Global Graffiti considers submissions of literary, artistic and cultural criticism; dispatches; reviews; creative writing (stories, selections from longer works, poetry, essays); and visual art.  If you’d like to submit, send your work along with a bio/resume/c.v. to

Make sure to view the current issue for information about special topics for upcoming issues.




This video, “9300 KM,” follows a collaborative graffiti wall made by artists Reiz and Defco while 9300 kilometers apart from each other (the former in Paris and the latter in Saint-Denis de la Réunion, an island in the Indian Ocean). Trust us, it’s worth a view! Click the link below.

Director: Reiz | Defco

Framing: Reiz – Zinc | Bodgä | Defco

Editing: Reiz | Defco

Post-production: Defco

© 2012 Colorcircusprod

Kwets, Barcelona 2012

Guatemalan singer-songwriter Ricardo Arjona has famously speculated about the differences between the North and South of the world, considering the social, economic, and cultural ramifications of a world turned upside down in his song “Si el norte fuera el sur” (“If the North Were the South”). In this seventh issue of Global Graffiti, we are happy to share with you a couple of works that consider the role of North-South divides. The first is “Alvo Lalo,” an excerpt from John Washington’s novel Dustmarch. This piece takes readers on two friends’ journey north as they walk and talk, testing the limits of their solidarity in the liminal space of the Mexican desert, a landscape reminiscent of Beckett or Sartre. The second piece is Giulia Po’s interview with Italian author Maria Paola Colombo, winner of this year’s Flaiano Prize for her novel Il negative dell’amore (The Negative of Love). The author discusses her invocation of the divide between northern and southern Italy as both a concrete social and economic division in the lives of her two protagonists, as well as a metaphor for larger questions of individual identity.

We also have some pieces that consider geographical divides from alternative perspectives. The first of these is Erik Raschke’s “Berneria,” an exploration into the elusive history of the Arctic island of Berneria, where the inhabitants have vanished and left behind only journal entries and fragmentary tales of their life in the utopia colony. The second is Andrea Labinger’s short story “Laundry,” in which significant periods in the chronology and landscape of a woman’s life are recalled through the seemingly mundane task of doing laundry.

In addition, we are happy to feature: two poems by Amy Uyematsu, including a brilliant piece titled “Found Poem: Echoes from Zuccotti Park” which uses utterances from Vanity Fair piece to compose a new vision of the Occupy movement; a review of frequent Global Graffiti contributor Angelina Muñiz-Huberman’s novel, A Mystical Journey, recently published in English translation; Harold Bascom’s “Red Birds” haiku series, featuring the Guyanese artist’s visual and verbal consideration of the effects of modernity on nature; and Carl Anderson’s “Window to the Caribbean, a visually enticing homage to the region’s cultural heritage and diversity.

In this issue, you will also see the artwork of Kwets in a few of the posts, including this one. Hailing from Barcelona, the Spanish graffiti writer, trained in design and illustration, loves to mix wild style with 3D or design concepts.

We hope that you enjoy our summer issue, marking two years of Global Graffiti!

We are also excited to announce an exciting change to our format. Global Graffiti will be shifting to blog format in August 2012. You will still be able to see the same wonderful content, but we will be posting more often and including content such as links. We will still share interviews, book reviews, dispatches, fiction, poetry, and visual art. Featured posts. Solicit contributions. Subjects – varied. Make sure to check in to the site often, or subscribe in order to get updates on new posts.


GlobalGraffiti No. 7, Summer 2012

South/North,East/West: The Cardinal Directions Issue

Just as much as spatial location often defines our lives (think about the importance of our neighborhoods, cities, nations), so too do geographical divisions, especially those dividing north and south, east and west.  For the 7th installment of Global Graffiti, the editors are interested in receiving work that takes up north/south or east/west divisions and the cultural, artistic, political, social ramifications of these geographic divides.

Global Graffiti accepts scholarly, creative, and non-fiction writing and artwork. The magazine has published essays, stories, poetry, journalism, photography, interviews, reviews, and dispatches from noted writers, artists, and scholars from the US and around the world. We look forward to receiving submissions that take up the Cardinal Directions theme from a variety of angles and from many national, regional, and local contexts.

Possible topics include:

* Migration (movements from/to, for example: Northern and Southern California, the West Coast and theEast Coast, Bogotá and New York, Turkey and Germany, Manila and Oslo, etc.)

*Conceptsof Intellectual Property across different countries (for example: conflicting laws regarding drug patents, the globalization of “bootlegging,” etc.)

*The digital divide (for example: access to the Internet, wi-fi, cellular phonedistribution, hacking, firewalls, electronics recycling, etc.)

*Musical border crossings (for example: Italian reggae, Salsa in Tokyo, French Raï,etc.)

*Media representations (for example: news coverage of war, pop media representations of gender, etc.)

*Language (for example: local languages, minority languages, dialects, pigeons, Spanglish, etc.)

*Cultural imperialism (for example: the diffusion of Hollywood movies in regions throughout the world, etc.)

Please send your work along with a brief bio to: by June 15, 2012. All images should be sent as JPEGs while all documents should be sent in Word or RTF format.

David Sharp

In our long-awaited sixth issue of Global Graffiti Magazine, we are excited to present an array of features (by artists, poets, and authors) which broadly consider the theme of street art and graffiti throughout the world.  While many of the pieces presented in this issue directly consider tangible public zones perceivable to any onlooker, others instead reflect on the realm of private and invisible spaces as well. We consequently envision this issue to be a thoughtful meditation on an often nebulous distinction between exteriority and interiority, public and private spaces, the realm of the visible and the invisible, and the nexus between these different spheres that is not always apparent upon first glance.  As always, the melding of local and global culture again moves to the fore, as these pieces continually illustrate an increasingly diasporic world where ideas, histories and cultures intersect in fascinating and unexpected ways.

Our first piece by Gregory Linton titled “Street Art VS Graffiti on the Streets of Los Angeles” considers the current coexistence between graffiti writers and street artists in the metropolis.  In contrast to the historic dynamic of rivalry that has existed between the two groups, the city becomes a public and detectable stage where a newfound harmony between artistic purpose and vision plays out.

In “Beautification Proposal for the City of Los Angeles and Other Incorporated Cities of Los Angeles County from the East Los Angeles Dirigible Air Transport Lines,” a collaboration between writer Sesshu Foster and visual artist Arturo Ernesto Romo-Santillano, the duo imagines a city where tribute is paid to historical iniquity, suffering, and violence observable through communal displays of visual imagery and text.  This beautification project proposes a union between the past and the present, imagining the streets of present day Los Angeles as a literal crossroads, an energetic site that owes its current reality, as well as its cultural and social fabric, to an active and sometimes unperceived process of migration, movement, tragedy and displacement.

In “The Ache of the Real: Streets, Cyberspace and Alternative Vision,” writer Mariette Papic explores public space politics within New York City. Her article meditates on a desperate yearning for self-expression, one that links the tagger to the hacker.  While they operate through different practices, Papic demonstrates how they both function similarly within society as an active, oppositional and viral subculture.

“Lost in Buenos Aires, Street Art Got Me Home” by photojournalist Alissa Guzman documents the mnemonic power of public art.  Narrated through both images and words, Guzman offers a glimpse into the murals and visual representations of the South American megacity that both introduced and oriented her in a foreign space, and ultimately configured her mental map of the capital’s circuitous streets.

New Zealand based filmmaker Nick Stevenson has contributed a short but engaging video on acclaimed graffiti artist Owen Dippie from the city of Tauranga, New Zealand.  The film showcases the labor and creativity involved in the preparation of a studio and gallery space in anticipation of its opening in September 2011.

After a hiatus spanning over a generation, graffiti artist Dose DV, a veteran “dedicated vandal” based in the United Kingdom, has recently reawakened his passion for creating public art in the environs of London and his native Kent through colorful, complex and vibrant murals. We include some of his pieces from the 80s and since his reemergence here.

Moving from the streets of the city to the beaches outside of  Buenos Aires,  we are excited to share Andrea G. Labinger’s translation of  the short story Warning” by Argentine author Inés Fernández Moreno.  While the tangible space of the seashore is the setting for the tale, the mind of the individual is the true locale for a woman’s apprehensions and reflections about growing old.

In Noelia Díaz’s fictional story “Happenstance,” an unexpected encounter leads the protagonist to consider his past, the unforeseen vicissitudes of a life, and the inevitable passing of time to which all people throughout history and the world are passive witnesses.

James Nikopoulos’s essay “Winnie’s Smile (The Joy of Samuel Beckett)” investigates how we interpret and perceive common displays of emotion and sentiment.  Focusing on the seemingly natural and simple visual cue denoting happiness and well-being, the article considers the artifice and deliberation that sometimes lurks behind a smile.

Finally, we are very pleased to present frequent contributor Lauren Villa’s poem “A Lick of Heaven.”

We hope that you enjoy this issue and invite you to send along any comments to  Please remember to check back for our Issue No. 7 Call for Submissions.

A poetic street sign in West Hollywood (Photo credit: Monica Hanna)