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WELCOME TO ISSUE 007. THE JAMES BOND ISSUE. JUST KIDDING. 6
LIL’ ILLU BATTLE
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PEOPLE: PABLO COTS ONUR BEASTMAN LAMOUR SUPREME MOTELONE
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PROJECTS & PLACES: AMOS ON THE RIGHT TRACK URBAN ART STUDIO SCHOOL'S OUT ARTYOU (Z)ORTEN BLAMBLAMBLAM
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CARTE BLANCHE: TI K550I HOPEHOPE
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COLUMNS & PRODUCTS: WE MAKE GENEVA (SACHENMACHEN) ONE MAN'S PLEASURE (NUMBER ONE) COLIN SCHAELLI, JAPAN (LOGBOOK) THE EIGHT (ART MOVEMENT) LORI LOBENSTINE (SNEAKERNESS) KID 666 (EYES ON TOYS) SHIRTY C.R.E.A.M. READERS DIG IT SAUCY BITS WELL DONE
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REFLECTIONS ABOUT STREET ART DISTRIBUTION, THANK YOU, SUBSCRIBE, IMPRESSUM ._.
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WWW.AMATEUR-MAGAZINE.COM
No. 007 Oct - Mar 2010 / 2011
This page: Picture by Ian White (www.cutterskink.com)
2010 © Amateur Magazine. SWITZERLAND. All rights reserved. Reproduction without written permission is strictly prohibited. Any views expressed in this magazine are not necessarily those of the publisher. No guarantee for accuracy of statement.
Cover artwork by LAMOUR SUPREME (www.mishkanyc.com)
Dear reader, Sometimes it is better to realize an idea right away without thinking too much about it. This was the case for the Amateur Magazine. I don’t know on what kind of trip I was two years ago, when I got the idea to publish a print-magazine. Looking back however, it was one of the best things that could have happened to me. Over two years have passed since. The Amateur Magazine is still alive - despite economic crisis and short budgets - or how they use to say in Basel: Heroes are born in bad times. Seven issues and a total of 500 pages have been published. A lot has been moved, made possible, experienced and missed out on. Good contacts have been established and new friends have been made. In the meantime the magazine is displayed in various Metropolises of the world and I think I can say without exaggerating, that Amateur has become an inherent part of the creative urban society. Now it is time to say thank you. The Amateur Magazine would have been long gone without the help of many friends: Let’s start with A. A like artists: My thanks to all the artists - too many to list you all. Without you the magazine would be empty. You are the best! Rodja Galli for his input and the connections with all his friends from Bern. Wink One for the authentic and exciting NumberOne stories from the underground. Ian White for the connections abroad, the good articles and the many photos. All editors who regularly tear up their asses to deliver fresh stories and reports: Colin Schaelli, Wink One, Julie Machine, Marisa Pichler, Donovan Gregory, Luzia Kaelin and Florian Hauswirth. Thank you! Furthermore I would like to thank Migi Keck, who provides support with the handling of the printing data. Flavio Lardelli, who drives across Switzerland with me to deliver the fresh magazines. Thomas Walde, for being
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to hand whenever I need help. Enzo Scavone and my sister Rebecca for the tedious proofreading and translating. My closest friends because they believe in me and keep me on the ground in the turbulent times when delivering to the printing press. All the sponsors, for without them the magazine could not have been printed. The last thanks go to you, dear reader, for you are the actual measure and the reason for our being. Thank you for your interest.
What’s next for Amateur? In 2011 we want to explore new grounds and expand our presence in the virtual world. This will be the responsibility of the Pussiesparadiese Posse. They will provide fresh content on www.amateur-magazine.com. For some years already the makers of Pussiesparadise have been providing the swiss art scene with first-class video and photo reports about selected events as well as their own events in the context of urban art. Due to the year long friendship as well as the geographical vicinity the fusion is the next logical step. In this spirit: Welcome aboard, Pussies! Another big change is the switch to publishing our magazine only twice a year - beginning of April and beginning of October - starting in 2011. In return it will be thicker, more colorful and better - at least we hope. And now grab your bottle of red wine, your cigarette or whatever you need and enjoy the fresh issue. Yours truly
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THOMAS WALDE www.sein.se
In each issue 2 chosen artists draw against one another. Each artist gets his page (left or right) with an object
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JEAN PEN www.sein.se
placed in the middle (done by Rips for this issue). Amateur then just puts the two pages together as they come in.
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Berlin wall, 2006 - picture by Samuel François
PABLO COTS Paul Léger about Pablo Cots: It is this “elsewhere” that Pablo Cots seizes on in his painting. A Brassaïan fruit springing from his first incantations, it was born on the walls and it is with rare abnegation that the artist has become its faithful high priest. (...)Suspended above anxious reality, thrown down, the figures, tags and signs reveal themselves as authentic, humorous and wise. It is odd to find a painter of this fiery zone insisting on bridging the urban disorder gleaned on his many travels and his inner tensions, to recreate in each street painting the serenity of an ideal image.(…) Beyond misdemeanors, unexpectedly, Cots often chooses a simple frontal approach and almost child-like, non-dramatized compositions to reinforce his stance in a form of benevolent nostalgia. The muted violence of cities, isolation and abandonment are never represented in the foreground. Graffiti acts more as an antidote to discreet, interiorized pain. The friendly blessing that he bestows on the street is also found in the artist’s installations. (…) Guardian of the temple, Pablo practices the salvaging of materials like a prayer, sanctifying a bastard art destined for destruction and finding in the street and in anonymity a form of lost innocence. This is how the painter avoids dead-ends, courting no hip visual system but seeking the old combination of interior and exterior, an explosive fusion that makes the street a timeless friend in the art of looking. Pablo, how did you get into art? I don't come from a family who's familiar with art. Kid, I wasn't interested in art or comics, I was a bad drawer. At 13, I started doing graffiti, just writting and drawing letters. at 15, I visited an open studio of a graphic design secondary school, then I started to be interested and I tryied to get in this kind of school, but I failed the entrance examination.. so I took some lessons with an old guy and the year after, I passed the exam. After the baccalaureate, I did 2 more years of graphic design and i left it for the fine art school of Paris, where I learned to paint 6 more years...
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Name:
Pablo Cots
Hometown:
Paris, FR
Age:
34
What's your technique? I usually paint with acrylic on canvas, I take a lot of pictures in the streets, stores, naives graffiti, handmade stuff, whack typography, architecture.. mostly in popular neighbourhoods. Then I don't reproduce a picture exactly, but every canvas is made with different souvenirs, pics etc..it's like a personal journal diary. Often people see my work on canvas and they think it's very realist, because they watch it on a screen, but my paintings are pretty rough. I don't like to stay at the same canvas for a long time... I don't like to stay in my studio just doing paintings, I love to do wall paintings, installations in special places, and commissioned works when it's cool. What places did you travel to to get the inspiration for your artworks? I really love to travel, I was born in Algeria, arrived in France at the age of 6, and from baby age, I always went to Spain where my dad came from, he worked for an airline so i used to travel very cheaply. I want to see all the countries, I loved Mexico, theres a bunch of stores with handmade signs in the streets, In Africa, too. I went to Senegal. There’s many handmade paintings for shops like hairdressers, groceries, etc.I went to India, too. There I met some painters of moviesposter a few years ago, walking on the streets, you can see painters doing signs several times a day. I loved streets with a lot of visual information, I'm more city than country. But I don’t need to cross the earth to get inspiration, I'm inspired by many things in my neighbourhood! Or now on the internet. 1 $/ € stores, neibourbourhood with mixed population - I loved to go to South America, eastern countries and across the USA.
What's the 3 most important things in your studio? Internet, a soccer ball, my bookcase (I mean for breaks).
www.pablocots.net
COTZILLA 114 X 162 cm, acrylic GHOSTARELLY 114 X 146 cm, acrylic
How do you make your living? I make my living from my personal work, (represented by Galerie Olivier Robert in Paris) and sometimes commissioned works by brands or agencies. Imagine the DJ at your party was a jukebox. What track would you choose? It depends on the time and on my mood! Now it's "push it" by Salt N Pepper What would be the project of your dreams? The project of my dreams: always get interesting projects that are in progress! You at the age of 66? What will you be doing? Well it depends if I'm positive or negative. First: I would like to still make my living by selling my personal work. Travel for work and holidays, I don't want to be an old guy who doesn't move from his studio, just doing painting on his easel! eternal teenager... If you could be a thing, what would you like to be? A skateboard. What people do you admire? Rupert Pupkin.
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PASEO 60 X 81 cm, acrylic
EL DORMIDO 46 X 65 cm, acrylic
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ALMAGRO CATZ 21 X 29 cm, acrylic
PHUNGY RAY 38 X 46 cm, acrylic
IF YOU KNOW WHAT I MEAN 80 X 130 cm, acrylic
HEAT OF GLASS 125 X 160 cm, acrylic
CRISTO TE AMA 130 X 195 cm, acrylic
PEANUTS 73 X 92 cm, acrylic
BUGSITO 92 X 73 cm, acrylic
BABY TRAIN 50 X 65 cm, acrylic
What do you love? Too many things.. I love to stroll in the flea markets to buy old beautiful books, vintage toys, the atmosphere.. I love to walk around in a visually rich neighbourhood and go back home with a lot of ideas and wanting to paint. Anything else you want to say? My next show is in Abu Dhabi in November.
"From the Cross or from Damascus, all roads, all dead-ends and all avenues de la Grande Armée, all boulevards des Filles-du-Calvaire, all the paths of war lead to Rome. Like the chemin des Ecoliers, all the most disreputable streets and lanes lead elsewhere.” ._. Jacques Prévert
www.pablocots.net
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DRAWING BOOK, A4 - 64 pages, 100 copies, co edited : K.D / G.O.R
DIEU 15 X 20 cm, acrylic
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DIY ZINE - A5 - XEROX + STICKERS, 50 copies all different, Rupert Pupkin edition.
91 NTM 50 X 50 cm, acrylic
www.pablocots.net
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Onur in his studio, 2010. Picture by Janosch Abel
ONUR Please describe yourself. I was born on the 11th of September 1979 in Solothurn and grew up nearby in Zuchwil. After school I completed an apprenticeship as a painter and subsequently as theater painter in the town theater of Solothurn. After that I was trained to become an illustrator by FAVO, an advertising agency in Basel, and worked one year thereafter as graphic artist in Bern. In 2007, I returned to theater painting, this time in Lucerne. At the end of 2008, I became self-employed and since then I have worked for different exhibitions and clients, such as Artsouk 2008 (Bern), Artig 2009 (Basel), Jungkunst 2009 (Zurich), UNDPLUS Collabroom (Berlin), Art Clash 2009 (Zurich), Galerie Christine Brügger (Bern), town building authority in Solothurn, Pixelfarm (Bern), Cu(t)bus (Bern), Redbull, Nike Switzerland, Sneakerness 2010 (Cologne), Royal Arena Festival (Biel), JEM Urban Wear, and some more. How did you get into art? Through my ten year older sister who painted oil pictures in our children’s room. After she had finished, I’d copy everything. What's your technique? Acrylic and self-mixed pigments with roller and paint brush on linen cloth. I paint photorealistic pictures, predominantly in black and white. Some of my subjects are only visible by a certain light incidence or with UV light. The interaction of dull and bright shades of black colors or the use of „blacklight“ colors has become an important characteristic of me in the meantime. What's the 3 most important things in your studio? My old acrylic roller, enough space and music.
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www.onur.ch
Name:
Onur Dinc
Hometown:
Solothurn, CH
Age:
29
At the age of 6, 1987
Flippie Niemand, 2010, 2.3 x 2m, acrylic on canvas
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Joker, 2009, 6 x 4.5m, acrylic on canvas
You recently had an exhibition in Berlin, you did some painting jobs for Nike and another nice project together with photographer Janosch Abel. You are going big at the moment. What comes next? I’ll certainly continue to work with Janosch in the future. At „Artyou“ people could see our combined activity „Die 3 Erzengel“ (the three archangels) amongst other things. In the near future however, I’d like to paint more pictures for myself again without having to give the pictures away or having to sell them immediately. Imagine the DJ at your party was a jukebox for once. What track would you choose? The Black Keys - Remember When (Side B) What would be the project of your dreams? I have been working on the project for two years. You at the age of 66? What will you be doing? Painting, looking after the garden, fishing, travelling and lots of other things that belong to a relaxing life. If you could be a thing, what would you like to be? An oldtimer. It becomes more beautiful with age while the modern cars become uglier. And the oldtimer is only driven on nice days. What people do you admire? People who are themselves/authentic and honest. What do you love? My freedom. Anything else you want to say? My father once said: „Look for a real job!“ Fortunately I didn’t listen to him.
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Ungerem Bett, 2010, 2 x 2m, acrylic on sisal carpet
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Heinz, 2007, 1 x 1.5m, acrylic & 2k paint on canvas
Yasar, 2009, 1.5 x 2m, acrylic & 2k paint on canvas
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Harlem - 125th street, 2008, 1.4 x 1.2m, acrylic & 2k paint on canvas
Station, 2010, 2.8 x 0.7m, acrylic & 2k paint on canvas
www.onur.ch
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Name:
Beastman
Hometown:
Sydney, AUS
Age:
unknown
Beastman in his studio. Picture by Juan Mon
Please describe yourself I am an artist, curator, designer, skateboarder and photographer from Sydney, Australia. How did you get into art? I grew up drawing pictures, skateboarding and shooting photos - maybe it was this lifestyle that has led me to where I am today. How would you describe your art to someone who has never seen it before - e.g. people who lived in caves for the last 15 years? Influenced by the beauty and symbolism behind nature‚ it’s repetitive geometric patterns and its eternal struggle against man-made adversities, my symmetrical paintings depict a parallel world of hope and survival inhabited by scaly-skinned, beastlike yet beautiful and emotive characters. Gripped by fear, anger, stress, jealousy, lust, confusion and paranoia, these creatures reflect human nature and the everyday burdens and struggles of life that mankind so easily and continuously finds itself lost in.
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www.beastman.com.au
Dad, 1984
Painting Infinity, acrylic and ink on mounted plywood, 18" x 24", 2009
B E A S T M A N
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What's your technique? The techniques i use differ depending on what i am working on. My gallery works are acrylic and ink markers on plywood. My wall murals and larger scale pieces are with aerosol. I also use a mac to create and design images. How do you make your living? I make money painting, doing freelance graphic design and sometimes art based commercial projects. Why do you draw what you draw? It just feels right and makes sense to me, i have been drawing and painting characters since i was a kid, the images i am creating these days have simply evolved and developed over 20 years or so. What's the 3 most important things in your studio? Mac, music, phone. Imagine the DJ at your party was a jukebox for once. What track would you choose? Batcat by Mogwai Please tell us an important lesson you have learned in life. Work harder than anyone else you know. What's your next project? An installation exhibition at Lo-Fi Collective in Sydney with a couple of good friends - Phibs and Creepy. Captured From Deep Within, acrylic and ink on mounted plywood, 16" x 16", 2010 Envision, acrylic and ink on mounted plywood, 16" x 16", 2010
Any trips to Europe planned? Yeh for sure, I want to try to get over there in 2011, maybe UK and Germany. You at the age of 66? What will you be doing? Relaxing somewhere with a view, I love a good view. What people do you admire? I admire people who work really hard doing what they love to do. What do you love? My girlfriend Kelly, family, friends, painting, music, nature, food, skateboarding Anything else you want to say? Check out my website.
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www.beastman.com.au
4ZZZ Building Brisbane, Australia August 2010
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The Storm, acrylic and ink on mounted plywood, 30" x 40", 2009
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Intrinsic Nature - Four, acrylic and ink on mounted plywood, 16" x 24", 2009
Beastmannequin, aerosol, acrylic and ink on mannequin, wooden chair and bowls, 2010
Mays Lane, Sydney, February 2010
www.beastman.com.au
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Simon head sculpture for MISHKA (Brooklyn Store) & Super soldier bear head (Tokyo store)
LAMOUR SUPREME Please describe yourself. Frequency holder, shaman, mystic, bike rider, big baby, skateboarder and all around goof ball who just plays with every new project. When did you get into art? I got into art during my earliest memories. Drawing comic book characters at 6 and drawing since the age of 2 years old. As what do you see yourself - a business man, graphic designer, a doer, all together? In this day and age, you seriously have to be all three which is why I say fuck art school. You want to be a successful artist? Go to business school and hustle your ass off. How would you describe your art to someone who has never seen it before - e.g. people who lived in caves for the last 20 years? Haha, if it was someone who's been isolated for the last 20 years, they probably would say it's contemporary. I like art that has a retro pop feel. Something you might have seen on toy packaging 20-30 years ago.
What's your technique? Can't really describe that. Usually I conceptually collaborate with Greg who owns MISHKA and we crank out designs under the guise of GHOST CAVE. It's hard to stay constantly creative and relevant all by yourself.
Demon Scourge ring co designed with Justin Ishmael
Name:
Lamour Supreme
Hometown:
Brook-Lyn-Brook. NYC
Age:
unknown
What are the 3 most important things in your studio? I'd have to say my computer, toys and whatever I'm smoking that day. First oil painting at the age of 9
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www.flickr.com/photos/lamoursupreme_fixedfiend/
Bootleg Header Art Co designed with Greg Rivera (MISHKA)
Two Headed Bemon reverse painting on plexi
Illustrations for Nike snowboard boot, 2009
Mishka is a New York based clothing brand - for the brand's catchy graphics Lamour Supreme is responsible. Amateur had a small chat with Mishka founder Greg Rivera. Hello Greg. How did Mishka start? MISHKA started shortly after Greg stayed over Mikhail’s house in Brooklyn. Greg had just got back from Europe and had purchased a very obscure Black Metal record from a band called Sacrifyx. A band who, it is rumored, died in a plane crash the night after recording their Black Metal opus. The rumor also claimed they buried a powerful prayer to Satan on the record. So of course the boys decided to play the record backwards. Soon after, a gateway opened up in Mikhail’s bedroom. What happened after that not to many people are certain, but soon after MISHKA was born! Why "Mishka"? We were going to call our brand Starbucks, but we thought maybe too much competition. Also, Mishka means "Bear Cub" in Russian. How did you get to know Lamour Supreme? I was at a gas station in West Virgina. Inside the bathroom there was a hole that had the words "heaven" scrawled next to it with a arrow pointing to the hole. Little did I know Lamour was hiding behind that hole. The rest is history. What's the next goal for Mishka? Still expanding? Always on the grind. Most of the money we make we spend on lottery tickets .Our goal is to have a solid gold toilet in our office. Just like Master P - Pre Katrina. How important is the fact that Mishka is from New York? For me it is very important because it's the best city in the world. But the ideas and lifestyle around mishka is a worldwide phenomenon, we love the world we love everyone and everything. Cover of French ‘Be Street Magazine’ for MISHKA, 2009
MISHKA scorpio zodiac shirt graphic
www.mishkanyc.com
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MISHKA Boogie Man Figure (co-designed and produced by CURE)
MISHKA Bootleg toy. (sculpted and co-designed)
Imagine the DJ at your party was a jukebox. What track would you choose? Anything Joy Division, New Order or Bahaus. Please tell us an important lesson you have learned in life. All this is really an illusion. The real stuff is an invisible undercurrent which operates on it's own rules and governs this material one as well. It's nice to be able to tap into it every so often. What's your next project? I have a toy coming out with Reckless Toys at NYCC and will be featured in the next Toy Punks 2 video. With MiShka, more apparel designs and a 4' bootleg toy. You at the age of 66? What will you be doing? Same shit I'm doing now hopefully on a much larger scale, still playing and having fun. What people do you admire? Selfless people. People who are talented as fuck and have no ego about it. They know the truth. They're a hole in a flute which God's breath passes through. What do you love? I try and keep an open mind as much as possible. With an empty open mind, love for everything is possible. Anything else you want to say? GHOST CAVE!!!
MongoLion (Toy designed by Lamour Supreme, produced by Super 7). Legendary half man, half lion originating in Asia
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www.flickr.com/photos/lamoursupreme_fixedfiend/
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Motel in his studio
MOTELONE Please describe yourself My name is Dustin Schenk aka the MOTELone living and working in Kassel Germany. I see myself as a conceptual urban artist. My crews are 3AM and IAMOG. Self tought or art school? I`m a graffitiwriter since 1994. In 1998 until 2002 we got a good, positive scene in Kassel. In these times I enjoyed a carpenter and a marketing training. In 2007 I worked at the art school in Madrid with my lady. In 2009 I was enrolled at the art school in Kassel as a visiting student for 2 semesters. Was a crazy time. A lot of theory to “go pregnant” with. How do you make your living? Artwork, designs, graphics, projects, workshops in a loop. I´m also working as a substitute teacher in a primary school. I think the kids like me. Kassel is a good place to live cheap and it`s in the middle of Germany. Good for traveling, good for coming back home, too. How did you get to know the people from Galerie Rasch? Tobias called me to get together at the Stroke.02 in Munich. Now we are in a tag team situation. How would you describe your artworks to someone who has never seen it before? Hm. That’s difficult. There`s always a reason for what I`m doing. An idea, a reaction or a question. Maybe my artwork is a mirror between reality and apperception. So it`s up to reason to decide which medium it needs to send the message to everybody. That’s the method. The artworks are super different. What do you think about extraterrestrial life? I`m a lot more interested in our nature. People lose too much time looking up in the sky …waiting for something to the point that they are eating fish in plastic and forget their responsibility for planet earth. Kids are playing with star-destroyers and stuff. Bad plan for the future: try to leave the fucked up planet. ..but when they arrive: tell me!
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www.dustinschenk.de
Name:
Dustin Schenk aka MOTELone
Hometown:
Kassel, DE
Age:
29
Planet Routine, 6 x 6 m, 2010 Kreis, 2010
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When working as an artist, what is important to you? I need timelessness …for the short things too. Peace with my situation and trusty partners giving 100%, too. What would be your dream project? The best will come. What's your next project? Exhibition in Gallery Rasch in my hometown, with a lot of time and conception. I will fill the whole room. Sound, installation, painting. A big collage as my status quo. You at the age of 66? What will you be doing? Oh, I don’t know. Hopefully still alive and in progress with a healthy family and friends, smoking a good joint on my veranda. What people do you admire? I try to admire everybody a little. Imagine the DJ at your party was a jukebox for once. What track would you choose? I`ve got a few favorites: Sly and the Family Stone with Underdog. The Original. -Funk, Power, Social! –Love it! What do you love? I`m a little mad at love in these times. Anything else you want to say? There`s never an ideal, it`s all about movement. Peace Motelnoner 3AMOG
Paris Hitler, 2010
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The escape, 2010
www.dustinschenk.de
www.chaoz.ch
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"Showtime" is the new rock album by German-Iranian musician and entertainer AMOS on the Hamburg-based label Sounds of Subterrania. But a lot more "Showtime" is an international art project: The vinyl album was initially released in a plain white cover that formed a canvas for the creativity of 400 visual artists from all over the world. The unique music and art project provides a collective platform for creative self-expression for visual artists of all genres. The idea for the international project is based on the album title and song of the same name, the lyrics of which address the seductive power of self-expression. In an era of tireless social networking and eager self-examination, it is a universal phenomenon - and among artists, it is also a vital impetus. The idiosyncratic method of release developed by AMOS for Showtime has only little to do with the classic marketing strategies on today's music market. Instead, it's an innovative attempt to make art pay once more - and an attempt worth imitating. In this project music is in the service of the visual arts, and vice versa. Artists can make use of an efficiently networked online gallery and eight offline galleries - Parzelle 403 in Basel was amongst them - as outlets to sell their art for a sale price for the album and accompanying artwork that was decided by the individual artists themselves. In return, the artists focus on AMOS in their art - and added their own fame to the process. A great sample of generating synergies by going from "do it yourself" to "do it together". Ludmilla Lorenz
This page, from top left to bottom right: Drew Millard (UK), Jerome Castro (FR), Little Pilots (DE), Otto Bjornik (PH), Holly (DE) , Merkwuerdig (DE). Next page, from top left to bottom right: Laura Breiling (DE), Markus Färber (DE), Peter Hoffmann (DE), Martin Krusche (DE), Tobias Bauer (DE), Jason Hernandez (USA), Hannes Pasqualini (IT), Arno Funke (DE), Artur Bodenstein (AT), Henrik BÜttger (DE), Viktoria Wingenter (DE), Jules Wenzel (DE).
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www.amos-music.com
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Patrick Seabase Most likely, you too went to school with a guy who's sole presence made you feel diminutive. The guy who would take the slightest chance to make a difference; who would fight hard to get past his fears, seek the truth and accept the pain; who would persistently exceed the limits, first yours and then his own. That kind of guy is Patrick Seabase - a heavy tattooed beau who is about to advance Bicycle riding to the next level through extreme performances and frame innovation. His recent endeavors, Cycling on a track bike with no brakes from Sydney to Melbourne and riding the infamous SwissItalian Simplon and Stelvio mountain passes, has gained him much respect in both the road racing scene and the fixed gear movement. Moreover, his tailor-made custom track bike, composed of the first carbon frame proven to endure the fierce forces of braking/skidding, is fast becoming an object of desire for many track bike enthusiasts all over the globe. Patrick's riding style has indeed attracted a lot of attention with the most recent admirers being the energy drink company Red Bull, inviting him to become the first track bike rider in its professional athlete’s roster. ._. Text: Arci Friede - Yuhzimi Photos: Ian White - Cutterskink
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www.seabase.cc
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Skin's spaces traveling with printed memories A solar astron spinning in life and thoughts Sparkling colors, shapes, fabrics On barren roads and highways odyssey Planets spin alone and together In a dark and crazed sea As time never ends from where you create and stands ._. ‘Poem about Patrick’ by Vena Ward
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www.seabase.cc
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Philippe Stucki's sketchbook
A Studio for Artists from Artists.
In the attic of a house full of creatives (stylists, painters, graphic designers, photographers) in downtown Zurich, there exists since June a new, independent platform for Urban Art and Street Art promotions. It is an open studio with the ambition to support and network the Urban Art scene and its protagonists in a natural and inspiring environment. The URBAN ART STUDIO, supported by CAMEL, operates as a melting pot for all kinds of artists and projects. Whether painting, graffiti, film, photography or 3D- renderings, it is worked with different techniques, surfaces and motivations and the best thing about it is that every artist gets his own space and material budget for the project running time. Simultaneous to the URBAN ART STUDIO are running different side projects, such as live paintings and exhibitions where the artists are involved. What was made so far is very promising. Whether Wes21, Smash 137, TIKA, C-Line, Ben & Julia or Safu, everyone rocked at the live painting shows and has shown that Urban Art is “Hot Hot Hot” and is worth the effort to invest in creativity. Responsible for the surrounding and the right artistic atmosphere are the guys from RAWCUT which host the URBAN ART STUDIO and follow their own passion just one floor underneath it. Possible was this only because of CAMEL who supports different artists since quite a while and has committed to a joyful and long lasting engagement for cultural support. You want to be part of the Urban Art Studio? Nothing is easier: If you are over 18 years old, you can find an online application form on the webpage of the URBAN ART STUDIO. Inform us about idea, time period and era of your project. You can also apply if you are a collective or an association of artists. The URBAN ART STUDIO team is looking forward for some freaky ideas and evocative projects. Keep art alive… ._. Text: Alois Inderbitzin
Corinne Weideman
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Mark Menden & Shark
one room in Urban Art Studio
www.urbanartstudio.ch
Corinne Weideman
Corinne Weideman at work
Philippe Stucki
Philippe Stucki Stefan K端nzler, trailer for rawcolor
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«My first year of University I lived in student housing. The building was mostly students, but there were still some residents from when it was welfare housing for the poor and elderly. Next to my tiny room there was an old man, his room was filled floor-to-ceiling with newspapers, bibles and pornography. Throughout the day and night he would scream at himself loudly about war, women and politics. I requested a different room the next year, but they assigned the same room to me. That was the first time my mother heard me say ‘fuck’.» ._.
Tanxxx
“The idea behind the exhibition is quite simple: we gave a piece of Seyes A4 paper to 40 artists in order for them to create a brand new artwork. This actual piece of canvas is famous for being the classic paper we use in school and most of the artists must have started to draw on those sheets when they were younger. We didn’t give them any theme besides this special canvas, some of them decided to create artworks related to school, but not all of them. We also asked the artists to write down an anecdote from their school years. We chose to work with a selection of artists. Some of them had worked with us in the past, and some were artists we always wanted to work with. Trying to find the right balance between artists from our roster and newcomers was our aim. That was the first ‘flat’ show we had in Artoyz Gallery. Most of the time we worked on exhibitions related to toys.” ._. Yann-Claude Philippot, Artoyz
Amandine Urruty
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Comoseta
Niark1
www.artoyz.com
Andrew Bell (USA)
ARTOYZ is a French company dedicated to sell, promote and produce Designer Toys and Urban Vinyl Figures. The company based in Paris was founded in December 2003. They opened a shop and 100m2 gallery in the center of Paris in October 2005 and their second shop in Lyon, France in May 2007. Artoyz is the biggest company dedicated to this segment in Europe.
Josh Hayes
Kev Grey (UK)
Aurélie Neyret
Cuypi
Short
PeachBeach (DE)
Odö
Arnaud Loumeau
Emmanuel Malin
Guillaumit
Genevieve Gauckler
Mikkymixx
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Art you too!
What started in 2005 as platform for young Swiss artists with a PDF-magazine today has blossomed into one of the leading art exhibitions for urban and graphical art in Switzerland. But first things first: In 2005 Philipp Brogli and his peers establish the Artstübli - an association with the aim to provide a forum for young graphic designers and artists from Switzerland. They decide to create a PDF-magazine, which is going to be published regularly in the time to come. The first two issues appear and are being downloaded busily on artstuebli.ch – however the third issue is never being released. This was not because a lack of interest, but because of the wish for advancement and establishment of a direct contact between graphic designers, artists and those interested in art. Thus Philipp Brogli and his team set off the first exhibition – a weekend to meet, exchange ideas and showcase. In 2006 the first “Artig” takes place in the Unternehmen Mitte in Basel. It is a small room of just under 80m2 in which 8 artists and art collectives exhibit their works. The quality of the showcased works is already extraordinary high at this first exhibition. This gets around. One year later the exhibition takes place at “Das Schiff” in Basel with 500 visitors. In 2008 and 2009 they switch to the Imprimerie Basel, a printer’s shop from the year 1500, and the perfect spot had been found. In the meantime the exhibition has become a household name in the art scene. The quality of the works and the visitor’s interest increased continuously. Artig has come to play an important role amongst Switzerland’s exhibitions. The postitive development and the permanence led to the fifth event in 2010 – this time under the name “Artyou – Urbane Kunst Basel” presented by Swatch. It took place in “The Satisfactory” a former machine factory with industrial charm providing 400m2 of space to the 20 exhibitors. A first-rate exhibition was held with established names of Swiss and international urban art. Live-painting, DJs and live-acts during four days drew as many as 1200 visitors. ._. Text: Lain Pics: Markus ‘meQ’ Fischer ro*
2006
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www.artstuebli.ch www.artyou.ch
HH I SS TT OO RR YY
HH II SS TT OO RR YY
Smash137
Amadeus Waltensp端hl
BlackYard
Pheks at work
C-Line at work
2008
2009
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What happens when thirty-seven artists are taken out of their day-to-day mostly metropolitan lives, insular studios, solo artistic process and put in a renovated barn in the middle of a small village of mountains, farms and waves of green? Z(orten)‘s history starts 4 years ago, when Toni Parpan – artist in trade and in life – inherits his granny’s farm and barn. Most people would have torn down that 300 year old house in the 200 inhabitants village of Zorten. But that’s not Toni. He spends 3 summers day and night in the barn with his friends most of them artists or writers themselves, fixing it up and creating his realm. In the summer of 2010 the barn is finally finished – or rather ‘habitable’. The structure is equipped with unusual alcoves to sleep in, kitchen, shower, dancing stage, workshop and common rooms. Most of the building material comes from the dumpsite or from neighbors, who wanted to get rid of their old furniture – such as the toilet from the year 1915. Project Z(orten) is ready to start! The 1960s concept of communal living amongst artistic egos, the need for an individual art practice and the requirement to create finished works within short periods of time could create chaos or magic. Zorten aka The Breathing Green Art Experiment, is a collaborative artwork in itself. It is an installation of individuals and the curatorial practice in the public space and area in and around Zorten. The invited artists worked in various forms of artistic practice ranging from photography, music, printmaking, installation, sculpture, sound and everything in between. The artists were able to come and go as they pleased between June and September 2010.
Meeting point kitchen
Having 37 artists in a village of less then two hundred inhabitants completely changes the dynamics of the place. The villagers have accepted the concept and there is an open door policy, so that they may come and ask questions or have a cup of tea. The artists were encouraged, but not restricted to think about the place in the work that they create. Spontaneous drawing classes for the inhabitants of the neighboring retirement home or renting goats from the friendly but puzzled farmer for an art installation became normal in Zorten during summer 2010. It was a magic chaos!
Participating artists: Benjamin Badock, Anna-Lina Balke, Claudia Berg, David Berweger, Jonas Etter, Myriam Gämperli, Désirée Good, Sabine Haerri, Peter Hauser, Kaspar Hochuli, Sophie Hofer, Imre Hofmann, Manuel Kämpfer, Ingrid Käser, Angela Kaufmann, Jesaias Kobelt, Moses Kobelt, Michelle Kohler, Nina Langosch, Irena Meier, Ursina Luzia Meier, Mariann Oppliger, Prisca Parpan, Toni Parpan, Enna Salis, Juliana Irene Smith, Judith Steiner, Miriam Sturzenegger, Thomas Walpen, Nadine Wietlisbach, Andrin Winteler, Karen Winzer, Kaspar Wyss, Petra Zumbach.
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www.nieves.ch
Manuel K채mpfer & Toni Parpan's work - in progress Sophie Hofer working. Bertha observing
www.zortengr.wordpress.com
Karen Winzer & Ernst Oppliger - giant papercut in the local sports hall
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www.blamblamblam.ch
The say that "necessity is the mother of invention". Then, she was our mother. Sick of being turned down by Zurichs "mainstream" corporate galleries, and only playing at coffee shops, bars and restaurants, we decided to do it ourselves. Eventually - a year later - we found the perfect spot, right by the river, street front. It was in some dis-repair, so we were allowed to do anything we wanted. Since then, that's exactly what we have been doing: what we want! In the first year, we had ten exhibitions. Quickly we realised this was a pace we could not continue, and have slowed it down this year a little. First year exhibitions including artists, such as NumberOne, Craze, Cly, Gen1, ro*, Candroid, Osrock, Spoke, Rips1, Nigs, Wink, Pase, Dr. Drax, Dosey, Eyes and Soup. In the coming year, we have some great exhibitions and events, and if you are in the neighbourhood on a Wednesday, then drop by for a beer every week we have an art forum style night, to hang out, throw around some ideas, and as we say "who knows what might happen" and usually does. Blam Blam Blam gallery is open Mon-Sat 11-20 and also Sunday - if we are around. There is always something going on, so come and get something going on. BBB is a unique art experience and needs to be felt to understand. ._. Txt: Nic Ripz Pics: Hellboy, Tina and D.D Fresh
www.blamblamblam.ch
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Photography: Marie-Christine Gerber www.mcgerber.ch
Artwork: Marie-Christine Gerber & Marisa Pichler www.hopehope.ch
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Photography: Marie-Christine Gerber www.mcgerber.ch
Artwork: Marie-Christine Gerber & Marisa Pichler www.hopehope.ch
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sachenmachen is an online-platform for up-and-coming Swiss design. For Amateur Magazine we do a series of city-portraits called ’we make’ - where we introduce to you promising Swiss designers from a chosen town.
This time, we take you to the city of Geneva in the French speaking part of Switzerland. Even though there is the University of Art and Design HEAD, it is quite a challenge to find something like a design scene in Geneva. With the Swiss Porcelain Biannual in Carouge and an influential art scene in Geneva, the creatives see themselves as artists, ceramists or experimentalists rather than as designers. We asked our selection of designers and artists from Geneva to send in a portrait of themselves with a recent project at their favourite spot in town. Geneva based Illustrator Pascale Favre outlined the overview. And here you go. These are our true finds from Geneva:
Charlotte Nordin is a ceramist who works rather artistic and not functional. Her installation ‘les Glands de Vénus’ is sacred to feminity coming down on earth to fertilize the humans. It is made from porcelain, gold and wire. The photo is taken at her favourite place in Geneva, the 14th century back yard of the Gallery Jan Krugier. To Charlotte, a design is a clever object that has been well thought over. She describes: “In a design piece, one can sense the presence of a being behind it. Every shape has its reasons and the designer’s originality reaches out. I like to think of art and design as a human being who has put his breath into the form, to give it a soul.“ www.charlottenordin.ch
Lace’, a series of unisex rings she produced in 2008 with the bursary of the Wilsdorf foundation. These are either in 3D laser cut stainless steel or in gold with black and white diamonds. The idea was to play with the contrast between lace and metal and to design a stainless steel ring as fine and delicate as the textile. www.julieusel.net
Patricia Terrapon Leguizamon alias Ciani is trained as a ceramist but clearly sees herself as an artist. The picture shows Ciani and her scupture ‚Belly Button’. The sculpture results from a competition and is situated in the park of the Cabinets Médicaux de l'Ermitage in Chêne-Bougeries in the canton of Geneva. „Design is to put an object in space in a way that is best for my eyes and my feeling. The space, even if it seems full of void, is thought as an object, too.“ no website
The self-portrait of the contemporary artist Muriel Décaillet shows herself and a red woolen thread placed on the windowsill of her 5th floor window. In the background you can see a view on the rooftops of the Pâquis district. At night, this multicultural and popular neighbourhood turns into a platform of prostitution. “It is a lively district, full of contrasts and a source of inspiration.” Muriel Décaillet describes. The photo inserts in a wider project, a work in progress called ‘fil rouge’ where Muriel sets her thread in a new context every day. www.murieldecaillet.ch
„I don’t see myself as a designer - I am a ceramist“ says Chloé Peytermann. She loves making objects for daily life. How to make bowls and plates into something special is her permanent concern. „What makes an object unique? Or emotional?“ she asks and in the end, her work might be design, really. On the picture, Chloé Peytermann is at the Kahla porcelain factory in eastern Germany where she just spent four weeks. Together with eleven other European ceramists, designers and artists she took part at the ‘Kahla Creative Workshop’ where she had the opportunity to work on her own projects in the middle of the huge porcelain factory. www.chloeterre.com
The image of Philippe Cramer shows himself with a test piece of the new collection of furniture he designed for the Musée d’art et d’histoire de Genève. It is a rough piece of pinewood dipped in molten gold, giving the wood piece an armour-like gold crust that is supposed to last for centuries. The collection will consist of furniture pieces partly dipped in gold. Philippe Cramer explains: “The idea is to create a dialogue between a beautiful 18th century wood panelling and my contemporary take on 18th century codes in furniture. What we do is a fine mix of avant-garde techniques mixed with ancient and traditional craft to create perfectly balanced products.” www.philippecramer.com
Everything is about to change in the life of Julie Usel. In October, she will move to London and begin a Master in Jewellery design at the Royal College of Art. On the photo, you can see Julie Usel and a ring from her project ‚Trace of
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www.sachenmachen.ch
Ciani, picture by Fernanda Brasil
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Fashion designer Solo-Mâtine sees design as a dialogue and works quite experimental. She shows the slip ‚cheburashka’ from her new winter collection ‚Do you want to see my cheburashka?’ The photo is taken at the ‘Bains des Pâquis’ in Geneva. The public bath is a pile construction by Architect Henry Roche and consists of two symmetric halfs, one for women and one for men. In the end of the eighties, a referendum saved the bath from demolition. www.solo-matine.com
The Graphic Design Practice Schönherwehrs took their picture at the Motel Campo Club where the multidisciplinary festival ‘Mos Espa’ took place. It is the new place to be in town, they say. In the background, you can see the poster they did for the festival, using old-school wood- and lead-types found at a museum for industrial heritage in Geneva. In the interview, Schönherwehrs reveal that if they wouldn’t be designers, they’d be dentists. www.schonherwehrs.com Muriel Décaillet
To get to know more about our choice of artists and designers from Geneva, read the eight interviews in full-length on www.sachenmachen.ch. A big Thank you to all the designers involved and to Pascale Favre for the perfect illustration. ._. Text: Luzia Kälin (www.sachenmachen.ch) Illustration: Pascale Favre (www.pascalefavre.ch)
Philippe Cramer Brandnewdesign
Sasa Kohler by Coming Soon INCH furniture
Charlotte Nordin Solo-Mâtine, picture by Luka Maurer
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ANITA MOSER
PETER MÜLLER
ZMIK boycotlettes
IT'S LAUBER
Schönherwehrs
Chloé Peytermann
Julie Usel. picture by Tony Pronier
www.sachenmachen.ch
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NumberOne Magazine
“We didn’t expect the transit security to show up that night. Fortunately I spotted them early enough, so we had enough time to collect our cans and take off!” Rolf explained to me after returning from Italy.
Txt: Wink One
Just a few weekends ago I was on a party, that according to the flood of Facebook updates I received would be the finest party of the year, in a manner of speaking a must-go for every minimal techno enthusiast. The lineup the who’s who of the scene. There was no question I had to go. Unfortunately even the consumption of several not exactly cheap drinks couldn’t smother the fact that the party turned out to be an absolute dead loss. Way too early in the evening on my way home I walked straight or rather toddled in to two well-known train writers Jim and Stefan. After my loud complains that the party I came from was the absolute bummer, the two asked me if I’d like to join them for a drink. They where on their way to a bar in the area to meet Rolf, who was visiting Zurich. There I sat sipping on my beer, listening to the most nonrelevant graffiti gossip you could imagine.
These hardy guys, who have been painting graffiti for nearly twenty years and are way passed thirty, could easily replace Susan, Bree and Lynette in Desperate Housewives. It turned out that they had met to plan a graffiti trip to Italy. After a couple unsuccessful attempts to persuade them on permitting me to record their conversation, they finally - much to my surprise - gave in. That way the evening revealed a totally unexpected story. Here you have the unique opportunity to tune in on the conversation between these three artists, planning to smack three, full color, top-tobottom-whole-cars in Italy.
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backround. S: Yes. You know, I will place the “I” like this, you see, exactly like this and then like that. Stefan shows Rolf precisely on the picture, that Jim brought along, what he means. S: The only thing is we haven’t been in that yard for a long time. R: But that sucks, we need to check the yard out before we can paint. S: Yeah, but it’s much bigger than the other spot. J: Does any one of you guys need a coffee? I’m ordering myself a Cappuccino. Stefan and Rolf both answer no. So Jim orders a Cappuccino for himself. While Stefan fiddles around with his filthy and fragmented sketch, that was lying on the table.
Jim totally exhausted and soaking wet after being chased for hours by the police.
S: Hey, are you recording the conversation already? Fuck, you can’t publish what we have been talking about. That’s nobody’s business. What a loss. Thereby some of the most entertaining graffiti gossip of the world was deleted for ever! J: Come on guys, now let’s stay serious. Hey Rolf, how and where will you join us? R: Fuck, I don’t know, what have you guys planned so far? J: We thought we would leave on Thursday evening and then drive directly to the spot. S: You see, I must work until seven o’clock. That’s why I have my cans and equipment along the leave at Jim‘s house. He’ll pick me up directly after work and bring my stuff along. R: Oh, so Jim will pick you up? J: Yeah. But will you join us with your car or what’s your plan? S: But to go with two cars is totally stupid. R: Either way. I just need to be back as early as possible on Saturday. S: What do you mean as early as possible? You know realistically we won’t be back before 12 o’clock. R: Yeah, that’s what I mean. S: By the way, do you know the plan? R: No, of course not! That’s why I’m here, so we can discuss the scheme. S: We thought we could smack the whole cars on Thursday evening and then paint some panels on Friday evening. R: Do we have enough time for all that? J: Of course we are staying two nights. R: Oh right, now I got it, you want to sleep in the car. S: Yeah, of course. The question is, if we will be fit enough to go out the next night. We won’t get much sleep, `cause we‘ll need to take the train to Genoa. It‘ll be to dark to take pictures in the early morning. R: Yes, that’s precisely what I wanted to talk about with you guys. Last week the sun went
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up at 6:50 AM. When will the train run? J: There are two trains that will leave ...... to Genoa. One around 5:35 and the other 5:48 in the morning. R: How long does the train take to Genoa? J: Two hours. The train passes the spot we took pictures the last time at 7:00 o‘clock. R: But it will just turn light around 7:00, that’s not enough to take pics. J: Yeah, and I don’t believe, that the three whole cars will return from Genoa. R: No! No way, we need to catch them before. J: That’s exactly the point I’m trying to make. We need to ride along. S: We will be totally fuck afterwards. R: What do you mean, ride along. Get on the bombed train and ride it to Genoa? S: Yeah sure! R: Fuck, that is fucking risky. We will really need to wash the paint thoroughly from our faces and change our clothes, before we can get on that train! J: I would take the car a part of the way, cause we will be painting somewhat further away than last time. R: Why that? Isn’t it already far enough? S: The reason is that the train models are better there. R: Which models do you mean? S: You know the ones, which are really cut off flat at the bottom. R: Has one of you guys a picture of that model along? Oh that one, yeah, they are much cooler!
“After playing hours of hide and seek with the Carabinieri the night before, we managed to complete our mission on the second night!” S: Yeah, four letters really fit beautifully on it. You know what I mean? R: Oh, and then around the back you‘ll paint the
NumberOne Magazine
S: Do you see? When you align the letters this way, then you can place them on the other train model too, can you see it? The letters are then exactly here, here and here, can you see it? J: Don’t you want to add more fill-in, that is way to small! S: Yeah yeah, don’t worry, I’ll make it bigger, yes bigger, but it would be possible like this too. Now Jim shows us his clean and neatly folded sketch and places it on the table in front of us. Stefan points out a waving stick figure on the sketch. S: Ha ha ha, say, what the fuck is this? J: Hey, that’s the character I would like to paint! S: Ha ha ha, that looks like a bug waving out of the train! The waiter brings Jim his Cappuccino. Rolf and I use the opportunity to order some more beer. R: So we will paint the trains with the doors going slightly down? J: Right. Look here you can see it exactly in the magazine I brought along. R: Hey, that is our E2E we painted together last year. What the fuck is it doing in this magazine. J: Yeah sure it is, didn’t you know? I asked you if it were OK with you! S: Oh o, now he’ll freak out! R: No, it’s OK, but I really didn’t know. So this is the model we‘ll bomb? Shit, those cars are fucking long. J: Yeah, like the Swiss cars. They are about 25 or 26 meters long. But it’s a damn nice car, isn’t it? S: Yeah yeah, lovely, that’s the one to hit. R: Damn it, what’s taking the waiter so long to bring our beers? S: The only problem is, that the last time we were in that yard, they worked late into the night, didn’t they, Jim? J: Mhm... S: But the previous time we were there, it was so quiet, totally dark. J: Yeah, that was awesome. S: Though there‘re many houses around the yard, which can see you while painting.
J: Hey guys, I can show you a picture I have from the train station. We will be painting on the platform. R: Yeah, but we‘ll do that either way. J: But it won’t be so easy here. Rolf is thirsty and complains. R: Hey waiter, we are still waiting for our beers! So how will we do it now? Get on the train somewhere, buy a ticket and ride the train to Genoa. Then get off on the way or will we take pictures in the main station? S: Yeah sure. we‘ll take pictures in the station! R: And we will have enough time to get the pics? J: Yes. And when we see, that the train will return with the whole cars, we’ll take it back. R: Fuck, that’s insane. When the train pulls in and the place is covered with cops, it will be an hassle to get pics and we‘ll end up with no photos. J: No, if we can ride the train, we‘ll definitely get good pics. S: Yeah, that’s what I belive too. J: The last time we painted there the train ran all day. S: Last time we just painted panels. R: What?!? Are you kidding, that’s not exactly the same thing. J: Look; we’ll do it this way. After we finished painting we’ll drive the car to ....... and one of us gets on the train while the others wait in ....... until the train comes back. S: What? Fuck no, that is gnarly. If the train should not return the other one will be the total toy in Genoa! R: Hey fuck, I know what it’s like to be totally on your own and there are cops everywhere on the platform. J: This piece is also very nice. S: Yeah, that one they photographed in Heidelberg. J: Yeah, that’s really cool. S: Mhm... The other guys seem much more interested in the magazine they are looking at, than to Rolf ‘s concerns.
short on the color black. Where will I find enough black? Do you think ...... has any black in stock? S: Ha ha ha, you can be sure, that ...... has no black in stock. I picked up the last Spanish cans. But he said, he’ll get a delivery in two days. R: Damn, I’m fucked. Ha ha ha, you know what it means when he says, the delivery will arrive in two days — maybe in two weeks if I’m lucky.
one and an half hours, won’t we? J: Yeah, we’ll need that much time. R: What about something to stand on. J: You’ll need something to stand on, like a trash can. We found two old chairs on the street just around the corner. But you’ll need to find something for you to use. Stefan is studying his messy sketch again.
Rolf and I finally get our beers. J: According to google maps, we have a driving time of four hours. R: Fuck, that is far. What time do you want to leave? S: I’ll be coming directly from work. So I can’t leave before 7:00 PM. J: If we leave by 8:00 o’clock, we could be in ...... by midnight. That should be sufficient. We’ll need to stop on the way, to shake our cans and get everything ready. R: That sounds fine. I suggest, that I take the train to ...... and you guys come and pick me up at the train station at around 8:00 PM. J: Yeah, let’s do it like that. R: Damn I’ll be fully packed.
“With big fat white letters I put up on either side of the car; one man’s pleasure is another man’s pain” J: If you’re not there on time, we’ll just leave without you! R: Hey fuck you! J: Ha ha ha R: Apart from that, we have clarified everything. We’ll smack three fat whole cars, take pictures, sleep and the next evening we‘ll go bombing again. Sweet! Hey Jim, what do you reckon; we’ll need about
S: If we need to bomb the other model, the letter “I” will really suck, see, the door is set back. R: Yeah, you’ll need to find some other solution. But you can solve the “O” like this. S: Yeah yeah, you’re right and I’ll really blow up the “R”, like really big! Will you cut the letters? R: Yes, I’ll cut the letters at the top and bottom. That’s essential. Whole cars, that are not cut off, appear so much smaller. J: Hey guys, look here; I’ve got a photo from the train station. You see, we’ll paint right here on the platform. And here, right besides the track is the police station. R: Every train station has a police station. J: Right, but we’ll paint here on the other side. Way in the back in the yard it would be cool too, but just for panels. S: Yeah, that spot rules, it’s totally dark. One of the few yards in Italy, that are not illuminated. R: When I was in ...... it was fucking dark too. S: That must have been years ago. R: Yeah, I guess you’re right, that was 12 years ago. Fuck time passes so fast. J: So I’ll definitely take a spare set of cans along. Should we need to escape and loose all our cans, we could still paint something the next night. R: Fuck, that would suck, but you’re right. So you guys will pick me up at 8:00 on Thursday evening in ....... . Well, I’d say we’re set and are going to rock that shit. S: Yeah, it’s going to be awesome! J: Yeah, it will!
The inside view of one of the freshly painted whole cars on the way to Genoa.
J: So how should we proceed regarding the car? Would you come with your van? That way we could sleep in the back. R: I could come with the van, but there’s only enough space for two to sleep in it. S: Hey fuck, we’ll just sleep in the afternoon wherever we like. By the time we are back from Genoa it will be 1:00 or 2:00 in the afternoon. R: Shit, I’ll be totally wasted. S: Yeah, totally fucked. R: And the next night you want to paint panels again? Shit, we are not the youngest anymore! J: Hey easy, we’ll return from painting, grab our sleeping bags and take a nap somewhere until it‘s light. R: Right, as long as you have your blow-up mattress and newspaper along you’ll be content, won’t you? J: Mhmmm... R: And how many cans have you got along? 30 cans? Aren‘t that to many? S: Yes, but then we can paint something the next night. R: Yeah right. I’ve got enough cans, but I’m
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After another couple of beers we parted that evening. The next time I met Rolf he told me, that besides being chased all night by the Italian police, they had had a great time and could accomplish their mission. I thought to myself, does guys are nuts and way to old for that kind of shit. .-.
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Alex Sonderegger – graphic designer from Switzerland – lives and works in Tokyo. Alex was part of the book; «The Synergetic Issue». His office includes a little eventspace on the ground floor. In the early days the house was a real soba place. www.so-ba.cc
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process.colinschaelli.com
Hitoshi Koizumi – graphic designer from Japan – was the first Japanese student in Basel. He was taught by Wolfgang Weingart. Now he works on an iPhone app about graphic design. Actually it‘s a remake of his book about graphic design, with a lot of hyperlinks and this kind of things. Koizumi still has his finger on the pulse of time. www.htypo.net
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Hiroto Mori – the master brain of iseneehihinee was also part of «The Synergetic Issue». His office is located really underground – in a basement somewhere in the nowhere of Tokyo – which reflects in his works. www.friendick.jp
Taro Tsukamoto – the Germany addicted - works as graphic designer in his own little cosy shop, where you can find more tiny vintage products to buy than in all of Berlin. www.riddledesign.cc
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Hinoki Kogei – a carpenter‘s shop located in Saitama does real furniture productions for international clients such as Cassina for example. It was quite impressive to see their factory and fortunatley they are going to produce the «con.temporary furniture» for the Japanese market.
process.colinschaelli.com
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The Eight ASH CAN SCHOOL DIARY Sunday, September 11th, 1898 Two years have passed since I came from Switzerland to America and I have been living in Philadelphia ever since. My English has improved and after a rough time in the beginning, I found a job at the Philadelphia Press. I am their Photographer. Nothing special but at least I can be sure that I can pay the rent. I became good friends with the illustrators at the Philadelphia Press. They like my photographs and sometimes use them as inspiration for their sketches. One John Sloan is really fond of my work and I also get along with him well personally. From time to time we have extended talks about politics and social matters. I think him and me, we think a little bit alike. One very interesting thing was when he told me about his friends, who he sometimes had meetings with at Robert Henri‘s office. This Henri is his artistic mentor. He would go there with another illustrator from the Philadelphia Press, Everett Shinn, who is also an artist and a rather shy and quiet fellow. Apart from these meetings with his mentor Sloan also holds meetings in his studio. He himself calls that the “charcoal club”. There he and his friends would be critiquing each others works and sketch nudes, of course. John invited me to come along to one of those meetings. And indeed I went. I met him and Everett there. There were lots of his friends. All of them pretty nice fellows. Very avant-garde and eager to criticize the status quo of society. What I noticed was that the mentor, Robert Henri, was not there but however was omnipresent in nearly every conversation. Apparently he is envisioning a new kind of art. As I understood from the conversations, Henri believes that the contemporary Impressionism is an art of surfaces and remains there. But art to him is more than that and one of the guys quoted him saying: “Paint what you feel. Paint what you see. Paint what is real to you.” I guess the main point in the conversations about Henri’s new ideas was that art cannot be separated from life. And what constitutes the value of art is not a highly refined technique but the revelation of the bounty of a life’s experience. After that, Sloan began to talk about a book he was currently working with: George Moores “Modern Painting”. To be honest it was unbearably boring. But the whole discussion became interesting when he told us how he applied what he learned from the book to his artistic work and how the mixture became genuinely his own new style. Sloan is very fond of observing the city life in Philadelphia. He tries to watch city dwellers interacting on the streets or in an intimate setting and
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wants to capture their essence. At first I thought he was a socialist. But as he himself stated his paintings were done with sympathy for the living conditions of the marginalized, but not with some sort of social consciousness. He does no socialistic propaganda. While talking about his training at the academy of fine arts he made a remark I had to jot
McSorley‘s Bar (1912) by John Sloan oil on canvas, 66.04 x 81.28 cm, Detroit Institute of the Arts 1912
down. It went something like this: “It takes a strong personality to survive art school. Only the ones art school can’t crack survive to become artists.” – just brilliant. Everett was also there. Being the quiet guy that he is he didn’t say much. He made some remarks, when John was talking about his genuinely own style. He too tries to explore the lower class subject matter depicting real life and the world around him, inspired by window views and walks through the park. At that point it burst out of me: “Just draw Ash cans” and we all shared a laugh. In fact that was something all the artists in the charcoal-club agreed. Beauty is found in truth. And truth to us urban people is city life and especially life in the streets. This subject matter is just being left out by contemporary art, the so called American Impressionism with its genteel spirit. I shall remember the talks of that evening as some of the most stimulating ones of my life. Maybe I can apply some of those thoughts to my style of photography. Just like Jacob Riis, my idol.
Wednesday, February 26th, 1908
„Both Members of This Club,“ oil on canvas, by the American painter George Bellows. Courtesy of the National Gallery of Art, Washington, D. C. 1909
Some of the members of the charcoal club said Henri was planning an exhibition in order to display his new ideas he has for contemporary art. It would be marvelous to visit such an exhibition. I shall keep that in mind. At the end of the evening a picture was taken. On it you can see a guy sitting on the far left with a hat and looking to the floor, that’s Everett. He shouldn’t be so sad. As he told us he was going to be married in a month. The guy above the guy crouching and holding a piece of luggage, that’s John. I am the fellow above the two guys sitting one on top of the other.
I travelled to New York today. I can’t believe it. My artistic friends from Philadelphia really made it. Under the supervision of Robert Henri they managed to stage an exhibition at the Macbeth Gallery. And in the spirit of wanting to revolutionize contemporary art and sweep away the old notions they just called it “The Eight” after the number of artists who were exhibiting: “William Glackens, Robert Henri, George Luks, Everett Shinn, John Sloan, Arthur Davies, Ernest Lawson and Maurice Prendergast in a revolutionary new exhibition” as it stated on the pamphlet. I fondly remember the night at the charcoal club ten years ago when I met some of those peculiar characters. In the meantime John has moved. Together with Robert Henri he came to New York some years before and just four weeks ago I got the invitation to come and see their exhibition and reminisce about the good old times. The paintings were amazing. They expressed the ideas of that new style, my friends had when they were discussing in the charcoal club. They want to deny the contemporary academic arrogance in style and in technique. So they have unusual, popular, urban subjects and a dark-toned, loose and spontaneous style. The paint was applied quickly with obvious brush strokes and thick layers of dark muted colors were to be found. Seeing those pictures I got goose bumps. I truly am the witness of the birth of a new artistic movement. Tonight the fellows and I will have a night out in New York.
en.wikipedia.org/wiki/Ashcan_School
it! And my twin remembers me dissing her sneakers when we were about 6, so I guess I always had style =) How did u come up with the idea to found femalesneakerfiend? Tell us more about that and the motivation behind it. About five or six years ago someone gave me Bobbito Garcia’s book, Where’d You Get Those? I loved it. It’s still my favorite sneaker book. But there are no females in there! When I asked him about that, he said he had tried, but he really didn’t know any women who were deeply knowledgeable about kicks. That’s when I knew we needed a site where females could demonstrate our passion for kicks, and where we could show the world our numbers. It’s really worked, too. Thousands of females have talked in the forums, shown off their collections, bought and sold kicks, come out for events, and represented for all of us. It’s really been an amazing experience. Collecting sneakers is still more a guys-thing... Why do you think it is like that? Well, for guys it’s more expected and it’s easier. The fact that girls are into sneakers—and the sneaker community - as much as they are is not only underreported but it’s in the face of more challenges. Imagine being a sneakerhead and none of the hottest releases come out in your size? Or rocking your most exclusive kicks and having some guy ask if you know what they are or if your boyfriend got them for you. Or having folks assume that you (but not your boyfriend) should “grow out of” this phase… Female sneaker fiends do face a lot of insults and challenges, but it’s all worth it, and it also makes it more fun when we’re killing it with our kicks. =)
Lori Lobenstine
femalesneakerfiend.com
You're intending to publish a book. Tell us more about the project. GIRLS GOT KICKS is the first ever photo documentary of badass females, told from a unique angle: their passion for sneakers. Their stories are as diverse and colorful as their ever-growing collections of footwear, and now our book is bringing them together in a testament chock full of bold photos, interviews and short essays. I’m thrilled to be working with photographer Amanda Lopez, who is doing an amazing job of capturing the style and spirit of female sneaker fiends from around the globe. More than a love story about shoes, the book documents how these sneaker lovers push beyond stereotypes for girls and women, using kicks to be both athletic and sexy, hip and tomboyish, grown and youthful, as they define who they are - and who women can be - on their own terms. What do you think about the history of sneakers and its sneakerheads, how did it develop in the past few years? I think there have been sneakerheads ever since sneakers moved beyond the most basic of bland canvases in the late 60s, early 70s. But everything exploded about five years ago in terms of numbers, visibility, catering by the industry and world-wide connections. Most of this madness was thanks to the internet - folks learning about upcoming releases, buying sneakers “dropping” all over the globe, holding sneaker events… all kinds of fun. I mean what other accessory has its own events? The industry quickly fed off this new phenomenon, and fed us constant too-small doses of hot kicks, just keeping the hypebeast hungry, of course. Things are on the downturn a bit from the peak - a combination of pop culture moving on and the economy - but the true sneakerheads will always be around.
Name: Lori Lobenstine Nickname: None. But they did call me ‘Sneakers’ in middle school Location: Boston, Massachusetts, USA Occupation: Founder, femalesneakerfiend.com; co-founder, Design Studio for Social Intervention Favorite sneakers: Changes all the time! Hobbies: Basketball, sneaker hunting, eating
Since when are you collecting and where did you get that passion for sneakers? Well, I’ve been crazy for sneakers since before I can remember. Ever since I was a little kid, sneakers just spoke to me, and I always felt like they represented me to the world. Like being on the playground in elementary school and hearing these boys whispering about my hightop Nikes. I loved
www.femalesneakerfiend.com www.sneakerness.com
How will the business develop in the future? There are lots of good directions it could go in. I’m not sad at all about moving beyond the “hypebeast” version of the pop-sneaker heyday. I’m excited to see what’s coming down the pike both in terms of footwear and the community itself. In the end I found it fun to have our 15 minutes of fame, but I’m also happy to be with the long term old school sneaker fiends again, and the new ones who decide to stay with us. We may not have a zillion releases (in two zillion colors), but I don’t think we’ll miss them either. It will be interesting to see how the online community adjusts to the new pace and selection. What are your next steps, future plans and wishes? I’m primarily focusing on the book right now, and that’s been really exciting. I’m also working on coordinating the first ever female-only sneaker design seminar in Boston this fall. I’ll keep you posted! ._. Interview with Lori by Sneakerness
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WEBSHOP: WWW.NUMBERONE-ACTIONGEAR.COM
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ARTIST: ALEY
WWW.NUMBERONE-ACTIONGEAR.COM NUMBERONE ACTIONGEAR™ IS A REGISTERED TR ADEMARK OF NUMBERONE PRODUCTIONS GmbH 2010 © COPYRIGHT
NOW AVAILABLE AT ESPERANTO:
Tiefenaustrasse 2, CH-8640 Rapperswil www.free-styles.ch
Kid 666 by Nada One "GRAFFITI 4 LIFE - LIVE 4 GRAFFITI" The Swiss/US Graffiti artist Nada One has been leaving his mark all over the globe since 1989. He’s a member of one of the first American Graffiti crews from the west coast ‘AM7 Los Angeles’ and since 2007 has also been a member of the renowned ‘Team Alosta’ from Belgium. This slick vinyl figure designed by Nada One has joined the ranks of various Toy2r products whilst also settings new heights in the designer toy world. Kid 666 is something truly unusual in the Toy2r collection. Apparently conjured from the belly of the beast himself, this prince of darkness stands 10" tall. He's dark, he's evil, and he features nine points of articulation. Turn down his horns or change the position of his hands, arms, feet or head for a super cool variety of looks and poses. Kid 666 is Limited to only 500 pieces worldwide, available in a few selected shops and at The Qee Store, Toy2r USA. Size: 10" / 25 cm Material: Vinyl figure Creator: NadaOne Producer: Toy2r Distribution: Worldwide Collector Run: limited to 500 pieces ._. Text: Ian White (Cutterskink)
www.nadaone.com www.behance.net/nadaone
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WEMOTO LA
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SALVADOR X MAKIA Hard Worker's Club
AFRICAN APPAREL Known Pleasures
AFRICAN APPAREL Ganja Hands
DORADO Octopussy
AMBIGUOUS Mask
ANALOG Acosta
PRISM Ill Studio
SEIN Wrath
WEMOTO Shit is deep
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CTRL
SIXPACK FRANCE
Rabbith twisted jacket
Fly jacket
SIXPACK FRANCE Venaco shirt
CTRL
ANALOG
Twisted collar shirt
Reinhardt jacket
POINTER
LOMOGRAPHY
Debaser
Fisheye red
OBEY
High Sea hat
HUF
Genuine
ALIASONE Patchs
ALIASONE
Sang Bleu bag
MISHKA
Advisory snapback cap
ALIFE
Chuck Low
HUF
Choice
CONVERSE by John Varvatos
ALIFE
C1RCA
NIKE
Star Player
99VLC
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Everybody High
Auto Trainer
ASICS
Aaron MT
NIKE AIR JORDAN Flight 9 Olympic
NIKE
Aina Chukka
DVS
Milan Cadence 2
NIKE SPORTSWEAR
CARHARTT X APC
Destroyer jacket
Beanie
MISHKA
Gazin Bomber jacket
HUF
WEMOTO
Crew stripe sweater
Riot crew
SWATCH
AFM Cliff Drop
CARHARTT Duck sweater
ADIDAS X STAR WARS
Stormtrooper Varsity jacket
NIKE SPORTSWEAR
MANU PROPRIA
Destroyer jacket
Frank
ALIASONE
Pickpocket jacket
SUPREME
Switchblade comb
MANU PROPRIA NIXON
The re-run
Fly on the wall
CARHARTT Alaska jacket
SUPREME Backpack
WEMOTO WEMOTO
Solid blazer
Leather jacket
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Playful Type 2
Ephemeral Lettering and Illustrative Fonts This book examines how designers are using a variety of techniques to produce typography and lettering in a range of innovative styles. Plus interviews with leading typographers that explore current developments. by R. Klanten, H. Hellige, J. Middendorp Features: 224 pages, full cover, hardcover, English Price: 39,90 € / Format: 24 x 28 cm / ISBN: 978-3-89955-318-5 www.gestalten.com
Faile
Prints + Originals 1999–2009 The Brooklyn-based artists Patrick McNeil and Patrick Miller began their prolific collaboration as Faile in 1999 by creating street art. During the decade that followed, Faile have established themselves as the leading figures in the genre of urban art. Features: 224 pages, full color, hardcover, English Price: 44,00 € / Format: 24 × 30 cm / ISBN: 978-3-89955-292-8 www.gestalten.com
Turning Pages
Editorial Design for Print Media A survey of state-of-the-art publications that are redefining print media. It introduces relevant print solutions and examines the methods of designers who are at the forefront of evolving print products in our digital age. by R. Klanten, S. Ehmann Features: 272 pages, full color, hardcover, English Price: 49,90 € / Format: 24 × 30 cm / ISBN: 978-3-89955-314-7 www.gestalten.com
CLOR
Issue 1 CLOR is a 100% handmade screen printed art zine featuring 12 international graphic artists in its initial issue. Every issue and page of these 200 magazines are unique. 12 pages; & poster & kid005-compilation 15,00 € clor.polarisedkids.com
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GRIPTAPE ART CONTEST Contest winners
Congratulations to Nicolas Baudillon. He is the contest winner with his perfectly shaped griptape cap. Also, we do know now who made the switchedskateboard-shoe artwork shown in issue 006: It's Eveline Bünter. Nice job!
Nicolas Baudillon Eveline Bünter
NOW/HERE
Absinthe Films Swiss-American snowboard film crew Absinthe Films dovumented what 17 of the worlds best snowboarders experienced during the last winter. New tricks, new shooting stars and lines that let your heartbeat freeze. www.absinthe-films.com
Martha Cooper, from Streetplay series, black/white photography, 1977-80
Backjumps
Volume 4.2: Junior Issue Backjumps - a magazine and an exhibition of urban communication and aesthetics - continued the new format (Volume 4) in September 2010: this time an exhibition especially for children had been designed in the Kunstraum Kreuzberg/Bethanien. All pieces of art and installations had been put up and presented in a way that would appeal to children. The curator, Adrian Nabi, invited nine international artists, who fit into the context of street art. They were asked to present their ideas of suitable rooms for children and experiencing of art. The origin is the fact that children mainly react very curious and enthusiastic to works of art. However, this is neglected by today’s curatorial approaches and formats of presentation. The artists transported their experiences of dealing with space and visual stimulus satiation, which they encounter mainly on the street, to the exhibition room and adapted it to children’s eyes and senses. The attempt had been made to develop aesthetical forms which appeal to children without being childish and thus appeal to grown-ups as well. www.kunstraumkreuzberg.de
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Jonone, Throw Up, sculpture, 2009
Artists: Martha Cooper (New York), Delta (Amsterdam), Jonone (New York, Paris), Dave The Chimp (Berlin), ASH (Copenhagen), Skki (Paris), Mode2 (London), Pips Lab (Amsterdam), Poet & Aski (Berlin)
GRAFFOMAT
Graffiti supply vending machine Graffomat supplies you with all of your favorite state of the art graffiti supplies such as markers, caps, gloves, and everything else that the graffiti writer needs. Including ski masks! Forget about the times where you would run out of paint in the middle of the night and there would be nothing you could do about it. Graffomat is here for you 24 hours a day, located easily accessible on almost every street corner in your neighborhood. www.graffomat.com
Andy Warhol (1928–1987) Big Torn Campbell's Soup Can (Vegetable Beef), 1962 Kasein, Goldfarbe und Bleistift auf Canvas 182.9 x 135.9 cm Kunsthaus Zurich. Photo: Kunsthaus Zurich © The Andy Warhol Foundation for the Visual Arts, Inc. / 2010, ProLitteris, Zurich
ALIASONE
Creation contest winners Jeane Büchi and Alejandro Romer were selected as the winners from more than 80 designs received. With “Animal Imagination” they share their love for erotism and for the irony of the retrofuturists concepts. Inspired by the odor of rain, the laughter of friends, the raucous voices of their grandmothers and the gilded years of disco music.
Andy Warhol (1928–1987) One Dollar Bill [Silver Certificate], 1962 Kasein und Bleistift auf Canvas 132.4 x 181.9 cm Rahmenmass 135 x 185 x 5 cm Privatsammlung Schweiz, Courtesy Galerie Bruno Bischofberger, ZurichPhoto: Courtesy Galerie Bruno Bischofberger, Zurich © The Andy Warhol Foundation for the Visual Arts, Inc. / 2010, ProLitteris, Zurich
The graphics will be available on AliasOne t-shirts in March 2011. www.alias-one.com
ANDY WARHOL
The Early Sixties Paintings and Drawings 1961-1964 Kunstmuseum Basel, Switzerland September 5th, 2010 – January 23rd, 2011
UPPER CLASS Flagship store
Upper Class is present on walls for twenty years. In the meantime they have grown up and started a clothing label. In September 2010, they opened their first store in Zurich. The fresh designs and exclusive goods only available in the store are well worth a visit.
After making his career as a commercial artist Andy Warhol (*1928) decided to become an independent artist in the early 60s. His focus remained on the world of consumption, media and mass-production. The exhibition in the Kunstmuseum Basel centers around the crucial early years of the painter and graphic artist Andy Warhol, from 1961 1964. During these years he engaged in the fundamental renewal of the pictorial expression. Already since the mid 1960s he opened his work medially in the direction of a factory-operation, music business and film. www.kunstmuseumbasel.ch
Upper Class Flagship Store Spitalgasse 5 Am Hirschenplatz 8001 Zurich
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THE STIRRER
by Sam Johnson The Stirrer is part of a collection of objects designed to exist both as toys and functional objects. Made from a standard beech wood spoon with a solid beech pistol grip. via www.samjohnsondesign.com
JOE & MARTIN by ibride
Bookshelf and secretaire shaped like a bear and a mule made out of High Pressure Laminat. Size: 180 x 200 x 60 cm (Mule) / 155 x 206 x 86 cm (Bear) via www.ibride.fr
VASES
by Eduardo Sarabia Hand painted ceramic vases with painted wooden box. Unique within an edition of 18.
Wooden carpet is a three dimensional carpet loosing its original definition of a carpet and becoming an object in the room.
Eduardo Sarabia's vase series are sumptuous, unique and ‘contraband’ pieces and come individually packed in nondescript cardboard boxes, masquerading as harmless Mexican consumer products. Fusing imagery of illegal contraband (from busty naked ladies, to cannabis leaves and hand guns) and more traditional decoration (cockerels, wildebeest, and even a stray parrot), Eduardo Sarabia’s hand painted vases refer to his Mexican heritage and parody the cultural clichés surrounding drug smuggling, illegal trade and machismo.
Size: 197 x 140 cm
Size: 67 x 48 cm diameter (vase)
via www.boewer.com
via www.othercriteria.com
WOODEN CARPET - WENTWOOD MIRROR
by Big Game A mirror with a silkscreened white gradient that make one’s reflection disappear gradually designed by Big Game for Feld.be. via www.feld.be
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by Elisa Strozyk
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Shark in Brooklyn
REFLECTIONS ABOUT STREET ART Street art stands for a modern cultural phenomenon in the triumvirate of art, design and commerce. An important integral part of this still very young art form is the reflection of the economical, social and cultural alteration, which is taking place in the urban habitat. Designers, visual artists, sprayers and a multitude of further designers experience their living space as a natural canvas and use it in a playful way. Street art stands for more than just art in the public area. Streetart is a formative factor that is affected by perception. Street art always stands in the context and the condition of the place and is therefore dependent on several factors. The spatial tendency as well as the infrastructure affect the work of art and in reverse. As it's the case for skateboarding, BMX or Parcours, a good eye to spot is important to evaluate an area. The challenge is to create the best trick or the most beautiful work of art out of an existing infrastructure. These ways of acting lead to the fact that street art does not know any fixed rules. Because street art redefines itself daily. The perception in the public area The way street art is noticed in the public area is dependent on how the work of art affects the surrounding area. That means, the one who knows how spacial atmospheres emerge and how to integrate this knowledge consciously and conceptually into the work will profit to high-quality results, because the whole idea functions in the total context and it works mentally stimulating for the viewer. So that street art works can be noticed as an important factor, following considerations play an important role:
1. How does an atmospheric painting emerge and how can art - from graffiti to street art - flourish?
Seven factors build up the perception/atmosphere of public spaces. The following list demonstrates to what degree street art influences those factors. XXX X X XXX XXXX X XXXXX
social happening atmospheric factors (weather, light, smell, noise, ...) dis-/orientation un-/certainty, fear image (communication) individual influences (assaults, etc.) planing & architecture
"The challenge is to create the best trick or the most beautiful work of art out of an existing infrastructure."
Caption: 5 crosses = strong impact / 1 cross = no relevance
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www.rawcut.ch
These values demonstrate that streetart contributes on several levels to “creation” and for that reason to the perception of public spaces in a positive as well as in a negative way. From this can be concluded: „The one who thinks formal - not with regard to contents - in the context receives more attention & his work pertinence!“
2. Motif for motivation
The pivotal question of each task is the question of motivation- especially in the eyes of the observer. The motif and its resulting motivation of artistic work is an important component for creation of a value based on the artwork. For this, the observer will not only be interested in the things he can see but also in how it all came about. Concerning this matter, there are three or four motifs for motivation to be detected within street art: 1. Fame = driven by egoism Art which serves mostly for PR-reasons, such as tagging, bubbles and so on. 2. Distribution of content = socially reflexive. This can be conveyed either by images or on a textual level – and it also can be negative as much as it can be positive. (For example: F.T.P. or "Love is in the air".) 3. Arts and crafts as ameliorations to urban planning = Integrated, innovative and often reflexive. 4. A mixture of the first three reasons. It is self-evident that the second and manly the third reason seem to be the most exciting and stimulating reasons for the addressor. Regarding the first reason, the intention is too obvious and the "piece of art" loses as much its valency as its attractiveness to the viewer.
3. The choice of (urban) space and subsoil
Another exciting aspect is the choice of (urban) space. It exposes much about the motive, the target audience and the social and cultural affiliation of the artist and his artistic maturity. According to this, it can again be said: "The one who thinks formal (not with regard to contents) in the context receives more attention & his work pertinence!“ Conclusion: The production of appealing and effective street art develops from a variety of factors which must be used right and carefully considered. This includes a good eye for the environment, multidisciplinary and creative knowledge, the ability to reflect and work up a specific subject matter and the courage to bring this into the public. This for: Let‘s go boys & girls, create the cities, please... ._. Txt: Chris Wyer RAWCUT Creative Studio & RAWCOLOR
Exit Through the Gift Shop
WE ARE GIVING AWAY 3 X 2 TICKETS FOR THE SWISS PREMIERE OF ‘EXIT THROUGH THE GIFT SHOP’ IN ZURICH, KINO RIFF RAFF ON NOVEMBER 23RD.
A Banksy Film
Banksy's first film finally hits the Swiss cinemas! The film is billed as “the world’s first street art disaster movie”, and described by organizers as “…an amazing ride, a cautionary modern fairy tale . . . with bolt cutters.”. The film tells the story of Thierry Guetta, a French immigrant in Los Angeles, and his obsession with street art. It is presented as a documentary, but reviewers have questioned its factuality. The video includes other notable street artists like Shepard Fairey, Mr. A (Andre) or Space Invaders. Banksy’s publicist told The Guardian, “It’s a film about a man who tried to make a film about me. Everything in it is true, especially the bits where we all lie.”
MAIL US A SHORT RHYME CONTAINING THE WORDS “BANKSY” AND “AMATEUR”. IN GERMAN OR IN ENGLISH. THE BEST 3 RHYMES WILL WIN. GOOD LUCK.
From November 25th on, the film will be shown at these cinemas: Zürich, Riff Raff Bern, Quinnie Basel, kult.kino Luzern, Bourbaki
THE CLOSING DATE IS NOVEMBER 15TH, 2010. MAIL TO: HELLO@AMATEUR-MAGAZINE.COM
www.banksyfilm.com
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DISTRIBUTION If you are fast you get Amateur at the following places:
SWITZERLAND:
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THANK YOU For your work, love and help:
Fabien Baudin, Beastman, Sina Beeler, Yves Blösche, Pierre Bonnet, Alex Braunschmidt, Diana Cabarles, Pablo Cots, Harun Dogan, Onur Dinc, Pascale Favre, Marc Furrer, Gregor Garkisch, Mauricio Guerreiro, Florian Hauswirth, Florian Huber, Toby Jerman, Luzia Kälin, Migi Keck, Pawel Kozlowski, Kkade, Dave Marshal, Rudy Meins, Julia Meyn, Axelle Mueller, Sergio Muster, Van Manh Nguyen, Torben Paradiek, Greg Rivera, Patrick Seabase, Enzo Scavone, Colin Schaelli, Dustin Schenk, Lamour Supreme, Thomas Walde, Lukas Wanner, Ian White, Wes21, Christoph Wyer, Anna Zaugg, Vedran Zgela, and everyone we forgot. For your trust and financial support. It’s not possible without you:
Carhartt, Converse, Element, DVS, NumberOne, Obey, Pointer, Sixpack France, Wemoto.
SUBSCRIPTION Please support Amateur Magazine and subscribe! Just send a mail with your address to: abo@amateur-magazine.com
SWITZERLAND: 20 CHF for 3 issues EUROPE: 20 EURO for 3 issues WORLDWIDE: 30 USD for 3 issues
IMPRINT Published twice a year. 3500 copies. Amateur Magazine is an independent, artist driven print platform. It is about creative people, projects, products and places. Editorial address: Amateur Magazine / Buchserstrasse 19 / 5000 Aarau / SWITZERLAND
Contact: hello@amateur-magazine.com Publisher: Alain 'Lain' Schibli / lain@amateur-magazine.com Advertisement: ad@amateur-magazine.com
This page: Picture by Ian White (www.cutterskink.com)
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