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Russian
00:00:00
an artist is more a guy who stays00:00:03
in his studio which through a roof for00:00:05
me it has passed an artist today00:00:06
you it's not just a guy who paints and00:00:08
who says [ __ ] or less you see on the00:00:10
contrary he there is already something00:00:18
quite visceral drawn on the walls00:00:20
the kids in the background finally there is00:00:22
something completely enjoyable it's a00:00:23
moment which is just yours and then this00:00:26
moment where you really spend has been00:00:28
visions your imagination on the wall it's00:00:32
something that comes from within00:00:34
its vocation to help me live better a00:00:37
kind of therapy it's to please oneself00:00:40
if it pleases others so much the better00:00:42
who doesn't know the case it won't change anything00:00:45
my pleasure we don't forget that if we do that it's00:00:48
all for having an outlet00:00:51
otherwise you don't go out in the street you see00:00:53
two o'clock in the morning with drawings to00:00:54
put them in the street if it's not an00:00:57
outlet I don't see what it is because there is00:00:59
n't much that's free00:01:00
so today just bringing the00:01:01
color of joy is the only little00:01:05
thing I'm trying to bring, it's00:01:07
something something very generous because in the00:01:08
end you express yourself in00:01:11
a place where you know that you will be seen00:01:13
but the work no longer belongs to you, that is to00:01:15
say that it can damage00:01:17
the ephemera being able to share00:01:19
your art for free knowing that00:01:21
other people will see it will00:01:22
perhaps take a photo of it will00:01:24
share it in turn is super00:01:25
gratifying and addictive that only hair00:01:28
one of the only things that allows00:01:30
me to to feel free and to experience00:01:37
adventures that I would never experience by00:01:38
staying in an office or in a00:01:40
workshop, quite simply00:01:41
it was a way for us to00:01:42
express ourselves without going00:01:45
directly to seek the perfection of a canvas00:01:49
which was after being led to be hanged in00:01:52
a gallery or other finally it was not00:01:54
at all our mode of functioning of the00:01:56
muscles in 84 kg had00:01:59
no history of attali what00:02:02
in a city in our city did00:02:05
not have workshop did not already have this00:02:08
conception of art already when you00:02:10
did that at the time in a way to do00:02:11
without having to ask for approval from00:02:15
someone else you see in a gallery you have to show00:02:18
fall or leave yes or no or take an00:02:20
entrance exam into a school I00:02:22
took you are good you find at a low wall00:02:24
who painted so that was it it was a00:02:26
somewhat haughty dimension when there00:02:31
was a notion of freedom relative00:02:34
since at the time we were still00:02:36
in the shackles of American aesthetics we00:02:39
will say that it was the first the00:02:41
first the first returns from New00:02:43
York we will say with the first sounds and the00:02:47
first images of New York was there00:02:52
when we started to see the graphs00:02:54
and the tags so I can be in a horrible thing00:02:57
do them something crazy not and do00:03:01
something so that even if it's00:03:03
ugly it will be an ugly woman I'm going to00:03:04
look for the places that00:03:05
the architect does not necessarily have too much00:03:08
design and that is to say it leaves the00:03:09
gable blind it will be the small00:03:11
hidden facade it will be the00:03:14
surrounding wall who is who and where conquest or00:03:16
white and the simple cham street artists00:03:19
s 'appropriate what it is that00:03:21
the architect or what the urban apa did00:03:23
n't really think about didn't really00:03:25
do as functional wool00:03:28
best medium for 13 m something00:03:30
and to send a message00:03:32
yes as00:03:34
I had something to say I am here00:03:39
these supports along the street to00:03:42
say it I chose to make00:03:45
horse tags and it is precisely to00:03:48
disturb this smooth image of society00:03:51
and show that everything is not just not00:03:55
to be done in New York00:03:57
I think that the guys at the time who00:04:00
developed the thing and who were drowned in00:04:03
the flux of neon advertising and so on00:04:05
it's a way of saying wait for me I00:04:07
don't have one multinational a company00:04:10
but I advertise myself I also exist you00:04:12
see it's also a way of00:04:14
reinvesting public space00:04:16
in reaction to advertising and of saying00:04:22
well here it is the city belongs to me too00:04:26
and when you put your name basically it's00:04:29
a way of saying I00:04:30
simply exist so yeah for me it's a bit of a00:04:33
kind of clicking said in heaven it00:04:34
allowed us to reappropriate I think00:04:38
a space that is stolen from us by the00:04:43
government by the authorities or00:04:45
finally everything is arranged to00:04:49
favor the economy of financiers00:04:53
today we need art more and more00:04:56
a message is super important00:05:00
for several reasons but the00:05:02
first I would say that 100:05:04
we desperately need poetry and00:05:08
fresh air of travel and and art00:05:11
in particular the artist in society is00:05:15
one of the most important pillars00:05:17
most founding00:05:19
a society why because00:05:21
translated art transmits touch play - the00:05:25
material and the spiritual does not have need00:05:28
to know how to speak the language to00:05:31
understand dollars --to00:05:33
get a direct message the second00:05:35
thing for which it is very important for me00:05:37
to carry messages and to00:05:39
create a universal art is to give00:05:42
vocations00:05:43
in fact we educates people when we00:05:46
subject them to the re why are there guys who00:05:47
make it known why my building of one00:05:49
meter 4 ap a huge thing and everything I like00:05:51
I don't like for report why you see00:05:53
it's just that at least from the00:05:56
moment you ask someone the question00:05:58
you've already [ __ ] gained00:05:59
something you see what I00:06:00
mean in a world where we00:06:03
are all self-centered on ourselves even in whatever00:06:05
way you see and there the fact that all00:06:08
of a sudden there is a little unworthy nugget glimmer of something that disturbs or00:06:10
pleases in the moment in the day00:06:13
of a [ __ ] person it's the same we00:06:16
already coach bob tahri is going to have an00:06:18
emotional reaction to something00:06:20
create this these two to mark00:06:28
when a majority of people do00:06:31
n't really know what00:06:32
street art is or don't really know00:06:34
what graffiti is, it's00:06:35
complicated in fact for people who have00:06:36
come to the point of distinguishing00:06:38
between all these evils after in fact I00:06:42
think that the more you are interested the more00:06:44
you understand in fact that each thing has00:06:46
a definition definition is not00:06:48
necessarily we how to say I I don't00:06:50
necessarily have fear definition it's00:06:52
just that everyone will have their own00:06:55
definition there are things which are00:06:56
more framed than others00:06:58
by the hague agreement00:06:59
it's a tag the tac it's precisely in00:07:02
English it means signature so00:07:03
it's really it's putting your name so00:07:07
it's a lettering it's a signature00:07:08
so it's not at all it's pictorial00:07:11
at all there is no00:07:13
artistic approach behind it it's just to00:07:15
mark its territory at the time at the00:07:16
base it was for that for marka00:07:18
territory and then it was by00:07:20
extension it was I passed here not00:07:22
appreciating everyone because00:07:23
sometimes it makes room but00:07:29
the spots the walls and that well the message00:07:32
is not understood by everyone00:07:34
the tag is completely people who00:07:37
think typos he loves00:07:39
calligraphy is not the tag you have00:07:41
guys that we started to come and write00:07:43
their blaze but turn that a little 'a00:07:45
more artistic way we are going to say and to00:07:47
put colors to put00:07:49
lettering to put big idiots turn to00:07:51
m00:07:52
a little all these things and therefore to00:07:54
work a little more artistically00:07:55
all that is so there we are going to say that it has00:07:57
become a little more graphic design00:07:58
graffiti we will say that it is00:08:00
something which will be worked with00:08:03
essentially spray paint00:08:05
and which will rather work on the letters00:08:08
the characters that a very particular station of posing00:08:10
there is no caçapa choir it's00:08:12
not all that it's pure and it's00:08:14
just the bomb00:08:15
the guys in the United States rely on00:08:18
themselves he was called lewaï that at the time00:08:20
of the writers who did in relation to the00:08:22
work of the letter Greek00:08:23
met and sympathized and therefore its00:08:26
shape and nuts little by little the clip00:08:28
i all alone we are 2 3 4 5 in00:08:31
crew format is therefore there for my plus just its00:08:33
name but the name of the vintage and there it is the00:08:36
basis of graffiti when did00:08:38
death the masters began to00:08:40
work together and not00:08:42
individually00:08:43
so there you feel that a common desire00:08:45
of fragments to do00:08:47
common things so that completely changes00:08:48
this line individual approach00:08:49
because at the base it is purely individual00:08:52
is not really graffiti in the noble sense00:08:54
what end 80 green roof 80 8 900:08:59
it is starting to have at best a00:09:02
mass phenomenon and since there are00:09:04
many people who are starting to00:09:05
get into the game that they here are those who00:09:08
are caught in the game of becoming gangsters,00:09:10
all the more so if they are not from a good00:09:12
family and who wanted their girlfriend to be good00:09:14
and then there were really guys from00:09:16
the suburbs or from disadvantaged backgrounds00:09:18
who were also very active so the00:09:21
mixture of genres but that's where00:09:24
often there is something00:09:25
interesting that happens and what has00:09:26
changed a lot and especially it was in00:09:27
the 90s and there appeared a00:09:30
serious phenomenal choice of colors between00:09:34
the colors the guys it was black chrome00:09:37
a few reds sometimes it was all00:09:39
for cars so you didn't have all00:09:42
these colors which is now it's00:09:43
now at montana you have 22500:09:45
different shades00:09:46
225 feel so obviously shock00:09:50
everyone can get there find there have been a number of00:09:52
absolutely staggering achievements and as they00:09:54
say a lot of guys even incomparable in00:09:58
terms of productivity with everything that00:10:00
existed before in terms of00:10:02
arts movements and now studying the00:10:04
arts movements maintenance of years00:10:05
before well it's still there what but00:10:08
even look at the free figuration00:10:10
what was there were five guys there the graffiti00:10:13
suddenly you have your 5000 man you're not the00:10:18
same so such productivity and at 2 to00:10:21
then afterwards we can say yes there is00:10:24
good and less good00:10:25
yes it's like when gutenberg he00:10:28
made the impression you see of that allowed00:10:32
a quantity of sea to pour out00:10:34
but at the same time [ __ ] killings00:10:36
arose from flowers would perhaps00:10:38
not have had victor-hugo if there had not been00:10:40
the impression you see the first00:10:42
graffiti in the 60s00:10:44
Philadelphia cambrai de machin etc afterwards00:10:47
I let the purists rage on about that00:10:49
but but in gros pignon-ernest00:10:51
uses firebrands started before and they00:10:53
have a real approach of00:10:55
systematic and free illegal occupation of00:10:57
public space which characterizes00:10:58
street art American graffiti artists we00:11:00
can also imagine who would have been00:11:01
influenced by May 68 which was excited about00:11:05
the writing even if it is very politicized00:11:08
it was still wild writing in00:11:12
the street and the graffiti he spoke afterwards in the00:11:16
United States that we can say that there00:11:18
may have been an influence as a result from00:11:20
this we will see other people appear00:11:22
who are still not graffiti artists00:11:23
but who take over00:11:26
public space like the risk stencils of the00:11:27
80s like the gfr ski club00:11:30
on the ground et cetera then invaders00:11:32
the atlas it00:11:35
's who have approaches that are00:11:38
not graffiti approaches are not00:11:39
sure about Brazil are not sure therefore they00:11:41
consider themselves as an artist00:11:43
and that is street art I00:11:45
think that graffiti is a movement00:11:47
apart whole to which I do not belong00:11:49
I am not serious and which street art00:11:51
is a movement that is more complicated to00:11:52
grasp but somehow even more00:11:54
powerful because it is so00:11:56
protean and it represents the00:11:59
absolute thirst of humans for art in a world00:12:01
where art is almost dead or00:12:03
official art is dead where there are no00:12:05
artistic outlets where making a living from one's00:12:07
art has become very complicated and00:12:09
many of us find ourselves on00:12:10
the walls because that they had no00:12:11
other place than there were00:12:13
currents in painting so movements00:12:15
here are the impressionists through00:12:17
cubism00:12:18
when you see all these movements there in00:12:21
fact were created because an artist00:12:22
or artists worked separately00:12:24
or together and as a result created a00:12:27
new movement in tension which00:12:29
is quite interesting in street art00:12:31
is that in fact there is no00:12:32
pictorial unity, no unity of style, no00:12:35
unity of people even in fact it's full00:12:37
of different techniques full of00:12:39
different styles00:12:40
it's a big mess because it's a00:12:41
freedom and so when I'm there00:12:44
people take a liberty take the00:12:46
liberty to do this in general it It's00:12:47
necessarily a little chaotic, which doesn't mean00:12:50
that it doesn't have artists who are00:12:51
rather very framed and who do00:12:53
very good things, that's really an00:12:55
artistic reflection, all of that, but it's00:12:56
just that the whole thing makes a nice mess00:12:58
and it's that's what's cool about00:13:00
graffiti what is it it's a00:13:01
way it's this idea letter which00:13:03
was drawn in a way that we had00:13:05
never seen before so that we can00:13:07
question ourselves about the originality of00:13:10
street art roof in terms of aesthetics00:13:13
there is not really something new you00:13:15
look at drane or banks if these things00:13:19
that you can see in the serious00:13:20
in of punk of the 70s it is necessary or even00:13:22
simply press drawings00:13:26
but but it's not reductive to00:13:30
say that because often precisely in00:13:31
areas considered as00:13:34
thugs00:13:37
you have something permissible such freedom00:13:39
which allows you to open doors00:13:42
I find that it's important to have a00:13:43
little something to tell00:13:44
the big difference between street art00:13:47
and many other forms of00:13:49
artistic expression is that we impose ourselves on people00:13:52
you see when you go to see a film at the00:13:54
cinema you decide to go to the cinema you00:13:55
decide to be a spectator and I00:13:58
tend to think that if you do that if00:13:59
you impose yourself on someone if you put yourself00:14:01
in front of them and say wow I00:14:02
exist it means you have something something to00:14:04
tell otherwise as long as you shut your00:14:05
mouth you see me it's super important00:14:08
that for it to be street it's00:14:12
original so it's already really done00:14:15
by hand and that's my point of view nothing00:14:18
else no but for me and to go and00:14:21
stick a print there it's more advertising00:14:24
than anything else you make a00:14:26
photocopy at four full times of 1000:14:29
in the street that's it you did00:14:30
street art so I not me, what's00:14:32
the approach, you're going to talk00:14:34
about something after that it sticks to things but00:14:35
it's just to put a drawing ten00:14:36
times the same in the street for me because00:14:38
I don't understand the walls are00:14:39
very useful of advertising media00:14:40
ultimately like the brands who00:14:42
stuck up posters and kilos00:14:44
of poster to highlight their name00:14:47
their image I observe this today in00:14:50
what we could call street art00:14:51
I see advertising campaigns for00:14:53
budding artists who wish above00:14:56
all and only to be exhibited in00:14:59
galleries thinking that00:15:01
they have wonderfully good food00:15:03
it's a big search street art00:15:05
it's a word that doesn't mean much00:15:06
besides you see that in English00:15:08
street art urban art00:15:10
is the same in fact urban art what does that00:15:12
mean in this case you see00:15:13
the guys who are juggling in the00:15:15
street where the guys who are hitting00:15:16
cans you see where the guys who wanted00:15:18
where the guys who are doing dance you see00:15:20
street for example it's urban art00:15:22
in fact you see it's art in00:15:23
the city in the north00:15:25
well it's a huge catch-all we have a00:15:27
bit of everything m that is to say that from the00:15:29
moment cholera stickers outside we00:15:32
will say that it is street art00:15:33
we will say that it is all forms00:15:36
of artistic expression that we can00:15:38
find elsewhere than in galleries00:15:42
or in museums today from what00:15:45
I understand in the collective imagination00:15:46
it is the drawings that he finds in the00:15:48
street to which people will associate00:15:50
graffiti potentially muralism if00:15:54
we go into the word to say there the00:15:57
foundations street art I think it00:15:59
remains something which is supposed to be00:16:00
free illegal and saw it within the reach00:16:05
of everyone in the street so that00:16:07
would be my definition of street art it is00:16:09
not necessarily the one which is00:16:11
in today's Everyone's imagination00:16:14
knows street art nothing more00:16:17
than the English translation of urban art00:16:20
except that in Europe this word has taken a00:16:23
very speculative turn and today00:16:25
we can talk about street art because00:16:27
in fact it is a art which is monetized,00:16:28
that is to say that it is an art which can00:16:30
echo the street but which is not00:16:31
necessarily in the street we hear lots00:16:33
of pseudo small street artists calling themselves00:16:37
street artists but these people do00:16:39
not 'doesn't even exist in the street they do00:16:40
n't even have a sticker in the street you see00:16:42
they don't have the cojones to be in the00:16:43
street but he talks about street urban art00:16:46
so in fact these people they just00:16:48
display the codes of the street for me00:16:51
it's my opinion a word that was created00:16:53
symbol of marketing communication00:16:55
these are healthier words these sellers00:17:00
street art exhibition these sellers et00:17:02
cetera et cetera because that's quite00:17:05
recent in fact that what has been done where we have00:17:07
really been talking about it in France for once00:17:09
7 8 years no more before if it didn't exist00:17:12
there were no words to define them00:17:14
you were making stencils that made00:17:16
koalas I know everything there is no had no00:17:18
word that defines it's because it's00:17:19
not the same techniques it has nothing to00:17:20
do the procedures are not often00:17:22
are not the same have nothing in common00:17:25
so you couldn't put everyone00:17:27
in the same basket while street00:17:29
art now we tend to put00:17:30
everyone in the same box and it's00:17:32
completely stupid the word street art00:17:34
itself the name street art has00:17:37
existed since it worked and00:17:39
it's for tell you you have so it's yes00:17:43
it's a marketing operation what the word00:17:46
street art which even this marketing is00:17:49
but in fact you look at most of the00:17:51
things which are street art it's the people00:17:54
they will do three four things in00:17:56
the street they will put on Instagram and00:17:59
then you will see a gallery because that00:18:01
they are authenticated street graffiti00:18:03
its part of a vandal base must not00:18:05
forget that it's low and vandal00:18:07
hasn't happened at all to make it look pretty00:18:09
it was an approach which is00:18:10
assertive to assert a00:18:13
personality with movement the movement is00:18:17
written later even at the base it's00:18:20
really so it has nothing at all to do00:18:22
with street art don't mix00:18:24
that do not pose a problem to me date in00:18:26
this large group from the moment where00:18:27
everything is categorized we cannot00:18:30
confuse graffiti with stencils for00:18:34
example she00:18:36
I know that you have a debate where finally the00:18:39
street to ms savard and encompass all who00:18:41
all this which is moralism the stencil00:18:45
or all that and graffiti00:18:48
we are going to exclude it from this set I00:18:52
could say that graffiti and00:18:53
street art because it is something that00:18:55
is done in the street except that this term00:18:57
has become pejorative because it00:18:59
encompasses too many things in fact it has00:19:01
become the catch-all of the convoys00:19:04
something in the street which has two or00:19:06
three colors they said yes well then00:19:08
it's street art00:19:09
so the name graffiti has all00:19:11
its importance because it allows us to00:19:14
differentiate ourselves from the00:19:17
poster pasters or the guys who make00:19:19
stencils, authenticity comes for me00:19:22
from the illegal side and from the side where we have everything to00:19:26
lose in fact by putting up a poster00:19:30
apart from the message which will have above if00:19:33
there is ever a problem we remove the card00:19:36
the story was going to settle the guy who is going to00:19:39
make a graph he can come and paint00:19:42
the wall except that in fact before painting them there00:19:45
will be a whole procedure and often there are00:19:46
fines00:19:47
I think that the people who make fat00:19:48
fission have a fairly biased look,00:19:51
especially quite negative, on street art in00:19:54
general, street art looks at00:19:55
graffiti with a bit of00:19:58
precursors when Jean Paul knows00:19:59
something about it so immediately where all the00:20:01
world it's sharp on the terms thing00:20:02
the common point of what we all do00:20:05
in the street is freedom and this00:20:07
freedom is protected by the absence00:20:09
of authorization it would be perfect00:20:11
it's a label that we wanted to put00:20:12
and00:20:14
as a street artist we fight a00:20:17
little the labels which call themselves00:20:20
graffiti artists but who says me I just put00:20:24
designer I draw labels00:20:26
is not us who choose00:20:27
impressionism for example what00:20:29
originally it is an insult it's an00:20:31
art critic who saw the00:20:32
rising sun impression painting he said to himself00:20:33
what is this thing it is yes it's00:20:35
really impressionist it has00:20:36
the impression of a rising sun and00:20:38
suddenly these artists found themselves with00:20:41
this label that they ended up00:20:42
claiming they had00:20:43
impressionist exhibitions but00:20:45
certain presidents never knew00:20:46
the term in the label it did not00:20:47
matter until the end ultimately00:20:48
it is completely subjective, that is to00:20:50
say that even if I considered myself00:20:52
this for the eyes of others, I could00:20:55
very well be the opposite today we do00:20:56
n't know what movement we are in, we00:20:58
absolutely don't know. called street art00:21:00
because we create a movement like that00:21:03
it's easier to identify00:21:04
but it's really a catch-all to00:21:07
identify00:21:08
you have to refer to codes of00:21:10
art history you have to they have00:21:11
art experts who can have00:21:14
enough perspective to work00:21:16
create theses create stories00:21:20
and real investigations about that and00:21:22
there we will be able to actually define a00:21:24
label is still there this label00:21:26
will only be a label there is the00:21:27
way to do it illegally,00:21:30
that is to say to take the right to00:21:32
do it and therefore to grant yourself a00:21:34
freedom and there is the way to do it,00:21:36
that is to say to ask to people there00:21:39
institutions rich foods it's00:21:40
dad on the megaphone hello day and do00:21:42
a painting there on our land knowing how to00:21:44
present that that's for me it's a00:21:47
little bit distant it's not the same00:21:48
thing00:21:49
it's to say that we are there is the way00:21:51
of taking freedom is asked can00:21:53
I have a little freedom00:21:55
please where I take freedom two00:21:59
days in front of you you can do a00:22:00
much greater work than if you have00:22:02
twenty minutes watch in hand because00:22:04
you want to escape the police00:22:06
realism has existed for years00:22:08
in talking about it you can still see lots00:22:09
of muralist frescoes you see one of the00:22:11
painters who was actually doing00:22:13
tricks 'eye a lot and where things00:22:15
sometimes not bad00:22:18
but it's not street art a lot of00:22:20
people think that a wall of aubay used ue00:22:24
which sits in paris xiii it's street00:22:27
art00:22:29
between us I don't think it's in00:22:31
fact it's not even nitpicking because00:22:33
you could say like yeah no00:22:35
but wait for the muralist mom's street art00:22:37
you see it's still not00:22:39
far and very little yeah of course00:22:41
but there is one who does that00:22:43
illegal way and there is another who is00:22:45
paid to make a 40-story wall you00:22:47
want and who has technical means and00:22:51
these means of organization which are00:22:52
enormous compared to Jean Claude you see who00:22:55
takes his drawing who takes a marker00:22:58
and who is going to make them go down rue00:22:59
jean claude olive that we are going to get00:23:01
hit on the face you see as much in00:23:02
any case slap on the fingers00:23:03
aubay when he does his work and toes00:23:07
fanned out on them he is twenty00:23:08
five assistants it's going well what I00:23:10
saw no problem what it's cool the00:23:12
fact that also the muralism is getting established is00:23:13
developing enormously precisely with00:23:15
the approval of the institutions and the00:23:17
municipalities00:23:20
you have you have everything to the richest00:23:22
who are eaten years of almond00:23:25
in the mouth they spat on it and00:23:27
that can be understood but at the same time00:23:30
we have to see the thing more in a00:23:32
whole I think for me it is precisely00:23:35
these victories because precisely00:23:37
now we are the goal this n 'is not to00:23:39
be chased by the cops the goal00:23:40
was to make pain there were people at one00:23:42
point they confused the thing a bit00:23:47
and well the key date was when there was00:23:50
the Louvre station there which were00:23:53
tagged night the media used it00:23:56
to turn against public opinion00:23:57
and suddenly it became a thing, we00:24:02
became marginalized and it was when there00:24:03
really was a tag exhibition at the00:24:05
Grand Palais organized by Dominique00:24:06
Gallizia that people started to00:24:10
say amat by giving in 1 and its00:24:11
institutions recognition is a blow00:24:15
it becomes interesting you see it's not even the work00:24:18
itself it's the wanted to present you00:24:20
see that's what's crazy you have00:24:21
the impression that even the cops00:24:23
even the government doesn't really know00:24:24
what foot to dance on in fact in relation00:24:25
to that so it's a bit it's a bit00:24:27
blurry the distinction in relation to that in the00:24:30
behavior of the police when displayed00:24:34
in the street remains for the moment00:24:36
how already hyper subjective in00:24:40
relation to the public in front of the back00:24:42
today we do not risk a lot by00:24:46
being caught00:24:48
on a fresco we charge more when00:24:51
we do the flag and I strongly encourage00:24:55
the artists in particular for young00:24:57
artists not to do that on00:24:59
trains at the RTP or00:25:01
private companies which are specialists in00:25:03
catching artists and creating problems for them00:25:07
but apart from that in00:25:09
public space00:25:10
if we are smart if we are not going painting on00:25:13
a listed building or a superb00:25:16
neighborhood port or a wall or freshly00:25:17
redone we don't fear much if the00:25:21
neighbors complain00:25:22
beaten by the problems that's where00:25:24
the problems start00:25:25
in fact it's the neighborhood what can00:25:28
happen complain that they live in the00:25:30
owner if the fans of street art00:25:33
it's okay00:25:34
if he's not a fan we will never give00:25:38
permission to people to draw on00:25:39
the walls I think that's good00:25:41
because it makes me seems normal that I00:25:45
cannot like that appropriate the00:25:47
property of others the person who00:25:49
tells me you are not to do it I00:25:50
called them cops00:25:51
she is well justified in doing it I have00:25:53
the tasting and For his part, I have00:25:54
absolutely no right to draw on00:25:56
the wall. I'm not going to object to that and00:25:58
I completely accept the fact that it's00:26:01
criminal. On the other hand, I find00:26:04
that today we still have more00:26:05
people who support us. including at the00:26:07
level of the municipal authorities that of00:26:10
people who condemn us even if it means doing00:26:11
[ __ ]00:26:12
the duo time to do it with00:26:13
silk paint and not and not harm00:26:17
the people killed it's what we call00:26:18
syrup of the street if it's not illegal00:26:21
it's not funny that's why we00:26:23
like to jump the tracks if there isn't00:26:27
a dog handler if there is a palace it's00:26:29
really00:26:34
that's what who adds costume and00:26:36
art and his tooth probably because00:26:39
Saturday forbids us it's always00:26:41
exciting for me it's forbidden it's00:26:44
a ban I bounce back that I'm doing00:26:48
good I'm drawing I'm not in the process00:26:50
to insult to attack00:26:52
to make someone who draws on the00:26:54
seas someone who attacks people we00:26:56
were added color on00:26:57
subways on trains and it was just00:27:01
fun what it was just a fun00:27:04
it's just having fun while00:27:08
painting what we were doing it's not00:27:10
really something that negative that00:27:13
we annoy everyone with our00:27:15
paintings because people people00:27:17
they don't understand me it's00:27:19
something that I I really liked the fact of00:27:21
being able to say ok we express ourselves in the street00:27:23
meaning without asking permission what00:27:27
is the fact I'm talking about spontaneity I'm00:27:30
also talking about ephemeral art because00:27:32
when we do without permission we don't00:27:34
will not be protected and will be forced to00:27:36
disappear I will do what the legal action which is00:27:38
authorized which is ordered passes per00:27:40
year by necessarily you see00:27:44
different hands which will give their00:27:46
opinions their things away no but00:27:48
wait for me I don't like too much to the00:27:49
characters on the right there it's a little00:27:51
nasty or I don't know what and then there00:27:52
it's red it's not good it looks00:27:54
nasty and all tomorrow00:27:56
ten people can give another00:27:57
name different from what I said00:27:58
it's good it's not good I like it I do00:28:00
n't like it in any case it exists no one00:28:02
stopped it from making it exist00:28:03
for me it was for nothing said the NGO00:28:04
it's something of a00:28:06
authorities way and of course that it is always00:28:10
interesting and flows for us to make00:28:14
two authorized walls but but it was00:28:18
art a little committed to something and00:28:21
for me it is coherent that it is00:28:24
uneven00:28:25
I would prefer that it is legal for00:28:27
young people but today it does00:28:29
n't bother me legal or not legal00:28:31
anyway an ugly wall vs a beautiful fresco00:28:35
whatever happens legitimacy it00:28:37
comes from the people00:28:39
we often talk about adrenaline but I did00:28:41
n't particularly look for it adrenaline00:28:43
otherwise I do a parachute reduction00:28:44
it was necessary to transgress this time00:28:46
to show that perhaps to show00:28:48
that these months are stupid and that they00:28:50
cannot completely enslave us00:28:53
and completely control us00:28:55
I think it's more beyond00:28:58
a question of adrenaline a regaining of00:29:02
control over ourselves all the great00:29:04
artists that he would really see00:29:06
articles but if they broke with00:29:08
a few things will be more a movement00:29:10
they will be more with a style they will be00:29:12
more rules are they all crazy00:29:15
makes it look like they're starting all over again and00:29:18
illegality is a bit like that, it's00:29:23
not following the rules to do00:29:28
something for something that it's about00:29:31
so for me it's something that goes00:29:34
together so for people who think that00:29:37
street art is not art because00:29:39
it's not legal or because I'm00:29:42
not going to say that it's quite the opposite,00:29:45
it's exciting if you don't want to bad people00:29:47
who are put into this because because00:29:51
suddenly it gives a soul00:29:54
an anti-institutional and00:29:58
demanding aura and suddenly a certain00:30:00
authenticity00:30:01
in fact I think and driving force for00:30:03
everything for guys who are going to make a they00:30:06
are not going to aim for something that will last more00:30:07
than ten years even if you want to if you want to00:30:09
continue00:30:10
I think of a little more complicated when00:30:13
I was 15 west is funny but00:30:15
since I didn't enjoy doing what00:30:16
I was doing the limit I didn't00:30:18
really see the interest and also00:30:20
the legality if we're going to say that it's a00:30:22
small obstacle because obviously I don't00:30:23
want to go and start a00:30:25
dengue fresco and then after ten hours00:30:27
be stopped while I haven't finished,00:30:28
frankly, it's something00:30:30
restrictive since when you want00:30:31
to do quite elaborate works, it00:30:33
takes me time. I would like to be able to00:30:35
really concentrate on my work.00:30:36
It would be great if it were if we00:30:39
didn't. 'wasn't forced like that cp nîmes00:30:41
to always be careful around00:30:43
us sometimes it's true when I go00:30:45
to collage sessions with friends00:30:47
well so I would like the00:30:49
sauce to not be illegal because00:30:50
precisely I want to spend some good time and00:30:52
not necessarily but hidden or whatever it is for00:30:54
me my pleasure is freedom00:30:56
therefore drawn without having to be accountable00:30:58
the corollary of this freedom is the00:31:01
fact that I do not have the right to00:31:03
do it since I do not have the00:31:05
rights00:31:06
designated on this wall so I am00:31:09
insensitive under article r 3 12200:31:11
of the penal code and therefore I am00:31:15
somewhat obliged to hide it just to00:31:16
work in the middle of the night this who00:31:19
doesn't bother me that I find it rather nice00:31:20
however I have to stop at each00:31:22
car there are you doing it with a father00:31:24
Annalynne and I'm not someone00:31:25
who is looking for the Rhineland I would prefer to00:31:28
work you I have to make do with00:31:29
tranquillou music etc.00:31:35
we have graffiti which is part of a00:31:39
larger American a bit ghetto which00:31:42
conveys the art of freedom of00:31:45
transgression which are values which we00:31:47
are trying to make disappear today00:31:48
finally one my leaders the person in a00:31:50
world of control of the forbidden everything00:31:53
we have to see licenses diplomas00:31:54
abnormal things00:31:56
European standards finally everything is hyper-framed00:31:57
and so that already speaks a lot to00:31:59
people without taking into account that it creates an00:32:01
atmosphere00:32:02
the New York of 70s it is tagged00:32:04
from start to finish it is the one in00:32:06
which Basque evolves in Madonna Bowie etc00:32:10
it is the one that we will see in Taxi00:32:12
Driver and its room has already created an00:32:14
identity with graffiti which is its00:32:16
own00:32:17
the street art is going to do something else with00:32:20
the help of graffiti somewhere it is00:32:21
who is going to reinstall the figurative to say that00:32:24
in art the figurative had disappeared we only have00:32:25
conceptual art of00:32:27
ready made installations and there00:32:29
suddenly we will see00:32:31
large walls with images flourishing in the cities00:32:33
and that is what will create the craze00:32:35
is that suddenly we will have00:32:37
entire populations who will take00:32:38
photos and share them and bring back00:32:41
the figurative painting the [ __ ]00:32:43
painting what the Sistine Chapel which00:32:45
returns in defiance of what I had said00:32:48
the history of art the art of the history00:32:49
of Taurian there the experts of the end of the00:32:52
20th century in France for them00:32:53
painting is very focused, dad's thing00:32:55
is dead and the people have decided00:32:58
differently00:32:59
the proximity we have with people by00:33:02
putting art in the street00:33:04
is what created the 'craze in fact00:33:06
it created the movement because it's00:33:07
easy because it's free00:33:09
already because it's easy you just have00:33:11
to go out into the street thanks to00:33:13
social networks street art to gain a little00:33:16
bit of visibility and a permit to00:33:19
show frescoes of00:33:22
international creations that one would perhaps00:33:24
not have seen like that by00:33:26
simply strolling through one's own streets I can00:33:28
see what the other side of the world is doing00:33:29
you can tell yourself to such a school when in00:33:31
fact you know no one such00:33:33
school is in fact you just saw something00:33:35
on Instagram you make three clicks not00:33:37
in two of the bombs00:33:39
I am a tagger finally there it is00:33:42
as easy as that now it's00:33:44
maybe a bit of a double edge the other00:33:46
side of the coin00:33:47
each but who puts any thing00:33:49
in the street all of a sudden we can00:33:50
become known there are social networks00:33:52
via a whole bunch of things you see yeah00:33:54
that's it is a reality00:33:55
in the meantime00:33:56
I mean I don't think that if you00:34:00
really do something worthless which is totally00:34:02
uninteresting and which doesn't affect anyone00:34:05
you will only be considered00:34:09
an artist or in any case you will be able to00:34:10
live where I haven't allowed precisely to00:34:12
democratize art and that we can00:34:14
find it in the street it also gives00:34:16
nobility to all these street artists who00:34:19
ran at four in the morning00:34:23
to escape the police and who00:34:26
today are recognized for their art00:34:28
and there are quite a few great technicians and00:34:29
big brutes in the field and it feels00:34:31
good that it is finally00:34:33
recognized for me I get good out of it because00:34:37
I can make a living from it now and we will00:34:41
say that there are 20 years or 30 years ago00:34:44
I didn't even think about it because these00:34:47
opportunities were really it was00:34:51
really a film in which there must have been00:34:52
one graffiti artist out of 100 who managed00:34:55
to earn a little money00:34:59
[Music]00:35:01
there you should know that the galleries on a00:35:03
piece that we want on a piece that we00:35:05
sell ten thousand there is your gallery when00:35:10
minimum 50%00:35:11
good already there are more than 5000 for00:35:13
the artist ok it's not ten thousand for the00:35:15
say if they bow so but00:35:16
what do they do they have to raise the00:35:18
price because like any young 50% it is00:35:20
necessary to raise the price by 50% so that00:35:22
the idea beaten to that is every artist00:35:26
to judge do I fit into this00:35:28
system knowing my conditions00:35:31
there have always been explosive00:35:33
ways even at the very beginning of street art00:35:34
there were already exhibitions00:35:37
agnès b did an exhibition on street art00:35:39
at the very beginning of 80s lens came00:35:43
out so the artists they always00:35:44
wanted to exhibit to show their00:35:47
work and not only in the street00:35:48
then an artist wants to be a00:35:50
professional artist they have to eat00:35:51
is what an artist who doesn't eat he00:35:53
to one that I am going to present in the gallery00:35:55
it is something which will be emitted at the00:35:56
end much more worked which is to00:35:58
say that00:36:00
it is all the work that I would have done00:36:02
of gold precisely which will come out00:36:05
felt and also with other tools00:36:08
we can no longer call it street art00:36:10
you arrive in a gallery it is00:36:11
gallery work even if you have an00:36:13
artist who comes from the street your work00:36:16
is no longer in the street as for an00:36:18
imposed theme against a request to00:36:21
make care bears with00:36:23
cotton candy and little ducks floating,00:36:25
we're going to talk to me about graffiti after you00:36:31
do michael jordan with bigger ones a first00:36:33
leg at a big one big00:36:37
case release two matches there take some00:36:38
cha cha yeah you are you have me big lettering00:36:40
we have the style with flames00:36:42
these two graffiti but as was said00:36:44
if you liberate the children00:36:48
of the homeland00:36:49
we say themes that's definitely00:36:51
not necessary drool you put me blue white00:36:53
red on the sides just used00:36:58
bombs on the other hand is what you00:37:00
will do with the rest of the souls and00:37:02
let's stay worlds00:37:03
I risk going for a train well that00:37:04
shouldn't be said there that would be graphics00:37:09
there are people they will say dejected they are00:37:12
stealing our culture you give your ass00:37:15
you see you prostitute the movement but in00:37:20
fact I am good in my pumps do00:37:22
n't see that in fact of the world you pay me00:37:24
well I can eat you see and if I00:37:27
can eat I can do my00:37:28
personal work and move forward on my things which00:37:30
are true and which only concern me00:37:31
you see since the dawn of time00:37:32
the artist who works for kings you00:37:34
see for the first case l 'sorrel you00:37:35
see well today it is king these00:37:37
lords and these people to be able to pass00:37:40
the marks today you see if you00:37:41
want an artist to survive all the00:37:43
goals aph and of course there are defects00:37:45
which are more nutritional than others00:37:46
and I have no conscious delay in00:37:48
relation to that and frankly I [ __ ]00:37:51
all the people who could judge me on his saab and nor00:37:54
thanks to his naturalization that well yeah00:37:57
brother it will never be good graffiti will00:37:59
never be in the street when I do a00:38:00
serious for such brand00:38:01
or when I do the window of not00:38:02
what of nike August I don't know what you00:38:03
see it's not spa graffiti street00:38:05
art it's a packaging of this thing00:38:08
it's a kind of little test tube00:38:09
that we put that we reuse and00:38:12
then I don't deserve it of course I will00:38:16
deserve it there is always a financial side00:38:18
to art when you walk around00:38:20
Paris in the north towards montmartre00:38:23
you can still see the00:38:24
artists' studios it was super industrial there00:38:26
were entire buildings there are00:38:27
everywhere in pigalle on the other side of the00:38:29
hill you see that it was a real00:38:30
economic plan there there is an00:38:34
economic contribution of dollars and I find that00:38:35
it is very good that not only has00:38:38
street art conquered its own market00:38:40
by passing official art but that in00:38:44
addition they are in the process of developing their00:38:45
own niche of sale00:38:46
everyone has bills to pay00:38:47
so it's super simple the people who00:38:49
will tell you I do my art00:38:51
for free it's because next to jean00:38:52
our job is missed they have00:38:53
an income but also artists that we have00:38:56
no other income which is breaking the00:38:57
slab is therefore for the name of the artists there00:38:59
I find it unacceptable that people say that00:39:01
it is bad to earn a living with your weapon00:39:04
there is just this somewhat stupid idea that00:39:06
we imagine that the artist must have been00:39:08
completely white and starving in the00:39:10
gutter for his art it's not true an00:39:14
artist can totally make a living from his00:39:16
art and he completely didn't have to00:39:18
do it at the time some avant-garde artists00:39:22
came from a bourgeois family, they00:39:24
didn't particularly need to00:39:26
sell their art to make a living,00:39:29
that's it, it also reflects a00:39:34
slightly aristocratic French side where art00:39:37
had to remain a passion, otherwise,00:39:40
become slaves of what you were doing00:39:42
because ultimately you had to sell00:39:44
so you studied in an00:39:46
art school and then because selling00:39:49
art is what you remove the00:39:52
passion side and siv as a slave something00:39:54
you finally have to become a pharmacist and you don't have00:39:57
time to do it at the end you00:39:58
know what I mean is that if00:40:00
you stopped doing street art you00:40:01
continue to criticize street art it's00:40:05
not great but in at the same time it does00:40:06
n't seem to echo Nancy we knew00:40:08
because of that well what do you do where it00:40:11
becomes much more problematic00:40:13
is if you've never done anything in the00:40:14
street then there for once it's00:40:16
downright a fraud there are many of them00:40:18
doing it has no legitimacy in00:40:20
quotes you see but in reality00:40:23
who am I to say that they are not00:40:24
legitimate00:40:25
you see that look at me it's my00:40:27
philosophy it's in relation to this that00:40:28
I am because I made because00:40:31
the choices that I made the path that00:40:33
I took that I can allow myself to00:40:35
say that but in reality I am no one00:40:37
to judge them you see these people the00:40:38
forces which want if they don't have the00:40:40
balls to be in the street oh well man00:40:42
I'm sure they bring00:40:44
something else to the movement you see00:40:45
maybe that the people who live in00:40:47
metros which pay in the00:40:49
metro tunnels they are less sociable and00:40:54
therefore necessarily they are less00:40:56
commercial so they cannot00:40:58
sell their paintings in galleries because00:41:00
ultimately they are too whole in00:41:02
what they are and the people who can perhaps00:41:05
have a posture of a poster are00:41:08
more commercial it doesn't bother them00:41:10
ultimately not being sincere with what they00:41:12
do to make flops on00:41:13
canvases when they are never done00:41:15
outside and to sell them00:41:17
because ultimately they are in a00:41:18
more commercial you even have00:41:22
writer devs who have had to start00:41:25
doing figurative work in order to fill their fridge00:41:29
when you see even the people who are at00:41:30
the front of the stage are not the00:41:32
strongest you see and that will never be and00:41:34
even in music it's the same it's00:41:35
not the most talented kick off these00:41:37
people who are talented who have00:41:39
relationships who know how to use their00:41:40
networks00:41:41
it will sell well who have a00:41:42
character you see and people they are00:41:44
just very beautiful you see and it works00:41:46
for them also slammed what they do00:41:48
well with a bridge who leave the schools of00:41:50
this and that and who arrive they00:41:52
take the technique of the bomb and presto00:41:54
because today it is in fashion00:41:55
precisely but are not valid and me00:41:57
these people there why they do00:42:00
not recognize us neutral where they have00:42:02
problems with our team to us00:42:04
as in the us simply now today00:42:07
be in tpk galleries00:42:09
and the downgraded w ib and the uv the00:42:14
others why00:42:16
nevertheless he can't iron bata00:42:17
because we were in the street man because we00:42:21
are real but that's what we00:42:23
put on bad guys it's because we00:42:25
live the street we feel the street we are not00:42:27
[ __ ] common mythos when we00:42:30
are in the street we no longer need the00:42:31
galleries we no longer need the market00:42:33
but we are really free because00:42:34
it is the people who follow us it is enough00:42:36
to take out your phone to put on00:42:37
Instagram00:42:38
we already have a painting in a new00:42:40
gallery the gallery of the person who00:42:42
took our photo so we are in a00:42:44
market which at the same time trying00:42:45
to be recovered but in the00:42:47
process of completely escape from everyone00:42:49
walking so it's very very00:42:50
interesting00:42:53
[Music]00:42:55
it's difficult to say in which direction00:42:58
street art will evolve because00:43:01
it will depend on the legislation it is00:43:04
forbidden to think that it is getting tougher00:43:05
are we is in a place where I do00:43:09
n't think yet I think it's going to00:43:10
progress further it's still going but we're00:43:13
already reaching a very mature point and I do00:43:18
n't really know it's difficult to know00:43:19
it's like all00:43:20
pictorial movements is that they will continue00:43:21
are the impressionists watching00:43:24
hockey went super sale of paintings00:43:26
millions of dollars all that but is00:43:29
there still a lot of painters who00:43:30
paint like that there is art with a large00:43:32
pile and to art now good c It's true00:43:36
that for certain artists things that make00:43:38
the finally somewhere a whole level00:43:39
quite interesting but from there00:43:41
to say that they will be in the annals00:43:44
in 150 years the young generations are00:43:48
benign very early in the digital and00:43:51
suddenly there are going to be a lot of people00:43:53
who are going to move towards digital and00:43:56
digital is ultimately the opposite00:43:59
of the street because you are at home it will00:44:02
become again in two seconds that is00:44:03
clear and clear it is you and to be00:44:07
between big this restaurant gogos it will00:44:10
never end there will always be00:44:11
people if you want they will be ready to00:44:12
put them paints you see00:44:17
expressing themselves in the street will always be00:44:18
it's sure there will be can -be more00:44:20
fashionable in the sense that people will stop00:44:22
buying maybe one day you see00:44:23
people who see them in the street maybe you00:44:25
see I don't know but in any case the00:44:28
way in which it ends - ok I can't guess not00:44:31
the end of street art00:44:32
I worked with kids for ten00:44:33
years obviously there will always be00:44:34
tigers always in sight declare00:44:36
my name there will always be that we00:44:37
represent their because who always00:44:39
wants to write the name of their00:44:40
department00:44:41
so all of this there is necessarily one or00:44:43
two to want to draw a little more00:44:44
I just came from you no more so much the00:44:46
better and then no no no that that that that's00:44:49
that which is good it's that indeed it speaks of something which is00:44:51
totally free and totally money and00:44:53
totally uninhibited00:44:55
for the moment we have explored only a00:44:56
part of street art I think that there are00:44:58
still many things that are to00:44:59
come and we can never know how00:45:02
long will an artistic moment last00:45:03
because in the end there is and there it is00:45:06
in the dance in the history of there there00:45:09
have been different artistic movements00:45:11
the purchase without the other arising from the00:45:15
first so perhaps that 'there is going to be00:45:17
a bronze which will stand out clearly00:45:18
will know whatever we had hip hop00:45:21
and is developed by a money before bata00:45:23
and claim the place of the hip hop duo00:45:29
therefore in all facets of00:45:32
culture as well we dance only in00:45:35
painting than in music for me for me00:45:39
it echoes the Austrian secession00:45:44
precisely city which claimed a00:45:47
presence of art in all the00:45:49
creative facets of society and you00:45:53
see the floor theater the lyricism star at the00:45:57
music you see it and for me that's it that's00:46:01
it we're going towards his canvas hull city00:46:03
of graffiti00:46:05
what can we hope is00:46:06
to have echoes and in architecture00:46:08
that's not so much yet to whom00:46:10
the army not facades but00:46:12
facades of already built buildings whose00:46:14
aesthetic is not necessarily oriented00:46:16
by the lot of stuff but I think we00:46:17
can move towards that art00:46:19
takes to the street just like the00:46:21
people because art comes from the people00:46:23
and00:46:24
there is by definition for the people00:46:26
so I imagine a completely00:46:30
colorful future where all the buildings will be00:46:32
painted we will no longer see blind walls00:46:34
on the surface of empty buildings00:46:36
I I'm sure its part of00:46:38
something that was innocuous we just went to00:46:42
put colors which wasn't a00:46:43
crazy thing tomorrow if graffiti stopped00:46:48
honestly I already think that there00:46:55
would be more work for the00:46:56
guys who clean the graffiti for00:46:58
those who manufacture the product for those who00:47:01
make the security systems00:47:04
this whole industry and this case00:47:06
would be a blast and I think that just00:47:09
for that it will never stop00:47:12
[Music]00:47:22
well00:47:29
we00:47:30
[Music]Description:
Aujourd'hui les termes street art, graffiti et tag sont omniprésents, mais lorsqu'on creuse le sujet, personne n'est d'accord sur les définitions. Une vingtaine d'artistes opérant dans la rue ainsi que deux passionnés prennent la parole dans ce documentaire afin de donner leurs définitions à travers les thèmes suivants : l'illégalité, l'engouement, les galeries et l'évolution. Les experts tentent de le théoriser mais l'art de rue a tellement d'influences et de racines diverses qu'il est très dur d'y voir clair. De plus, son émergence et son engouement, font de l'art de rue, un art qui évolue et qui se transforme à chaque moment, donc il est impossible de prévoir son évolution future. Pourtant, tout le monde a son idée sur ce qu'est un graffiti, un tag ou du street art. Parfois même, on mélange ou on échange les termes. Les plus jeunes générations grandissent dans cet environnement coloré et peu à peu le regard change sur l'art de rue. J'ai voulu rétablir une certaine vérité en allant chercher les réponses à mes questions et à celles de beaucoup d'autres personnes dans mon cas, qui s’intéresse à l'art de rue, sans vraiment le connaitre. Pour ça, je suis directement allé demandé à 22 artistes et 2 spécialistes de l'art de rue, Thierry Lainé de l'association le MUR à Oberkampf et Benoît Maître du LavoMatik. Le documentaire se construit par la prise de parole de ces 24 personnes, directement concernés par l'art de rue à travers différents thèmes : l'illégalité, l'engouement, les galeries et l'évolution. 00:00 Pourquoi la rue ? 6:25 L'art de rue, c'est quoi ? 7:00 Le tag 7:41 Le graffiti 10:50 Le street art 22:07 Le muralisme 23:44 L'illégalité 31:31 L'engouement 34:57 Les galeries 42:51 L'évolution Merci à Ardif, Babs, Bebar, Benoît Maître, Codex Urbanus, Dark Snooopy, Heartcraft, Hécat Oner, Inov, Jayraymie, Joko, Lady K, Line Street, CAB, Marquise, Matt_tieu, Ninin, Nosbe, Noty et Aroz, Popay, Raphael Federici, Thierry Jaspart, Thierry Lainé, ainsi qu'à 13 BIS, Diane Delaroque, Stoul et Toc Toc. Pour suivre leurs réalisations : Ardif : https://www.facebook.com/unsupportedbrowser Babs : https://www.facebook.com/unsupportedbrowser Bebar : https://www.facebook.com/unsupportedbrowser Benoît Maître : https://www.facebook.com/unsupportedbrowser Codex Urbanus : https://www.facebook.com/unsupportedbrowser Dark Snooopy : https://www.facebook.com/unsupportedbrowser Heartcraft : https://www.facebook.com/unsupportedbrowser Hécat Oner : https://www.facebook.com/unsupportedbrowser Inov : https://www.facebook.com/unsupportedbrowser Jaeraymie : https://www.facebook.com/unsupportedbrowser Joko : https://www.facebook.com/unsupportedbrowser Lady K : https://www.facebook.com/unsupportedbrowser Line Street : https://www.facebook.com/unsupportedbrowser CAB : https://www.facebook.com/unsupportedbrowser Marquise : https://www.facebook.com/unsupportedbrowser Matt_tieu : https://www.facebook.com/unsupportedbrowser Ninin : https://www.facebook.com/unsupportedbrowser Nosbe : https://www.facebook.com/unsupportedbrowser Noty et Aroz : https://www.facebook.com/unsupportedbrowser Popay : https://www.facebook.com/unsupportedbrowser Raphael Federici : https://www.facebook.com/unsupportedbrowser Thierry Jaspart : https://www.facebook.com/unsupportedbrowser Thierry Lainé : https://www.facebook.com/unsupportedbrowser 13 BIS : https://www.facebook.com/unsupportedbrowser Stoul : https://www.facebook.com/unsupportedbrowser Toc Toc : https://www.facebook.com/unsupportedbrowser Hugo Bardoula : https://www.facebook.com/unsupportedbrowser
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