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street art in Stockholm - Gatukonst.se

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THEY WERE HANGING AROUND THE TRAFFIC JUNCTION AT SLUSSEN: a gang<br />

of slim cardboard fi gures <strong>in</strong> underwear, wear<strong>in</strong>g ski masks.<br />

The fi rst one I noticed was peek<strong>in</strong>g uneasily round a corner. One morn<strong>in</strong>g they<br />

were sneak<strong>in</strong>g around the roundabout and a few days later one was glanc<strong>in</strong>g over<br />

his shoulder while tak<strong>in</strong>g a piss under the railway bridge lead<strong>in</strong>g to Central Station.<br />

Street <strong>art</strong> has a natural place <strong>in</strong> <strong>Stockholm</strong>’s swarm of signs and messages.<br />

From walls and <strong>in</strong> pedestrian tunnels, on lampposts and electricity connection boxes,<br />

on bridge supports and road signs, <strong>street</strong> <strong>art</strong> offers new and often unexpected<br />

experiences.<br />

When the cardboard fi gures at Slus<strong>se</strong>n began disappear<strong>in</strong>g one by one I began<br />

popp<strong>in</strong>g a digital camera <strong>in</strong>to my pocket every time I went out. This taught me to<br />

<strong>se</strong>e <strong>Stockholm</strong> with new eyes: as a city where much of its <strong>art</strong> exists <strong>in</strong> the gaps, on<br />

the periphery, slightly hidden.<br />

People sometimes talk about ‘the <strong>art</strong> gallery of the <strong>street</strong>s’. Sure, if that’s what<br />

you want. An exhibition that is both free and open around the clock. No discernible<br />

author. No buyers or <strong>se</strong>llers.<br />

It has been called graffi ti, post-graffi ti, neo-graffi ti or urban <strong>art</strong>. For a few years<br />

the term <strong>street</strong> <strong>art</strong> has been current as a generic expression. The movement does,<br />

however, have its orig<strong>in</strong>s <strong>in</strong> 1970s graffi ti culture. In the early ‘80s, graffi tists <strong>in</strong> New<br />

York began experiment<strong>in</strong>g with expression and style, techniques and materials. In<br />

the ‘80s and ‘90s, the<strong>se</strong> ideas quickly spread to Paris, Barcelona and Berl<strong>in</strong> then<br />

out across the world.<br />

Not everyone makes a difference between graffi ti and <strong>street</strong> <strong>art</strong>. And yes, there<br />

are similarities. S<strong>in</strong>ce they are practi<strong>se</strong>d <strong>in</strong> public places, both are illegal, and <strong>in</strong><br />

Sweden can result <strong>in</strong> a one-year prison <strong>se</strong>ntence. Many <strong>street</strong> <strong>art</strong>ists also began as<br />

graffi tists and u<strong>se</strong> alter egos or p<strong>se</strong>udonyms. Most work at night and are driven by<br />

a desire to have their works <strong>se</strong>en often and <strong>in</strong> many places.<br />

21 But <strong>street</strong> <strong>art</strong> motifs such as logotypes and fi gures are often more pictorial and

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