Thursday, 29 August 2013

I en garage i Kairo


IN A GARAGE IN CAIRO


ENGLISH TRANSLATION IN ITALICS


Mona Lisa er en sand revolutionær, som vi allerede har konstateret. Beviset er hendes øjenklap, erhvervet på symboldatoen "28. januar" i 2011, da politiet brugte tåregas mod demonstranterne på Tahrir Pladsen.


Mona Lisa is a true revolutionary, as we have already established. Her eye patch is the proof, acquired on the symbolic date "January 28" in 2011, when the police used tear gas against the protesters in Tahrir Square.


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Hendes blik er og bliver mere end smilet, og ved at gøre Kairos mure usikre understreger hun kunstens potentiale til at kanalisere selv svære, ofte modstridende og især kontroversielle udsagn ud til et større publikum. I Tunesien eksempelvis er kontroversen ikke så meget den politiske som sociale kritik, som vi så med Zwewla, der blev tilbageholdt og retsforfulgt - men siden frikendt - for at have grafferet om fattigdom.

Men gadens kunst er også en gave, som vi før har været inde på: Steder, hvor alt håb om kunst ellers må lades ude, og så alligevel har nogen slået til netop dér, udenfor enhver tanke om tilladelse og skabt noget for dem, som egentlig bare kommer for at hente deres bil. Sådan som det skete i en i en slidt parkeringskælder i januar 2013. Udsmykningen var første afsæt for projektet Women on Walls på initiativ af Mia Gröndahl og Angie Balata:

Her gaze will always be more than her smile and when making the walls of Cairo unsafe she emphasizes art's potential to channel serious, often contradictory and especially controversial statements to a larger audience. In Tunisia, for instance, the controversy is not so much the political as the social criticism, as we saw when Zwewla was detained and sought brought to justice – only to be acquitted - of having created graffiti on the question of poverty.

But the art of the street art is also an offering, as we have reflected on before: Places, where all hope of art is left out, and yet someone has taken action right here, without any notion of consent to create something for those who had simply thought they were to pick up their car. Just as it happened in a battered car park in January 2013. The murals marked the launch of the project Women on Walls, on the initiative of Mia Gröndahl and Angie Balata:


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Brigades Mona Lisa blev grundlagt af Mohamed Ismail og Mostafa Ali i 2010, og tilblivelsen af parkeringskælderens mure, er et studie i tilblivelsen af vægdekorationer gennem tiderne. Monumentaludsmykning kræver et helt hold bag, der kender indbyrdes styrker og roller, foruden stilladser til at bryde menneskets egen begrænsede, fysiske ramme. 

Først af alt skal overfladen forberedes. I dette tilfælde at lægge et lag undermaling, der svarer til væggens egen, krakelerede farve. Det giver samtidig en længere levetid til den farve, som kommer over, for vådt malet på vådt underlag binder bedre på hinanden. Det er til gengæld kun det stykke, der skal bruges, som får undermaling. Murens barske råhed bevares omkring motiverne.

Brigades Mona Lisa was founded by Mohamed Ismail Mostafa Ali in 2010 and the genesis of the murals of the car park is a study of the genesis of wall decorations of all time. Monumental decorations require a full team where the strengths and tasks of each is known beforehand, along with a scaffolding to conquer man's own limited physical frame.

First of all the surface needs preparation. In this case the application of a layer of paint, which corresponds to the wall's own, cracked colour. It also ensures the top layers of colour a longer life. Wet paint on wet surfaces creates a strong union. It is, however, only the section that is to be covered, which is prepared. The roughness of the wall is preserved around the motifs.


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Hver kunstner har som nævnt sin opgave. Forbilledet er et foto, de har foran sig undervejs til at overføre optegningen til det store format. De synes ikke at have et givet system, et grenværk til at fordele motivet over muren, men formår at arbejde i frihånd. Der er kun at konstatere, at det er stor kunst:

As mentioned above each artist has his or her job to do. The motif is in a photo, placed in front of each of them while the elements are delineated. They do not seem to use a grid to distribute the design of the small photo to the larger format across the wall. We see freehand drawing. There is but one thing to acknowledge: This is great art:


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Et fuldstændig fantastisk syn, alle fotos kan ses større opløsning, når der klikkes på dem:

An utterly amazing sight, all photos can be seen in larger resolution when clicked:



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De bruger en enkel teknik med stor effekt. Der skabes forskel med i alt tre farver - murens farve danner lys, den sorte markerer, mens den blå bygger selve formen op.


They use a simple technique to great effect. Creating difference with three colours – the wall colour form the highlight, the black is a marker, while the blue shapes the motif.


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Den sorte ville man alle andre steder bruge meget sparsomt, men her gælder det om at skabe et umiddelbart møde mellem beskuer og mur, og nedenfor ses, hvor levende figurgruppen fremstår. De er lige før, at de syner mere virkelige, end deres malere forrest i fotoet:

Anywhere else the black would be used very sparingly, but here it is important to create an immediate meeting between the viewer and the wall, and below we se how lifelike the painted group appears. In fact they very nearly look more real than their creators at the front of the scene:


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Ved "hovedkvarteret", bordet, hvor remedierne står parat, ser vi et stykke af en kortvæggen fra parkeringskælderen, også den ny og undervejs, men med en motivverden, der har flere tusind år bag sig. En mindelse om, i hvilken tradition, der arbejdes i dag, og selvom parkeringskældre ikke har eksisteret længe nok til at forudsige fremtiden for netop denne kælder, så fortæller den os om en trang og tradition for kunsten, der forbliver levende.


The HQ, the table where all articles are ready at hand. We see a small section of one of the shorter walls of the garage. This too is new and coming along, but with motifs with a history of thousands of years. A reminder of the mural tradition in which the young are still working today, and although garages have not been around long enough to predict the future of this particular edifice, the murals of this garage voices the urge and the tradition of all time.


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Alle fotos er vist med stor TAK for tilladelse af Brigades Mona Lisa / All photos are shown with a great big thank you for permission from Brigades Mona Lisa.




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