Shepard Fairey and RISK Create First Legal Murals In A Decade

 

Take a big look, everyone: these are the first legal murals in the city of Los Angeles in ten years, and they were created by street art juggernauts Shepard Fairey and RISK. The lucky building on which the murals were created is the Rossmore Hotel on the corner of East 6th Street and Ceres Avenue in Skid Row.

Fairey and RISK nabbed the first permit issued by the city (permit #01) last fall and began working on it near the end of last year, finishing up on Monday. The project is a partnership between Daniel Lahoda of LALA arts/Freewalls Project and the Skid Row Housing Trust, a nonprofit that owns the Rossmore, the L.A. Times reports.

The two murals cover two separate walls on the building. Fairey's mural, emblazoned with his trademark "OBEY," is a shiny red with the word "Peace" on the bottom. RISK's mural is greener in color with "Justice" at the bottom. Both murals have been created to make Skid Row a nicer place to live, according to Lahoda.

Lahoda and the Skid Row Housing Trust plan to unveil about 30 more murals in the area by a multitude of different artists in the future.

Los Angeles had the bizarre ban on murals on privately-owned buildings in the books for a decade due to fears of advertisers creating commercials disguised as mural art. Not only has the city ditched the ban, it has also been testing out a relaxation of murals on private homes in certain districts

 

By Matthew Bramlett in Arts & Entertainment

Do You Know Your Rights as An Artist in The US?

Visual Artists Rights Act

Federal Law TITLE 17 — COPYRIGHTS

Title 17 United States Code, Section 106A:

Rights of certain authors to attribution and integrity

a.

Rights of Attribution and Integrity.

Subject to section 107 and independent of the exclusive rights provided in

section 106, the author of a work of visual art :

1. shall have the right :

A. to claim authorship of that work, and

B. to prevent the use of his or her name as the author of any work of visual art which he or she did not create;

2. shall have the right to prevent the use of his or her name as the author of the work of visual art in the event of a distortion, mutilation, or other modification of the work which would be prejudicial to his or her honor or reputation; and

3. subject to the limitations set forth in section 113(d), shall have the right:

A. to prevent any intentional distortion, mutilation, or other modification of that work which would be prejudicial to his or her honor or reputation, and any intentional distortion, mutilation, or modification of that work is a violation of that right, and

B. to prevent any destruction of a work of recognized stature, and any intentional or grossly negligent destruction of that work is a violation of that right.

b.

Scope and Exercise of Rights.

Only the author of a work of visual art has the rights conferred by subsection

(a.) in that work, whether or not the author is the copyright owner. The authors of a joint work of visual art are co-owners of the rights conferred by subsection

(a.) in that work.

c.

Exceptions.

1. The modification of a work of visual art which is a result of the passage of time or the inherent nature of the materials is not a distortion, mutilation, or other modification described in subsection (a.3.A.).

2. The modification of a work of visual art which is the result of

conservation, or of the public presentation, including lighting and placement, of the work is not a destruction, distortion, mutilation, or other modification described in subsection (a)(3) unless the modification is caused by gross negligence.

3. The rights described in paragraphs (1.) and (2.) of subsection (a.) shall not apply to an reproduction, depiction, portrayal, or other use of a work in, upon, or in any connection with any item described in subparagraph (A.) or (B.) of the definition of ”work of visual art” in section 101, and any such reproduction, depiction, portrayal, or other use of a work is not a destruction, distortion, mutilation, or other modification described in paragraph (3) of subsection (a.).

 

d.

Duration of Rights.

1. With respect to works of visual art created on or after the effective date set forth in section 610(a) of the Visual Artists Rights Act of 1990, the rights conferred by subsection (a.) shall endure for a term consisting of the life of the author.

2. With respect to works of visual art created before the effective date set forth in section 610(a) of the Visual Artists Rights Act of 1990, but title to which has not, as of such effective date, been transferred from the author, the rights conferred by subsection (a.) shall be coextensive with, and shall expire at the same time as, the rights conferred by section 106.

3. (3) In the case of a joint work prepared by two or more authors, the rights conferred by subsection (a.) shall endure for a term consisting of the life of the last surviving author.

4. All terms of the rights conferred by subsection (a) run to the end of the calendar year in which they would otherwise expire.

e.

Transfer and Waiver.

1. The rights conferred by subsection (a.) may not be transferred, but those rights may be waived if the author expressly agrees to such waiver in awritten instrument signed by the author. Such instrument shall specifically identify the work, and uses of that work, to which the waiver applies, and the waiver shall apply only to the work and uses so identified. In the case of a joint work prepared by two or more authors, a waiver of rights under this paragraph made by one such author waives such rights for all such authors.

2. Ownership of the rights conferred by subsection (a.) with respect to a work of visual art is distinct from ownership of any copy of that work, or of a copyright or any exclusive right under a copyright in that work.

Transfer of ownership of any copy of a work of visual art, or of a copyright or any exclusive right under a copyright, shall not constitute a waiver of the rights conferred by subsection (a). Except as may otherwise be agreed by the author in a written instrument signed by the author, a waiver of the rights conferred by subsection (a.) with respect to a work of visual art shall not constitute a transfer of ownership of any copy of that work, or of ownership of a copyright or of any exclusive right under

a copyright in that work.

-SOURCE-

(Added Pub. L. 101-650, title VI, Sec. 603(a), Dec. 1, 1990, 104 Stat. 5128.)

Title 17 United States Code, Section 113d.

1. In a case in which —

A. a work of visual art has been incorporated in or made part of a building in such a way that removing the work from the building will cause the destruction, distortion, mutilation, or other modification of the work as described in section 106A(a.3.), and

 

B. the author consented to the installation of the work in the building either before the effective date set forth in section 610(a.) of the Visual Artists Rights Act of 1990, or in a written instrument executed on or after such effective date that is signed by the owner of the building and the author

and that specifies that installation of the work may subject the work to destruction, distortion, mutilation, or other modification, by reason of its removal, then the rights conferred by paragraphs (2.) and (3.) of section

106A(a.) shall not apply.

2. If the owner of a building wishes to remove a work of visual art which is a part of such building and which can be removed from the building without the destruction, distortion, mutilation, or other modification of the work as described in section 106A(a)(3), the author’s rights under paragraphs (2.) and

(3.) of section 106A(a.) shall apply unless —

A. the owner has made a diligent, good faith attempt without success to notify the author of the owner’s intended action affecting the work of visual art, or

B. the owner did provide such notice in writing and the person so notified failed, within 90 days after receiving such notice, either to remove the work or to pay for its removal. For purposes of subparagraph (A), an owner shall be presumed to have made a diligent, good faith attempt to

send notice if the owner sent such notice by registered mail to the author at the most recent address of the author that was recorded with the Register of Copyrights pursuant to paragraph (3). If the work is

removed at the expense of the author, title to that copy of the work shall be deemed to be in the author.

3. The Register of Copyrights shall establish a system of records whereby any author of a work of visual art that has been incorporated in or made part of a building, may record his or her identity and address with the Copyright Office.

The Register shall also establish procedures under which any such author may update the information so recorded, and procedures under which owners of buildings may record with the Copyright Office evidence of their efforts to comply with this subsection.

-SOURCE-

(Pub. L. 94-553, title I, Sec. 101, Oct. 19, 1976, 90 Stat. 2560;

Pub. L. 101-650, title VI, Sec. 604, Dec. 1, 1990, 104 Stat. 5130

Desertaciunea lumii, universul lui Paul Hitter si de ce nu o sa existe Expresionismul Balcanic!

Paul Hitter e un tanar care se macina mult! Se framanta pentru tot ce-l inconjoara, pentru oamenii si societate in general. Suferinta asta, normal, refuleaza  in arta sa. Desi totu-i viu colorat si frumos ornat, in realitate tablourile sale sunt rodul unei nelinisti interioare, a durerii unui  adolescent amagit, mintit si inselat in toate cele ce i s-au povestit si promis. 

Paul Hitter (1982), acum la maturitate, e un caine turbat, care musca, si-l admir pentru asta! Mai are inca ceva venin ramas cat sa otraveasca toata acea societate care i-a vorbit lui, odinioara, despre niste valori care sunt terfelite si manjite zilnic desi, candva i s-a promis lui, credulului, ca, daca joaca dupa reguli, totul va fi bine. Adolescentul Paul Hitter a aflat tarziu, si asta l-a socat, probabil, ca societatea e fatarnica si, ca ea e aluatul fariseilor!

 Scarbit, si oarecum disperat, s-a autoexilat de mizeria romaneasca in mizeria occidentului, dupa ce mai fugise  odata de cele lumesti, ca sa dea de gunoiul lumii duhovnicesti. Ei bine, toate aceste dezamagiri, l-au impins catre aceasta indarjire, un amestec de durere, cu dorinta de a indrepta lucrurile.

 Nu o sa schimbe nimic, nu stie inca, caci e tanar! Dar singurul lucru bun, care o sa-l salveze,  o sa fie cateva sute de tablouri care vor vorbi de durerile astea si care vor marca un moment important, momentul Paul Hitter.

 Cum societatea e ignoranta, nimeni nu va sesiza nimic despre puterea mesajului si valoarea estetica a acestui tanar plecat acum sa intoarca lumea, dar, pana la urma, intr-un deceniu sau doua, toti se vor mandri ca l-au cunoscut si vor minti ca au fost alaturi de, si cu el.

 Paul bea cu tiganii, se increde in talharii balcanilor ce jefuiesc Germania, sopteste vorbe tandre curvelor ce calaresc Italia dar nu mai crede nimic din lumea aia idilica cu care, probabil, l-au amagit apropiatii, cand era copil. Iar tablourile sale sunt pe masura, o lume a desertaciunii frumos colorata si atent impachetata- expresionism balcanic!  

Important la Paul e ca sesizeaza si actioneaza in consecinta pe o nevoie, pe care o simte mai mult instinctiv, aceea de a creea un curent artistic. El spune despre sine ca e expresionist balkanic dar, pentru moment, predica in pustiu, caci confratii sunt prea mandrii in egoismul lor sa i se alature. Pana acum expresionosmul balcanic e Paul Hitter si asta nu il ajuta nici pe el, nici pe nimeni.

El are o viziune, cinstita, sincera, vede in Romania, dar nu numai, un spatiu care poate da nastere unei „ mode” in pictura. Toate elementele sunt aici, raspandite printre etniile conlocuitoare. Culorile, patternurile, muzele si povestile care inspira sunt toate aici lipsind doar indeajuns artisti care sa le identifice si sa creeze sub aceasta umbrela colectiva. Ori oamenilor le e greu sa treaca peste aceasta bariera a mandriei personale pentru a creea ceva pentru renumele colectivitatii si binele breslei pictorilor.

De cate ori Hitter a avut expozitii mai toti s-au inghesuit sa-i ia interviuri caci asta e cel mai comod jurnalistului, iar Paul e comunicativ! Ce ai facut, cum ai facut, cum a fost in Germania, bla, bla, bla... semi-picanterii. Nimeni insa nu s-a inhamat cu omul acesta sa scrie un manifest al Expresionismului Balcanic. Nu tu scriitori ( mesteri ai cuvintelor), nu tu critici ( mesteri ai minciunilor), nu tu curatori ( mesteri ai nimicului) din lumea asta plina de laudarosi si autointitulati, nimeni nu s-a gasit sa vina alaturi de artistul asta si sa gaseasca o cale de a teoretiza si a expune ( explica), pentru ca toata lumea sa adere,  la un concept care are potential urias: expresionismul balcanic.  Eu va zic ca suntem pe cale sa dam cu piciorul la ceva care ar putea fi mare, care ar putea avea insemnatate. Sunt doar un simplu negustor si vad si simt unde e potentialul comercial dar voi, ceilalti mari curatori si mari galerii, unde sunteti?!  In Paul Hitter si, pentru moment, al sau Expresionism Balcanic exista un potential urias. El, cu sau fara Expresionism Balcanic, isi va face treaba pana la capat, dar de ce nu sunt mai multi cu el, sa devina toti o voce artistica, asa fiecare’n legea lui, individual dar in acelasi timp uniti de un concept estetic si filozofic?   

So Valuable, It Could Almost Be Real

 

By PATRICIA COHEN

Published: December 31, 2013 Source NY Times

A personal escort — flying first class to be well rested and alert — will accompany the painting “The Head of Christ” from the moment it leaves the Boijmans Van Beuningen museum in Rotterdam, the Netherlands, until it is safely locked in the vault at Springfield Museums in Massachusetts this month, when it will be exhibited in the United States for the first time.

A 24-hour escort is not an unusual requirement for valuable international museum loans. What makes the security arrangements — estimated to cost more than $31,000 — notable in this case is that the painting is a fake.

And it is not just any fake, but an imitation Vermeer by the most notorious forger of all: Han van Meegeren, the World War II-era painter whose counterfeits were so convincing that, after the war, he had to create one for witnesses to avoid harsh punishment for selling a national treasure to the Nazi leader Hermann Göring.

Clearly, some forgeries are more equal than others. In New York, buyers of some of the dozens of multimillion-dollar fakes sold through the Knoedler & Company gallery, now shuttered, have filed lawsuits, complaining that their vaunted Modern masterpieces are now “worthless.”

But the Boijmans loan, “The Head of Christ,” and other famous fakes with which it is being exhibited in a traveling show retain a valuable mystique. “They’re not original artworks, but they’re so prestigious that they require the same security measures as an authentic work,” said Julia Courtney, Springfield Museums’ curator of art.

Citing security concerns, the lending and borrowing museums all declined to reveal the works’ estimated worth or insurance information. But the paintings are being treated like the real thing. “The requirements for security are not different than other works we give on loan,” said Friso Lammertse, the curator of old master paintings at the Boijmans. Never mind that the accustomed home of “The Head of Christ” is a Boijmans storage room.

So, in addition to a personal escort, van Meegeren’s “Christ,” for example, will have an outside conservator scrutinize every inch of the canvas and frame when it leaves a museum and after it arrives, to report on its condition.

“The Head of Christ” is part of the exhibition “Intent to Deceive: Fakes and Forgeries in the Art World,” which includes two other van Meegerens, “The Girl With the Blue Bow,” once credited to Vermeer, from the Hyde Collection in Glens Falls, N.Y., and “The Procuress,” from the Courtauld Gallery in London.

The show will travel to the Ringling Museum of Art in Sarasota, Fla.; the Canton Museum of Art in Ohio; and the Oklahoma City Museum of Art. Other forgeries in the show are by celebrated con men like Elmyr de Hory, a Hungarian who said he sold a thousand fakes; John Myatt, whose collaborator infiltrated archives at the Tate Gallery, the Victoria and Albert Museum and the Institute of Contemporary Arts in London, to plant fake provenance documents; and Mark A. Landis, a former gallery owner who dressed as a Jesuit priest during the quarter-century he spent trying to donate his forgeries to more than 40 American museums.

What links these men, said Colette Loll, the exhibition’s curator and an art investigator, are “frustrated artistic ambitions, chaotic personal lives and a contempt for the art market and its experts.”

Ms. Loll, who organized the exhibition with the nonprofit group International Arts & Artists, said she was shocked when she heard the $31,000 estimate for the security arrangements demanded by just the Boijmans.

That sum is close to the $39,500 that “Christ and the Scribes in the Temple” — the painting van Meegeren created in 1945 to prove he was a forger rather than a collaborator — fetched at Christie’s auction house in 1996.

Forgeries invariably raise knotty questions about the value of art and faith in the market, and fuel cynicism about art experts.

In November, a spirited debate about the value of forgeries played out on the website and pages of The New York Times after the art critic Blake Gopnik declared that forgers could be “an art lover’s friend.”

And last year, Jonathon Keats, who wrote “Forged: Why Fakes Are the Great Art of Our Age,” argued that “forgeries are more real than the real artworks they fake” because “they genuinely manipulate society rather than merely illustrating alternate points of view.”

Interest in counterfeits may have less lofty roots, however. Everybody loves a juicy scandal. The van Meegerens can also draw on the continuing fascination with World War II and the Nazis’ looting of Europe. Hailed as a kind of folk hero during his 1947 trial for having duped Göring, van Meegeren was later shown to be a Nazi sympathizer and inveterate rogue who swindled buyers out of the equivalent of $106 million.

One of his facsimiles, “The Supper at Emmaus,” cited by the dean of Vermeer scholars as a, perhaps the, “masterpiece of Johannes Vermeer” was bought in 1938 by the Rembrandt Society of Rotterdam for the Boijmans for 520,000 guilders, the equivalent of about $6.4 million today. “The Head of Christ,” sold for 475,000 guilders in 1941 ($4.4 million today), was thought to be a study for “The Supper at Emmaus.”

Part of the enduring lure of the van Meegerens, undoubtedly, is the satisfaction of knowing that the most rarefied connoisseurs were duped by what now look to be ham-handed fakes.

As Jonathan Lopez wrote in his 2008 book about van Meegeren, “The Man Who Made Vermeers,” “Although the best forgeries may mimic the style of a long-dead artist, they tend to reflect the taste and attitudes of their own period.” Biblical scenes tapped into a sentimental and pastoral Germanic tradition, he notes, while the portraits of girls resembled 1920s flappers.

The works in “Intent to Deceive” are less art than artifacts; they have genuine historical significance. In that sense, these fakes underscore the persistent appeal of the real thing. Copies of a van Meegeren fake would not command such costly security precautions or draw visitors.

“The Head of Christ” and its traveling companions are being exhibited precisely because they are authentic — authentic forgeries.

Art Undergound ~ Cypress Tunnel Art Exhibit, LA's Best

 Built in 1925 these underground walkways would allow people to walk from one side of the Figueroa street corridor in Cypress Park /Highland Park to the opposite side in order to avoid being hit by the Street Cars that roam Figueroa street North and South. Now they have been turned into rotating art walks, featuring some of LA’s best street artists.

Un desen cu Ceausescu in chip de caine din 1984 isi are ecoul astazi

Un articol pe care o sa-l reproducem mai jos, publicat de Steven Thompson in Artslag ne-a pus pe ganduri si am inceput sa cercetam!
Am luat monografia lui Traian Filip publicata de Tonya Turner si am constatat, inspirati de S Thompson, ca Matei urmeaza ideea circului ca o datorie fata de maestrul sau.
"Also in 1984 Traian received two cultural exchange grants to exhibit his etchings: one in the Soviet Union, the other in Egypt. He invited his friend and aprentice Matei Sandu, then only 13 years old, to help him print a number of etchings for the exhibition. The best examples we have to Traian etchings of that period are "Il Circo" and Sleeping Woman". "Traian Alexandru Filip-His Art and Life" , TC Inc, Santa Fe, pg 11.
Gravura "Il Circo" a fost cea care l-a bagat in bucluc pe Traian Filip. Unul dintre personaje e un caine cu fata lui Ceausescu. Acest lucru, atunci cand a fost sesizat de organele de partid, a dus la concediarea artistului din functia de curator al Muzeului National si interzicerea de a mai expune.
Steve Thompson, in dorinta lui de a-l intelege si mai bine pe Matei Serban, s-a dus la originea lucrurilor, studiindu-l pe Traian Filip, cel care i-a fost maestro.
Eseul de mai jos explica de ce, expozitia de la Biblioteca Nationala e o reparatie dar si un omagiu, cumva adus lui Traian de catre Matei Serban.

The genesis of Matei’s characters, their symbolism, as well as his interest in the circus can be found in his early association, beginning at the age of 13, with Traian Alexandru Filip, an internationally renowned etching artist and painter. As Traian’s apprentice, Matei studied the à la paupée technique of etching and in 1984 was asked to assist in printing a number of etchings for Traian’s upcoming exhibition in Italy. Among those works was one titled “Il circo” in which circus characters and animals represent the difficulties of Romanian life under the regime of Nicolae Ceausescu. The symbols in that etching were repeatedly used by Traian as his work became progressively darker and pessimistic in contrast to the regime’s officially sanctioned and purposely optimistic art of social realism.[1] Traian began to let his art show his growing contempt for the regime and to raise international awareness of the plight of the Romanian people through symbolism using biblical, mystical and medieval compositions.

Matei uses many of the same compositional themes in his paintings to speak of the societal issues facing all of us today and to deliver his own social messages. However, Matei uses humanity instead of animals or objects as his symbols. More specifically he uses the flawed, troubled, rejected or simply average parts of humanity, to communicate his social messages. His paintings examine our daily struggle walking the line between right and wrong, strength and weakness, and generally dealing the daily ‘circus’ of our society’s characters, especially those in positions of power. Or perhaps we are the circus performers in a society in which the ruling elite benefit from our work and the only chance we have of improving our status is to make it to center ring of the three ring circus.

The “Circus is Coming to Town” series is the modern equivalent of the mythical with unique but outcast characters, such as the giant woman and the dwarf-strong man in “The Arena” as well as the hunchback and the contortionist in “The Caravan”. The characters in the paintings, some repeated from his previous works, have a common element. They are solitary, generally not interacting with others, and in the few instances where characters do show a connection, it is impersonal. In fact no character looks at another and only two in the entire exhibit actually look at the viewer. Each person crowded around the table in the “The Graal” is unaware or indifferent to the others surrounding them, a reflection of our society today.

Matei’s artistry in composition, skilled use of symbolism, and supreme craft of execution create works that are immediately attractive while also possessing a much deeper meaning. His work draws you in, forcing you to study it and contemplate the composition and message. The characters, individually and together, are the symbols, communicating Matei’s social critiques. It is the viewer who must ‘read’ the paintings and the messengers therein.

This exhibit in the Romanian National Library brings the story of Matei’s art full circle. Designed and started in 1986 as a principle part of Ceausescu’s ‘celebration of socialism’ development project, the National Library building today hosts the work of one of Romania’s most significant artists who has carried on the social criticism begun by the most important artistic voice of the communist era which the dictatorship failed to silence.

 

Expozitia lui Matei Serban - Circus Is Coming To Town, va fi deschisa in perioada 11 Decembrie 2013-10Ianuarie 2014 la Biblioteca Nationala a Romaniei, Bd Unirii 22.

---

[1] Carroll, Tonya Turner, “Traian Alexandru Filip: His Art and Life”, 1997

"Circus Is Coming to Town" - Matei Serban la Biblioteca Nationala

text de Aurelia Mocanu
Cand a fost intrebat care sunt culorile cele mai frumoase, ne spune Ridalfi despre Tintoretto in "Delle maraviglie dell'arte", pictorul a raspuns ca negrul si albul, deoarece unul confera forta personajelor adancindu-le umbrele, iar celalalt le scoate in relief. Iata cazul recent al unui gravor bucurestean, elev al profesorului Nicolae Alexi, el insusi sedus de culori, gravor care s-a aruncat in uleiul culorilor.

Student negrabit sa devina licentiat, in acei ani tonici '90, de primenire a intregii societati romanesti, Matei Serban Sandu, fiul scriitorului Mircea Ciobanu, va deveni un profesor iubit de gravura la Liceul Tonitza. Va fi grabit, de asta data, sa-si trimita elevii in studentie, inoculati cu imaginile iscate de paienjenisul liniei gravate. Unul dintre elevii de atunci, Ciprian Udrescu, este acum un valoros absolvent al Universitatii de Arte Bucuresti.
Rezident american in calitate de gravor, si nu oriunde, ci in New Mexico, in splendida Santa Fe, Matei Serban se arata neinteresat sa se adapteze la cel mai "trendy way of life". In 1995 se intoarce in Bucuresti, pentru a plonja imaginar (si pictural, de aceasta data) in decadentismul european al sfarsitului de secol 19. Brunet incandescent hispanic, tot mai efilat si boem, Matei este, declarat, un dandy intarziat in generatia hip-hop-ului din pictura romaneasca actuala. Traieste destul de aproape de patimile lui Egon Schiele si se simte sedus de rafinamentul opulent al celuilalt mare vienez din voiosul Apocalips danubian, Gustav Klimt. Asa incat exigentul gravor manierizant, Matei Serban, se incumeta sa faca in ultimii ani decoratiuni interioare sub semnul stilistic al lui "Horus" si al "Mandragorei". Ca stranepot - in idiom pictural - al lui Oscar Wilde si Edgar Poe, Matei Serban lucreaza in ultimii cinci ani dupa propria-i placere fabulatorie, cu ipostaze ale feminitatii fascinante si morbide. Construieste atmosfere grele de nuvela gotica, adancind carnea picturalitatii pe trama nudului sau a chipului hipnotic de regina-preoteasa-himera.
Portretele sale masculine, seniorial-teatrale, convoaca masca cu insemne esoterice, iar tehnic vorbind, cheama colajul si bricolajul de brocanta veche asternute peste pictura. De altfel, pictorul acopera piese disparate de mobilier, tablii de pat sau segmente de dulapuri, cu prezente onirice si mesaje simboliste. Placile de gravura il recheama din cand in cand pe Matei Serban, sub semnul lui Horror vacui - titlul uneia dintre expozitiile sale -, iar Biblioteca Nationala din Oslo s-a grabit sa-i achizitioneze noua stampe