#kunstforum

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vienna, at

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KUNSTFORUM International. Graffiti NOW - Ästhetik des Illegalen

Man sieht es überall und versteht es doch nicht so richtig: Graffiti – die vandalischen Bilder auf Zügen und Wänden. Als Krisenphänomen einer Jugendgeneration geboren, als Abenteuerspiel verbreitet und als Kunstgattung entpuppt. Die Graffiti-Bewegung bleibt eine nicht institutionalisierte Brutstätte für künstlerische Entwicklungen und Inspirationen des ästhetischen Ungehorsams. KUNSTFORUM International

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[1upcrew]

Graffiti Now! Ästhetik des Illegalen. @kunstforum_international Interviews by: @moses.taps @1up_crew_official @rap2122 @henrychalfant @marthacoopergram und Rechtsanwalt P. Gau Außerdem: @hmza84 @trait_my_name #saeio @_olivier_d_ @der_edelstein @thomasvonwittich #OneUnitedPower #1up #Mosestaps #Graffiti #kunstforum #Kunstforuminternational #egotrip #berlinkidz Gastautoren: Martin Papenbrock, Georg Barringhaus und Robert Kaltenhäuser Thanks to @larissa_kikol for the great job! https://www.instagram.com/p/Bw8ndgbh-_e/?utm_source=ig_tumblr_share&igshid=djpes8jwu49b

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kunstforum. wien.

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kunstforum. vienna.

[obsessedbyneon]

Gustav Peichl, Kunstforum Wien, Vienna, Austria, 1988 - 1989.

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[naugard]

Die Ästhetik des Ewig Weiblichen - in Berlin und Paris

Sie scheinen sich charakterlich und thematisch ähnlich – das Berliner Bodemuseum und das Musée de Cluny in Paris. Die Dame mit dem Einhorn ist der strahlende Stern in Paris, die schwebende Maria Magdalena der Publikumsliebling in Berlin. Um diese Figuren bewegen sich in beiden Museen vor allem Skulpturen aus der gotischen Kunstperiode, der die heutigen staatlichen Begrenzungen Frankreichs,…

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BACK IN STOCK! KUNSTFORUM International. Graffiti NOW – Ästhetik des Illegalen

In its 50th issue the established German art magazine KUNSTFORUM International did introduce Graffiti for the first time as the volumes’ main topic to its readers in 1982. Back then “graffiti” was still a wide ranged term including murals from Central America, political slogans, ironic writings, ancient carvings and often illegal interventions in the cityscape. Traditional New York graffiti writing, which dominated the city’s face for more then ten years at this point, was presented in three photos and not even a full page of text.

Maybe it was a bit too early because in the following months and years writing was transported through books, movies and vinyl covers to almost every bigger town in the western society. So only some 37 years later they did another try in May 2019 with their 260th issue. This time the word “graffiti” is much more clear defined: writing, following the New York tradition and in parts art which did evolve out of it. Larissa Kikol, responsible editor for this volume, did unite big and small names and gives a status quo of graffiti in central Europe.

With her background as an art historian, she analyzes and contextualizes the works from CLINT176 (Berlin), SAEIO (Paris), SUSIE (Berlin) and HAMS (Marseille). As city portrays you can find Berlin as today’s hot spot and as example of a well documented oldschool the city of Munich. An in-depth definition of graffiti as a tool of city marketing (Robert Kaltenhäuser and Georg Barringhaus) are part of the content as well as interviews with Henry Chalfant, Martha Cooper, RAP, 1UP, graffiti lawyer Dr. Patrick Gau and MOSES & TAPS™.

Now available at www.hitzerot.com