All posts tagged: Señor Schnu

BSA Images Of The Week: 11.17.19 / Dispatch From Berlin

BSA Images Of The Week: 11.17.19 / Dispatch From Berlin

With Roger Stone found guilty on all 7 counts this week in the US, Donny Tinyhands appears to have more associates in prison than John Gotti did. During his own impeachment hearings this week the occupant of the Oval Office actually LIVE-tweeted his harassment of a witness while she testified – that’s a new record for this record-breaking lawless period we live in, seemingly displaying corruption and contempt for our systems of law at the highest offices of the land.

Meanwhile citizens are in the streets all over the world this fall – fighting for democratic movements, economic fairness, civil rights – in Iran, Hong Kong, Iraq, Guinea, Ecuador, Venezuela, Haiti, Paris, Barcelona, Lebanon , and Chile. The last one popped up on a U-bahn train this week when we were in Berlin, and it was interesting to note the cross-national solidarity in a graffiti piece – or at least that’s how we interpreted it. By the way, the Chilean government bowed to the voice of the people this week, so we celebrate them as well.

Here’s our weekly interview with the street, this week from Berlin, and this time featuring Stohead, Christian Bohmer, CTO, David De La Mano, Equipe Fatale, Emmanuel Jarus, Francisco Bosoletti, Fatal, Feser, Herakut, HRVB, Weird Crew, Marina Zumi, Marycula, Mimi the Clown, Nafir, Peus, Señor Schnu, sp.38 and Stefan Ways.

Fuerza Chile. Berlin 2019 (photo © Jaime Rojo)
Born To Die In Berlin. Berlin 2019 (photo © Jaime Rojo)
Berlin Kidz. Berlin 2019 (photo © Jaime Rojo)
Berlin Kidz. Berlin 2019 (photo © Jaime Rojo)
Feser. Berlin 2019 (photo © Jaime Rojo)
Stohead at Urban Spree. Berlin 2019 (photo © Jaime Rojo)
David De La Mano. (detail) Urban Nation. Berlin 2019 (photo © Jaime Rojo)
Unidentifed artist. Berlin 2019 (photo © Jaime Rojo)
Equipe Fatale. Berlin 2019 (photo © Jaime Rojo)
CTO for Urban Nation. Berlin 2019 (photo © Jaime Rojo)
FRANCISCO BOSOLETTI & Young Jarus for Urban Nation. Berlin 2019 (photo © Jaime Rojo)
Fatal with sp.38. Berlin 2019 (photo © Jaime Rojo)
Fatal. Berlin 2019 (photo © Jaime Rojo)
Mimi The Clown. Berlin 2019 (photo © Jaime Rojo)
HRVB / Weird Crew. Berlin 2019 (photo © Jaime Rojo)
Christian Bohmer for Urban Nation. Berlin 2019 (photo © Jaime Rojo)
Marina Zumi at Urban Spree. Berlin 2019 (photo © Jaime Rojo)
Herakut. Berlin 2019 (photo © Jaime Rojo)
Marycula for Urban Spree. Berlin 2019 (photo © Jaime Rojo)
Stefan Ways for Urban Spree. Berlin 2019 (photo © Jaime Rojo)
Senor Schnu. Berlin 2019 (photo © Jaime Rojo)
Peus. Berlin 2019 (photo © Jaime Rojo)
Nafir. Berlin 2019 (photo © Jaime Rojo)
Nafir for Urban Nation. Berlin 2019 (photo © Jaime Rojo)
MP. Berlin 2019 (photo © Jaime Rojo)
Untitled. Berlin, November 2019 (photo © Jaime Rojo)
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BSA Supports Paste Up Festival 2019 Germany in Berlin

BSA Supports Paste Up Festival 2019 Germany in Berlin

BSA is in Berlin again to help an international grassroots Street Art effort like the Paste Up festival this September. Open to artists around the world, the event is organized by artist Senor Schnu – who is providing this platform that encourages artists who work in the medium of paper to submit work for the Berlin to paste up – even if you don’t live in Berlin.

Drop off your work if you live nearby, or mail it to:
Kultur Spaeti.
Gabriel-Max-Straße 13,
10245 Berlin,
Germany

Come to the opening on September 6, 2019 (beginning at noon (12 Uhr)) to paste up your work or assist to paste up the work of your international brothers and sisters. The festival is supported by @kultur_spaeti @deinestadtklebt.de and @bkstreetart. The event is organized by artist @senor_schnu.

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BSA “Images Of The Year” For 2018 Video

BSA “Images Of The Year” For 2018 Video

Here it is! Photographer Jaime Rojo of BSA selects a handful of his favorite images from his travels through 9 countries and around New York this year to present our 2018 BSA Images of the Year.

Seeing the vast expressions of aesthetics and anti-aesthetic behavior has been a unique experience for us. We’re thankful to all of the artists and co-conspirators for their boundless ideas and energy, perspectives and personas.

Once you accept that much of the world is in a semi-permanent chaos you can embrace it, find order in the disorder, love inside the anger, a rhythm to every street.

And yes, beauty. Hope you enjoy BSA Images of the Year 2018.


Here’s a list of the artists featured in the video. Help us out if we missed someone, or if we misspelled someones nom de plume.

1Up Crew, Abe Lincoln Jr., Adam Fujita, Adele Renault, Adrian Wilson, Alex Sena, Arkane, Banksy, Ben Eine, BKFoxx, Bond Truluv, Bordalo II, Bravin Lee, C215, Cane Morto, Charles Williams, Cranio, Crash, Dee Dee, D*Face, Disordered, Egle Zvirblyte, Ernest Zacharevic, Erre, Faith LXVII, Faust, Geronimo, Gloss Black, Guillermo S. Quintana, Ichibantei, InDecline, Indie 184, Invader, Isaac Cordal, Jayson Naylor JR, Kaos, KNS, Lena McCarthy, Caleb Neelon, LET, Anthony Lister, Naomi Rag, Okuda, Os Gemeos, Owen Dippie, Pejac, Pixel Pancho, Pork, Raf Urban, Resistance is Female, Sainer, Senor Schnu, Skewville, Slinkachu, Solus, Squid Licker, Stinkfish, Strayones, Subway Doodle, The Rus Crew, Tristan Eaton, Vegan Flava, Vhils, Viktor Freso, Vinie, Waone, Winston Tseng, Zola

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Monumenta: Large Scale Icon Celebrates “The Intelligence Of Many” in Leipzig

Monumenta: Large Scale Icon Celebrates “The Intelligence Of Many” in Leipzig

“Utopia is not dead!,” curator Denis Leo Hegic loves to exclaim. Maybe not, but it is elusive.

Monumenta Leipzig / The Intelligence Of Many. Viktor Frešo “Angry Boy”. Leipzig, Germany. September, 2018. (photo © Jaime Rojo)

You may catch a flash of Utopia here among heady concepts he entertains regarding iconization, scale, the elimination of tastemakers and gatekeepers, urban planning and architecture, art in the streets juxtaposed with art in galleries, or at the thumping of electronic DJs and darting lazers at the sweaty bumping house parties every weekend inside a cozy ex-storehouse for equipment.

The bitter will simply call this reinvigoration of a former metal works factory by Berlin’s Wandelism collective a tool of gentrification for its new real estate owner, but that kind of reductive criticism overlooks the cultural evolution that often is spirited by large multi-tentacled environments such as these.

Monumenta Leipzig / The Intelligence Of Many. Viktor Frešo “Angry Boy”. Leipzig, Germany. September, 2018. (photo © Jaime Rojo)

Functioning as a large laboratory of experimentation that has entertained large crowds since late summer, Monumenta fosters thousands of conversations and strategies about art and culture and technology and the shifting geo-political future we will need to be prepared for it. It is almost as if the only preparation that we can hope to depend upon during increasing times of increasing complexity will be collective tribes like these, and ‘the intelligence of many’.

So here’s Jan Kuck melting wax and pouring it into light fixtures which, when turned on, will melt the wax again organically onto a pile of mirrors below – a curious kinectic sculptural installation you may call Wahnsinn, or madness. Kuck can easily mount his work at international art fairs, and he has – but this place affords an unquantifiable jolt of the D.I.Y. energy that powers artist spaces in big cities throughout Europe. Outside in the yard with his canvas leaning against the wall, Berlin’s Dino Richter is fastidious and attentive to detail with his sharp knife slicing through layers of tape, peeling off pieces to produce an intricately tight design evocative of circuit boards and ice cream pops.

Monumenta Leipzig / The Intelligence Of Many. The Monument-of-Many Installation. Detail. Leipzig, Germany. September, 2018. (photo © Jaime Rojo)

Hosted on the post-industrial grounds of Pittlerwerke, 36,000 square meters of former machinery factories presents one sixth of that for a wide-ranging exhibition of urban, contemporary, graffiti, installation art, music, performance, talks and workshops. The spaces are generous, even holy in their scale; a conceptual big tent that gives room to a seriously considered eclecticism of artists and artworks that all somehow capture this moment before the abyss.

Here you’ll find one of the original Cologne “Neue Wilde” (Young Wild Ones) who also became known as a painter of the “Mülheimer Freiheit“, Hans Peter Adamski, his large abstractions only meters away from a fire extinguisher triptych by a current united graffiti power on city streets across Europe, the 1UP Crew. You’ll also see Berlin public/street art duo Various & Gould with an empty skin sculpture of Marx and Engels while Berlin art trio Innerfields creates machine guns of papier-mâché.

Monumenta Leipzig / The Intelligence Of Many. Dr. Molrok. Leipzig, Germany. September, 2018. (photo © Jaime Rojo)

The Ghanaian born, Vienna based painter Amoako Boafo brings one of his elegant figures of masculinity to a large canvas while down the hall Señor Schnu reenacts a sculptured scene of police brutality with a teen in a hoody half-submerged underfoot in murky water. Don’t forget the one hundred artist suspended installation of monuments-of-many flanking Viktor Frešo’s naked giant “Angry Boy” who may unhappily remind you of a certain president.

How do you begin to connect the dots here? Perhaps it’s more about opening the spaces between them for yourself.

Monumenta Leipzig / The Intelligence Of Many. Dr. Molrok. Leipzig, Germany. September, 2018. (photo © Jaime Rojo)

Monumenta is part exhibition and cultural fair; a ‘happening’ of sorts; a surprisingly ego-free environment for making art that you can immediately put on display and have conversations about with an eclectic mix of art fans and peers. The multi-member team of artists and producers and writers and media makers have created a nether space in transition from its industrial past to an inconclusive future, creating the kind of environment where artists are rather liberated from presupposition. It feels like the result of a positively reductive process that strips away artifice and reminds us what the raw creative process is – and where it may go if given room and respect.

Curators Denis Leo Hegic and Jan Fielder created the environment in the moment, on the spot, and with some audacity. They also smartly partnered with a selection of sparkling seers including contemporary gallerist and manager Isabel Bernheimer, visionary ringmaster at Urban Spree Pasqual Feucher, the storied collector Marc Omar, and Berlin Art Society’s Michelle Houston.

Monumenta Leipzig / The Intelligence Of Many. WENU. Detail. “Divide et Impera”. Detail. Leipzig, Germany. September, 2018. (photo © Jaime Rojo)

Uneven and happily unfinished, the collection of experiences launches a sense of unified eclecticism; a multi-storied series of Lo and Hi, fine art paintings, installations, sculpture, photography and electronic media that create a collective chorus of possibilities on the cusp of the next crash. In a odd world of flattening hierarchies and spirited inclusionary programming the two principal architects of this future vision suggest a re-ordering that brings the street directly into the cathedral and ivy covered hall.

BSA spoke with Monumenta curators Denis Leo Hegic and Jan Fiedler about some of their preferred ways of seeing art and the thrill of mastering an enormous iconic industrial space for exhibiting artworks from so many disciplines and perspectives.

Monumenta Leipzig / The Intelligence Of Many. Various & Gould. Leipzig, Germany. September, 2018. (photo © Jaime Rojo)

Brooklyn Street Art: You spoke in your presentation during the Momenta Talks program about the concept of space and emotion when considering how to mount an exhibition. What part does emotion play in the experience of an art installation?

Jan Fiedler: Emotion is one of the central aspects while being confronted with art, and the perception of the artwork changes with the emotions you are going through while being in contact with said artwork. When you are sad, a painting or sculpture will trigger different feelings than when you are in a happy mood. Also the quality of an artwork really shows, and it may “force” you to feel a certain way.

It is interesting to observe how certain artworks can move people from different cultures, countries and backgrounds in the same way. It really shows that the language of art is universal. Especially the old masters can evoke these, mostly holy, emotions, even in faithless people. If we talk about these paintings, then we have to keep in mind that the eyes they were created for were the main source for evoking religious feeling. The ears were useless in Mass, since the sermon was held in Latin, a language most people did not understand, and the eyes went on a journey, trying to find a foundation for their faith in the art that was displayed in the churches. So they were painted in a certain way, to evoke exactly these feelings.

Monumenta Leipzig / The Intelligence Of Many. Rocco and his Brohters.“Dezernat 52”. Leipzig, Germany. September, 2018. (photo © Jaime Rojo)

These paintings hang in museums today, robbed of their original context and surroundings, but still are powerful to trigger feelings. And that applies to every artwork you want to put on display in an art show. You have to dedicate a certain amount of time to every single piece, feeling the emotional impact it has on you and arrange it in a way that highlights its qualities in the best way. So an art exhibition is in the best case a carefully arranged Orchestra that takes the visitor on an emotional journey.

Brooklyn Street Art: “The Intelligence of Many” is a phrase that was central to the formation and execution of Monumenta. Is this a model for curation that we may see in the future?

Denis Leo Hegic: Yes. It is not only a model of curation, it is a model of cooperation in different fields in a successful modern society. The information, which we have to deal with in every aspect of life, has reached such a great level of complexity, that working TOGETHER in a selfless way and profiting from the intelligence of many individuals involved is the only concept that can bring a true (and important) change.

Even if the world does not appear like that in this moment, it is actually the case that the era of self-centered egomaniacs is over. And that´s the good news.

In terms of curating something which we call “Urban Art”, there is absolutely no other way of doing it. This form of art is rooted within and powered by (urban) communities and the spirit that arrives from them. One can fake this credibility just for a limited time. The intelligence of many is the counter concept to the stupidity of one.

Monumenta Leipzig / The Intelligence Of Many. Rocco and his Brohters.“Dezernat 52”. Leipzig, Germany. September, 2018. (photo © Jaime Rojo)

Brooklyn Street Art: Can you talk about the cathedral quality of the initial hall at Monumenta?
Jan Fiedler: The “Church”, as we call the entrance hall of Monumenta, is a nickname that has its origins in the unique architecture which resembles a Basilica – is a very special room, which from a curatorial point of view demands a large amount of attention. This is especially so because it resembles a church, a place where there is only room for one god. We decided to dedicate it to the Monument-of-Many, the visions of one hundred different artists.

But there is a reason why churches and cathedrals have such an effect on the spectator, because they play with scale and the tools of iconization. We used the exact same tools, but not to promote one singular idea, but to present a grumpy baby, the symbol of hope and future, where nobody can be certain how it will turn out if it grows up. This again is one of the aspects of Monumenta; To let go of total control and to give artists the freedom to unfold their creativity.

Monumenta Leipzig / The Intelligence Of Many. Señor Schnu. Leipzig, Germany. September, 2018. (photo © Jaime Rojo)

Monumenta Leipzig / The Intelligence Of Many. HNRX “Paradoxism”. Leipzig, Germany. September, 2018. (photo © Jaime Rojo)

Monumenta Leipzig / The Intelligence Of Many. Play with art. Guillermo S. Quintana on the floor with several artists on the boards. Leipzig, Germany. September, 2018. (photo © Jaime Rojo)

Monumenta Leipzig / The Intelligence Of Many. Play with art. Detail. Leipzig, Germany. September, 2018. (photo © Jaime Rojo)

Monumenta Leipzig / The Intelligence Of Many. Les Enfants Terribles. Detail. Leipzig, Germany. September, 2018. (photo © Jaime Rojo)

Monumenta Leipzig / The Intelligence Of Many. Les Enfants Terribles. Detail. Leipzig, Germany. September, 2018. (photo © Jaime Rojo)

Monumenta Leipzig / The Intelligence Of Many. Les Enfants Terribles. Detail. Leipzig, Germany. September, 2018. (photo © Jaime Rojo)

Monumenta Leipzig / The Intelligence Of Many. NASCA. “Cruz”. Leipzig, Germany. September, 2018. (photo © Jaime Rojo)

Monumenta Leipzig / The Intelligence Of Many. Jan Kuck. Leipzig, Germany. September, 2018. (photo © Jaime Rojo)

Monumenta Leipzig / The Intelligence Of Many. Jan Kuck. Leipzig, Germany. September, 2018. (photo © Jaime Rojo)

Monumenta Leipzig / The Intelligence Of Many. Ron Miller. “Gun-Geisha”. Leipzig, Germany. September, 2018. (photo © Jaime Rojo)

Monumenta Leipzig / The Intelligence Of Many. 1UP Crew. Leipzig, Germany. September, 2018. (photo © Jaime Rojo)

Monumenta Leipzig / The Intelligence Of Many. Marina Zumi. “View Insight”. Leipzig, Germany. September, 2018. (photo © Jaime Rojo)

Monumenta Leipzig / The Intelligence Of Many. NeSpoon. Leipzig, Germany. September, 2018. (photo © Jaime Rojo)

Monumenta Leipzig / The Intelligence Of Many. KNS. “Where Is The Scene?”. This piece wasn’t commissioned but rather illegally painted during the opening days of the exhibition. The organizers of the exhibition decided to keep it in place instead of buffing it. Leipzig, Germany. September, 2018. (photo © Jaime Rojo)

Monumenta Leipzig / The Intelligence Of Many. SNOW. Leipzig, Germany. September, 2018. (photo © Jaime Rojo)

Monumenta Leipzig / The Intelligence Of Many. The organizaers. Standing, from left to right: Niklas Jedowski, Sabrina Markutzyk, Jan Gustav Fiedler, Denis Leo Hegic and on the floor Dorian Mazurek. Leipzig, Germany. September, 2018. (photo © Jaime Rojo)

 

Monumenta Leipzig / The Intelligence Of Many is currently open to the general public in Leipzig, Germany. Click HERE for general information, schedules of upcoming events, directions etc…

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“PasteUp Festival” Brings 130 Voices to Berlin Walls

“PasteUp Festival” Brings 130 Voices to Berlin Walls

We start here with a fresh paste-up directly from Iran. It depicts the entrance to a mosque bathed in a jewel reddish haze. The lower half of the door contains a cryptic message in the three-dimensional wildstyle graffiti that captured the imagination of New Yorkers, Europeans, and Middle Easterners over time. Descending the stairs and coming out to the street it reads, “Nothing”.

From an anonymous Iranian artist. The letters in Arabic read: ………. Paste Up Festival Berlin / September 2018. (photo © Jaime Rojo)

“If they would paste this in Iran,” says the Berlin Paste-Up Festival organizer Moritz Tonn from the artists collective Wandelism. “It would probably be considered blasphemy and the government would most likely go after the artist”. Here in the so-called “western” world the ability to criticize all institutions, including religious ones, is still officially preserved and honored – so it is interesting that a theocracy could judge this as possibly flammable piece and it has to stay anonymous here inside very permissive Berlin.

RUN . METZ. Paste Up Festival Berlin / September 2018. (photo © Jaime Rojo)

And that is only one of the reasons why exhibits like this are so crucially important to the dialogue on the street and to our collective awareness. Political, social, comic, pop, photographic, illustrative, painted, drawn, copied, figurative, immature, sarcastic,international, local, cryptic, explicit, inventive, verging on profound- these are the vox populi from many cities around the world stuck alongside one another. The mix is unusual, even odd. But the sound of the voices can be quite clarion.

Senor Schnu (center) . Stenandol (figure with crown on left). Paste Up Festival Berlin / September 2018. (photo © Jaime Rojo)

“We got submissions from 130 artists, one to five paste-ups each,” says Moritz. “We have run out of room so we asked some of the the artists if we could put their art in the streets elsewhere around the neighborhood.”

Truthfully, there is a lot of space here that hasn’t been slapped with stickers or slathered with wheatpaste, and you can imagine that with time there will be a lot of organic growth in the massive piece that will bring the walls to full maturity/immaturity.

Members of the festival helping with the pasting up of the works. Paste Up Festival Berlin / September 2018. (photo © Jaime Rojo)

If one really is interested on experiencing the full scope of what’s happening with art in the streets one really must pay special attention to the artists whose practice is small. At the moment it may be that stickers and paste-ups are getting lost amidst the hurricane of mural festivals – But big murals don’t paint the whole picture.

The small stickers, the stencils, the wheat pasted posters attached to walls in back alleys, on post lamps and street furniture are a fundamental component of this truly democratic art movement. So we’re satisfied to see a large spot like this one solely dedicated to paste-ups in all their glorious incarnations.

City Kitty . Gasky Graffiti . DCTRCHBS . Subdude. Paste Up Festival Berlin / September 2018. (photo © Jaime Rojo)

Young boys pausing on their scooters to take a look at the art works. Paste Up Festival Berlin / September 2018. (photo © Jaime Rojo)

Anna Dimitrou. Paste Up Festival Berlin / September 2018. (photo © Jaime Rojo)

Eye Of The Donut signing his piece. Paste Up Festival Berlin / September 2018. (photo © Jaime Rojo)

Eye Of The Donut . Phobe NY. Paste Up Festival Berlin / September 2018. (photo © Jaime Rojo)

Mesy. Paste Up Festival Berlin / September 2018. (photo © Jaime Rojo)

Ron Miller. Stec. Paste Up Festival Berlin / September 2018. (photo © Jaime Rojo)

 

Snik . Beatsen . Not Pinky . Mary Cula . Subdude. Paste Up Festival Berlin / September 2018. (photo © Jaime Rojo)

NNC CT Theran . Bona Berlin . It’s Rolf.  Paste Up Festival Berlin / September 2018. (photo © Jaime Rojo)

Not Pinky. Paste Up Festival Berlin / September 2018. (photo © Jaime Rojo)

Mr. Sasa . Dazez. Paste Up Festival Berlin / September 2018. (photo © Jaime Rojo)

ONI . SKA. Paste Up Festival Berlin / September 2018. (photo © Jaime Rojo)

Paste Up Festival Berlin / September 2018. (photo © Jaime Rojo)

Otto OSCH Schade. Paste Up Festival Berlin / September 2018. (photo © Jaime Rojo)

Paste Up Festival Berlin / September 2018. (photo © Jaime Rojo)

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Senor Schnu Tackles Police Brutality at Monumenta, Leipzig 2018

Senor Schnu Tackles Police Brutality at Monumenta, Leipzig 2018

Same as it ever was,” David Byrne from the Talking Heads might say.

The topic of police brutality keeps coming up every year, every decade, every week sometimes. Señor Schnu, the Street Artist/fine artist who created this new sculpture at the Monumenta exhibition in Leipzig, Germany tells us that the feedback he gets from visitors is that he must be talking about something they just saw in the news. “The truth is, this sculpture is always current.”

Senor Schnu. Monumenta Leipzig 2018. Leipzig, Germany. 09-2018. (photo © Jaime Rojo)

The uniformed Polizei here are actually made of mannequins but look particularly life-like probably because Schnu broke the figure in multiple locations to reposition the limbs in more natural angles. Hearing that he “broke” the figure sends chills, as you can imagine being one of the people thrown to the ground by these armed people, your limbs pressed upon and even broken.

As Baby Boomers in the US commemorate 50 years since the 1968 Summer of Love, certain news reports are recalling the unbridled brutality of the Chicago police that summer against people protesting the Vietnam War. The youth were eventually vindicated by the 60,000 dead American kids and the millions of Vietnamese killed in what was revealed to be deceitful US leadership of generals and politicians . What many of those idealistic youth of the late 60s didn’t realize then was that when they reached their 70s the stories of new brutality against protestors and everyday people of color would still be in the news. Almost daily.

Senor Schnu. Monumenta Leipzig 2018. Leipzig, Germany. 09-2018. (photo © Jaime Rojo)

Around Europe and the world you find the same right now in the news; Romania, Bucharest, Papua New Guinea, Nigeria, The Balkans, Turkey, Catalan..

It’s an ongoing debate as societies define what the role of police is in admittedly a sometimes unthankable unpredictable position; just how much power and weaponry they should have, how they are accountable, and to whom.

In the US a vocal activist and superstar athlete and football quarterback Colin Kaepernick has withstood criticism for protesting police brutality in particular and systemic racism in general in the US by kneeling at games during the national anthem. That story has taken a unusual twist this week with global sports brand NIKE announcing they have chosen him as a spokesman.

To be clear, the topic is not police. It is brutality. And art. And certainly it’s a contemporary theme here in Germany as well, but like artist Señor Schnu says, it isn’t new.

Senor Schnu. Monumenta Leipzig 2018. Leipzig, Germany. 09-2018. (photo © Jaime Rojo)

Senor Schnu. Monumenta Leipzig 2018. Leipzig, Germany. 09-2018. (photo © Jaime Rojo)

 

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‘Wandelism’ Brings Wild Change for One Week in Berlin

‘Wandelism’ Brings Wild Change for One Week in Berlin

A partnership of artists, curators, and real estate interests is giving a seriously entertaining show this week to Street Art and Graffiti Fans with this site-specific exhibition of ingenious interventions of many disciplines. Primarily Berlin-based artists and spearheaded by organizers Señor Schnu, Baye Fall and Moritz Tonn, we’re pleased that we have a first-person account of the inspiration behind the show from the guy who came up with the name ‘Wandelism’, Denis Leo Hegic.


Wandelism – Spray Can Change

By Denis Leo Hegic

There we are, in the midst of a lively bustle at the production ground of the Wandelism exhibition in Berlin.

Dennis Gomez Herrmann. “Wandelism”. Berlin, Germany. (photo © Denis Leo Hegic)

Sparks are literally flying around as Olly is about to cut open a stretch limo and hang it in the air. Behind the shower of sparks Jerome and Señor Schnu are working on their large scale mural while Kitra is about to create a giant piece on a wall, which actually consists more of void then wall surface. C0MPUTERJAN is transforming a half of a Cadillac into a computer-controlled DJ booth and Ostap is turning a window into a tape-art piece.

Ollyollyoxfordfreak at work in his installation. “Wandelism”. Berlin, Germany. (photo © Harald Geil)

Marina Zumi, who is currently installing another of her new light works in the exhibition, joins me and Suzanne Forbes, who makes drawings of all of us in real time. There is some serious good energy in the air, and I’m not talking about welding and the aerosol, but about a group project that is truly created and lived in a spirit of a community.

Marina Zumi. “Wandelism”. Berlin, Germany. (photo © Harald Geil)

When I was asked how to name the exhibition few weeks ago, I merged the words “vandalism“ and “Wandel“ (the German word for “Change“). That’s how Wandelism (or Changeism) was born and how it started transforming itself into an exhibition, which is truly accepting, embracing and living CHANGE.

Ostap putting the final touches to his tape installation. “Wandelism”. Berlin, Germany. (photo © Harald Geil)

On the grounds of a former car repair shop that is soon to be demolished, one can literally feel the constant movement and transformation of the urban fabric we all live in. Everything changes. Constantly. Change is evolution. Change is progress. Change is also the DNA of the art represented in the Wandelism show.

Ollyollyoxfordfreak . Señor Schnu . Fabifa . Mika Sitter “Wandelism”. Berlin, Germany. (photo © Denis Leo Hegic)

Berlin is one of the worlds’ capitals and one which has experienced a tremendous change in the last three decades. The city, which was divided in two by a 156-kilometer-long wall for a time period of 28 years, was first unified in 1989 and then exposed to an incredibly rapid development ever since.

Interestingly enough, this very Berlin Wall has proven something that is still a valid topic at the Wandelism Show today: the importance of the freedom of expression.

Wandbrand. “Wandelism”. Berlin, Germany. (photo © Harald Geil)

For decades, one side of the wall was an open-air gallery of graffiti and street art while the other (clean) side of the wall was a death zone. The failed experiment of division is historic proof of the importance of creative participation in the urban space.

On the first day of the opening, Wandelism attracted more than 1,700 visitors who, despite a protracted winter in Berlin, waited in long queues to attend the opening. The following day, 2000.

C0MPUTERJAN. “Wandelism”. Berlin, Germany. (photo © Denis Leo Hegic)

Nevertheless, the exhibition does not present itself in the usual language of superlatives (“The largest”, “The biggest”, “The best”), which is sometimes peculiar to these types of art shows. Instead, Wandelism promotes the notion of a democratic coexistence, where everyone is welcome and where all the different curiosities can be explored.

Emma Rytoft at work on her installation. “Wandelism”. Berlin, Germany. (photo © Harald Geil)

“We are socially responsible and work with lot of local talents. That’s very important because not every exhibition of this format has a social aspect. Almost 90 percent of the entire exhibition is created by Berlin-based artists and we would love to pursue our vision in the future and transform more temporarily vacant spaces into art events like this” – Señor Schnu

1UP Crew. “Wandelism”. Berlin, Germany. (photo © Denis Leo Hegic)

Base 23 . Onur. “Wandelism”. Berlin, Germany. (photo © Harald Geil)

 “I like the speed. I paint graffiti-style but with dancers in public space. For that type of work you need to be really fast. And I like when you can feel the momentum in the painting.” – Herve Thiot

Herve Thiot at work on his installation. “Wandelism”. Berlin, Germany. (photo © Harald Geil)

“You can not have ‘change’ without a little bit of ‘vandalism’. The one concept can not exist without the other one. A change requires revolution and revolution sometimes needs vandalism.” – Carolina Amaya

Carolina Amaya at work on her installation. “Wandelism”. Berlin, Germany. (photo © Harald Geil)

Akte. “Wandelism”. Berlin, Germany. (photo © Denis Leo Hegic)

Wenu Crew, CokyOne, Jeron. “Wandelism”. Berlin, Germany. (photo © Denis Leo Hegic)

Dave The Chimp. “Wandelism”. Berlin, Germany. (photo © Stefanie Scherer)

Parisurteil. “Wandelism”. Berlin, Germany. (photo © Harald Geil)

Rosco. “Wandelism”. Berlin, Germany. (photo © Denis Leo Hegic)

“Our ‘Fuck Fame’ toilet is a clear message. Just take a look at the whole social media and online addiction which is going on. Everybody is posting every single step of his life, and from other peoples’ lives; A public run for fame. Without thinking about it we are sacrificing our own privacy. As a reaction to that we decided to take even the last bit of privacy away and created the Fuck Fame toilet.” – Ron Miller Art Collective

Ron Miller Art. “Wandelism”. Berlin, Germany. (photo © Harald Geil)

Nasca . The Krank. “Wandelism”. Berlin, Germany. (photo © Denis Leo Hegic)

“Somehow I do see myself in process of change. I’m coming more from this graffiti scene but I am also developing more and more into a mass-compatible area, so yes, I do see myself in a process of change. But I also believe that it is the entire scene that is changing and transforming itself into a more recognized and accepted art.” – Tobo

Tobo takes a moment to ponder. “Wandelism”. Berlin, Germany. (photo © Harald Geil)

Hagen Schönfeld. “Wandelism”. Berlin, Germany. (photo © Denis Leo Hegic)

Felix Hülpüsch AKA HÜLPMAN. “Wandelilsm”. Berlin, Germany. (photo © Denis Leo Hegic)

Scon75 . Paindesignart “Wandelism”. Berlin, Germany. (photo © Harald Geil)

Canion Berlin . Wenu Crew. “Wandelism”. Berlin, Germany. (photo © Denis Leo Hegic)

Oskar .  Kish . Canion Berlin .  DXTR . The Weird . WENU Crew. “Wandelism”. Berlin, Germany. (photo © Harald Geil)

“I am in this business for such a long time already. I am doing this now for 35 years. I know that this place will be gone, but lot of people will see it. And nothing can be contained forever. The awareness that the art which you can see here will be there just for a certain limited time, which you have to experience now and can not wait until next year, because it will be gone – that’s part of the deal and I quite like that.” – Loomit

Loomit. Wandelism. Berlin, Germany. (photo © Denis Leo Hegic)

Melissa Lee . Flo de Producer . Theodor Robinson. Wandelism. Berlin, Germany. (photo © Denis Leo Hegic)

Kitra. Wandelism. Berlin, Germany. (photo © Denis Leo Hegic)

Catherine Lupis Thomas and Bill Knospi. “Wandelism”. Berlin, Germany. (photo © Denis Leo Hegic)

Suzanne Forbes’ live drawings of Denis Leo Hegic and Marina Zumi. “Wandelism”. Berlin, Germany.

You can visit the Wandelism exhibition until March 24 and is located in Wilhelmsaue 32, 10713 Berlin.

Www.wandelism.com

 

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Rocking “THE HAUS” : A 5-Floor Berlin Bank is Transformed by Artists

Rocking “THE HAUS” : A 5-Floor Berlin Bank is Transformed by Artists

“Normally we paint advertising – hand-painted advertising, mostly with cans. So we work all over Germany, with a lot of crews, “ says Kimo, a bearded, bald energetic and sharp witted guy who is lighting up a cigarette in this tattered, beige ex-conference room.  That explanation doesn’t prepare you for what you will see in the rooms upstairs.

Size Two. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

The floors are piled with unopened paint buckets and brushes and cans and the walls in this organizing office are covered with scotch-taped project timelines, to-do lists, and floor plans of the old bank. Each former office space is plainly labled with names of German Street Artists or graffiti  crews, some you recognize, others you don’t. More recent Street Art names are next to classic Graff heads, installation  artists mix freely with Optic Artists, photographers, sculptors, even a live moss installation.

Case Maclaim is right next door to Turbokultur with Stohead out in the hall on floor 1.  El Bocho and Emess are in small rooms to either side of 1UP on the 3rd. Herakut in a corner room numbered 506 is right next to Nick Platt and Paul Punk in 505.

1UP Crew. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

What are all these artists, more than 175 of them and almost entirely German, all doing throughout a five-floor bank building in central Berlin on the Kudamm?

You’ll find out in April when the doors open to thousands of graffiti/Street Art/contemporary art fans to tour through THE HAUS, an enthusiastic life-affirming  joyful and pissed-off D.I.Y.-flavored fun-haus of fully realized installations, painting, projections, exhibits, and interventions.

You’ve been to (or at least read about) these last-hurrah urban art installations before – celebrations of artists’ visions that inhabit a building destined to be demolished soon. Possibly because of their ephemeral nature or a lack of serious interest in art-making, often the artworks and their execution are a bit slap-dash and loosely committed.

Not at THE HAUS. You’ll likely be surprised by the conceptual sophistication at times and wowed by technical dexterity, stagecraft, attention to details, and genuinely mind-challenging immersive environments.

Super Bad Boys. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

But this is Berlin after all, an urban art capital where graffiti crews are known for getting way up on impossible walls with foolhardy and militarily precise plans – sometimes implemented with rehearsal and execution under cover of night.

The logistical planning of Street Art and graffiti interventions here often centers around devising a slick and ingeniously resourceful roll-out of the aesthetic attack- some times given as much attention as executing the artwork.

Innerfields. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

“We do not curate any of the room concepts,” explains Kimo as he leads you from room to room, sometime removing protective tape over doorways and turning on lights to allow a guest to see inside. “There is no over all concept. It has to be really really nice, but that’s it.”

Okay, there are some challenging themes around violence, graphic sexuality, and the horror of human trafficking. More often they are driven by character, text, and slaughtering with paint and pattern. As with most creative ventures of this size, it is impossible for organizers to know when or if to draw the line on content.

 

Herakut. Process Shot. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

There is also a darkened and completely life-sized realistic portion of a train-yard with a capped train over head, rails below, and cables and ground stones. A companion “white box” installation is said to be somewhere right now inside an underground Berlin train station. It is evident that weeks of preparation went into many of these dioramas and scenes.

“We just called around 50 artists to invite them here to take a look at the building and we told them, ‘If you know guys who have skills like you, just tell them.’ We’re looking for more artists,” Kimo says.

With more than three times that number coming and installing in the HAUS building over the last four months, there are still more artists who are clamoring to get in. “Now we have 100 artists on the waiting list”.

Case Maclaim. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

The existence of this list would sound like bragadoccio coming from another organizer of an event like this, but when you see the calendars, lists of names, video scheduling, website design schedule, team responsibilities, art materials, contracts, even marketing plans printed and thumb-tacked on the walls of the Orga, you know that these three partners have created a supportive art-making environment with a sense of purpose.

“Bolle and Jörni  have been painting for 25 years,” says Kimo of his two partners. The three are members of their own crew called DIE DIXONS. Kimo says he cannot paint. “I tried but I can’t, I don’t have the patience to paint”. Instead he says he has great organizational abilities and love for the art  subculture and the graffiti/Street Art game.

 

Kaleido. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

Together the DIE DIXONS also own the professional sign-painting company Xi-Design who originated THE HAUS project, and it is their multiple contacts with real estate, construction, lifestyle brands, paint suppliers, and highly-skilled commercial painters that makes this endeavor a POWER HAUS like few you’ll find.

This show is planned to be destroyed in a few months along with the building for a new project with condos and retail, but the quality here in many cases actually rivals art fairs we have seen in the last few years. Based on the buzz it has it safe to say that by the time the doors open in April, it will already have been declared a success.

Ostap. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

Please note: Under the agreement with the organizers we agreed to publish only details of the pieces, so the surprise is not ruined. Some of these are installations in progress along with completed installations.

Tape That. Process Shot. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

Tomislav Topic . Thomas Granseuer. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

 

Dr. Molrok. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

Steffen Seeger. Process shot. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

 

Base23. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

Vidam. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

Telmo & Miel. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

Paulo Consentino. Process shot. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

 

Anne Bengard. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

Arsek . Erase. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

Amanda Arrou-Tea. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

Go Go Plata. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

Honsar. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

Insane51. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

Popay. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

Daniela Uhlig. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

 

Felix Rodewaldt. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

DeerBLN. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

 

Klebebande. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

Mario Mankey. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

One Truth. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

Koikate. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

Rotkäppchen . Goliath. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

Señor Schnu. Process Shot. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

Urzula Amen. The Haus. Berlin. March 2017. (photo © Jaime Rojo)

 

We wish to express our sincere thanks to Kimo, Bolle, Jörni and their team for all the time and assistance provided to us for the production of this article. Thank you to Katrin for helping with the artists IDs, and to Lisa Schmidt for her help with information as well.

 

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