Original subtitles

This film is dedicated to all the people who have lost their lives in the war.

This film is dedicated to all the people who have lost their lives in the war.

This film is dedicated to all the people who have lost their lives in the war.

This film is dedicated to all the people who have lost their lives in the war.

This film is dedicated to all the people who have lost their lives in the war.

This film is dedicated to all the people who have lost their lives in the war.

This film is dedicated to all the people who have lost their lives in the war.

This film is dedicated to all the people who have lost their lives in the war.

This film is dedicated to all the people who have lost their lives in the war.

This film is dedicated to all the people who have lost their lives in the war.

This film is dedicated to all the people who have lost their lives in the war.

This film is dedicated to all the people who have lost their lives in the war.

This film is dedicated to all the people who have lost their lives in the war.

This film is dedicated to all the people who have lost their lives in the war.

This film is dedicated to all people who have lost their lives in the war.

This film is dedicated to all the people who have lost their lives in the war.

This film is dedicated to all the people who have lost their lives in the war.

This film is dedicated to all the people who have lost their lives in the war.

This film is dedicated to all the people who have lost their lives in the war.

This film is dedicated to all the people who have lost their lives in the war.

This film is dedicated to all the people who have lost their lives in the war.

This film is dedicated to all the people who have lost their lives in the war.

It's a city that doesn't seem like it's made for people.

It's made for cars, for robots, you know,

who have a daily routine of going to work,

coming back from work, doing...

I don't know.

I don't know.

I don't know.

I don't know.

I don't know.

I don't know.

Every day does the same thing, you know?

There's a different season coming

and doing something different, you know?

Once a year or twice a year.

But why is that?

São Paulo doesn't have a beach.

If you're stressed, you go to the beach to surf,

okay, you're not stressed.

São Paulo is a concrete jungle,

building, building, building, building.

You build more buildings, less trees, less parks, more buildings, buildings, buildings...

It's like you're building a wall around you.

You have to escape, in some way, but you have to run away from it.

So it's part of it.

That's the story of graffiti, you know?

Graffiti. It's part of the thing.

And also that thing about the young people talking.

There's a lot of people talking, you just have to stop and look.

It's not just graffiti, it's graffiti, you know?

There's a lot of people manifesting themselves and talking.

The guy is writing there because he needs to talk.

He needs to put something out there, you know?

I think graffiti is one of the only movements, nowadays, that young people talk about.

Like, really. Because nowadays, they're very calm, very silent, you know?

There's a lot of wrong things, and few people talking, you know?

Things had to be more, more, you know?

These people are talking.

The graffiti is there, it's blaming the city.

It's blaming the city, you know?

In one way or another, they're expressing themselves, they're contesting something.

It's just the fact of the guy bullying a system and doing what he wants,

and that thing about the city suffocating you.

I need to talk, I need to go there and put my name there.

And the guy does it, you know?

The guy has energy.

He has energy and does it.

Done. Fuck it. I did it.

I don't know.

I'm graduated from Silicon City and I'm here to talk out about it.

Well, you didn't have to.

No.

There was nothing to do.

No.

So, I said that you couldn't talk, and he didn't talk, and people are talking about it.

What?

I think those discussions, those actions, when 접 are telling people in organize,

they're completely disagreeable.

You aren't really trying to sit there and talk.

You're thinking in the timetable.

This is the first time I've done it, so I'm not sure if I'll be able to do it or not, but I'm sure I'll be able to do it, so I'm not sure if I'll be able to do it, but I'm sure I'll be able to do it, so I'm not sure if I'll be able to do it, but I'm sure I'll be able to do it, so I'm not sure if I'll be able to do it, but I'm sure I'll be able to do it, so I'm not sure if I'll be able to do it, but I'm sure I'll be able to do it, so I'm not sure if I'll be able to do it, but I'm sure I'll be able to do it, so I'm not sure if I'll be able to do it, but I'm sure I'll be able to do it, so I'm not sure if I'll be able to do it, but I'm sure I'll be able to do it, so I'm

not sure if I'll be able to do it, so I'm not sure if I'll be able to do it, so I'm not sure if I'll be able to do it, so I'm not sure if I'll be able to do it, so I'm not sure if I'll be able to do it, so I'm not sure if I'll be able to do it, so I'm not sure if I'll be able to do it, so I'm not sure if I'll be able to do it, so I'm not sure if I'll be able to do it, so I'm not sure if I'll be able to do it, so I'm not sure if I'll be able to do it, so I'm not sure if I'll be able to do it, so I'm not sure if I'll be able to do it, so I'm not sure if I'll be able to do it, so I'm not sure if I'll be able to do it, so I'm not sure if I'll be able to do it,

Only one person has it.

First World Cup

There are no more promotions. It's very easy to petty

As long as you are a petty player that doesn't want to

They're more worried about the traffic.

Everyone's trying to get somewhere.

Do you think they'll worry about someone painting a wall?

They want to get to their house, to their place.

BABYLONIA

It's Babylonia, man. It's chaos.

A city of chaos deserves chaos, you know?

BABYLONIA

I don't want to drive here and see that gray wall.

I don't want to keep seeing gray, gray, gray.

I don't want to. I want to see everything.

So I'm going to change.

I'm going to put color there. I'm going to put my name there.

I want to see my name in the city.

BABYLONIA

For São Paulo to be what it is,

we have this freedom we've always had of painting on the streets,

without authorization or with authorization.

It made us create our work, build our work.

Everything we learned was here.

It was in São Paulo, it was on the streets.

And many other graffiti artists too.

And this work was valued outside Brazil, you know?

And it was taken outside Brazil.

Things we learned here.

BABYLONIA

BABYLONIA

BABYLONIA

BABYLONIA

BABYLONIA

BABYLONIA

BABYLONIA

BABYLONIA

BABYLONIA

BABYLONIA

BABYLONIA

BABYLONIA

BABYLONIA

BABYLONIA

BABYLONIA

BABYLONIA

BABYLONIA

I think that when you're on the street,

you have the great power to talk to all the people

regardless of the cultural life that this person has or not.

You can talk about both positive and negative things.

I think it's a very strong weapon because it works with images.

The image is a direct language.

You don't have to stop to read, you don't have to stop to listen.

You saw it, it's already in your mind,

and unconsciously the message will come in.

Like a subliminal message.

I think the image on the street is very strong.

THE CITY IS A RELATIONSHIP

If we think of the city as a support

and graffiti as one of the demonstrations in the city,

I think graffiti is one of the most interesting things

And as São Paulo is also a very chaotic city, I think that graffiti helps to compose this chaos that is the city.

And that when I left Brazil, I thought that this chaos was something negative.

And when I came back, I realized that this chaos is the best thing we have, you know?

Because that's what makes us more creative,

that the Brazilian way is something that doesn't just have a perverse side, which is the side of improvisation,

but that has the side of creativity, the side of generosity.

And I think graffiti is part of that.

And I think graffiti is part of that.

And I think graffiti is part of that.

What caught my attention when I started painting on the street,

when I started painting on the street,

was that I would do something on the street and people would be able to see it.

Like, someone I didn't know would be able to pass by and see what I did, you know?

From the moment I put this on the street, it's more mine.

It becomes a public good.

It becomes a public good.

It's like the wall is a dirty support, you know?

And you don't touch the wall.

What touches is the ink, right?

It's crazy, you don't have direct contact with the wall.

It's touching the wall, the ink is touching it.

It's kind of magical.

It comes out of your head, goes through your veins,

goes through your instrument.

This is an instrument, you know?

From the spray comes the ink that has the space,

from the spray to the wall, you know?

There's no direct contact.

It's kind of magical, you don't touch the dirt.

You transform it into something nice.

I think it's a magic that sometimes is subliminal.

You don't know that it's happening,

but it's happening.

Spray has a lot of that.

Spray ink, you know?

It's different from taking a brush and painting the wall.

Spray is kind of magical, you know?

What it offers you, you know?

What it can do.

If you take a spray, you'll want to write your name.

You'll want to do it.

Anyone you give a spray, the guy will...

Look, look where I can write.

You know?

Automatically.

This magic exists, you know?

And when it makes you...

makes you...

It's part of you.

That's it, man.

That's just...

Man, I'm out.

I'm out.

There's more.

Let's go, let's go.

I think this is the most direct way

to treat each person who passes by here as a human being.

Because we don't see each car,

each car here, as a gear.

You know?

I think each car is a story.

The guy who fought with the woman,

or the girl who fell in love, you know?

Each one has a story here.

It's us.

It's like...

It's a human being.

I think this is a way to dialogue with these people, you know?

Like, graffiti gives this break, like...

The guy sees this here one day and says,

this is gray,

the other one sees it all colorful.

That's what's cool.

We were passing by in the car,

and we saw it turned off.

I think it was right when they finished turning it off

that we passed by and saw it.

It's a shock.

You get used to it, right?

It's kind of that thing,

you pass by and you see,

so it's like this,

so it's war, right?

So it's going to be like this now.

When you see one graffiti that you did down there,

another that you did on the other side of the city,

or a certain avenue,

but when you erase a work like this,

this size, right?

You feel kind of persecuted.

You say, now the thing is real,

the thing is serious.

So you don't see this in the city.

Where you see gray, that's us.

You see gray walls, that's us.

You can erase it,

this is kind of horrible.

It's erased.

You know the chronogram?

There's no color.

Look,

But from here to here, it'll be over.

Look, can you see it?

It's already clean here, we'll leave it.

They're improving the work.

They're erasing more.

They're using more art now, right?

After this fight of ours, they're using more art.

We're going to work here all night, all day long,

to finish it by tomorrow,

to be able to deliver to the population the finished work by tomorrow.

You spend seven years in a place and you see the same painting.

Then, from one day to the next, it's gray on one side.

It's like taking a part of the life of the person,

in a way, of those who pass through here.

The guys had spent more than a month to make a panel.

The guys spent six months running after sponsorship

to be able to build the panel.

And for an internal bureaucracy of the city hall of a law,

the guys erased it, you know?

We're already very poor in culture

to erase culture.

I'm not talking about erasing a letter, my name,

I'm not talking about erasing another name.

We're talking about erasing works of artists, you know?

In the whole region, there's a truck like this.

There's one, there's another.

If they did it like here, it would be cool.

If they didn't do those black stuff,

what's this?

This is ugly, man.

Look at this, what's this?

Look.

It's horrible.

It's horrible.

It's all blurred, all messed up.

That's art, right?

For those who understand art, this is a beauty.

Look, I think, from the point of view of advertising,

I think it's very cool.

Because it was unbearable to have bigger and bigger outdoors,

you know, in the city,

and you have to live with this excess of logos,

of advertising.

I particularly like advertising posters.

There's something that gives you information about that moment,

you know?

Even if it's just advertising.

But I also think that now they have to think,

well, so in what way are we going to allow

certain manifestations to also be possible?

Graffiti is one of them.

You saw that São Paulo, even internationally,

people are paying attention to that.

Like, a lot of kids who started doing graffiti

lost their graffiti there, you know?

With this law.

Look how cool it is, you see?

Look at this beautiful work, look.

It's a lot of work, huh?

It's a culture work, right?

Yeah.

How many times a week do you go out?

Every day, like, on Friday.

Every day there's a service, every day, every day.

Wow.

Yeah, it's a lot of work.

It's a lot of work.

You know?

Do you think it's art?

It's art.

We didn't have the right to erase,

just because we thought there was a law that could erase it.

Man, ask if the people want to erase it.

That's a mistake.

Obviously, it's a mistake.

It's a work that, you know,

artists went there, did it, dedicated themselves,

they stayed for months.

It's very nice for the city. I think, I don't know,

80% of the people would approve, 90%, 60%.

The majority would certainly approve of leaving it there.

We need to know what criteria they are adopting

to be able to erase a work like this, of more than 700 square meters.

It's beautiful. There are some that are beautiful.

Then we don't erase them. We only erase the ugly ones.

Those that are ugly, that have no condition, then we erase them.

They have a third party company that cleans the graffiti,

that follows, that looks, says, erase there, erase there.

But the guys themselves who erase don't know what they are doing either.

If the criteria are complicated, I think it's possible to rethink these criteria.

Whoever is choosing will have a subjective pattern, right?

Anyway, if you choose to erase one and not erase the other,

it may be, anyway, the group of super heroes of graffiti.

It won't work.

They will have a pattern.

They will have a subjective pattern.

Man's best friend.

As long as I don't know money.

As long as I don't know money.

Have you ever made a model on a dog's cart?

No.

Damn, in Zonózio?

You'll see what a cart is.

You haven't done it yet, have you?

It's cruel.

I worked there for eight years.

Which one are you going to cover?

This one.

I'm just going to expose it here.

This is not a job.

This one.

This one, huh?

This one?

Yes.

This one.

It's just going to be the graffiti in the middle.

This one will be there.

The thing is there.

Okay?

This is just that.

Work.

Do you think it's graffiti?

I think it's everything.

What do you think of that?

What do you think?

It's not true.

Do you think it's better than that?

If you don't offer what people see, you don't take what people can see, you know?

I did it at the end of the week.

They do it at the end of the week.

The next week, no, the second one is on holidays,

Tuesday, Wednesday, you pass it,

most of it is new.

Then it's new again.

Take this money you're spending on paint, man.

Send it to clean the river, send it to clean the well.

They get tired of it, right?

They can't do it.

We do it, we do it, I go there and I say,

I don't know if they're going to make it.

They'll have to spend it, right?

They'll have to buy the three things, right?

They're going to paint, they're going to paint and they haven't covered it,

they're going to paint and they haven't covered it.

There's no way.

No, I was pretty pissed too, because,

like this, they had erased the mural in one day,

the next day they called Milha da Folha.

The media doesn't know what's going on,

I know they erased it.

The mayor, he's going to have to apologize publicly.

After a week, a week, the media didn't stop talking,

they called us.

The city hall called.

After a month.

Kassab himself called, then Matarazzo called,

Andreas Matarazzo.

The city hall called the artists

and will continue.

They're going to make that panel available

so that another graffiti can be made there.

I don't think there's a mistake of 700 square meters.

It doesn't exist.

It doesn't exist.

For me, it doesn't exist.

I've been thinking about it, you know?

I even thought for a moment, like,

fuck, you'll see that the guys really made a mistake, right?

They took it and erased the wall and everything.

But fuck, it's too wrong.

It's a very big mistake.

It's too big.

I think it's impossible for that to happen.

We saw how important it is for the city, you know?

For people to call like this,

fuck, they erased it, man.

Everyone calling, everyone talking, you know?

And now you see us doing it,

that the work is back, man,

the reaction of the people who pass by.

Cool, it's back, right?

Congratulations, thank you, right?

You see how important it is.

I mean, this is already part of it.

One drawing is joining another.

The wall is not all finished yet,

but it's still all coming together, like,

the water that's at the bottom goes to the end,

suddenly a mountain appears,

it's all one thing here.

There are still parts that will be made in Nunca's part,

I'm still going to make the element there,

I think the twins are going to do something there too.

There I need to put in this,

another eye.

Look.

There, that's a Love

UNICORN

hash brown

It's black, but I'm gonna use it!

I think it's cool that they can be showing their work on a larger scale, you know?

For the first time they are doing a work of this scale, of this size.

And I think this is also cool for their work, you know?

To try to break some barriers that may exist for them, you know?

To have to think of a theme to fit with a theme that we are keen to do, that I'm never keen to do, or Nina, you know?

You see, they are the guys who paint the most in São Paulo.

They are present in the whole city, you know?

We invite them to be part of the work.

They have a good style, right?

It's a new generation that has a current language.

They care about this thing of defending a style, you know?

They have their own style.

And they are the current generation, you know?

They are absorbing, you know, this time that we are living.

It's cool to be together too, to develop the work together, you know?

To know how each one develops the whole thing, you know?

Where do these references come from and everything.

That's cool.

It's cool.

The graffiti has this culture of all the people who paint together having everything, you know?

We've known each other for many years.

That's what makes us like each other and want to always be painting together.

I think that when you are an artist who came from this environment,

I think it's different from an artist who learned at the university, you know?

And who knows all the history of art.

I believe that graffiti is another university.

It's not paid.

Anyone can do it, you know?

The fact that you have this habit of being on the street, I think it makes you more chubby.

It kind of makes you less mimicked, you know?

Right?

There's no beige on top of it.

Just that little piece.

You do everything around it.

This life is hard, man.

Yeah.

It's worse than it is, because there's no energy here.

The battery?

Yeah, the battery's dead.

I think it's off down there.

Turn it on!

Man, the battery's dead.

No, it's not. It's off there.

Last yellow light. Red.

That's it, go. Now it's on.

The machine is off.

The battery's dead.

No, it's not. The machine's off down there.

Turn the machine on.

It's on.

It's on?

It's on the other side of the window.

The button on the left, right?

That's it, the battery's dead.

Wow, wow, wow.

What an idiot you are, man.

Wow, you're an idiot, man.

You eat shit, it's not possible, man.

Just lower it, that's it. Sorry.

Really?

Take the whole top off here.

It's ok.

I'll tell the guys to take the cars out too.

Hey, Claudio!

Take the car out.

Hey, Gustavo!

Gustavo!

Take the car out of there.

It's mine, man.

Fuck.

Here comes the man who's jealous of the Gêmeos, right?

I don't need it because the Gêmeos is weak.

The Gêmeos is very weak.

Pay a lot of money to Nunca.

Look, watch out.

The Gêmeos wrote a letter to Nunca down there.

He wrote to Nunca because he copied Nunca.

Will it end soon?

I think it should end soon, man.

What?

It was already written and there's no end to it.

Anyway...

Give her a lifetime, man.

The Gêmeos wrote about God.

And they got stuck on Gêmeos.

One time they'd fert your god.

Well, I saw that once.

One of the time by Arduino,an decimal...

Yeah.

At 6 that time?

That's right.

And it was in there.

There was a G 립erm adaptations of Honors' correspondents.

Yeah.

What's up, Betinho?

Man, this is the first rap song I've ever heard in my life, I think.

I'm Tadu dos Gêmeos.

We started to go to São Bento around 1986,

around 1985, 1986, we were still young.

I think what represented us was what we are today.

The hip-hop movement brings together four cultures.

In music, rap. In dance, breakdancing.

In pickups, DJs. And in writing, graffiti.

In fact, we learned, from everything we know about hip-hop culture,

the first lessons, the first things we learned were there.

We saw a guy from the North Zone with an information,

a guy from the South Zone didn't have it, he brought another one,

and everyone exchanged information.

You take Taíde, DJ Yung, all this generation.

Even Racionais, KLJ, they danced breakdancing.

All this generation that came from there.

That was the beginning of everything.

We danced breakdancing for a long time too,

but we followed this line of graffiti.

I was the one who took them to dance breakdancing at São Bento Lake.

I never accompanied them to paint, for example, trains, train cars,

or hidden walls, like that.

No, I never did that.

I always told them, take care, because if the police catch you,

the problem is yours.

I would tell them.

In 1986, 1987, we painted exactly what the Americans painted.

The idea of style and competing for the best style

is the key to all forms of rocking.

For the rap MC, it's rocking the mic.

For the b-boys, it's rocking your body and breakdancing.

Or for writers, rocking the city with your name on a train.

We wanted to do this, get out of the list.

We have to respect the people who were born,

who were born, from the old people, but we have to keep going.

Everything that was meant to be done with graffiti in relation to style,

with influence from New York, from Europe,

has already been done, you know?

And with Brazil, it seems like it's another experience we have here,

to get a cultural, regional reference.

I thought graffiti was cool.

Graffiti, in reality, for us, was not at the time of São Bento.

There we learned to draw, to see how it was, the culture, everything.

We started doing graffiti, really, in the late 80s,

from 88 to 90.

That's when we started going to the streets and trying to put...

We didn't stay much longer in São Bento.

We wanted to start occupying the streets,

to start doing graffiti on the streets.

To get out of those things, to keep drawing in t-shirts, on paper,

and face the street, like a support.

Discover São Paulo through graffiti.

To really see what São Paulo is.

How is São Paulo, how is it to walk in São Paulo,

how is it to paint in São Paulo,

how is it to paint a police car in São Paulo.

It was at the time that we met Vinho and Espeto.

They were also doing graffiti at that time.

It's a group of people who did it without thinking,

we didn't really know what it was going to be.

You know, they were doing it out of love.

Espeto was a guy who always helped us.

He helped us a lot.

We always exchanged a lot of figurines.

He was one of the earliest guys with style.

In 1984, he said he had a style.

I said, fuck, how does this guy have a style?

Very strong.

That helped us develop ours.

In 1999, when we started traveling,

we already had this strong style.

And that's what we took out.

That's what we built here.

And that's when people started to get to know us.

Fuck, that's cool.

I remember we were doing an exhibition in Hamburgo,

and some guys came up to us and said,

man, that's not graffiti you're doing.

What is that?

We said, no, it's really a place

that has always been very lacking in information.

You didn't know a lot of things.

The first time we saw an American fat cap

was in 1993, when Barry came here

and brought a beak.

Man, when we saw this, we said, fuck, that's how you do it.

Like, there's a beak that comes out of nowhere.

You take a thick piece and you tune it, you know?

I remember that Gêmeos, they sold beaks that were...

They were very bad.

Deodorant beaks, something like that,

that came out kind of thick, you know?

The guys invented the Brazilian fat cap.

Yeah, I bought it once with the guys,

I didn't like it very much and threw it away, you know?

The rest.

The fact that spray paint is expensive

also made us develop a lot of ways to paint.

Use latex first, as a base,

then contour with spray to make it cheaper.

I remember the guys saying,

man, how do you use latex to paint graffiti?

What do you mean?

I remember the first years we went there,

we went to a hip-hop shop, a graffiti shop,

and there was a gigantic wall full of spray cans.

Everything that is color, everything that is brand, everything that is beak.

We said, man,

damn, crazy, right?

What do you want, man?

Just one color and a can of latex, okay.

So that made Brazil, São Paulo,

which is the cradle of graffiti,

have an identity.

And this identity made the difference of graffiti out there.

I believe that all these artists,

they have a certain intimacy with this wild environment on the street, you know?

For me, doing this work at Tete,

it's as if they had called a cannibal to have a cup of tea.

I think it's what everyone thinks it is.

We did what we were thinking of doing,

the first project was this,

doing the masked, naked character holding a bunch of cameras.

And I think, I don't know,

everyone interprets it the way they want.

You know, it really was like a mind-opening experience for me

to come to São Paulo and just see what they are on the street.

I loved it.

I mean, what I was doing when I was there in São Paulo,

every day, every morning I'd wake up,

because I was there when the São Paulo Biennale was on,

I had lots of meetings, I was very busy,

but every morning I'd wake up at 7 o'clock,

and I'd have really long walks,

walk around the city, walk around these,

underneath the car motorways,

take loads of photographs,

it was like heaven, it was amazing.

It really just showed me that this art can be so important

and really inspiring,

and I just thought we have to bring this to London,

and luckily I got the opportunity to do that.

It's no longer graffiti,

but at the same time,

the essence is that of graffiti.

So, it's hard to say today,

are you more graffiti lovers?

What is this?

Is this art?

You can put it as contemporary art,

but you take it out of what would be graffiti, right?

So, I see that, like,

there's all the essence of graffiti,

but I think they're on a little bit of a different level.

But it's hard to dissociate.

It's practically impossible to dissociate.

This here is graffiti, this here is on the street, man.

But it's hard to dissociate.

You may think that's just some kind of fabric

but this is called graffiti.

So, I started graffiti the other day

I did in Cl özantz

I just put a couple of somethings

Then I put on my shirt

and I was like to

I said we needed to get this on part of the đã done

because I feel like I just made a whole bunch of somebody's story.

Very good, until you make a mistake in this ethical game.

Look at that.

Imunal da Justiça...

Mobile.

Mobile.

You get the paint, you put it there, you throw it, and you take it straight to the chair.

The thing is...

Mobility.

Because the law in Brazil works.

Look, take the car there.

For me to put the machine there, bro.

No.

Because the battery ran out.

This machine sucks.

So, I started grafting because I liked grafting.

And I continue because I like it.

It was never something that I had in my head.

I thought, this is going to be my profession.

You know?

But it was something that I believed that could make me happy while I was doing it.

Like my mom.

She always said, I want you to be a doctor.

I want you to be a lawyer.

Develop a job that doesn't run away from the standard.

Over time, she...

I don't know if I made her understand that.

But I think that today she understands it a little more.

That you can have a job that's almost self-sufficient.

And you don't have to work in a company.

Or in a company.

Or be a guy who pays the bills every day.

You know?

To feel fulfilled.

To be happy.

And today...

So...

I live almost exclusively from this.

From selling the paintings that I make.

But when I don't feel happy anymore with this, I go to another.

I keep doing this and...

And I'm going to sell pizza.

I don't know.

It's not what I want to do.

So...

Same thing.

I just...

I give up.

And I know she does.

And I think this is what makes me more happy.

Because of people like you.

The darkness...

The darkness is...

It's inside you.

Folks!

Oh, girl...

I don't know what to say at this moment.

Is it too much? Is it too much color?

Just that?

Man, in the small cans that they're using to contour, you can only see this beak.

He doesn't think.

He takes one can, then he goes up in the cart, then it's over.

Then he goes down and takes another one. Why doesn't he take them all at once?

Oh, he's becoming an adventurer, huh?

The other day, I don't know what happened.

Oh, he's becoming an adventurer, huh?

The other day, I didn't even go up to the bench to pick up the candy in the closet.

Now I have to hang myself in the machine.

I have to do it on the stairs, right?

Yeah, but you can't go down here, right? Not even if I were the size of Kiko.

Son of a bitch, I'm going to fall because of you.

Turn this off, Figo.

Leave the yellow sign, right? To decrease, right?

Give me the roll.

It's very strong. All your drawings look like letters.

Look at the beak of this little bird.

Look, look.

Look.

Let's do one over there?

It's painting, man. You can't.

Who?

You'll know.

I'm there, man, several times.

Oh, there it is.

It's true.

Let's do it.

Let's do it.

Let's do it.

I'll be right back.

You're not going, are you?

No, I'll stay here.

Then get that beak over there.

Do you want me to come over there?

No, no, no.

Here, look.

Did you get it?

No.

Go fuck yourself. Go, go, go.

No, it's bad, man.

This one is good.

So let's use the other one.

Okay.

Where is it? Down here?

Here, on the side. It's a cool place.

But does it stay?

We've painted it 600 times here on the wall.

One more.

One more, one less.

Where is yours going?

Here?

How far?

Here.

Wow, what a son of a bitch.

Look at this.

Look at this fluorescent.

Look at the color he's painting.

When you do a throw-up, it's like when you press the fucking key, you know?

Just like when you're with your friends, one supports the other, you know?

Like, okay, people don't like it, but fuck it.

I'm here with my friends and we like to do it.

And that's it, Leo.

And we do it.

When you go out just to do this, your vibe is different, you know?

You don't care what's going to happen.

You just want to do it.

You put half, like, the beginning and half the end, you know?

You just want to finish what you started.

Throw-up, for those who don't like it, is ugly.

It's what I like the most.

The moment you're there painting, you're painting.

You're not thinking about anything.

It's really not thinking about anything, you know?

It's a moment of therapy.

Mine.

But this is very particular.

For us, it works like this.

I can be going down the hill painting, I don't know, anything.

The ink came out of the spray, went into the wall and it's over.

Automatically, you know?

I'm doing black here, look.

The coolest thing about graffiti is that it takes you from hatred to love very quickly.

You start painting, calm, you know?

Then you're with hatred and you start painting quickly.

Then it's cool, the thing relaxed you, you paint slowly.

Like, there's nothing like that.

Like, there's nothing like graffiti for those who like graffiti.

Only sex.

The only thing is that it's very much the same, you know?

Imagine you have 10 minutes of orgasm.

It's the same.

It's the same feeling.

You're painting a 700 square meter panel.

But every three hours I see everyone here wanting to go out to do a ride under the bridge.

Explain that.

Doesn't this satisfy you?

I don't think so, right?

I don't think so.

You always have this desire to get to a different place, a new place, you know?

To really mark it, you know?

These are totally different things.

This here is a wall sponsored.

That everyone is making money.

That you have time to think.

Go, scratch, go back, look and come back, paint again, you know?

I think if you take some cans and go out on the street, you know?

Scratch or do whatever comes to mind, it's something else, right?

It's another dynamic, it's another thing.

This is it.

This is authorized.

That's not it.

But to what extent is it not?

You know?

For us it is.

Because we are part of the city.

And graffiti has that.

You know?

The fact that you can do it.

You can do it.

You can do it.

You can do it.

You can do it.

You can do it.

You can do it.

You can do it.

You can do it.

You can do it.

You can do it.

You can do it.

You can do it.

The fact that you wrote your name is my name.

It messes with someone's ego.

You wrote twins, that's it.

We wrote.

That is our name.

You will go through worth twins.

Another one.

You wrote your name and you made a drawing that people recognize as your work.

What is the difference?

The two are meeting in a space that does not belong to you.

If the space is not yours, it's self-promotion.

The two are self-promotion.

It only changes the technique.

I think that every time a guy comes in a line,

When you go out to paint a wall of a person,

he says, first of all, never to a private space.

He breaks a rule there.

I don't think São Paulo deserves what graffiti has of better.

You have to do it and fuck it.

It's a total metropolis.

I think every metropolis is big like this.

São Paulo doesn't deserve what people do.

It's very beautiful for São Paulo.

The city doesn't offer you this quality.

They offer you a great deal and the city is a waste.

They delete it.

Then they just redo it because the media emphasized it because it was deleted.

Nobody gives value for giving value.

They only give value if there's a problem behind it.

If you wanna go out and paint, go ahead.

Good.

I need to update this part.

The one there doesn't.

This goes there.

I don't like it.

They left 2 Couetes in there.

Do you know where it is?

He's a cute little boy.

Yeah, he's cute. He's cool, man.

I'm not going to change his name.

That one up there and this one here.

I'm going to erase his name.

You don't need to change his name.

It's beautiful.

If I were a pincher, and I only used my name,

I'd already take care of this doll.

I'd start putting my name from here to there.

If you were a pincher, you'd say you made the doll.

Of course.

In my opinion, a person is a culture.

If I were a pincher, I'd already make a doll.

Like, since it's a female sex, I'd already make a male.

I'd ask for a spray, too.

A mind, right?

I think his name should only be used on the bottom.

Yeah.

As if they were...

Even if they got a rebuff with his name there,

the phone number,

if a store, a company,

needed something from their drawing

to make an image to highlight the company's advertising,

their store,

they'd make a profit with that.

Not by putting their name as a pincher,

because that's what the guys hold.

Because one time you saw that I already painted the foot.

Pincher is everything.

I'm not kidding.

Pay everything so you don't miss your trip.

Have you ever taken a spray can?

Yeah, I've already done it when I was a kid.

I went up to buildings to pin, I'd pin like this.

How many times have the police caught me with a can of spray,

painted my hair, painted my whole body,

played with us, everything?

Every plane that catches a pincher does that.

Paints them all.

I've heard of these twins.

They're from Lapa.

But I don't have any contact with them.

Because in the past, twins were the name of a team.

They're not twins.

The guys are twins.

They're the name of a team.

So, from there on, the guys got bigger.

And then other people come in and say,

here, pay the pincher.

My goal is to pay the pincher today.

Back then, I was a kid, I wasn't even interested in anything.

I'd pin them all, and I'd have fun with anything.

We have two hands.

Two to three hands to get rid of this business.

I don't know if they're being very naughty

or very naive, really.

How are you going to stop, I don't know,

how many millions of kids

from not pinning somewhere?

If you put together how many graffiti artists

and pinners there are in São Paulo,

I don't know, millions I wouldn't say,

but a few thousands.

Do you know you can get rid of it?

So much heart, though it's gonna be a blast,

and everything's going to explode,

and it's going to have to be just a little shaken up

to finish the show,

and what's gonna happen with Sandıco Divorce,

it's going to come out in the next couple of weeks,

and nobody's going to straightforward.

But they think we'll be able to reach it

after 3 or 4 months.

We're not going to break it.

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I can't believe it, I can't believe it, I can't believe it, I can't believe it, I can't believe it, I can't believe it, I can't believe it.

I can't believe it, I can't believe it.

The

They were at the bank and they said,

Mom, we're going to resign from work, because we're going to live in the desert.

I'm almost crazy.

I'm almost crazy.

I'm almost crazy.

I'm almost crazy.

Because everything was their fault.

Everything they thought was cool.

It's a symbiosis, man.

It's a symbiosis, man.

It's a symbiosis, man.

Very crazy the work of the guys.

Like, I don't know, Gustavo started a drawing, he stopped, he was going to do something else.

Gustavo started a drawing, he stopped, he was going to do something else.

Otavio would come back and continue with that drawing.

Like it was Gustavo over there.

Like it was Gustavo over there.

Gustavo.

He had started...

Gustavo.

They never communicated verbally, they always communicated through telepathy, they didn't know how to talk, they didn't understand each other.

It's pretty cool, this car is cool.

It's beautiful, isn't it?

They are two, but there is an entity. Now, of course, the entity, the twins, it seems that you are talking to a person who only discusses their own ideas.

Because they discuss among themselves, but in fact they are discussing the ideas of the twins.

Where did you come from with this?

People who have never seen me speak in Brazil.

Where? Is there graffiti in Brazil?

How is there graffiti in Brazil?

Where is São Paulo?

In Argentina.

São Paulo in Argentina, you know?

It's very long, these questions.

Buenos Aires.

It's very ridiculous, but it was cool because we gave the opportunity for people to know what was happening down there.

People thought they were marginal, because graffiti has always been faced as a marginal thing, you know?

From marginal people.

So they were never seen as artists and it took a long time.

The artistic concept came from when they started to go abroad.

This comes from André Matarazzo, from the mayor, from Cidade Livre, from São Paulo.

They want it to go straight.

This is a complicated thing to come here.

As I said, we are the twins, right?

But we have to keep going.

It's hard, isn't it?

It's hard, isn't it?

It is.

It's really difficult to come here.

We need our own money.

There isn't a page to draw it.

That is only a restore that is said to be used but is the only thing.

If thisæ

Are you in agreement with, by 100%, thestar's criteria?

The work in the prefecture works, and I think it's cool.

I like their workplace.

I agree with the prefecture, 100% of theestro work.

The agreement would be like that, 89,99.

What does that say aboutnorm?

Here you can see the case of this wall, of erasing a work that the people of Germany, when they knew, were horrified to see that such a thing had been erased.

So here it is still difficult for the people who face this as art, because they come to see, but it is complicated to know if there are no drugged people in the middle, if they don't get inspired by the smell of something there.

They say, but they don't do anything, they don't drink, they don't smoke, nothing.

And they always say, my drug is to draw, just smell the ink all the time.

The thing about international recognition, generating a validation of Brazil, happens in everything, right? It is not a phenomenon circumscribed to contemporary art.

It took a long time, since we started to like graffiti, almost 20 years for us to be able to go out and meet other graffiti artists, another culture.

And we, in this period that we stayed there like this, we had to...

Sometimes with little information, we ended up creating another language of painting.

And when we came here, we brought that.

I think it happens in all cultural spheres, by a colonial habit, by a colonial mentality, to consume foreign culture.

And then the foreign culture ends up bringing back Brazilian culture.

I think it's a lack of trust in the taco itself.

To say like, this is good, it doesn't need, you know, an outside caress.

And you see that I only paint with the order of the resident.

I have the order of the city hall, do you think it's beautiful?

So, I'm going to stop at this wall here in front, I'm going to ask if the guy authorizes.

If he authorizes, I'm going to cover it.

Do you belong here?

If you need an authorization to paint that wall, you need to talk to the person in charge, if it's yours.

For you, the city hall?

Yes, it's free of charge, it's from the city hall.

It's that color there, that gray color. It's going to be much more beautiful, you can be sure.

I'm just not going to be able to authorize, man, because it's not part of us.

Where is the entrance?

This building here.

Good morning.

Good morning, we are from the city hall, we have to talk to the person in charge.

And this wall of the block is yours, right?

Block?

No?

Can I paint it?

Thank you.

Every day I pass by, this one I think it's beautiful, but then it was being erased, I think it's a shame.

But I think the big discussion is this, is to raise what is art, what is not.

This is an important discussion today.

Okay.

The people are like that, it's a matter of liking it, right?

It's a matter of liking it.

She always says that, she always thinks it's a shame.

She doesn't like that.

It's not her opinion, she doesn't like it either.

She thinks it's a shame.

Did she say that?

Yes.

She said it's a shame, didn't she?

Exactly.

Was that it or not?

No, she liked the drawing, right?

But it's a matter of...

It was authorized.

What's happening now is this, there will be institutional graffiti, which is where the city council leaves it,

and there will continue to be anti-institutional graffiti, which always...

These guys started like this, really, right?

Doing...

Because you couldn't even graffiti.

Originally, it was for you...

You can't intervene in anything in the city.

The city council is now admitting that there can be interventions and is studying to allow in certain places.

All right, is this official?

Yes, we will have the official graffiti artists.

But look, street art was born as transgression.

So, whoever really wants to do graffiti and pichação will continue to do it.

We were up there, Gustavo came and said like this,

Urru has hair?

Hair?

What does he want to do with it?

Look, he's drawing a little donkey there.

At the time he was doing it, he asked me.

Look for it, bro.

And what did you answer?

I said, look, is it a donkey? There is.

I think he asked the right person.

Look, I still want to look like just a donkey.

Next story here.

Yes, I left to the PVT and it is already looking, right?

No, not now.

I mean, if it filmed it, they would call it called a ur nutri.

samo

Ana

Boa tarde.

See you, guys.

It would be nice if he took some pictures in front of the politician there, a lot of people

would pass by and ask me, is that Kassab? Is that the mayor? Like, no, it's not, let's see, right?

You have clear eyes as a mayor.

That was unintentionally, right? It appeared unintentionally.

They are worrying about something they shouldn't, right?

That it's not a problem for the city, but a solution.

And it's sad that it's not just this job, there are thousands of other jobs, of other artists who suffer with it too.

It's not just us, it's not just our group, it's all over São Paulo.

The guy who comes from the outskirts to be able to do a job here in the city or, I don't know, from the countryside, suffers with it.

The guy gathers his money, buys his ink and does a nice job in a place,

suddenly the guy doesn't even have time to take a picture.

It's kind of like, it's his dream.

That's why, man, you have to fight hard not to lose it, you can't lose it.

It's the main characteristic of São Paulo, you know?

To have graffiti on the street.

For the people to like graffiti.

If you stop painting, you know?

Like, if, ah, it's fading, let's stop and let's paint only where it doesn't fade,

shit, like, we're going to lose it, you know?

You have to fight, like, paint everywhere so you don't lose this, this is what São Paulo is, you know?

Paint everywhere.

Do the things you like, then let's let it go.

Paint wherever you want, because I can put out my mind.

And we don't know, actually, it is important,

but I think there is a possibility skip it.

It's not like, let's just to take the bus.

Do you think you can see the last years of RosaLanxa?

You're not allowed to summarize what Kinders is about.

Look Worldwide.

Our country and society.

związода.com

Subtitled by Fer Butano

Daniel Benjamin

Daniel Benjamin

I think the mayor has to come here to inaugurate the wall, we are in his city, in a way, he takes care of it here.

Before he became mayor, the wall was already there, then it was authorized and sponsored too.

That's it, we do our part, not only here, but in the whole city too.

We wait for it to be done now, right? If that's not enough, we believe it will be.

Because we felt it, you know? The experience we had with the city hall,

I think if he has the criteria to be able to see a façade in 1920,

that he took an outdoor from the front, I think this can also be seen.

I mean, I think this is even more explicit than a façade, I don't know.

Castello is not Scotland, he recognizes our work, why wouldn't he recognize it here?

I think this was an alert, it was a start, you know?

Hey, wait a minute, let me see this here, you know?

Where did you fall?

I don't know.

You fell and ran away?

Yeah.

Okay.

The city hall authorized it, right?

And this wall is going to be demolished.

So he told me when he was injecting that now that I painted the wall,

now I'm going to be famous, because it's like this,

I painted with the top of the graffiti.

I think the mayor will come there to see what we painted.

In fact, he's going to apologize publicly now.

He's going to apologize in front of everyone.

Cool, right? It's a noble attitude.

It's the minimum.

Minimum.

Has the mayor arrived yet?

He has arrived.

You can look at the encuentraar's for the floor.

I don't know where...

I don't know the direction, but I think it...

No, that's putting hè out of there.

Just where is the building coming from?

Dona Maria Mariana da Unica.

Good afternoon.

It's the mayor.

Thank you.

How are you?

I'm good.

The city will be clean and beautiful.

Clean and beautiful.

And more graffitized.

Exactly.

Graffitized, yes.

It would be nice to bring it back.

It's a blessing.

It's a blessing.

I want to see the reaction of the people.

Exactly.

Come down here for me.

Just for the press to understand,

this is a symbolic act

that we wanted to do here.

So, with the presence of the press,

the commercial association,

the mayor, Don Fernando,

we called the population to not disturb.

It's dangerous, there could be an accident.

And then the media will repercute

to let us know that it was the delivery

of this symbol.

But we want to ask for the blessing

for all those who worked here,

those who are here.

We know that art

always understands harmony,

integrity

and unity.

In such a way,

if we take something away

or put something away,

it's not possible.

It's a work of art.

A work of art

in an important place.

A work that,

with a mistake,

had been

erased a few months ago.

But the association understood

the importance of the work of art

of the graffiti artists in São Paulo

and takes this important step

in this recognition and this gift to São Paulo.

It's a big city.

It's a city that needs to live with culture,

with art, generate jobs.

I hope not.

I hope not.

It's obvious that after

a whole media issue,

the mayor went there,

went back, recognized

that it was a mistake and said

let's do it again.

But what about the other graffiti artists?

And all the history that has been erased?

The graffiti artists themselves

who are here, behind you,

they know that this action

is not normal in São Paulo.

On the contrary,

the city has been very respected

and admired by the city of São Paulo.

And especially by our management,

which will continue to do so.

Perfect.

You mentioned that it was a mistake

that this panel had been erased.

Isn't it curious a mistake of 700 square meters,

the size of this panel,

to have been erased?

The actions are in progress.

They are being coordinated

by the secretary of the city council

and have the information available to you.

They travel all the time.

They don't have an agenda.

They travel to a meeting

with the graffiti artists.

They don't have an agenda.

I talked to them.

In the house of Milu Vilela,

one of the walls,

you can see it.

I think that work here

on colorful letters,

on graffiti,

it can't be erased.

Our work, like this one,

is outrageous.

They only have money

and clothes and lots of

maned hasta vous

That I don't know.

Anything like this.

That I don't know.

Ə

Coloquei a melhora

As criança zas mandei chamar

Tudo de banho tomar

From the braided that is to please

Your doctor authority

And the priest to bless

Today let's eat gray

That the Kombi sent to pick up

Hit this Instagram flag to report

I lick the tag on the test

And hashtag to follow

A bomb and a trawap

From the bridge from there to here

Lick against this gray

That the Kombi sent to pick up

Not even the minister or the president

Will agree with the scene

It's enough to be ashamed

And talk about tearing up

I put the best

In the clothes and the children

I sent to call

Don't let me eat gray

That the Kombi sent to pick up

When Cosme and Damião

For the one was to ask

When one of two brothers

Of all was to question

Took was back in the can

And the can will revive

Today let's not eat gray

That the Kombi sent to pick up

Hit this Instagram flag to report

I lick the tag on the test

And the priest to bless

That the Kombi sent to pick up

Hit this Instagram flag to follow

A bomb and a trawap

From the bridge from there to here

Lick against this gray

That the Kombi sent to pick up

Not even the minister or the president

Will agree with the scene

That the Kombi sent to pick up

Not even the minister or the president

Will agree with the scene

Lick against this gray

That the Kombi sent to pick up

Made the

If someone invites me

That the Kombi sent to pick up

I'll know

What night was

Translation and subtitles YAEMI NATUMI

Subtitles YAEMI NATUMI

Subtitles YAEMI NATUMI

Subtitles YAEMI NATUMI

Subtitles YAEMI NATUMI

Subtitles YAEMI NATUMI