Today at 6-8 pm, Brooklyn Bridge Park’s Pier 6: Brooklyn Bridge’s waterside views get even better with Martin Creed’s Understanding, a new rotating neon sculpture commissioned by Public Art Fund. Other Public Art Fund’s commissions in NYC right now include Elmgreen & Dragset’s Van Gogh’s Ear @ Rockefeller Center Plaza, Isa Genzken’s 2 Orchids @ Freedman Plaza and Fischli & Weiss’ mural on LES.
Temporal transience, may cause dislocation of self-regard.
Damage to biological and mechanical audio receptors, protection recommended. Envy the deaf.
Dangerous upon contact with containment.
Jerry Saltz’ lollipop. Spontaneously evolves critical elements necessary for combustion.
Induces involuntary heat and moisture, keep separate from super ego or fragile morals.
Indicates a broad spectrum with low penetration. Can be handled safely.
Senses overload creating bank account amnesia and pleasure unprincipled.
Overpowering effects on other reactants, too big to fail.
Stow away from foodstuffs and wash hands thoroughly.
Immediate transcendence by design.
May trigger revelations in excess of normative conceptions.
Multi-disciplinary stimulants and materials, may cause jouissance .
Excess of intermediary representations causing nausea, diarrhea and tiredness.
Volatile capital reacting with ego, converting artworks to Veblen goods.
Irreversibly damages accepted social conceits.
Causing and/or creating euphoric states.
Dangerous elements rendered domesticated.
Endangers the visual environment, may leave scratches on the retina. Protective eye-wear to be worn.
How foreign photographers saw and depicted Britain from the 1930s till the present day is the subject of a brilliant show curated by Martin Parr that started today at Barbican. Twenty three iconic names, from Robert Frank and Cartier-Bresson to Rineke Dijkstra and Hans Van Der Meer have photographed number of distinct topics: the British society and its notorious class system, Cambridge students, Welsh miners, City bankers, London in the swinging 60s, brutalist estate architecture, country football fields or small fragments of everyday life. From expressive and socially gripping to poetic and humorous perspectives, they all offer incredible insights into both Britain and the photographers’ distinctive styles.
See a selection of photos on our Flickr and a short summary for each photographer below.
Strange and Familiar: Britain as Revealed by International Photographers will be in Barbican till June 19th. Must-see!!
Since her arrival in Britain in the 30s, Edith Tudor-Hart (Austrian, 1908-173) used camera as a witness and a political weapon against poverty and unemployment through photographs of the London slum housing, demonstrations, street markets and lives of children.
The father of the “decisive moment” and co-founder of Magnum Agency, Henri Cartier-Bresson (French, 1908-2004) came to Britain to photograph official events, such as the coronations of George VI (1937) and Elizabeth II (1953), Princess Anne’s wedding (‘73) or the Silver Jubilee (’77). His photos focus on ordinary people and crowds on the streets rather than the main ceremonies.
Robert Frank (Swiss-American, 1924) photographed two very separate worlds in his series London/Wales in the early 50s – one of the London City Bankers and the other of the Welsh coal miners.
A lifelong socialist, Paul Strand’s (American, 1890-1976) uses photography as a tool for change. In 1954 he spent three months photographing the harshness of a life in Scotland, portrayed through the struggle of the islanders and its grim landscapes.
Photographer and architect Cas Oorthuys (Dutch, 1908-65) travelled through Europe between 1951-66 , photographing regions and cities for a successful series of travel guides. In Britain, he photographed on London and the university cities of Oxford and Cambridge, depicting landmarks as well as ordinary places and fragments of everyday life.
Sergio Larrain’s (Chilean, 1933-2012) poetically expressive photographs of London from 1958-59 show the city from unusual angles and low-level viewpoints, using strong perspective, double exposures and movement.
Evelyn Hoffer (German, 1922-2009) photographed London and Dublin inhabitants in the 60s, using large format camera and detached aesthetic style resembling August Sander’s People of the 20th Century series.
Bruce Davidson (American, 1933) / Gian Butturini (Italian, 1935-2006) / Frank Habicht (German, 1938) / Garry Winogrand (American, 1928-84) / Candida Höfer (German, 1944) / Gilles Peress (French, 1946) / Akihiko Okamura (Japanese, 1929-1985) / Hans Eijkelboom (Dutch, 1949) / Bruce Gilden (American, 1946) / Hans van der Meer (Dutch, 1955) / Raymond Depardon (French, 1942) / Rineke Dijkstra (Dutch, 1959) / Tina Barney (American, 1945) / Jim Dow (American, 1942) / Axel Hütte (German, 1951) / Shinro Ohtake (Japanese, 1955)
At the end of 2013 Monocle magazine launched their Monocle Book Collection with the excellent The Monocle Guide to Better Living, published by Gestalten. From better living to good business isn’t a big leap, so we were excited to pick up the next book in this series. And with so many business guides on offer these days, we were curious what type of angle have our aesthetic tastemakers chosen.
Not your typical HBR case study
Monocle stays true to their philosophy and offers an original take on the world of business: celebrating craftsmen, introducing companies with a strong sustainability agenda and curating cutting-edge working environments. Its editor-in-chief Tyler Brûlé doesn’t focus on a startup scene, neither on a ROI-driven corporate culture or bubbly VCs. Instead, he says that this book is about the “world of work” and positions it as a inspirational journey into the life of successful people who had the courage to do things differently.
The first chapter opens with personal stories from people who successfully started or revived a business—a cinema in Gstaad, a clothing factory in Manchester or a coffee shop in Tokyo. This strong and engaging intro is unfortunately somewhat distorted by 50 steps to success—how to build a business, which offers generic lessons that sometime sound more like jokes (maybe they were meant to be ;-)).
The second chapter focuses on learning, training, setting up-, and building a brand. It kicks off with a selection of institutions that offer an original take on education. We loved the story of Kaospilot in Denmark, an alternative business school with roots in activism, Bauhaus, the cooperative movement, beatnik culture and folk tradition.
The highlight in chapter three, dedicated to Knowledge, is definitely the essay by Sophie Grove, Monocle’s senior editor and presenter of Monocle 24’s weekly business show The Entrepreneurs. Sophie advices us to Ditch the MBA for Sartre. Who are we to argue against this?
Chapter four takes you on an interesting ride through Business cities, villages and rural areas where it is good to do business. From Brisbane to Sendai, from Honolulu to Charleston, the high quality of the selection confirms how curating fascinating stories from all over the world is the bread and butter of the Monocle writers.
The book continues with a text-only chapter five, called Observations. Although filled with an interesting content, we are not convinced by the design decision to use the yellow speech bubbles. This might sound petty, but for a book so well designed, one has to wonder where did that idea suddenly come from.
The two final chapters—Build an office and Business travel & entertainment—are ending the book on a high note with insights into interior, architecture and travel.
Between a guide and a manifesto
The book offers a multitude of interesting perspectives. Its diversity and optimism is refreshing and it counterbalances the often cynical and simplistic type of “bestseller” business guides which you’re likely to come across at airport terminals.
Where Monocle sells itself a bit short is in acknowledging the transformative powers that are reshaping businesses. There is very little reference to the new economic era that started appearing post-2008, as well as little focus on technology and on the disruption of traditional business models.
The book isn’t so much of a guide, as a manifesto. It evokes the positive sentiment of a desire to do things differently, driven by good sense, good taste and good ambitions. It might not help you to build the next billion $ business, but it will certainly offer plenty of inspiration. And that’s what it promised to do the first place.
The Monocle Guide to Good Business is published by Gestalten and can be purchased on the Gestalten online shop or in selected bookstores.
Sad to hear that Kemistry Gallery will soon be closing their Charlotte Rd venue due to the ever-increasing rents in Shoreditch. We love their graphic design-focused program and hope that their plan to reopen at another East London location will be successful! To make it happen, we invite our readers to support their Kickstarter campaign. There are just 3 days left, so please pledge now & spread the news! #SaveKemistryGallery
Kemistry Gallery was founded in 2004 by Graham McCallum and Richard Churchill. Since then it has been the UK’s leading exhibition space for cutting-edge graphic design, showcasing emerging talents such as Parra, UVA and Geoff Mcfetridge and classic masters like Saul Bass, Milton Glaser or Seymour Chwast. It has been one of our favourite art destinations since we moved to Shoreditch, with great shows of Malika Favre, Ryan Todd or Jean Jullien, to name just a few.
It would be a big loss for East London to see Kemistry Gallery go, so let’s make sure that their Kickstarter campaign reaches its £15.000 target and secure them a future in a new home!
End of Days, Cleon Peterson‘s solo show, opened last Saturday at New Image Art gallery in Los Angeles. Fans of Cleon’s signature black, white and fluo pink colour palette and his ultra-violence scenes won’t be disappointed: the triumphants take no trophies, apart from the occasional severed head and the defeated have clearly lost all semblance of control, dignity, strength and hope. Highly recommended!
The exhibition runs till the end of March.
Marcin Dudek‘s Punch to the Sky is at the moment on display at Edel Assanti. We went to the opening and loved the spirit of the self-stiched burnt flags, plaster-, tape- and cardboard collages and the steel–frame sculptures. The gallery was full, the atmosphere lively and Marcin’s performance literally fuse–blowing. We were curious about the ideas behind the works and sent Marcin couple of questions >
Hi Marcin! Could you tell us more about the designs of the flags you’ve made? Do they refer to something concrete or are they completely abstract?
They are abstract and intuitive, pieces of reconstructed fragments from my memory. The lines and blocks of colors represent simple division that you can find on many national emblems. I like the way in which geometry penetrates our everyday perception, from territorial maps to flags displayed around a stadium, it’s an inescapable part of culture. We all carry sparks linked to these symbolic compositions with us, and sometimes these harmless flames escalate into large fires.
During your performance Exercises in the Air you destroyed a construction made from a metal fence. What did you want to say with it – was it about the act of destruction or about expressing the physical dimension of your work?
I cut through steel and concrete in order to manifest the physical dimension of these sculptural materials. I feel that the act of making a sculpture becomes less and less physical these days, as the digital format slowly takes over. Sculpting with a 3D printer – yes why not! But I prefer to use a grinder to change or to destroy the objects’ appearance. Not as an attack against progress, but as an attempt to find a balance in the stream of our digi-enthusiastic era. On that note, I’m also a big fan of the stone crusade virtuously conducted by Jimmie Durham.
We read in the press release that you used to be a fanatic football supporter. Is the burning of the flags a nostalgia act for the real action?
I was never particularly fanatic about a flying piece of leather, but I do like the atmosphere of a football game and I tend to consider hooliganism as a vital form of independent movement. During the 90s, there was an explosion of football fan subculture in Poland, with an active club in every city. Krakow, where I come from, is particular active on that front and the presence of two major football teams electrifies the divided town. On the day of the Derby you can smell the adrenaline in the air. Preparation for this day is a year-long activity and supporters compete by collecting the scarves and flags of the opponents. The violence culminates during the Derby by burning the claimed trophy in front of the enemy as they watch from the other side of the stadium. The act of burning is symbolic, but the amount of collected scarves triggers an archive of frenzy. Out of the ashes, the drama moves into future season already spiced up with the hunger for revenge.
We love your collages. You’ve been making them already for several years. Do you see them as individual works reflecting a certain moment or is there a ongoing story that you want to tell through them?
I’ve been making collages since 2006 and they are an important part of my work, but I think of them as being the contra–revolutionary force, usually coming back after the outbreak of something new in my art practice. However, the works on cardboard are continuously evolving in close conversation with my other works. Over the past 7 years they’ve included subterranean maps, thoughts about the underground – ranging from labor (mines) through culture (movements) to dark histories like the bungalow of Josef Fritzl – or now the scarves sewn together as trophies. The collages are like boats floating on a constant shift of direction in my work.
Marcin Dudek (*1979 in Krakow, Poland) is represented by Harlan B. Levey Projects in Brussels. Current shows incl. A Land of Space and Optimisms at Galerie Marion de Canniere in Antwerp and Cathedral of Human Labour, the first phase of a permanent underground sculpture for Verbeke Foundation, Kemzeke.
Punch to the Sky runs @ Edel Assanti till Dec 19. Don’t miss it!
Surrealism, malfunctioning and failures of all sorts seem to stick to the image of Belgium like a shit to a blanket. But how are Belgians dealing with their tragic fate? Well, denial, indifference and resignation are fairly popular. But then there are also sparkles of ingenious black humor. Belgian Solutions, photo book by David Helbich recently published by MediuMER, falls to this last category.
Belgian Solutions is a project that makes you laugh and cry at the same time. Helbich – who’s not Belgian himself, but a German living in Brussels since 2002 – records and shares on his website the culture shocks he encounters on a daily basis: architectural and urbanist disasters, ludicrous restoration attempts, signalisation that brings more confusion than clarity and other traces of aesthetic and structural retardation. “Belgian”, in this context, equals cheap, crappy and ridiculous.
Having lived in Brussels for many years, these photos resonate with us on many different levels. Hell, plenty of them were even taken in our former hood… And although there is a softer (romantic, anarchistic, even poetic) undertone to some of the images, the fact that this is a portrait of the capital of the European Union and not a filmset from Monty Python, still makes you shiver. WTF? How is this possible?
Obviously planning disasters, absurd engineering decisions and cultural decay are not just a Belgian anomaly. What’s disturbing ‘though, is that while in other countries stuff like this mostly provokes embarrassment and aim for improvement, in Belgium it seems to be joyfully accepted and branded as national cool. Take for instance the text introducing another popular photo blog, Ugly Belgian Houses. Its author states: “Because most Belgian houses suck. Even mine. Seriously. My English sucks too. But I kinda like that. Fuckers.” Right… Don’t get us wrong, we enjoy a healthy dose of sarcasm and self-relativation in form of ugly houses, local election clips or the legendary In de Gloria. Just beware of the unwanted side effects before it’s too late.
Conclusion? Belgian Solutions is a great book to have. It will make you laugh but it will also make you think. And hopefully – especially if you live in Brussels – to act. Come on, it must be possible to push that city’s image to something more than a laughing stock.
Tomorrow (Sunday) is the last day of BRUTAL, a group show organized by the Lazarides gallery inside an abandoned office building at 180 The Strand. The quality of the exhibited artworks might sometimes fluctuate, but one thing is sure: their staging and the atmosphere of the decrepit underground spaces make for a striking experience. Plus the Cleon Peterson‘s mural is already alone worth the journey!
Photos from the show
After a third edition inside the Old Vic Tunnels, Lazarides has selected a new, but equally atmospheric, off-site location for his yearly group show/event. Throughout the vast surfaces of a ground and a subterranean levels of what presumably used to be offices once, 16 artists of the gallery show their new pieces. Some were created directly for this venue, such as the previously mentioned 10m long black and white mural by Cleon Peterson.
The title of the show, BRUTAL, is reflected in all the works, whether through their topic, choice of material or their execution. Apart from Peterson, we particularly liked the glass panels of Ben Woodeson, that looked vicious when imagining how they would decapitate you if they fell, but fragile and beautiful at the same time. Mark Jenkins‘ tape sculptures are always funny, surprising and worked very well in their dark corner and Todd James‘ animation was fun too. The exhibition is also extremely photogenic (our photos are a proof). It’s definitely worth checking this show out, especially if you like street art.
If you go, don’t forget to drop next door, in the temporary HQ of The Moving Museum to see their exhibition Open Heart Surgery, which is full of fresh and exciting young art. We’ll talk about it in detail in one of our next posts.
The difference between the online and the offline start disappearing. We live in a digital world and technology is increasingly getting integrated into our behavior. With commercialization of natural user interfaces like Microsoft’s Kinect and Leap Motion or advanced virtual reality headsets like Oculus Rift, the blurring of the lines between the virtual and the real is even more rapid.
Games are playing a crucial role in this rapid digitization. People have always loved to play, but the complexity of current games, their production value and the level of interactivity advances so dramatically that they are becoming cultural artefacts of our time: World of Warcraft, Grand Theft Auto etc., have become references beyond the gaming community.
Grand Theft Auto V was released last month. It took five years to produce and it made $800 million just in the first 24 hours of sales. Fernando Pereira Gomes – art student, street photographer and gamer – noticed, when playing the game, that the personages carry mobile phones with a camera. The gamer can then upload the pictures to his game profile and download them to his computer. Gomes started taking “street photography–style” snapshots in the game and through the eyes of his character – and the result is amazing. It’s a virtual street photography, made through a virtual person, and yet it feels so real.
To quote Gomes: “What I found was remarkable. The game is so realistic that it felt like being on the streets outside, running around for shots, anticipating passersby’s movements and reactions. In a way, it was also incredibly frightening that these algorithms could look so real, or is it that we ourselves are becoming ever more algorithmic?”
Check out the pictures on his tumblr Street Photography V.
Since 2007, when the Monocle magazine first hit the newsstands, it has built a loyal following in terms of thinking around urbanism, transport, manufacturing and retail. Today it is a successful global brand with a presence in print and in digital space, and with a reputation for both its content and its visual language. Their first–ever book,
published last month by Gestalten, follows the same tradition.
Tyler Brûlé, Monocle’s editor–in–chief and poster child of the new journalist/ entrepreneur, explains in the foreword that the book is meant to be used as a reference tool for a broad audience, a book that you can read in one go, but also return to later for a specific information. And who are we to disagree with style icon/global citizen Mr. Brûlé? The book is a beauty. Eye-catching in its black and yellow binding, and full of quirky little facts that are probably not essential in order to “live better” but that are sure as hell interesting and nice to know. The writing is engaging and has the rare quality of making you believe that you are a global citizen yourself. All it takes is turn a page, read a bit of text, glance at a beautifully shot picture – and in one chapter you visit the most exciting places in Beirut, Hamburg, Helsinki, São Paulo or Tokyo. No boring airports, no sweaty undergrounds, no noisy cabs etc. – the book teleports you straight into the best coffee shop, the most successful local business, the most tastefully designed hotel lounge.
The publication screams authenticity and search for enduring values all over. In a good way. The Monocle editorial team knows its topic well and the curatorial approach delivers high quality across all 10 chapters. It’s a welcoming change from the glamorous champagne party scene of Purple Mag or the slightly preachy tone one comes across in the School of Life publications.
The writers also keep it all very accessible without becoming superficial. The content is served bite-sized and accompanied with stunning imagery and the topics are fresh and surprising. You don’t need to be a petrol-head to enjoy reading that we have to thank the late Iranian Shah Mohammad Reza Pahlavi for the existence of the Mercedez G-Wagen. Another good example is the chapter about cinemas – in the times of Netflix and Torrents, it is refreshing to see that there are still cinemas all over the world that create premium experiences for cinefiles who want a big screen alternative for the mainstream, soulless cinema complexes.
The chapters about Culture, Business, Home and the Service Industries, which keep cities functioning, are all discussed with a similar attention for detail and search for authenticity. If there was one thing we would reproach, it’s that the book stays in this “global citizen mood”. Unfortunately not all people live in this perfectly groomed world. The Atlantic’s recently published research states that women in the US today are dying younger than their mothers. The latest Global Wealth Report by Credit Suisse proves that inequality remains high – the top 10% of the world population owns 86% of global wealth, compared to barely 1% for the bottom half of all adults. A lot of the cities described in the book are having serious problems with traffic, pollution, unemployment, etc. We understand that this book doesn’t claim to be dealing with these broader socio–economic challenges, but if we want to “live better”, we cannot neglect the bigger picture.
Overall, we spent a fantastic afternoon with this publication, traveling the world from our living room and picking up interesting facts. And we are sure it will be one of those books that we go back to every now and then. The last chapter is a visual journey through the different Monocle offices and cafés around the world. This is a great conclusion for a story that celebrates authenticity and the search for enduring values, because it proves Monocle isn’t just talking the talk.
The Monocle Guide to Better Living is available in all major bookstores or online at
gallery in Soho. In mood for a bit of the good ol’ ultraviolence, mixed with sex, religion, drugs, blood, rape, guns, fire and the odd policeman beating a suit? If that mixture (in art, of course!) sounds inspiring, join the crowd tonight from 6-9pm, or every day except for Sunday till the 3rd of August.
The Encyclopedic Palace is a title of the main exhibition of this year’s Biennale, which is on display in Arsenale and in the Central Pavilion in Giardini. Curated by Massimiliano Gioni, the title refers to an unrealized project dreamt up by an Italian immigrant Marino Auriti (1891–1980), of a museum documenting all human endeavors inside a 700m-tall “Encyclopedic Palace of the World”.
Auriti hoped that his palace would become “an entirely new concept in museums, designed to hold all the works of man in whatever field, . . . everything from the wheel to the satellite“. Alas, the project only materialized on the scale of a architectural model created by Auriti during his retirement. But Auriti’s dream serves as a metaphor for creative pursuits outside the mainstream, for our desire to collect and to catalogue, and as tribute to all visionary, crazy minds.
“Auriti not only encapsulates some of the themes of the show, but he also came to incarnate one of the exhibition’s larger questions, which is the distinction between the professional and the self-taught, or the professional and the autodidact. By blurring this line, the exhibition takes an anthropological approach to the study of images, focusing in particular on the realms of the imaginary and the functions of the imagination. What room is left for internal images—for dreams, hallucinations, and visions—in an era besieged by external ones?”, says Mr. Gioni, who can surely relate to some extravagance. Early in his career (he’s now director of the New Museum in NY), he used to act as a doppelgänger of the artist Maurizio Cattelan.
Some of our favorite pieces from Arsenale:
Yuri Ankarani: Da Vinci
Ancarani‘s hallucinating video shows an entire robotic surgery operation. The robot, called Da Vinci, is being controlled by a human surgeon.
Michael Schmidt: Lebensmitten | photos
Schmidt‘s photos explore various aspects of industrial food production in Europe by documenting factory farms, grocery stores, slaughter houses, dairy farms etc.
Ragnar Kjartansson: S.S. Hangover | photos
Icelandic artist Ragnar Kjartansson built a hybrid version of Greek, Icelandic and Venetian vessel that sails through the Arsenale canals with a brass band onboard.
Paulo Nazareth: My Mother’s Saints | photos
Paulo Nazareth wanders the world, collects products and uses them in installations. The ones exhibited here all have names of saints (of his mother) in their titles.
Hito Steyerl: How Not To Be Seen. A Fucking Didactic Educational .MOV File
Steyerl‘s funny instructional video informs us “how to remain invisible in an age of image proliferation” (one suggested tactic: become smaller than the size of a pixel).
Rossella Biscotti: I dreamt that you changed into a cat… gatto… ha ha ha | photos
Biscotti‘s minimal sculptures were produced from compost bricks, using pooled rubbish from the cells, kitchen and garden of the Venezia-Giudecca female prison, where the artist held weekly “dream” workshops (sharing conversations and dreams with the detainees).
And from the Central Pavilion (Giardini):
Oliver Croy and Oliver Elser: The 387 Houses of Peter Fritz (1976–1992) | photos
387 meticulously crafted model buildings of different provincial architectural styles created by an Viennese insurance clerk Peter Fritz around 1950-60 and saved in ’93 by Oliver Croy from a junk shop.
Richard Serra: Pasolini & Thierry De Cordier: Mer Haute / Mer Montée | photos
Grand finale indeed. The combination of Serra‘s steel block installation and De Cordier‘s dark paintings is pitch perfect!
Coinciding with the Frieze Art Fair, the Socrates Sculpture Park in Queens has an interesting exhibition on display: curated by Hans Ulrich Obrist in collaboration with Independent Curators International, the show do it (outside) opened last Saturday and will be on display till July 7th. We went to the preview on Thursday and were impressed by the artworks, as well as the settings and the concept behind the park.
The park is situated in the proximity of three of the biggest housing estates of NYC and as much as it is a place of culture, it still primarily functions as a place to walk the dog or to have a stroll for people from the neighborhood. Historically, the location used to be one of the city’s least attractive ones, and generations of artists – from Isamu Noguchi to Matthew Barney – have ended up here in their search for an affordable studio space. But for a lot of its local visitors, the Socrates Sculpture Park
is also the first, and often the only, contact with (contemporary) art.
An interesting and challenging position for a cultural organisation, and one that can be addressed in different ways. The team members behind the Socrates Park decided they wouldn’t go for the common denominator and let their curatorial decisions be influenced by their audience. But their is a belief that whatever cultural knowledge one brings with him, the art on display can respond to it in relevant way.
There is also the other side of the equation: since the artworks are installed during the opening hours of the park, this often results in artists being challenged by questions from the local visitors. Some artists like it, some get aggravated… the spirit of Socrates is never far!
As an exhibition, do it (outside) functions as an exchange and transformation of ideas: written instructions by over 60 artists (a.o. Paul McCarthy, Pedro Reyes, Christian Marclay, Ai Weiwei, Erwin Wurm etc.) are being interpreted and brought to life by performers, community groups, general public and the artists themselves, resulting in installations that range from the explicitly sculptural, to the performative and from poetic to the absurd. Socrates Sculpture Park will produce a digital publication to accompany the process.
Discovered on this cold but sunny Easter morning in Shoreditch: the Pope by Banksy or in a Banksy’s style (who can be sure of these things nowadays anyway).
What’s more remarkable is that Vatican was the first to spot this new piece and included a witty retort in today’s Pope Francis’ “Urbi et Orbi” address, denouncing ‘greed looking for easy gain‘. Eat this, spray-can Philistines!