Urban Art: Creating the Urban With Art

Urban Art: Creating the Urban with Art Proceedings of the International Conference at Humboldt-Universität zu Berlin 15-16 July, 2016 Urbancreativity.org Urban Art: Creating the Urban with Art Proceedings of the International Conference at Humboldt-Universität zu Berlin 15-16 July, 2016 Urbancreativity.org Title: Urban Art: Creating the Urban with Art Proceedings of the International Conference at Humboldt-Universität zu Berlin 15-16 July, 2016 Editors: Ulrich Blanché Ilaria Hoppe Graphic Design: Pedro Soares Neves Proofreading: Maximilian Lehner Paul Hockenos Street Art & Urban Creativity International Research Topic ©Authors and Editors Lisbon 2018 ISBN: 978-989-97712-8-4 Funded by the Günter Rombold Privatstiftung ;HISLVMJVU[LU[Z Acknowledgments ________________________________________________________________________________ Introduction Ulrich Blanché ____________________________________________________________________________________ Ilaria Hoppe _______________________________________________________________________________________ Frank Eckardt __________________ The Virtual City ___________________________________________________ On Terminology 1VOHUULZ:[HOSFFFFFFFFFFFFFFFFF:VTL+LÄUPUN(ZWLJ[ZPU.YHɉ[P:[YLL[(Y[HUK<YIHU(Y[FFFFFFFFFFFF Pedro Soares Neves _____________ Urban or Public Art? _______________________________________________ 4PUUH=HSQHRRHFFFFFFFFFFFFFFFFFF)L`VUK(Y[PÄJH[PVU!+L9LJVUZ[Y\J[PUN*VUJLW[\HS-YHTL^VYRZ and Hierarchies of Artistic and Creative Practices in Urban Public Space ___ Digital Media & The Urban (Art) Meltem Sentürk Asildeveci _______ The Embedded Digital Realm in Urban Space _________________________ Katja Glaser ____________________ Notes on the Archive: About Street Art, QR Codes, and Digital Archiving Practices _____________ Annette Urban ___________________ Spatial and Media Connectivity in Urban Media Art _____________________ (ɈLJ[ 7LYMVYTHUJL Agnieszka Gralinska-Toborek ______ Art of Serenity: Aesthetic Function of Humor in Street Art _______________ Susan Hansen ___________________ Street Art as Process and Performance: The Subversive “Streetness” of Video-Documentation __________________ ,SPZHIL[O-YPLKTHU(SPH9H``HUFF9L=PL^PUN1LY\ZHSLT! Political Art Interventions in Occupied East Jerusalem __________________ 4 6 10 13 19 29 37 49 56 63 73 81 92 Territories Peter Bengsten __________________ Street Art and the Nature of the City _________________________________ 102 Jovanka Popova _________________ Where (Not) to Go? The General Intellect between the Precarious and Resistance _____________ 111 Henrik Widmark __________________ The Visual Culture of Football Supporters: The Borderland of Urban Activism and Art _____________________________ 118 Urban imaginary & the City Johnanna Elizabeth Sluiter ________ The Man in the Street: Shadrach Woods and the Practice of “Pedestrian” Urbanism ___________ Pamela C. Scorzin _______________ Urban Art by osa as a Laboratory: New Approaches to Urban Architecture, City Planning, and Community Building _______________________________ Renée Tribble ____________________ From Urban Interventions to Urban Practice An Alternative Way of Urban Neighborhood Development _______________ 7HY[ULYZ Urban Nation ____________________ The Urban Nation Museum for Urban Contemporary Art ________________ Jens Besser _____________________“Works without future perspective […] are fast interventions without impact”- or the idea of a travelling Urban Art Library to document 129 144 155 165 the development of contemporary muralism ___________________________ 170 Urban Creativity _________________ International Research Topic ________________________________________ 172 Urban Art: Creating the Urban with Art Acknowledgments As organizers of the conference Urban Art. Creating the Urban with Art at the Humboldt-Universität zu Berlin in 2016 and editors of this publication, we would like to express our gratitude not only to our partners, but also to the many helping hands on both sites of production. We would like to thank our academic institutions: the University of Heidelberg and the conference host, the Institute of Art and Visual History at the Humboldt-Universität zu Berlin. The former institute director Prof. Dr. Kai Kappel made the opening remarks at the conference and supported us in many ways. Furthermore, we would like to acknowledge the committed and professional work of our chairs during the conference: Thierry Maeder (Geneva), Peter Bengtsen (Lund), Heike Derwanz (Oldenburg), Jacob Kimvall (Stockholm), and Caroline Loeb (Michigan). Finally, our gratitude goes to Lichtenberg Open ART in Berlin (LOA) for their contribution in funding the conference. For the publication of the conference papers, we would like to thank our partners the Urban Creativity Network Lisbon, Urban Nation Berlin - The Museum for Urban Contemporary Art (Stiftung Berliner Leben), Lichtenberg Open ART in )LYSPU36([OL/\TIVSK[<UP]LYZP[p[a\)LYSPUHUKÄUHSS`[OL. U[LY9VTIVSK7YP]H[Z[PM[\UNH[[OL*H[OVSPJ7YP]H[L University (KU) Linz. Ilaria Hoppe & Ulrich Blanché 4 Urban Art: Creating the Urban with Art Introduction 5 Urban Art: Creating the Urban with Art Introduction <YIHU(Y[! Creating the Urban With Art 0SHYPH/VWWL Institute of Contemporary Arts and Media, Catholic Private University Linz i.hoppe@ku-linz.at 1) Urban art as an umbrella term The aim of the conference and this publication is to discuss “urban art” in its broadest sense: as an umbrella term that encompasses a great variety of creative expressions in the urban environment on a global scale. I am aware VM[OL\ZLVM[OL[LYT\YIHUHY[MVYWYVK\J[ZVM[OLHY[THYRL[[OH[HYLYLSH[LK[VNYHɉ[P^YP[PUNHUKZ[YLL[HY[0KV UV[KPZHNYLLI\[^V\SKSPRL[VWYVWVZLHT\JOIYVHKLYÄLSKVMKLUV[H[PVUZ-PYZ[S`ILJH\ZL[OPZ[LYT^HZ\ZLKI` artists and activists themselves at the beginning of the great renaissance of street art around the millennium. In Julia 9LPULJRL»ZÄYZ[HJHKLTPJTVUVNYHWOVUZ[YLL[HY[Z\ITP[[LKHZHTHZ[LY[OLZPZH[/\TIVSK[<UP]LYZP[`PU)LYSPU^L ÄUK[OLMVSSV^PUNX\V[H[PVUMYVTZ[LUJPSHY[PZ[3VNHU/PJRZ!¸¯<YIHUHY[ILZ[KLZJYPILZ[OLTV]LTLU[;OLHY[[OH[ ZPNUPÄLZ[OPZTV]LTLU[PZPUÅ\LUJLKHUKWYPTHYPS`SP]LZ^P[OPU[OLJP[`LU]PYVUTLU[¯;OLWLVWSL[OLTLKP\TZ surfaces and showcases that exist within this movement are all born from the city streets” (Reineke, 2007; Blanché, 6ULTHWVPU[ZPU[OLZHTLKPYLJ[PVU!¸0[Z\TZ\W^OH[^L»YLKVPUN!JYLH[PUNHY[PUMVYPUZWPYLKI`[OL\YIHU LU]PYVUTLU[[OH[^LSP]LPU0[PZZPTWSLHUKLHZPS`\UKLYZ[HUKHISL[V[OVZL^OVKVU»[KVHY[^OPSLZ[PSSTHPU[HPUPUN [OLPKLHVMJYLH[P]P[`HUKPU[LSSPNLUJLUV[Q\Z[º]HUKHSPZT»¹9LPULRL")SHUJOt*\YH[VY(KYPHU5HIPHSZV coined an encompassing term for the Backjumps exhibitions in Berlin after 2003 by naming the phenomenon at large as urban communication and aesthetics (Nabi 2003). ;OLIYVHKPTWSPJH[PVUZVM[OL[LYT¸\YIHUHY[¹HSSV^Z\TTHYPaPUN]LY`KPɈLYLU[V\[JVTLZZ[`SLZTLKPHHUK[LJOUPX\LZ YHUNPUNMYVTPSSLNHSNYHɉ[P^YP[PUN[VWLYMVYTH[P]LWHY[PJPWH[VY`HUKHYJOP[LJ[VUPJHSPU[LY]LU[PVUZ/PSKLIYHUK[ from adbusting to legal murals and so forth. We do not need to be imprecise by describing the single form of urban JYLH[P]P[` I\[ ULP[OLY KV ^L OH]L [V YLZ[YPJ[ [OLT I` KLÄUP[PVUZ ;V HKOLYL [V [LYTZ HZ NYHɉ[P ^YP[PUN HUK Z[YLL[ art is on the one hand useful to stress their critical potential, on the other hand it can be excluding, if the artistic or Q\Z[JYLH[P]LL_WYLZZPVUKVLZUV[Ä[PU[OLPYJOHYHJ[LYPaH[PVU0M^L\ZL[OL[LYT\YIHUHY[PUP[ZIYVHKLZ[ZLUZLHZ a model for analysis, then it is also possible to overcome polarities that were already described and criticized by several authors, that is to say, the oppositions between art and vandalism, art and non-art, high and low art or art and advertisement and so forth. The objective here is, of course, not to overlook these discussions, but to acknowledge them as part of the phenomenon itself. The aim is to deal with every creative expression that appears on our large \YIHUZJYLLU(SZVMVY[OPZYLHZVU[OLPU[LYKPZJPWSPUHY`HWWYVHJOPZZVPTWVY[HU[HZP[VɈLYZHT\S[PWLYZWLJ[P]LVM urban practices, produced by many and often anonymous authors using a great variety of media. ;OL T\S[P[\KL VM L_WYLZZPVUZ WVZLZ H NYLH[ JOHSSLUNL MVY ZJPLU[PÄJ YLZLHYJO LZWLJPHSS` MVY HY[ OPZ[VY` ^OPJO Z[PSS WYP]PSLNLZTVUVNYHWOPJHWWYVHJOLZHUKOHZKPɉJ\S[PLZ[VYLJVNUPaLLNZ[YLL[HY[HZHNLU\PULMVYTVMHY[,]LU though academia as well as the established art world have claimed to overcome the categories of high and low long ago, both are still working with hierarchies. Here methods of visual culture studies or the German Bildwissenschaft 10 Urban Art: Creating the Urban with Art Introduction come into play by allowing us to analyze non-artistic forms of creativity or just signs in the urban fabric, moreover [OLYLJLW[PVUVM\YIHUHY[[OYV\NOWOV[VNYHWOPJHUKÄSTKVJ\TLU[H[PVU;OLZLPTHNLZÄUK[OLPY^H`ZTVZ[S`PU[V the internet and in photo books, and in return shape the urban imaginary. The idea is not to elevate forms of urban HY[HY[PÄJPHSS`I\[[VJVUZPKLY[OLWOLUVTLUVUH[SHYNLHUKZLLP[HZHJVU[LTWVYHY`LWPZ[LTPJTVKLSMVYH^H`VM processing knowledge via images in a dynamic way. The challenge here is to think about a form that includes many forms, a multitude of perspectives, which are constantly networking visually and virtually. 2) Creating the urban -\Y[OLYTVYL [OL [LYT \YIHU HY[ VWLUZ [OL ÄLSK [V^HYK [OL KPZJV\YZL VU [OL JVU[LTWVYHY` JP[` [OH[ OHZ WYLJPZLS` changed in the period of the street art boom since the 1990s. Actually, the static notion of the (post)modern city ^HZNP]LU\WMVYHT\JOTVYLÅL_PISLJVUJLW[PVUVM[OLJVU[LTWVYHY`\YIHU\UKLYZ[VVKHZHWYVJLZZ^OPJOPZ JVUZ[HU[S`JOHUNPUNLWOLTLYHSTVIPSLLU[LY[HPUPUN]PY[\HSKPNP[HSHUKHSZVJOHV[PJHUKKPɉJ\S[[VJVU[YVS)V\YKPU Eckardt, Wood, 2014). These characteristics meet perfectly the criteria of urban creativity as the contributions of this publication demonstrate. Street art, in particular, has shown to be not only constantly changing, ephemeral, mobile and entertaining, but also developed at the same time and together with the web 2.0, and is therefore also virtual. It represents and produces the contemporary urban multidimensional space. This process is of course not SPULHYI\[PTWSPLZVWWVZP[PVUZHUKJVU[YHKPJ[PVUZZ\JOHZNLU[YPÄJH[PVU:[YLL[HY[PZ]LY`VM[LUHJJ\ZLKVYWYHPZLK as a motor of urban renewal because it attracts people to live in such an environment, which in turn allures to real LZ[H[LKL]LSVWLYZ/V^L]LYHM[LY[OLWYVJLZZVMNLU[YPÄJH[PVUPZJVTWSL[LKLZWLJPHSS`NYHɉ[P^YP[PUNHUKZ[YLL[HY[ disappear from the respective area, a process that has happened in Berlin. The intensive investment is accompanied I`JVU[YVSVMWYVWLY[`[OH[SLHKZ[V[OLHNHPUTVYLZ[H[PJUV[PVUVM[OLJP[`7YVJLZZLZSPRL[OPZZOV^OV^JVUÅPJ[Z within the contemporary city very much depend on the urban imaginary: Who has the power to decide about the overall image? Who is permitted to develop the ideas about communal living (Bourdin, Eckardt, Wood, 2014)? -YVT[OPZMVSSV^Z[OH[[OL\YIHUPZHSZVWVSP[PJHSPUKPɈLYLU[^H`Z!P[OHZILN\U[VHZZ\TL[OLTLHUPUNVM[OLW\ISPJ ZWOLYLkɈLU[SPJORLP[9LJLU[S`P[^HZU»[Q\Z[PU,\YVWLHUJP[PLZ[OH[VWPUPVUWVSSZK\YPUNLSLJ[PVUJHTWHPNUZUHTLK HZVJHSSLK¹\YIHULSLJ[VYH[L¸^OPJOJHUUV[ILKLÄULKZVJSLHYS`(M[LY[OLJVU[YV]LYZPHSTLKPHSH^PU7VSHUK^HZ enacted early in 20161, the Polish foreign minister Witold Waszczykowski stated in an interview that the law would cure 7VSHUKVMKPɈLYLU[RPUKZVMKPZLHZLZZ\JOHZ[OLUL^TP_VMJ\S[\YLZHUKYHJLZH^VYSKVMJ`JSPZ[ZHUK]LNL[HYPHUZ ^OV^HU[[V\ZLVUS`YLUL^HISLLULYN`HUKÄNO[HNHPUZ[HU`MVYTVMYLSPNPVU2 In this neoconservative position, which ^LLUJV\U[LY[OLZLKH`ZUV[VUS`PU7VSHUK^LZLLHYLÅLJ[PVUVM[OPZ\YIHUW\ISPJ[OH[HWWHYLU[S`PZOHYK[VKLÄUL Of course, I think that this kind of urban public is the prime audience of urban art, maybe even the agents of it. They and their urban culture constitute forms of a global development that challenge many people and lead them toward neo-conservative parties or even further. Finally, the discourse on the urban has replaced the one on the city itself and has its own semantic history. Until the end of the 20th century ”urban” had a positive connotation: It was idealized as the Mediterranean city with the central piazza in the tradition of the Greek agora, representing the ideal of historic democracy. Strangely enough, 0[W\[Z[OLUH[PVUHSIYVHKJHZ[JVTWHUPLZKPYLJ[S`\UKLY[OLPUÅ\LUJLVM[OLNV]LYUTLU[[OH[JSHPTLKOPZYPNO[[VHWWVPU[[OL KPYLJ[VYZKPYLJ[S`-VYTVYLPUMVYTH[PVUZLL!O[[W!^^^O\THUYPNO[ZL\YVWLVYNWVSHUKQHNSHUKYHPZLZTLKPHSH^O\THU YPNO[ZJVUJLYUZ^P[OWYLZPKLU[K\KH -VY[OLVYPNPUHS[L_[ZLLO[[W!^^^IPSKKLIPSKSP]LWVSLUTPUPZ[LYIPSKO[TS 11 Urban Art: Creating the Urban with Art Introduction [OPZJVUJLW[^HZVUS`YLHSPaLKPUZOVWWPUNTHSSZHUKHY[PÄJPHSS`I\PS[KPZ[YPJ[ZSPRL7V[ZKHTLY7SH[aPU)LYSPU;OLZL TVKLSZ HYL UV[ \YIHU PU [OLTZLS]LZ" [OL` HY[PÄJPHSS` Q\Z[ YLWYLZLU[ \YIHUP[` 7HY[PJPWH[PVU OLYL PZ JSLHYS` SPTP[LK [V consumerism and controlled labor. These concepts were criticized by contemporary urban theory that stresses more [OLJVUÅPJ[PUNHZWLJ[ZVM\YIHUP[`-YVT[OPZWLYZWLJ[P]L[OL\YIHUPZUV[JVUJLP]LKHZHJVUJPZLZWHJLI\[TVYL HZHUVWLUWYVJLZZULNV[PH[PUNJSHPTZVU\YIHU[LYYP[VYPLZHUK[OLZ[Y\NNSLVU[OLZ`TIVSPJZPNUPÄJHUJLVMP[ZWSHJLZ /V^L]LYP[PZH[[OPZWVPU[[OH[^LZLLHNHPU[OLWV[LU[PHSVM\YIHUHY[HZHJYLH[P]L[VVS[VPUÅ\LUJLHUKZOHWL[OL symbolic meaning of urban space itself, and in doing so reclaiming that very space. Its inclusive characteristics often [HJRSLZ[H[PJUV[PVUZVMJP[`WSHUUPUNHUKVWWVZLWVSPJPLZVMNV]LYUHUJLHZ^HZHSZV[OLJHZLPU)PYNP[4LYZTHUU»Z talk about Korean practices (Mersmann, 2018). The analysis of urban art is therefore a valuable tool to make such processes visible. The contributions to this volume show an understanding of the contemporary urban that takes into JVUZPKLYH[PVU[OLPUJVUZ[HUJ`VM[OLW\ISPJZWOLYL/LSIYLJO[+PYRZTLPLYHUK[OLWVZZPIPSP[PLZVMP[ZZOHWPUN 9LMLYLUJLZ Blanché, U., 2010. Something to s(p)ray: Der Street Artivist Banksy. Eine kunstwissenschaftliche Untersuchung, Tectum, Marburg. Bourdin, A., Eckardt, F., Wood, A., 2014. Die ortlose Stadt. Über die Virtualisierung des Urbanen, transcript, Bielefeld. Helbrecht, I., Dirksmeier, P., 2013. Stadt und Performanz, in: Mieg, H. A., Heyl, C. (Eds.), Stadt. Ein interdisziplinäres Handbuch, Metzler, Stuttgart and Weimar, 283-298. Hildebrandt, P. M., 2012. Urbane Kunst, in: Eckardt, F. (Ed.), Handbuch Stadtsoziologie, Springer, Wiesbaden, 721-744. Mersmann, B., 2018. Lacing Places: Situationist Practices and Socio-Political Strategies in Korean Urban Art Project, in: Dornhof, S., Hopfener, B., Lutz, B., Buurman, N. (Eds.), 2017. Situating Global Art. Topologies – Temporalities – Trajectories, transcript, Bielefeld, 27-44 (in course of publication). Nabi, A., et.al. 2003. Backjumps – The Live Issue, catalogue, Vice Versa, Berlin. Reinecke, J., 2007. Street-Art. Eine Subkultur zwischen Kunst und Kommerz, transcript, Bielefeld. 12