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WHAT'S UP WITH THAT?

BRISBANE TRAINSFLOODED WITH GRAFFITI

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45SUMMER 2012

THE SKETCH: WOL CREW

SÃOPAULO

WHAT WASUP IN 1986?

IN FOCUS:

JURNEMINTUNL

LEON

CITY OF PIXAÇÃO

STOCKHOLM OLD SCHOOL

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FOCUS | JURNE

20 # 45 | SUMMER 2012

JURNE

YME, TGE

1999

JURNE grew up in the US East Coast city of Portland, Maine. But his interest in gra!ti was greater than for mus-sel and lobster %shing, and in 1999 he started painting the city’s walls, and the freight trains heading for Canada. In high school, he studied di$erent styles along the motorways to Boston and New York. Since then, he has gone through in-numerable di$erent styles before %nding his way back thanks to history in the mid-2000s.

“In 2006, thumbing through Spraycan Art for the hundredth time, I was struck

UNAPOLOGETICALLY GRAFFITI AND HIGHLY NUANCEDIn the past few years, Jurne has emerged as one of the most inte-resting writers in the West Coast of the US. A master of style, una-fraid of trying out new paths using classical graffiti as a starting-point. He tells UP what good graffiti really is.

by a black, green and white Shoe piece. My interest was piqued in how simple yet technical this style was. I did a lot of research as to where this style developed from, and have drawn from the in"uen-ces of Dondi and Bear167 on TCA and CTK, adding to this avenue of writing style. Other writers who have been critical to my own development are Past, Learn, Lack, Bern, Sept, Hence C&F, Jedi 5, Curve and Rime.”

Jurne’s gra!ti is classic, but simultan-eously playful and in constant "ux.

“For me personally, gra!ti is both a

craft and a science. It is important to both do your homework, and to have fun and experiment. Having a good foundation al-lows you to stretch, mesh and blend ideas of style together. I try to keep it moving, and make it interesting with unorthodox color or composition choices. I think graf-

TEXT: Björn Almqvist

PHOTO: Jurne

FOCUS | JURNE

Jurne, 2011

21# 45 | SUMMER 2012

Pixação is present across the entire gigan-tic city. #is may be due to the large number of pixadors combined with the fact that the city’s walls are not bu$ed much. Since 2007, pixação has also had less competition for the walls. In an attempt to decrease ‘visual noise’, all visual advertising within the city limits has

been forbidden by São Paulo’s mayor Gil-berto Kassab. Advertising was cleansed from billboards, house façades and hoardings, and the size of shop signs was regulated.

“But the question is whether or not ad-vertising prohibition will be repealed in the next few years,” says Binho, who has been doing gra!ti in São Paulo since 1984.

“During 2014, Brazil will host the Foot-ball World Cup, and that’s amazing amounts of advertising money to risk losing. Even if the visual environment has become calmer,

the prohibition of advertising has its ne-gative sides. #e upkeep of many buildings was %nanced by advertising money before, so when that doesn’t come in, the buildings de-grade. But the number of walls to paint has increased.”

Gra!ti speci%cally competes with pix-

ação for the walls of São Paulo. For the most part, it’s not a problem: pixadors do their thing, gra!ti writers do theirs, and you avoid painting over each other. But disputes regu-larly "are up. For instance, several large mu-rals by the famous twin brothers Os Gemeos have been destroyed by pixadors.

“São Paulo gra!ti artists are often midd-le-class with artistic ambitions,” says Leand-ro Mantovani. “#e pixadors come from all sorts of backgrounds and social classes, but many come from the area outside town, la

By night, downtown is populated almost exclusively by drug addicts, the

homeless and police

Historias (Historys) on top of two friends, São Paulo 2012.

31# 45 | SUMMER 2012

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41# 45 | SUMMER 2012

STOCo-

"IN 1978 I WAS CHANGING trains at Times Square in New York City. As I was going down to the platform, a train full of pieces drove in. It was like another world, like walking out into the African savannah. I didn’t understand a thing!”

Order reigns in Sta$an Lövgren’s room at Uppsala. #e computer screen shows a search page containing graf-%ti images. He welcomes me and his grey,

STOCKHOLM’S GOLDEN AGE

UNDER THE MICROSCOPEWhen graffiti came to Sweden, it was a thing for its practitioners: kids. Few adults cared. Even fewer understood it. One who did was the art teacher Staffan Lövgren from Uppsala, not far from Stockholm. Staffan plunged into graffiti during Stockholm’s first golden age. The result is one of the first academic essays on graffiti in Sweden.

slightly unkempt hair, Rolling Stones T-shirt and somewhat hoarse voice tell of a past in 60s youth culture. With a trunkful of photo albums under one arm and a slide projector under the other, we move to a workroom. Sta$an produces binder after binder full of photos, sketches and news-paper cuttings.

#e %rst time Sta$an Lövgren heard about gra!ti was in a 1985 article in Up-

sala Nya Tidning. He had seen wall scraw-ling before, of course, but the pictorial content of gra!ti attracted him. Besides working as an art teacher, he was studying Art Education at Stockholm’s Konstfack College of Arts, Crafts and Design. In 1986, he decided to choose gra!ti as his Masters’s degree essay.

“#ey gave me the green light straight away. I wanted to write something writers

TEXT: Tobias Barenthin LindbladPHOTO: Staffan Lövgren

52 # 44 | SUMMER 2011

STOCKHOLM OLD SCHOOL

Done 12 was Lövgrens guide through the Stockholm graffiti scene in the fall of 1986. Here is Done 12 in action at what appears to be the Kristineberg subway station.

would like: ‘%nally someone who gets it’. I wasn’t part of the culture, of course, but I wanted to do an essay that was interes-ting both in terms of pictures and text. You might %nd it academic, but I don’t think it would get through today. It’s like a book, one chapter after the next, and a conclusion. #ere was no literature, either. Maybe Subway Art. #en I was told about Getting Up. But it didn’t give you much about Swedish con-ditions.”

#rough his tu-tor, Sta$an Lövgren got hold of Nico Cleyndert, a person who then organised hip hop jams in Stockholm and who gave Sta$an the gra!ti writer Akay’s phone number.

Akay took Sta$an to Karlberg station one autumn day in 1986. At the station, they met Done 12, who became Sta$an’s

guide during a few days in Stockholm.“Done 12 was pretty wild, tagging

while people watched, and I thought it wasn’t going to end well but took pictures all the while.”

Sta$an was soon engulfed in gra!ti and sat at home sketching.

“#ere’s a great sensation in forming the letters that you

don’t understand until you try it yourself. It’s a fascination that’s hard to get rid of once you’re there. You can’t stop.”

Soon he was hanging out with the young writers during long expeditions through Stockholm, Uppsala and Västerås in the quest for pieces.

“I was in my 40s, and doing my essay in my spare time. It was a bit hard going out on Saturday evening and getting back on Sunday, and wasn’t very popular with my family. But I’d decided to %nd out about all this. Someone mentioned batt-les. I didn’t understand – %ghting? Who judges it? #ere were many things like

that I had to break into and understand. Even though they were nice guys, they were a bit rowdy. You didn’t always know where you were with them, they might turn up a few hours late when we were supposed to meet.

Done 12 once told me he’d been chased by the police. I thought: why am I here?”

Soon Sta$an had met parts of the Stockholm gra!ti elite, which is re"ected in the interviews in his essay. A special es-say, since he did so much in-depth %eld work.

Done 12 was pretty wild, tag-ging while people watched, and I

thought it wasn’t going to end well

53# 44 | SUMMER 2011

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