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SUMMER 2012
IN FOCUS:
JURNE MINT UNL
SÃO PAULO WHAT'S UP WITH THAT?
CITY OF PIXAÇÃO
BRISBANE TRAINS FLOODED WITH GRAFFITI
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FOCUS | JURNE
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# 45 | SUMMER 2012
FOCUS | JURNE
Jurne, 2011
UNAPOLOGETICALLY GRAFFITI AND HIGHLY NUANCED TEXT: BjĂśrn
Almqvist
PHOTO: Jurne
In the past few years, Jurne has emerged as one of the most interesting writers in the West Coast of the US. A master of style, unafraid of trying out new paths using classical graffiti as a startingpoint. He tells UP what good graffiti really is. JURNE grew up in the US East Coast
city of Portland, Maine. But his interest in graffiti was greater than for mussel and lobster fishing, and in 1999 he started painting the city’s walls, and the freight trains heading for Canada. In high school, he studied different styles along the motorways to Boston and New York. Since then, he has gone through innumerable different styles before finding his way back thanks to history in the mid-2000s. “In 2006, thumbing through Spraycan Art for the hundredth time, I was struck
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by a black, green and white Shoe piece. My interest was piqued in how simple yet technical this style was. I did a lot of research as to where this style developed from, and have drawn from the influences of Dondi and Bear167 on TCA and CTK, adding to this avenue of writing style. Other writers who have been critical to my own development are Past, Learn, Lack, Bern, Sept, Hence C&F, Jedi 5, Curve and Rime.� Jurne’s graffiti is classic, but simultaneously playful and in constant flux. “For me personally, graffiti is both a
JURNE 7KH %D\ $U HD &DOLIRUQLD 86$ YME, Â TGE 1999
craft and a science. It is important to both do your homework, and to have fun and experiment. Having a good foundation allows you to stretch, mesh and blend ideas of style together. I try to keep it moving, and make it interesting with unorthodox color or composition choices. I think graf-
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Pixação is present across the entire gigantic city. This may be due to the large number of pixadors combined with the fact that the city’s walls are not buffed much. Since 2007, pixação has also had less competition for the walls. In an attempt to decrease ‘visual noise’, all visual advertising within the city limits has
the prohibition of advertising has its negative sides. The upkeep of many buildings was financed by advertising money before, so when that doesn’t come in, the buildings degrade. But the number of walls to paint has increased.” Graffiti specifically competes with pix-
By night, downtown is populated almost exclusively by drug addicts, the homeless and police been forbidden by São Paulo’s mayor Gilberto Kassab. Advertising was cleansed from billboards, house façades and hoardings, and the size of shop signs was regulated. “But the question is whether or not advertising prohibition will be repealed in the next few years,” says Binho, who has been doing graffiti in São Paulo since 1984. “During 2014, Brazil will host the Football World Cup, and that’s amazing amounts of advertising money to risk losing. Even if the visual environment has become calmer,
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ação for the walls of São Paulo. For the most part, it’s not a problem: pixadors do their thing, graffiti writers do theirs, and you avoid painting over each other. But disputes regularly flare up. For instance, several large murals by the famous twin brothers Os Gemeos have been destroyed by pixadors. “São Paulo graffiti artists are often middle-class with artistic ambitions,” says Leandro Mantovani. “The pixadors come from all sorts of backgrounds and social classes, but many come from the area outside town, la
Historias (Historys) on top of two friends, São Paulo 2012. 31
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# 45 | SUMMER 2012
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STOCo-
E G A N E D L O G ’S STOCKHOLM E P O C S O R IC M E H T UNDER When graffiti came to Sweden, it was a thing for its practitioners: kids. Few adults cared. Even fewer understood it. One who did was the art teacher Staffan Lövgren from Uppsala, not far from Stockholm. Staffan plunged into graffiti during Stockholm’s first golden age. The result is one of the first academic essays on graffiti in Sweden. trains at Times Square in New York City. As I was going down to the platform, a train full of pieces drove in. It was like another world, like walking out into the African savannah. I didn’t understand a thing!” Order reigns in Staffan Lövgren’s room at Uppsala. The computer screen shows a search page containing graffiti images. He welcomes me and his grey,
"IN 1978 I WAS CHANGING
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slightly unkempt hair, Rolling Stones Tshirt and somewhat hoarse voice tell of a past in 60s youth culture. With a trunkful of photo albums under one arm and a slide projector under the other, we move to a workroom. Staffan produces binder after binder full of photos, sketches and newspaper cuttings. The first time Staffan Lövgren heard about graffiti was in a 1985 article in Up-
TEXT: Tobias
Barenthin Lindblad Staffan Lövgren
PHOTO:
sala Nya Tidning. He had seen wall scrawling before, of course, but the pictorial content of graffiti attracted him. Besides working as an art teacher, he was studying Art Education at Stockholm’s Konstfack College of Arts, Crafts and Design. In 1986, he decided to choose graffiti as his Masters’s degree essay. “They gave me the green light straight away. I wanted to write something writers
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STOCKHOLM OLD SCHOOL
Done 12 was Lövgrens guide through the Stockholm graffiti scene in the fall of 1986. Here is Done 12 in action at what appears to be the Kristineberg subway station.
would like: ‘finally someone who gets it’. I wasn’t part of the culture, of course, but I wanted to do an essay that was interesting both in terms of pictures and text. You might find it academic, but I don’t think it would get through today. It’s like a book, one chapter after the next, and a conclusion. There was no literature, either. Maybe Subway Art. Then I was told about Getting Up. But it didn’t give you much about Swedish conditions.” Through his tutor, Staffan Lövgren got hold of Nico Cleyndert, a person who then organised hip hop jams in Stockholm and who gave Staffan the graffiti writer Akay’s phone number. Akay took Staffan to Karlberg station one autumn day in 1986. At the station, they met Done 12, who became Staffan’s
guide during a few days in Stockholm. “Done 12 was pretty wild, tagging while people watched, and I thought it wasn’t going to end well but took pictures all the while.” Staffan was soon engulfed in graffiti and sat at home sketching. “There’s a great sensation in forming the letters that you
“I was in my 40s, and doing my essay in my spare time. It was a bit hard going out on Saturday evening and getting back on Sunday, and wasn’t very popular with my family. But I’d decided to find out about all this. Someone mentioned battles. I didn’t understand – fighting? Who judges it? There were many things like that I had to break into and understand. Even though they were nice guys, they were a bit rowdy. You didn’t always know where you were with them, they might turn up a few hours late when we were supposed to meet. Done 12 once told me he’d been chased by the police. I thought: why am I here?” Soon Staffan had met parts of the Stockholm graffiti elite, which is reflected in the interviews in his essay. A special essay, since he did so much in-depth field work.
Done 12 was pretty wild, tagging while people watched, and I thought it wasn’t going to end well
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don’t understand until you try it yourself. It’s a fascination that’s hard to get rid of once you’re there. You can’t stop.” Soon he was hanging out with the young writers during long expeditions through Stockholm, Uppsala and Västerås in the quest for pieces.
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