We found – 6 articles for mode2

Mode2 and Urban Spree release “Never Too Late…”

10 years after its publication, we are happy to re-release the second edition of Mode2’s legendary book “Never Too Late…” in 2 different editions.

The book will be released exclusively on the Urban Spree webshop here on Friday April 3rd at 18:00 CET (Berlin time).

Originally published in 2008 in a 64-page hardcover version, the book sold out instantly. A second, revised softcover edition of 80 pages was commissioned in the wake but was never properly released.

Since it’s “Never Too Late…”, we are finally releasing the book for its 10th Anniversary Year.

To celebrate the return of the prodigal book, in addition to the regular trade edition, Mode2 has designed a Special Edition of 100 copies. Each of the 100 book covers has been spray-painted and each copy is signed and numbered.

Numbers 001-050 come with a screen-printed tee-shirt of the cover’s motive, printed in-house at Urban Spree (Earth Positive brand, organic, fair trade cotton) while numbers 051-100 will be only the signed and numbered edition of the book.

 

Published by Lazarides Gallery, London, in April 2010

Book Design by Mode2

Second Edition

Softcover

80 pages

16,5 x 24 cm



“THIS!”: 3rd Print in the Mode 2 “Lockdown” Series

“Straight outta Lockdown / The Freedom Prints” is a series of vintage Mode 2 prints (from the mid 2000s to the early 2010s), hand-painted or hand-sprayed in 2020, and re-numbered in very limited runs.

“THIS!” is the third release of the series and by far the oldest print, having been published in 2003 by PoW in London.

Based on a flyer for the “THIS!” parties at Bar Rumba initially drawn in Mode 2’s blackbook, the motive was digitally printed in quadtone and has been hand-sprayed by Mode 2 in June 2020 with 3 matching tones of Belton.

The final run of this new series amounts to 24 prints only, signed and numbered.

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“THIS!” 68cm X 45cm One of three series of vintage prints, a full colour digital print, customised and renumbered edition of 24. . I met @swifty_grafix with @robiwalters a show at the Blue Note club in London, December 1996. He had @kambhogal_  and @freddeak.in working with them up in Ladbroke Grove, at #studiobabylon . They plugged me in to a part of the London club scene, connected to labels like Talking Loud or to (Straight No) Chaser magazine and so on. . @mitchy_bwoy joined springtime 1997, running the London club flyer scene; from Jah Shaka, to Passenger, or Movement at Bar Rumba itself among many others. . Discovering “That's How It Is” at Bar Rumba was love at first sight. In 1993, @janinedingwalls and @gillespeterson were offered a night at a West End venue, and Gilles suggested Mondays, a clean break from the weekend crowd. He suggested to have @unkleofficial join him, while @beesayed backed Janine up on all her club sessions. @ben_wilcox99 later joined the team, and then there were also illustrious guests. . My blackbook drawing (photos by @louis_curiosities ) shows the parachute on the ceiling, hiding the @funktiononeofficial speakers delivering an eclectic serving of music that attracted the faithful from the world over. . I did a few banners over the years (the one at the door getting stolen!), with paint reacting to black light, but the drawing was first used in 1999, when the name switched to “THIS!”; and from it came a bunch of other drawings of club scenes and dancing crowds. . When @stevelazarides asked me to join PYMCA in 2003, the flyer became one of four prints I did for him. I rescued what I could carry of all remaining ones from Pictures On Walls in October 2018, then decided during the lockdown that we should re-release them; not without enhancing each one with matching Belton colours from @legacybln , and transforming them into something much more personalised. . “Sofa Spank”, “Oh Sh…” and “THIS!” go on sale at @urban_spree this Thursday 9th of July at 18:00 CET. Link in bio. . That's it. There will be no more left stashed away after that. . #mode2official #mode2 #londonnights #clubnights #vintageprint #customised #straightnochaser

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The first series of 3 HPM prints will be available on Thursday, July 9th, at 18:00 CET on the Urban Spree online shop and in the galerie in Berlin.

Mode 2

“This!”

Digital print on 300g/sm archival paper

Originally published by Pictures on Walls (PoW) in 2003

Hand-sprayed and re-numbered in 2020

Each print is different

45 x 68 cm

Edition of 24

Signed & Numbered 1-24



“Oh Sh…”: 2nd Print in the “Straight outta Lockdown” Mode 2 series

“Straight outta Lockdown / The Freedom Prints” is a series of vintage Mode 2 prints (from the mid 2000s to the early 2010s), hand-painted or hand-sprayed in 2020, and re-numbered in very limited runs.

The second print of the series is called “Oh Sh…”, originally produced in 2009 but never released owing to some specks of alien colors spotted on most prints while signing them. Mode 2 decided subsequently to call off the run and keep only the good prints for future use.

11 years later, the message conveyed by the print couldn’t actually be more acute, in a news ecosystem battered down by fake news, outright lies, and state violence.

The prints have been reconfigured in a 40-print run, all hand-sprayed with 3 different colors matching the original tones (gray, red, white), signed and numbered by Mode 2.

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“Oh Sh…” One of three series of vintage prints released by @urban_spree ; a 3-colour silkscreen print, customised and renumbered as an edition of 40. . Back in 2006, I started subscribing to @mondediplo , a monthly French newspaper part-owned by its subscribers, editorially more independent and impartial than most. I rarely finish all articles during busy months, as each reads like a university thesis in its complexity; bringing historical, cultural and geopolitical context to the saturation of 24/7/365 selected data parading as news today. . It's a depressing read at times, exposing and deconstructing the dysfunctions of our world; which is what inspired the original “Oh Sh…” drawing. I often wonder where would society be if many more people were less complacent and apathetic in the way they informed themselves on the world around them. It would greatly help in the crucial and polarising debates of today. . I only have a digital scan of the original drawing, as the A5 blackbook that it was in was stolen in Barcelona, January 2007, during the Bread & Butter trade show. . Ten of us sitting around a big table outside of a bar, and nobody saw a thing, when I went to the bathroom. NEVER leave people in charge of what is irreplacable for you. Thieves are SLICK over there! . In October that same year, I decided to release a print of it for my #party&bullshit show at @mahahardy 's DPMHI shop, for which I also did a painting on linen of the same visual. . I found far too many prints with tiny spots of pastel yellow on, when signing and numbering; so I pulled the series from the show, keeping only the good ones. They are now being re-released, after having been individually enhanced with grey, white and red spray-paint; the Belton black stock caps giving that “spittle” technique. . “Oh Sh…” is an apt metaphor of the shock of this pandemic, the protests sparked by the murder of George Floyd, and how governments use this to railroad in new measures, colluding with the deluge of lies and contradictions fed to us by once trustworthy news sources.    . #mode2official #mode2 #ohshit #vintageprint #customised #badnews #protests #breadandbutter

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The first series of 3 HPM prints will be available on Thursday, July 9th, at 18:00 CET on the Urban Spree online shop and in the galerie in Berlin.

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Mode2

“Oh Sh…”

3-colour screen print on archival paper

Originally published by Lazarides Gallery in 2009

Hand-sprayed and re-numbered in 2020

Each print is different

100 x 70 cm

Edition of 40

Signed & Numbered 1-40



First Show of 2020: “WALLS” A Collective Exhibition Featuring 30 International Artists

For their first show of 2020, Urban Spree Galerie presents « WALLS », a collective exhibition featuring 30 international artists. 

Expanding the historical timeline and geographical scope beyond the Fall of the Berlin Wall 30 years ago, “WALLS” explores the notion of the wall, from Antiquity to contemporary issues, viewed through the lens of artists committed to the public space and whose work is closely related to walls.

Curated by Fabrice Douar and Cyrille Gouyette (Le Louvre Museum, Paris) and co-curated by Pascal Feucher (Urban Spree Galerie, Berlin), « WALLS » invites prominent artists from the comics & street art scenes to create graphic works of fiction related to walls, interpreted either as simple architectural elements, ominous symbols of segregation, canvases and vessels to convey meaning, textures, or imaginary playgrounds and labyrinths. 

Jorge Rodriguez-Gerada. Painting on a fragment of a wall

 

While some antique artefacts appear in the show to testify of their immortal, silent presence, in the 21st Century, the Minotaur doesn’t wait at the center of his realm but has clearly moved outside, demultiplied its presence, and is building more walls.

The exhibition’s direction is therefore resolutely multifaceted, contemporary and graphic-oriented, spanning several topographies (Europe, South Korea, Middle East, Hong Kong, Cuba…), and art forms (painting, photography, installations, videos).

 

Philippe Echaroux – Amazonia, Petit Chef – c-print mounted on Alu Dibond, 84 x 150 cm, 2016

30 Artists: Alias, Andreas, Jim Avignon, Bault, Enki Bilal, Broken Fingaz Crew, Isaac Cordal (installation), Hendrik Czakainski, Christian Durieux, Philippe Écharoux (mapping installation), EVOL, Jean Faucheur, Flix, Jorge Rodriguez-Gerada, Miles Hyman, Kim Jung Gi, Levalet, Stéphane Levallois, Loustal, Marc-Antoine Mathieu, Mode2, Alexandra Novosseloff, Ernest Pignon-Ernest, Michal Škapa, Pen So, Thom Thom, Sam Tse, Santiago Valenzuela, Lars Wunderlich, Zevs.

 

Bault – Rond Point de la Tour de Babel, Acrylic on Canvas

In cooperation with Galerie David Ghezelbash, Galerie Huberty & Breyne, and Galerie Lelong & Co.

 

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WALLS

Urban Spree Galerie

Revaler Str. 99

10245 Berlin

Vernissage: Friday, January 17th, 2019 from 18:30

Exhibition: 17.01.2019 – 29.02.2019

Wed – Sat –  12:00-18:30 or by appointment

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Info: galerie@urbanspree.com

Download the Press Kit: 
https://www.urbanspree.com/press/

Facebook Event:
https://business.facebook.com/events/603236363595075/

List of available artworks: 
https://www.artsy.net/show/urban-spree-galerie-walls



WALLS

For their first show of 2020, Urban Spree Galerie presents « WALLS », a collective exhibition featuring 30 international artists and dedicated to the notion of the « wall ». 

Curated by Fabrice Douar and Cyrille Gouyette (Le Louvre Museum, Paris) and co-curated by Pascal Feucher (Urban Spree Galerie, Berlin), « WALLS » invites prominent artists from both the comics scene and the street art scene to create graphic works of fiction related to walls, interpreted either as simple architectural elements, ominous symbols of segregation, canvases and vessels to convey meaning, textures, or imaginary playgrounds and labyrinths. 

Fragment of an antique wall, Pompeii. Courtesy Galerie David Ghezelbash

 

While some antique artefacts appear in the show to testify of their immortal, silent presence, in the 21st Century, the Minotaur doesn’t wait at the center of his realm but has clearly moved outside, demultiplied its presence, and is building more walls.

The exhibition’s direction is therefore resolutely multifaceted, contemporary and graphic-oriented, spanning several topographies (Europe, South Korea, Middle East, Hong Kong, Cuba…), and art forms (painting, photography, installations, videos). 

Levalet: “Voie de contournement”, China ink on paper, 70x100cm, 2019

30 Artists: Alias, Andreas, Jim Avignon, Bault, Enki Bilal, Broken Fingaz Crew, Isaac Cordal (installation), Hendrik Czakainski, Christian Durieux, Philippe Écharoux (mapping installation), EVOL, Jean Faucheur, Flix, Jorge Rodriguez-Gerada, Miles Hyman, Kim Jung Gi, Levalet, Stéphane Levallois, Loustal, Marc-Antoine Mathieu, Mode2, Alexandra Novosseloff, Ernest Pignon-Ernest, Michal Škapa, Pen So, Thom Thom, Sam Tse, Santiago Valenzuela, Lars Wunderlich, Zevs.

 

Enki Bilal. Excerpt from the Portfolio “Die Mauer Berlin”, Futuropolis 1982

 

In cooperation with Galerie David Ghezelbash, Galerie Huberty & Breyne, and Galerie Lelong & Co.

 

WALLS

Urban Spree Galerie

Revaler Str. 99

10245 Berlin

Vernissage: Friday, January 17th, 2019 from 18:30

Exhibition: 17.01.2019 – 29.02.2019

Wed – Sat –  12:00-18:30 or by appointment

info and catalogue: galerie@urbanspree.com

To download the Press Kit: https://www.urbanspree.com/press/



New York Perspectives

Urban Spree Galerie presents New York Perspectives, a duo show featuring Chris “Daze” Ellis and Joe Conzo, curated by Mode2. The vernissage will be on Friday, November 22nd, at 18:30, in presence of the two artists.

    Through the work of two New York City-born artists, a painter and a photographer, this exhibition is an attempt to show aspects of New York City life, through the eyes and the work of two very different individuals; though both come from a part of its counterculture.

    The drawings and paintings of the artist Chris “Daze” Ellis, and those many moments and people captured by the photography of Joe Conzo show us how the youth that were more in osmosis with the steel, the concrete, the glass, the streets and the city’s subway system, could develop new forms of visual dialogue that could form a bridge between their own social and cultural background, and a movement that would infiltrate the artworld and become a global phenonmenon.

   Coming from different neighbourhoods and cultural backgrounds, both have lived long enough to have witnessed first hand the huge transformations that the city has gone through over these last decades, while their “work”, which was actually their hobby, passion and life pretty much, has documented seminal eras during that time.

  These tumultuous years of cultural flux; of blossoming, blooming, destruction and rebirth, are often overlooked by today’s focus on the “now” of street art, and the way through which this eclipses the very alchemy that gave birth to the way in which artists express themselves in the street today, or the way in which they document city life.

    It is doubtful that much of what is happening today in visual art, music, dance and written or spoken word ever would have happened, if generations of youth in New York City had not lived what they did many decades ago; and we can count ourselves lucky that a few rare individuals happened to be there and have the instinct to document it.

  Here then, are views of New York from two different perspectives, they themselves being a complex accumulation of all of life’s experiences, and how they shape each individual’s understanding of the world around them; and the ways by which they choose to express and share this with us.

Urban Spree Prints will release two 18″x 24″ silk screen prints by Daze on the opening night and online.

The gallery and the curator heartily thank Henry Chalfant for letting us show his documentary movie “From Mambo to Hip Hop: A South Bronx Tale.”

Poster Artwork by Tyler Askew.

 

“New York Perspectives”

Christopher “Daze” Ellis / Joe Conzo

Curated by Mode2

22.11 – 21.12.2019

 

Urban Spree Galerie

Revaler Str. 99

10245 Berlin

Opening: Friday 22.11.2019 at 18:30

Exhibition: Tu-Sa – 12:00 – 18:30

Info & Catalogue: contact@urbanspree.com

 

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BIOGRAPHIES: 

 

Chris “Daze” Ellis

Growing up in Crown Heights, Brooklyn, Chris Daze Ellis (b. 1962) was aware from early on of the names and the odd characters that would be dancing along the trains that wove their way through the city. When he started out at the High School of Art & Design in 1976, he found that there was a whole community of very diverse yet like-minded individuals there, also involved with this scene; some of whom would go on to make a name for themselves in the art world.

Being a fan of drawing and comic books already, Daze camouflaged his nighttime activities under his parents’ gaze, exploring and expanding his visual vocabulary, combining the traditional with the dynamism of a new and challenging environment, with stimulus of its own.

Having mastered the medium and the environment, Daze would go on to shape his own personal vision of the world, looking as much inwards as outwards, in the relationship between the trains and walls, and what he could further explore in the studio. The strength of his successful life as an artist in his own right would develop from then on.

From his participation in his first group show, Beyond Words, at the Mudd Club in 1981, before having his own solo show at Fashion Moda (the historical South Bronx art space that bridged the established art world with the raw talent and energy coming out of New York City), Daze embraced the wide horizon that opened up before him.

From then on, Daze began to show in many different cities around the world, whether it be galleries and museum, in solo shows as well as group formats. He has participated in many public or educational art projects around the world, working with students and communities from South Korea to Brazil via Haiti, while often visiting Europe as well, and contributing to New York mural initiatives like the Leap Arts Program or Thrive Collective.

From his appearances in the film Style Wars, to being an art consultant on the Netflix series The Get Down in 2017, to participating in public painting projects from the Star Ferry Terminal in Hong Kong in 1993, painting an entire Hannover train station with fellow artists Lee Quinones and John Crash Matos, or being commissioned for murals by private clients like the law firm, Cleary, Gottlieb, Steen & Hamilton in Washington D.C. 2018; Daze has constantly had his hands on a whole range of different projects.

Daze’s paintings have found themselves in many private collections including Eric Clapton, Natalie Imbruglia, and Madonna. His work can also be found in the permanent collections of The Whitney Museum, NY, Museum of Modern art, NY, The Museum of the city of New York, The Ludwig Museum, Aachen, Yale University art Gallery, New Haven, Addison Museum of American Art at the Phillips Academy, Andover.

Chris Daze Ellis continues to live and work in New York City.

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Joe Conzo

Joe Conzo was born in the Bronx during an era of great upheaval, when the construction of the Cross Bronx Expressway was nearing its end, having destroyed the communities that lay in its path, and condemning those parts of the borough around it to social and economic decline. The apocalyptic landscapes of urban devastation, and the high criminality associated to it are emblematic of that era.

President Truman’s Urban Renewal announced in 1949, ruthlessly applied by Robert Moses, targetted the more modest and ethnically diverse neighbourhoods of New York City whose resistance to forced removal would fall on deaf ears, as private developers grabbed the prime lots. The Bronx represented both the laboratory and the collateral damage for these extreme experiments of urban renewal.

And yet, out of what looked like an urban war zone, the city’s youth began to pick up the pieces, and, out of the desolation around them, began to build their own road out of it. Realising that the state was not going to do anything positive for them, their survival instincts eventually kicked in; and out of the gang culture, the drugs, and the sheer nihilism that had reigned for a while over much of the borough, new and greener shoots were beginning to break through.

Joe Conzo’s cultural capital, and that of his peers, was probably key to his survival and his blossoming during those harsh years; grandson of Dr. Evelina López Antonetty, a political activist who played a huge role in developing educational programmes for Puerto Rican children, and son of Joe Conzo Snr., who was in the thick of the huge Latin music scene of that bridged those decades; hanging with all the main players of that era, and having been the biographer of Tito Puente.

While studying at the Agnes Russell School on the campus of Columbia University, he discovered photography, the medium that would enable him to document what went on around him; from the world of latin culture through his father’s connections, to the collision of art forms that would later be called Hip Hop; a word that eclipses the sum of its parts.

Having lived many ups and downs in the eighties, to a rebirth of sorts, Joe Conzo went on to become a qualified medical nurse, then worked for the New York City Fire Department, being among the first responders on 9/11. At some point along the way, he was reunited with the camera, and began shooting again…

Whether as the photographer of rap crew The Cold Crush Brothers, a hugely influential group of MCs from the early days, or just a boy from the Bronx who had a camera and curious eyes, Joe Conzo’s photos provided reference material to Henry Chalfant ‘s documentary “From Mambo to Hip Hop: A South Bronx Tale.”, and were documented in a book called “Born In The Bronx: A Visual Record of the Early Days of Hip Hop”.

His negatives have been digitalised and archived at Cornell University, providing a unique and indispensable resource for those wishing to research the those eras.