Showing posts with label Aida. Show all posts
Showing posts with label Aida. Show all posts

Tuesday 24 November 2020

Ezra St Paste Up Frenzy

Shoreditch is full of little corners where street art survives and accumulates in layers, like a busy kitchen pinboard.  Last week one such canvas near Columbia road was transformed by, in no particular order, Donk, Skeleton Cardboard, Rider and Tommy Fiendish into this beautiful paste up collage. 

Donk, Rider, Tommy Fiendish, Skeleton Cardboard 

Donk, Rider, Tommy Fiendish, Skeleton Cardboard 

 

Skeleton Cardboard 2020 

Skeleton Cardboard 2020 

 

Rider, Donk L-R Rider, Donk Skeleton Cardboard 

 

L-R Rider, Tommy Fiendish, Skeleton Cardboard L-R Rider, Tommy Fiendish, Skeleton Cardboard 

 

Whether neglect or tolerance is the reason why the property owner has allowed street art to accumulate, mutate and flourish on this canvas is a matter for another day but it is interesting to look at just a few examples of how the patina of this door’s surface has evolved down the years.

A year ago in November 2019 the door looked like this: 

Ezra St 2019: Feat Anne-laure Maison, Donk, Arrex Skulls, Subdude, Fosh, Citty Kitty, Shuby, Noriaki, Silvio Alino, D7606 Feat Anne-laure Maison, Donk, Arrex Skulls, Subdude, Fosh, Citty Kitty, Shuby, Noriaki, Silvio Alino, D7606 

 

Just a week ago a fair portion of the art present in 2019 was showing a steely determination to cling on in spite of tempest and subsequent creatives. 

Ezra St Nov 2020 Nov 2020: Feat DaddyStreetFox vs Anne-laure Maison, Donk, Subdude, Fosh, Citty Kitty, Shuby, Noriaki, Silvio Alino, Bento Ghoul, Voxx Romana, Pyramid Oracle, D7606 

Nov 2020: Feat DaddyStreetFox vs Anne-laure Maison, Donk, Subdude, Fosh, Citty Kitty, Shuby, Noriaki, Silvio Alino, Bento Ghoul, Voxx Romana, Pyramid Oracle, D7606. 

 

The Pyramid Oracle paste up still visible in parts in 2019 and 2020 has already lasted since 2015, thanks mainly to its height.

 Ezra St 2015 2015: Pyramid Oracle, also feat Sweet Toof, Donk, Voxx Romana, Noriaki, Anna Laurini, Ema, D7606 

2015: Pyramid Oracle, also feat Sweet Toof, Donk, Voxx Romana, Noriaki, Anna Laurini, Ema, D7606 

 

HIN was busy around Shoreditch 2012 - 2014 and if you looked at the bottom of the door in 2013 you would see a HIN character with an Aida face created from her infamous "East End Still Sucks" response to the Hackney Olympics.  That originally started out as a "go vegan" collaboration as shown in the following shot and the HIN body was still visible last week! 

Ezra St 2013: Sweet Toof, Aida, Kid Acne, Ema, Donk, Angry Face, HIN 

2013: Sweet Toof, Aida, Kid Acne, Ema, Donk, Angry Face, HIN 

 

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Finally, back in 2012  this canvas was one of many to host the Sweet Toof/Paul Insect street group show.  This photo also features a framed print by New York street artist Gaia in a walk on part!  

Ezra St 2012 2012: Sweet Toof, Paul Insect, Aida, Hin & Aida collab, Kid Acne, Ema; print by Gaia 2012: Sweet Toof, Paul Insect, Aida, Hin & Aida collab, Kid Acne, Ema; print by Gaia 

 

As always the beauty of the art process here is the absence of the selective and restrictive eye of a curator, an organiser.

A few years ago a permissioned wall on Hanbury Street triggered a similar “longitudinal” review of the changes time wrought on that particular canvas, click here

Finally, if you have enjoyed this look back through a street art time machine why not put an end to that lockdown stir crazy feeling by joining the author on a tour of Shoreditch’s street art, click here 

All photos: Dave Stuart

Thursday 20 August 2020

disCONNECT: 1 house 10 artists

 

DisCONNECT

South London

24 July - 24 August 2020

 

Crunching up the gravel drive to a flight of steps leading to a house in a posh terrace set back from leafy Clapham Common, we peered through white double doors in an anonymous raised ground floor entrance.  As a setting for a cutting edge urban art show it seemed quite unlikely, we turned on our heels lest they set the hounds on us.  A door creaked open and a voice called “Looking for the art?”

The premise behind "disCONNECT" is that someone with money has bought a seriously expensive house and prior to doing an iceberg basement redevelopment job has invited 10 artists in to make-over the premises.   Viruses escaping from labs threw a spanner in the works though, so several of the artists incorporate a sense of the pandemic in their pieces and 6 of the artists being based overseas had to make and install their work using Skype, like scientists cautiously tweaking the location of the reactor rods by remote cctv.


Herakut, Germany

 

The Art world is not providing too much in the way of real life excitement these days and while one should never confuse the art world with the real world, or indeed the world of street art, it was a pleasure to experience disCONNECT for real just before it closes this week.

If I had been asked 2 weeks ago to guess which artists would feature on my uploads more than once in the next month, it would have been a hell of a rollcall before the name Alex Fakso came up.  This legendary trainyard graff snapper specialises in candid portraiture; his  2012 “Santa in Camo” show in Kensal Rise indicated a quite idiosyncratic approach to subject as did his 2017 Moniker contribution.   In this installation crowds in the photos rush towards the viewer in a way that feels horrifyingly alien in these public-gathering avoiding socially distanced coronavirus times.

 
Alex Fakso




Seeing Zoerism’s geometric and intricate graffiti on the streets is a rare pleasure and his anamorphic experience echoed that hugely detailed style.  Anamorphic images are designed to be viewed from one spot and look a bit skew-whiff from any other, this image was installed flat on the floor and up against the wall creating this impressive 3D “trick of the eye”.

 

 Zoer

 

Herakut’s fusion of photorealism and spindly elfin characters in Davy Crockett hats shouldn’t work but looks awesome.  You are invited to sit for a selfie with the monkey in the nursery -  if your chess game is up to scratch.  The kids in the playroom have painted child-like drawings on the nursery walls, they are credited to a 7 year old Ryker but is there a hint of an insider joke there?  

Herakut

 

A double set of doors and a single door were shipped to Portugal for Vhils to work his magic, a refreshing reminder of his talent for “discovered texture” portraiture.   His mining into layers of adverts to reveal portraits works superbly where it belongs, out on the streets but it’s a bit of a puzzle why having an implausibly deep block of compressed billboard adverts would work indoors.


Vhils

 

The dark entrance lobby was made over by a collection of Mr Cenz’ cosmic ladies, UV light brought sharpness to the highlights that define the outline of the faces, an effect we love to play with when photographing his portraits out on the streets.  Unfortunately we omitted to get any photos in the lobby though the effect can be vaguely appreciated in this mercifully brief video snippet.

 

feat: Isaac Cordal, Mr Cenz, Aida Wild, Zoerism

 

In lockdown Aida Wilde railed against the reckless anti social behaviour of people ignoring the social distancing, lockdown "stay-the-fuck-away" instructions.  Her “Granny alley” installation in the most challenging room in the house distills a lot of that passion and anger into blocks of text and her emoji infused pseudo-flock wallpaper.

 

Aida Wilde

 

 

Aida Wilde

 

After years of vicariously enjoying Icy and Sot’s art finally we saw a piece in real life.   The dining table apparently was found in the kitchen, in which case it must have been a relic from the downstairs kitchen many years ago.  The beautifully conceived and executed articulated plates and cutlery apparently represent capitalism with the extension leaves up and a full plate on the table.  With the extension down symbolised socialism, in which case this neither-up-nor-down configuration pretty much sums up post-Corbyn Labour.


Icy and Sot

 

Issac Cordal’s morose concrete figures endured this Summer’s monsoon in the garden and just about maintained their social distance in a gloomy basement.




 Isaac Cordal

 

Flock was clearly in vogue when the house was last given a decor update as the pattern recurs in several of the installations.  Adam Neate bid for the window blinds and the colour and texture makes a great skin motif in his ghostly portraiture

 

Adam Neate

 

This show exceeded expectations, though that says more about our expectations than the artists involved. The unbalanced capitalisation of the show title exhorts to us to somehow re-connect in these desperate times where isolation is salvation and this show is worth connecting with.  Time is running out though and indeed thanks to covid restrictions tickets are very limited.

All photos: Dave Stuart

Thursday 27 December 2018

Sweet Toof Mid Nite Crisis Exhibition

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Mid Nite Crisis
14 – 22nd December 2018

Rocket Barber Shop
118 Stoke Newington High St, London N16 7NY

Sweet Toof, East London’s legendary dental illustrator is back for a show in the unlikely surroundings of a North London barber shop cellar. The unorthodox location heaves with canvasses, prints and bizarre objects. Knick knacks with lurid buck toofed characters abound while disembodied gnashers chomp in mouthless isolation.


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Cool, trendy upstairs


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Shady basement downstairs, shady geezers, shady gals


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Cellar. Sweet Toof.


Many acquainted with the breadth of Sweet Toof’s outdoor endeavours will recognise Mid Nite crisis as a corruption of Mid Life Crisis, which Sweet Toof and friends often put up on walls.

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Mid Nite Crisis


Sweet Toof MLC collab with Rolf Carl Werner, Dalston 2017
Sweet Toof MLC collab with Rolf Carl Werner, Dalston 2017


Centre stage is hogged by a train set with the looping period piece rail service hit hard with whole car Sweet Toof graffiti. This straight up not-for-sale Sweet Toof toy provided what the vast majority of arty art shows lack, something to have fun with!

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Battered Choo Choo






It is only 12 months since Sweet Toof last exhibited in Dalston, a joint show with Swedish artist Rolf Carl Werner (review here) and the good news to take away from that is that artists abandoning London aren’t actually lost to London.

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Stag Night


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Knick Knacks


Moments of darkness transformed the cellar into a graveyard of glowing ghoulish gnashers.

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A print launched at the show featured Sweet Toof collaborating with Aida on a gentrification lament. The print celebrates 10 years that Aida and Sweet Toof have worked together on prints and other  collaborative artistic misdemeanors.

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GentriFUCKation - Aida Wild/Sweet Toof Collaboration


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Completely anonymous artist in disguise.


There is an irony in the concept of two street artists coming together in a trendy barbershop in Dalston to protest against gentrification.

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GentriFUCKation - Aida Wild/Sweet Toof Collaboration


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That’s not to knock the location of the show in a hairdressers. It is crucially important that this scene is outside the gallery system and not dependent upon museums or art world support, Sweet Toof by convention is unconventional.

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Aida and Sweet Toof also collaborated on a lush variant on Aida's ever popular "EAST END SUCKS" print.

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East End Sucks, Aida Wilde/Sweet Toof Collab, 


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Cleaned your teef?


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Red Handed (Above), Roller Gang (Below)


Links:
Sweet Toof instagram
Aida Wilde instagram, website
All photos and video by Dave Stuart: instagram

Saturday 11 August 2018

Foundry/Red Gallery Shoreditch Art Spot Closes

Think Shoreditch and inevitably thoughts are of clubs, parties and street art. A more considered assessment of the past 20 years would oblige image wizards to render Shoreditch in the collective memory as a place of creativity, craftsmanship, experimentation, fashion, film making, music making and art performance to name just a few. Sadly this week Shoreditch says goodbye to a key pillar in the building of its vibrant creative community, the building formerly known as the Foundry, currently known as the Red Gallery is closing and this blog is a tribute to those memories.

Twenty years ago the ground floor and two basement levels were occupied by the arts centre and bar called The Foundry.

Google Street View crop Sep 2009
FOUNDRY (Google Street View Sep 2009)


The Foundry was launched around 1998 by Jonathan Moberly, Bill Drummond and two other partners and got its name from the fact that there was actually a foundry there in the 90s used in jewellery manufacture. Within a year Jonathan was joined by Tracey Moberly who was planning a comparable venue in Manchester but got sucked into the creative whirlwind gathering strength in Shoreditch. The building was constructed as a branch of Barclays Bank which lead to its quirkiest architectural feature, a vehicle turntable in the middle basement. Vans carrying sacks of cash came down a very steep ramp, loaded and unloaded and then spun on the turntable to face back up the ramp. At many events in that basement the sounds weren’t the only things on turntables.

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Copyright up on bank letter box


As well as being a rather grungy though welcoming space for a coffee, a beer and a chat The Foundry hosted many experimental arts events. Whether it was music, performance or paintings or installations, The Foundry housed a curation free, zero pressure arts venue. With 6 spaces available, artists could be offered walls or rooms for them to come in, install their work, invite their friends, have their event, they just had to do all their own hanging, promotion and sales, The Foundry lent literally just its location. Nothing with arts council funding was accepted, everything had to be self funded by the artists. There were no charges for artists to use the space for public display, there were no commissions on any sales, all that was asked of visual artists was that they contributed a piece of art, and it had of course to be something of a standard comparable to the art on display, no simply dashing off a sketch on the back of a sheet of A4. Unless of course that was the mainstay of your art output!

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Banksy Happy Chopper


Many artists who got a break in The Foundry went on to become lauded names, including from the street art world Banksy, Faile, Stik and Carrie Reichart. Musicians who cut their teeth with live performances included The Liberteens and Kate Nash, Kate Nash herself has said that she was always going in and performing with Adele at the Foundry.

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Hanging about in the Ladies with Carrie Reichardt


Tracey Moberly told Graffoto of the mixing that took place at The Foundry “you’d have a group of ex university lads doing a performance thing upstairs (the ground floor bar) then you’d have a group of punks downstairs doing their performance stuff with all these other exhibitions going on – it was a melting pot of people and ideas. New art going into uncharted territory would come from it”.
The mixture of sub-species who populated, haunted, used and abused The Foundry extended to a considerable collection of super fit crusties plying their trade as cycle couriers, they would rest up with their bikes outside the Foundry and consume vast quantities of coffee from The Foundry’s Gaggia coffee machine. The London Courier Emergency Fund, a charity that raises cash for injured bike couriers used the Foundry as its base.

Tracey hosted a midweek arts radio panel show “The Late Late Breakfast Show” broadcast live from The Foundry, the setting would be a group of people clustered around a table underneath a truly Heath Robinson-esque acoustic reflector/microphone device. I twice had the pleasure of being invited onto the show. This involved sneaking out of my shirt-sleeved suit wearing day job, dressing down and going AWOL for a few hours.

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The first occasion was a street art heavy panel including The Krah, Inkfetish and Neonita who I had the pleasure of meeting then for the first time.

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ON AIR!


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The Late Late Breakfast Show, Resonance FM, Feb 2010


The second occasion was poetry rich and included The Worm Lady and this amazing poetry performance by Grassy Noel (geddit?) backed by freeform jazz saxophonist Mike Walter and Lol Coxall.





Greek street artist The Krah curated two exhibitions in The Foundry’s middle basement and it’s a major plus point that group shows could be artist led; The Krah remains a curator of superb group shows and indeed a very active artist and graffiti writer.

Krah, Foundry Aug 2008
The Krah Group Show feat  Pure Evil, Blam, Snub 23, Shannon Crees, 45 RPM, Rugman & others, Aug 2008


Krah, Foundry Apr 2009
The Krah, Foundry, April 2009


Banksy was no stranger to The Foundry, leaving his mark on the famous corridor inside as well as, quite notoriously, on the car park wall outside. Banksy’s Happy Chopper and Grim Reaper stencils inside the lower ground corridor were left to fend for themselves which is the way things should be, if you look closely as well as the more obvious Faile dog and the perhaps less obvious Peripheral Media Projects sticker you can make out the Faile dog “dogged” by a very early Stik figure.

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Banksy Grim Reaper


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Faile dog & plane, Banksy stencil tag,


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Faile feat Stik


Stik kindly sat down with Graffoto and came over all misty eyed with his personal Foundry recollections. “I knew the building very intimately, I know the ghosts of that building, it was very creepy going down there on my own but I felt kind of privileged."

Stik’s second art show was in The Foundry and came about in a rather unusual way as Stik had a novel relationship with The Foundry, he was the cleaner!

“Anyone could do an exhibition there but I was kind of afraid to ask but then Jonathan (Moberly) offered me one” and so in 2008 Stik the building cleaner became Stik the exhibiting artist in the Library, the small room at the front of the bar upstairs. Stik also managed to hijack the stairwell with some large wheatpaste figures. The stairwell was not a space you could ignore in The Foundry, it was where so many people crossed paths on their way to or from or queuing for the toilet. This was a fairly unstable period in Stik’s life “At this point I was sofa surfing, I have photographs of me doing these paintings for The Foundry in my friend’s spare room where I was dossing.“

stik at the foundry
Stik Exhibition Flyer, Photo by Stik


The Foundry’s “anything goes” spirit is fondly recalled by Stik “They had a policy where you could do whatever you wanted, there was no curation, no invigilation, there was nobody looking after it, you do what you want; they don’t take any money they don’t deal with any shit and they don’t do advertising, nothing, they literally just give you the space. A lot of established galleries do the same but they claim to do a lot more; The Foundry was just really straight about it."

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Stik, photo by Stik


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Stik Lovers, photo by Stik


Stik spent a period living in a Momart art container and he listened to Resonance 104FM: “It was the first station that had people I knew on it, it was really cool. Resonance was so underground, it was so weird” The thing that blew his mind was the realisation it was broadcasting from the place he knew so well.

“The Foundry was like a safe haven, it was a base of operations , you could try out things there, you could take your felt pens or your paint or stencils and try it all out there in the corridor.” – Stik

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Stik, Foundry exterior, 2009


In 2010 serious damage was inflicted on the creative community in Shoreditch when the property owners won permission to raze the whole building and replace it with an 18 storey 350 room hotel. Tracey and Jonathan fought tooth and nail through the council and the courts to get a requirement for community arts facilities to be incorporated as a planning consent requirement. At the time of the application Hackney Council had a Development Management Policy which declared that the Council would “protect arts, culture and entertainment facilities by resisting their loss, unless a replacement facility is reprovided [sic], or it is demonstrated that the facility is no longer required in its current use”. The Council turned one blinkered eye away The Foundry’s long history of providing a nurturing home for the arts community and diverted their other myopic eye away from their own policy and by failing to make suitable provision in the consent sounded the beginning of the end of grass roots arts community within this area.

While running the Foundry, the Moberlys faced a never ending assault from the council’s buff squad (cleaning team) constantly cleaning perfectly legal permissioned art from the front of The Foundry.

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Inkfetish, Neonita 2010


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"Fuck The Buff" to paraphrase Inkfetish, also feat Neonita detail, 2010


The irony of that became apparent in 2010 when Hackney Council’s planning permission for the demolition of the Foundry building to make way for an hotel incorporated a particularly bizarre condition, a couple of Banksy street art pieces around the back overlooking the car park were to be preserved. Graffoto covered this at length in 2010, describing the relevant Banksy artworks as “pieces of shit” yet the council, who had habitually destroyed brilliant art and graffiti that appeared around the front of the Foundry were now mandating their preservation. Truly the blind are dictating the management of the public visual landscape.

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Classic Elmo Rooftop roller, Tango ATG, and some crap by Banksy


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Still shit

Having kind of pulled the tail of the developers a little too hard the Moberly’s were obliged to close The Foundry’s doors for the last time in 2010. This prompted community protests and in an eerie foretaste of what was to come a year later, a squat of the building under the banner “Occupy”.

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Stik has an interesting confession about the time when the Foundry building was being squatted. “The first generation of squatters were in there and I had just had an exhibition in Mile End Art Pavillion in 2009 and I had made 16 wooden figures in various positions, these 6 foot cut out plywood figures sat in my room in St Mungo’s Hostel. I needed some space so I started to put them up on the street. A lot of them got dismantled or smashed but a few remained, one went up on The Foundry, one went up on the Brady Art Centre, one went on the back wall of Austin Gallery at the top of Brick Lane; a couple have reappeared recently but I know most of them were destroyed."

"I took one of these up to the roof of The Foundry, I needed to attach it to this blue wooden board on the side of the building so I tacked in nails at strategic points on its hands, its feet, on the top of its head and its body and dangled it down over the edge of the building so it sat flush with the blue background, I tied off the cable. I went to the other side of the building and I leaned round and I got a 3 meter extension pole with a hammer gaffa taped to the end of it and I banged the nails in, I had about a 1 in 10 strike rate. Meanwhile, the squatters were trying to keep quiet cos you have to be when you are squatting and there was me banging on the wall to get this artwork in. They were rightly pissed off with me but I had started so I had to finish and it took me about an hour to get all seven nails into the wood. It stayed up there for years. About 4 years ago one of the hands snapped, it looked like someone had tried to rip it off the wall, I went back up there on a ladder with a hammer and I nailed it back in which is why one of the hands is a bit wonky. “

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Stik, also feat RUN & ATG, 2012


In fact the figure stayed up there until this month (August 2018), I bumped into Stik with Ernesto a couple of weeks ago supervising the removal of the piece. It will be auctioned and the proceeds donated to charity.

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Goodbye Stik Figure


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Stored and displayed, Red Gallery garage sale (in Foundry space!) Aug 2018


The Foundry’s DNA proved to be very resilient and in 2012 Red Café and Red Gallery opened with Ernesto Leal and Yarda Krampol at the helm, continuing the culture mission in a similar vein on more or less the same site. “I was doing these pop ups and the landlord came along to me said “This building is going to be empty for 3 months do you want to take it?” Ernesto recalls, “so I said yeah, fine”. The space Ernesto moved into actually is not the same space as The Foundry, the Foundry occupied the front ground floor facing towards Old Street Roundabout and occasionally extended its activities into the Car Park at the rear, including the 2003 and 2004 “Shoreditch Festival” which saw all the streets in the Shoreditch Triangle being closed to traffic for a day and also Banksy creating the huge rat and the TV thrower in the car park. Red Gallery took over a couple of ground floor spaces and then the upstairs floor in the part of the building next to the car park, seemingly there had been some kind of private college on the upstairs floors. Red then took over the Car park and also the basement below the gallery and café, though these were not the bank vaults that The Foundry had used.

Red Gallery encouraged the street art around the building and in collaboration with other agencies was able to bring many top street artists work to the Red spaces including in the early days EINE who did specific RED shutters, Roa, Phlegm and Jo Peel.

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RED by Eine, also feat Part2ism


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Dr d. 2010


Music was a core feature at Red with many music festivals and experimental sound events taking place in the basement. Ernesto’s old warehouse party organising skills combined with a desire to see interesting fusions within the music scene and experimentation with music combining with poetry and other art forms. “Our motto for this experimentation was “The Only Certainty is The Experience” said Ernesto, a motto conveniently burning in throbbing neon over the downstairs bar.

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In 2012 the graffiti world was offering support to the family of graffiti writer King Robbo as he battled to cling on to life, Team Robbo, a graffiti movement inspired by its leader and founder Robbo held an exhibition called “The Origin Of The Species” in the Red Gallery, its novel feature being synchronisation with an exhibition in New York featuring influential old school New York graffiti writers. The exhibition was in part a fundraiser group show took place in the gallery as a fund raiser to support Robbo and his family.

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Art by Robbo


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Origin Of The Species, Sep 2012


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Team Robbo, Red Gallery loos


As the period Red was in the space extended and the owner allowed use more of the spaces, Red started “giving away” spaces to artists and offering work spaces in what became a shared space model now widely recognised under brands such as WeWork. At all times the explicit understanding was that there could be no guarantee of occupancy, the owner could empty the building with next to no notice and that risk had to be acceptable to any parties coming in.

SoundCloud was born in the Red Quarters spaces on the upper floors. Florian Stronk, Co-Founder and CEO of BravoCo told Graffoto that the cheap space with minimal commitment was what allowed them to screw up their first attempt to start a tech business, pick themselves up and succeed with their second and current venture. “It is the saddest day in our Company’s existence the day we have to leave Red” said Florian.

As Ernesto and I chatted, students from RADA were setting up for a one off performance art piece that evening, RED providing the kind of opportunity to stage and perform free from the usual commercial requirements which is of course in the traditions of the location back to The Foundry days. “We never had any misconceptions about what our position was” Ernesto confirms, “we saw it as an opportunity to change perceptions of what art spaces should be about. We opened up the doors to the local community and I think it has worked” by which he refers to club spaces which are dark in the daytime their open door allowed people to come in and see “oh, these spaces are quite nice”

Ernesto has concerns however that there are fundamental shifts taking place in how the new generation of artists connect to their audience and it is making spaces like Red Gallery redundant. “The art gallery as a space to exhibit is becoming obsolete. The present generation come in, get the Instagram thing, make their mark, then leave. They’re not interested in sales cos there is very little money to be made. The kids are on a different level and have taken things in a different way.”

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ROA, 2011


Another quirk of the 2010 planning consent was the requirement that the illegal car park that had operated on the land behind the building for nearly 20 years had to close. The silver lining to that was the landlords sought a new use which allowed Red to step in. The only restriction the landlord imposed was “don’t turn it into a car park!” This obliged Red to think less along the rave culture music space and more towards a space where people would eat, and sit down and therefore socialise and communicate.

Red Market led the way in bringing street food into night time venues but they quickly found that just wasn’t making money (for Red Market). So they worked up a location and business model where street food would combine with music, drink and dancing. Ultimately this led to the immensely successful Last Days Of Shoreditch party and event space.

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EINE

Connecting with the community remained an important part of the Red Gallery mission and Hackney WickED (promotor of arts and creativity in Hackney, technically a “Community Interest Company”) made use of Red on several occasions. Aida Wilde Hackney Wick based activist artist with a conscience spoke of times she was able to take advantage of the Red facilities.

“I have done two things in Red Gallery, both of them through Hackney Wicked at the invitation of Laura May Lewis, one of the Directors of Hackney Wicked who was quite close to Ernesto” said Aida. “So, the first time Hackney WickED took over the Red Gallery Laura May Lewis curated a group of artists and that was when I did my zebra stencil. That was my first stencil which was really weird, my first and last actually, I swore never to do stencil again!”

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Aida's Zebra; Aida vs Perspicere; Ador sandwiched in middle


Aida’s second venture into the Red Gallery came last year, Ernesto was running a show on the ground floor about resistance and gentrification and had invited Laura May Lewis to bring Hackney WickED in as Hackney Wick was itself being mutilated by rampant gentrification. Laura approached Aida and asked if she would bring her “Print Is Power” collective in as part of the Hackney WickED involvement. Aida recalls “The premise was we could do the workshop, it was open for all, it was free and generously Ernesto covered material costs and stuff like that so we provided all the materials. After the workshop we had a round table discussion about gentrification and the work that Hackney Wicked had done and my contribution to that.”

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Print Is Power


“Print Is Power is not about entertaining people, there is always a purpose for the project and for what people want to say, that’s the important thing to get across, we were conducting it in an activist capacity rather than a fun afternoon, there was a core meaning to it, otherwise I wouldn’t have done it. “

It was a great workshop actually, a lot of people turned up, and made a lot of beautiful posters and the posters went on display in the show that was currently there for a week.”

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Also co-existing alongside the night street food markets in the open space alongside Red were daytime spraypainting workshops and the landmark magical bus that was parked on the site until a couple of years ago housed a tour group’s offices.

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Look closely, you may just spot a bus – artist Jo Peel


A section of the Red Gallery's outside wall has for the past 9 months been given over to political paste ups curated by Flying Leaps and Dr D working in agreement with Red Gallery, the premise was to allow anyone a space to put up their art and if you had art but weren’t the kind of person who went around pasting up on other people’s property or if you simply were overwhelmed with better things to do then you could send your art in and Dr d would do the deed for you.


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Dr d. Dec 2017 also feat Benjamin Irritant, Space Invader, Don


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Agitate by Michael Peel, March 2018 Also feat Rider, Bob Osbourne and Carrie Reichardt, Dr d. Kennard Phillipps, Benjamin Irritant, Space Invader, Don


Bang in tune with Red’s mandate to as much possible use out of the building is a surprise find up on the roof – a honey producing beehive! Apparently they forage up to 3 or 4 miles distant from Old Street which means they might come across some resilient and still functioning art communities.

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Rooftop Beehive


Red never had any control over the scale of adverts on the North West side of the plot, that was the landlords. They did however control the art on the walls outside and Red has signed off with two spectacular pieces of art. The first is a political piece by Northern Irish artist Anne McCloy commemorates the Irish Civil Rights Movement which sought equality of treatment of all citizens in Northern Ireland, whilst also alluding to appropriation of the red hand, an ancient Gaelic symbol by the loyalist movement.  An both respects this can be seen as a "cross-community" non sectarian message.

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'Saoirse 68' by Anne McCloy (above), Sidok (below)


The second piece was a strange pair or red pants hung from the front of the building, the was a gesture of solidarity with Czech protestors opposing the populist regime installed by President Milos Zeman (think Trump and Farage), the protestors got suspended jail sentences for replacing the Czech flag flying over a castle with a huge pair of red pants, proposing that this could be Zeman’s dirty washing. Finding a supportable political cause whose motif whose colour happens to match your brand has obvious serendipity.

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Red Gallery vs Zeman


Sadly last week the inevitable and long anticipated closure of Red Gallery arrived. No squats this time, no noisy protests and furious campaigns against the planning process, just a sigh and a dispersal of talent and the contribution of this corner of Shoreditch to London’s art life will cease. There is an irony in the third character in the trio of Stik figures that overlook the Red Gallery/Last Days of Shoreditch plot, “Shoreditch Future” looks nervous about the future due all the building developments progressing up Paul Street; well the developments have landed right at his feet, that uncertain future is now the doomed present.

It was fitting to see Masker up on the roof last weekfor a final flourish after being up on the Foundry/Red Gallery walls at intervals over many years.

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Elmo, Masker, Mr Wany, Zezao, 2012: early days of Red Market street food ops


This week all the adverts came down so Stik’s three figures once again gaze down, their sad and apprehensive expressions can now be seen as mute judgement on the developers.

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"Shoreditch Past, Present and Future" by Stik


You may try to wipe out the art but you cannot stop the artists. Tracey current lectures in the arts and remains an active artist collaborating on films, photography and events with Bill Drummond, she works with the comedian Mark Thomas and she is also Artist In Residence for the Polar Regions I shit thee not. Ernesto speculates that his future direction may lie in providing more opportunities for experimental and developmental performance art but it won’t be in Shoreditch “This area is gone” he says. If you are curious about the fate of those Banksy stencils in The Foundry’s corridor, all will be revealed in Tracey Moberly’s forthcoming film. BraveCo is heading West to Farringdon. I worry about the bees though, we should always worry about the bees.

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Rooftop Bees


Graffoto would like to thank Ernesto Leal, Tracey Moberly, Stik, Aida Wilde and Florian Stronk for being so generous with their time in sharing their memories with Graffoto and additional thanks to Stik for help with photos as credited above.

All photos Dave Stuart except Stik and Google Street View where credited