening, they thought its
impossible to make Style Wars 2. If we look 5 or 6 years back, we would
probably think the same.. But we did it!

Urban Art NOW: You guys did make sure to have all the OG's on board, when can we expect Style Wars 2 to be available worldwide?

Veli & Amos: During the past 5 years, we filmed over 100 hours of
footage, simultaneously developing the story board, with support of our
friends and editors Jan Gassmann and Adrian Aeschbacher. The movie was
realized without support of a professional production company nor a big
budget, instead we founded "No Money Production. Style Wars 2 is our
personal view on graffiti today, our aim was not to cover or make a
statement about worldwide graffiti.We are still searching for right
people who are interested to distribute the film in their own countries
or world wide.

Urban Art NOW: Last question: what is the craziest adventure you guys had while shooting the Style Wars 2 footage?

Veli & Amos: We had many adventures its hard to pick up one.
Meeting Henry Chalfant, Blade, Seen of course. Our personal travel
adventures, struggeling and sneaking through without money. But probably
our trips to Israel and Palestine were the most intense..

Interview by Alex Pope

The first part of the process involves designing a form, often done by having a plastic model made from a clay mold. Many of the matches are imported from Japan for their colored heads. Then the task of sticking each matchstick onto the figure begins.

Depicting both real and fictional characters, Mach's sculptures are an array of dynamic looking figures. From Betty Boop, Charlie Chaplin, and even Marilyn Monroe, all of the matchstick art pieces are stunning.

Mach sells some of them at galleries and auctions, but others are destined to be set aflame and burnt down at exhibitions. After all the time spent creating these pieces, I couldn't even imagine setting them on fire!

From Dre Urhahn and Haas&Hahn of Favela Painting:

"Our latest work in Rio de Janeiro. It's called Praça Cantão and spans over 34 houses, covering 7000 square meters. We are slowly moving towards our goal: painting an entire favela and we're getting closer and closer.

Over the last month, Praça Cantão, the square at the entrance of the community of Dona Marta was turned into a vibrant artwork of monumental scale. 34 houses on the giant hillside favela, located in the center of Rio de Janeiro, have been painted in a design of colorful rays, radiating into the city. This 7000 square meter artwork is part of the 'Favela Painting' project by Haas&Hahn (Jeroen Koolhaas and Dre Urhahn), a project that aims to transform communities into landmarks and inspirational monuments as a part of Rio's image, next to the statue of Christ the Redeemer and Sugar Loaf mountain.

Realization of the artwork is largely driven by the inhabitants of Dona Marta. 25 local youth have been trained as painters, providing for their own income and being responsible for turning their own neighborhood into a colorful monument. This grassroots method of working has proven to be successful in earlier projects, and gives the local community empowerment, pride and color. The local team is complemented by three painters from another favela, Vila Cruzeiro, where two of the previous projects by Haas & Hahn took place.

The project has thusfar been financed through grants and donations, but a co-operation with the dutch paint company AkzoNobel might open new doors. A meeting with their Managing Director Tex Gunning, showed they had a shared vision. "They wanted to give color to the community", Dre recalls, "and we wanted to give art to the community. I see no reason why we cannot recreate this idea across 300 houses, 3000 houses, whether its in Rio, Johannesburg, Mumbai or anywhere in the world."

About Favela Painting

In 2006, the Dutch artists Jeroen Koolhaas en Dre Urhahn conceived the idea of creating community-driven art interventions in Brazil. Named 'Favela Painting', their first efforts yielded two murals which were painted in Vila Cruzeiro, Rio's most notorious slum. The first mural is entitled 'boy with kite' and has a surface of 150 m2. The second mural proved to be more challenging, with a surface of 2000 m2. Painted on a staircase in the heart of Vila Cruzeiro, it depicts a flowing river with Koi Carp fishes in the style of a Japanese tattoo, designed together with Rob Admiraal. The artworks for the murals are painted in collaboration with the local youth. Training and paying them as painters, learning them the tricks of the trade and empowering them by contributing to the development of the artwork. These projects received worldwide press coverage and have become points of pride both within the community and throughout Rio.

Using a grassroots-based bottom-up approach has proven to be a key factor in the success and final results. In order to generate support and approval for their activities, the artists always make the favela their home. By spending their time within the local community, they're able to connect to their surroundings more easily, winning the hearts and minds of people. In their point of view, the inhabitants of the favela are a legitimate part of the city, but not seen that way from the outside. Using these beliefs, they work with the locals to paint the artworks, literally helping them changing the face of their community. Over the years, inhabitants of the favela's have become aware of this method, and are actively requesting their favela to be turned into an artwork. As one woman from Vila Cruzeiro put it: 'I've never been to a museum in my life, and now I'm living in one'.

Favela Painting is supported by the Firmeza Foundation in the creation of striking artworks in unexpected places. It collaborates with the local community to use art and color as a tool to inspire, create beauty, combat prejudice and attract attention. The Foundation facilitates the worldwide realisation of art interventions, and looks after their maintenance. It also develops relevant spin-off projects in the areas of education, socio-economic / social support and development of local people involved in the projects.

As of March 2010, Favela Painting has established a collaboration with AkzoNobel's decorative paint division. Based on their mission of "adding colour to people's lives", AkzoNobel intends to participate in an inspiring and meaningful manner in local communities in the countries in which it operates. The objective of the cooperation between both parties is to realise worldwide, large scale "community driven" works of art. Works of art that make a colourful difference in the lives of individuals, groups, communities and cities. Works of art that have the potential of inspiring others elsewhere, that leave an indelible impression and can work as a catalyst in the processes of social renewal and change.

Genial investigación del movimiento del graffiti.

"En la actualidad gracias a las capacidades de procesamiento que se poseen se analiza todo lo que se nos va ocurriendo, Graffity Analysis es un estudio en curso en donde se analiza el movimiento del graffiti donde gracias a un software se produce visualizaciones del movimiento en la creación de una firma."
via Linwind.