25 Amazing Soviet Union Posters 1980s

We love art regardless of political persuasion or geography of artists creating their pieces. We recently acquired hundreds of original Soviet Union Posters dating back to 1917. The posters featured below are from the 1980s when the threat of nuclear war was broadcast across all media platforms and many thought it was a matter of time before the western world would disappear beneath a mushroom cloud. These posters are from the Soviet Union and never seen in Europe or USA....

 

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LSD Magazine Interviews US Street Artist RSH (Issue 6)

Polymath of the creative arts, lucid surfer of the mists of mysticism, all round politically illuminated mischief maker and creator of a bizarrely psychedelic, sinuous menagerie of monstrous glee, Raymond Salvatore Harmon dances through the barricades of medium with an irrepressible energy. Laced with a sublimial whisper, his film, music and abstraction alike glow with the rich hue of the esoteric, the internal, the eternal and the subconscious while his visual activism cuts straight through the layers of buried meaning to deliver a straight up punch to the solar. A lecturer and a formidable knowledge bank, a painter and a stencil artist, he also delves deep into the geometry and texture of electronic music, the nature of light and its channels and the fiery symbolism of conceptual film. unifying the often lonesome strands of sensory expression into a barrage of seductively arresting output. We spoke to him...

How did growing up in industrial Detroit shape your perceptions of society? 

Although I did spend a ton of time in downtown Detroit proper in my teens I actually grew up in a town about 45 minutes outside of Detroit. It was a desolate postindustrial scar on an otherwise green farmland. It plays host to what was once the world's largest walled prison and claims to be the place where the Republican Party was founded. In my teens we would break into the former Goodyear Tire plant complex (1.2 square kilometer factory) and skateboard on the steel floors. The plant closed in the early 80s due to a huge explosion that ruined one of the buildings. When it closed 30,000 people lost their jobs and the town was gutted financially. Still, the town has one of the best comic book stores in Michigan. Michigan in general is weird. I hated it as a kid and when I would go back in my early 20's I felt like I was suffocating, even if I was just visiting. But something about that place breeds intensely interesting, massively creative people. Motown, the Stooges, Juan Atkins, MC5, Wolf Eyes, Andrew WK. I came up seeing amazing shows in Detroit and was around during the birth of the noise scene there in the early 90's. I remember being at a rave in about 1991 with Graham Massey of 808 State and a friend of mine who was performing. This back when raves had bands like the Shamen or Meat Beat Manifesto, before the rise of DJ's. Orion pictures was there to film some movie about dance music that never came out. In hindsight I was in an amazing place and time seeing incredible things and doing ridiculous stuff. But it never seemed enough when I was young. Everyone I knew wanted to escape, to go out and see the world and get away from what we thought of as a boring existence.

What were your first forays into expressed creativity? 

I come from a family that promotes creativity. I have aunts and uncles who are artists in one way or another. So I started drawing young (like all kids) and just never stopped. I first started doing graff work in my teens, mostly as tags on buses and terminals in the 80s and early 90s. Then when I moved to NYC in 95 I started working with a crew of kids from the School for Visual Arts. I was the odd man out as I was older and didn't go to art school. All we did was paint the pieces designed by one guy, which got boring fast, so I moved on. It wasn't until 2003 or so that I started painting the sea / space monster things I do now. They grew out of drawings I had been doing for years. Kind of automatic drawing style psyche stuff.

When did you first begin to take an interest in the esoteric? 

When I was young, like 11 or so, I was fascinated with mythology and fantasy stories. I started reading up on the witch trials and slowly gravitated to more mystical work. By 13 I had figured out how to get books from other libraries sent to mine and was reading books on 14th century demonology and kabbalah. Crowley came along by my mid-teens, as did yoga, meditation and other mind expansion techniques; although I was totally straight edge (though not vegetarian) all through high school.

In the final analysis, what is your take on Crowley? 

Crowley is funny, especially in the UK where he still gets press. On the one hand he was an amazingly intelligent guy who spoke a half dozen languages and wrote an enormous amount of brilliantly insightful material into mystical traditions, esoteric thinking, and the nature of religion. On the other hand he was a man raised with money, used to being given what he wanted and overly indulgent of his desires/passions. The thing I find funny is how they still call Crowley a "Satanist!" in the UK press. It's been 100 years and as many books have been written about him and yet no research gets done or basic fact checking when an article about him comes out in the mainstream media. Yet when he does get mentioned its always "DRUG USER! "SATANIST!" etc. In today's world someone like George Michael it doing more in the way of "bad things" than Crowley ever did. How controversial is a guy who is bisexual, practices yoga and does drugs today?

READ FULL INTERVIEW IN LSD MAGAZINE issue 6

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THIS IS WHAT RSH SAID ABOUT THE INTERVIEW

LSD MAGAZINE - ISSUU PROFILE

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ALSO FEATURING INTERVIEWS / ARTICLES FROM THIS MOTLEY CREW


Ananda nahu, The Correspondents, Solo One, Soulflux, The Orb + Youth, Jerm IX, 69 DB, Raymond Salvatore Harmon, Rennie Pilgrem, The Yes Men, Resto, Chaz, Neurodriver, Lokey, Elate, Dhear One, Page 51, Umek, Karma, Andrew Tiernan, K-Guy, Richard A Webster, William Parry, Andy C, Jesus Greus, Push Pony, James Lightning Wilks, Dominic Spreadlove, AK - 47, Mr Sofalumpkins, Mat Banbury, MikkiM, David Corden, Ian Milne, Punch Music, Hudson Zuma, Wayne Anthony, Sirius23

LSD Magazine Interviews Artkieda's AK-47 (Issue 6)

Is heisting a piece of art a work of art in itself? Those are the blurred lines prankster, mischief maker, artist, jump-suited nutter and all round shadowy doer of mayhem AK 47 is out to cross, then reverse and cross over again. Infallibly controversial, from his light fingered lifting of Banksy’s Drinker which led him straight to the still smoldering Bonfire of the Momart Vanities to nicking Tracey Emin’s latest slice of drivel, he has opened questions about ownership, value, and the flexibility of the concept of conceptual art. An artist in his own right in between court appearances for exhibiting live firearms, we caught up with AK himself for a quick word...

How did you get involved in the street art scene? 

As a kid I used to do a lot of tagging when I was about 17/18. This was in 1974, before anybody knew of the term tagging or knew what it was. I used to write ‘linky ok’, the ‘ok’ was a bit like a ‘@’ sign with the ‘k’ inside the ‘o’. I got arrested for criminal damage on a local bus shelter and while in the cells I dug into the old plaster wall in huge letters, ‘linky OK’ which made my not guilty plea to the shelter damage impossible.


You made headlines when you kidnapped a Banksy piece in the west end of London called The Drinker. What made you lift the piece in the first place? 

As a joke and because I knew I could, I knew nobody else would have thought of doing it How did you go about taking The Drinker and where exactly did you take it? I hired a lorry with driver from a friend’s garage in mid-afternoon, went down and removed it from the back of Tottenham Court Road. We drove the piece off blindfolded so he couldn’t see where he was going. Haha. We took it to a friend’s squatted warehouse in Dalston, just off Kingsland road. Did Banksy see the funny side of the stunt? I don’t know, I hope so. I know his manager Steve Lazarides didn’t.

We’ve watched YouTube videos showing you and the lads pretending to blow the piece up with fireworks but what did you really have planned for the piece?


I wanted to swap it for a Banksy original canvas. I mean, I did get him his first broadsheet front cover, a PR dream. I was even contacted by the Guardian’s legal team and made to sign an affidavit that I was nothing to do with Banksy or Pictures on Walls and that this was not a publicity stunt arranged by him. This PR alone was worth a piece. When I sent him the ransom note he offered me the money to buy a gallon of petrol to burn it, and I said I would gladly do that if he gave me a can of petrol that he signed. I was, and still am a massive fan and couldn’t really afford one of his pieces.

READ FULL INTERVIEW IN LSD MAGAZINE issue 6

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 London Street-Art Design Official Portal

ALSO FEATURING INTERVIEWS / ARTICLES FROM THIS MOTLEY CREW


Ananda nahu, The Correspondents, Solo One, Soulflux, The Orb + Youth, Jerm IX, 69 DB, Raymond Salvatore Harmon, Rennie Pilgrem, The Yes Men, Resto, Chaz, Neurodriver, Lokey, Elate, Dhear One, Page 51, Umek, Karma, Andrew Tiernan, K-Guy, Richard A Webster, William Parry, Andy C, Jesus Greus, Push Pony, James Lightning Wilks, Dominic Spreadlove, AK - 47, Mr Sofalumpkins, Mat Banbury, MikkiM, David Corden, Ian Milne, Punch Music, Hudson Zuma, Wayne Anthony, Sirius23

LSD Magazine Interviews Belgian Street Artist Resto (Issue 6)

Belgian artist Resto has been taking the flatland's by storm with his gargantuan dreamscape of lovingly warped, modern mythic wonder. Rippling with vibrant colour, he dances through styles from letters to questionably attired giants and has become notorious for the sheer scale and epic nature of so much of his work - often in collaboration with ROA. A wink and a comedic nudge infuse so many of his characters, yet always tempered with a deep compassion that brings his gorillas, his giants, and his lunatic living machines into the realms of empathic humanity. Steeped in the phantasmagoric tradition of the surreal from El Greco to the present day, he has carved his own identity into the industrial landscape of the modernity as his characters and his paintings plaster a warm, loving smile over all of our faces. We spoke to him.

How long have you been painting walls? 

My first spray can works date from around ‘96, my first illegal piece must have been 50cm by 50cm hahaha the more serious work came about a year later. 

Are you formally trained or did you shoot from the hip? 

I got an education at the Academie of Fine Arts in Gent, etchings, linocuts and silkscreenprinting was my master. Allthough I can’t say that helped me a lot.. whether this was my fault or the teachers... who will say. All I know is that I am far more happy now doing my own stuff than back then when teachers told me this or that is not art. If that’s what you mean.

Scale and colour seem to be your signature, when did you decide to paint such large colourful pieces? 

After I got kind of bored of always painting five letter pieces of the same height and length I guess.


Do you enjoy painting letters as much as painting characters? 

Allthough I kind of got bored doing only letterpieces, I can still enjoy it. I’ve always liked the typographic part of graffiti, that’s what kind of got me into it. But O my god how many times can one repeat the same letter without getting bored with it. Before I actually used to switch names quite often just because I got bored with the letters. A lot depends on the wall and who I am with but in general I enjoy more and more drawing on walls (wherein letters can be involved). The bottom line is: Tags and simple pieces for quick enjoyment, characters and muraldrawings for bigger projects and a longer effect of enjoyment.. 

 
How long does it take to paint those large walls? 

It depends on how big the wall is, so mostly the job is done in one day. (What can be a long day...) About twelve hours must be the longest I’ve worked on one piece, although I can’t wait to go bigger.


What or who influences your designs most? 

That’s a hard one, so much people do, every day new things influence me. I am not a person who tends to keep to one style or technique, because I usually get bored of it very fast. But I could say people close to me influence me, my daily collaborators, crew members and co, and the there are about a million artists I look up to, from El Greco, Bosch, to Schiele, Paul Klee,... Phillip Guston, Jean Spezial are great friends and I think their work is amazing, together with lots of todays illustrators, some of Gents greatest talents, Pointdexter, Bue,...and so much more, not to forget Blu, EricaelCane, Honet, Horfé... Mostly I get my influences from people who make illustrative stuff with great detail. 

 
How do people respond to your work in the city? 

I must say we kind of built up a good vibe in the city towards graffiti/street art approaching it from a different angle. Asking people if you can paint their wall can be much more rewarding than just doing some

READ FULL INTERVIEW IN LSD MAGAZINE issue 6

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 London Street-Art Design Official Portal

ALSO FEATURING INTERVIEWS / ARTICLES FROM THIS MOTLEY CREW
Ananda nahu, The Correspondents, Solo One, Soulflux, The Orb + Youth, Jerm IX, 69 DB, Raymond Salvatore Harmon, Rennie Pilgrem, The Yes Men, Resto, Chaz, Neurodriver, Lokey, Elate, Dhear One, Page 51, Umek, Karma, Andrew Tiernan, K-Guy, Richard A Webster, William Parry, Andy C, Jesus Greus, Push Pony, James Lightning Wilks, Dominic Spreadlove, AK - 47, Mr Sofalumpkins, Mat Banbury, MikkiM, David Corden, Ian Milne, Punch Music, Hudson Zuma, Wayne Anthony, Sirius23

LSD Magazine Interviews Drum'n'Bass Supremo Andy C (Issue 6)

Slamming deep into the LSD mix rides the one, the only, Executioner, Mr Andy C. From his early years carving old skool hardcore classics out of a tape machine and an electric current of lifelong inspiration, Andy has systematically revolutionised drum n bass again and again, keeping it rushing forward on the front foot, tearing down the barriers in its path and hurling its pulsating energy at ever wider audiences. RAM Records, the label that he started with his old family friend Ant Miles has grown into an institutional powerhouse of next level creativity, rampaging basslines and an artist roster that virtually defines drum n bass itself, shaping the movement and guaranteeing its permanency in the hearts of millions...

How did you first hit the scene, start getting on a set of decks and thinking about production?

To be honest, the production came before the DJing. When I was still a pretty young lad, a family friend of ours, Ant Miles had a setup and I would go round his house after school to try my hand, and with his support and encouragement, I began learning how to make music. As I was starting to really get the hang of it, by complete chance, I met Red One at a work experience placement who aside from holding down a job, was also putting on raves in London. He invited us down to this party called Imagination in Bishopsgate, and on the first night we piled up there, I just found myself gravitating towards the decks. There was this DJ called Just Jones playing and watching him, seeing how the tunes dropped and the relationship with the crowd as they reacted to his mixing was my first real interaction and my first real glimmer of understanding of the possibilities of DJing and I knew from that point onwards what I wanted to be doing with my life.


Your first release, the Sour Mash EP was bursting with instant classics. Did you have any idea of just how successful it was going to be and just how quickly you’d be breaking the scene?

Well the first release was actually Desired State – an old hardcore record, though Sour Mash was the first EP that went out on RAM, and as far as how it went down, unexpected doesn’t even begin to cover it! That EP took me forever to write, not least because it was all done on old equipment that you had to record down to a sixteen track tape machine, and the whole process was just so long winded. I guess that the integration from that record summed up what I was feeling at the end of my school days – I mean I was 15 or 16 when I was writing it and all the samples were from old TDK 90 tapes that I’d recorded off the original pirates like Sunrise and Centreforce, so they all sound gritty and seriously low quality, especially to today’s ear, but as the first RAM release, it really did set the ball rolling and absolutely bolstered my dedication and my confidence to pursue what was both a hobby and a career at the time. That was the thing, it wasn’t that serious when those tunes came out, but the success of the EP galvanised me into moving out of the hobby zone and into the realisation that I really could make music my life.

So you’re still really young, but how aware were you of being swept up in something far bigger than just the music?

Luckily, I had an older sister who had been going out for quite a while already, and she had been to all the original raves at the end of the 80’s – Sunrise, Fantazia – the real genesis of the rave scene that had been springing up in the UK. I began grasping the extent of the movement through her, and apart from turning me onto pirate radio, she took me to my first rave – an illegal party in Essex when I was 13 – bit naughty really, but it was an all nighter and I’m stood there in the thick of it all with my sister and my mate just having my mind blown. It was without a shadow of a doubt, the most amazing night out ever, and that was it for me – all I wanted was to get carried away by it all. The record shops were also a major focus of the scene back then, the epicentre of the community, and they’re sorely missed today in my mind. We’d all meet up at Boogie Times in Romford at weekends, and I’d be shooting down there after school, waiting on the latest white label to come in, while people flooded in and out buying their rave tickets, grabbing up flyers, buying t shirts and record bags – you name it. There were literally hundreds of people through the doors at the weekend, and when that is happening around you and there is that atmosphere of pure excitement, it does give you that spine tingling feeling of something major dropping, a real sense of an underground. And then when midnight hits and you’re out at a rave surrounded by thousands upon thousands of people, not only are you spectacularly aware of something epic going down, but you’re there and part of it.

Did you feel that social barriers were being broken down?

Social barriers have always been broken down by music and our scene was definitely a massive catalyst for tearing down our generation’s social and cultural differences and building a wider unity. On a personal level, I’ve met, and become friends with so many people that ordinarily I probably wouldn’t have just by having that common ground of music of raving and of a shared ethos , so without a doubt – they truly were.

READ FULL INTERVIEW IN LSD MAGAZINE issue 6

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 London Street-Art Design Official Portal

ALSO FEATURING INTERVIEWS / ARTICLES FROM THIS MOTLEY CREW
Ananda nahu, The Correspondents, Solo One, Soulflux, The Orb + Youth, Jerm IX, 69 DB, Raymond Salvatore Harmon, Rennie Pilgrem, The Yes Men, Resto, Chaz, Neurodriver, Lokey, Elate, Dhear One, Page 51, Umek, Karma, Andrew Tiernan, K-Guy, Richard A Webster, William Parry, Andy C, Jesus Greus, Push Pony, James Lightning Wilks, Dominic Spreadlove, AK - 47, Mr Sofalumpkins, Mat Banbury, MikkiM, David Corden, Ian Milne, Punch Music, Hudson Zuma, Wayne Anthony, Sirius23

LSD Magazine Interviews Graffiti Writer Solo One (Issue 6)

As his extraordinarily complex pieces burst and ripple with texture, tortured shape, organic brilliance and an intangible bridge between the sublimely spiritual and 2000 AD on acid, Solo One is busy building extraordinarily strong graff in the community relations. Having taken over the ball court of the Stockwell Park Estate and lovingly sprayed and curated it into a glorious urban gallery a million miles away from the soulless glitz of the commercial launch, he is infusing graffiti directly into the heart of the community consciousness where it belongs, through inclusion, open hearted passion and strict quality control. His work is a phantasmagoric trip into the world of controlled chaos as patterns writhe through space and whistle into an explosion of spiraling visual mayhem. Thoughtful, driven and insightful, we had a word...

We know your a big comic book and cartoon fan, so how do you think the graphic novels of today compare with graphic novels of the 1980s? 

I don't really read comics now but I was really inspired by 2000ad, Epic illustrated and various comics from the eighties. I used to like The Independent newspapers political artist, and the bog-side artists were a huge inspiration on me and all the political murals in Northern Ireland.

You started painting in 1987, roughly the same period that spurned the Acid House movement. Did you go down the hip hop path or were you a House head? 

I was into all music. I ran a radio station from 92 till 97 so used to like the majority of stuff British artists were putting out. The station was called Mix FM, you can see it on www.piratearchive.net . I had no time to rave, the radio was a busy operation. I used to love underground music, mainly hip hop as I found the Acid house thing full of drug addicts. Some raves were about as entertaining as watching a hamster go round a wheel.  

Where were you painting in the late 1980s and who with?  

I used to paint with Alert, Crase, Pulse and Vop crew in London. Anything that came out at night I would paint with.   

We heard you were run out of your home town Hinckley by police due to your nocturnal painting habits? 

Sometimes you can become way too popular for your own good. Didn't have too much of a Police problem as lets face it if you get arrested there's somewhere to sleep. You got a choice of breakfasts at Hinckley, I was always a Continental guy.

 Tell us how you became known as The Sticker King of London. 

I wanted to do a art project where you take a functional item and change it into something else and make it popular. The aim of the sticker project was to make it popular and force the Post Office to withdraw them. I succeeded there after putting about a million up over 4 years.Getting up is the esscence of graffiti and you should experiment with differant concepts. I was featured in a book on crime called ' Cultural Criminology Unleashed' by Jeff Ferrell on glasshouse press. That was a academic study on crime and I made it. The art project finished as I wanted to get back into painting.

READ FULL INTERVIEW IN LSD MAGAZINE issue 6

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 London Street-Art Design Official Portal

ALSO FEATURING INTERVIEWS / ARTICLES FROM THIS MOTLEY CREW

Ananda nahu, The Correspondents, Solo One, Soulflux, The Orb + Youth, Jerm IX, 69 DB, Raymond Salvatore Harmon, Rennie Pilgrem, The Yes Men, Resto, Chaz, Neurodriver, Lokey, Elate, Dhear One, Page 51, Umek, Karma, Andrew Tiernan, K-Guy, Richard A Webster, William Parry, Andy C, Jesus Greus, Push Pony, James Lightning Wilks, Dominic Spreadlove, AK - 47, Mr Sofalumpkins, Mat Banbury, MikkiM, David Corden, Ian Milne, Punch Music, Hudson Zuma, Wayne Anthony, Sirius23

 

LSD Magazine Interviews - Street Artist 'Stik' (Issue 5)

Since we last spoke to Stik in Issue 3, not only has he got exponentially more prolific, but he has seemingly become pretty politicised, and is lending his talents and his characters to various campaigns. Add to that a visit to the House of Lords, and we just had to chase him up for another chat 

We’ve snapped you around town over the last 12 months and you’ve been a busy boy. Tell us about some of the summer’s highlights so far…

Over the last few months I’ve been back to Glastonbury after the council deleted my mural in the town itself. I went down to the festival to paint some walls but I got there so early, there were no walls yet built to graf so I had to go off in search of somewhere to paint. I did the town mural three months ago and heard it got defaced before the council deleted it. It actually made the local newspapers and online community because the people of Glastonbury was asking for it back. So it was quite a pleasure to go up and put it back early on a Sunday morning. It made the Glastonbury Festival paper as well which was cool. Whilst I was still up there the mural got defaced again but by the time I heard and went up there somebody in the town had actually repaired it. I’m really happy the town people have adopted the piece. I’m just learning how Glastonbury works and how street art is being received by the people and council. I’m starting to try and put roots in Glastonbury as a second or third home. There’s a lot going on there - different camps and tribes from hippies to healers and white goddesses while at the same time there’s a very conservative viewpoint in play as well. It’s really about people trying not to offend and move things gently on in the street art scene. I did some pieces at the Glastonbury Festival as well - the toilets. They were the only standing structures when i arrived there. 

 
We noticed you’re getting involved with certain activist groups, how did that come about? 

I’m from a political background as my art family are very political so I’ve been around it for a long time. I don’t want to be known as a political artist but I think the chickens are coming home to roost. There are some causes I feel very strongly about and I feel comfortable enough in my art to start applying that to subjects greater than myself. The Stik men started out as very personal images or emotive and they transfer the human story really well on a political platform. Many political issues are extremely complex and very dry, so it’s hard to say what’s going on in simple terms. But to create a little image that says this is the situation in Bhopal or in the Niyamgiri Hills or in Hackney Wick and Temple Mills, brings it to a different audience because I don’t read political newspapers. I’m not even into reading. I’m a visual person and there’s a lot of people like that who are missing out on understanding the core issues of what’s going on in the world. A lot of these causes are out there and need to be brought to life in a different way.

Tell us a little about the banner you’re painting today. 

This is for the people of the Niyamgiri Hills who are being removed from their land by a London based mining company called Vedanta. It’s a mountain range in India and this particular mountain has been their home for millennia. It’s their mother, it’s their god, it’s their land and it’s their keeper. Vedanta plan to blow the top of the mountain off and extract bauxite from it. It’s been described as a real live Avatar situation, the idea that the mountain itself is a resource that Vedanta want to turn into aluminum. That’s why I used the silver paint on the banner - the aluminum mountain and it highlights cost and value and conflicting interests. It’s all very complex and someone from the tribe is speaking on behalf of Vedanta so they are putting a lot of pressure on the people. There’s a lot of foul play going on and manipulation as the company is trying to make it as complex as possible but it’s actually really clear cut. There’s been a lot of development already happening in the area and the first thing to be effected is the water supply which is contaminated by the Vedanta factory. If you search online you’ll find a really nice film presented by Joanna Lumley that really gets to the heart of the matter. You see children staring into the camera saying ‘no one will take our mountain’ and I look at them and think - I believe you mate. But in the face of bulldozers, corporations and large work forces these people need our help and support. The banner is being hung outside The Institute of Civil Engineers as part of a demonstration there. Survival International will be there plus some other political activist groups.

READ FULL INTERVIEW IN LSD MAGAZINE ISSUE FIVE

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French Artist Says 'NON'

We have French artist Alsa lined up for LSD Issue 6…See the site for more work…

Pour aujourd'hui est demain  faut aussi savoir dire NON!
La rue est a nous!

J'vous invite , NON pas a UNE...Mesdames et Messieurs, mais a DEUX expozitions! Pour cela il vous suffira seulement de vous rendre , pour ceux qui ont le privilège d'habiter la capitale de la France;  Mulhouse , le 10 septembre a 18h (vernissage) 16 rue Sainte Claire  a la Galerie le TRUC ou je serais présent a l'occazion d'une expo "La rue est a nous!" d'un certain Alsacherie... http://www.letruc.fr/

Pour celles et ceux , Mesdames et Messieurs qui habite la Capitale du Monde entier ;PARIS, il vous suffira de vous rendre à la galerie de l'association  APACC, 19 rue Carnot, Montreuil (Métro Croix de Chavaux) a partir du 10 septembre 18h (vernissage) pour y voir " One Nation...Overrun",  une exposition d'affiches décollées des murs de France et de Navarre, ( y'a des bruits qui courent super fort fort que  mes affiches s'y affiche!!!)   :)
  http://apacc.canalblog.com/  http://www.callay.com/

si vous voulez matter  la serie entiére des NON c par la>>>>  http://alsacherie.free.fr/affichage%20libre/nonn.php ps special thk's to André de mulhouse qui pose pour la photo!