1. Redox for Galleria del Sale / Artist’s interview: NEEVA&EISENAUER
    by Claudia Puddu
    Photos by Beatrice Schivo and Claudio Valenti

    -When did you start with this works and why?
    N: When I was a kid, at 14. I started doing tags but I was mediocre, my tags were really bad. Being not really good at it, I started with other things, or rather I focused on “stickering”. It was all very improvised and not correlated to the writing world, so it was more indipendent in a certain way. Then I made some illegal walls and then some private, remunerated walls on order, also continuing my work as an illustrator for magazines.
    E: I started when I was 16/17 with stickers, together with the few people that were making street art (even if it was not called “steet art” at that time). Then I moved to abandoned places; I’ve always preferred to paint walls with other people or on order, without doing graffiti.

    -Do you have some iconical characters that you prefer representing while painting?
    N: I love character designer and master.And then “puppets”, characterized as the cast of a bigger story, even if there is no story.
    E: I prefer to represent everyday objects.

    -What is your ideal setting?
    N: Abandoned places, because I love to contextualize them. Or “stickering” on poles, because it is istantly visible.
    E: Abandoned places in the countryside.

    -Can you tell us the difference between street art, graffiti and wall painting? Have you been influenced by some of these inclination?
    N: It all started with hip-hop, in a large contest then. Now I am cutting the ties and starting something less “sketched”. My evolution was cultural too, because here in Sardinia murales are very popular. Time is needed to make acceptable the practices that weren’t accepted before. But what makes the urban art special is its illegal adrenaline; if you make it legal, adrenaline disappears and then the essence of street art would disappear too.
    E: I work as a designer and illustrator. Walls are a totally different medium and require another kind of manual skill, and interaction with the territory. The feeling you give to people is good: their involvement, listening to their comments and critics while they are watching your wall.

    -You started an independent publishing house together, “Perropanda Edizioni”; how difficult it is to keep going a project like that, and what was the feedback from the artists?
    N: The beginning was easy: I was in Barcelona, illustrating little books that then I brought in the bookshops. I talked to Eisenauer about that, and we thought about doing something more organized. I remember the first event, it was crazy. The most important thing is to keep the level of involvement high, because, as many of the self produced project, only passion moves us. The feedback was absolutely positive, we have now a budget that allows more incoming projects. It fuels itself.
    E:I am not involved full time on the project, but basically, you choose someone and his style, and then you commission a little illustration book. The artist has all the royalties, and a number of copies of the book. On March came out an anthology of works, entitled “Ibridi”, with the participation of many artists. Now we have a contest instead. The feedback from people is great, and most of the times when we print many shirts of books we are happy to give them to the artist as a gift.
     

  2. Redox for Galleria del Sale / Artist’s interview: BOF
    by Claudia Puddu
    Photos by Beatrice Schivo and Claudio Valenti

    -When did you start with this works and why?
    The reason? It was normal for me. I started when I was very young, as soon as I learned how to write; my tools were pencils, markers and my first wall was my bedroom’s, no authority in uniform would have caught me there obviously, but I can clearly remember my mother’s reaction, because it was a wallpaper covered wall that would have been very difficult to fix just with paint. Nothing could have predicted this performance to her, but it was normal and inevitable for me. I drew on the purse, the school desk, the shoes, the trousers, my little brother’s arms, and on myself. The content of this first-primitive-instinctive activity were the very first words I learned: my name and surname, some animal name, some figurative elements, things I saw around me in the city where I’ve grown up (Turin) and obviously the human figure, a stereotype, a cliché that I still sketch and that I entrust to perform different themes and various animate scenes and settings.

    -Do you have some iconical characters that you prefer representing while painting?
    As I said, the recurring subject is the essential human figure, often out of proportion but with simple and roundish features, three- dimensional, sometimes with faces without eyes nor ears, wearing tight-fitting dresses, suits and bowlers while they perform actions like cycling, juggling, greeting, playing cards, eating; or in large groups standing like they are posing for a picture, which can recall surreal deportations; or while they are lying asleeping, dreaming and unaware.

    -What is your ideal setting?
    I remember that, especially in my first excursions, I often “striked” call boxes, transformer rooms, metal boxes and street furnitures that could cut off the space like a frame, a window from which you could see another world animated by those puppets. Then, sizes increased and today I prefer walls in disrepair, so that I can draw attention to the contrasts and point out places that seems to be static, but where, after I painted, something often changes. They can be places in the city centre or in the suburbs, populated or in the middle of nowhere, far from everything, and open landscapes too, like ports or abandoned suburbans structures or along the railway.

    -Can you tell us the difference between street art, graffiti and wall painting? Have you been influenced by some of these inclination?
    Yes, I could! But those are just notions that don’t define me. I think that the core of it should always be a valuable work, and then to understand the context you are working in and that whatever you are in a urban environment or not, in preexisting structures or in a uncontaminated place, whatever you are using images, inscrutable writing, every kind of paint, non pictorial material, sculpture or (and that’s difficult) repositioning raw stones, well, all of these don’t really matter, because every tendency and practice that has been created and developed over time, it’s just a language, a tool that the artist may use to shape his poetics.

    -How much have you been influenced by the 20th Century art movements, especially Futurism?
    The avant-garde influenced everything, it is well integrated and used as an excuses for every kind of product, of both high or low quality. It made the forms of expression richer, and every aspect of the production of art can relate to that; what fascinates me the most is that the creation is often left to others and what matters in the end is the idea and not the virtuosity. That’s why I often use volunteers that want to experiment with murales and painting on big canvas. I don’t worry at all, I think it is normal, for example Ready-Mades were very clear about it. I don’t think that Futurism influenced me more than others.
     

  3. Redox for Galleria del Sale / Artist’s interview: DANIELE GREGORINI
    by Claudia Puddu
    Photos by Beatrice Schivo and Claudio Valenti

    -When did you start with this works and why?
    When I was six years old, my grandfather took me to a mountain, gave me a charcoal pencil and a very little canvas and told me to drew what I saw: that’s what I did.

    -Do you have some iconical characters that you prefer representing while painting?
    I don’t. I believe that for someone it’s helpful to use in ther work images already known, already experimented. Sometimes, in mine drawing book, the one I use when I take the field (in a metaphorical way), you can find some subjects repeated, but are just temporary obsessions. For me it would be constrictive to be tied to a subject.

    -What is your ideal setting?
    Everytime I am listening music.

    -Can you tell us the difference between street art, graffiti and wall painting? Have you been influenced by some of these inclination?
    I think that the main difference is about the connection between the wall and the artists of these different disciplins. For some of them the wall is a canvas made of bricks and concret, while for others it belong to a city, or a town, or a road and that’s why it’s the right place to express themselves and communicate. Every single discipline gives me a lot, just like other things. 


    -How do you work in order to give at the art a bigger importance in the urban redevelopment?
    The city must give more value to the art and the artists: it’s becoming a craving desire. Like in every profession a pay is requested, the same should be for the artists. One can’t pretend to live in a nice city full of culture if those who create art are not sustained. I just try to create spaces and possibility for the artists.
     

  4. Redox for Galleria del Sale / Artist’s interview: BILLYANDALEX
    by Claudia Puddu
    Photos by Beatrice Schivo and Claudio Valenti

    -When did you start with this works and why?
    I started painting walls five years ago, but I’ve always made illustrations and painted on canvas. Then I started painting bigger and bigger also in public spaces, not only in my studio.

    -Do you have some iconical characters that you prefer representing while painting?
    I would say that there are lots of shapes that I use, like fruit, dogs, tree, waves.

    -What is your ideal setting?
    In the sunshine, in a beautiful place. 


    -Can you tell us the difference between street art, graffiti and wall painting? Have you been influenced by some of these inclination?
    I work with writers, but I think that they shouldn’t be defined. I dont’ think that there is a category for me.

    -You’ve lived some years of your adolescence in South Africa, then you moved to London and then again to Berlin; how cultural differences have influenced your art?
    Lifestyle and surrounding have always been very important, that’s why I try to represent them on my work.
     

  5. Redox for Galleria del Sale / Artist’s interview: MARCELLO MARINELLI
    by Claudia Puddu
    Photos by Beatrice Schivo and Claudio Valenti

    -When did you start with this works and why?
    I started in 2002, with some “wild style” kind of graffiti.

    -Do you have some iconical characters that you prefer representing while painting?
    Lately I been drawing all kind of subjects: from a velociraptor to a cow eating a man. But most of the time I draw italian historical figures, especially painters like Leonardo.

    -What is your ideal setting?
    An old farmhouse: I like the idea of time passing while nothing really changes.


    -Can you tell us the difference between street art, graffiti and wall painting? Have you been influenced by some of these inclination?
    I started as a writer, but I have always been fond of painting. I inherited this passion from my mother, who is a painter. Then I attended the Academy of Fine Arts in Sassari, but I didn’t graduate. I am new to this world, and that’s way you won’t see a lot of works of mine around.


    -You just mentioned the Academy of Fine Arts: what is left of your academic education?
    The respect towards painting and art, for sure; and then some kind of reserved attitude in the working field.
     

  6. Redox for Galleria del Sale / Artist’s interview: MANU INVISIBLE
    by Claudia Puddu
    Photos by Beatrice Schivo and Claudio Valenti

    -When did you start with this works and why?
    I started with graffiti, and I did my first doodle at eight. Now I am more into murales, with some differences. I don’t deal with any letter anymore, but I focus on characters.

    -Do you have some iconical characters that you prefer representing while painting?
    Faces, portraits.

    -What is your ideal setting?
    The 131 state highway: the walls are grey and I am surrounded by nature and calm.


    -Can you tell us the difference between street art, graffiti and wall painting? Have you been influenced by some of these inclination?
    The word “graffiti” is too generic; if you are talking about lettering, the right word is “writing”. Street art is illegal by nature, but at the same time respectful towards others and monuments. Muralism, on the other hand, is under commission.


    -How do you use light painting, and does it work?
    It is all based on portraiture; I start from doing little paintings that I later print on small format. My works are unique pieces that I realize with a personal method, using led.
     

  7. Redox for Galleria del Sale / Artist’s interview: ENEA
    by Claudia Puddu
    Photos by Beatrice Schivo and Claudio Valenti

    -When did you start with this works and why?
    I started in 1998, but I always loved drawing. It was all very instinctive, since I was familiar with the 90’s graffiti scene, when it was very related to hip-hop.

    -Do you have some iconical characters that you prefer representing while painting?
    I usually represent animals or animal-like characters. I am very interested in everything that has something to do with fauna.

    -What is your ideal setting?
    I prefer abandoned buildings, in order to better contextualize the painting, or I choose walls that are really visible.

    -Can you tell us the difference between street art, graffiti and wall painting? Have you been influenced by some of these inclination?
    Street art is more legitimized nowadays, and the artists realize their works wherever they want and without any permission, most of the time. The graffiti artist, on the other hand, disseminates his name, his personal tag, while street art’s purpose is not creating some kind of brand.

    -You joined a collective group, EX-Q, located in the old police headquarters of Sassari. Do you think that illicit practices can sometimes help citizens to fill the hole in the cultural field?
    This topic hits a raw nerve. Recently, as mutually agreed with the Province authorities, we decided to end the occupation. It is not, or better, it was not a subversive activity, since it would mean that we had a manifesto of revolutionary intents. We just wanted to provide for a need that had no other way to be fulfilled, when our society failed at it.
     

  8. Redox for Galleria del Sale: Second week
    reportage by Claudia Puddu
    Photos by Beatrice Schivo and Claudio Valenti


    The second and last weekend of events at the Galleria del Sale looks more demanding already; nine artists, several walls included in this venture, shocking heat and untraceable bicycles.
    As I arrive at Ponte Vittorio in the late morning, I see from a distance Beatrice and Claudio, the two photographers of Redox, analyzing the place with the purpose of finding the best spots for shooting. While a one horse shay passes me by, I reach the desk of Urban Center, the organization in charge of the event, that includes its artistic director, DANIELE GREGORINI, as the artist that will realize his work by the cycling lane.
    Some of the artists are already at their positions, with rolls and white paint in order to work on the background. I decide to wait an hour before asking for the interviews; I learned that the best moment is when they take out the tobacco and start rolling a cigarette.
    The walls dedicated to MARCELLO MARINELLI, BILLYANDALEX, BOF, NEEVA and EISENAUER are one against the other, divided only by the road where now cars are passing by at high speed, honking, screaming through their windows, or just trying to take a look at the sketches.
    I am observing the different artists around me: MARCELLO MARINELLI starts with a precise detail-oriented work, and BOF, followed by his assistant, Takeshi Kenzo (wearing a beautiful coverall with “your girlfriend is staring at me” written on it), is doing well with the preparatory drawing. This weekend there will be a guest from Berlin, too: BILLYANDALEX, ready to draw while the guys from Urban Center, climbing on little stairs, are keeping on removing old posters from the walls.
    ENEA, from Sassari, is going to work in front of the stadium and while he is painting I get acquainted with his dog Nanà, a quiet diva looking for cuddles. A man on his forties joins us and shifts from one artist’s spot to another; his name is Giampiero, and he says that he used to steal but not anymore, and that he used to do drugs but not anymore.
    Walking to SKAN’s position, I am pretty impressed by the vision of the three walls painted last week, whose presence could only improve the view of the zone. SKAN doesn’t release any interviews, but I keep staring at his work and the way he blends very precisely the colors for more than half an hour , and in the meanwhile I count the number of the spray bottles placed on the stair: nine.
    In that moment on the Asse Mediano, a car stops and the driver shouts at the guys from Urban Center; he has bags full of cold drinks and ice with him.

    My talk with ENEA begins, starting with his experience inside the collective EX-Q, then he says that street artist realizes his works wherever he feels like doing it and without any permission, most of the time.
    A few moments later I am able to interview a very helpful BILLYANDALEX, who says that she doesn’t feel represented by any category, and that those labels so strict shouldn’t exist.
    MARCELLO MARINELLI on the other hand, started as a writer, but he inherited from his mother the passion for painting.
    Friday ends with my cameo as a wall cleaner: armed a with putty knife, I help the guys of the Urban Center to remove old posters. While I am at it, I mentally curse everyone that complains about graffiti, street art, murales or whatever the hell they want to call it, when they don’t say a word about illicit ads that, I or even better the organizers can assure you, are damn hard to take off.
    When I come back, Saturday afternoon, not only the walls are perfectly clean, but NEEVA and EISENAUER are at work, BOF has already finished and goes away after an informal chat, and MANU INVISIBILE is painting too. I approach his wall, looking at the area below from a bridge; in spite of the rush of getting the hundreds of things to do that stressed me out, the view forced me to stop there for several minutes. I find myself staring at something strikingly beautiful and indefinable around that insalubrious canal and the stadium that stands out, in those many bridges, in the Arena Grandi Eventi where Caparezza is going to sing in the evening. When the moment of decadent beauty fades away, I am near MANU INVISIBILE who shows me his sketch, amazing me with the vision needed in order to to realize the whole thing. He also tells me how often people try to found out his identity and his gender. According to his vision, the word “graffiti” is incorrect, as “writing” would be more accurate, and street art can be defined as an illegal activity, which does not leave out a certain sense of respect for the others and for the monument itself. We keep talking, and a man who is passing by for an afternootaken run starts insulting us, yelling to get out of his way (I’m sweetening this), even if he had to invade the whole work area to do so. Despite this little provocation, the event goes on peacefully and in a jovial mood, eating fruits and speaking about light painting. 
    There is a lot of curiosity around us from the people happening to be nearby; they stop to see the drawings, make comments guessing what works is yet to complete or not, and there are critics too, that compare the works of the event with Banksy’s. The Urban Center’s desk is near the stop of the bus number 3, and the drivers often slow down to take a look around.
    During the last interview, NEEVA and EISENAUER take turn to answer my questions: EISENAUER generally focuses more on the interaction with the surface she is working on, while NEEVA doesn’t hesitate when he recalls his beginnings as a writer, adding that he was not very skilled at making tags, and that he later shifted to muralism, which is very popular in Sardinia’s towns. What makes street art, in his opinion, is the adrenaline induced by its illegal side. Making this practice legal, would change the nature of the street art itself. 

    This weekend is over, everything is getting back in order, and in the light of this experience I could only feel enriched.
    Now I can be sure I know more about the graffiti world, which are very influenced by hip-hop and are based, substantially, on the creation of a tag and his reproducibility.
    Another thing that I know now, is how most of the artists that were here on this event came from the graffiti world, but felt the need to evolve and change into something more complex and mature. All those three field, however, are interconnected, and it is not rare that one single work is often labeled as “street art”, or as “murales” with a strong lettering component. What they share is the desire of showing their art in an unconventional way, in order to be free to express themselves without being disrespectful and having the authorizations that can turn their passion into a real job.
    Whoever defines this a mere vandalism should stop, think, and try to understand more this part of citizens that loves not only tagging around the city, but using this form of expression to start an artistic and personal evolution, learning by themselves how to requalify the urban space, covering all the grey that takes over the cities, and bringing their art in front of everyone’s eyes .
    While I am walking for the last time on the cycling line, I feel very blessed because I had the chance to see, during day time, people that usually work at night. And I didn’t just see them, but I talked to them, I interviewed them, and I got to know their vision of the world they live in, filling a gap I had about this subject. Observing with the eyes of someone willing to understand, is the only way to go beyond first impressions, and I hope that as many people as possible will do that, thanks to Galleria del Sale. Whoever thinks that these are just vandals, should see the respect that they have in approaching a wall, while they analyze it, color it and then look at it from a distance, almost with a tender gaze.

    They call it street art, they call it graffiti, they call it wall painting; but at the core of all I think there is only freedom, nothing more.

     

  9. Redox for Galleria del Sale / Artist’s interview: UFOE
    by Claudia Puddu
    Photos by Beatrice Schivo and Claudio Valenti

    -When did you start with this works and why?
    I started when I was 13, looking at graffiti and starting to experimenting myself.

    -Do you have some iconical characters that you prefer representing while painting?
    I don’t have any iconical subjects; I prefer lettering and everything that fits into the graffiti world, and I appreciate muralism too. My work is a never-ending experimentation based on my taste and ability.

    -What is your ideal setting?
    Anywhere there is a wall, even if it is easier to spray paint on surfaces like wood, iron etc.

    -Can you tell us the difference between street art, graffiti and wall painting? Have you been influenced by some of these inclinations?
    I am influenced the most by muralism and writing. Graffiti, or rather “letters”, are a difficult language to understand for everybody who is outside this world, and maybe that is one of the reasons why it is still unauthorized.

    -Do you think that muralism is the last real popular art that can be reached by anybody, especially if you compare it with the elitary contemporary art?
    I believe that muralism is the last frontier of the art world, but because of its evolving nature, after graffiti more things will come. About my purpose, I have been able to do what I wanted, in a space that it’s reachable by everyone.
     

  10. Redox per Galleria del Sale: Seconda settimana
    reportage di Claudia Puddu
    fotografie di Beatrice Schivo e Claudio Valenti


    Read the article in english tomorrow!

    Il secondo e ultimo fine settimana di eventi alla Galleria Del Sale si prospetta maggiormente impegnativo; nove artisti, diversi muri interessati dall’iniziativa, afa sconvolgente, biciclette irreperibili.
    Arrivo a Ponte Vittorio a mattina inoltrata e scorgo da lontano la presenza di Beatrice e Claudio, i due fotografi che stanno già esaminando il posto cercando i luoghi migliori dai quali scattare le foto. Mentre un calesse mi passa accanto, arrivo al banchetto dell’Urban Center, associazione organizzatrice dell’evento che vede il suo direttore artistico, DANIELE GREGORINI, impegnato nella realizzazione di una sua opera sulla pista ciclabile.
    Alcuni degli artisti sono già sul posto con pertiche, rulli e vernici bianche per iniziare a lavorare allo sfondo. Aspetto un’ora prima di iniziare a chiedere le interviste; ho imparato che il momento migliore è quando tirano fuori il tabacco e iniziano a girarsi una sigaretta.
    I muri sui quali dipingeranno MARCELLO MARINELLI, BILLYANDALEX, BOF, NEEVA E EISENAUER sono uno di fronte all’altro, divisi soltanto dalla strada nella quale sfrecciano le macchine suonando il clacson, urlando dai finestrini o semplicemente guardando a destra e a sinistra per cercare di intravedere qualcosa dei disegni appena abbozzati.
    Osservo i diversi artisti che ho intorno: MARCELLO MARINELLI inizia con un lavoro di certosina precisione e BOF, accompagnato dal suo assistente, Takeshi Kenzo (con indosso una bella tuta e la scritta “la tua ragazza mi sta fissando”) è già a buon punto con il disegno preparatorio. Questo è anche il fine settimana dell’ospite berlinese BILLYANDALEX, che inizia a disegnare mentre i ragazzi dell’Urban Center, arrampicati sulle scalette, proseguono nel duro lavoro dello scrostamento dei manifesti dai muri.
    Davanti allo stadio lavorerà ENEA, in trasferta da Sassari e, mentre lui dipinge, faccio conoscenza con la sua cagnolina Nanà, scenosa, ubbidiente e in cerca di coccole. A osservare i lavori c’è anche Giampiero, un uomo sulla quarantina che sporadicamente passa a visitare i vari artisti, il quale ci racconta che prima rubava e ora non ruba più e che prima si drogava, ma ora non si droga più.
    Nell’arrivare alla postazione di SKAN rimango piacevolmente sorpresa dalla visione dei tre muri dipinti la scorsa settimana e la cui presenza non porta altro se non benefici all’immagine della zona. SKAN non rilascia interviste, ma resto una buona mezz’ora a osservare il suo lavoro e il modo in cui sfuma precisamente i colori, mentre conto il numero di bombolette posate sopra l’immancabile scaletta: nove.
    In quel momento sull’Asse Mediano si ferma una macchina e l’autista chiama a gran voce i ragazzi dell’Urban Center; ha con sé buste piene di bibite fresche e ghiaccio.

    Comincio a parlare con ENEA, il quale mi racconta dell’esperienza con il collettivo EXQ e mi dice che lo street artist realizza le sue opere dove se la sente e spesso senza avere i consensi necessari.
    Riesco poi a intervistare una disponibilissima BILLYANDALEX, la quale mi dice che lei non si sente rappresentata da nessuna categoria e non ci dovrebbe essere questa separazione così netta. MARCELLO MARINELLI ha invece iniziato come writer, ma la madre gli ha da sempre trasmesso la sua passione per la pittura.
    Venerdì si conclude con un mio piccolo cameo come pulitrice di muri: armata di spatola, aiuto i ragazzi dell’Urban Center a staccare i manifesti. Mentre lo faccio, maledico mentalmente tutti coloro che si lamentano dei graffiti, della street art, dei murales o come diavolo li si vogliano chiamare, mentre non ci si lamenta della pubblicità abusiva che vi assicuro, e potranno assicurarvelo meglio gli organizzatori, si toglie con immane fatica.
    Al mio ritorno, sabato pomeriggio, i muri non solo sono perfettamente puliti, ma NEEVA e EISENAUER si sono messi al lavoro, BOF ha già concluso e va via dopo una chiacchierata informale e anche MANU INVISIBLE sta iniziando a dipingere. Avvicinandomi alla sua zona, guardo da un ponte l’area circostante; nonostante la fretta di concludere le mille cose da fare fosse abbarbicata sulle mie spalle, il panorama mi ha costretta a fermarmi per svariati minuti. Mi sono ritrovata a vedere qualcosa di estremamente bello e indefinibile in quel canale da bonificare, nello stadio che si impone alla vista, nei tanti ponti, nell’Arena Grandi Eventi dove la sera si sarebbe tenuto il concerto di Caparezza.
    Passato il momento di decadente bellezza, sono arrivata da MANU INVISIBLE che mi ha mostrato la bozza, stupendomi con la visione d’insieme che sarebbe stata necessaria per realizzarla.
    Mi racconta che molto spesso le persone cercano di scovare chi sia perché apprezzano il suo lavoro o, ancora, che non si sappia se lui sia un uomo o una donna. Intendo lasciare nel dubbio gli indecisi.
    Secondo la sua visione, il termine graffiti è improprio, in quanto sarebbe meglio utilizzare “writing”, mentre la street art è prettamente connotata dall’abusivismo; abusivismo che però non esclude il concetto di rispetto del prossimo o dei monumenti stessi, anzi.
    Mentre continuiamo a parlare, un signore che passava di lì per una corsetta pomeridiana ci insulta dicendo di toglierci di mezzo (l’edulcorazione è mia), anche se per passare ha dovuto invadere il piccolo cantiere. Nonostante questa provocazione, il lavoro procede in tutta serenità e in un clima gioviale, mangiando della frutta e parlando di light painting.
    Attorno a noi c’è un clima di generale curiosità da parte dei passanti; si fermano a guardare i disegni, li commentano, ipotizzano se questa o quell’opera sia ancora da terminare e c’è anche chi critica, facendo un paragone tra le opere dell’evento e quelle di Bansky.
    Il banchetto delle informazioni dell’Urban Center è accanto alla fermata dell’autobus 3 e gli autisti, spesso, rallentano per guardarsi attorno.
    Durante l’intervista conclusiva, NEEVA e EISENAUER si danno il cambio per rispondere alle mie domande; EISENAUER si concentra soprattutto su quella che è l’interazione con la parete sulla quale si sta dipingendo, mentre NEEVA non tentenna nel ricordare i suoi inizi da writer definendoli pasticci, aggiungendo di non avere la mano per fare delle belle tag e di esser poi passato al muralismo, molto diffuso nei paesi sardi. Quello che invece connota la Street Art, secondo lui, è proprio l’adrenalina legata all’illegalità. Rendendola legale, si snaturerebbe il concetto stesso di Street Art.

    Il fine settimana termina, tutto viene rimesso in ordine e alla luce di questa esperienza non posso far altro che sentirmi arricchita.
    Sono sicura di aver capito maggiormente il mondo dei graffiti, che sono ricollegati al mondo dell’hip-hop e che si basano, sostanzialmente, sulla creazione di un tag e sulla sua riproduzione. Ho anche capito che la maggior parte degli artisti che hanno partecipato a questo evento, vengono proprio dal mondo dei graffiti, ma che hanno sentito l’esigenza di evolversi e trasformarsi in qualcosa di più complesso e adulto. Tutti e tre i campi, comunque, sono interconnessi tra di loro, tanto che non è raro trovare un’opera catalogata come street art o come murales circondata poi da lettering.
    Quello che accomuna tutti quanti è il desiderio di mostrare la loro arte in modo anticonvenzionale, poter essere liberi di esprimersi senza per questo essere considerati irrispettosi, poter avere delle commissioni e, dunque, trasformare la loro passione per l’arte in un vero e proprio lavoro. Chiunque definisca tutto questo come mero vandalismo dovrebbe fermarsi, riflettere, cercare di conoscere maggiormente tutta questa fetta di popolazione che ama non solo spandere la propria tag in lungo e in largo per la città, ma che usa questa forma d’espressione per iniziare un’evoluzione artistica e personale, imparando in maniera autodidattica a riqualificare lo spazio urbano, eliminando il grigiume che investe intere parti delle città e cercando di portare la propria arte davanti agli occhi di tutti, nel modo più visibile possibile.
    Mentre percorro per l’ultima volta la pista ciclabile a piedi, mi sento privilegiata nell’aver potuto vedere all’opera, di giorno, persone che solitamente lavorano di notte. E non li ho solo potuti vedere, ma ci ho potuto parlare, intervistare e conoscere le loro visioni del mondo all’interno del quale si trovano, colmando le mie poche conoscenze in materia. Osservare con criterio è l’unico modo per andare oltre le prime impressioni e spero che tante persone approfittino della Galleria del Sale per iniziare a farlo.
    Chi reputa tutti loro solo come dei vandali, dovrebbe vedere il rispetto con il quale loro si avvicinano al muro, lo esaminano, lo colorano e poi lo rimirano da lontano, quasi con tenerezza.

    La chiamano street art, li chiamano graffiti, li chiamano pittura sul muro; al centro di tutto credo ci sia solo la libertà, niente di più.