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gnize like Break Dance and Graffiti. But at some point Art de la Rue became this kind of mess. So it isn’t the same when we say street art right now. So Street Art at the beginning when it started to be used in France was actually those guys who shifted from graffiti name writing into visual identity, so it is some kind of visual communication, brandalism without something to say. So that’s how the street art term for me, for my experience as a viewer, came out and then it started to be used because those guys were entering galleries as some kind of a brand. Using street art as a way of saying ‚Oh, those guys have street credibility, let’s buy them and bring them into the gallery‘. It’s an eternal cycle, because it has already happened in the 70s and 80s with graffiti, but didn’t really work, so street art was the new term in order to make more politically correct, or maybe a bit savage art, sell. For me it’s marketing, Street Art. So either it’s marketing or it’s this kind of a visual identity, so some kind of a modern perspective on art. The artist functions as a signature. It is totally outdated regarding what art is about these days. A lot of artists I admire, besides those big stars everybody knows, who are obeying on the rules of the market and playing with it, are artists who went viral, doing work nobody recognizes as art work and that’s how they are doing it. The idea in the older stories and in the 60s was always to push beyond for art. So actually there is this totally crazy gap where you have those guys doing some kind of white-male-middle-aged cartoons and selling it on the market and saying it’s Street Art where it’s actually on canvas and also doing some festival and maybe doing some illegal work, but who cares anyways? It is just some kind of brandalism and you’ve got the definition of art, which is way more interesting and socially engaged, complex and stuff. So, that’s why I don’t want to use Street Art, because when you speak about Street Art, you speak about nothing. No, it’s like some guy doing some decorative shit putting it on canvas and selling it in galleries. How can it be street art if it’s in galleries? Yes, it is a practice and it is actually the one that the municipality market is using and that’s why it is popular and everybody sees it and there are some stars with it and that’s why it is not really interesting. At the end it’s not really specific, it is rooted to the idea of a figure of an artist, who has some kind of knowledge or skills that nobody else has. Graffiti, or name-writing-graffiti was just a base of anybody who could write and the fact of writing was doing name-writing-graffiti. The recognition of the fact that you are putting your name everywhere is just a fact of practicing. Actually street Art could be a practice, but as you start to get interesting in the scene, you always come back to the same names. So, for me it’s marketing. Who did the marketing? Who started to use the term ‘Street Art’? It’s the guys who created the market. A gallery owner was supporting writers in the 80s, but it wasn’t working. So she and another guy started to use this term and they made an exhibition in 2001 which was called Street Art - well, actually it wasn’t her fault, the show was quite good, but all of the guys in this show did something totally different than Street Art, they were creative artists and actually this definition started to come after some talented guy went this path and shift from under the direction, it is doing this conceptual invasion, but when it is in galleries, it is mostly selling art. It is doing something else. Most of the writers doing muralism went into the galleries using this street Art theme as legitimation, but they are mostly doing the same shit they do in the streets, so, what’s the point? Calling it Street Art and then you start calling it mura- 20
Mathieu repainting the Grafitti of the local Crew. 21
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Seite 4 und 5: I N H A L T S V E
Seite 6: Fotos Elisa Georgi I N E S MACHADO
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Seite 11 und 12: »I hope the hype Lisbon is experie
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Seite 26 und 27: context and when you are not gettin
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Seite 30 und 31: against you, it could be understood
Seite 32: Fotos Elisa Georgi BAIRRO PADRE C R
Seite 41: LOW BROS
Seite 45: VIOLANT
Seite 49: FELIPE PANTONE
Seite 53: VIOLANT
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Seite 60 und 61: er 25. April 1974 ist D wohl einer
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Seite 66: Fotos Elisa Georgi Raul Llamas Kirc
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San Spiga sprüht auf Wunsch eines
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Jahren Ausstellungen, Murals und In
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MODERN MURAL MAGAZINE Editors in Ch
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