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FRESH<br />
CUTTING EDGE<br />
ILLUSTRATIONS-<br />
PUBLIC<br />
edited by slanted<br />
2
FRESH<br />
CUTTING EDGE<br />
ILLUSTRATIONS-<br />
PUBLIC<br />
edited by slanted<br />
2
––– Content<br />
FOREWORD 04–05<br />
Wayne Anthony<br />
INTERVIEWS 06–21<br />
INOPERAbLE Gallery<br />
Pure Evil<br />
Dethkills Collective<br />
PUBLIC 22–323<br />
JURY 324–329<br />
INDEX 330–335<br />
5
––– Street Art<br />
2.0<br />
Foreword by<br />
Wayne Anthony<br />
The streets of our fair cities are blessed with an electricity<br />
which can only be described as its pulse, heartbeat or feeling<br />
To an untrained eye big cities appear unforgiving, intimidating,<br />
and even overwhelming. Each corner we turn bears the<br />
hallmarks of a soulless machine with no conscious thought<br />
for the people that walk those rounded pebbles. Commerce<br />
is the language of this age, its arsenal stares back at us from<br />
billboards, printed media, TV networks, computers, cell<br />
phones, and retail outlets. Permission is not sought, requested<br />
or demanded from the general public. In any one day, citydwellers<br />
are exposed to thousands of images masterfully<br />
constructed to play on our emotional insecurities, urging us<br />
to buy more products, consume more goods or devour the<br />
planet. Sanctioned heroes of the day instruct you how to<br />
feel, dress, think, and act in accordance with their paymasters’<br />
wishes. The business model works so well that most are<br />
unaware of its existence, although for some their vehicles<br />
of communication are the very cities themselves.<br />
When graffiti arrived in certain hotspots around Europe<br />
circa 1980, it was the impoverished locals that quickly adopted<br />
this art form as the language of the streets. A dialect only<br />
members could translate. People still have trouble reading<br />
traditional graffiti today, although it doesn’t stop them from<br />
admiring the lettering, colors, and shape or form. Whilst the<br />
media and general public define the meaning of street art,<br />
graffiti writers hold them in contempt, arguing that today’s street<br />
artists are nothing more than glory hunters searching for fame.<br />
Street Art 2.0 announced a new ideology sweeping throughout<br />
cityscapes, towns, and villages. Graffiti writers design<br />
their pieces for other writers, whereas street artists of the<br />
new generation create works with mass appeal. Traditionally<br />
the honor of decorating public walls fell solely at the feet of<br />
writers;; today, a global network of artists brought together<br />
by way of the cosmos and the information superhighway are<br />
currently reclaiming the streets and painting some of the most<br />
breathtaking temporary art forms you’ll ever witness.<br />
Size varies according to artist or message. The flamboyant<br />
may place a large piece in a public area that cannot be avoided,<br />
others follow a less intrusive method requiring voyeurs to<br />
venture out into the environment and discover works on their<br />
own merits. Beautiful art isn’t only found along main streets in<br />
populated areas;; if you’re awake street-art graffiti can be found<br />
practically anywhere. Purists take their work off the beaten<br />
track in search of buildings deemed ugly by a community and<br />
transform such lonely sites into something to be loved or enjoyed<br />
by surprised voyeurs. Breathing new energy into the architecture<br />
of cities built upon the rigidity of left-brain orientation.<br />
On any given morning the world awakens to random acts<br />
of creativity produced by artists with no personal agenda other<br />
than evoking thought beyond consumption. Such individuals<br />
show great courage when operating outside the orthodox arena<br />
of contemporary art by challenging the latter’s right to create<br />
public art. It’s a risk-all game with serious consequences for<br />
6 7<br />
losing players. Among the tools of choice are spray cans,<br />
posters, stencils, wheat-paste, markers, ceramics, chalks, and<br />
stickers. Art experts declare a true masterpiece stands the<br />
test of time, whereas street-art graffiti last anything from an<br />
hour to twenty-five years. The most historical graffiti pieces<br />
on earth serve nothing more than memory so today’s art<br />
aficionados are blessed with technology. This ensures true<br />
immortality for these innovative artists who have singlehandedly<br />
brought our streets back to life. Street-art graffiti<br />
puts the human back into the mainframe, allowing the public<br />
to interact with a man / woman-made object as opposed to<br />
mass-manufactured advertisements and commercials with a<br />
soulless message. We are alive and the very nature of this<br />
art form shows the world that everyday people can contribute<br />
to the environment using uncensored grassroots techniques.<br />
No stone is left unturned, anything or everything that filters<br />
through the universe or media can be fused into Weapons<br />
of Mass Creation.<br />
–––
––– The spraycan<br />
works best<br />
outside<br />
Interview with<br />
INOPERAbLE<br />
Gallery<br />
The INOPERAbLE Gallery project and Studio was<br />
created in January 2006. After a move in September 2008<br />
to Burggasse 24 in Vienna the gallery established itself as a<br />
young and one-of-a-kind space in the Austrian contemporary<br />
art gallery scene. INOPERAbLE sees itself as much more<br />
connected to the contemporary urban art scene when<br />
compared with the rest of the traditional galleries, and<br />
exhibits on a monthly basis only the best and most original<br />
urban art. Since its conception, the gallery has exhibited<br />
over 100 local and international artists.<br />
–––<br />
The INOPERAbLE gallery was set up in Vienna, Austria,<br />
in 2006. What was your journey from street artist to<br />
gallery owner?<br />
I began doing graffiti when I was about 14 years old.<br />
A friend of mine and I were walking home and a guy was<br />
clearing out his garage and was throwing out a can of<br />
spraypaint. We took it along with some other stuff and went<br />
out that night to cause some mischief. That first can took<br />
me on a long adventure leading to me almost being kicked<br />
out of school, arrested, and looked down upon by many.<br />
8 9<br />
It has also taken me around the world, introduced me to<br />
hundreds of new people and opened me up to the world of art.<br />
I opened the gallery after I finished my studies, I wanted to<br />
contribute something to the community that inspired me<br />
so much. The gallery is my attempt to give something back<br />
to the urban culture. In 2008, Nathalie joined the gallery and<br />
until today,we have been successfully promoting the urban art<br />
movement in Austria.<br />
Street art and graffiti are often influenced by a particular<br />
historical style that is closely related to location, especially<br />
in big cities like New York, London, and Berlin. Please<br />
describe the current general street art styles present in<br />
Vienna and how your graffiti and street art scene has<br />
developed over time.<br />
The early days of graffiti in Vienna were obviously heavily<br />
influenced by cities like New York, but over time cities in<br />
Germany began having a larger impact. Local artists often travel<br />
between the other German-speaking countries and therefore<br />
brought their influences back with them. Being on the border<br />
to the eastern European countries, Vienna has had a big<br />
influence from them as well. A distinct Vienna style in graffiti<br />
and street art is hard to pin down as it has become a melting<br />
pot of styles from all over Europe.<br />
A gallery for urban artists could be recognized as a kind<br />
of white cube concept in that you extract the work from its<br />
origin. How have you found public opinion alters when a<br />
street artist brings his/her work into the gallery space?<br />
The artists we show in the gallery are ARTISTS. Just like<br />
any other artist they create artworks for various purposes.<br />
The difference between “regular” artists and those we exhibit<br />
is that a large percentage of the work created is intended for<br />
outdoors. It is virtually impossible to bring graffiti or street art<br />
one-to-one into a gallery, but the influences, methods, and style<br />
are often carried over when done on a canvas for an exhibition.<br />
Most people understand this, and appreciate the work in the<br />
gallery even if they prefer to see it on the street.<br />
With street works artists often make a political statement.<br />
Do you feel such statements can preserve their status<br />
once transferred into the gallery setting, and signify the<br />
same meaning?<br />
Two of the most famous political street artists are probably<br />
Banksy and Shepard Fairey, but of course there are thousands<br />
of others who are just as significant. Political work in the street<br />
is very strong and can usually have a very heavy impact in a<br />
gallery as well. The artists only need to be careful of becoming<br />
hypocritical. For instance an artist who criticizes the gallery<br />
scene, or a company for inhuman working conditions, and then<br />
does an exhibition or a job for a similar company will very<br />
quickly lose his or her credibility, which to most artists is one<br />
of the most important things one can have.
Is there any type of work that you avoid exhibiting<br />
in the gallery?<br />
We avoid or don’t exhibit works which don’t fit into<br />
our concept. Like every other gallery, we have our own taste,<br />
so you can find a sort of golden thread in our exhibition<br />
history. We also think it’s suspicious when artists suddenly call<br />
themselves street artists because they heard it is a hype and<br />
lucrative… We search for passionate artists who just can’t live<br />
without creating and who evoke a strong emotion in the viewer.<br />
Most illegal artists prefer to maintain anonymity.<br />
Does this ever make it hard for you to present street art<br />
and graffiti in the gallery setting, particularly if the artist<br />
has attracted the attention of the police?<br />
Fortunately, we never really had negative reactions or<br />
problems with police. A lot of people don’t realize that the<br />
artists we show in the gallery also work illegally. It seems that<br />
as soon as the art is shown in a gallery context, people who<br />
would criticize vandalism don’t have a problem with it. We<br />
know that the police do keep an eye on the gallery, but those<br />
guys are more focused on searching people who do graffiti<br />
on trains or tags and want to catch them in the act or at home<br />
where they could find obvious photo or video material.<br />
How can a well-known illegal artist receive direct feedback<br />
from an exhibition? Would they perhaps tend to present<br />
themselves as reformed characters?<br />
A well-known illegal artist can receive direct feedback<br />
from his friends, from other artists or internet blogs. Or he can<br />
pretend he is a passer-by and stand close by and directly see<br />
or listen how people react. But there are of course artists who<br />
just do their thing and don’t care about what the others think.<br />
How have you managed to transform negative attitudes<br />
towards street art vandalism?<br />
Actually, people are a lot more tolerant with street art than<br />
they are with graffiti because it is an art form that is easy to<br />
understand (and often easier to remove). Tags or throw-ups turn<br />
more people angry because it is considered as willful damage<br />
to property. As a gallery, we try our best to do explanatory<br />
work for street art and graffiti. In most cases, people are very<br />
curious and react positively. They are amazed about the<br />
ideas artists have and how talented and creative they can get<br />
in an urban environment.<br />
Where do you see the relations of urban art to traditional art?<br />
Like traditional art, urban art can incorporate different<br />
media such as painting, graphics or sculpture. A lot of urban<br />
artists have studied art and have an art-school degree. Urban<br />
artists create art in their studios but also take the freedom to<br />
work outside. If one looks back into art history, one can find<br />
a lot of similarities with for example Pop Art, Nouveau Réalisme,<br />
Land Art or Dada. Like any art movement, urban art<br />
encompasses a group of persons who create a certain artistic<br />
style which is not bound to a certain city or school, but turned<br />
into a global art movement. The exciting thing about urban art:<br />
there are no boundaries.<br />
What is your definition of the word graffiti?<br />
Graffiti is painting on a surface with a spraycan.<br />
It can be done outside and inside, illegally and legally, it can<br />
be vandalism and art, it can be letters, abstract or figurative.<br />
In classical graffiti, an alias is propagated and there a certain<br />
rules you have to follow. The writings are often illegible for<br />
a wider audience and created for a peer group. But as in several<br />
art forms, the aim is to be creative, innovative and distinctive.<br />
Is it becoming more feasible for artists with a background<br />
in street art and graffiti to earn a living from exhibiting<br />
these styles in a conventional gallery space?<br />
The artists who got famous in the streets definitely benefit<br />
from the sales of their artworks in a gallery space. Considering<br />
the fact that creating art in the streets is related to financial<br />
costs, selling art in a gallery gives you the possibility to do<br />
greater or bigger projects outside. And it’s always nice for<br />
an artist when the audience enjoys buying your art and you<br />
can keep doing what you actually love.<br />
What advice can you bring to upcoming illustrators and<br />
graffiti writers/artists who would like to experience their<br />
work in a gallery environment?<br />
For artists who work in a figurative way, it shouldn’t<br />
be a problem to exhibit their art on a canvas inside the gallery.<br />
It’s legitimate to use the spraycan on a canvas, but still, the<br />
spraycan works best outside. For a gallery exhibition, it’s<br />
good to see when graffiti artists experiment and grapple with<br />
another technique than they would be using on a wall.<br />
For artists who work in a more conceptual way and where<br />
the environment is crucial for understanding, it is more difficult<br />
to work in the white cube context. Those artists have to come<br />
up with deliberate ideas, otherwise they lose their effect and<br />
street credibility. An artist can follow a big career when he<br />
does amazing works outside and surprises even more in<br />
doing great works that have enough energy and impact on the<br />
viewer inside the gallery.<br />
–––<br />
10 11
––– Make<br />
a statement<br />
Interview with<br />
Pure Evil<br />
In 1990 PURE EVIL left the Poll Tax Riots of London<br />
behind and went to live in California where he spent ten<br />
years ingesting weapons-grade psychedelics, thinking<br />
about stuff, making electronic music and printing T-shirts.<br />
Inspired by skateboard culture and the West Coast<br />
character graffiti of Twist he returned to London and<br />
picked up a spraycan and started painting weird fanged<br />
vampire bunnies everywhere.<br />
–––<br />
You opened the Pure Evil Gallery 2007, it’s situated in the<br />
heart of Hoxton, London. What was the motivation to show<br />
street art and graffiti-influenced work in a gallery context?<br />
I had worked on a Santas Ghetto show before opening<br />
my own space. Santas Ghetto was a yearly event where Banksy<br />
and Co. took over an old shop and turned it into a gallery. It<br />
was a lot of fun. I decided to do something like that permanently,<br />
also based on Aaron Rose’s ALLEGED gallery that was in<br />
New York in the 90s. It was a simple idea and was an easy<br />
way to ease into running a gallery proper.<br />
Are there certain pieces that you could/should never<br />
show in the gallery space rather than on the street?<br />
No I don’t think so. maybe only pieces that were<br />
completely HUGE that wouldn’t fit in here.<br />
The name Pure Evil is related to an experience in childhood:<br />
you killed a rabbit and imagined its ghost returning to haunt<br />
you. What is your philosophy behind Pure Evil and how has<br />
this spectral rabbit influenced your work and life? Does<br />
your creative work often have an autobiographical influence?<br />
I like to explore the darker side of the wreckage of Utopian<br />
dreams and the myth of the Apocalypse, a belief in the lifechanging<br />
event that brings history with all its conflicts to an<br />
end. I’m into dead things, dead celebrities and dead pets. Its fun<br />
to channel all that dark stuff through my artwork, people say<br />
I’m a pretty mellow guy and it’s probably due to my art catharsis.<br />
We would love to talk with you about the Pure Evil Ethos.<br />
It reads like a manifesto: “We are opposed to seeing artists<br />
as a commodity.“ Please can you elaborate on this idea?<br />
I don’t want to have to think “Is this artist going to make<br />
us a profit?” or “This guy’s art exhibition has to sell sell sell.”<br />
Because I am making ok money selling my own art, then it’s<br />
not a prerogative to do shows that people are going to buy,<br />
its more important to show art I believe in. Right now we have<br />
a show with loads of willies and pussies in it. It’s a hard sell.<br />
“No conceptual artists or poseurs”, “No curators allowed<br />
in the building they will be shot on sight”.<br />
How do you select artists to present their work in the gallery?<br />
I spend a lot of time online looking at artist’s websites, and<br />
12 13
looking in the streets, and at other galleries’ shows and also<br />
just absorbing different images of artwork from flickr, tumblr,<br />
facebook… it’s quite a maelstrom of thumbnails…<br />
If a popular graffiti vandal exhibits artwork in the gallery<br />
do they ever attract rival artists/crews or the police?<br />
Yeah there’s SO MUCH politics to deal with when you are<br />
showing graffiti artists. Everybody is polarized and there’s<br />
always so much BEEF. I love it, I love the conflict, every day<br />
I expect to see my window painted over because somebody<br />
thinks my gallery is lame and they want to get over. The<br />
police definitely monitor what’s going on, but I think they<br />
have bigger things to worry about than a street art/graffiti<br />
gallery. The local council has been in to tell us to stop painting<br />
everywhere, so we’ve had to tone things down on the streets.<br />
Having a big PURE EVIL written on the front of the gallery<br />
makes it very easy for the authorities to find you. It’s better<br />
to go and paint in Moscow, Ulan Bator or Sao Paulo.<br />
“Principles before Profit”. In Bansky’s film Exit Through the<br />
Gift Shop Thierry Guetta “Mr. Brainwash” talks about his<br />
business importing cheap secondhand clothing from France<br />
then repackaging it as designer vintage. He occasionally sells<br />
these items in his store on La Brea as templates to high-end<br />
designers like Ralph Lauren: “Buy for $2, sell it for $200.<br />
We turn trash to gold, and I start making a lot of money.”<br />
Later, he seems to work with the same principle. A little<br />
bit of spray here and there, and that’s it. How easy is it<br />
to make gold from street art?<br />
It is really not that easy. He got a big boost with the<br />
association with Banksy and Shep Fairey and he then ran with it.<br />
A lot of people are realizing that it’s important to work hard and<br />
do good work…<br />
With the get-rich-quick attitude in popular culture, is the<br />
term “sell-out” irrelevant today considering the current<br />
financial implosion?<br />
Everybody is selling something. Good business is good art…<br />
Would you work for a big brand like Nike or Coca Cola?<br />
We have a show in the gallery with Adidas next week…<br />
but I’m not sure about Nike and Coca Cola…<br />
You have become very successful as Pure Evil with solo<br />
shows in Berlin, Sydney, Beijing and many more. What<br />
experiences and emotions have you encountered traveling<br />
the world as a rebellious artist?<br />
Massive amounts of adrenaline. Whenever I go to a city<br />
I get out and paint and going to a new city where you don’t<br />
know the logistics of where to paint and there’s a strong<br />
possibility of getting caught is pretty intense. The best time<br />
was painting NAZI SCUM on a Nazi place in Mongolia.<br />
That was nutty.<br />
“Wear your Politics proudly”<br />
Street art is a way to say No! To make people think.<br />
Some of the work out there is very political. Is the message<br />
more important than the aesthetic appearance? How<br />
do you feel when it comes to the discussion of form over<br />
function in political street art?<br />
I think if you can say anything, then why not say something.<br />
Make a statement. If something is bugging you then get out<br />
there and write it on a wall.<br />
“We are an Alternative Ideological Force”<br />
Pure Evil Gallery is consistently pushing boundaries by<br />
showcasing an eclectic mix of art as well as hosting a<br />
multitude of experimental film nights, creative workshops<br />
and live music sessions. How does the music you produce<br />
relate to your visual work?<br />
A lot of the time it is a way to relax… to get away from<br />
running the gallery and just make some beats and drumming<br />
and trying to channel the amazing power of John Bonham. It’s<br />
the same feeling as going skateboarding and hurting yourself…<br />
It’s a way to get all that aggression out. It’s also another good<br />
way to feel a bit like a rock star for a few hours…<br />
“The Gallery should be a Mecca for Independent artists”<br />
There is a grey area between what is street-art and what<br />
is graffiti. Graffiti artist (and owner of London agency<br />
14 15
RareKind), David Samuel, says: “Graffiti in a gallery<br />
is not a real thing, what people need to know is that the<br />
work is by graffiti artists, people with a history, people<br />
who painted at first not for money, but for appreciation<br />
within their culture. When they hit the gallery scene they<br />
put themselves out there as artists, not as graffiti writers<br />
and have the same struggles as any other artist.” Do you<br />
agree?<br />
Yeah, it’s true… Somebody like EINE who used to<br />
be a tagger and paint trains is always going to do something<br />
interesting in a gallery and it will be informed by every other<br />
experience he has had prior to that. It’s like moonrocks, take<br />
a rock off the moon and it loses its context, BUT as an<br />
artefact it still is relevant.<br />
“We need to have the feeling of exhilaration from meeting<br />
an artist and seeing their work.” What is your view<br />
about the chances for graffiti-inspired illustrators and<br />
artists in the current commercial market compared<br />
with the past?<br />
I think illustration is kind of drawing from the head, and<br />
art is more from the heart. The main aim is to be an artist and<br />
I find that then the commercial offers will come in. If you have<br />
your own style and it’s really strong then people will come to<br />
you. HOWEVER it sometimes helps to be in the right place<br />
at the right time and meeting some people who can help you<br />
really is useful. One great piece of advice I heard was from<br />
an artist who wanted to move on up, he looked at where all the<br />
artists he liked and admired were exhibiting, and what kinds<br />
of awards and projects they had been getting, and then he just<br />
went along that route. It’s no good just blanket-bombing every<br />
location, it’s more important to do a bit of research before<br />
you drop those art bombs willy nilly.<br />
Besides running a gallery you are still a street-artist.<br />
How do you manage to straddle the commercial, artistic<br />
and street worlds?<br />
It’s quite a conflict, but I am managing. I don’t do<br />
psychedelics anymore, I think if I did I would flip out<br />
with all the pressures I am under… ooh poor me.<br />
Do you ever see yourself as becoming part of<br />
the commercial art establishment?<br />
Yeah I can’t wait until I get to do that whole Andy Warhol<br />
thing, and crazy people are shooting me because they think<br />
I have too much power over them. It’s going to be AWESOME!<br />
Where do you see the relations between urban art<br />
and traditional art?<br />
Well we’ve been able to create our own media, create our<br />
own galleries and create our own art stars independent of the<br />
mainstream. Lets see what happens next, I’m pretty excited and<br />
also a little bit apprehensive.<br />
What advice can you bring to upcoming illustrators and<br />
graffiti writers/artists who would like to experience their<br />
work in a gallery environment?<br />
HEY ARTIST! If you want people to take you seriously,<br />
take yourself seriously. Get your work together in a decent<br />
folder or create a good way to present it all. People who come<br />
in and go “Er hey I have one good sketch in my book, check<br />
it out” or fumble with their phone trying to show you a 2-inch<br />
by 2-inch picture aren’t going to get taken that seriously.<br />
HEY GALLERIST/ART DIRECTOR! I always think that<br />
ANYONE who comes to show you their art is coming to<br />
show you a piece of their soul so it is important to be respectful<br />
and to give them good advice. If their work doesn’t fit with<br />
your particular gallery then maybe there may be suggestions<br />
that you can give them as to where their work may fit.<br />
16 17<br />
–––
––– Public<br />
—Rems182<br />
Truly Design<br />
Streetportraits<br />
The portraits’ gaze reflect the<br />
daily urban reality by which they<br />
are surrounded and turns them<br />
24 25<br />
into stone, calcifying them on<br />
the wall. Their cement epidermis<br />
reflects a state of mental blind-<br />
ness, an intimate detachment.
—Rems182<br />
Truly Design<br />
Streetportraits<br />
31
—Sepe<br />
Waiting<br />
43
—Skount<br />
Strata Feeding Time<br />
62 63<br />
—Noah Mac Donald<br />
Keep Adding<br />
Silo<br />
Created in an abandoned<br />
grain silo in El Paso, Texas.<br />
Photo: Christ
—Noah Mac Donald<br />
Keep Adding<br />
Wave Nest<br />
Created for a public park containing a<br />
public pool, wavy blue architecture and<br />
a purple octopus sculpture, all taken into<br />
consid eration when designing the mural.<br />
64<br />
—IEMZA<br />
Untitled<br />
Photo:Thierry Gaudé<br />
65
—mK<br />
Fanoe<br />
66<br />
—Joe Wetering<br />
Melting<br />
67
—IEMZA<br />
Untitled<br />
Photo: Thierry Gaudé<br />
71
—Benjamin Mohr<br />
Freiheit<br />
72<br />
—Shoboshobo<br />
Toulouse<br />
Wall drawings at Colomiers arts center/<br />
Tetsunori Tawaraya, Sumi ink club,<br />
Dennis Tyfus and Hendrik Hegray, 2010<br />
73
—Paul Santoleri<br />
PAWZANT<br />
Omega Warm Garden Sunrise<br />
Installation at Red Gallery,<br />
Hull, UK, 2007<br />
“Throatflower”, drawing<br />
installation at Triangle workshop,<br />
D.U.M.B.O. Festival, NYC, 2008<br />
—Paul Santoleri<br />
PAWZANT<br />
74 75<br />
Waste Shrine<br />
Interior, at CESTA, Tabor, ink<br />
on wall. Czech Republic, 2008
—Lake<br />
Write the Wall<br />
127
—Ovni<br />
Barcelona Mural<br />
—Clemens Behr<br />
128 129<br />
Diagonal Mar<br />
Public installation in Barcelona<br />
made with cardboard, paint,<br />
tape and newspapers, 2009
—Clemens Behr<br />
Hello Everything<br />
Installation, at Boheme Precaire<br />
exhibition in Dortmund/Germany<br />
2009. For the expo we tried<br />
to mix styles and get the most<br />
out of the 14 hours we had to<br />
rearrange the space.<br />
131
—Knut Erik Oeverjord<br />
UREDD design agency<br />
Portalen Parking-House<br />
Inspired by the building’s architecture,<br />
the walls were illustrated from the idea<br />
of combining nature and ricepaper with<br />
a multistorey car-park.<br />
—Thomas Weyres<br />
148 149<br />
PAW<br />
Tape-graffiti-pieces at gallery 33,<br />
Berlin, 2010
—Karl Grandin<br />
Tranan<br />
Seven-color mosaic artwork in the<br />
restrooms of restaurant Tranan in<br />
Stockholm, 2005<br />
150<br />
—Karl Grandin<br />
The Garden of Earthly Delights<br />
Permanent graffiti in one of the<br />
restrooms at restaurant Riche in<br />
Stockholm, painted together with<br />
Björn Atldax, 2008. The Garden<br />
of Earthly Delights is an inter-<br />
pretation of an altarpiece triptych<br />
created by Hieronymus Bosch in<br />
the early sixteenth century.<br />
151
—Karl Grandin<br />
Nightlife<br />
The Nightlife Owl was projected<br />
onto the side of the Stedelijk<br />
Museum/Post CS building during<br />
the night of Art Beat, an art event<br />
in connection with the Amsterdam<br />
Museum Night in 2005.<br />
152<br />
—Fernanda Cohen<br />
Sugar Restaurant Murals<br />
The look and feel of the illustrations<br />
for the walls of the restaurant/club<br />
Sugar were designed keeping in mind<br />
a festive, fun and active audience<br />
who would identify with the scenery.<br />
153
154<br />
—Trapped in Suburbia<br />
Torture Basement<br />
Redesign of the torture exhibition<br />
in museumgoudA. All the information is<br />
hand painted/drawn on the floor with<br />
UV-paint. You can only see something<br />
when you put on the UV-flash light<br />
otherwise it is just a white floor.<br />
155
—Irene Sackmann<br />
Im Wald<br />
230 231<br />
—Zonenkinder Collective<br />
Barking up the wrong tree
—Pablosherrero<br />
Lamp post<br />
232<br />
—Pablosherrero<br />
English garden<br />
233
––– Jury<br />
session<br />
326<br />
327
––– Jury<br />
members<br />
328<br />
Johannes König<br />
www.johanneskoenig.com<br />
www.melvilledesign.com<br />
Johannes is art director at Melville Brand<br />
Design. He mixes analogue and digital<br />
techniques: drafts which are designed on<br />
the computer are treated with acrylic paint<br />
and other materials. In the process, he<br />
often introduces typo graphic quotations<br />
from songs, poems or various content<br />
into his work.<br />
André Rösler<br />
www.der-roesler.de<br />
André studied design in Pforzheim where<br />
he took his degree in 1997. He has<br />
worked as a freelance illustrator, designer<br />
and animation director. He illustrated<br />
several picture books for Peter Hammer<br />
Publishing house. His work was awarded<br />
various design prizes e.g. the ADC-award<br />
for illustration. He teaches illustration<br />
at the university of applied sciences<br />
in Würzburg.<br />
Michael Luz<br />
www.michaelluz.de<br />
Michael was born 1964 in Stuttgart.<br />
He currently works as illustrator in his<br />
own studio for various agencies and<br />
publishers. In his current project he<br />
presents each day a new illustration on<br />
his website. The project will end after<br />
365 days.<br />
Raban Ruddigkeit<br />
www.ruddigkeit.de<br />
www.freistil-online.de<br />
Mone Maurer<br />
www.monemaurer.com<br />
www.aortica.net<br />
Mone was born in Holzgerlingen 1976.<br />
She is an illustrator & creative director,<br />
studied medicine, graphic design,<br />
illustration and media art. She mixes<br />
traditional tools and techniques with<br />
digital media. Mone’s artworks were<br />
published e.g. in brand eins, die ZEIT,<br />
+rosebud, ROJO, Neon, several books<br />
from Gestalten Verlag and Taschen<br />
Verlag. Together with Piero Borsellino<br />
she produces the magazine AORTICA.<br />
Raban was born in Leipzig in 1968.<br />
<br />
the GDR. After ten years as an illustrator<br />
and designer for magazines e.g. Das<br />
Magazin and ten years as art director<br />
in advertising e.g. Scholz & Friends,<br />
Jung von Matt, he has linked these<br />
two worlds in his own Berlin agency.<br />
He is the Founder of Freistil – Best<br />
Of European Commercial Illustration.<br />
329
330<br />
—André Rösler<br />
331
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––<br />
Foreword<br />
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Interviews<br />
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Pure Evil, www.pureevilclothing.com<br />
Dethkills Collective, www.dethkills.com<br />
––<br />
Typefaces<br />
Bysshe, Obiter, DTruck, Rosenthal by David Millhouse<br />
www.defalign.com, www.volcano-type.de<br />
Times New Roman by Stanley Morison, Victor Lardent<br />
www.linotype.com<br />
––<br />
Printed in Italy<br />
<br />
Thanks to<br />
all those fantastic contributors out there. We recieved over 16.000 pieces<br />
of work form all over the world in a record time of 2 months.<br />
Friends and team: Tom Barbereau, Piero Borsellino, Tobias Dahl, Ina<br />
Doncheva, Flo Gaertner, Silke Hensel, Sabine Hoffmann, Boris Kahl, Julia<br />
Kahl, Matthias Kantereit, Verena Kiesel, Monika Kraus, Moritz Müller,<br />
Anja Neidhardt, Sarah Schmitt, Martin Schonhoff, Anna Straetmans, Lukas<br />
Weber, Ulrich Weiß.<br />
HFG Karlsruhe for providing us the spaces for the jury selection.<br />
Jochen Sand for photography during jury sessions.<br />
Special thanks to Ralf <strong>Daab</strong>.<br />
––<br />
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ISBN 978-3-942597-05-0<br />
––<br />
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