- Gebundene Ausgabe: 144 Seiten
- Verlag: Die Gestalten Verlag; Auflage: Har/DVD (2. Mai 2008)
- Sprache: Englisch
- ISBN-10: 3899552164
- ISBN-13: 978-3899552164
- Größe und/oder Gewicht: 28,8 x 22,3 x 2 cm
- Amazon Bestseller-Rang: Nr. 214.852 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Kurzbeschreibung
We Come At Night dokumentiert, wie aus Street Art moderne Kunst wird. Die Arbeiten der beteiligten Künstler Blu, JR, Os Gemeos u.a. funktionieren als soziale, politische und ironische Kommentare in der und über die Stadt. Für We Come At Night wurden einige der besten Street Artists der Welt eingeladen, ihre oftmals klugen Graffiti, Bilder und Objekte an ausgesuchten Orten zu platzieren. Dass Haltung, Inhalt und Ästhetik zusammengehen, zeigen beispielsweise Dr. Innocent, der seine Umwelt in unschuldigem Weiß tüncht. Nicht minder clever agiert der Franzose Zevs, der Sandstrahltechnik, die eigentlich zur Beseitigung von Graffiti eingesetzt wird, nutzt, um Graffitibotschaften auf dreckige Wände zu schreiben. Die farbigen Figuren von Os Gemeos und Nina wirken, als wäre ihnen kein Platz in der Gesellschaft zugedacht. We Come At Night zeigt authentische Street Art, die nicht nur ästhetisch motiviert ist, sondern sich als bewusste politisch-soziale Haltung positioniert. Neben einem Vorwort von Martha Cooper und den dokumentierten Beiträgen von AkIm One MachIne, Blu, Brom, Dr. Innocent, JR, KamI & Sasu, Mare 139, Mr. Horse, Nixfitti, Os Gemeos & NIna Zasd, ist dem Buch eine DVD von Volker Sattel & Mario Mentrup beigefügt, auf der sich eine Reportage des Projektes befindet.
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Interesting Insight into Street Art and Corporate Sponsorship
4. April 2009
Format:Gebundene Ausgabe
"We Come at Night" is an interesting catalogue documenting the street art intervention that took place unannounced in the German city of Wuppertal under the corporate sponsorship of an energy drink.
It offers an insight into the process, and highlights of the selected artist selected to intervene independently. In doing so it hints at the contradictions exposed by being supported by a corporate structure and resources, in a language of urban interventions that often seeks to scape such frameworks. Unfortunately, the issue is not fully explored in the volume but it gathers enough information to enable the reader to reflect in the nature of the proposal, where these recognized names were supported financially and assisted to produce more self-sustained projects, often more ambitions, but likewise constituting themselves in possible examples of a loss of independence.
Some interventions are far more interesting than others, for instance among my favorites is that o ZEVS scribbling in city walls by cleaning them with a high pressure hose, or the one by JR, who after embedding himself among the passengers of the elevated rail system, and much photographing, exposed some of those faces in large billboards challenging some notions of scrutineer, advertising and public life. But while the book is lavishly illustrated it often lacks in adequate explanations of the specific projects, relying too much in a granted complicity with the images included. Likewise the 28 minutes DVD included offers an interesting documentary that is largely incomplete, showing at best glimpses of some of the works, and taking for granted much of their contextualization.
Overall it lacks an adequate documentation of the intervention, and presents a minimal effort to engage the artist and the reader in actual dialogue processes, but offers enough material to open up the question about some of the contradictions of corporate sponsorship, street interventions, legitimacy, and the consolidation of a system of street star artist. The analysis that ties this phenomena with a broader vision of urban language and art practices will need to happen elsewhere.
It offers an insight into the process, and highlights of the selected artist selected to intervene independently. In doing so it hints at the contradictions exposed by being supported by a corporate structure and resources, in a language of urban interventions that often seeks to scape such frameworks. Unfortunately, the issue is not fully explored in the volume but it gathers enough information to enable the reader to reflect in the nature of the proposal, where these recognized names were supported financially and assisted to produce more self-sustained projects, often more ambitions, but likewise constituting themselves in possible examples of a loss of independence.
Some interventions are far more interesting than others, for instance among my favorites is that o ZEVS scribbling in city walls by cleaning them with a high pressure hose, or the one by JR, who after embedding himself among the passengers of the elevated rail system, and much photographing, exposed some of those faces in large billboards challenging some notions of scrutineer, advertising and public life. But while the book is lavishly illustrated it often lacks in adequate explanations of the specific projects, relying too much in a granted complicity with the images included. Likewise the 28 minutes DVD included offers an interesting documentary that is largely incomplete, showing at best glimpses of some of the works, and taking for granted much of their contextualization.
Overall it lacks an adequate documentation of the intervention, and presents a minimal effort to engage the artist and the reader in actual dialogue processes, but offers enough material to open up the question about some of the contradictions of corporate sponsorship, street interventions, legitimacy, and the consolidation of a system of street star artist. The analysis that ties this phenomena with a broader vision of urban language and art practices will need to happen elsewhere.
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