the respect pact
The Vertigo Graffiti team created a series of murals in Tukseom Park in the Korean capital. With this trip, the team of Colombian artists completed their first trip around the world.
With the creation of two large-format works in the province of Izmir and in front of the Aegean Sea, Vertigo Graffiti sealed its return to Turkey. These interventions were part of the Foreign Ministry's plan to promote Colombia abroad.
With the support of the Gilberto Avendaño Foundation, the Vertigo Graffiti team, made up of YURIKA and WORDMDC, gave a new life to the well-known mural El Beso de los Invisibles (The Kiss of the Invisibles). For nine days, the artists reconstructed an image that is now part of Bogota's emotional heritage. Click on the image to learn more about the process.
Vertigo Graffiti is a model of strategic management of public space, which since 2009, has been designing, creating and executing urban development projects, large format murals and consultancies related to the analysis, understanding and use of public art and graffiti.
In 2016, Vertigo Graffiti inaugurated its urban art gallery with periodic exhibitions in which artistic objects such as canvases, silkscreen prints, sculptures, photographs, drawings and prints are exhibited and commercialized.
To learn about our day to day, we invite you to follow us on our social networks.
We conceive public space as an ideal environment for the construction of a market of benefits (tangible and intangible) between the public sector, the private sector, the community sector and the artistic sector.
Since 2013, when we carried out our first artistic intervention project in Getsemaní, Cartagena, we verified the relevance of urban art as the spokesperson and mediation of the public debates of the communities.
In 2016, we had the opportunity to transform an entire sector of the city of Bogotá, with the creation, design and direction of Distrito Graffiti Bogotá, a specialized graffiti and urban art scene that currently has more than 110 works and more than 7,000 meters intervened.
The renowned Catalan urban artist Pez presents to the public a collection of works in his exhibition La Nueva Ola.
The show includes paintings, sculptures, augmented reality, silkscreen printing and sketches.
The exhibition will be held from June 4 through June 18 at CASATINTA. (Tv. 17 #45D-61, Bogota).
You can register in the tab below to organize your visit.
Painting is the last step to follow in public space intervention projects. In this sense, it is essential to have a previous and methodical analysis that determines the feasibility of the projects in terms of budget, visibility and artistic deployment.
Vertigo Graffiti offers observation, analysis and decision tools for intervention projects in public and private spaces derived from its experience with clients from different sectors since 2010.
In 2016, with the exhibition Los Emergentes, Vertigo Graffiti inaugurated its gallery of specialized in urban art and graffiti, which to date has promoted the work and careers of graffiti artists with periodic events of exhibition and commercialization of artistic objects that include canvases, metals, silkscreen prints, photographs and prints among others.
With the arrival of the 2020 pandemic, and in search of alternatives to stay afloat in the face of the different confinements we inaugurated our virtual gallery based on our social networks. With more than 150 pieces and art objects sold in recent months we have configured our social media (networks to serve as channels for the promotion and exhibition of the works.
Since the consolidation of its virtual strategy, Vertigo Graffiti has launched two screen-printed works derived from its murals in Bogota (Besos Invisibles) and Belgium (Mirada Compartida) which have been sold in Colombia, Central America, the United States and Europe.
Beyond the repeated debate about the legality or illegality of graffiti. Or the endless (and byzantine) difference between vandalism and art, we have considered it necessary to join more recent and unprecedented debates in a space of our own expression.
With periodic publications we will try to propose themes and nuances of the practice that include the concept of graffiti artists as invisible masters, the construction of citizen agreements based on public art and the challenges presented by digital experiences for graffiti.