For the 19th consecutive year, the quaint Norwegian town of Stavanger hosted another edition of the internationally known NuArt Festival. What started in 2001 as side programming at an electronic music festival has evolved into one of the most influential street art festivals worldwide. In addition to the production of public artworks, Nuart also includes a series of academic talks, debates, and movie premieres/screenings, all working towards greater definition and recognition of the street art movement. Its concurrent indoor exhibition also provides the artists an opportunity to create indoor works and installations without limitations or censoring, providing a unique blend of street art attitude showcased inside a gallery-like setting.
One of the works painted last week in Stavanger was the image of a girl taking a photo of a painting in a thick ornate frame. What seemed like an eye candy composition that creates a simple interaction of the character with an object on the wall is actually a harsh critique of the way the general public and the art world are dealing with the global refugee crisis. “On one side there is the passive position of the observer, on the other side, there is the position of the artist. Both acts as beholders of the critical situation,” the artist Jofre Oliveras (previously) stated about his poignant piece, titled Beholders.[…]