EVIL ELECTRICITY BOX
400 x 300 cm
Two of the characters made by Brada show the same little monster that we saw in the previous Level, except here they were made or photographed separately from his crew. As we mentioned earlier, this character has gone through a transformation, from a benevolent smiley face that was supposed to make neighbours happy when they went to take the trash out to an evil being that lurks around the corner. The reason for this transformation was the author’s dissatisfaction with the graffiti scene in Belgrade and the turn it was taking, and so the monstrous face is aimed at his peers. But let us look more closely at one of the aspects of his artwork, and that is the utilization of city furniture. He is not the first or the most innovative when it comes to site-specific artistic practices, but he might be the most consistent in this endeavour. All around the city, he has decorated electricity boxes with his characters, whether ‘the good one’ or ‘the bad one’. From the photograph here, we see how in synch with their surroundings these artworks are.
Exhibitions with this piece
Loving Street Art Belgrade
While there is no substitute for looking at graffiti and street art in real life, it has become evident in recent years that new technologies can add an extra dimension to these art forms. At the end of 1990s, graffiti culture had already recognized the potential of the world wide web as a platform for this global movement to intertwine and cement its reign in urban settlements. One of the pioneering web sites, ArtCrimes.com, served as a gallery where one could see the artworks from all over the world. So, in the beginning, it was the culture itself that recognized the potential of what the digital revolution could bring. Since the mid-2000s and following the rise of street art, it has become obvious that not only graffiti culture and, consequently, street art, have had the need to document and share art on the streets, but that this has also become a favourite activity of those frequenting social networks. Next to cute cats, food porn and selfies, sharing photos of graffiti and street art has become extremely popular. However sociologists or psychologists interpret this phenomenon, it shows one thing clearly – people do notice and enjoy graffiti and street art. In this exhibition, let us explore the world of the digital content and a selection of the most popular artworks among social network users. One could ask why would this selection be relevant to the art world and what can this curatorial approach bring to the viewers? Well, the answer is simple – we wish to see if the audience picks just random ‘pretty’ things or whether there are more significant processes going on. Therefore, we are going to take the photos with the biggest number of views and likes on our organisations social media and organise them in groups so that they can be put in context and analysed. The outcome will be clear at the end of this virtual presentation. So, take one Level at a time, take the ‘wisdom potions’ on each Level and at the end of the exhibition you will have gained the ‘ultimate knowledge’. Enjoy!