Boris Delta Tellegen Detail

Remi Rough Detail

Derm detail

Otwo Detail

Poesia Detail

Clemens Behr Detail

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We have been meaning to post about Futurism 2.0 sooner, but we felt it was better to at least get you some details of some of the paintings first. Rob Swain who is curating the exhibition was able to provide us some sneak peek images. Rob and Gamma Proforma have been planning this exhibition for months, and there is a tremendous amount of work going into this project. With a stellar lineup of artists Futurism 2.0 looks to be one of the most important shows of fall in the UK. Artists include Augustine Kofie, Phil Ashcroft, Boris Tellegen, She One, Matt W. Moore, Mark Lyken, Sat One, Derek Bruno, Moneyless, Mr Jago, Nawer, O. Two, Morten Andersen, Part2ism, Jaybo Monk, Divine Styler, Poesia Derm, Jerry Inscoe, Clemens Behr, Remi/Rough, Carlos Mare. Hosted by Blackall studios Futurism 2.0 will hold a private viewing and then later an opening for the public. Along with the exhibition there will be an exhibition catalog limited to 100 copies, as well as a book written by Daniel Feral. The book will be limited to 250 copies and we suggest you pre order as they will move fast. The book will have some great writing by Daniel and Graffuturism. Daniel Feral will also be in London for the exhibition and will release his updated Feral Diagram 2.0. You can see his first diagram here. On top of all this many of the artists will be in town the week of the show painting walls, collaborating and filming for a movie that will be released after the exhibition. We will be updating more previews and artist profiles leading up to the event so stay tuned.



“In 1912, just three years after the manifesto was published, the Futurists exhibited in London for the first time. A hundred years later on September 27th, 2012, just three years after the creation of, the Graffuturists will exhibit for the first time in London at Blackall Studios.

At the core of both movements are the parallel ideals of “dynamism” and “progression.” Both of these keywords conjure a sense of action, motion and movement, wavering disturbances of change pulsing forward, like an electrocardiogram, along a historical continuum into the future. Marinetti extolled the virtues of a dynamic art form that was alive and motivated; Poesia, the founder of, has stated that the word Graffuturism was inspired by the desire to articulate a progressive impetus for graffiti.

Uplifting arms together in spirit, both these movements revel in the urban environment as a petri dish for the advancements and inventions of their age. Just as Futurism embraced the Industrial Age and its recently mechanized urban centers, Graffuturism embraces the Digital Age and its recently wired urban-global community. For the Futurists, the ideals of dynamism were expressed in images of their century’s new inventions, such as the motor car, the steam engine, the airplane, the telephone; whereas for the Graffuturists, the technological icons that are mythologized in their art and culture are the tools of their trade: spray paint, subway car, markers, rollers, freight trains, fire extinguishers, and so on. A different set of symbols for this century, but still imbued with the same semiotic impetus.

Because of the global composition of the group, the loosely-associated members are from disparate backgrounds, professions, and locations. They create in different styles and mediums, but for the majority of the artists involved in the group so far, their unifying influence is graffiti, their medium is painting, and their theme is abstraction. These artists aspire to a master’s level at their craft, which includes not only technical proficiency, but also historical research, theoretical readings, and possibly educational pursuits pertaining to their discipline. This kind of in-depth, well-rounded, self-cultivation has produced a community of artist’s with styles that are a refined visual poetry comprised of depth and complexity in content as well as technique.

The Graffuturists could be classified as a High Style New Millennium movement, consisting of a dialogue and cross-pollination between advanced graffiti and fine art techniques, practices and theory. Wildstyle Graffiti is combined with Abstract Expressionism, Geometric Abstraction, or another high style historical form. Then it is transposed through the artist’s unique vision and medium into a personal vocabulary of hybrid techniques, an experimental mix of the high and low, intellectual and visceral, the visionary and the primitive. Whereas the Street Art movement of the mid-2000s tended to focus on figurative stencils and silkscreens used for wheat-pastes, this group of artists on the whole is more concerned with the act of painting and its history, whether academic or street, oil paint or spray, fat cap or sable brush.

Just as Be-bop developed from jazz, Raw Magazine from Superman comics, and Wildstyle from Original Writing, Graffuturism progresses from graffiti, and then takes up the oily-rag torch to ignite the future.”
Daniel Feral (Pantheon Projects / 12oz Prophet)