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Arhitektura,Urbano
/
3 maja, 2017

Umetnost ali vandalizem

Kultura grafitov se je začela po smrti znamenitega Charlija Parkerja leta 1955. Kmalu po njegovi smrti so se po Filadelfiji razširili napisi »Bird lives« v spomin na velikega saksofonista. Njegov vzdevek je bil namreč Yardbird oziroma Bird. Iz Filadelfije so se kmalu razširili v New York. Najprej po zidovih, kmalu na vagone pozemne železnice. Do konca 70-ih je grafitarska subkultura štela preko 500 članov. V začetku 80-ih so mestne oblasti pričele z akcijo čiščenja grafitov iz vagonov. Po petih letih so iz prometa odstranili zadnji vagon z grafitom. Med tem se je kultura razširila po svetu. Pred kratkim so Slovenske železnice objavile novico, da bodo problem grafitiranja vagonov reševale s posebnim premazom, ki omogoča enostavno in hitro čiščenje.

V zadnjem desetletju je Banksy, morda najvplivnejši grafitar, odprl pot grafitom tudi v galerije in trge umetnin. Kosi ometa z njegovim delom dosegajo visoke cene. Poleg globokih političnih in družbenih sporočil nosi vsak njegov grafit tudi sporočilo, da so grafiti umetnost. Po neposrednosti izraza, drznosti izvedbe in razširjenosti, celo bolj živa kot institucionalna umetnost.

Slovenski grafitar Lo Milo, nam je pred dnevi poslal nekaj fotografij svojih del. Z njim smo pripravili kratek pogovor.

Ljubljana

 

Praga

 

Nekateri umetniški kritiki grafitov in street arta še vedno ne priznavajo za umetnost, temveč ga smatrajo kot vandalizem. Kje je meja med vandalizmom in umetnostjo?

Meje postavljamo sami. Vsi imamo različno stopnjo tolerance, sprejemanja in razbiranja in seveda, drugačen okus. Za vandalizem bi označil poseg v javno in zlasti privatno lastnino z žaljivo vsebino, promocijo osebnih prepričanj (navijaške skupine, nazi grafiti, rojstnodnevne čestitke na stanovanjskih blokih itn.) in poškodbe prostora brez razloga (na sporočilni, vizualni ali konceptualni ravni). Teganje, 'ne-estetske grafite' ali interno komunikacijo med udeleženci 'street scene' ne doživljam kot vandalizem.  Nekateri ljudje okolje doživljajo kot slikarsko platno in jih žene nuja po izražanju.

Kako poteka vaš proces ustvarjanja, kako načrtujete posamezno delo in njegovo izvedbo?

Moje delo večinoma temelji na site-specific pristopu. Torej, delam brez vnaprej pripravljenih skic. Intervencije so prilagojene vizualnem jeziku, ki izhaja iz minimalizma, preproste uporabe likovnih prvin, post-digitalnega vpliva in prostorske logike (igre). Včasih interveniram hipno, včasih si zapomnim lokacijo in idejo realiziram kasneje. Izvedba je v glavnem odvisna od razpoložljivih sredstev in lokacije.

Praga

 

Ljubljana
Ljubljana

 

So vaša umetniška dela ilegalna?

Ja, večina mojih del je ilegalna, čeprav jih dobro število živi v ruševinah in zapuščenih prostorih. Takšna mesta so dostopna le na lastno odgovornost. Poleg estetske specifike in posebnega vzdušja sta prednosti zapuščenih prostorov možnost eksperimentiranja in večja svoboda, kar omogoča bolj premišljen pristop.

Kakšen odnos vzpostavljate z arhitekturo, kot podlago vaših del? Kaj vas pritegne?

Arhitektura, kot dominanten faktor urbanega okolja igra pomembno vlogo v mojem delu. Pogosto se navezujem na sestavne dele določene površine (okna, vrata, detajli) in jih postavljam v igrivo razmerje med 2d risbo in 3d prostorom. V takšnem primeru arhitektura narekuje moje delo, prilagajam se ji in sledim obstoječim formam. Po eni strani me pritegne logika pravilnosti v klasični arhitekturi - geometrija, ponavljanje v določenem intervalu, skratka - dinamike, ki ponujajo možnost interveniranja in prilagajanja. Po drugi strani reagiram na pojave in detajle, ki niso primarno del določene arhitekture. Gre za odtis časa, sledi uporabe ali naknadne posege (popravke, dograjevanje), ki jih včasih uporabljam kot izhodiščno točko risb.

 

Praga

 

 

Ljubljana

 

 

 

 

Ljubljana
Ljubljana

 

Prijedor (BIH)

 

Sarajevo

 

 

Pripravil: Matevž Granda

 

 

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