Norwegian graffiti 1. Scribble house in <strong>Bergen</strong>.Norwegian graffiti 2. Writings on an elevator in Fantoft.Dutch graffiti. Door number3, Amsterdam.22in France also created fertile ground forgraffiti expressions. But what lies behindthis human manifestation?FORCED URBAN SILENCE AND RE-TERRITORIALIZATIONOne of the many consequences of life inmodern cities is anonymity. Before theprocess of urbanization and countrysideto-citymigrations took flight (as early asthe 1800s in Industrial Revolution citieslike London, or more recently in other humansettlements), human life took placein a mostly rural background, where everybodyknew everybody. The baker, thepriest or the shopkeeper were all knownfaces. However, when the population ofa town went from the hundreds to thethousands or soaring into the millions,the character and identity and onenessof the individual felt the consequences:it became easy to get lost in a crowd ofmillions of human beings that happenedto share several square kilometers.In 1968, Andy Warhol stated that «inthe future, everybody will have 15 minutesof fame», and soon enough, the inhabitantsof various human settlementsstarting coming up with ways to reclaimwhat they had lost in the endless pool ofbuildings: an identity. Public opinion wasthe dominion of the media: newspapers,television, radio: the establishment decidedwhat was said, when it was said and bywhom it was said. Every evening, the suburbswere swept by the waves of soundfrom newscasts and editorial speeches,which held the truth, and communicatedit to the masses. Thus, communicationbecame a one-way situation, it could onlybe received. However, events were suddenlytaking place in the world, people
Bikes, coffee and graffiti. Coffee shop in Amsterdam.were brought together or separated bycommon causes, and it became necessaryto reclaim the ability to communicate,but also to define an identity in a sea ofanonymity.SHIFT OF SCENE AND TAKE-OFFThe modern graffiti scene appeared inPhiladelphia, but quickly moved to NewYork City, where its cosmopolitan characterand overcrowded environment provedfertile ground for the further developmentof graffiti. The NY underground stands asan early witness of graffiti in the city:more or less concealed from street viewand police controls, the subway wagonsprovided a moving showcase, where messageswere carried across town, and werenot limited to abandoned alley walls.TAKI183 and Julio204 were pioneers inthis new-found discipline. Both were taggers(they limited themselves to writetheir names everywhere, bearing no politicalor social message whatsoever). Julio204painted the walls of his neighborhood,but TAKI183 took on the pastimeof writing his nickname on the subwaycars. He worked as a messenger, a job thatgreatly facilitated his passion for graffiti.However, after some years he got married,started a family, and stopped tagging.DROPPING THE BOMBSoon after tagging became somewhatcommon, graffiti was taken one step further.By the early 1970s, there were a largenumber of taggers in the streets, so justwriting your name in a wall quickly becameinsufficient. Graffiti artists wouldbreak into car pounds and storage lots,and with more time and privacy on theirhands, they started producing what isknown as «pieces»: large, detailed, colorfulworks that, through the use of a widerrange of elements and highly personalizedcalligraphy, attempted to communicatemore information than the previoustags. The use of the word «piece» to referto these manifestations comes from«masterpiece», and the production of veryelaborate pieces is called «bombing». Therest is history.So where does graffiti stand today?It is a criminal activity when it is donewithout the property owner’s consent.The Metropolitan Transportation Authorityof New York has conducted extensivecampaigns towards eliminating graffitioff their property, and today, any graffitidone in the subway cars of New Yorkwill probably be dealt with in a matter ofhours.However, an increasingly growingnumber of people allow for graffiti to bedone upon their walls, and occasionally,cities will provide spaces aimed at graffitiartists, as a way of keeping them andtheir work, confined to a specific area.Artists like Banksy have taken graffiti tofurther limits (Banksy is known, amongother things, for invading the penguinsection of the London Zoo and writing«we’re bored of fish»). Graffiti can also beperceived as a thermometer of social activity,and can be associated to the Frenchphilosophers Deleuze and Guattari's ideaabout reterritorializing: everyday anonymousmen and women regain their voicein society, conducting a social re-engineeringof the communication channels,using new and controversial methods tospeak out, or simply to say «I’m here».23