{"id":10013,"date":"2024-07-24T17:12:44","date_gmt":"2024-07-24T15:12:44","guid":{"rendered":"https:\/\/www.spazioc21.com\/paleontology\/paleontologia-presentation\/"},"modified":"2026-08-10T18:48:03","modified_gmt":"2026-08-10T16:48:03","slug":"paleontologia-presentation","status":"publish","type":"page","link":"https:\/\/www.spazioc21.com\/en\/paleontologia\/paleontologia-presentation\/","title":{"rendered":"PALeontologia – presentation"},"content":{"rendered":"

[vc_row full_width=”stretch_row” el_class=”riga”][vc_column width=”1\/4″ offset=”vc_hidden-sm vc_hidden-xs”][vc_widget_sidebar sidebar_id=”cs-40″][\/vc_column][vc_column width=”2\/4″][vc_empty_space height=”85px”][vc_column_text]\/ PRESENTATION<\/strong>[\/vc_column_text][vc_column_text]<\/p>\n

PALeontology<\/h2>\n

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HORFEE, SAEIO, CONIE
\nParis 2013 – 2017<\/h3>\n

[\/vc_column_text][vc_column_text]curated by Andrea Ceresa<\/em>[\/vc_column_text][vc_column_text]The historical research method requires a time gap from the chosen object of study so that an adequate critical distance can be achieved. The same goes for PALeontology, the branch of natural sciences that studies PALs and their living environment on Earth, i.e. Paris.
\nThe time period examined in this study extends from 2013 to 2017, the golden age of the crew, a time in which a large quantity of images and content began to circulate online alongside a multitude of publications printed on poor paper in limited editions, which led to a significant renewal of the European and international writing scene.
\nAttention turns to three individuals from the PAL group, Horfee, Saeio and Conie, also observed through the lens of a fourth, Esso, who has always been an internal reporter for the crew\u2019s news. The approach proposed here will focus on a peculiar characteristic: the ability of the three to adapt to two different environments, although at times similar and complementary: writing and art.
\nThe styles of writing were consolidated in New York starting from the first piece with the outline of Super-Kool 223, in the 70s, until the beginning of the 80s, the era of the founding documentary Style Wars.
\n<\/em>From that moment to today, the rules for making good graffiti are the same: construction of the letters, clean outline, shadows, 3D effect, lights and background. Yet someone, overseas, thirty years later, in Paris in the first decade of the 21st century – where the avant-garde had flourished a hundred years earlier – decided that to make graffiti more interesting something innovative had to be tried. A revolution, however, does not happen by chance, it needs an idea, or at least its seed. As a voice-over says in the second video dedicated to the Parisian writing of the Crack&Shine<\/em> series, in non-grammatically pure English: \u201cPAL is Peace And Love crew<\/em>, a sort of happy crew with crazy, crazy kids all interested in the arts\u201d.
\nIn fact, from the \u201crues and souterrains\u201d of Paris, some of the PALs will very soon access the spaces of contemporary art by presenting themselves with their tag and generate great interest for the esteem they were earning in the writing scene, just as it was for the kings of New York in the 1980s.
\nThe book that exported graffiti to the world is from that same historical moment and, we must not forget, it bears the word \u201cart\u201d in the title (Subway Art), as if to underline the intrinsic link between the two worlds.
\nA great clarification must be made, so as not to trivialize: although writing techniques produce images – just like painting – and its methodology can often be assimilated to a performance, in the exploration of urban space and in the act of illegal public painting, writing and art – for galleries, collections and museums – are not the same thing.
\nWriting often limits itself to reproducing a paradigm of action and stylistic features, revealing that it is a rigid discipline rather than an artistic practice. Furthermore, it is not absolutely certain that a good writer is a good artist.
\nThose of this study were also the years of a strong expansion of other unauthorized urban practices, \u201cStreet Art\u201d, especially in Paris. Writing and Street Art ended up being assimilated into a completely heterogeneous and undefined whole (even today) often arbitrarily connected to street practices.
\nThe question, therefore, was burning: how to bring the practice of writing back into the art world without betraying its origins and without ending mixed up or exchanged with artists without credibility?
\nFor the PALs the answer was simple: they retained in their studio production the same energy that pushed them to paint in the street, with an awareness of all the differences involved. Because that energy had produced so much writing excellence, the authenticity of the studio approach ensured a certain artistic quality.
\nHorfee, Conie and Saeio are just three examples of the large and heterogeneous group of PAL, the first who entered the world of official art, together with others such as Mosa, Sonik and Tomek. Everyone now has their own independent path; PAL is the name that represents that old but complicit bond. A name that in the years to which this exhibition is dedicated, was linked to one of the most innovative crews in the history of writing, a crew that allowed, thanks to its vision, that its members have become the artists they were and now are.[\/vc_column_text][vc_empty_space height=”64px”][vc_column_text]<\/p>\n