Cute Cat Clickbait - Roman style

We're not immune to cute cat photos, having owned several cats in our lifetimes - all of them wonderful in their own ways (yes, Zelda, the last, you were the best). So we have shot a few cat pix in Rome, along with shooting Bill's graffiti and my daily chronicles.

Rome is a cat-loving city.  There are its gattori - the women (mostly) who put out food for the cats, and the cat sanctuaries at the Pyramid and in Largo

Inside the cat sanctuary at Largo di Torre Argentina.

di Torre Argentina, the latter where Caesar supposedly was killed (talk about iconic places). Bo Lundin, who is the author of the Swedish guide to Rome, wrote on RST about Nelson, the one-eyed cat who hung out in those Roman ruins.

Cats chilling out on scooters are our favorites.  At the top of this post and immediately below are two from last year.

Our scooter was parked right next to this guy; so we had to take care not to disturb him (or her).

Just to show our long-lived interest, the photo below is from 2007.

Then there's this cyclist - whom we saw in both 2018 and 2019 - so we know the cat survived at least one year riding on his shoulders (and the cat obviously is no kitten).

In Villa Borghese.

We conclude with a few favorites - below, eating a potato chip on the terrazzo of Lo Zodiaco on Monte Mario (this one made it into the print edition of RST - p. 132):

That's me giving this bold cat a non-nutritious treat (the chips
came free with our drink).

And these wonderful cat/ghosts from, I recall, Trastevere.  I can't recall the graffiti artist's name, but in looking for it, I discovered lots of graffiti cats, including those by 215 and Alice (who once were a couple) and Diavù (Anna Magnani with cat). Bill says he has more photos of cat graffiti in his files as well - so there likely will be another "cute cat clickbait" post in RST's future.

Dianne

Rome's Alice Pasquini: Street Art Feminism, and Beyond

Closed newspaper kiosk, Piazza Mancini, Flaminio 

It's not easy to find information about Rome-based street artist Alice Pasquini.  What's available on the internet seems to come mostly from her website--valuable in its way, but limited and perhaps misleading.  Featured prominently on that website are the words "a visual artist who works as an illustrator, set designer and painter," but one searches in vain for evidence of her work as a set designer, and it's not clear where she's worked as an illustrator--unless she's referring here to her smaller works of street art.  She's essentially a painter, sometimes a stenciller.  Although her website, and other accounts derived from it, give her name as Alice and AliCè, her work is commonly signed Alice (pronounced Ah-lee-chay in Italian; hence the AliCè may be more representative, although in Italian the accent is on the second syllable).

Portrait of Alice by C215

What is clear is that she's prolific.  At age 35 (born 1980--even that was hard to find), she's worked as a street artist in dozens of major cities, including London, Sydney, New York, Barcelona, Saigon and, of course, Rome.

Pasquini grew up in Rome Prati quartiere, immersed in the '90s hip-hop scene, where she discovered SprayLiz--a comic book heroine whose specialty was political graffiti. Inspired, she graduated from the Academy of Fine Arts in Rome, took some coursework in animation in Madrid (where she earned an MA in Critical Arts Studies at the Universidad Computense), and lived for a year in London. Somewhere along the way--there's a certain vagueness in her own reports--"I specialized in old style animation and worked as an illustrator and set designer."




Having been warned that painting was dead, she became a painter.  "'Art died with Duchamp, forget about drawing'--that's what my professors taught me and that's why I wanted to  get out of the studio and the academy."



She likes painting illegally.  "The adrenalin," she notes, "the 15 minute countdown to do something decent--to have your eyes on the lookout, to test what you can do spontaneously." Some of the smaller pieces she's done in Rome probably are in the "illegal" category, for she likes to paint on public objects--trash bins, electrical boxes, for example--that "could need a little love."

A small portion of Alice's work at a bar/kiosk in
Piazza Mancini, Flaminio

That said, in a current climate in which the best street art is recognized, encouraged and, in a certain way, contained, Pasquini has found accommodation with the "academy."  In Rome, her work has been exhibited at MACRO (2014), the American Embassy (2013), the Casa dell'Architettura (2013, a sensational one-woman show), and most recently at the Temple University gallery on the Tevere (2015).  In addition, it seems obvious that much of the Flaminio work--on kiosk businesses--was accomplished with permission.

Army barracks, site of 2015 Outdoor Festival, opening Oct. 2

With 15 other artists, Pasquini will participate in the 2015 edition of the Outdoor Festival, mounted this year at via Guido Reni 7, a former army barracks (ex-caserma) near the MAXXI gallery in Flaminio.  The show opens October 2.

One needn't depend on galleries to see Pasquini's work.  There's plenty of it on Rome's walls and other surfaces--especially in Flaminio, where she lived for a time with fellow street artist C215 (an influence on her work), Quadraro, and San Lorenzo, where a major mural lines via dei Sabelli.

Pasquini's street art celebrates "strong, independent women" (her words), contemplative, confident, sensuous, emotional, and usually joyful young women, meeting the world and engaging life in a physical way, whether leaping in exultation, riding a motorscooter (above), running, or relaxing in the confidence of one's body (see the painting at the top of this post). A website describes her art as "affectionate."




The via dei Sabelli mural (above and below) in San Lorenzo has a dark, threatening quality--one is tempted to say post-apocalyptic.

The elaborate work carried out in the basement of the Casa dell'Architettura, titled "Cave of Tales" (translated into English) also has that dark, foreboding quality, here suggesting that young women in the big city face a potentially difficult and threatening future.

The challenges of the big city, rendered in something
like German expressionist style

Alice at work

Alice plans with a ballpoint pen and sketchbook.  Studio work is accomplished with acrylics and enamels on wood, smaller city pieces with stencils, larger wall paintings with acrylics and spray paints.  Her work doesn't strike us as unusually innovative, especially given the enormous creativity and inventiveness of the current generation of street artists.  She's a painter, working--again, for a street artist--in a surprisingly traditional style and with a feminist message that's both welcome and rather well-traveled.

As you walk the city and come across the art of Alice Pasquini, consider, too, her words describing the dilemma of the street artist:

Moscow, 2014

"An artist who works outside, you always have one problem: you work someplace which isn't your own, where you don't live and to which you may not ever return.  What you do should be artistically or politically important.  But it is not a given that it will be positive for the people who have to live with it every day. This is a risk I take with my form of art."

Bill

Alice decorates a small trailer, courtyard of the Lanificio, a factory artspace, via di Pietralata, 59 (2013) . Dianne at right 

Murales Italian Style: Rome's Street Art Brought to You by Wunderkammern

Russian artist Alexey Luka painting his  multi-story work in Torpignattara, thanks to Wunderkammern and the Russian Embassy. See the finished work, below.

By Spanish artist Escif, "The Right Ear."
Just a great painting, building-high, on the proper
side of the building too.

Wandering the streets of the near-in 'suburb' of Torpignattara, as we have many times, we are constantly delighted by the street art that seems to mysteriously appear where one least expects it.  Most of this street art consists of large works sponsored by the trendy, yet earnest Wunderkammern Gallery, located in the heart of Torpignattara.

The professionally executed 'murales', as the Italians call large wall paintings, stand in contrast to the neighborhood's historical reputation as an impoverished hotbed of crime and, now, the media claims, degraded by an influx of immigrants, Bangladeshi in particular.  

At opening for 2501 (aka Jacopo Ceccarelli) in Wunderkammern's
Torpignattara gallery.

Torpignattara indeed is changing, and rapidly.  An industrial and working-class neighborhood once filled with immigrants from Italy's Southern and Central areas, Torpignattara's population started to decline in the 1980s due to poor housing and high crime rates - until the Bangladeshi (now numbering 5,000) and other immigrants moved in. 

The area has the lowest percentage of college graduates of any in Rome, and the exodus of Italians preceded the influx of international immigrants.  But residents remain unrealistically nostalgic about the "old" Torpignattara, before part of it became "Banglatown." Sociologists describe it as a "re-urbanization," rather than a "gentrification."  There is less crime now than before the Bangladeshi moved in. One could even say it is being cleaned up by the immigrants.  It is an area that continues to be separated socially into different districts.  We found the Bangladeshi merchants concentrated in one section. Another section is the rapidly gentrifying - in the true sense of the word:  Pigneto.  

So how to explain these gorgeous paintings?  They are almost all the result of the intervention by Wunderkammern, which 7 years ago located its gallery here, moving from the charming medieval town of Spello, just south of Assisi in Umbria.  

Change seems to go with the territory for Wunderkammern.  The German word refers to the Victorian "cabinet of wonders," and Wunderkammern is such a cabinet, but one going well beyond its "cabinet doors."  It's a first- rate gallery with artists' works that sell into the 6-figures of Euros.  So it could be located in the center, it could ignore the streets outside its doors. In fact, it does the opposite.

Jef Aerosol's "Tom," near Wunderkammern's gallery space.

As Co-Director Giuseppe Pizzuti told us, "We usually ask artists that we work with and that we invite for a show to Rome to leave a sign of their staying and to realize an outdoor work." Wunderkammern selects the sites.  Pizzuti continues, "Usually we are inspired by outdoor spaces that we see while riding the streets of our neighborhood. Whenever we find a wall that is inspiring for us, we try to obtain an authorization from the people living in that building."  I asked him how receptive the building owners are to the request.  "At the beginning it was not always so easy," Pizzuti said.  "Right now people are calling us to 'offer' their walls to us to have our artists work on them." 

Found this one just walking around Torpignattara,
By Parisian artist Ludo, untitled.  

Of course the 'murales' in Torpignattara can be viewed simply as part of a world-wide trend.  Berlin, London, Los Angeles - all cities famous for their street art.  Torpignattara's 'murales' differ from the concentration of murales in the neighborhoods of San Basilio and Tor Marancia, where large blocks of 8-10 story public housing buildings have created vast 'canvasses' for multiple works close together.  Hitness did 6 of these facades in San Basilio and Tor Marancia's housing project features about a dozen works from international artists, all done in 2015.  By contrast, Torpignattara's walls are varied.  There's no single big block of public housing featuring facades like those in San Basilio and Tor Marancia.  As the neighborhood is described in the book Global Rome, the housing is of varied ages and types, from farmhouses dating from the "agro Romano" to some multi-story block housing.  As a result, the works are more surprising and mysterious to the walker.  And they come in all different sizes.

A C215  (French) work next to the bar across from
Wunderkammern's gallery.

Agostino Iacurci, Clear Sky on the Pink House

One can see Wunderkammern's intervention as changing part of the fabric of this community, most recently under some siege from racists who would limit the percentage of children in the schools whose heritage is non-Italian - even if those children were born in Italy and speak only Italian.

Luka's finished work (at dusk; so the colors aren't true in this photo).
When we were here, there were Rom around having collected detritus and
headed back to, we assume, their camps in cars and with their kids' bikes.

Besides a trip to Wunderkammern, which we highly recommend, one can check out the street art with the new app, streetartroma. We don't recommend the city's tourist map, yes, of street art; it's close to unintelligible.

We do recommend Jessica Stewart's book: Street Art Stories ROMA.

Wunderkammern: 124 via Gabrio Serbelloni.  From Termini, the 105 bus or the tram on via G. Giolitti. tel. Tel: +39 - 0645435662
Cell: +39 - 3498112973 

email:  wunderkammern@wunderkammern.net

A stupendous piece by Nicola Verlato, born in Verona, now from Los Angeles.
It portrays Pierpaolo Pasolini's death.  That's Petrarch and Ezra Pound below (we
needed the explanation from the streetartroma app).  This does not appear to have
been sponsored by Wunderkammern, but clearly the location and its existence
owe much to the gallery.

Generally open Wednesdays to Saturdays 5 - 8 p.m., when there is an exhibit, or by appointment. .  Check the Web site.  Current exhibit is on until 25 July, 2015.

An added attraction is the osteria, Betto e Mary, a few blocks
from Wunderkammern.  One of the cheapest, and most authentic, Roman
trattorie - complete with any kind of animal innards cooked any way
you want them.  This is just one of their several large spaces.
via dei Savorgnam, 99. +39 06 6477 1096.

Popemania in Rome

Pope Francis, who has been Pope for over a year now, is a crowd-pleaser.  He has shown up in graffiti around Rome in various guises, including as superman.
We liked this one, in the Spagna Metro, showing him with a thumb's up. By graffiti artist C215, who works only with stencils, this artwork was one of 14 put up by 6 well-known artists in two nights work in May, and authorized by the Metro service (ATAC).

If you're looking for this picture, it's just as you go into the (very long) station entrance, near a rare info booth.  I had to ask some people in line there to move aside a bit to get the photo.



Another indication of the Pope's popularity are the pilgrims in Rome.  One of our Roman friend's mothers complains about this "Popemania," that brings in millions of people who don't spend money in the city--as the mother tells the story.

Pilgrims at the Vatican

The sight of dozens of people wearing the same t-shirts that have a religious slogan on them is now common around the Vatican.  There's no doubt the Vatican is more crowded than ever.  How much is due to Pope Francis, we're not sure.  But he's definitely beloved, in contrast to his predecessor, Pope Benedict XVI.

Dianne

Nun photographing Francis as Superman

Tourists lining up for the Vatican museums

C215: Street Art Caravaggio in Rome

C215 painting, San Lorenzo

We first encountered the work of street artist C215 (pronounced C two one five) on an amble through San Lorenzo in July 2012.  The work was on a sidewalk-level electrical access panel.  Our attraction was an obvious one; we recognized the content: a version of Caravaggio's Boy with a Basket of Fruit (1593-94).  The signature--C215 in a cube on the right of the artwork--was there, too, but we didn't know yet how to "see" it.  Now we do. 






Our next contact with C215 was in one of Rome's emerging hotbeds of street art, the suburb of Tor Pignattara.  We must have learned something about the artist in the months since our first sighting, because we went there to catch a C215 exhibit at the Wunderkammern gallery, a great space doing its best to nudge Rome onto the world avant-garde art scene.
 Wunderkammern opened a new show last night - November 30, of works by Rero, a French conceptual artist.

When we were at Wunderkammern, the space was given over to C215's work, which included at least two more versions of Caravaggio's Boy.  One was painted on a red postal box (on this day, there were bottles and wine glasses on it, testifying to a party the night before). 

Another, perhaps based on a different Caravaggio painting, had been done on a metal plaque.









It was clear from the exhibit that C215's work was not limited to Caravaggio; he also had a fondness for cats.  In a short visit to Rome that coincided with the Wunderkammern exhibit, he had

Street cat by C215

produced some wall paintings in Tor Pignattara, including a piece for the bar across the street from the gallery (left). 

Most revealing, we learned at the gallery that C215 does his work using stencils rather than individual brush strokes, a technique that makes it possible for him to work quickly and generate lots of product.  Despite our appreciation of C215's work, we were oddly disappointed to know it was done with stencils, and quickly.  Somehow that made it seem too easy, though that perspective seems unreasonably "Protestant." 

C215 in London

For reasons that will go unexplained (we are hardly jet-setters; we flew Ryanair, which is something like inhabiting a continuous, yellow advertisement) London was our next C215 stop.  It's a city serious about its street art; one of the stars of the "scene" paints the gum spots on the street.  Seriously. 

Anyway, we were fortunate to have a first-rate street-art tour, and on it, in an alley somewhere in East London, we found C215--another boy, but not, apparently, based on Caravaggio.  And just fifty feet away, a Banksy piece that must be worth millions (if you could move the wall it's on).  Indeed, C215--Paris-based, his real name Christian Guémy--has been referred to as the "French Banksy."  He may not be that, but his work is not cheap.

Bill

Chewing gum street art, London. Not C215.  Rome has some catching up to do.