Lack of updates here on the Bates blog, cause i’ve been hanging out
with Mr. Ceet in Morocco for a week…now check out the video!

Going to the Festival in Morroco
Festival Remp’Arts d’Azemmour
link here for more info:
http://www.festivalremparts.com/index.php

Score & Moar in Rio de Janeiro | 2013 from MontanaCans on Vimeo.

Recently Score and Moar from Germany went to Rio de Janeiro for some painting and beach hangout. Here are some impressions from their journey to brazil and a short interview about their experience with the local scene:
1. Under what circumstances did you make the video? How easy was it to shoot in the favelas, for you as white European guy?
The filming itself was not a big problem, except for the favelas that are not yet controlled by the police. The actual challenge was not to have the camera stolen or being ripped off. Under these difficult conditions we had to film with a small rig and a compact 50mm lens, all wrapped in an old plastic bag. Plus, we made the camera look less fancy by taping the labels on it. (It was quite a hassle!)
2. How do the Cariocas (the people of Rio) see graffiti in their city? Is it true that graffiti is considered something beautiful rather than an act of vandalism?
The (omnipresent) black Pixação tags are hated by many - if the police catch a Pixador it may end ugly… So for the people of Rio actual colorful, elaborate pieces of graffiti are a nice change. So (as a foreign writer) it is not uncommon to be offered cold drinks, a ladder or an invitation to a party with pick-up service in the evening. The reason must be that graffiti has just never been criminalized in the media like in most other countries.
3. How big is the graffiti scene in Rio? Why is it so easy to paint in the streets?
The scene is quite small. In the northern zone, where we went, the graffiti writers can be counted on the fingers of one hand. The city’s landscape is more dominated by Pixação (tagging), which is a scene in itself.
Also for the police in Rio it seems that there is nothing wrong with putting some color on a wall… So you have all the time in the world for your piece. There is another problem though: During daytime it’s just too hot to paint, so it makes more sense to go out at night. Although, if you don’t speak Portuguese or know any locals and don’t know how to get around in the city, it’s probably not a good idea to paint in certain areas.
Then you should rather enjoy the beach in Ipanema!

Officiel video for Marc Johnsons new tune in Danish “Det Her”

Graffiti on chest of drawers by: Bates 2013

Links:

iTunes
https://itunes.apple.com/album/det-her-single/id615349360

Spotify
http://open.spotify.com/album/2NEtKdvLOvQKLLF1mlX7Gu

Facebook
https://www.facebook.com/#!/JOHNSONFANPAGE

Video directors: Terence & Gael
TG Production
Stylist Aida Shar for Flagship®
Makeup Kathrine Sørensen
Thanks to: Italian Bike Store, NAG People, M•A•C, Graffiti artist: Bates
Video vixens: Amanda, Martine, AnneMette, Mischa

Line-up will be:
TATS CRU, BATES, KOOKA, CEET, TOAST

well have a group show at: Yakin & Boaz Gallery
in Casablanca

Links:
http://www.facebook.com/YakinAndBoazGallery
http://www.facebook.com/rempartsdazemmour
http://www.festivalremparts.com

EINE 2013: EXTORTIONISTS X PROTAGONISTS from Bosh on Vimeo.

Director: Luke Carlisle
Additional Camera: Myles McAuliffe, Heath Lowndes, Anthony Austin, Charlie Inman and Fabian Peters
Editing: Tim Symes and Adam Bernet
Titles: Rob Wicksteed
Grade: Tim Symes
Music: Swindle - Do The Jazz (DEEP MEDi MUSIK 2012)
Production Company: Bosh
Production Company Trainee Assistant Runner and Interviewer: Dan Keefe

PERSUE x WAREHOUSE1425 from Christopher Konecki on Vimeo.

PERSUE aka BUNNYKITTY destroyed a 15x25ft wall at #warehouse1425. Open to all ages, WAREHOUSE 1425 will feature a diverse body of work from some of San Diego’s finest artists. Visual artists, photographers, street artists, and more have come together to form a community space in which to create together. These artists have transformed a dilapidated 6000 sq ft. warehouse into a vibrant and active art space.
Link:
http://www.warehouse1425.com

DAKOTA 501 X DMOTE from Dakota 501 on Vimeo.

DMOTE doing his thing to the Dakota 501 shop facade.

Dirty Old New York Subway from Jonathan Hertzberg on Vimeo.

A mix of clips of the New York City subway system on film, mostly from the ‘70s and early ‘80s, when graffiti was a mainstay on train cars and everything underground was, for the most part, grittier and more worn than it is today. I will almost certainly be tweaking and adding more footage to this piece.
Link:
http://www.knifeinthehead.blogspot.com/2013/04/dirty-new-york-subway.html

Links here:
Enjoy the app: http://graffitishops.info
Facebook: http://facebook.com/GraffitiShops
Twitter: http://twitter.com/GraffitiShops

VANDALS - The Book (Trailer) from Ruttkowski;68 on Vimeo.

After eight years of journeys around the globe, Nils Müller presents ‘Vandals’, his second book of photography after his 2009 debut publication ‘Blütezeit’.
‘Vandals’ takes the illegal and dangerous activity on 192 pages to a more personal level, one that is more detailed and yet, more abstract, too. The photos bear witness to the elaborate level of planning required to carry out the acts. They reveal team spirit as well as heightened emotions and tension, as trainwriters attempt to evade motion detectors and security cameras while scaling barbed wire fences.
If you like to order the limited edition of ‘Vandals’ (different cover, limited to 500 copies, signed), send an email to: .(JavaScript must be enabled to view this email address)
For the normal version, please contact: http://www.publikat.de/212-0-Vandals.html
‘Vandals’ is divided into ten chapters. While four of them feature images of various cities such as London, Berlin and Amsterdam, each of the other six chapters focuses on a different city: Paris, Milan, Seoul, Bucharest, Caracas and New York.
Nils Müller is a former graffiti artist who taught himself photography to immortalize his work before it was cleaned up by authorities. It wasn’t long before he realized he wanted to show more than just the defacement of public structures. His photographs elevate graffiti into a sophisticated visual language that thrills both because of its illicit nature and aesthetic value.