Under Occupied Skies: A Journey Theroux the Settlements

Louis Theroux returns to the West Bank probing the rise of far‑right Israeli settler ideology amid the backdrop of the Gaza war. He embeds himself with extremist figures, including “godmother” settler Daniella Weiss and an armed Texan settler, using his calm, faux‑naïve approach to draw out stark admissions. One settler, openly clutching a rifle, declares Palestinians a “death cult,” while Weiss speaks of plans to resettle Gaza with some 800 families.

Filming alongside Palestinian activist Issa Amro in Hebron, Theroux witnesses the daily reality of military checkpoints, restricted access to olive groves, and the impact of settler expansion on Palestinian communities.

Despite airing on BBC in late April , the documentary was abruptly removed after protests by settler advocates highlighting its “chilling” portrayal of ultra‑nationalist ideology. Critics applauded Theroux’s shift to a more confrontational “perpetrator‑focused” method, emphasizing how rare it is to let extremists speak with such openness and letting viewers assess the implications . This raw yet essential hour underscores the intensifying settler movement—now numbering over 700,000 in the West Bank—and the alarming surge in violence and displacement since October 7, 2023.

The post Under Occupied Skies: A Journey Theroux the Settlements first appeared on street art united states.
by Sami Wakim via street art united states

Under Occupied Skies: A Journey Theroux the Settlements

Louis Theroux returns to the West Bank probing the rise of far‑right Israeli settler ideology amid the backdrop of the Gaza war. He embeds himself with extremist figures, including “godmother” settler Daniella Weiss and an armed Texan settler, using his calm, faux‑naïve approach to draw out stark admissions. One settler, openly clutching a rifle, declares Palestinians a “death cult,” while Weiss speaks of plans to resettle Gaza with some 800 families.

Filming alongside Palestinian activist Issa Amro in Hebron, Theroux witnesses the daily reality of military checkpoints, restricted access to olive groves, and the impact of settler expansion on Palestinian communities.

Despite airing on BBC in late April , the documentary was abruptly removed after protests by settler advocates highlighting its “chilling” portrayal of ultra‑nationalist ideology. Critics applauded Theroux’s shift to a more confrontational “perpetrator‑focused” method, emphasizing how rare it is to let extremists speak with such openness and letting viewers assess the implications . This raw yet essential hour underscores the intensifying settler movement—now numbering over 700,000 in the West Bank—and the alarming surge in violence and displacement since October 7, 2023.

The post Under Occupied Skies: A Journey Theroux the Settlements first appeared on street art united states.
by Sami Wakim via street art united states

Chants Are Not the Crime — Genocide Is

In recent months, Western leaders and media outlets have erupted in outrage — not at the mass killing of Palestinian civilians, not at the leveling of entire neighborhoods in Gaza, and not at the starvation used as a weapon of war — but at musicians daring to say “Free Palestine” or chant “Death to IDF” on stage.

Bands have been canceled, statements denounced, tours threatened — all for daring to speak, to sing, or to rage in solidarity with a people being systematically destroyed. Yet the same voices condemning these artists remain conspicuously silent about the Israeli government’s unrelenting campaign of destruction in Palestine. Over the past two years, Israel’s war machine has inflicted a scale of violence that human rights organizations, legal scholars, and global observers increasingly describe as genocidal. Entire families erased. Hospitals bombed. Children killed by the thousands. But somehow, it is the artists who are seen as the problem.

This grotesque inversion of priorities reveals not only the moral cowardice of Western powers, but also their deep complicity. Censorship of art has always been a tactic of control — a way to police public imagination and smother dissent. By silencing the musicians, filmmakers, poets, and protesters, the powerful hope to erase the truth and preserve the illusion of righteousness.

They blame the artists and activists — not the governments dropping bombs, not the corporations fueling climate collapse, not the regimes enforcing apartheid. Whether it’s the death spiral of capitalist greed or the slow suffocation of an entire people under occupation, it is never the system itself that is on trial. It’s the ones daring to scream about it.

But music, like protest, is not the disease — it is the symptom. A healthy world does not give rise to art filled with grief, fury, or desperation. Artists are not the danger. We are mirrors, echo chambers, warning signals. We document the collapse, and in doing so, we become targets.

What kind of world condemns chants more fiercely than child murder? What kind of society can stomach the sight of mass graves but trembles at a slogan shouted from a stage? It is a strange and deeply broken world — one where truth is punished, and silence is rewarded.

History will not remember the scolding op-eds or the canceled shows. It will remember the slaughter, and it will ask: Who spoke? Who sang? Who stayed silent?

And who tried to silence those who dared to speak?

The post Chants Are Not the Crime — Genocide Is first appeared on street art united states.
by Sami Wakim via street art united states

Chants Are Not the Crime — Genocide Is

In recent months, Western leaders and media outlets have erupted in outrage — not at the mass killing of Palestinian civilians, not at the leveling of entire neighborhoods in Gaza, and not at the starvation used as a weapon of war — but at musicians daring to say “Free Palestine” or chant “Death to IDF” on stage.

Bands have been canceled, statements denounced, tours threatened — all for daring to speak, to sing, or to rage in solidarity with a people being systematically destroyed. Yet the same voices condemning these artists remain conspicuously silent about the Israeli government’s unrelenting campaign of destruction in Palestine. Over the past two years, Israel’s war machine has inflicted a scale of violence that human rights organizations, legal scholars, and global observers increasingly describe as genocidal. Entire families erased. Hospitals bombed. Children killed by the thousands. But somehow, it is the artists who are seen as the problem.

This grotesque inversion of priorities reveals not only the moral cowardice of Western powers, but also their deep complicity. Censorship of art has always been a tactic of control — a way to police public imagination and smother dissent. By silencing the musicians, filmmakers, poets, and protesters, the powerful hope to erase the truth and preserve the illusion of righteousness.

They blame the artists and activists — not the governments dropping bombs, not the corporations fueling climate collapse, not the regimes enforcing apartheid. Whether it’s the death spiral of capitalist greed or the slow suffocation of an entire people under occupation, it is never the system itself that is on trial. It’s the ones daring to scream about it.

But music, like protest, is not the disease — it is the symptom. A healthy world does not give rise to art filled with grief, fury, or desperation. Artists are not the danger. We are mirrors, echo chambers, warning signals. We document the collapse, and in doing so, we become targets.

What kind of world condemns chants more fiercely than child murder? What kind of society can stomach the sight of mass graves but trembles at a slogan shouted from a stage? It is a strange and deeply broken world — one where truth is punished, and silence is rewarded.

History will not remember the scolding op-eds or the canceled shows. It will remember the slaughter, and it will ask: Who spoke? Who sang? Who stayed silent?

And who tried to silence those who dared to speak?

The post Chants Are Not the Crime — Genocide Is first appeared on street art united states.
by Sami Wakim via street art united states

Kneecap Releases Powerful Film on Gaza Ahead of Glastonbury Performance

Irish Rap Group Joins Forces with Artists and Activists to Demand Justice for Palestine.

In a bold act of solidarity and resistance, Irish rap trio Kneecap is releasing a short film addressing the ongoing genocide in Gaza, timed to coincide with their much-anticipated performance at Glastonbury Festival. The film, titled “See it, Say it, Censored,” went live online and across social media platforms at 6 p.m. on Thursday, amplifying an urgent call for justice and accountability.

The film is an uncompromising artistic collaboration featuring visual artists, musicians, filmmakers, producers, and activists. Together, they shed light on the staggering human toll of Israel’s military campaign in Gaza and the global complicity that allows it to continue. Interwoven with artistic interpretations are testimonies from doctors and activists on the ground, offering a chilling view of the crisis—one rarely seen in mainstream coverage.

“Kneecap will not stay silent while Western governments are complicit in genocide. They have made us a target. But they cannot target us all.”
– Kneecap

Drawing on internationally credible sources such as Amnesty International, Human Rights Watch, The Lancet, and multiple UN agencies, the film meticulously builds a legal and moral case for genocide. Yet, it goes further than documenting atrocities—it also calls out the role of Western governments in sustaining the violence through arms sales, diplomatic cover, and media distortion.

“This film was a way to cut through the noise,” says Will Child, artist and co-director of the film. “Artists like Kneecap face an uphill battle just to speak out. We have to act together to amplify the message.”

Despite increasing efforts to silence pro-Palestinian voices, Kneecap’s stance has only grown more resolute. With “See it, Say it, Censored,” they join a long legacy of artists who refuse to look away. Their message is clear: Silence is death. And in a time of mass censorship and political pressure, using the stage to speak truth is not only courageous—it’s necessary.

This project offers not only empathy, but concrete resources and actions for those ready to stand with Palestine. It challenges audiences not just to feel, but to act.

As Kneecap takes the stage at Glastonbury, their film ensures their message reverberates far beyond the festival grounds—into homes, devices, and hearts around the world.

For more information or to access the film, contact: info@charlottepyatt.co.uk

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Website: https://stopthegenocide.info/

The post Kneecap Releases Powerful Film on Gaza Ahead of Glastonbury Performance first appeared on street art united states.
by Sami Wakim via street art united states

Kneecap Releases Powerful Film on Gaza Ahead of Glastonbury Performance

Irish Rap Group Joins Forces with Artists and Activists to Demand Justice for Palestine.

In a bold act of solidarity and resistance, Irish rap trio Kneecap is releasing a short film addressing the ongoing genocide in Gaza, timed to coincide with their much-anticipated performance at Glastonbury Festival. The film, titled “See it, Say it, Censored,” went live online and across social media platforms at 6 p.m. on Thursday, amplifying an urgent call for justice and accountability.

The film is an uncompromising artistic collaboration featuring visual artists, musicians, filmmakers, producers, and activists. Together, they shed light on the staggering human toll of Israel’s military campaign in Gaza and the global complicity that allows it to continue. Interwoven with artistic interpretations are testimonies from doctors and activists on the ground, offering a chilling view of the crisis—one rarely seen in mainstream coverage.

“Kneecap will not stay silent while Western governments are complicit in genocide. They have made us a target. But they cannot target us all.”
– Kneecap

Drawing on internationally credible sources such as Amnesty International, Human Rights Watch, The Lancet, and multiple UN agencies, the film meticulously builds a legal and moral case for genocide. Yet, it goes further than documenting atrocities—it also calls out the role of Western governments in sustaining the violence through arms sales, diplomatic cover, and media distortion.

“This film was a way to cut through the noise,” says Will Child, artist and co-director of the film. “Artists like Kneecap face an uphill battle just to speak out. We have to act together to amplify the message.”

Despite increasing efforts to silence pro-Palestinian voices, Kneecap’s stance has only grown more resolute. With “See it, Say it, Censored,” they join a long legacy of artists who refuse to look away. Their message is clear: Silence is death. And in a time of mass censorship and political pressure, using the stage to speak truth is not only courageous—it’s necessary.

This project offers not only empathy, but concrete resources and actions for those ready to stand with Palestine. It challenges audiences not just to feel, but to act.

As Kneecap takes the stage at Glastonbury, their film ensures their message reverberates far beyond the festival grounds—into homes, devices, and hearts around the world.

For more information or to access the film, contact: info@charlottepyatt.co.uk

---

Website: https://stopthegenocide.info/

The post Kneecap Releases Powerful Film on Gaza Ahead of Glastonbury Performance first appeared on street art united states.
by Sami Wakim via street art united states

Layers of Meaning: SPEAR and TELMO Unveil Powerful New Murals for ‘Out in the Open’ in Aalborg, Denmark

The Danish city of Aalborg continues its transformation into a vibrant canvas of ideas and stories with the 12th year of KIRK Gallery‘s Out in the Open, the renowned public art program that brings muralists from around the world to the city’s walls. This year, two striking new works by Belgian artist SPEAR and Dutch artist TELMO offer distinct, yet deeply interconnected reflections on community, history, and the power of perspective.

TELMO | Tilsammen – A Visual Marriage of Fragments
Dutch artist TELMO—best known as one half of the internationally acclaimed duo TELMO MIEL—presents Tilsammen, a work that quite literally translates to “to together.” In this evocative mural, the artist explores the concept of unity through visual layering: fragments that initially appear disconnected gradually coalesce into a cohesive whole.

TELMO’s approach leans into abstraction, yet maintains a human warmth, encouraging viewers to peel back visual layers and discover unexpected harmonies. The mural invites contemplation of how disparate elements—whether images, people, or ideas—can come together in beautiful, surreal unison. “Going towards being together,” as the artist himself puts it.

For over a decade, TELMO has honed a style that fuses surrealism with hyper-realistic detail. His recent solo work deepens that vision, using collage-like compositions to present overlapping realities that challenge viewers to reimagine the familiar. Tilsammen continues this evolution, offering an emotionally resonant exploration of connection in a fragmented world.

SPEAR | From Tithe to Taxes – Reframing History Through Art
A few blocks away, Belgian artist SPEAR brings history into sharp focus with From Tithe to Taxes, a mural painted directly onto Tiendeladen—an old tithe barn where, centuries ago, farmers paid taxes to the church in the form of crops. This work is both homage and critique, drawing a direct line from historical systems of taxation to contemporary questions of trust, transparency, and public good.

SPEAR’s mural is a dual composition, with each half serving as a visual metaphor. One side depicts a hand stealing grain from an almost empty sack beneath wilting flowers—a grim portrayal of corruption and misuse of public resources. In contrast, the other side offers a transparent jar overflowing with grain and surrounded by blooming flowers, a hopeful image of openness and responsible governance.

“This mural is a commentary on the ambiguous nature of taxation,” SPEAR explains. “It can either nourish a thriving democracy or erode trust through misuse. Just as the Tiendeladen bridges centuries of history, my painting technique bridges classical art traditions with present-day concerns.”

Known for blending classical painting techniques with urban textures, SPEAR’s work consistently engages in a dialogue between past and present. From Tithe to Taxes is no exception—its allegorical power lies in its ability to reactivate historical spaces as sites of reflection, conversation, and civic engagement.

A Dialogue on the Wall
Together, these two murals encapsulate what Out in the Open does best: transforming public walls into spaces of meaning, conversation, and beauty. Where TELMO’s Tilsammen speaks to the importance of connection and unity through a poetic abstraction of reality, SPEAR’s From Tithe to Taxes delivers a bold, historically grounded commentary on governance and collective responsibility.

Both artists challenge viewers to engage not just with the art, but with the layered stories behind them. In doing so, they remind us that public art is more than decoration—it’s a living, breathing conversation with the world around us.

---

 

The post Layers of Meaning: SPEAR and TELMO Unveil Powerful New Murals for ‘Out in the Open’ in Aalborg, Denmark first appeared on street art united states.
by Sami Wakim via street art united states

Layers of Meaning: SPEAR and TELMO Unveil Powerful New Murals for ‘Out in the Open’ in Aalborg, Denmark

The Danish city of Aalborg continues its transformation into a vibrant canvas of ideas and stories with the 12th year of KIRK Gallery‘s Out in the Open, the renowned public art program that brings muralists from around the world to the city’s walls. This year, two striking new works by Belgian artist SPEAR and Dutch artist TELMO offer distinct, yet deeply interconnected reflections on community, history, and the power of perspective.

TELMO | Tilsammen – A Visual Marriage of Fragments
Dutch artist TELMO—best known as one half of the internationally acclaimed duo TELMO MIEL—presents Tilsammen, a work that quite literally translates to “to together.” In this evocative mural, the artist explores the concept of unity through visual layering: fragments that initially appear disconnected gradually coalesce into a cohesive whole.

TELMO’s approach leans into abstraction, yet maintains a human warmth, encouraging viewers to peel back visual layers and discover unexpected harmonies. The mural invites contemplation of how disparate elements—whether images, people, or ideas—can come together in beautiful, surreal unison. “Going towards being together,” as the artist himself puts it.

For over a decade, TELMO has honed a style that fuses surrealism with hyper-realistic detail. His recent solo work deepens that vision, using collage-like compositions to present overlapping realities that challenge viewers to reimagine the familiar. Tilsammen continues this evolution, offering an emotionally resonant exploration of connection in a fragmented world.

SPEAR | From Tithe to Taxes – Reframing History Through Art
A few blocks away, Belgian artist SPEAR brings history into sharp focus with From Tithe to Taxes, a mural painted directly onto Tiendeladen—an old tithe barn where, centuries ago, farmers paid taxes to the church in the form of crops. This work is both homage and critique, drawing a direct line from historical systems of taxation to contemporary questions of trust, transparency, and public good.

SPEAR’s mural is a dual composition, with each half serving as a visual metaphor. One side depicts a hand stealing grain from an almost empty sack beneath wilting flowers—a grim portrayal of corruption and misuse of public resources. In contrast, the other side offers a transparent jar overflowing with grain and surrounded by blooming flowers, a hopeful image of openness and responsible governance.

“This mural is a commentary on the ambiguous nature of taxation,” SPEAR explains. “It can either nourish a thriving democracy or erode trust through misuse. Just as the Tiendeladen bridges centuries of history, my painting technique bridges classical art traditions with present-day concerns.”

Known for blending classical painting techniques with urban textures, SPEAR’s work consistently engages in a dialogue between past and present. From Tithe to Taxes is no exception—its allegorical power lies in its ability to reactivate historical spaces as sites of reflection, conversation, and civic engagement.

A Dialogue on the Wall
Together, these two murals encapsulate what Out in the Open does best: transforming public walls into spaces of meaning, conversation, and beauty. Where TELMO’s Tilsammen speaks to the importance of connection and unity through a poetic abstraction of reality, SPEAR’s From Tithe to Taxes delivers a bold, historically grounded commentary on governance and collective responsibility.

Both artists challenge viewers to engage not just with the art, but with the layered stories behind them. In doing so, they remind us that public art is more than decoration—it’s a living, breathing conversation with the world around us.

---

 

The post Layers of Meaning: SPEAR and TELMO Unveil Powerful New Murals for ‘Out in the Open’ in Aalborg, Denmark first appeared on street art united states.
by Sami Wakim via street art united states

Western Exceptionalism and the Politics of Privilege and Punishment

The belief in Western superiority—rooted in centuries of colonial dominance, military power, and economic control—continues to shape how the United States and Europe engage with the world. These nations often see themselves not as equal participants in a shared global system, but as exceptional actors, entitled to privileges that others are denied. This worldview, built on perceived moral and political supremacy, allows them and their allies to operate under a different set of rules, with devastating consequences.

Image generated by Dall-E

This exceptionalism is not simply rhetorical—it translates into action. One of the most harrowing examples is Israel’s military campaign in Gaza. With the full backing of the United States and tacit support from much of Europe, Israel has carried out what many international observers, human rights organizations, and legal scholars now describe as extermination. Entire families have been wiped out, neighborhoods reduced to rubble, hospitals bombed, and basic infrastructure intentionally destroyed. Despite these realities, Western leaders continue to defend Israel’s actions under the guise of “self-defense,” granting blanket immunity to a state that is systematically erasing a people.

This impunity is made possible by the same mindset that divides the world into “worthy” and “unworthy” lives. Palestinians—stateless, colonized, and demonized—are treated as expendable. Their suffering is minimized, rationalized, or dismissed altogether. Israel, by contrast, is elevated as a Western-aligned democracy that must be protected at all costs, no matter the human toll.

The same logic extends beyond Gaza, into the shadow war on Iran. Israel has repeatedly launched attacks inside Iranian territory, including the assassination of scientists and strikes on military and civilian infrastructure. These acts of aggression are justified by claiming that Iran is secretly developing nuclear weapons. Yet the International Atomic Energy Agency (IAEA)—the global body tasked with nuclear oversight—has not found conclusive evidence of such a weapons program. Still, the narrative persists, because it serves the interests of those who wish to keep Iran isolated, sanctioned, and under threat. Violence that would be condemned as terrorism or war crimes if conducted by others is instead excused as necessary and preventative when it aligns with Western strategic goals.

But this hierarchy of value and justice is not only applied abroad—it is visible within Western borders as well. In the United States, the deportation of undocumented immigrants reflects the same ideology of exclusion and superiority. Families are torn apart, people who have lived and worked in the country for years are rounded up and expelled, and entire communities are criminalized. These deportations are often carried out under the language of legality and border control, but at their core lies a refusal to recognize the humanity and dignity of those deemed “other.” Again, the privileged define the rules, and the vulnerable are punished for not fitting within them.

Western exceptionalism is not a victimless ideology. It kills. It destroys homes. It disappears people across borders. And it warps the moral compass of the very societies that claim to lead the world in justice and human rights.

To move toward a more just world, we must dismantle the illusion that some nations—or some lives—are inherently more valuable than others. Accountability must replace impunity, empathy must replace domination, and equality must replace superiority. Until then, the cycle of violence and dehumanization will continue, justified by the same tired myth: that the West knows best.

---

 

The post Western Exceptionalism and the Politics of Privilege and Punishment first appeared on street art united states.
by Sami Wakim via street art united states

Western Exceptionalism and the Politics of Privilege and Punishment

The belief in Western superiority—rooted in centuries of colonial dominance, military power, and economic control—continues to shape how the United States and Europe engage with the world. These nations often see themselves not as equal participants in a shared global system, but as exceptional actors, entitled to privileges that others are denied. This worldview, built on perceived moral and political supremacy, allows them and their allies to operate under a different set of rules, with devastating consequences.

Image generated by Dall-E

This exceptionalism is not simply rhetorical—it translates into action. One of the most harrowing examples is Israel’s military campaign in Gaza. With the full backing of the United States and tacit support from much of Europe, Israel has carried out what many international observers, human rights organizations, and legal scholars now describe as extermination. Entire families have been wiped out, neighborhoods reduced to rubble, hospitals bombed, and basic infrastructure intentionally destroyed. Despite these realities, Western leaders continue to defend Israel’s actions under the guise of “self-defense,” granting blanket immunity to a state that is systematically erasing a people.

This impunity is made possible by the same mindset that divides the world into “worthy” and “unworthy” lives. Palestinians—stateless, colonized, and demonized—are treated as expendable. Their suffering is minimized, rationalized, or dismissed altogether. Israel, by contrast, is elevated as a Western-aligned democracy that must be protected at all costs, no matter the human toll.

The same logic extends beyond Gaza, into the shadow war on Iran. Israel has repeatedly launched attacks inside Iranian territory, including the assassination of scientists and strikes on military and civilian infrastructure. These acts of aggression are justified by claiming that Iran is secretly developing nuclear weapons. Yet the International Atomic Energy Agency (IAEA)—the global body tasked with nuclear oversight—has not found conclusive evidence of such a weapons program. Still, the narrative persists, because it serves the interests of those who wish to keep Iran isolated, sanctioned, and under threat. Violence that would be condemned as terrorism or war crimes if conducted by others is instead excused as necessary and preventative when it aligns with Western strategic goals.

But this hierarchy of value and justice is not only applied abroad—it is visible within Western borders as well. In the United States, the deportation of undocumented immigrants reflects the same ideology of exclusion and superiority. Families are torn apart, people who have lived and worked in the country for years are rounded up and expelled, and entire communities are criminalized. These deportations are often carried out under the language of legality and border control, but at their core lies a refusal to recognize the humanity and dignity of those deemed “other.” Again, the privileged define the rules, and the vulnerable are punished for not fitting within them.

Western exceptionalism is not a victimless ideology. It kills. It destroys homes. It disappears people across borders. And it warps the moral compass of the very societies that claim to lead the world in justice and human rights.

To move toward a more just world, we must dismantle the illusion that some nations—or some lives—are inherently more valuable than others. Accountability must replace impunity, empathy must replace domination, and equality must replace superiority. Until then, the cycle of violence and dehumanization will continue, justified by the same tired myth: that the West knows best.

---

 

The post Western Exceptionalism and the Politics of Privilege and Punishment first appeared on street art united states.
by Sami Wakim via street art united states

Dear Artists: The World Needs Your Truth, Not Your Perfection

In a world saturated with curated aesthetics, flawless filters, and the relentless pursuit of “pretty,” it’s easy to forget why art exists in the first place. We’ve been sold the illusion that beauty alone is enough, that art must be polished, symmetrical, and Instagram-worthy to be worthy at all. But the truth? The world doesn’t need more pretty. It needs more truth.

Art is not wallpaper. It’s not decoration. Art is disruption, reflection, and revelation. It’s the mirror we hold up to society, to power, and to ourselves. It speaks where words fail. And sometimes, truth is messy. It’s raw, uncomfortable, and imperfect. But it’s also necessary. Especially now.

We live in times when reality is constantly blurred, when truth itself is debated like opinion. In such a climate, the artist’s role becomes even more crucial—not to decorate the lie, but to reveal it. To uncover what is hidden, to make visible what is ignored.

And yet, so many artists fall into the trap of perfection. Hours, days, even years are lost chasing faultlessness—paralyzed by self-doubt, by comparison, by the fear of failure. But here’s the paradox: perfection kills more art than failure ever could.

Perfection is a cage. It tricks you into silence. It makes you polish the soul right out of your work. Meanwhile, failure—glorious, messy failure—is how we grow. It’s how art breathes. It’s how we find the thing under the thing.

Dear artists: you don’t owe the world another beautiful lie. You owe it your honest voice. You owe it your scars, your questions, your anger, your joy. Give us something real. We can’t hang perfection on a wall and feel something. But we can feel your truth—no matter how rough, how raw, or how unfinished.

Because in the end, truth lasts. Pretty fades.

So make your art. Make it bold. Make it imperfect. But above all, make it true.

---

 

The post Dear Artists: The World Needs Your Truth, Not Your Perfection first appeared on street art united states.
by Sami Wakim via street art united states

Dear Artists: The World Needs Your Truth, Not Your Perfection

In a world saturated with curated aesthetics, flawless filters, and the relentless pursuit of “pretty,” it’s easy to forget why art exists in the first place. We’ve been sold the illusion that beauty alone is enough, that art must be polished, symmetrical, and Instagram-worthy to be worthy at all. But the truth? The world doesn’t need more pretty. It needs more truth.

Art is not wallpaper. It’s not decoration. Art is disruption, reflection, and revelation. It’s the mirror we hold up to society, to power, and to ourselves. It speaks where words fail. And sometimes, truth is messy. It’s raw, uncomfortable, and imperfect. But it’s also necessary. Especially now.

We live in times when reality is constantly blurred, when truth itself is debated like opinion. In such a climate, the artist’s role becomes even more crucial—not to decorate the lie, but to reveal it. To uncover what is hidden, to make visible what is ignored.

And yet, so many artists fall into the trap of perfection. Hours, days, even years are lost chasing faultlessness—paralyzed by self-doubt, by comparison, by the fear of failure. But here’s the paradox: perfection kills more art than failure ever could.

Perfection is a cage. It tricks you into silence. It makes you polish the soul right out of your work. Meanwhile, failure—glorious, messy failure—is how we grow. It’s how art breathes. It’s how we find the thing under the thing.

Dear artists: you don’t owe the world another beautiful lie. You owe it your honest voice. You owe it your scars, your questions, your anger, your joy. Give us something real. We can’t hang perfection on a wall and feel something. But we can feel your truth—no matter how rough, how raw, or how unfinished.

Because in the end, truth lasts. Pretty fades.

So make your art. Make it bold. Make it imperfect. But above all, make it true.

---

 

The post Dear Artists: The World Needs Your Truth, Not Your Perfection first appeared on street art united states.
by Sami Wakim via street art united states

Art Meets Action: Hell’s Kitchen Unveils New Pollution-Fighting Mural “Botanical Pulse”

In a vibrant convergence of art, science, and environmental activism, Hell’s Kitchen is now home to Botanical Pulse—New York City’s first-ever pollution-fighting mural using Airlite, a revolutionary air-purifying paint recognized by the United Nations. Unveiled during a ribbon-cutting ceremony on June 2, this bold new public artwork is the result of a partnership between the international nonprofit Yourban2030 and NYC Council Member Erik Bottcher (District 3).

Located adjacent to Hell’s Kitchen Park, Botanical Pulse marks a major milestone in sustainable public art and kicks off a larger initiative aimed at turning urban walls into agents of environmental change.

Painted by acclaimed Italian muralist Fabio Petani, the mural is not only a striking visual addition to the neighborhood—it’s also a literal breath of fresh air. Thanks to Airlite technology, the mural will actively neutralize pollution equivalent to the emissions of 43 cars every day for the next decade.

“This isn’t just public art—it’s a bold statement about who we are and where we’re going,” said Council Member Bottcher. “From climate action and gender equality to clean air and local greening, Botanical Pulse is helping turn big ideas into visible, tangible change.”

At the heart of this project is Veronica De Angelis, founder of Yourban2030 and a pioneer in the movement to integrate art with sustainable urban innovation. Since first introducing Airlite murals in the U.S. in 2022, De Angelis has been spearheading a campaign to merge aesthetic beauty with ecological function.

“These murals represent more than aesthetics—they offer a measurable contribution to cleaner air and civic well-being,” said De Angelis. “We are proud to bring this pioneering technology to a New York City park for the first time, and we are deeply grateful for the support of Council Member Bottcher and the Hell’s Kitchen community.”

Botanical Pulse is part of Yourban2030’s Walls of Tomorrow campaign, an initiative inspired by the United Nations’ Sustainable Development Goals. The organization envisions a future in which cities become open-air museums of climate consciousness—where walls tell stories of renewal, resistance, and regeneration.

To deepen the impact and accessibility of the mural, visitors can scan an on-site QR code created by Ecosapians to purchase digitized versions of the artwork. A portion of proceeds will support The Hort, a fund dedicated to planting trees throughout Manhattan’s west side. A second QR code will unlock Bloomstorm, an original ambient soundtrack by Akawalk, transforming the space into a multi-sensory experience.

With this landmark project, Hell’s Kitchen has become a living canvas for environmental change—a neighborhood where creativity doesn’t just decorate the streets but helps clean the very air its residents breathe.

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For more information:
Visit www.yourban2030.org or follow @yourban2030 on social media.
To view the mural, visit Hell’s Kitchen Park.

The post Art Meets Action: Hell’s Kitchen Unveils New Pollution-Fighting Mural “Botanical Pulse” first appeared on street art united states.
by Sami Wakim via street art united states

Art Meets Action: Hell’s Kitchen Unveils New Pollution-Fighting Mural “Botanical Pulse”

In a vibrant convergence of art, science, and environmental activism, Hell’s Kitchen is now home to Botanical Pulse—New York City’s first-ever pollution-fighting mural using Airlite, a revolutionary air-purifying paint recognized by the United Nations. Unveiled during a ribbon-cutting ceremony on June 2, this bold new public artwork is the result of a partnership between the international nonprofit Yourban2030 and NYC Council Member Erik Bottcher (District 3).

Located adjacent to Hell’s Kitchen Park, Botanical Pulse marks a major milestone in sustainable public art and kicks off a larger initiative aimed at turning urban walls into agents of environmental change.

Painted by acclaimed Italian muralist Fabio Petani, the mural is not only a striking visual addition to the neighborhood—it’s also a literal breath of fresh air. Thanks to Airlite technology, the mural will actively neutralize pollution equivalent to the emissions of 43 cars every day for the next decade.

“This isn’t just public art—it’s a bold statement about who we are and where we’re going,” said Council Member Bottcher. “From climate action and gender equality to clean air and local greening, Botanical Pulse is helping turn big ideas into visible, tangible change.”

At the heart of this project is Veronica De Angelis, founder of Yourban2030 and a pioneer in the movement to integrate art with sustainable urban innovation. Since first introducing Airlite murals in the U.S. in 2022, De Angelis has been spearheading a campaign to merge aesthetic beauty with ecological function.

“These murals represent more than aesthetics—they offer a measurable contribution to cleaner air and civic well-being,” said De Angelis. “We are proud to bring this pioneering technology to a New York City park for the first time, and we are deeply grateful for the support of Council Member Bottcher and the Hell’s Kitchen community.”

Botanical Pulse is part of Yourban2030’s Walls of Tomorrow campaign, an initiative inspired by the United Nations’ Sustainable Development Goals. The organization envisions a future in which cities become open-air museums of climate consciousness—where walls tell stories of renewal, resistance, and regeneration.

To deepen the impact and accessibility of the mural, visitors can scan an on-site QR code created by Ecosapians to purchase digitized versions of the artwork. A portion of proceeds will support The Hort, a fund dedicated to planting trees throughout Manhattan’s west side. A second QR code will unlock Bloomstorm, an original ambient soundtrack by Akawalk, transforming the space into a multi-sensory experience.

With this landmark project, Hell’s Kitchen has become a living canvas for environmental change—a neighborhood where creativity doesn’t just decorate the streets but helps clean the very air its residents breathe.

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For more information:
Visit www.yourban2030.org or follow @yourban2030 on social media.
To view the mural, visit Hell’s Kitchen Park.

The post Art Meets Action: Hell’s Kitchen Unveils New Pollution-Fighting Mural “Botanical Pulse” first appeared on street art united states.
by Sami Wakim via street art united states

On Easter Sunday, This World Is Not Normal—And Neither Am I Anymore!

Today is Easter Sunday. A day that marks the resurrection of Jesus—the story of an innocent man, beaten, humiliated, and nailed to a cross in front of a silent, complicit crowd. And yet, we call this day holy. We call it sacred. We dress in pastels, go to brunch, and speak of redemption and light. But how can we speak of resurrection when so many children are being crucified in real time?

We’ve all watched crimes against humanity unfold in real time—broadcast in high definition, shared across social media, dissected in news reports—and yet the world remains silent. Worse, complicit. But what breaks me most, what will haunt me for the rest of my life, is the slaughter of children. Not just a few. Tens of thousands. Gone. Erased. Bombed, burned, buried under rubble while the world debates the semantics of war and “self-defense.”

Tell me, how do I explain this to my children? That the world let this happen? That governments, journalists, influencers—so many people—chose to look away, or worse, justify it? What do I say when they ask why no one stopped it? Why the people in power shook hands and smiled while children’s bodies piled up?

What terrifies me is not just what has happened, but what it reveals: we live in a world where a state can commit genocide on camera, with zero consequence. Where mass murder is streamed live and the perpetrators act proudly, with impunity, as if daring us to care. And too many don’t. Too many are silent. Too many are still scrolling, posting selfies, acting like this is all normal.

But it’s not normal. None of this is normal.

If we do not hold Israel and the USA accountable for the atrocities they have committed—then what comes next? What precedent are we setting? What lesson are we teaching? That if you’re powerful enough, you can kill whoever you want and no one will stop you?

That’s not a world I want to raise my children in. That’s not a world I want to even exist in. It fills me with rage, sorrow, and fear. But more than anything, it fills me with disgust—for the silence, for the apathy, for the people who somehow still manage to carry on unaffected.

So yes—I’m changed. And I question anyone who isn’t.

If what you’ve seen doesn’t shatter your soul, if the blood of thousands of children doesn’t shake you to your core, then I don’t know what you are. But you’re not human.

And if we don’t wake up and fight back against this horror, then maybe humanity really is dead.

The post On Easter Sunday, This World Is Not Normal—And Neither Am I Anymore! first appeared on street art united states.
by Sami Wakim via street art united states

On Easter Sunday, This World Is Not Normal—And Neither Am I Anymore!

Today is Easter Sunday. A day that marks the resurrection of Jesus—the story of an innocent man, beaten, humiliated, and nailed to a cross in front of a silent, complicit crowd. And yet, we call this day holy. We call it sacred. We dress in pastels, go to brunch, and speak of redemption and light. But how can we speak of resurrection when so many children are being crucified in real time?

We’ve all watched crimes against humanity unfold in real time—broadcast in high definition, shared across social media, dissected in news reports—and yet the world remains silent. Worse, complicit. But what breaks me most, what will haunt me for the rest of my life, is the slaughter of children. Not just a few. Tens of thousands. Gone. Erased. Bombed, burned, buried under rubble while the world debates the semantics of war and “self-defense.”

Tell me, how do I explain this to my children? That the world let this happen? That governments, journalists, influencers—so many people—chose to look away, or worse, justify it? What do I say when they ask why no one stopped it? Why the people in power shook hands and smiled while children’s bodies piled up?

What terrifies me is not just what has happened, but what it reveals: we live in a world where a state can commit genocide on camera, with zero consequence. Where mass murder is streamed live and the perpetrators act proudly, with impunity, as if daring us to care. And too many don’t. Too many are silent. Too many are still scrolling, posting selfies, acting like this is all normal.

But it’s not normal. None of this is normal.

If we do not hold Israel and the USA accountable for the atrocities they have committed—then what comes next? What precedent are we setting? What lesson are we teaching? That if you’re powerful enough, you can kill whoever you want and no one will stop you?

That’s not a world I want to raise my children in. That’s not a world I want to even exist in. It fills me with rage, sorrow, and fear. But more than anything, it fills me with disgust—for the silence, for the apathy, for the people who somehow still manage to carry on unaffected.

So yes—I’m changed. And I question anyone who isn’t.

If what you’ve seen doesn’t shatter your soul, if the blood of thousands of children doesn’t shake you to your core, then I don’t know what you are. But you’re not human.

And if we don’t wake up and fight back against this horror, then maybe humanity really is dead.

The post On Easter Sunday, This World Is Not Normal—And Neither Am I Anymore! first appeared on street art united states.
by Sami Wakim via street art united states

The Morning Will Change Everything: Sebas Velasco’s Solo Museum Debut in Sarajevo

Celebrating its 80th anniversary, the History Museum of Bosnia and Herzegovina is set to host “The Morning Will Change Everything,” the first solo museum exhibition by renowned Spanish artist Sebas Velasco. This landmark event will open on April 4, 2025, in Sarajevo, presenting a captivating series of original oil paintings that explore urban landscapes and human narratives shaped by history, identity, and cultural evolution.

Taking inspiration from the legendary Sarajevo-based band Indexi and their song of the same name, “The Morning Will Change Everything” is more than a showcase of Velasco’s striking artworks. The exhibition delves deep into the socio-economic and cultural transformations of the Balkans, captured through the artist’s decade-long travels across the region. His evocative paintings—depicting parking lots, residential streets, and intimate portraits—act as portals into the lived realities of cities marked by transition and resilience.

Through his use of expressive brushstrokes and cinematic lighting, Velasco elevates everyday moments into profound reflections on the interplay between people, architecture, and historical memory. From the rooftops of Sarajevo’s Grbavica at dusk to the neon-lit corners of Alipašino Polje, his work navigates the liminal space between nostalgia and the present, drawing attention to the shifting notions of territory and belonging.

In partnership with the History Museum of Bosnia and Herzegovina, a revered institution dedicated to preserving cultural memory, Velasco’s exhibition extends beyond the canvas. “The Morning Will Change Everything” offers a multidisciplinary experience that interweaves painting with Balkan languages, music, and filmmaking. The exhibition highlights local narratives, amplifying voices from a community of artists, historians, and cultural producers within the museum’s iconic brutalist setting—formerly the Museum of Revolution.

The opening event will feature a Q&A session and a film screening by acclaimed Bosnian filmmaker Mario Ilić, followed by an exhibition unveiling at 19:30. Over the opening weekend, visitors can participate in a guided tour, artist talks, and a live performance by Spanish guitarist Jaime Velasco, fostering a rich dialogue between local and international creatives.

Beyond the visual experience, the exhibition will host a series of thought-provoking discussions featuring prominent artists, writers, and curators. Highlights include:

• “Representation: Finding the Warmth in the Grey” – A conversation with Sebas Velasco, writer Marc Casals, and curator Adna Muslija, exploring artistic representation and storytelling through urban landscapes.
• “Against the Margins: Breaking Isolation” – A discussion with museum director Elma Hašimbegović, artist Bojan Stojčić, and curator Saša Bogojev, tackling the role of art in overcoming cultural and social isolation.

Photo Credit JONATHAN MANNION 2024.

Sebas Velasco (b. 1988) has cemented his reputation as a leading contemporary artist, capturing the evolving relationships between architecture, politics, and society. With a portfolio that includes collaborations with institutions such as the Prado Museum and the Museum of European Modern Art in Barcelona, his work has been exhibited across Europe, the U.S., and Asia. Through his paintings and large-scale murals, Velasco documents transitional landscapes, shedding light on the shared histories and contemporary struggles of Eastern European cities.

The Morning Will Change Everything

Produced by cultural consultant Charlotte Pyatt and supported by the Spanish Embassy in Bosnia and Herzegovina, “The Morning Will Change Everything” is a testament to the power of cross-cultural exchange. With the involvement of Sarajevo’s Manifesto Gallery and media partner Fifth Wall TV, the exhibition fosters a dynamic space for public dialogue, artistic expression, and cultural preservation.

As Sarajevo continues to navigate its own complex historical narrative, Velasco’s work stands as a poignant reminder of the resilience embedded within urban spaces. “The Morning Will Change Everything” is not just an exhibition—it is an invitation to witness the poetic intersection of memory, identity, and art within the ever-changing landscape of the Balkans.

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Exhibition Details:

• Venue: History Museum of Bosnia and Herzegovina, Sarajevo.
  71000, Zmaja od Bosne 5, Sarajevo 71000, Bosnia & Herzegovina
• Opening Date: April 4, 2025, 18:00 (Q&A and Film Screening), 19:30 (Public Opening)
• Event Highlights: Guided tours, panel discussions, and a live performance by Jaime Velasco

The post The Morning Will Change Everything: Sebas Velasco’s Solo Museum Debut in Sarajevo first appeared on street art united states.
by Sami Wakim via street art united states

The Morning Will Change Everything: Sebas Velasco’s Solo Museum Debut in Sarajevo

Celebrating its 80th anniversary, the History Museum of Bosnia and Herzegovina is set to host “The Morning Will Change Everything,” the first solo museum exhibition by renowned Spanish artist Sebas Velasco. This landmark event will open on April 4, 2025, in Sarajevo, presenting a captivating series of original oil paintings that explore urban landscapes and human narratives shaped by history, identity, and cultural evolution.

Taking inspiration from the legendary Sarajevo-based band Indexi and their song of the same name, “The Morning Will Change Everything” is more than a showcase of Velasco’s striking artworks. The exhibition delves deep into the socio-economic and cultural transformations of the Balkans, captured through the artist’s decade-long travels across the region. His evocative paintings—depicting parking lots, residential streets, and intimate portraits—act as portals into the lived realities of cities marked by transition and resilience.

Through his use of expressive brushstrokes and cinematic lighting, Velasco elevates everyday moments into profound reflections on the interplay between people, architecture, and historical memory. From the rooftops of Sarajevo’s Grbavica at dusk to the neon-lit corners of Alipašino Polje, his work navigates the liminal space between nostalgia and the present, drawing attention to the shifting notions of territory and belonging.

In partnership with the History Museum of Bosnia and Herzegovina, a revered institution dedicated to preserving cultural memory, Velasco’s exhibition extends beyond the canvas. “The Morning Will Change Everything” offers a multidisciplinary experience that interweaves painting with Balkan languages, music, and filmmaking. The exhibition highlights local narratives, amplifying voices from a community of artists, historians, and cultural producers within the museum’s iconic brutalist setting—formerly the Museum of Revolution.

The opening event will feature a Q&A session and a film screening by acclaimed Bosnian filmmaker Mario Ilić, followed by an exhibition unveiling at 19:30. Over the opening weekend, visitors can participate in a guided tour, artist talks, and a live performance by Spanish guitarist Jaime Velasco, fostering a rich dialogue between local and international creatives.

Beyond the visual experience, the exhibition will host a series of thought-provoking discussions featuring prominent artists, writers, and curators. Highlights include:

• “Representation: Finding the Warmth in the Grey” – A conversation with Sebas Velasco, writer Marc Casals, and curator Adna Muslija, exploring artistic representation and storytelling through urban landscapes.
• “Against the Margins: Breaking Isolation” – A discussion with museum director Elma Hašimbegović, artist Bojan Stojčić, and curator Saša Bogojev, tackling the role of art in overcoming cultural and social isolation.

Photo Credit JONATHAN MANNION 2024.

Sebas Velasco (b. 1988) has cemented his reputation as a leading contemporary artist, capturing the evolving relationships between architecture, politics, and society. With a portfolio that includes collaborations with institutions such as the Prado Museum and the Museum of European Modern Art in Barcelona, his work has been exhibited across Europe, the U.S., and Asia. Through his paintings and large-scale murals, Velasco documents transitional landscapes, shedding light on the shared histories and contemporary struggles of Eastern European cities.

The Morning Will Change Everything

Produced by cultural consultant Charlotte Pyatt and supported by the Spanish Embassy in Bosnia and Herzegovina, “The Morning Will Change Everything” is a testament to the power of cross-cultural exchange. With the involvement of Sarajevo’s Manifesto Gallery and media partner Fifth Wall TV, the exhibition fosters a dynamic space for public dialogue, artistic expression, and cultural preservation.

As Sarajevo continues to navigate its own complex historical narrative, Velasco’s work stands as a poignant reminder of the resilience embedded within urban spaces. “The Morning Will Change Everything” is not just an exhibition—it is an invitation to witness the poetic intersection of memory, identity, and art within the ever-changing landscape of the Balkans.

---

Exhibition Details:

• Venue: History Museum of Bosnia and Herzegovina, Sarajevo.
  71000, Zmaja od Bosne 5, Sarajevo 71000, Bosnia & Herzegovina
• Opening Date: April 4, 2025, 18:00 (Q&A and Film Screening), 19:30 (Public Opening)
• Event Highlights: Guided tours, panel discussions, and a live performance by Jaime Velasco

The post The Morning Will Change Everything: Sebas Velasco’s Solo Museum Debut in Sarajevo first appeared on street art united states.
by Sami Wakim via street art united states