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Modart Book #02


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Modart Book #02 is a showcase of what we love about Street Art: a shared human condition (mousse) and a movement in art that sees work quickly dismissed as ‘shit’ and almost as quickly digested until it’s perceived as ‘THE shit.’

The first half of the book focuses on what follows the Street Art movement and traces a subversive movement known as Moussism back to Caravaggio.

The second half of the book gives some insight into projects Modart participated in during 2009/10, while talking about various artworks via antidotes about our escapades in Brussels, Berlin, Tirana, Miami and other cities around the world.

Artists include:

Zoe Strauss (USA), Jeroen Jongeleen (NL), David Shrigley (UK), Abner Preis (USA), Willehad Eijers (DE), East Eric (FR), Nomad (DE), Mark Jenkins (USA) and Will Barras (UK). Dadara (NL), Logan Hicks (USA), The Math Rat (BZ), Morcky Troubles (IT), Alex Diamond (DE), Admir Jahic / The Invisible Heroes (CH), Faith47 (SA), Swanski (PL), Byram (BE), Boris Hoppek (DE), H. Beagle (USA), ROA (BE), Ripo (USA) and Smash137 (CH).

FREE MOUSSE FAQ included!


About Mousse
Carvaggio could be the first MOUSSE artist and played a significant role in the Counter Reformation, an artistic movement that struggled to create a balance to the reformation (and not be crucified). As the church manipulated art and social aesthetic values in propaganda maneuvers. Carvagio managed to make MOUSSE of the most recognized icons. He was a complete faux pas, but he was also such a good painter that it didn’t matter.

We can take as examples, the seductive lips of the Lute Player, his drunken green Baccus or the first things that strike the eye when we come across his work ‘Madonna di Loretto.’ The first thing you see are dirty feet and the ass of a man, Madonna as a whore and peasants as believers, a baby so big he has no business being in his mother’s arms. Carvaggio made MOUSSE by abusing form through mastery of craft and managing to make subversive work without compromising the sincerity of his expression.

He found a way to personalize commissions in a style that was ugly and sweet and undeniable. He sold his creativity and guarded his authenticity with his life. This is essential to making MOUSSE. This is where the honest and emotional are safe from mediated onslaught and illusion. It is an ethical stance towards creating in general and specifically to creating art. The work is not concerned with politics as a subject, the political act is the communication of the work.



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