PRINT THE CITY
#PrintTheCity
#InfiniteTagRoller
#Upperism
#Tagnology
This home-crafted good plays with typography and architectures, with paint and words, with the infinite reproduction of an action, becoming a message for its own sake, like in the art of tagging. As most of the tools we use are extensions of the body giving us super capabilities, this is a tiny and very personal anti-industrial revolution in the urban art practice.
︎︎︎ VIDEO
“ It's important to make a fundamental distinction between the spontaneous street practice in which the dimensions of the interventions are strictly connected to the human body size -sometimes accessorised with extension poles or ladders- and on the other side, the authorised mural practices.
While, worldwide, the laws against writers are severely tightening up, so giving credit to the now obsolete criminological theory of the broken windows, festivals that provide the monumental wallpaintings are instead exponentially fermenting. As if there was no direct correlation between the two phenomenons, since the first are the “fathers” to the second ones. A huge and interesting short circuit is going on.
This tool that creates never-ending-tags on the city surface, is a project that acts as a catalyst for reflections and brings back the attention to the origin of contemporary urban art practice and its creative process.
What is the meaning of painting walls in our historical period?
At the same time it aims to underline the luck of these public and commissioned art moments, that can be found in the aggressiveness of graffiti writing which, with its infinite repetition of tags of its players, has radically modified the urban aesthetic concept in even not twenty years time.
Secondly, this project focuses on the fact that when you consciously bring this savage practice inside the art system, we need to bear in mind the real parameters that define its value.”
While, worldwide, the laws against writers are severely tightening up, so giving credit to the now obsolete criminological theory of the broken windows, festivals that provide the monumental wallpaintings are instead exponentially fermenting. As if there was no direct correlation between the two phenomenons, since the first are the “fathers” to the second ones. A huge and interesting short circuit is going on.
This tool that creates never-ending-tags on the city surface, is a project that acts as a catalyst for reflections and brings back the attention to the origin of contemporary urban art practice and its creative process.
What is the meaning of painting walls in our historical period?
At the same time it aims to underline the luck of these public and commissioned art moments, that can be found in the aggressiveness of graffiti writing which, with its infinite repetition of tags of its players, has radically modified the urban aesthetic concept in even not twenty years time.
Secondly, this project focuses on the fact that when you consciously bring this savage practice inside the art system, we need to bear in mind the real parameters that define its value.”
Pietro Rivasi
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