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See the film The Curator Lifting Running Competition(2003) by Thierry Geoffroy/Colonel part of the Biennalist
The Curator Lifting Running Competition
23 April - 13 June 2004
Nikolaj, Copenhagen Contemporary Art Center, proudly presents the world premiere of Colonel’s film the curator lifting running competition.
Danish/French artist Colonel’s video from the Venice Biennale 2003 will be shown at Nikolaj’s Cinema. It presents the staging of a competition in which artists raced each other while carrying a curator on their backs. The prize was an admission ticket to the most prestigious party of the Biennale. During a major art event as the Venice Biennale, both artists and curators are subject to hidden rules and mechanisms which must be adhered to in order to obtain a good position in the hierarchy of the art world. With his energetic and humorous video Colonel focusses on these mechanisms and unveils a lobbyistic game which is not merely about creating exhibitions but also about preserving certain privileges.
On the plane:
It begins on the plane from Denmark where the art industry clique has booked the same flight. Colonel hands out flyers, already well underway with his campaign to recruit contestants for the competition.
New film concept:
Colonel uses people who simply happen to be there to film the situations which arise. In so doing they become both witnesses to and participants in the processes of uncovering the hidden mechanisms of the cultural event.
The press:
In Venice Colonel intensifies his endeavours and now involves the journalists so that they may help him spread the word about the upcoming event.
Participants for the competition:
In Venice Colonel goes on to invite artists as well as curators to be a part of the great race.
The party:
Colonel chases invitations to the most coveted parties in order to use them as the first prize of the curator lifting running competition.
The competititon:
During the competition the artist both symbolically and literally becomes the curator’s arms and legs.
For more information on this project, please visit www.colonel.dk
www.emergencyrooms.org/formats.html
About LA BIENNALE DI VENEZIA 2003
Theme:
Dreams and Conflicts. The Dictatorship of the Viewer.
Director:
Francesco Bonami
50. Venice Biennial
15 June - 2 November 2003
If the idea of the large international survey has always been conceived as a whole concept to be fragmented into the visions of the individuals artists, "Dreams and Conflicts" wants art from the autonomy of the different projects to seek in this complexity of ideas the unity that defines the language of contemporary art today.
In the contemporary society the viewers with their presence and absence controls the success of every exhibition and cultural enterprise; in "Dreams and Conflicts" they appear as one of the subjects that contribute to define the structure of the show, the artist, the curator, the viewer.
Along with the artist, the beholder is one of the poles that connecting produce the spark that activate the art work successfully in the social and cultural context.
The dream and the conflict, the total world opposed to its political and geographical fragmentation, the national aspirations in contrast with the international achievements are all elements that will contribute to the making of the Visual Arts Biennale.
"Dreams and Conflicts" will be an exhibition focused at the same time on art as a personal tool of a personal experience and conviviality. A show through which is possible to have access to the complexity of a world made by groups of individuals defined by multiple and diverse necessities. An exhibition constructed with multiple projects to test the strength of that ideal community where the creative process of the contemporary artist is active. Dreams and Conflicts will not be a show about political art but a reflection on the politics of art. The experience of the viewer facing the unique vision of the artist. Two contemporary subjects divided simply by a different gaze.
2003 Awards:
Golden Lion for the best work to Peter Fischli and David Weiss
Golden Lion for an artist under 35 years of age to Oliver Payne and Nick Relph
Prize for Young Italian Art to Avish Kheberhzadeh
Golden Lion for the best national participation to Luxembourg
Golden Lions for Lifetime Achievement to Michelangelo Pistoletto and Carol Rama
artists & participants
Adel Abdessemed, Etti Abergel, Franz Ackermann, Özge Ackkol, Emil Aleksiev, Brooke Alfaro, Victor Alimpiev, Darren Almond, Pawel Althamer, Kai Althoff, Carlos Amorales, Karin Mamma Andersson, Mamma Andersson, Emmanuelle Antille, Isabel Aquilizan, Alfredo & Isabel Aquilizan, Arahmaiani, Irma Arestizabal, Alessandra Ariatti, Art & Language, Micol Assael, Asymptote Architecture, Atelier Bow-Wow, Atelier Fcjz, Kader Attia, Charles Avery, Zeigam Azizov, Yiso BAHC, Maja Bajevic, John Baldessari, Shigeru Ban, Matthew Barney, Matteo Basile, Carlos Basualdo, Taysir Batniji, Ute Meta Bauer, Thomas Bayrle, Marie-Claude Beaud, Avner Ben-Gal, Samta Benyahia, Chiara Bertola, Ariane Beyn, Zarina Bhimji, Nuri Bilge Ceylan, Daniel Birnbaum, Dara Birnbaum, Sylvie Blocher, Stefano Boeri, Inaki Bonillas, Ecke Bonk, World Bookstore, Frank Bowling, Kristina Braein, Sergej Bratkow, Glenn Brown, Fernando Bryce, Angela Bulloch, Bettina M. Busse, Jean-Marc Bustamante, Pash Buzari, Pedro Cabrita Reis, Aline Caillet, Canton Express, Cao Fei, Maria Fernanda Cardoso, Jota Castro, Maurizio Cattelan, Ergin Cavusoglu, Carolina Caycedo, Tony Chakar, Nikos Charalambidis, Clifford Charles, Thompson Cheyney, Pitso Chinzima, Dadang Christanto, Santiago Cirugeda, Cliostraat, Paolo Colombo, Vitamin Creative Space, Alice Creischer, Abraham Cruzvillegas, Minerva Cuevas, Alexandre da Cunha, Beatrice Cussol, Boris Cvjetanovic, Josef Dabernig, Jonas Dahlberg, Colin Darke, Gabriela Dauerer, François Daune, Catherine David, Enrico David, Kate Davis, Verne Dawson, Berlinde De Bruyckere, Anna de Manincor, Amicale de Temoins, Tacita Dean, Jeremy Deller, Thomas Demand, Gu Dexin, Paola Di Bello, Fan Dian, Thea Djordjadze, Nico Dockx, Trisha Donnelly, Heri Dono, Stanislaw Drozdz, Dubossarsky & Vinogradov, Sam Durant, Jimmie Durham, Leif Elggren, Olafur Eliasson, Elizabeth Diller + Ricardo Scofidio, Michael Elmgreen, Elmgreen & Dragset, F5, Julia Fabenyi, Juan-Pedro Fabra Guemberena, Josette Faidit, Rotimi Fani-Kayode, Hassan Fathy, Didier Faustino, Flavio Favelli, Hans-Peter Feldmann, Urs Fischer, Fischli/Weiss, Vadim Fishkin, Ceal Floyer, Marina Fokidis, Alicia Framis, Yona Friedman, Jesus Fuenmayor, Meschac Gaba, Giuseppe Gabellone, Ellen Gallagher, Gego, Isa Genzken, Ghazel, Carmit Gil, Gilbert & George, Liam Gillick, Gimhongsoh, Massimiliano Gioni, Bruno Gironcoli, Felix Gmelin, Robert Gober, Leon Golub, Fernanda Gomes, Dominique Gonzalez-Foerster, Dryden Goodwin, Douglas Gordon, Amit Goren, Tomislav Gotovac, Dan Graham, Rodney Graham, Francesca Grassi, Hannah Greely, Joseph Grigely, Massimo Grimaldi, Caracas Group, Grupo de Arte Callejero, Gruppo A12, Hakan Gürsoytrak, Graham Gussin, Daniel Guzman, Thea Gvetadze, Veliswa Gwintsa, Hans Haacke, Henrik Håkansson, Mathew Hale, David Hammons, Kevin Hanley, Hou Hanru, Rachel Harrison, Yuko Hasegawa, Jeppe Hein, Michal Helfman, Heman Chong, Liu Heng, Jose Antonio Hernandez-Diez, Sandi Hilal, Nikolaus Hirsch, Thomas Hirschhorn, Damien Hirst, Candida Höfer, Hans Hollein, Carsten Höller, Karl Holmqvist, Katie Holten, Kim Hong-Hee, Roni Horn, Wong Hoy Cheong, Hu Fang, Alfons Hug, Carlos Hugo Levinton, Marine Hugonnier, Pierre Huyghe, Gül Ilgaz, IRWIN, Arata Isozaki, Joo Jae-Hwan, Piotr Janas, Koo Jeong-A, Jiang Zhi, Liu Jianhua, Duan Jianyu, Fu Jie, Yang Jiechang, Jin Jiangbo, Sture Johannesson, John M. Johansen, Liang Juhui, Jean-Paul Jungmann, Tamara K.E., Ilya Kabakov, Emilia Kabakov, Ilya & Emilia Kabakov, Momoya Kaijima, Xenia Kalpaktsoglou, Gülsün Karamustafa, David Kareyan, Avish Khebrehzadeh, Ian Kiaer, Abbas Kiarostami, Sora Kim, Martin Kippenberger, Eva Koch, Jakob Kolding, Michal Kolecek, Julius Koller, Rem Koolhaas, Valery Koshlyakov, Sakarin Krue-On, Erkki Kurenniemi, Gabriel Kuri, Surasi Kusolwong, Athanasia Kyriakakos, Kyupi-Kyupi, Luisa Lambri, Moshekwa Langa, Michel Lasserre, Laylah Ali, Chris Ledochowski, Daniel Lee, Lee Mingwei, Yan Lei And Fu Jie, Yuri Leiderman, Robert Leonard, Kamin Lertchaiprasert, Simon Leung, Mikael Levin, Borges Libreria, Lin Yilin, Armin Linke, Little Warsaw, Hilary Lloyd, Marcos Lora Read, Liisa Lounila, Sarah Lucas, Maria Luz Cardenas, M/M (Paris), Beral Madra, Marko Mäetamm, Janus Magazine, Calin Man, Dusan Mandic, Valerie Mannaerts, Marepe, Kerry James Marshall, Rosa Martinez, Bruce Mau, Lucy McKenzie, Steve McQueen, Cildo Meireles, Jonas Mekas, Salem Mekuria, Annette Messager, Gustav Metzger, Henry Meyric Hughes, Linda Michael, Beatriz Milhazes, Helen Mirra, Viktor Misiano, Miran Mohar, Andrei Monastyrski, Agnieszka Morawinska, Marco Moretti, Jean-Luc Moulene, Pavel Mrkus, Rabih Mroue, Sabah Naim, Deimantas Narkevicius, Monica Narula, Moataz Nasr, Molly Nesbit, Rivane Neuenschwander, Jun Nguyen-Hatsushiba, Carsten Nicolai, Charly Nijensohn, Ou Ning, Shelley Niro, Nils Norman, Hans Ulrich Obrist, Tomas Ochoa, Oda Projesi, Motohiko Odani, Chris Ofili, Kaido Ole, Antonio Ole, Oliver Payne & Nick Relph, Paulina Olowska, Roman Ondak, Mareaperto Onlus, Yoko Ono, Ana Opalic, Roman Opalka, Gabriel Orozco, Fernando Ortega, Damian Ortega, Olumuyiwa Olamide Osifuye, Tsuyoshi Ozawa, Alfred Pacquement, Lygia Pape, Claude Parent, Philippe Parreno, Jennifer Pastor, Oliver Payne, Yan Peiming, Marko Peljhan, Rafael Pereira, Alexandre Perigot, Manfred Pernice, Diego Perrone, Zsolt Petranyi, Alessandro Petti, Patricia Piccinini, Monica Pignatti Morano, Michelangelo Pistoletto, Paola Pivi, Magnus Plessen, Neriman Polat, Apinan Poshyananda, Marjetica Potrc, Bettina Pousttchi, Richard Prince, Florian Pumhösl, Tawatchai Puntusawasdi, Feng Qianyu, Ma Qingyun, Jorge Queiroz, Walid Raad, Edi Rama, Carol Rama, Raqs Media Collective, Charles Ray, Tobias Rehberger, Nick Relph, Rosangela Renno, Pedro Reyes, David Robbins, Pia Roenike, Fernando Romero, Martha Rosler, Sara Rossi, Natascha Rossi, Michal Rovner, Aida Ruilova, Ruri, Karl S. Chu, Walid Sadek, Anri Sala, Andrea Salvino, Tisna Sanjaya, Tomas Saraceno, Bojan Sarcevic, Günes Savas, Andrej Savski, Markus Schinwald, Christoph Schlingensief, Dana Schutz, Uwe Schwarzer, Paul Seawright, Tino Sehgal, Shuddhabrata Sengupta, Nebojsa Seric-Soba, Randa Shaath, Shirana Shahbazi, Michael Shaowanasai, Chen Shaoxiong, Wael Shawky, Lu Shengzhong, Shimabuku, Wang Shu, Shu Lea Cheang, Efrat Shvily, Andreas Siekmann, Santiago Sierra, Vasan Sitthiket, Andreas Slominski, Patti Smith, John Smith, Terry Smith, Robert Smithson, Nedko Solakov, Doron Solomons, Yutaka Sone, Sora Kim, Monika Sosnowska, Carola Spadoni, Nancy Spero, Manit Sriwanichpoom, S&P Stanikas, Simon Starling, Utopia Station, Urs Staub, Gerda Steiner & Jörg Lenzlinger, Jana Sterbak, Michael Stevenson, Mladen Stilinovic, Rudolf Stingel, Gio Sumbadze, SUPERFLEX, Viktor Sydorenko, Future Systems, Mika Taanila, Tadaso Takamine, Armando Tanzini, Javier Tellez, Nahum Tevet, The Atlas Group, The Blue Noses, David Thorp, Einer Thorsteinn, Rirkrit Tiravanija, Lincoln Tobier, Vicente Todoli, Milica Tomic, Chen Tong, Jaan Toomik, Nazif Topcuoglu, Rosemarie Trockel, Tatiana Trouve, Su-Mei Tse, Tsang Tsou-Choi, Nobuko Tsuchiya, Patrick Tuttofuoco, Uglycute, Piotr Uklanski, Roman Uranjek, Campement Urbain, Uteque, Jeanne van Heeswijk, Joep van Lieshout, Erik van Lieshout, Zaneta Vangeli, Marc Vog, Borut Vogelnik, Carl Michael von Hausswolff, Amelie von Wulffen, Richard Wentworth, Made Wianta, Fred Wilson, Rein Wolfs, Paul Wong, Richard Woods, Xu Tan, Paola Yacoub, Paola Yacoub & Michel Lasserre, Yan Lei, Yang Fudong, Yangjiang Group, Secil Yersel, Sha Yeya, Lu Yi, Yang Yong, Huang Yong Ping, Young-Hae Chang HEAVY INDUSTRIES, Yung Ho Chang, Tamas Zanko, Zeigam Azizov / Stuart Hall, Zhan Wang, Zhang Peili, Zheng Guogu, Zhu Jia, Marian Zhunin, Dolores Zinny & Juan Maidagan, Konstantin Zvezdochetov
curators
Miquel Barcelo , Louise Bourgeois , Alan Bowman , Enzo Cucchi , Wim Delvoye , Cerith Wyn Evans , Charlotte Ginsborg , Julian Heynen , Bethan Huws , Marja Kanervo , Kasper König , Oleg Kulik , Lois Renner , Jan Saudek , Shozo Shimamoto , Vittorio Urbani
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0th International Art Exhibition
18 special exhibitions:
venues: Arsenale, Giardini di Castello, Museo Correr
"Dreams and Conflicts. The dictatorship of the Viewer"
curators: Francesco Bonami, Carlos Basualdo, Daniel Birnbaum, Catherine David, Massimiliano Gioni, Hou Hanru, Molly Nesbit, Hans Ulrich Obrist, Gabriel Orozco, Gilane Tawadros, Rirkrit Tiravanija, Igor Zabel
"Bruchlinien: Zeitgenössische afrikanische Kunst und sich verschiebende Landschaften"
Laylah Ali, Kader Attia, Samta Benyahia, Zarina Bhimji, Frank Bowling, Clifford Charles, Pitso Chinzima, Rotimi Fani-Kayode, Hassan Fathy, Veliswa Gwintsa, Moshekwa Langa, Salem Mekuria, Moataz Nasr, Sabah Naim, Gilane Tawadros
"Z.O.U. - Zone of Urgency"
Yung Ho Chang amp; Atelier FCJZ, Adel Abdessemed, Alfredo Juan Aquilizan, Maria Isabel Aquilizan, Atelier Bow-Wow, Momoya Kaijima, Campement Urbain, Canton Express6nbsp;, Jota Castro, Young-Hae Chang, Heavy Industries, Shu Lea Cheang, Heri Dono, Gu Dexin, Huang Yong Ping, Joo Jae-Hwan, Sora Kim amp; Gimhongsoh, Surasi Kusolwong, Kyupi-Kyupi, Jun Nguyen-Hatsushiba, Tsuyoshi Ozawa, Tadaso Takamine, Tsang Tsou-choi, Wong Hoy Cheong, Yan Lei amp; Fu Jie, Yan Pei-Ming, Yang Zhengzhou, Zhang Peili, Zhu Jia / Hou Hanru
"Die Überlebensstruktur"
Grupo de Arte Callejero , Andreas Siekmann, Alice Creischer, Marepe, Yona Friedman, Muyiwa Osifuye, Rachel Harrison, Antonio Ole, Juan Maidagan, Dolores Zinny, Carolina Caycedo, Fernanda Gomes, Mikael Levin, Marjetica Potrc / Carlos Basualdo
"Contemporary Arab Representations"
The Atlas Group, Walid Ra´ad, Taysir Batniji, Tony Chakar, Bilal Khbeiz, Randa Shaath,Paula Yacoub , Michel Lasserre / Catherine David
"Das veränderte Alltägliche"
Abraham Cruzvillegas, Jimmie Durham, Daniel Guzman, Damian Ortega, Fernando Ortega, Jean Luc Moulene / Gabriel Orozco
"Utopia Station"
Molly Nesbit, Hans Ulrich Obrist, Rirkrit Tiravanija, Ariane Beyn, Elena Filopovic, Liz Linden, Francesca Grassi, Uwe Schwarzer
"Clandestines"
Francesco Bonami
"Individuelle Systeme"
Igor Zabel
"Verzögerungen und Revolutionen"
Francesco Bonami, Daniel Birnbaum
"Die Zone"
Massimiliano Gioni
country pavilions
Giardini di Castello: 55 National Pavilons
(artists / curators)
Australien: Patricia Piccinini, Kommissar: Victoria Lynn / Linda Michael
Belgien: Silvie Eyberg, Valerie Mannaerts, Thierry de Duve
Bosnien Herzegovina: Maja Bajevic, Edin Numankadic, Jusuf Hadzifeizovic, Nebojsa Seric-Soba, Edo Hozic, Enver Hadziomerspahic
Brasilien : Beatriz Milhazes, Rosangela Renno, Manoel Francisco Pires da Costa, Alfons Hug-China: Liu Jianhua, Lu Shengzhong, Wang Shu, Yang Fudong, Zhan Wang / Yan Dong , Fan Dian, Wang Yong
Kroatien: Boris Cvjetanovic, Ana Opalic, Leonida Kovac
Tschechische Republik und Slowakische Republik
Kamera skura and Kunst-Fu / Michal Kolecek
Dänemark:Olafur Eliasson, Gitte Orskou
Ägypten: Ahmed Nawar, Mostafa Abdel-Moity
Estland: John Smith, Marko Mäetamm, Kaido Ole, Andreas Härm
Frankreich: Jean-Marc Bustamante / Jean-Pierre Criqui, Alfred Pacquement
Mazedomien: Vana Urosevitch, Zaneta Vangeli / Emil Aleksiev
Georgien Thea Gvetadze amp; Tamara K.E., Levan Chogoshvili, George Gugushvili, Gio Sumbadze / Nana Kipiani, Renata Wiehager, Irena Popiashvili
Deutschland: Candida Höfer, Martin Kippenberger / Julian Heynen
Großbritannien: Chris Ofili / Andrea Rose mit Brendan Giggs, Colin Ledwith
Griechenland : Athanasia Kyriakakos, Dimitris Rotsios Intron / Marina Fokidis, Xenia Kalpaktsoglou, Evie Rotsios
Island: Ruri / Laufey Helgadóttir
Indonesien: Arahmaiani, Dadang Christanto, Tisna Sanjaya, Made Wianta / Sumarti Sarwono, Grace Anna Marie, Amit Sidharta
Iran: Behrooz Daresh, Abbas Kiarostami, Hossein Khosrojerdi, Ahmad Nadalian / Majid Karshenas, Reza Nami
Irland: Katie Holten / Valerie Connor -Israel: Michal Rovner / Mordecahi Omer
Italien: Charles Avery, Avish Khebrehzadeh, Sara Rossi, Carola Spadoni / Pio Baldi, Rudolf Stingel, Paolo Colombo, Monica Pignatti Morano
Japan: Motohiko Odani, Yutaka Sone / Yuko Hasegawa, Miki Okabe, Yoshimi Tsurumi
Kanada: Jana Sterbak / Gilles Godmer
Kenia: Richard Onyango, Armando Tanzini/ Ugo Simonetti
Lettland: Group F5 / LCC / Mara Traumane
Litauen: Samp;P Stanikas / Christian Caujolle, Svajone Stanikiene
Luxemburg: Su-Mei Tse / Marie-Claude Beaud
Niederlande: Carlos Amorales, Alicia Framis, Meschac Gaba, Jeanne van Heeswijk, Erik van Lieshout / Rein Wolfs
Neuseeland: Michael Stevenson / Jenny Gibbs, Boris Kremer, Robert Leonard
Nordische Länder Finnland, Norwegen, Schweden: Karin Mamma Andersson, Kristina Braein, Liisa Lounila / Ute Meta Bauer, Anne Karin Jortveit, Andreas Kroksnes
Österreich: Bruno Gironcoli / Kasper König, Bettina M. Busse
Polen: Stanislaw Drozdz / Agnieszka Morawinska, Pawel Sosnowski
Portugal: Pedro Cabrita Reis / João Fernandes, Vicente Todoli
Republik Armenien: David Kareyan, Eva Khachatrian / Edward Dalassanian
Republik Korea: Whang In Kie, Yiso BAHC, Chung Seoyoung / Kim Hong-Hee -
Republik Slowenien: Ziga Kari/ Jurij Krpan
Rumänien : Calin Man / kinema ikon, Calin Man, Raluca Velisar
Russland: Sergej Bratkow, Dubossarsky & Vinogradov, Valery Koshlyakov, Konstantin Zvezdochetov, Evgeniy Zyablov, Viktor Misiano
Serbien-Montenegro: Milica Tomic, International Exhibition of Modern Art featuring, Museum of Modern Art, New York, National Pavilion / Branislava Andjelkovic -Scotland: Kate Davis -Singapur: Heman Chong, Francis Ng, Swie-Hian Tan / Ching-Lee Goh, Sze-Wee Low
Spanien: Santiago Sierra / Rosa Martinez
Schweiz: Emmanuelle Antille, Gerda Steiner amp; Jörg Lenzlinger / Urs Staub
Thailand: Kamol Phaosavasdi, Tawatchai Puntusawasdi, Michael Shaowanasai, Vasan Sitthiket, Manit Sriwanichpoom, Montri Toemsombat, Sakarin Krue-On / Apinan Poshyananda
Türkei: Nuri Bilge Ceylan, Ergin Cavusoglu, Gül Ilgaz, Neriman Polat, Nazif Topcuoglu / Beral Madra
Ukraine: Viktor Sydorenko / Alexander Fedoruk, Viktor Sydorenko, Alexander Solovyov
Ungarn: Little Warsaw / Julia Fabenyi, Zsolt Petranyi
USA: Fred Wilson / Kathleen Goncharov
Uruguay: Pablo Atchugarry / Carlos Alejandro Barros, Luciano Caramel
Venezuela: Pedro Morales / Maria Luz Cardenas / Dolores Diaz-Benjumea
Italo-Latin-American Institute Irma Arestizabal
Argentinien: Charly Nijensohn
Chile: Eugenia Vargas
Kolumbien: Maria Fernanda Cardoso
Costa Rica: Marisel Jiménez Rittner, Rossella Matamoros, Joaquin Rodríguez del Paso Equador: Tomas Ochoa;
El Salvador: Muriel H. Hasbun; Panama: Brooke Alfaro, Haydee Victoria Suescum; Peru: Fernando Bryce, Gilda Mantella;
Dominikanische Republik: Marcos Lora Read
Zypern: Nikos Charalambidis, Loulli Michelidou, Henry Meyric Hughes
collateral events
"Absolut generations"
Kurator: Herve Landry (Hans Hollein, Lois Renner, Wim Delvoye, Beatrice Cussol, Olivier Gagnere, Rosemarie Troeckel, Thea Djordjadze, Richard Wentworth, Ruth Jarman, Joseph Gerhardt, Louise Bourgeois, Apassio Haronitaki, Enzo Cucchi, Andrea Salvino, Jan Saudek, Miquel Barcelo, Oleg Kulik, The Blue Noses Group, Dan Wolgers)
"Brain Academy Apartment"
Kuratoren: Guglielmo Di Mauro, Emilio Morandi(Shozo Shimamoto, Alan Bowman, Ph2, Klaus Groh, Grupo Sinestetico, Luigi Viola, Elisa Rossi …)
"The Dawn of Dimi"
(Mika Taanila, Pan sonic, Erkki Kurenniemi, Carl Michael von Hausswolff)
"Further: Artists from Wales"
Kurator: Patricia Fleming(Cerith Wyn Evans, Bethan Huws, Simon Pope, Paul Seawright)
"Hungry Ghost Fantasmi Affamati" Kurator: Elspeth Sage (Paul Wong)
"Ilya amp; Emilia Kabakov. Where is your Place?" Kurator: Chiara Bertola
"Inhabit" Kuratoren: Vittorio Urbani, Camilla Seibezzi (Marja Kanervo, Terry Smith)
"Italian Factory La Nuova Scena Artistica Italiana" Kurator: Alessandro Riva (Matteo Basile, Alessandro Bazan, Matteo Bergamasco, Paolo Cassara, Alberto Castelli, Chiara …)
"Limbo Zone" Kurator: Shu-min Lin (Shu Lea Cheang, Daniel Lee, Lee Mingwei, Yuan Goang-ming)
"Fabrio Mauri" Kuratoren: Vittorio Urbani, Gaetano Salerno, Camilla Seibezzi
"Navigating the Dot: Artists from Hong Kong" Kurator: ParaSite Art Space(ParaSite Art Space Collective)
"Pellerossasogna. The Shirt" (Shelley Niro)
"Radar. Contemporary Arts for European Cities" Kurator: Martha Crombie
(Claudia Losi, Scotto di Luzio, Active Men, Natascha Rossi, Steffi Jungling, George Linkov, Svetlana Mircheva, Daniel Banaczeck, Marta Firlet, Marcin Strzelecki, Wojciech Kolek, Anna Tsouloufi, Dionyssis Kavalieratos, Nicos Kanarellis, Angus Wyatt, Charlotte Ginsborg, Monica Biagiloi, Seetha Alagapan)
"The Snow Show" Kuratoren: Hilkka Liikkanen, Unto Käyhkö
"Il Sogno che Risorge dalla Vita" Kurator: Marie-Aimee Tirole (Babara Sillari, Gabriela Dauerer)
"Stopover" Kurator: David Thorp (Graham Gussin, Hilary Lloyd, Richard Woods)
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Interesting publication for researches on running and art
14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.
Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.
Bergson, Henri. Creative Evolution. London: Macmillan and Co., 1911.
Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:
Continuum, 2002.
Bergson, Henri. Matter and Memory. New York: Zone Books, 1988.
Blaikie, William. “Common Sense Physical Training.” In Athletics and Health: Modern Achievement: Advice and Instruction upon the Conduct of Life, Principles of Business, Care of Health, Duties of Citizenship, etc. Edited by Edward Everett Hale. New York: P.F. Collier & Son, 1902.
Blaikie, William. How to Get Strong and How to Stay So. New York: Harper & Brothers Publishers, 1883.
Cunningham, Merce. Changes: Notes on Choreography. New York: Something Else Press, 1969.
de Balzac, Honoré. The Human Comedy. EBook: Project Gutenberg, 2010. de Balzac, Honoré. Théorie de la démarche. 1833, 1853.
de Biran, Maine. “Opposition du principe de Descartes avec celui d’une science de l’homme. Première base d’une division des faits psychologiques et physiologiques. Perception et sensation animale.” In Maine de Biran. Librairie Philosophique J. VRIN, 1990.
de Tocqueville, Alexis. The Old Regime and the Revolution. New York: Harper & Brothers, Publishers, 1856.
Delaumosne, M. L’Abbe. “The Delsarte System.” Translated by Frances A. Shaw. In Delsarte System of Oratory, 4th Ed. New York: Edgar S. Werner, 1893.
Descartes, René. Méditations metaphysiques. 1641.
Gropius, Walter, and Arthur S. Wensinger, eds. The Theater of the Bauhaus: Oskar Schlemmer, Laszlo Moholy-Nagy, Farkas Molnár. Translated by Arthur S. Wensinger. Middleton, Conn.: Wesleyan University, 1961.
Hahn, Archibald. How to Sprint: The Theory of Spring Racing. New York: American Sports Publishing Company, 1923.
Hegel, Georg Wilhelm Friedrich. Phenomenology of Spirit. Translated by A.V. Miller. Oxford: Oxford University Press, 1977.
Helmholtz, Hermann. “On the Facts Underlying Geometry.” In Epistemological Writings: Hermann von Helmholtz. Edited by R.S. Cohen and Y. Elkana. Boston: D. Reidel Publishing Company, 1977.
Helmholtz, Hermann. Théorie physiologique de la musique fondée sur l’étude des sensations auditives. Paris: Masson, 1868.
Helmholtz, Hermann. Treatise of Physiological Optics (Handbuch der physiologischen Optik) 1856. 3 Volumes. Translated by James P.C. Southall. Milwaukee, 1924.
Holmes, Oliver Wendall. Soundings from the Atlantic. Boston: Tickknor and Fields, 1864. James, William. The Principles of Psychology. New York: Henry Holt & Co, 1890, 1918.
James, William. Writings 1902 - 1910. Edited by Bruce Kuklick. New York: Literary Classics of the United States, 1987.
Kandinsky, Vasily. Über Das Geistige in der Kunst. Dritte Auflage. München: R. Piper&Co, 1912.
Kant, Immanuel. “Was ist Aufklärung?” 1784.
Laban, Rudolf. A Life for Dance: Reminiscences. Translated by Lisa Ullmann. London: Macdonald & Evans, 1975.
Laban, Rudolf. Choreographie. Jena: E. Diederichs, 1926.
Laban, Rudolf. Choreutics. Edited by Lisa Ullmann. London: Macdonald & Evans, 1939, 1966.
Laban, Rudolf. Effort: Economy in Body Movement. 2nd Edition. Boston: Plays, 1947, 1974.
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The University of Illinois Springfield hosted its annual Welcome Week Involvement Expo in an effort to get students active on August 29, 2012. The expo featured over 100 student organizations, clubs, community groups, and businesses.
The University of Illinois Springfield hosted its annual Welcome Week Involvement Expo in an effort to get students active on August 29, 2012. The expo featured over 100 student organizations, clubs, community groups, and businesses.
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The Spring 2023 PantherPalooza/Student Involvement Fair was held on January 24, 2023, in the MLK Jr. University Union. (Brejona Hutchinson)
The Student Involvement Fair, inside and outside of Social Hall, showcased the many opportunities for extra curricular enrichment both inside and outside of the NMH community.
The Student Involvement Fair, inside and outside of Social Hall, showcased the many opportunities for extra curricular enrichment both inside and outside of the NMH community.
The Student Involvement Fair, inside and outside of Social Hall, showcased the many opportunities for extra curricular enrichment both inside and outside of the NMH community.
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
The gardens were created by Dorothy Elmhirst with the involvement of major landscape designers Beatrix Farrand and Percy Cane and feature a tiltyard (thought actually to be the remains of an Elizabethan water garden) and major sculptures, including examples by Henry Moore, Willi Soukop and Peter Randall-Page.
Willi (Wilhelm Josef) Soukop was born in Vienna, Austria, in 1907. His father committed suicide in 1919. To help his mother, who had two other children to care for, he began carving umbrella handles and ivory boxes for a local trader. This income, together with his earnings as an apprentice engraver, enabled him to study at the Academy of Fine Art, Vienna, 1928-34. In 1934, he was invited to work at Dartington Hall, which allowed him to escape the escalation of political and economic problems in Vienna. At Dartington he was given the use of a studio, a teaching post, and access to an international network of arts contacts.
Stony Brook, NY; Stony Brook University: Student Activities hosted an involvement fair for all student clubs and organizations to promote their group on the Student Activities Center Plaza.
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Community-Based Fire Prevention and Peatland Restoration Phase 2. Penyengat Village, Siak.
Photo by Perdana Putra/CIFOR-ICRAF
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France is intervening directly in the current crisis in Ivory Coast in an effort to install a opposition leader.
Over 100 organizations and departments set up in the Academic Quad to talk about what their organization is about and how students can participate at Occidental College's Involvement Fair, September 12, 2013. (Photo by Marc Campos, Occidental College Photographer)
The Student Involvement Fair, inside and outside of Social Hall, showcased the many opportunities for extra curricular enrichment both inside and outside of the NMH community.
Navutu Dreams Resort, Spa & Wellness Retreat features “Forest Bathing” as one of resort’s destination-themed wellness activities designed to promote a relaxing and rejuvenating holiday. Aside from Yoga practice at the temple, sunrise meditation and other wellness activities offered by the resort, this new addition to resort’s wellness activities involves walking into the woods and taking in the forest atmosphere which helps you to connect mind, body, and Mother Nature.
navutudreams.com/2015/10/28/forest-bathing-a-new-trend-in...
The Spring 2023 PantherPalooza/Student Involvement Fair was held on January 24, 2023, in the MLK Jr. University Union. (Brejona Hutchinson)
The Student Involvement Fair, inside and outside of Social Hall, showcased the many opportunities for extra curricular enrichment both inside and outside of the NMH community.
The Student Involvement Fair, inside and outside of Social Hall, showcased the many opportunities for extra curricular enrichment both inside and outside of the NMH community.
Stony Brook, NY; Stony Brook University: Student Activities hosted an involvement fair for all student clubs and organizations to promote their group on the Student Activities Center Plaza.
The University of Illinois Springfield hosted its annual Welcome Week Involvement Expo in an effort to get students active on August 29, 2012. The expo featured over 100 student organizations, clubs, community groups, and businesses.