When I received the press release of Nuart Lockdown Edition, I was enthusiastic about the new format they came up with: maintaining a dialogue with the city, on the actual streets of Aberdeen (Scotland), through a poster campaign by the same artists who were announced to take part to the 4th edition of the international street art festival.
Unlike many other cities, Ghent’s street art legacy developed from the bottom-up, rooted in the passion of local artists and their connections to international artists whom they invited to paint.
After eight long weeks of sunshine, the infamous English summer has arrived in Bristol. It happened on the opening weekend of the 10th edition of Upfest, the largest street art and graffiti festival in Europe. Hundreds of street artists and thousands of street art hunters gathered in Bristol hoping to stay dry, although the atmosphere of this world famous Bristol street art festival is so chilled and ‘bristolian’ that, in the end, we didn’t mind the water.
As one more year passed by, I found myself thinking about my happiest moments from 2016 and –undoubtedly- attending the legendary Nuart street art festival in Stavanger (Norway) was one of them. Apart from a couple of interviews (with Axel Void and Henrik Uldalen), I still haven’t told you anything about that amazing experience, although you might have seen my round-up of outdoor and indoor murals and my recap of Nuart Plus academic conferences on I Support Street Art, the website I was representing at the festival. So I guess it’s about time I shared what my favourite walls in Stavanger are, not just from last year’s edition of this independent festival, but since its very beginning back in 2001, when Martyn Reed founded one of the pioneering events dedicated to everything urban and public art, which –since then- has been breaking new ground in the street art scene worldwide.