Schönes Projekt der New York Rescue Mission: “In this social experiment, unsuspecting people walked by relatives pretending to be homeless. Would they notice their family members? Or have the homeless become invisible?” Via
“Street Samples #1 (Rotterdam, spring collection 2014)”
Vladimir Turner war sechs Wochen in Rotterdam. Das Ergebnis seiner
Recherche “Found & Stolen Objects” gibt’s jetzt in einer Einzelausstellung zu sehen: “Cool District” is a name of hip neigborhood in Rotterdam. My show is a result of 6 week residency in Het Wilde Weten. The works shown can be seen as an diary of my everyday walks in the city. Show was divided in two parts: video projection and 3D assamblage of found and stolen objects from the street. Movie part was a projection of 18 minutes video called IV COMMENTS ON URBANISM in which I aimed to express my thoughts on four main topics of nowadays metropolis: I.Classification II. Gentrification IV. Restriction IV. Pollution. These videos can be seen as personal statements on temporary socio-political situation in urban landscape. Working with videoperformance, public intervention and videoart language. Second part is composed of installations, objects and photography. Documentation of my work in progress in studio and leftovers of unused materials were left in place so anybody can see the process of my work. I worked strictly with materials found or stolen in the sreets. This concept of recyclation and détornement of objects is in itself an artist manifesto(remixing pieces of political propaganda, public advertisement or natural materials).”
Noch in der Testphase, aber schon vielversprechend: “Drone Graffiti” von Katsu. “A lot of my work comes out of demonstrating and experimenting with different technologies for creative use. Basically, drones have lowered in cost enough that they are attainable, so I got my hands on some DJI Phantom 2s, and I have been experimenting with the idea of using drones to accomplish the same things that drones are beginning to be used for in broader society, but in this case for crime, vandalism, art. I really want to look into the way that a person and a drone could connect. I thought, I could go out into the city and spray paint using a drone wherever I wanted to, in basically unreachable spots and in unusable areas.” Mehr hier, via.
“Graffiti Puzzle”: “The wall shows a graffiti of one of the most historical Italian Crew: the VMD 70′S. The graffiti has been removed from the wall on which it was located and divided into so many pieces as a conceptual puzzle. “Graffiti Puzzle” is a tribute to the culture of the street and, at the same time, put the graffiti at the same level of Classic Art: one example are the typical paintings of Van Gogh often used for the puzzle.”
“Cornerstone, which is made up of many small pieces of historical italian writers, wants to be the first symbolic stone of a subculture that is now so ingrained in the collective imagination to become a real Culture.”
“Someone”: “This work is realized with a portion of the collection of Graffiti that I’ve collected in 18 months on the streets of Italy. The communicative intent is to give importance to the artwork and not to its author. Although this is a provocation depriving Graffiti of the tag of the writers, the work is a tribute to the movement: this Culture is done by many people, and thanks to all that “someone” discovers his true nature.”
“Come to see my graffiti collection”: “More than 200 samples from some of pieces of Italian writers. The samples were taken from the walls already chipped. The culture of graffiti here is treated like any other theme in the history of humanity. The act of collecting samples makes this Culture immortal and precious.”
In seiner neuen Serie “Graffiti is a religion” hat sich der italienische Künstler Fra Biancoshock mit der Graffiti-Geschichte beschäftigt und thematisiert in seinen Arbeiten Archivierung, Dokumentation und den “Kult” selbst. Via: Mail, grazie!
* Nicht verpassen: 4. Month of Performance Art in Berlin. “MPA-B is a 31 day, city-wide and artist-run platform for independent performance art practices, running annually in May, that connects and brings together hundreds of artists, spaces, networks and initiatives who collectively contribute to a unique and radical month-long programme, featuring: indoor and outdoor performances, site-specific interventions, talks, workshops, screenings, public encounters and interactions, dinners, durational and days-long actions and other formats and projects which do not have, or reject, any definition.”
* Tolles Graffiti-Fanzine: “ZUGRIFF! – Schriften zum visuellen Ungehorsam”
* “Er näht sich den Mund zu oder nagelt seine Hoden an den Roten Platz: Pjotr Pawlenski provoziert mit seiner Performancekunst Putins Russland.”
* Brad Downey was here: Die Einzelausstellung “Sculpture, Leftovers and Documentation” im Haus am Lützowplatz’s Studio Galerie, Fördererkreis Kulturzentrum e.V. (HaL), Lützowplatz 9, 10785 Berlin, läuft noch bis zum 27. April.
* ilovegraffiti & ARTE Creative präsentieren in der Serie 5Min diesmal “Jenseits von Photoshop und Werbelügen: Unterwegs mit dem urbanen Guerrillero Vermibus”
* Einchecken: “Das größte Hotel der Stadt: HOTEL HAMBURG. Eine Stadt besucht sich selbst. Im Sommer 2014 lädt das HOTEL HAMBURG zwei Wochen lang Hamburgerinnen und Hamburger ein, in ihrer eigenen Stadt zu reisen und in einer fremden Wohnung Urlaub zu machen. Die Teilnahme ist einfach und steht jedem offen. Ein Schlüssel für einen Schlüssel: Für die Bereitstellung eines Zimmers oder einer Wohnung kann ein fremdes temporäres “Hotelzimmer” kostenfrei gebucht werden. Von Blankenese bis Bergedorf, von Poppenbüttel bis Wilhelmsburg, ob WG, Penthouse, Loft oder Bungalow das HOTEL HAMBURG erstreckt sich über alle Stadtteile und hat Zimmer jeder Hamburger Art.”
* The Art Place, noch eine neue Kunst-Community im Netz
* Ausstellungstipp: “Smart New World” (5. April – 10. August 2014) in der Kunsthalle Düsseldorf mit Xavier Cha (US), Simon Denny (1982, NZ), Aleksandra Domanović (1981, SI), Omer Fast (1972, IL), Christoph Faulhaber (1972, D), Kenneth Goldsmith (1961, US), International Necronautical Society, Korpys/Löffler (1966/1963, DE), Trevor Paglen (1974, US), Laura Poitras (1964, US), Tabor Robak (1986, US), Santiago Sierra (1966, ES), Taryn Simon (1975, US): “In der digitalen Gesellschaft ist Information zum Rohstoff geworden und die Menschen zum konsumierenden Datenpaket. Dabei wird, wie wir mittlerweile wissen, jede unserer Spuren aufgezeichnet, ob wir wollen oder nicht. Die Ausstellung Smarte Neue Welt untersucht die Auswirkungen des „Datenkapitalismus“ auf unser tägliches Leben. Dazu gehören die permanente Überwachung jedes einzelnen ebenso wie die Verschiebung von Privatheit und Öffentlichkeit, die Berechenbarkeit und Kontrolle durch Datenerhebung, veränderte Strukturen von Identitätsbildung oder der Zwang zur permanenten Selbstoptimierung, aber auch Fragen nach Macht und Zensur im Internet und einer demokratischen Verteilung von Wissen. Die Schau versammelt Arbeiten von internationalen Künstlerinnen und Künstlern einer jüngeren Generation, welche die rasanten technologischen Entwicklungen der digitalen Welt nicht nur als Inspiration für ihre Bildwelt oder als formalen Referenzrahmen nutzen, sondern vor allem deren kulturelle, gesellschaftliche und politische Dimension reflektieren.”
* “Die Wirkungsmacht der Klobürste“. Via: Mail, thx Steffen!
* Andrew H. Shirley: “Wastedland” – four friends paint graffiti in a post-apocalyptic purgatory. While on the hunt for beer and weed they encounter a dead baby, and invite him along for the party… Via
“Throwie”: Throwie is a simple spray can add-on which allows you to use it like a “paint molotov cocktail”. Once it hits a wall, the spray can will leak and spread out paint all over.
The Traffic Booster’s purpose is to detect when the traffic lights switch to green and sound the horn like drivers in a hurry would do behind you. Built with Arduino, a car horn and a few electronic components (LDR, switches, relay).
Hacking various robots and tools to be used with painting or ink.
Drei neue Graffiti-Projekte aus dem französischen Graffiti Research Lab. Via: Mail, merci Jerome!
Jackson Hallberg bemalt die Natur: “The series of ‘Exaggerations’ attempts to contrast the digital and analog world. On first glance, the images appear to be digitally manipulated, with overly saturated, unnatural colors interrupting the natural green spaces. Each piece of colored foliage is physically hand painted and remains digitally untouched. Alternatively, the natural green color, making up the majority of the landscapes, is digitally altered and unified, ultimately creating images that contradict the viewer’s first instinct.” Via
“Das Graue Wunder”, 2013 Das Graue Wunder is a two parts satirical intervention based on the controversial construction of the Waldschlösschen bridge, a highway bridge through the Elbe Valley which brought as a consequence in 2009 the unregistration of this site from UNESCO World Heritage List in which it was included since 2004. The first part of the intervention is a wallpaper pasted into a photo booth installed in Rosmaringasse, Altstadt in Dresden city center, just near the UNESCO billboard announcing the reasons why Elbe Valley was removed from the World Heritage List. The poster shows a vertical image of the bridge and designed in a way that UNESCO logo and text « Das Graue Wunder » appears as a background of each portrait picture taken with this photo booth. The second part of the intervention is a banner with UNESCO logo and text « Das Graue Wunder » installed at one corner of the Waldschlösschen bridge, mimetic to the six ones from Sächsische Bau GMBH company which were installed on the bridge since its building was completed at the end august 2013. « Das Graue Wunder » is the ironic nickname given to the bridge by the citizens of Dresden who were protesting against the construction. This nickname is an echo to « Das Blaues Wunder », the Loschwitzer bridge built in 1893 upstream and nicknamed in that way according an urban legend which claims that the Loschwitzer bridge was originally painted green, but that the weather turned it blue. In addition, the name is a pun, since the meaning of the phrase ein blaues Wunder erleben is « to experience an unpleasant surprise » (Wikipedia). Das Graue Wunder intervention is playing with viral communication in the field of territorial marketing to highlight the disagreement of citizens within a situation where functionality overrides on cultural heritage.
“Erbe“, 2013, Innere Neustadt, Elbe river bank, Dresden (Germany). “Erbe is a complex graffiti intervention creating a link between antique writing and name writing. First, “ERBE” a four letter word – meaning in German “heritage” or “legacy” – is carved with rusty nails, chisel and hammer on a ancient pavement path, parallel to the Elberadweg along Elbe river bank. Then, the engraved graffiti is transferred on a sheet of paper by frottage technique. The obtained letters are cutted with a kraft knife in order the imprint becomes a stencil. Finally, the graffiti is spray painted in black at the junction of Antonstraße and Albertplatz in the city center over a electric meter decorated with a fake wall with stone reminding the one from the ancient pavement path in a trompe-l’œil style which might have been spray painted by local writers. Erbe action is a kind of reenactment of the evolution of graffiti writing through ages; from the anthropologic gesture – the word could be read as two pairs of initials – to the contemporary one – the word could be used as a nickname.”
“Break Free”, 2013. Break Free is a hacking intervention where a sticker of a cage is added on the window of a bus stop where is already sticked birdsaver window decal figuring the silhouette of a bird flying in order to give the impression the bird is breaking free.
Am 17. Oktober bis 1. November 2013 fand meine Ausstellung “Public Jokes” mit Vladimír Turner & Mathieu Tremblin im Dresdner Kunstraum C. Rockefeller Center For The Contemporary Arts statt. Die beiden Künstler haben dazu drei Arbeiten im Außenraum realisiert, “Das Graue Wunder”, “Erbe” und “Break Free”, und im Innenraum wurden Kommentare aus dem Netz zu den Arbeiten der Künstler an einer Wand tapeziert, darauf lief eine Projektion mit Bildern und Videos der jeweiligen Arbeiten – und zur Vernissage fand die Performance “Art Therapy Group” statt, bei der ich (der Kurator) als Therapeut gemeinsam mit den Künstlern und dem Publikum über die Probleme des Begriffs “Street-Art” diskutiere, über die Probleme Street-Art in einem Innenraum auszustellen und über die Probleme mit Kunst im Allgemeinen, und zur Auflockerung gab es dann immer wieder “Psychospiele”. Am Ende wurde aus dieser Sitzung ein Fanzine produziert mit den besten Elementen aus der Diskussion und an jeden Besucher kostenlos verteilt. Kurzum: Wir hatten extrem viel Spaß! Danke an Andreas & sein Rockefeller-Team für die Unterstützung! Und in den Worten der Künstler:
“We have to talk about your problem with “street”, “art” and “gallery”
Regarding to the fact that our work is done directly in everyday life in the city and diffused directly through the Internet, most people can access to our art content before coming to any hypothetic show (that’s mostly what people do when they ask themselves if they are going to visit a show where they don’t know the artist). So Alain Bieber, which is actually one of our first interlocutor/diffusor invited us to think together on how we could find a way to invest a space dedicated to art in a different way that the one we are using World Wide Web as somehow a Whole White Wall regarding to this production of documentation of actions in urban space. We thought that it could be interesting to put in balance the way people are appropriating our work through reblogging and commenting which is actually something a bit more difficult to do in reality where the only feedbacks you could get are the one from the passer-byes when you’re doing your intervention and eventually the ones from police or media. As in gallery/museum spaces your artworks – as objects – are moving slowly sometime (because they get stuck in art space or attic for a long period of time) and critic comments are mostly rare beside local press because of time lag publication because of physical impossibility to all critics to happen without physical experience of show due to the distance. We chosed to focus on this idea of reception, as comments are giving a meta reading of our pieces and dialoging with the idea of acting in the city or history of art mainly opening it to a general feedback related to mass media topics and society inputs (depending of the content of the work itself). Because our works are also featured on the WWW before eventually appearing in WWW, it sounded obvious that those rumoral comments took place in the chain of understandement of art critic ones.
The first envy of Public Jokes came out within the misterstooding related to our three nationality. Our missuse of english through which we expressed our feeling brought us in a lot of lost in translation situations due to our different cultural background. After a lot of email and changing plans, we actually realized that we wanted the same show but we were not saying it in the same way (a Trophee Hall where artifacts and leftover are acting metonymically to tell the story behind an action). And due to communication matters we were stucked with this public jokes topic where we agreed about the fact that story itself should be the material of the show at least replacing the traditional caption under the work – eventually told like a story something like « this is the story of a guy ». We were planning to do some prepared actions in the field of the show, but as usual when you arrived to a new city where you are welcomed by an inhabitant (actually the marvelous artist-art manager Andreas Ullrich) you get quick into city history power in presence in faction/balance, and mostly you feel the need and the freedom to implement other dynamics as some out of the field commentator. City implemented its agenda and we came out with 3 duo works.
When Alain arrived at the end of the third day, we had a talk about all the difficulty to understand each other coming from 3 different country not talking directly only by emails in different rhythm of life. Alain felt the need to propose a variation of the first feedback we were planning to do about site specific actions we did, and regarding of the mistakes and questions behind this specific relation we each had about art theory and history, intervention and documentation, outdoor and indoor, he came up with this two collective session of 30 minutes of Art Theraphy Group where the curator is playing the role of art psychoanalyst and implementing exercises and questions to go deeper in the relationship with art and artworks. In front of the wall, were installed around a vintage carpet, a big sofa and a dozen of chairs in circle ; with on the corner, between a small video projector and a lamp, one confortable chair for the therapist and a small stool for his assistant Uli. To the public: « So what ’s your problem with art? » ; to the two artists: « So what’s your problem with Street art and gallery ? ». Bieber invited us to do one exercise to start (presenting yourself with your name associated to one word) one in the middle of the session (gathering and catching each others hands to make big hands knot then trying to collectively unknot without releasing the hands you were holding) then finally a speed collective he learned from Florian Rivière (consisting in running in a small space focusing on not touching the other runners ; then running by focusing on empty spaces – which is more successful because things move better when you focus on solutions than on problems). After we presented our reactive non-post-produced works (generating confusion about our intentions on the audience also related to the fact that Alain introduced us to annoy us as Street artists which we are not), we had strong talks with the group compound by art critic, art teacher, art designers, art students, art amateurs and one lyrical singer. Therapist assistant Uli took notes of the talks and each one was invited at the end to give a one sentence feedback about the performance. Alain Bieber then spent two hours editing a 20 sheets in 30 exemplars precious DIY fanzine, which the participants could bring with them.
Barbara. kommentiert den/im öffentlichen Raum – provokant, intelligent, humorvoll! Wir wollen mehr davon! “Mir wird auf der Straße ständig etwas mitgeteilt. Überall hängen Schilder, Plakate und sonstige Botschaften. Irgendwann konnte ich dem Drang nicht mehr widerstehen, diesen Botschaften Antworten zu geben.” Via: Urbanshit
Schöne Einblicke in die Moskauer Street-Art-Szene: “This film documents the creativity and daily street life of artists Volodimer and Kirill Kto. As well as the participation and the spontaneous artistic involvement of passers-by and other “co-owners” of the urban environment.” Mehr auch hier, danke Igor!