The last full day of my trip: drizzly grey and a mounting head cold, city still shuddering from the previous night’s storm. I would not be stopped by the weather or my health (I really should have been stopped by that) or my impending departure or my own crappy attitude. I was going to go out and find something cool. Goddamnit.
It was more than my intuition that told me that Something Cool would be in San Lorenzo. It was Jessica from Rome Photo Blog. Specifically, she told me: “Go to San Lorenzo. Take the number 14 street car. There’s lots of cool street art.” It seemed a good enough activity for my final day in Europe. Because Lord knows I hadn’t tromped around in the rain hunting down street art enough on the trip.
I like Rome’s neighborhoods. I supposed every city has its distinct neighborhoods with their distinct vibes, but for some reason the differences feel more marked in Rome, where perhaps the centuries have dug those differences down deep, deeper than in other places. The center, while magnificent, bums me out and exhausts me, with its gaggles of people and trinket shops. There’s not a lot of contemporary culture to dig into. And contemporary culture is kind of what I’m all about.San Lorenzo is one of Rome’s hippest neighborhoods. It’s the bombed-out, more gentrified version of Pigneto—or rather, it’s formerly bombed-out and further along the gentrification scale from Pigneto. The working-class 19th-century neighborhood received the heaviest bombing during WWII, and I don’t know if all that crumble I saw was a remnant of that or just a result of the usual Italian building decay. Either way, it was fucking cool. There’s a lot less immigrants than in nearby Pigneto, and the neighborhood seems to have moved deeply into the third stage of gentrification: when the local business begin catering to the new residents. San Lorenzo’s proximity to the enormous La Sapienza university means there’s tons of students and tons of artists, with a proportionate ton of trendy stores and cool record shops and cafes with wifi.
And a whole mess of graffiti and street art.
I hopped off the tram when the walls began to resemble a two year old’s furious crayon scribbling.
I was delighted to see some good ol’ Space Invader the moment I got off the 14. He’d recently come to Rome, and has an upcoming solo exhibition in the city. Word has it (ok, Jessica told me) that Roman street artists are pretty stoked about Invader’s, um, invasion (I hate myself for using that pun)—hoping it’ll lend a little more attention and validity to their own work.
I wandered about a bit, until I found what I was looking for: Something Extremely Cool. Along Via Delgi Ausoni, on a wall surrounding the block-long Fondazione Cavalieri di Colombo, was the best street art I found in the city. It was like the Clarion Alley of Rome.
Hey, Ekua, check it out: a whole wall of Hopnn!
Okay, so the picture doesn’t give you the full effect, but a shadow/inverse of the stencil was actually put on the sidewalk in front of the wall as well—so it felt like you were walking through some weird mirror of the piece. Cool ass effect.
Too cool for just one picture…
This reminds me of Retna:
I’m not totally sure what’s going on here, whether the figures were wheatpastes that got taken down, or if that was an effect was created intentionally—but a pretty fresh, haunting effect, especially given the message written:
But to be fair, most of the stuff on the walls in San Lorenzo looks like this:
Okay, so I’m gonna be the asshole and say it: this is not aesthetically pleasing. But it reminded me of this conversation I had with Pedro at Fame Festival, about the need to create urban spaces designated for street art, like they have in Melbourne or in that tunnel in London. I can totally feel people when they complain about piss-poor chicken-scratch tagging all over their neighborhoods; it’s ugly. But cities need to have some kinda strategy towards graffiti that goes beyond just prevention.
When I was growing up, the Oakland Public Schools had a full-time employee whose sole job was to go around and paint over graffiti on all the school campuses. Which seems like a damn waste of resources. The sad thing, to me, is that these kids obviously have something to say, something they wanted to communicate, and no other way to do it. I think it’s important to create those spaces, walls and zones where they can throw up pieces—to give kids the space to say what they need to say. (I’m assuming this is what’s being discussed in this news coverage of Pedro’s Crono Lisboa project…)
Because you never know which one of them just might grow up to be a dope street artist. And because it limits the amount of tagging elsewhere. And because it looks cool as shit.
I’m not sure what all that has to do explicitly with San Lorenzo, except that I was thinking about that as I wandered around the neighborhood. Here’s some more stuff I spotted:
This C215 piece was actually on the wall of a church. It blended so well I wasn’t sure if it was street art or the church’s actual art work until I saw the signature logo:
Lots of stores had pieces on their shutters…
But I think my favorite might have been pieces that worked with the crumbling facades of San Lorenzo. I get pretty stoked on well-done site-specific street art, when the environment and the art interact with and inform each other…
Walking around there, damp-footed and achy-throated, I had to say a little thank you to San Lorenzo, for giving me one last cool adventure on my trip. And for reminding me that Rome is more than history and monuments—that it’s a damn big city, and a damn great city, and that there is contemporary culture—just beneath the surface, below the rubble, just a short tram ride from the center.