Julia Volchkova Unveils Largest Mural in Sabak Bernam, Celebrating Malaysian Culture

Sabak Bernam, Malaysia – Renowned mural artist Julia Volchkova has unveiled her largest mural to date in Sabak Bernam, further cementing her legacy as a global street art icon. This monumental artwork, inspired by Malaysia’s rich cultural heritage, continues Volchkova’s dedication to portraying the lives and traditions of local communities through her evocative murals.

Located on a prominent city wall, the mural is a striking composition drawn from Volchkova’s observations of Malaysia’s coastal communities. Capturing the essence of fishermen and their way of life, the artwork resonates with deep symbolism and emotional depth, celebrating the resilience and traditions of the people who shape the country’s cultural fabric.

Volchkova, known for her ability to merge realism with storytelling, spent over a month completing this piece—making it the most time-intensive project of her career. The mural was made possible with the support of Y.B. Datuk Hj. Rizam Bin Hj. Ismail, Selangor State EXCO for Rural Development, Unity & Consumers, and the Sabak Bernam Development Area (SABDA). SABDA, established under the First Selangor Plan (RS-1), aims to drive sustainable development in the district, incorporating initiatives in eco-tourism and agro-tourism.

“I draw inspiration from people, their stories, and the traditions that shape the unique identity of each place. This mural is a tribute to Malaysian culture and its rich heritage,” said Julia Volchkova.

Volchkova’s work has already left a lasting imprint in various parts of Malaysia, attracting tourists, art enthusiasts, and cultural scholars alike. This latest mural in Sabak Bernam reinforces the growing role of street art in cultural preservation, providing a dynamic platform for dialogue between contemporary urban aesthetics and traditional narratives.

The mural’s creation has also sparked significant local interest, with community members closely following the artistic process. The piece is expected to become a landmark that not only enhances Sabak Bernam’s urban landscape but also contributes to its identity as a destination for public art and cultural tourism.

A second mural is planned in Sabak Bernam, further expanding Volchkova’s artistic vision for the region. Following its completion, an official unveiling event will take place, offering visitors a unique opportunity to engage with the artist and gain insight into the creative process behind these extraordinary murals.

As Sabak Bernam continues its transformation through art and cultural initiatives, Julia Volchkova’s work stands as a testament to the power of street art—not just as an aesthetic contribution, but as a means of storytelling, cultural appreciation, and community engagement.

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The post Julia Volchkova Unveils Largest Mural in Sabak Bernam, Celebrating Malaysian Culture first appeared on street art united states.
by Sami Wakim via street art united states

Julia Volchkova Unveils Largest Mural in Sabak Bernam, Celebrating Malaysian Culture

Sabak Bernam, Malaysia – Renowned mural artist Julia Volchkova has unveiled her largest mural to date in Sabak Bernam, further cementing her legacy as a global street art icon. This monumental artwork, inspired by Malaysia’s rich cultural heritage, continues Volchkova’s dedication to portraying the lives and traditions of local communities through her evocative murals.

Located on a prominent city wall, the mural is a striking composition drawn from Volchkova’s observations of Malaysia’s coastal communities. Capturing the essence of fishermen and their way of life, the artwork resonates with deep symbolism and emotional depth, celebrating the resilience and traditions of the people who shape the country’s cultural fabric.

Volchkova, known for her ability to merge realism with storytelling, spent over a month completing this piece—making it the most time-intensive project of her career. The mural was made possible with the support of Y.B. Datuk Hj. Rizam Bin Hj. Ismail, Selangor State EXCO for Rural Development, Unity & Consumers, and the Sabak Bernam Development Area (SABDA). SABDA, established under the First Selangor Plan (RS-1), aims to drive sustainable development in the district, incorporating initiatives in eco-tourism and agro-tourism.

“I draw inspiration from people, their stories, and the traditions that shape the unique identity of each place. This mural is a tribute to Malaysian culture and its rich heritage,” said Julia Volchkova.

Volchkova’s work has already left a lasting imprint in various parts of Malaysia, attracting tourists, art enthusiasts, and cultural scholars alike. This latest mural in Sabak Bernam reinforces the growing role of street art in cultural preservation, providing a dynamic platform for dialogue between contemporary urban aesthetics and traditional narratives.

The mural’s creation has also sparked significant local interest, with community members closely following the artistic process. The piece is expected to become a landmark that not only enhances Sabak Bernam’s urban landscape but also contributes to its identity as a destination for public art and cultural tourism.

A second mural is planned in Sabak Bernam, further expanding Volchkova’s artistic vision for the region. Following its completion, an official unveiling event will take place, offering visitors a unique opportunity to engage with the artist and gain insight into the creative process behind these extraordinary murals.

As Sabak Bernam continues its transformation through art and cultural initiatives, Julia Volchkova’s work stands as a testament to the power of street art—not just as an aesthetic contribution, but as a means of storytelling, cultural appreciation, and community engagement.

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The post Julia Volchkova Unveils Largest Mural in Sabak Bernam, Celebrating Malaysian Culture first appeared on street art united states.
by Sami Wakim via street art united states

Gladiators Then and Now: Resistance or Terrorism?

Ridley Scott’s latest film Gladiator II has reignited interest in the legendary gladiators of ancient Rome, portraying them as symbols of defiance against tyranny. Audiences cheer for their strength and resilience, seeing them as heroes who fought for justice and freedom. Yet, in today’s world, those who engage in similar resistance are often labeled as terrorists rather than freedom fighters. This contrast raises important questions about how history is framed and who gets to define the morality of rebellion.

The Roman gladiators were enslaved men forced into brutal combat for the entertainment of the ruling elite. Yet, when they revolted—most famously under Spartacus—they challenged an oppressive system, seeking liberation from subjugation. Their struggle is now romanticized as a fight for freedom, a cause worthy of admiration. But how different is their story from that of modern groups who resist oppression with force?

In contemporary conflicts, resistance movements often emerge from marginalized communities facing systemic violence. The terminology used to describe them—whether “freedom fighters” or “terrorists”—depends largely on political narratives. Governments and media shape public perception, branding some as noble revolutionaries and others as dangerous radicals, even when their struggles share striking similarities.

Hollywood has long played a role in constructing these narratives. Films like Gladiator celebrate rebellion when it fits within a historical framework that is distant and safe. But when resistance happens in the present day, the same qualities—bravery, defiance, and the willingness to fight against oppression—are met with condemnation rather than admiration.

This raises an uncomfortable reality: Is resistance only heroic in hindsight? Would the gladiators of ancient Rome have been labeled terrorists in their time? And more importantly, who decides which struggles are just? The glorification of past rebellions while vilifying contemporary ones suggests that the answer is more about power than principle.

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The post Gladiators Then and Now: Resistance or Terrorism? first appeared on street art united states.
by Sami Wakim via street art united states

Gladiators Then and Now: Resistance or Terrorism?

Ridley Scott’s latest film Gladiator II has reignited interest in the legendary gladiators of ancient Rome, portraying them as symbols of defiance against tyranny. Audiences cheer for their strength and resilience, seeing them as heroes who fought for justice and freedom. Yet, in today’s world, those who engage in similar resistance are often labeled as terrorists rather than freedom fighters. This contrast raises important questions about how history is framed and who gets to define the morality of rebellion.

The Roman gladiators were enslaved men forced into brutal combat for the entertainment of the ruling elite. Yet, when they revolted—most famously under Spartacus—they challenged an oppressive system, seeking liberation from subjugation. Their struggle is now romanticized as a fight for freedom, a cause worthy of admiration. But how different is their story from that of modern groups who resist oppression with force?

In contemporary conflicts, resistance movements often emerge from marginalized communities facing systemic violence. The terminology used to describe them—whether “freedom fighters” or “terrorists”—depends largely on political narratives. Governments and media shape public perception, branding some as noble revolutionaries and others as dangerous radicals, even when their struggles share striking similarities.

Hollywood has long played a role in constructing these narratives. Films like Gladiator celebrate rebellion when it fits within a historical framework that is distant and safe. But when resistance happens in the present day, the same qualities—bravery, defiance, and the willingness to fight against oppression—are met with condemnation rather than admiration.

This raises an uncomfortable reality: Is resistance only heroic in hindsight? Would the gladiators of ancient Rome have been labeled terrorists in their time? And more importantly, who decides which struggles are just? The glorification of past rebellions while vilifying contemporary ones suggests that the answer is more about power than principle.

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The post Gladiators Then and Now: Resistance or Terrorism? first appeared on street art united states.
by Sami Wakim via street art united states

An Exhibition of International Street Artists Comes to Torrance Art Museum

Los Angeles, California – February 2025 – The Torrance Art Museum (TAM) proudly presents Burner: An Exhibition of International Street Artists, running from January 18th through March 1st, 2025. This groundbreaking exhibition, now in its fifth year of international display, brings a curated collection of original works from the Street Art/Urban Graffiti genre, showcasing pieces that have never before been exhibited in the United States.

Banksy – Waiting In Vain

Among the exhibition’s highlights is Waiting In Vain, a seminal work by the elusive Banksy. Originally created in 2013 during Banksy’s famed “Better Out Than In” residency in New York City, the piece remains a striking example of the artist’s socially charged commentary. Displayed in its original form, this exhibition offers a rare opportunity for the public to experience this iconic artwork up close.

In addition to Banksy, Burner features works by some of the most celebrated names in the street art movement, including The Conner Brothers, Miss Tic, Blek Le Rat, Mr. Brainwash, Bambi, Mr. Doodle, KEF!, Buff Monster, Shepard Fairey, Kaws, Craig Knight, Shane Goudreau, Chroma, Mark Ryden, Magnus Gjoen, and Pure Evil. Collectively, these artists have set the gold standard for urban graffiti and contemporary street artistry, offering visitors an unparalleled visual experience.

The exhibition is designed to provide visitors with an innovative and immersive exploration of the most iconic artists and artworks in the genre. Through dynamic installations and thought-provoking pieces, Burner invites audiences to engage with the bold, rebellious, and transformative nature of street art.

Shepard Fairy – American b 1970 Revolution Girl

The Torrance Art Museum is dedicated to fostering a deeper appreciation for modern and contemporary art. Through a diverse range of exhibitions, educational programs, artist talks, and symposia, TAM provides a vital space for artistic expression and community engagement. With a focus on contemporary visual arts in Southern California and beyond, the museum strives to inspire critical thinking, creative exploration, and cultural dialogue.

Pure Evil British – 1968 Elvis Presley

Burner: An Exhibition of International Street Artists is presented in collaboration with Fitz Contemporary, a subsidiary of Fitzhugh Holdings. Fitz Contemporary is renowned for its commitment to curating and showcasing significant contemporary artworks worldwide. In partnership with TAM, Fitz Contemporary has assembled a collection of urban graffiti masterpieces, many of which are making their North American debut.

With a mission to make fine art accessible to all, Fitz Contemporary champions public art installations, ensuring that diverse audiences have the opportunity to experience and engage with world-class artworks.

The official opening reception for Burner took place on Saturday, January 18th, 2025, from 6:00 PM to 9:00 PM and will run through March 1.

The Torrance Art Museum is open Tuesday through Saturday, 11:00 AM – 5:00 PM.

Admission is free, inviting art lovers, street art enthusiasts, and the general public to experience this remarkable exhibition without barriers.

Don’t miss the chance to witness this extraordinary celebration of street art’s most influential voices. Visit Burner at TAM and explore the world of urban artistry like never before.

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The post An Exhibition of International Street Artists Comes to Torrance Art Museum first appeared on street art united states.
by Sami Wakim via street art united states

An Exhibition of International Street Artists Comes to Torrance Art Museum

Los Angeles, California – February 2025 – The Torrance Art Museum (TAM) proudly presents Burner: An Exhibition of International Street Artists, running from January 18th through March 1st, 2025. This groundbreaking exhibition, now in its fifth year of international display, brings a curated collection of original works from the Street Art/Urban Graffiti genre, showcasing pieces that have never before been exhibited in the United States.

Banksy – Waiting In Vain

Among the exhibition’s highlights is Waiting In Vain, a seminal work by the elusive Banksy. Originally created in 2013 during Banksy’s famed “Better Out Than In” residency in New York City, the piece remains a striking example of the artist’s socially charged commentary. Displayed in its original form, this exhibition offers a rare opportunity for the public to experience this iconic artwork up close.

In addition to Banksy, Burner features works by some of the most celebrated names in the street art movement, including The Conner Brothers, Miss Tic, Blek Le Rat, Mr. Brainwash, Bambi, Mr. Doodle, KEF!, Buff Monster, Shepard Fairey, Kaws, Craig Knight, Shane Goudreau, Chroma, Mark Ryden, Magnus Gjoen, and Pure Evil. Collectively, these artists have set the gold standard for urban graffiti and contemporary street artistry, offering visitors an unparalleled visual experience.

The exhibition is designed to provide visitors with an innovative and immersive exploration of the most iconic artists and artworks in the genre. Through dynamic installations and thought-provoking pieces, Burner invites audiences to engage with the bold, rebellious, and transformative nature of street art.

Shepard Fairy – American b 1970 Revolution Girl

The Torrance Art Museum is dedicated to fostering a deeper appreciation for modern and contemporary art. Through a diverse range of exhibitions, educational programs, artist talks, and symposia, TAM provides a vital space for artistic expression and community engagement. With a focus on contemporary visual arts in Southern California and beyond, the museum strives to inspire critical thinking, creative exploration, and cultural dialogue.

Pure Evil British – 1968 Elvis Presley

Burner: An Exhibition of International Street Artists is presented in collaboration with Fitz Contemporary, a subsidiary of Fitzhugh Holdings. Fitz Contemporary is renowned for its commitment to curating and showcasing significant contemporary artworks worldwide. In partnership with TAM, Fitz Contemporary has assembled a collection of urban graffiti masterpieces, many of which are making their North American debut.

With a mission to make fine art accessible to all, Fitz Contemporary champions public art installations, ensuring that diverse audiences have the opportunity to experience and engage with world-class artworks.

The official opening reception for Burner took place on Saturday, January 18th, 2025, from 6:00 PM to 9:00 PM and will run through March 1.

The Torrance Art Museum is open Tuesday through Saturday, 11:00 AM – 5:00 PM.

Admission is free, inviting art lovers, street art enthusiasts, and the general public to experience this remarkable exhibition without barriers.

Don’t miss the chance to witness this extraordinary celebration of street art’s most influential voices. Visit Burner at TAM and explore the world of urban artistry like never before.

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The post An Exhibition of International Street Artists Comes to Torrance Art Museum first appeared on street art united states.
by Sami Wakim via street art united states

Book Review: As Seen on the Streets of Paris by Giulia ‘BLocal’ Riva

As Seen on the Streets of Paris is an enthralling fusion of travel guide and art photography book that captures the vibrant essence of Paris’ urban art scene. Written by street art expert Giulia ‘BLocal’ Riva, this book serves as both an informative companion for travelers and an aesthetic delight for art enthusiasts. Featuring over 250 stunning photographs by Paolo Giannotti and insights from 13 Parisian street artists, it offers readers a unique and immersive experience into the world of Parisian street art.

From the outset, Riva establishes herself as a knowledgeable and passionate guide, curating an experience that extends beyond the typical tourist itinerary. Her commitment to authenticity shines through as she weaves the voices of local artists into the narrative, offering personal insights and revealing hidden gems throughout the city. Whether it’s a tucked-away mural in Saint-Denis or an iconic piece in Vitry-sur-Seine, the book ensures that readers experience Paris through the eyes of those who shape its street art culture.

One of the book’s greatest strengths lies in its dual-format approach. The hardcover edition, printed on high-quality paper, serves as a collector’s item, showcasing the artwork in all its glory. Meanwhile, the A5 paperback edition functions as a practical travel guide, lightweight and easy to carry for those eager to explore Paris’ graffiti-covered walls firsthand. Despite their differing formats, both editions feature the same comprehensive content, blending historical context, artist interviews, and practical navigation tips to create an unparalleled resource.

Beyond being a visually stunning collection, As Seen on the Streets of Paris also educates readers about the evolution of the city’s graffiti and street art culture. The book delves into the historical significance of urban art in Paris, illustrating how it has evolved into a defining element of the city’s identity. By highlighting both celebrated and lesser-known artists, Riva ensures that readers appreciate the depth and diversity of this dynamic movement.

The photography by Paolo Giannotti further elevates the book, capturing the raw energy and fleeting beauty of street art. Each image tells a story, preserving ephemeral works that might disappear overnight. Giannotti’s keen eye for composition and texture brings the murals to life, allowing readers to engage with the art on a profound level.

What sets this book apart from other street art guides is its commitment to presenting an authentic, non-touristy view of Paris. The inclusion of off-the-beaten-path recommendations ensures that readers discover a side of the city rarely covered in conventional travel books. Riva’s deep connections within the street art community allow her to provide exclusive insights that only a true insider could offer.

With As Seen on the Streets of Paris, Giulia ‘BLocal’ Riva has created more than just a guidebook; she has crafted an invitation to explore, appreciate, and understand the rich urban tapestry of one of Europe’s most artistic cities. Whether you’re a street art aficionado, a photography lover, or a traveler eager for a fresh perspective on Paris, this book is an essential addition to your collection. And with the promise of future editions covering other street art capitals such as London, Madrid, and Berlin, this series is poised to become a definitive resource for urban art enthusiasts worldwide.

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The post Book Review: As Seen on the Streets of Paris by Giulia ‘BLocal’ Riva first appeared on street art united states.
by Sami Wakim via street art united states

Book Review: As Seen on the Streets of Paris by Giulia ‘BLocal’ Riva

As Seen on the Streets of Paris is an enthralling fusion of travel guide and art photography book that captures the vibrant essence of Paris’ urban art scene. Written by street art expert Giulia ‘BLocal’ Riva, this book serves as both an informative companion for travelers and an aesthetic delight for art enthusiasts. Featuring over 250 stunning photographs by Paolo Giannotti and insights from 13 Parisian street artists, it offers readers a unique and immersive experience into the world of Parisian street art.

From the outset, Riva establishes herself as a knowledgeable and passionate guide, curating an experience that extends beyond the typical tourist itinerary. Her commitment to authenticity shines through as she weaves the voices of local artists into the narrative, offering personal insights and revealing hidden gems throughout the city. Whether it’s a tucked-away mural in Saint-Denis or an iconic piece in Vitry-sur-Seine, the book ensures that readers experience Paris through the eyes of those who shape its street art culture.

One of the book’s greatest strengths lies in its dual-format approach. The hardcover edition, printed on high-quality paper, serves as a collector’s item, showcasing the artwork in all its glory. Meanwhile, the A5 paperback edition functions as a practical travel guide, lightweight and easy to carry for those eager to explore Paris’ graffiti-covered walls firsthand. Despite their differing formats, both editions feature the same comprehensive content, blending historical context, artist interviews, and practical navigation tips to create an unparalleled resource.

Beyond being a visually stunning collection, As Seen on the Streets of Paris also educates readers about the evolution of the city’s graffiti and street art culture. The book delves into the historical significance of urban art in Paris, illustrating how it has evolved into a defining element of the city’s identity. By highlighting both celebrated and lesser-known artists, Riva ensures that readers appreciate the depth and diversity of this dynamic movement.

The photography by Paolo Giannotti further elevates the book, capturing the raw energy and fleeting beauty of street art. Each image tells a story, preserving ephemeral works that might disappear overnight. Giannotti’s keen eye for composition and texture brings the murals to life, allowing readers to engage with the art on a profound level.

What sets this book apart from other street art guides is its commitment to presenting an authentic, non-touristy view of Paris. The inclusion of off-the-beaten-path recommendations ensures that readers discover a side of the city rarely covered in conventional travel books. Riva’s deep connections within the street art community allow her to provide exclusive insights that only a true insider could offer.

With As Seen on the Streets of Paris, Giulia ‘BLocal’ Riva has created more than just a guidebook; she has crafted an invitation to explore, appreciate, and understand the rich urban tapestry of one of Europe’s most artistic cities. Whether you’re a street art aficionado, a photography lover, or a traveler eager for a fresh perspective on Paris, this book is an essential addition to your collection. And with the promise of future editions covering other street art capitals such as London, Madrid, and Berlin, this series is poised to become a definitive resource for urban art enthusiasts worldwide.

---

 

The post Book Review: As Seen on the Streets of Paris by Giulia ‘BLocal’ Riva first appeared on street art united states.
by Sami Wakim via street art united states

Book Review: Street Beauty By Hannah Judah

Street Beauty is a striking, one-of-a-kind photography book that captures the vibrant and ephemeral world of street art through the lens of acclaimed photographer Hannah Judah, with playful design and curation by ATMA.

At 300 pages, this high-visual-impact volume offers a stunning homage to the transient masterpieces of urban artists worldwide. Judah’s work doesn’t just document the art; it encapsulates the raw, visceral experience of stumbling upon these murals, often fleeting in their existence, and preserves their energy and emotional impact.

The book showcases hundreds of large-scale murals, each brought to life by Judah’s distinctive photographic style. Her artistry elevates the photographs from mere reproductions to powerful interpretations of the works themselves, capturing not only their visual brilliance but also the cultural and emotional layers beneath. Judah’s photography places these creations in context, highlighting the interplay between the artwork and its urban surroundings, and offering readers a rare chance to witness the impermanence of street art immortalized in vivid detail.

The design by ATMA, a veteran street artist with 25 years of experience, complements Judah’s imagery perfectly. His playful yet thoughtful curation provides a narrative thread that enhances the book’s flow, celebrating the artistry while honoring its diverse creators. Together, Judah and ATMA have created a masterpiece that is as much about the documentation of art as it is about elevating the medium of street art photography itself.

The book comes with endorsements from cultural icons like music producer and DJ Norman Cook (Fatboy Slim) and the renowned street artist D*Face, further solidifying its authority in the realm of contemporary urban art.

Whether you are a street art enthusiast, a photographer, or simply someone who appreciates the fusion of creativity and raw urban energy, Street Beauty is a must-have addition to your collection. It is a visual feast and an important cultural artifact that celebrates the fleeting yet enduring power of public art.

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The post Book Review: Street Beauty By Hannah Judah first appeared on street art united states.
by Sami Wakim via street art united states

Book Review: Street Beauty By Hannah Judah

Street Beauty is a striking, one-of-a-kind photography book that captures the vibrant and ephemeral world of street art through the lens of acclaimed photographer Hannah Judah, with playful design and curation by ATMA.

At 300 pages, this high-visual-impact volume offers a stunning homage to the transient masterpieces of urban artists worldwide. Judah’s work doesn’t just document the art; it encapsulates the raw, visceral experience of stumbling upon these murals, often fleeting in their existence, and preserves their energy and emotional impact.

The book showcases hundreds of large-scale murals, each brought to life by Judah’s distinctive photographic style. Her artistry elevates the photographs from mere reproductions to powerful interpretations of the works themselves, capturing not only their visual brilliance but also the cultural and emotional layers beneath. Judah’s photography places these creations in context, highlighting the interplay between the artwork and its urban surroundings, and offering readers a rare chance to witness the impermanence of street art immortalized in vivid detail.

The design by ATMA, a veteran street artist with 25 years of experience, complements Judah’s imagery perfectly. His playful yet thoughtful curation provides a narrative thread that enhances the book’s flow, celebrating the artistry while honoring its diverse creators. Together, Judah and ATMA have created a masterpiece that is as much about the documentation of art as it is about elevating the medium of street art photography itself.

The book comes with endorsements from cultural icons like music producer and DJ Norman Cook (Fatboy Slim) and the renowned street artist D*Face, further solidifying its authority in the realm of contemporary urban art.

Whether you are a street art enthusiast, a photographer, or simply someone who appreciates the fusion of creativity and raw urban energy, Street Beauty is a must-have addition to your collection. It is a visual feast and an important cultural artifact that celebrates the fleeting yet enduring power of public art.

---

 

The post Book Review: Street Beauty By Hannah Judah first appeared on street art united states.
by Sami Wakim via street art united states

Indigenous Resistance and the Legacy of Western Imperialism

The Israeli-Palestinian conflict is a stark example of how Western colonialist ideologies continue to shape global narratives about power, resistance, and justice. Supporters of Israel, particularly from Western societies, often justify occupation through a lens of entitlement and superiority, dismissing the right of indigenous people to resist. This perspective not only mirrors the logic of colonial domination but also perpetuates racial hierarchies that dehumanize those who oppose such oppression. Addressing this issue requires a critical examination of the colonial legacy embedded in these narratives and its ongoing impact on Palestinian resistance.

Western colonialism has long upheld the notion that the powerful have a right to claim land and resources, often at the expense of indigenous populations. This ideology frames resistance as illegitimate, branding it as savage, irrational, or terroristic, rather than a legitimate struggle for liberation. Nelson Mandela’s assertion, “It is always the oppressor, not the oppressed, who dictates the form of the struggle,” resonates deeply in this context. The expectation that Palestinians should resist “politely” while enduring systemic violence reflects the same condescending moral framework that justified colonial rule across Africa, Asia, and the Americas.

This colonial mindset is further evident in the Western discourse surrounding martyrdom operations, often dismissed as “suicide bombings.” Such reductive framing ignores the context of prolonged occupation, systemic disenfranchisement, and the desperation born of living under an oppressive regime. It erases the humanity of the oppressed and reinforces the narrative of the colonizer, in which resistance is always criminalized.

Israel’s actions following October 7 reveal the extent of this ideology in practice. The indiscriminate killing of tens of thousands of innocent Palestinians is framed as collateral damage or blamed on resistance fighters “hiding among civilians.” In truth, these deaths reflect a deliberate strategy to quash any form of opposition, no matter how justified. This brutality is rooted in the same racial superiority complex that underpinned Western colonial ventures, where the lives of indigenous people were deemed expendable in the pursuit of domination.

For Palestinians – whether in the occupied territories, within “Israel proper,” or across the diaspora – their resistance is not only a fight against occupation but also a rejection of the colonial ideologies that have dehumanized them for decades. Their struggle resonates across the Middle East, uniting Arabs, Muslims, and Christians who have been similarly impacted by this ideology of Western superiority and control.

The narratives justifying Israel’s occupation and delegitimizing Palestinian resistance are deeply intertwined with Western colonialist ideologies. These perspectives uphold power structures that prioritize the oppressor’s entitlement over the oppressed’s humanity. Challenging these narratives requires confronting the colonial legacies that continue to influence global politics and recognizing the right of all people to resist occupation and oppression. Only through this lens can justice, dignity, and true liberation for Palestinians and other oppressed communities be achieved.

The post Indigenous Resistance and the Legacy of Western Imperialism first appeared on street art united states.
by Sami Wakim via street art united states

Indigenous Resistance and the Legacy of Western Imperialism

The Israeli-Palestinian conflict is a stark example of how Western colonialist ideologies continue to shape global narratives about power, resistance, and justice. Supporters of Israel, particularly from Western societies, often justify occupation through a lens of entitlement and superiority, dismissing the right of indigenous people to resist. This perspective not only mirrors the logic of colonial domination but also perpetuates racial hierarchies that dehumanize those who oppose such oppression. Addressing this issue requires a critical examination of the colonial legacy embedded in these narratives and its ongoing impact on Palestinian resistance.

Western colonialism has long upheld the notion that the powerful have a right to claim land and resources, often at the expense of indigenous populations. This ideology frames resistance as illegitimate, branding it as savage, irrational, or terroristic, rather than a legitimate struggle for liberation. Nelson Mandela’s assertion, “It is always the oppressor, not the oppressed, who dictates the form of the struggle,” resonates deeply in this context. The expectation that Palestinians should resist “politely” while enduring systemic violence reflects the same condescending moral framework that justified colonial rule across Africa, Asia, and the Americas.

This colonial mindset is further evident in the Western discourse surrounding martyrdom operations, often dismissed as “suicide bombings.” Such reductive framing ignores the context of prolonged occupation, systemic disenfranchisement, and the desperation born of living under an oppressive regime. It erases the humanity of the oppressed and reinforces the narrative of the colonizer, in which resistance is always criminalized.

Israel’s actions following October 7 reveal the extent of this ideology in practice. The indiscriminate killing of tens of thousands of innocent Palestinians is framed as collateral damage or blamed on resistance fighters “hiding among civilians.” In truth, these deaths reflect a deliberate strategy to quash any form of opposition, no matter how justified. This brutality is rooted in the same racial superiority complex that underpinned Western colonial ventures, where the lives of indigenous people were deemed expendable in the pursuit of domination.

For Palestinians – whether in the occupied territories, within “Israel proper,” or across the diaspora – their resistance is not only a fight against occupation but also a rejection of the colonial ideologies that have dehumanized them for decades. Their struggle resonates across the Middle East, uniting Arabs, Muslims, and Christians who have been similarly impacted by this ideology of Western superiority and control.

The narratives justifying Israel’s occupation and delegitimizing Palestinian resistance are deeply intertwined with Western colonialist ideologies. These perspectives uphold power structures that prioritize the oppressor’s entitlement over the oppressed’s humanity. Challenging these narratives requires confronting the colonial legacies that continue to influence global politics and recognizing the right of all people to resist occupation and oppression. Only through this lens can justice, dignity, and true liberation for Palestinians and other oppressed communities be achieved.

The post Indigenous Resistance and the Legacy of Western Imperialism first appeared on street art united states.
by Sami Wakim via street art united states

STRAAT Museum Unveils Graffitecture: A Fusion of Graffiti and Architecture

From February 14 to May 18, 2025, STRAAT Museum in Amsterdam will push the boundaries of urban art with its groundbreaking exhibition, Graffitecture: Typographic Blueprints. This ambitious showcase dives deep into the intersection of graffiti and architecture, spotlighting the work of four pioneering artists: SODA, Gary Stranger, Antigoon, and Georgia Hill. With nearly fifty works on display, including immersive installations, the exhibition promises a fresh perspective on the evolution of graffiti art.

Antigoon

Historically associated with illegality and rebellion, graffiti has undergone a remarkable transformation into a celebrated art form. Graffitecture explores this evolution, demonstrating how typographic art can bridge the gap between chaos and order, spontaneity and structure. Through the lens of architecture and design, the exhibition reimagines the role of graffiti in shaping modern urban landscapes.

The four featured artists offer unique approaches to this dynamic interplay:

• SODA (Italy, 1977): Renowned for creating stunning optical illusions, SODA manipulates flat surfaces with minimal color palettes to achieve striking three-dimensional effects.
• Gary Stranger (United Kingdom, 1970): A member of the iconic Mad Society Kings (MSK) crew, Gary merges graffiti’s fluidity with the precision of architectural design to craft elegant, typographic forms.
• Antigoon (Netherlands, 1983): Pioneering the use of experimental tools such as ink machines and paint blowers, Antigoon produces geometric letterforms that exude futuristic sophistication.
• Georgia Hill (Australia, 1988): Combining reflective, poetic phrases with her distinctive monochromatic typographic designs, Georgia’s work graces both gallery walls and urban environments worldwide.

Georgia Hill

Soda

Visitors can expect more than just a visual treat. Graffitecture offers a comprehensive look into the creative process, with process films by the featured artists providing insights into their techniques and inspirations. The exhibition highlights graffiti’s versatility and its growing influence in contemporary art and culture.

Gary Stranger

STRAAT Museum, celebrated for its extensive collection of large-scale street art, will also debut a new piece by Georgia Hill as part of the exhibition. This addition will join over 180 monumental works in STRAAT’s permanent collection, further enriching the museum’s vibrant tapestry of urban art.

Located in Amsterdam’s NDSM Wharf, STRAAT Museum is a global hub for street art and graffiti. Its mission is to celebrate and elevate urban art by providing a platform for artists and engaging audiences in the cultural and aesthetic significance of street art.

Don’t miss this chance to experience the innovative convergence of graffiti and architecture. Whether you’re a fan of urban art, typography, or architectural design, Graffitecture: Typographic Blueprints offers an inspiring exploration of art’s transformative power in the modern world.

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The post STRAAT Museum Unveils Graffitecture: A Fusion of Graffiti and Architecture first appeared on street art united states.
by Sami Wakim via street art united states

STRAAT Museum Unveils Graffitecture: A Fusion of Graffiti and Architecture

From February 14 to May 18, 2025, STRAAT Museum in Amsterdam will push the boundaries of urban art with its groundbreaking exhibition, Graffitecture: Typographic Blueprints. This ambitious showcase dives deep into the intersection of graffiti and architecture, spotlighting the work of four pioneering artists: SODA, Gary Stranger, Antigoon, and Georgia Hill. With nearly fifty works on display, including immersive installations, the exhibition promises a fresh perspective on the evolution of graffiti art.

Antigoon

Historically associated with illegality and rebellion, graffiti has undergone a remarkable transformation into a celebrated art form. Graffitecture explores this evolution, demonstrating how typographic art can bridge the gap between chaos and order, spontaneity and structure. Through the lens of architecture and design, the exhibition reimagines the role of graffiti in shaping modern urban landscapes.

The four featured artists offer unique approaches to this dynamic interplay:

• SODA (Italy, 1977): Renowned for creating stunning optical illusions, SODA manipulates flat surfaces with minimal color palettes to achieve striking three-dimensional effects.
• Gary Stranger (United Kingdom, 1970): A member of the iconic Mad Society Kings (MSK) crew, Gary merges graffiti’s fluidity with the precision of architectural design to craft elegant, typographic forms.
• Antigoon (Netherlands, 1983): Pioneering the use of experimental tools such as ink machines and paint blowers, Antigoon produces geometric letterforms that exude futuristic sophistication.
• Georgia Hill (Australia, 1988): Combining reflective, poetic phrases with her distinctive monochromatic typographic designs, Georgia’s work graces both gallery walls and urban environments worldwide.

Georgia Hill

Soda

Visitors can expect more than just a visual treat. Graffitecture offers a comprehensive look into the creative process, with process films by the featured artists providing insights into their techniques and inspirations. The exhibition highlights graffiti’s versatility and its growing influence in contemporary art and culture.

Gary Stranger

STRAAT Museum, celebrated for its extensive collection of large-scale street art, will also debut a new piece by Georgia Hill as part of the exhibition. This addition will join over 180 monumental works in STRAAT’s permanent collection, further enriching the museum’s vibrant tapestry of urban art.

Located in Amsterdam’s NDSM Wharf, STRAAT Museum is a global hub for street art and graffiti. Its mission is to celebrate and elevate urban art by providing a platform for artists and engaging audiences in the cultural and aesthetic significance of street art.

Don’t miss this chance to experience the innovative convergence of graffiti and architecture. Whether you’re a fan of urban art, typography, or architectural design, Graffitecture: Typographic Blueprints offers an inspiring exploration of art’s transformative power in the modern world.

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The post STRAAT Museum Unveils Graffitecture: A Fusion of Graffiti and Architecture first appeared on street art united states.
by Sami Wakim via street art united states

Miami Unveils Its Largest Rooftop Mural: A Stunning Homage to Nature

Miami, FL – January 6, 2025 – In a breathtaking fusion of art, science, and environmental awareness, Miami’s largest rooftop mural has been unveiled atop the Southeast Financial Center (SEFC). Spanning an incredible 35,000 square feet, the masterpiece by internationally acclaimed French artist Youri Cansell, known as Mantra, captivates with its hyper-realistic depictions of butterflies, including the endangered ‘Miami Blue,’ a species native to South Florida.

Curated by Justkids Art Consulting, this extraordinary project showcases Mantra’s signature trompe-l’oeil technique, bringing a diverse array of butterfly species to life with remarkable precision. Each butterfly appears delicately perched, an awe-inspiring illusion that combines artistry and entomological accuracy. The mural serves as a poignant commentary on the loss of biodiversity, urging viewers to appreciate and protect nature’s fragile ecosystems.

“It’s always a pleasure to paint in Miami, a city that thrives on its vibrant mix of people and cultures—much like the butterflies in my mural, which represent a diverse selection of specimens,” said Mantra. “This is my largest mural to date, and I am excited to see it come to life.”

The creation of the mural was a technical and physical challenge. Over 400 hours and 200 gallons of paint were required to complete the artwork, which was executed entirely freehand using rollers. Mantra’s process excluded the use of grids or projections, a testament to his unparalleled skill and artistic precision. The mural’s location—on SEFC’s rooftop—presented unique obstacles, including strong winds and morning dampness from the nearby ocean, which the artist overcame during the six-week endeavor.

This massive installation transforms what was once a functional garage rooftop into a vibrant visual spectacle, visible to tenants and the occupants of neighboring residential and commercial towers. SEFC’s commitment to fostering cultural innovation and elevating Downtown Miami’s status as a creative hub is evident in this significant commission.

Mantra’s work is more than an aesthetic marvel; it is a call to action. His murals highlight the alarming decline of biodiversity while celebrating the beauty and importance of small, often-overlooked species. By scaling his subjects to monumental proportions, Mantra invites viewers to reflect on humanity’s connection to the natural world and the urgent need for conservation.

Southeast Financial Center is a defining landmark in Miami’s skyline. Designed by the renowned architectural firm Skidmore, Owings, and Merrill, SEFC is Florida’s largest and most iconic office tower. Its commitment to blending modernity, prestige, and community has made it a cornerstone of Downtown Miami’s vibrant business and cultural scene.

Youri Cansell, aka Mantra, is a French artist and naturalist whose fascination with insects stems from childhood memories of his garden in France. Now based in Switzerland and Mexico City, Mantra combines scientific exploration and artistic expression to create large-scale murals that are both visually striking and ecologically significant. His work is celebrated worldwide for its detailed depictions of moths and butterflies.

JUSTKIDS.ART is a multidisciplinary art consulting firm specializing in curating and producing public art and placemaking projects. Their work connects leading contemporary artists with communities, creating unforgettable experiences that celebrate visual culture.

The unveiling of Miami’s largest rooftop mural is a milestone in the city’s cultural evolution, blending artistry with a powerful message of environmental stewardship. Mantra’s awe-inspiring work invites us all to pause, reflect, and cherish the delicate beauty of our natural world.

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The post Miami Unveils Its Largest Rooftop Mural: A Stunning Homage to Nature first appeared on street art united states.
by Sami Wakim via street art united states

Miami Unveils Its Largest Rooftop Mural: A Stunning Homage to Nature

Miami, FL – January 6, 2025 – In a breathtaking fusion of art, science, and environmental awareness, Miami’s largest rooftop mural has been unveiled atop the Southeast Financial Center (SEFC). Spanning an incredible 35,000 square feet, the masterpiece by internationally acclaimed French artist Youri Cansell, known as Mantra, captivates with its hyper-realistic depictions of butterflies, including the endangered ‘Miami Blue,’ a species native to South Florida.

Curated by Justkids Art Consulting, this extraordinary project showcases Mantra’s signature trompe-l’oeil technique, bringing a diverse array of butterfly species to life with remarkable precision. Each butterfly appears delicately perched, an awe-inspiring illusion that combines artistry and entomological accuracy. The mural serves as a poignant commentary on the loss of biodiversity, urging viewers to appreciate and protect nature’s fragile ecosystems.

“It’s always a pleasure to paint in Miami, a city that thrives on its vibrant mix of people and cultures—much like the butterflies in my mural, which represent a diverse selection of specimens,” said Mantra. “This is my largest mural to date, and I am excited to see it come to life.”

The creation of the mural was a technical and physical challenge. Over 400 hours and 200 gallons of paint were required to complete the artwork, which was executed entirely freehand using rollers. Mantra’s process excluded the use of grids or projections, a testament to his unparalleled skill and artistic precision. The mural’s location—on SEFC’s rooftop—presented unique obstacles, including strong winds and morning dampness from the nearby ocean, which the artist overcame during the six-week endeavor.

This massive installation transforms what was once a functional garage rooftop into a vibrant visual spectacle, visible to tenants and the occupants of neighboring residential and commercial towers. SEFC’s commitment to fostering cultural innovation and elevating Downtown Miami’s status as a creative hub is evident in this significant commission.

Mantra’s work is more than an aesthetic marvel; it is a call to action. His murals highlight the alarming decline of biodiversity while celebrating the beauty and importance of small, often-overlooked species. By scaling his subjects to monumental proportions, Mantra invites viewers to reflect on humanity’s connection to the natural world and the urgent need for conservation.

Southeast Financial Center is a defining landmark in Miami’s skyline. Designed by the renowned architectural firm Skidmore, Owings, and Merrill, SEFC is Florida’s largest and most iconic office tower. Its commitment to blending modernity, prestige, and community has made it a cornerstone of Downtown Miami’s vibrant business and cultural scene.

Youri Cansell, aka Mantra, is a French artist and naturalist whose fascination with insects stems from childhood memories of his garden in France. Now based in Switzerland and Mexico City, Mantra combines scientific exploration and artistic expression to create large-scale murals that are both visually striking and ecologically significant. His work is celebrated worldwide for its detailed depictions of moths and butterflies.

JUSTKIDS.ART is a multidisciplinary art consulting firm specializing in curating and producing public art and placemaking projects. Their work connects leading contemporary artists with communities, creating unforgettable experiences that celebrate visual culture.

The unveiling of Miami’s largest rooftop mural is a milestone in the city’s cultural evolution, blending artistry with a powerful message of environmental stewardship. Mantra’s awe-inspiring work invites us all to pause, reflect, and cherish the delicate beauty of our natural world.

---

 

The post Miami Unveils Its Largest Rooftop Mural: A Stunning Homage to Nature first appeared on street art united states.
by Sami Wakim via street art united states