It’s not a secret that Tor Pignattara is one of my favourite areas in all of Rome, and the overabundance of street art that one can find wandering around here is just one of the things that I love about this multicultural neighbourhood the most.
Another Rome || Prenestino-Labicano
Another Rome || AlessandrinoAnother Rome || MarconiAnother Rome || OstienseAnother Rome || PincianoAnother Rome || Prenestino-CentocelleAnother Rome || Prenestino-LabicanoAnother Rome || San BasilioAnother Rome || TuscolanoStreet Art
Born out of a fierce need for expression of strong social disadvantage, every year street art is becoming more and more vanilla.
The spreading of urban art festivals has a lot to do with it: curators usually want something aesthetically nice, which will please everybody.
It’s gone from a tool to convey radical political messages. Now street art has become a ‘tool’ to decorate walls – probably the cheapest way for public administrations to show that some action has been taken to redevelop the outskirts, even if they’re only putting up a façade (no pun intended).
Lately my social feeds have been virally invaded by the picture of the new poster-art piece by the French artist Ernest Pignon Ernest, which has been pasted onto walls almost simultaneously in several different areas of Rome, from Testaccio to Trastevere and up to the Tiberina Island.
Another Rome || City CentreAnother Rome || Prenestino-LabicanoAnother Rome || TiburtinoArtStreet Art
Street art, by definition, is “in the streets”; urban spaces are its framework and murals are for everybody passing by, a gift to the community. But what happens when the street art leaves the street to enter an art gallery? Is it still street art or does it turn into something else? And if it changes, what does it become?
Every Roman art gallery specializing in street art has faced this dilemma, coming up with its own solution of this tricky matter: from making the gallery’s white walls available to the artists for site-specific works to challenging them to paint on canvas, or even by sponsoring huge murals in the gallery’s neighborhood, Rome’s street art galleries have committed themselves to spreading the message that Art is Art, whatever the framework.
Another Rome || OstienseAnother Rome || Ponte MammoloAnother Rome || PortuenseAnother Rome || Prenestino-LabicanoAnother Rome || San BasilioStreet Art
In Rome, as in so many other cities – from Europe to South America – the most political street artist is BLU: a 30-something Italian guy whose identity is hushed – although his art speaks loudly.
BLU always highlights political and social issues, often painting on squats and forgotten areas of the cities. His works are always over-abundant with metaphors, allegories and symbols, through which he expresses his dissident point of view of our society.