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INTRO TEXTS ON REACT
000 012 000 033
Stereograph+react First Things First 1964 A Manifesto First Things First 2000 A Design Manifesto This Is Not A Manifesto Towards An Anarcho-design Practice What A Perfect, Perfect World In The Bubble John Thackara Since Then
CULTURE JAMMING Billboard Liberation Front Peter Fuss Moss Graffiti Mud Stencils Reverse Graffiti Graffiti Research Lab Ji_lee_bubble Project Jorge Rodriguez-Gerada Roadsworth Wooster On Spring
000 034 000 087
POLITICAL ART Craig Foster Empathy™ by Vincent W.j. Van Gerven Oei /Jonas Staal Gorilla-designpolitie Shepard Fairey On Obama Students For A Free Tibet
PUBLIC INTER VENTIONS Replaced Street Signs by Vincent W.j. Van Gerven Oei /Jonas Staal Wish You Were Here – Postcards From Our Awesome Future by Packard Jennings And Steve Lambert
000 088 000 105 000 106 000 125 000 126 000 141
MAPPING YOUR REALITY Bio Mapping Bureaudetudes Heath Bunting
INDEX URBAN TYPOS Gustavo Lassala Joao Wainer Pixo Attack At Choque Cultural Gallery Typo Works By Evan Roth
ACTIVISM 0100101110101101 Donating Copyleft by Evan Roth Packard Jennings T.s.a. Communication by Evan Roth
ARTIVISM Tague Tinkin
000 142 000 173 000 174 000 207 000 208 000 223
HACKTIVISM Add-art Skullphone Ztohoven
CRAFTIVISM Activism + Craft = Craftivism Afghani Battle Carpets Knitta
CASE STUDY “COLOMBIAN” GRÁFICA POPULAR” Popular De Lujo
000 224 000 241 000 242 000 265 000 266 000 288 010-011
INTRO TEXTS ON REACT 012-033
012-013
Stereograph is conceived as a magazine about graphic design and visual communication with a thematic approach to information rather than a merely cumulative treatment; in other words, the intention is for each issue to be devoted to a specific theme, which will be developed in a range of materials and formats: graphic projects, articles, essays and so on. The idea is to translate the concept we pioneered with Verb, our architecture magazine, to the world of graphics. This model of bookmagazine has worked very well in the field of architecture, both as a tool with which we can research and experiment, and in terms of the commercial success it has achieved.
STEREOGRAPH REACT We want to launch the series with an issue
enon; such critiques have always found expres-
devoted to reactive graphics: in other words,
sion, from the old broadsheets and pamphlets
those graphic works that express a reaction to
to the present-day weblogs, but there is no de-
a situation of injustice or defend a particular
nying that the latest high-tech tools have given
culture against the domination of more global
a new dimension to such movements, far more
languages. Quite simply, it is a question of
global, with a much stronger media presence.
celebrating the critical or dissident potential of
Another, related aspect that we will be looking
graphic designers and visual communicators,
at in this first issue is the importance of the
the effectiveness of their tools and the intrinsic
Internet as a medium of diffusion, and of the in-
value of their independent proposals, with an
formation technologies —tools and programmes,
evident capacity to innovate and stimulate
graphic environments and the rest— at the
reflection. We believe there is a better alterna-
disposal of today’s graphic designers.
tive to the passive dérive of an environment
All of these things have provided the basis
so absorbing and asphyxiating that it obliges
for a huge variety of responses, from groups
us to rebel against it, in the form of a reaction
asserting that another world is possible and
to the imposition of a uniform homogeneity on
anti-global movements that oppose the present
our distinctive local models and references,
the system to works by individual designers
resulting in the disappearance of situations
and visual communicators who, moved by an
and actions unique to autochthonous cultures:
awareness of injustices or as a tool of protest,
scenarios peopled by Frankenstein-like hybrids
voice their critiques in independent, personal
fashioned from the merging of vernacular
creations that in many cases are not commis-
references and other, more ‘globalized’ models.
sioned by a client.
We also find scenarios in which to rebel against social injustice, whose origins are in most cases political: wars, dictatorships, oppressive regimes... Of course, this is not a new phenom014-015
In relation to the above, we would look at teams such as Adbusters, Worldchanging, Bureau d’Êtudes, moveon, etc., some of which would be the subject of detailed analysis. We would compare present-day groups, which primarily operate on the Internet as a platform, with more traditional formations such as NGOs or historic movements of revolt, and on this basis explore the duality between the activism of diffusion and the activism of action. The issue will necessarily have a significant amount of texts and articles that will both structure and provide a counterpoint to the more visual part. The texts will serve to contextualize the different sections.
In the field of music, rap and hip-hop provide a very powerful example of radical social protest. With their lyrics, groups like Public Enemy react against the system in the same way as graphic designers do with their visual language. Another interesting phenomenon here is the free distribution of music and texts, a concept that is being developed by Platoniq and others. Look inside Copyleft. Happening in the world. Certain designers would be the subject of in-depth studies, while other would be given a more cursory treatment. Possible participants: Doma, Masa, Stefan Sagmeister, Jonathan Barnbrook, Kenneth Tin Kin Hung, Nuevos Ricos‌
016-017
What a perfect, perfect world. by James David, Groundswell Collective
So much order and planning, so many grids,
most poignant when communicated visually.
routines and systems. Its mechanical intrica-
Where mainstream media frames debates,
cies are astounding and mesmerizing; it has a
our goal is to open them up or smash them to
pulse all its own. Even now the soft, humming
pieces. Where undemocratic structures put
anesthesia of the city seeks to replace what
up barriers around our liberties, we are there
thoughts you may still be allowed to have
to subvert them. Many of us have carved out
with white noise. We are here to guard against
wholly unique (and frequently noncommercial)
exactly that. As citizens, we obediently pay
spaces where we conduct our work, and explore
our landlords to let us inhabit the homes we
alternative design practices as a means, not
make, and we talk casually of the atrocities
an end. Rather than sell revolution, or use
that our governments commit in our name
revolution to sell a brand, we actively partici-
– so what does it take to end these absurdi-
pate in creating that cumulative occurrence
ties? What new forms must we explore, and
that is social change. In our line of work, we
how can we assume them? How can we weld
can find at least one common theme: influ-
visual communication to social justice? The
encing systems through design is central to
answers are as complex and as varied as the
success. If a designer’s work tangibly contrib-
artists featured in this compilation. In honor-
utes to fashioning and furthering alternative
ing the libertarian ethic that we prefer, we’ve
modes of social organization, it’s working.
come together to applaud one another, and to
(and frequently noncommercial) spaces where
provide a narrative about these activist efforts
we conduct our work, and explore alternative
while simultaneously participating in them.
design practices as a means, not an end. Rather
Our work might be described as that design
than sell revolution, or use revolution to sell a
which must be done in pursuit of a more hu-
brand, we actively participate in creating that
mane and libertarian world, and which claims
cumulative occurrence that is social change.
that notions of freedom and ethical conduct are
In our line of work, we can find at least one
common theme: influencing systems through
to live, one where we control our own actions,
design is central to success. If a designer’s
and where the only pulse we hear is not of the
work tangibly contributes to fashioning and
city, but the one in our lover’s chest. We see
furthering alternative modes of social organiza-
a world where people are compelled by their
tion, it’s working. That design which proffers
own will, and where no one is subjected to the
what could be, and which prefers community
numbness of being “under control,” because
and participation thrives in this environment.
desire of any sort is always our own, and no one
It’s a rebellion against monoculture, and the
can take it from us. We are creating this world
editors of this volume are perfectly correct in
and dismantling an old one, for what better way
labeling our work “reactive.” But it’s proactive,
to build a new world than in our hearts!
too. Cultural production of this variety questions and dismantles dominant ideologies. It is in character for us to not wish for the reform of unjust systems, but to disrupt them and hand out the tools with which to skirt or dismantle them. We work from an unscripted reality, and alleviate (rather than enforce) politics. There is something to be said about this foundation that we work from, and our propensity to thereby create new channels of communicating. The spaces we create through our solidarity, while temporary, are autonomous, culturally relevant, and inclusive. Through our nonparticipation in anything we believe to be evil, we are forging another route. We still sense that there is a life
018-019
signed:
Edward Wright Geoffrey White William Slack Caroline Rawlence Ian McLaren Sam Lambert Ivor Kamlish Gerald Jones Bernard Higton Brian Grimbly John Garner Ken Garland Anthony Froshaug Robin Fior Germano Facetti Ivan Dodd Harriet Crowder Anthony Clift Gerry Cinamon Robert Chapman Ray Carpenter Ken Briggs
First Things First 1964 A Manifesto We, the undersigned, are graphic designers,
periodicals, catalogues, instructional manuals,
photographers and students who have been
industrial photography, educational aids, films,
brought up in a world in which the techniques
television features, scientific and industrial
and apparatus of advertising have persistently
publications and all the other media through
been presented to us as the most lucrative,
which we promote our trade, our education, our
effective and desirable means of using our
culture and our greater awareness of the world.
talents. We have been bombarded with publica-
We do not advocate the abolition of high pres-
tions devoted to this belief, applauding the
sure consumer advertising: this is not feasible.
work of those who have flogged their skill and
Nor do we want to take any of the fun out of life.
imagination to sell such things as:
But we are proposing a reversal of priorities
cat food, stomach powders, detergent, hair
in favour of the more useful and more lasting
restorer, striped toothpaste, aftershave lotion,
forms of communication. We hope that our
beforeshave lotion, slimming diets, fattening di-
society will tire of gimmick merchants, status
ets, deodorants, fizzy water, cigarettes, roll-ons,
salesmen and hidden persuaders, and that the
pull-ons and slip-ons.
prior call on our skills will be for worthwhile
By far the greatest effort of those working in
purposes. With this in mind we propose to
the advertising industry are wasted on these
share our experience and opinions, and to make
trivial purposes, which contribute little or noth-
them available to colleagues, students and oth-
ing to our national prosperity.
ers who may be interested.
In common with an increasing numer of the general public, we have reached a saturation point at which the high pitched scream of consumer selling is no more than sheer noise. We think that there are other things more worth using our skill and experience on. There are signs for streets and buildings, books and 020-021
022-023
signed:
Jonathan Barnbrook
J. Abbott Miller
Nick Bell
Rick Poynor
Andrew Blauvelt
Lucienne Roberts
Hans Bockting
Erik Spiekermann
Irma Boom
Jan van Toorn
Sheila Levrant de Bretteville
Teal Triggs
Max Bruinsma
Rudy VanderLans
Siân Cook
Bob Wilkinson
Linda van Deursen
and many more
Chris Dixon William Drenttel Gert Dumbar Simon Esterson
We, the undersigned, are graphic designers, art
Vince Frost
been raised in a world in which the techniques
directors and visual communicators who have
Ken Garland
and apparatus of advertising have persistently
Milton Glaser
effective and desirable use of our talents. Many
Jessica Helfand
belief; the market rewards it; a tide of books and
been presented to us as the most lucrative, design teachers and mentors promote this
Steven Heller
publications reinforces it.
Andrew Howard
apply their skill and imagination to sell dog
Tibor Kalman
hair gel, cigarettes, credit cards, sneakers, butt
Jeffery Keedy
Encouraged in this direction, designers then biscuits, designer coffee, diamonds, detergents, toners, light beer and heavy-duty recreational vehicles. Commercial work has always paid the
Zuzana Licko
bills, but many graphic designers have now
Ellen Lupton
designers do. This, in turn, is how the world
Katherine McCoy Armand Mevis
let it become, in large measure, what graphic perceives design. The profession’s time and energy is used up manufacturing demand for things that are inessential at best.
First Things First 2000 A Design Manifesto Many of us have grown increasingly uncom-
of communication - a mindshift away from
fortable with this view of design. Designers
product marketing and toward the exploration
who devote their efforts primarily to advertis-
and production of a new kind of meaning. The
ing, marketing and brand development are
scope of debate is shrinking; it must expand.
supporting, and implicitly endorsing, a mental
Consumerism is running uncontested; it must
environment so saturated with commercial
be challenged by other perspectives expressed,
messages that it is changing the very way citi-
in part, through the visual languages and
zen-consumers speak, think, feel, respond and
resources of design.
interact. To some extent we are all helping draft
In 1964, 22 visual communicators signed the
a reductive and immeasurably harmful code of
original call for our skills to be put to worth-
public discourse.
while use. With the explosive growth of global
There are pursuits more worthy of our problem-
commercial culture, their message has only
solving skills. Unprecedented environmental,
grown more urgent. Today, we renew their
social and cultural crises demand our attention.
manifesto in expectation that no more decades
Many cultural interventions, social marketing
will pass before it is taken to heart.
campaigns, books, magazines, exhibitions, educational tools, television programs, films, charitable causes and other information design projects urgently require our expertise and help. We propose a reversal of priorities in favor of more useful, lasting and democratic forms 024-025
This is Not a Manifesto: Towards an Anarcho-Design Practice by Jared Davidson
Graphic design has predominately been, and
that of the visual instrument of the powerful;
still is, the tool which beautifies, communi-
the seller of sales, the convincer of consumers
cates and commodifies a set of ideas, ideals or
— employed by the corporate body or state-
products within various tenets of our social and
sanctioned by capitalist / socialist totalitarian
economic relations.
governments in order to perfect and reinforce
Unfortunately, it is fair to say that this creative
their hegemonic positions. And while design
tool is overwhelmingly used in an economic/
academia can wax poetic about the virtues
commercial sense — consciously or uncon-
of graphic design and its specialised visual
sciously using its talents to exploit — to raise
language — conveniently side-stepping more
profit margins and material wealth for the
tangible issues — the design industry practitio-
benefit of a select clientele. While graphic de-
ner, whether one chooses to acknowledge his/
sign lends its talents outside of the commercial
her role or not, must realise that their labour is
realm in the form of an informative and commu-
nothing more than the harbinger of consumer-
nicative visual language, and in academic or
ism, used in the service of monolithic capital-
self-authorship, research-based practices — the
ism and all of its ails. Without graphic design
primary role of graphic design as a medium is
those who sustain these ills of society have no
“It is no longer enough today to lock ourselves in our studios and produce culture. We must engage in our world in as many ways as possible. We need to ground our artistic production in the realities of our lives and those many others around us.” Realizing The Impossible: Art Against Authority
face, no visual identity, no point of reference,
any commercial use — or more specifically, for
and most importantly, no effect.
the movement towards a more humane and
While recognising in the libertarian tradition
libertarian society, that is to say, a more autono-
that no individual designer, group, govern-
mous existence based on self-management,
ment or institution has the right to define the
mutual aid, solidarity and direct participation
role in which graphic design should play, 1 it is
in one’s affairs. As the potential producer,
important to explore and encourage alternative
educator, organiser and visual face of social
design practices in an attempt to counter the
change, graphic design could weld its creative
exploitative position it has consciously stepped
future with more important and pressing con-
into. Analysis of the capacity inherent in
cerns than market shares, profit margins and
design/designers practices to alleviate current
consumption rates.
ideologies, and to aid in more alternative modes of social organisation is needed, and has begun in limited pockets of the design world. 2 Design then, must explore the periphial space outside of advertising; totally devoid of 026-027
“One cannot, in the nature of things, expect a little tree that has turned into a club to put forth leaves” Martin Buber
It is interesting to realise the power that graph-
ries of the manifesto recognised the potential
ic design holds within the current capitalist
for their skills to aid more humanitarian causes.
system. Corporates, and likewise, governments,
The 2002 manifesto, as a tentative step in
have all tapped into the powerful and almost
reviving Ken Garland’s original ideas for todays
unrivalled marketing resource that is graphic
practitioners, and as a step towards visual
design. Better By Design, 3 hand-in-hand with
‘reform’, is greatly noted. However, regardless
business interests, has marched towards a
of how well meaning and sincere the ideas
better future for consumerism. And no wonder
brought forward in these documents were, it
— what other non-physical
is necessary to critique their statements This
coercive technique can instill a company logo
step, however small and tentative, towards
in the public and private mind as early as two
visual ‘reform’ was greatly noted. However,
years old. 4 Unchecked, the increasing role of
regardless of how well meaning and sincere
graphic design as advertising’s lackey will con-
the ideas brought forward in these documents
tinue to have unreversible effect on our mental,
were, it is necessary to critique their statements
visual and physical environment.
in more radical terms.
In 1964, and again in 2002, the concerns of
While proposing ‘a reversal of priorities in
above were brought forward in the form of
favour of more useful, lasting, and democratic
the First Things First manifesto, signed by
forms of communication’, the manifesto falls
designers, photographers, artists and visual
short in recognising any kind of tangible and
practitioners interested in steering their skills
radical change.
along a more viable and worthwhile path. “Un-
The First Things First Manifesto of 2002 fails
precidented environmental, social and cultural
to recognise that the ‘uncontested’ and ‘un-
crises demand our attention...charitable causes
checked’ consumerism they wish to re-direct is
and other informational design projects urgent-
so engrained in the very system we participate
ly require our expertise and help”. Calling for a
in, that anything short of the complete trans-
shift in graphic design’s priorities, the signato-
formation of social priorities, structures and or-
ganization will never effect true social change.
tive system, far from being a guarantee for the
Proposing the shifting of priorities within the
people, on the contrary, creates and safeguards
system rather than the shifting of the system
the continued existence of a governmental
itself — as history has proven in both state /
aristocracy against the people.” 5
democratic socialism, and the farce of parlia-
With this in mind, the following text proposes
mentary democracy — will do nothing more
to explore the graphic designers role (if any) in
than gain a few insignificant victories while the
revolutionary, direct action towards the transfor-
real battle goes unwaged. The fact that rampant
mation of society, in specifically anarchist terms.
globalisation and totalitarian corporate hegemony go hand in hand with the current system is the real issue concerned graphic designs could be questioning. In fact, “the representa-
“It is said that an anarchist society is impossible. Artistic activity is the process of realising the impossible.” Max Blechman, “Toward an Anarchist Aesthetic”.
028-029
The basic ideas of Anarchism have been mis-
the daily decisions that they entail. These ideas
informed, mis-interpreted, and mis-understood
are far from utopian or fruitless as those who
throughout its existence. Its humanistic and
fear its potential would lead us to believe — they
libertarian ideas were forever tarnished by a
are no more utopian than the thought that far-
minority who committed violent acts around
removed, parliamentary ‘representatives’ can in-
the turn of the 19th century — ‘the propaganda
timately and effectively answer our many wants
of the deed’ as it was known, included assa-
and needs as individuals and communities.
sinations and terrorism directed towards the
Therefore Anarchism is not a fixed, self-en-
state and its leaders. These acts, and the anti-
closed social system but rather a definite trend
authoritarian stance of Anarchism have tended
in the historic development of society, which,
to, in the majority of peoples minds, associate
in contrast with the intellectual guardianship
its theories with chaos and disorder. This is
of all clerical and governmental institutions,
simply not the case.
strives for the free unhindered unfolding of all
Anarchism, or libertarian socialism, is the con-
the individual and social forces in life. For anar-
cern — whether it be social, political, or historical
chists, freedom is not an abstract philosophical
— of human beings living, interacting, and relat-
concept, but a vital concrete possibility for every
ing in a way that is the most fair, equal, involved,
human being to bring to full development all the
and ultimately free of any kind of exploitation
powers, capacities, and talents with which
— whether it be economic or political, capitalis-
nature has endowed him/her, and turn them to
tic or communistic. “A mistaken, or more often,
social account. The less this natural develop-
deliberately inaccurate interpretation alleges
ment of people is influenced by religious or
that the libertarian concept means the absence
political guardianship, the more efficient and
of all organisation. This is entirely false: it is not
harmonious human personality will become,
a matter of ‘organisation’ or ‘nonorganisation’,
the more it will become the measure of the
but of two different principles of organisation...
intellectual culture of the society in which it
Of course, say the anarchists, society must be or-
has grown.7
ganised. However, it must be established freely, socially, and, above all, from below.”6 The idea of non-hierarchical forms of organization are central to libertarian socialism — only through direct action and self-management will we enjoy complete emancipation in our lives and
“As anarchists, we have seen our politics denigrated by other artists; as artists, we have had our cultural production attacked as frivolous by activists.” Realising the Impossibe: Art Against Authority
It would be wrong to view this text as some
this concept. The everyday individual or anar-
kind of blueprint for anarchist design action.
chist design practitioner, through the basic act
This is not a manifesto. Nor is it the justification
of joining their libertarian principals with their
for graphic design as a specialist, elitist profes-
material production, should, and could, greatly
sion to continue in its current form for the ‘aid’
contribute to the transformation of everyday
of social change. As Proudhon wrote to Marx,
life towards a more just and humane existence.
“Let us not make ourselves the leaders of a new
As educator and mediator, it is the responsibil-
intolerance. Let us not pose as the apostles of a
ity of anyone with an understanding of visual
new religion, even if it be the religion of logic,
communication to instill in people’s minds a
of reason”. 8 And while there is a definite place
broader sense of possibility, using the commu-
for the graphic designer in an activist role,
nicative powers of artistic imagery to encour-
both in an educational and provocative sense,
age and enrage. It is important to shift societies’
designers must not make the mistake of becom-
many urgent concerns from the fringes and
ing some kind of vanguard group of directors.
into the public realm, in a direct and unavoid-
Whereas Marxism is often justified in both
able manner. However, purely negative and
political and academic fields in this respect
angst-ridden critique can only go so far — it is
— defending the role of a necessary vanguard
the sense of positive possibilities that need to
party towards the ‘dictatorship of the proletari-
be associated with the ideas of Anarchism. The
at’ — anarchism vehemently refutes and rejects
marginality of current grassroots movements 030-031
must be overcome — the isolation of both activist
exploration of existing and more experimental
groups and concerned individual’s thoughts
modes of production and aesthetics in design
must be rendered public, transparent, and
and design application can only set the basis
shared. Mainstream media do a rather convinc-
for future non-hierarchal, organic organisation.
ing job of keeping our private thoughts as seem-
Systems and structures raised in ones practice
ingly isolated and illogical. It is an important
could essentially form patterns and guides for
task to illustrate that the critical and question-
self organization in a more truly libertarian
ing ideas we may be having individually are,
society. Individualism and autonomy intact, the
more often than not, shared as a whole, rather
personal process/es of making work could lead
than letting them be diffused and disarmed by
the way in eventual liberation on a more macro
hegemonic structures and institutions such as
level, exploring the ‘unlimited perfectibility’
the news, popular media, and the state.
of both personal design arrangements and
Graphic design can publicly and prolifically
social organization. “Anarchism is no patent
become the visual manifestation of these shared
solution for all human problems, no utopia of
ideas. “Ideally, art can inspire hope, encourage
a perfect social order, as it has so often been
critical thinking, capture emotion, and stimulate
called, since on principle it rejects all absolute
creativity. It can declare another way to think
schemes and concepts. It does not believe in
about and participate in living. Art can docu-
any absolute truth, or in definite final goals for
ment or challenge history, create a framework for
human development, but in an unlimited per-
social change, and create a vision of a more just
fectibility of social arrangements and human
world. When art is used in activism it provides
living conditions, which are always straining
an appealing and accessible entry point to social
after higher forms of expression…” 10 Allowing
9
issues and radical politics”. As the initial point
design to publicly explore and illustrate those
of contact with more in-depth and varied forms
‘higher forms of expression’ can do nothing
of activism, graphic design can act as the essen-
but broaden the scope and awareness of the
tial catalyst for further research, involvement,
anarchist movement as a whole.
and more importantly, for direct action. Further
1
In relation to the anarchist concept of ‘no gods, no masters’ — or, that the exploitation of man by man and the dominion of man over man
are inseperable, and each is the condition of the other. 2 Design collectives such as The Street Art Workers, Drawing Resistance, the Beehive Collective, Paper Politics, Taring Padi, and the Prison Poster Project are just a few examples. See ‘Realising the Impossible: Art Against Authority’ by Josh Macphee and Erik Reuland (AK Press, 2007). 3 A government initiative aimed at helping New Zealand companies ‘increase their exports and profits through the better use of design in their products and services’. Check it out at www.betterbydesign.org.nz. 4 See ‘Fast Food Nation’ by Eric Schlosser (Penguin Books, 2002). 5 Michael Bakunin in ‘Anarchism’ by Daniel Guerin (Monthly Review Press, 1970). 6 Voline in ‘Anarchism’ by Daniel Guerin (Monthly Review Press, 1970). 7 Paraphrased from Rudolf Rocker’s ‘Anarcho-Syndicalism: Theory and Practice’ (AK Press, 2004). 8 From ‘Anarchism’ by Daniel Guerin (Monthly Review Press, 1970). 9 Colin Matthes, ‘Realising the Impossible: Art Against Authority’ by Josh Macphee and Erik Reuland (AK Press, 2007). 10 Rudolf Rocker, ‘Anarcho-Syndicalism: Theory and Practice’ (AK Press, 2004).
032-033
CULTURE JAMMING 034-087
034-035
Peter Fuss Peter Fuss reclaims billboards to examine and evaluate present, socially taboo subjects. He’s been a fugitive, a critic, and many other things. Chiefly a painter these days, his work comments on politics, the relationships between religion and authority, flashy religiosity, social problems, and art.�
“My exhibition of January 2007 was shut down by the police on the second day after the opening and they seized all paintings, which haven’t been returned to me to this day.” 040-041
Moss Graffiti * Several clumps of moss * 1 pot of natural yoghurt or 12oz buttermilk (experiment to see which works best) * 1/2 teaspoon of sugar * blender * Plastic pot (with a lid) * Paint brush * Spray-mister If growing your moss inside you will also need a seed tray containing compost
044-045
046-047
Mud Stencil by Jesse Graves
I began using mud as my stencil medium to solve the problem of how to create a stencil without using spray paint. Spray paint is very toxic and can cause brain damage if frequently ingested. It is also difficult to remove from buildings. I have no interest in creating art that damages property or is unwanted.
Wooster on Spring The outside walls of 11 Spring St. have been a public canvas for local and visiting street artists for two decades.
The exhibition, a three celebration of 30 years of ephemeral art, will take place for three days only, and then all of the artwork will be destroyed.
054-055
Jorge Rodriguez Gerada For some time, Andy Warhol has conceded to us 15 minutes of fame. That being the case, the prerequisite was to have an accident, be poisoned…That tricky media worthy relevance would not spare Marilyn, Elvis or Mao. Their faces were sufficiently important to be worthy of being remembered, reworked and converted into a treasured object or icon for posterity. Why is one life more important than another?
We are before one of the founders of the artistic direction known as “Culture Jamming”.
Most Importantly, who is interested that we think this way?
But lets go to the artistic processes of the Identity series, one of the best examples of coherence
Jorge Rodriguez Gerada started making art
in art in the last few years. Portraits in charcoal
more that 15 years ago in New York City (he
(gestures, sketches? – not in the least) people,
is a Cuban New Yorker, and that is not banal
until now anonymous, scale the walls of build-
biographical information added to satisfy the
ings in our cities, in a format that we can begin
curiosity of curators in search for the exotic or
to describe as gigantic. Yes, they are giganti-
art professionals whose value scale is based on
cally defying, proud, dignified. More social than
the passport).
political, with the measure that the preoccupation for one ridicules the other. Jorge finds his protagonists in the street, in the
neighborhood where they live, where they are
have duped us and taken advantage of known
from or decided to stay. That they be residents is
imbeciles and the famous that are not worthy of
important. They are not an object troubé. Thus
being known (of course, later they say that it is
begins the true dialog. Mutual understanding,
a critique, or whatever allegation that they can
the reasons and the explinations. Then comes
find in the great Bible of aesthetics.
the final decision, which belongs to the local resident, to allow the work to be completed. But
What defines identity, that fragile and incon-
let us not be mistaken, the art piece is not the
sistent –but necessary- sensation of being? Its
charcoal drawing. The artistic process begins
search is one of the most arduous tasks in life. I
with the search for the city, the building, and
would say especially for an artist and particu-
most importantly the person (who is sufficiently
larly for Jorge Rodriguez-Gerada (I wont repeat
valiant to allow being found). Decide to be
his pertinent biographical information).
converted into a hero (like those of modernity described and defended by Baudelaire) monu-
His achievements, his coherence and the
mental; a Goliath confronting the powerful
grandeur of the humanity in his work, place
King Davids of politics and advertising in order
him among the best artists of our generation.
to take back the public space, snatched from
Fortunately, utilizing words which are not my
our hands by advertisers anxious to sell us
own, but that I cannot resist using (I am sure
perfect men and women, and politicians that
that the person who wrote them will forgive
against all the evidence want to convince us
me), his “Identities occupy the canvas of our
that they are perfect.
cities, populating them with the marvelous residual essence of it people”.
Risk your own likeness, the gaze, the anonymous life, to reach a popularity that is not paid (this is not Big Brother, nor any of the other loathsome programs in which we hand over our miseries for money). And this entrusted to an artist. Let us not forget how many times artists
F. Javier Briongos Ibáñez