Foto: © André Lützen

THE BOOK

Crowdfunding 28. August till 6. October 2019
Release date Spring 2020
Hardcover, 32 x 25 x 3 cm

The Hamburg graffiti scene is still very much rooted in the 1980s and 1990s. Its protagonists are regarded as pioneers not only within the community –  they have had a decisive influence on the visual appearance of Hamburg.

The publication includes an exclusive collection of photos and statements from graffiti writers active at the time, as well as academic essays by renowned authors, presenting graffiti as a well-connected, subcultural phenomenon and offers information about the practice of appropriating the public space.

Master Pit, sitzend, und Rest aus Steilshoop posieren in einer S-Bahn. Ein 1988 entstandenes Foto aus der Serie Writer. Foto: © André Lützen

The four editors have been a part of the graffiti scene for more than 30 years and can offer an authentic view of the beginnings of this sub-culture, which has developed into a global art form.

Over three years of research resulted in a collection of mostly unpublished photos, sketches, materials and statements from the graffiti writers active at the time and from related fields.

On 28 August 2019, the crowdfunding for this unique publication will be launched on startnext.com.

Platsch von der TFZ Crew. Gesprüht um 1985 auf dem Roof-Top zwischen der S-Bahnlinie Holstenstraße nach Sternschanze. Foto: © Sali Landricina

PROGRAMM

The book release will be accompanied by several smaller exhibitions focussing on specific topics illustrating the development of the scene, such as the exhibition at Stadtteilarchiv Ottensen from March 2020 onwards.

In 2021, a large exhibition is scheduled, presenting the entire spectrum with original works, publications and works on canvas.

News

Reeperbahn Festival, from Wed., 18. to Sat., 21. September 2019 at Arts Playground (Heiligengeistfeld, Hamburg), 1 - 9 pm. Infos here.

Viel Spaß haben, ein wichtiger Antrieb der jungen Graffiti und Hip-Hop Szene. Um 1988. Foto: © Tom

Carsten Heinze


GRAFFITI ALS JUGENDKULTUR

Formen und Elemente jugendlicher Vergemeinschaftung

Der Artikel setzt sich mit Graffiti unter jugendkulturellen Gesichtspunkten auseinander und zeigt auf, dass das Sprühen in seinen historischen Anfängen als jugendkulturelle Praktik verstanden werden kann, die in einem engen Zusammenhang mit der frühen Hip-Hop-Kultur steht. Es wird unter anderem nach den Formen und Elementen gefragt, die die Anfänge der frühen Sprüher-Szene(n) auszeichnete. Das Hauptaugenmerk des einen allgemeinen Überblick gebenden Artikels liegt auf den Aspekten der Vergemeinschaftungspraktiken sowie auf den Strukturen, Ritualen und Symbolen der Szene. Die Beispiele der Darstellung orientieren sich an der Hamburger Szene des infrage stehenden Zeitraums.

CanTwo, 1988 beim Breaken am Jungfernstieg Corner. Einer der wichtigsten Treffpunkte für Jugendliche, Ende der 1980er Jahre, die sich für die noch junge Hip-Hop- und Skateboard-Szene begeisterten oder einfach nur auf der Suche nach "Abenteuern" waren. Foto: © Fedor Wildhardt

 Foto: © Frank Petering

Graffiti Bilder, 1989, auf einer Gebäudeseite von Kampnagel in Hamburg Winterhude. Das Graffiti im Vordergrund wurde damals von Jace und Joyce als Cover-Motiv, einer im Raum Hamburg vertriebenen Beilage, Sonderteil für die Freie und Hansestadt, des stern Magazins gesprüht. Foto: © Werner "Mr.W" Skolimowski

Hafenstraße

Die Giebelwände der besetzten Hafenstraßen-Häuser waren beliebte Flächen sich politisch und kreativ auszudrücken. Aber auch die Bauwagen wurden immer wieder von Writern der Graffiti-Szene als Untergrund genutzt. Foto: © Werner "Mr.W" Skolimowski

Sylvia Necker


UNGEAHNTE, UNGEPLANTE ZWISCHENRÄUME

Urban development of Hamburg in the 1980s

Necker's essay traces Hamburg's change from a utopian to a neo-liberal city. A process of  the unpredictable, unplanned, of open- and emptiness, of the unclaimed and of free space, all of which formed the possibilities for Hamburg's graffiti scene. The essay focusses on these, often temporary, spaces and classifies and maps them from an architectural-historical point of view.

Eat the Rich, 1988. Foto: © Antje F. Herbst

Prime, Sir, Sene und Show von der RTA Crew, ein 1988 besprühter S-Bahn Zug, abgestellt im Depot am Altonaer Bahnhof. Ein für die damalige Zeit legendärer Doppel-End-to-End, der auch in dem ersten deutschlandweiten Bericht über die Hip-Hop-Szene des stern Magazins 1989 abgebildet wurde. Foto: © Christine Plößer & Bettina Frickel

KP Flügel


VOM ZEICHNEN UND GEZEICHNET WERDEN

Tracing the past

Flügel's essay sets out to explore how the un-irgnorable graffiti came to Hamburg. In conversations with Christine Plößer (Graffiti – Kunst aus der Dose; Stern magazine), André Lützen (who accompanied train surfers on their dangerous tours), Torkild Hinrichsen (exhibition ' Narrenhände... ?: Graffiti';  Altonaer Museum 1991), and with Barbara Uduwerella (social worker with close ties to the graffiti scene), the following questions are explored: Was the motivation of graffiti artists in Hamburg similar to the motivation of those in New York? Was it a sign of 'rebellion' as outlined in the New York scene as described by  J. Baudrillard? Was it an expression of a political, youth-cultural revolt? Or was it about a quest for adrenalin, risk and acceptance, maybe even fame? Where did the fascination, motivation and the initial impulse come from? And how did politics, the judiciary, art, culture and media react?

King Zack, 1987. Foto: © Sali Landricina

Dennis Kraus


WIR NANNTEN ES 'BOMBEN'

In conversation with the protagonists

Looking back at their beginnings in the young, fresh and exciting scene, what do the protagonists think today? In in-depth conversations, selected protagonists of Hamburg's hip-hop scene share their memories, revisiting moments of their own past. Piece by piece, their stories complete a puzzle that offers more than just a vague idea of how it really was.

Ein 1988 von Poze One gesprühter Character. Ort ist die legendäre Diebsteichwand. Ein S-Bahnbrücken-Viadukt von Diebsteich nach Altona. Foto: © Sali Landricina

Jace, 1988 mit Breakdance-Move am posieren auf Kampnagel in Winterhude. Foto: © Jennifer Kauka

Christian Luda


EIN TEIL DER KULTUR

Graffiti and its hip-hop siblings

Graffiti is regarded as one of the four elements of hip-hop culture, the others being breaking, DJing and MCing. But what was it really like in the beginning of the 1980s, when hip-hop arrived in Hamburg? Did the graffiti writers and Hamburg identify as part of a culture that included music and dance? How did they first come in contact with graffiti?

These ans other questions are explored, also by means of resurrecting the protagonist memories. Another field of inquiry is how graffiti and the other elements have influenced each other, and how they drifted apart.

Suckers, 1988. Foto: © Andreas Timm

Ein um 1994 entstandenes Foto von Walter Josef Fischer alias OZ beim Zeichnen an einer Wand, in einem der besetzten Häuser der Hafenstraße.. Foto: © MRpro

Kathleen Göttsche & Lars Klingenberg


SPRÜHEN = LEBEN

This essay focusses on the change that happened within the sub-culture, accepting artist Walter Josef Fischer as a key figure of the Hamburg scene. The OZ phenomenon, which shaped the city scape from the 1990s onwards, condemned by the media and now a part of urban history,  offers a plethora of starting points for critical exploration. Further, the essay looks at both the supposedly first German graffiti artist, Hans-Peter Eiffe from Hamburg and the so-called 'sprayer of Zurich', Harald Naegeli, to facilitate an illustration of the still controversial debate about art, freedom and politics.

Rik Reinking


DER AUSBLICK

And then ...

Reinkings essay explores the transience of graffiti and the conservation of images and styles. It provides an outlook of graffiti after 1999, characterised by digitalisation and the internet and it covers the development of urban art as an independent art form and as a part of the art market.


AUTHORS

The publication shows mostly unpublished photos and  statements from the graffiti writers of the time. Complemented with essays by renowned authors, this is a unique, authentic publication that presents graffiti as a well-connected, subcultural phenomenon, which has since become a global art form.

EDITORS

The four editors have been a part of the graffiti scene for more than 30 years and can offer an authentic view of the beginnings of this sub-culture, which has developed into a global art form.
Over three years of research resulted in a collection of mostly unpublished photos and other materials.

FINANCING

On 28 August 2019, the crowdfunding for this unique publication will be launched on startnext.com.
We are also looking for additional private supporters and sponsors, who want to play an important part in the production of this extraordinary publication by means of a financial contribution.

SUPPORTERS

Thanks to our supporters.