THIS IS WHAT HAPPENS WHEN YOU PUT VANDALS IN A GALLERY

Error, Noee, 910DO, Fatzoo, Sonik… it’s surprising to see so many interesting names from illegal graffiti grouped in an exhibition inside a gallery. Titled “Fandalism”, the show at the Colab Gallery in Weil am Rhein, Germany, opened on December 2nd and will remain open until May 2024. We approached Daniel Künzler, the curator of the space, to learn a little more about this exhibition that bets on such “underground” names of European graffiti.

“(…) the exhibition sees itself as a research project and discourse that addresses the questions of why? and for what reason?”

Briefly, what is Colab Gallery?

Colab-, a modification of the coinage collaboratorium, stands for a place where thoughts, visions and ideas encounter each other, and by exchange and cooperation become works of art.

Since 2006 the gallery has been concentrating on working together with artists whose creative roots derive from the street. A lot of time and energy is invested in order to find and also foster style-defining artists early enough and to recognize upcoming trends. In doing so, the presented artists are chosen according to their authenticity, artistic maturity and expression. Particular emphasis is put on the technical execution of the works within the gallery´s context and on the support of the artists and nurturing them.

What impact has it had?

The gallery has gained a fantastic reputation among urban artists of the art scene. Nevertheless, the gallery not only wants to appeal to fans and insiders but also fulfill an educational assignment. Guided tours take place throughout the year and are offered to individuals as well as to groups. This is how the diversified range of current urban art is presented to its audience on a long term. Backgrounds and concepts are explained and the artists´ motivations are made clearer.

What does this gallery offer that other exhibition spaces do not?

The Colab Gallery is the perfect place for collectors of art to discover current or future artists, and to invest in them at a good time. It is also linked to the scene in the best ways and will gladly assist you in acquiring original artworks by your favorite artist. Our well-sorted online store and the daily updated art shop in the gallery offer serigraphs and smaller editions, thus completing the range. We have a very well-informed team which take care of every customer, and support those interested with professional advice of purchase, be it online or in-house.

“Its nature is to focus solely on graffiti and its most active current contributors, whilst giving the opportunity for the onlooker and the artist themselves to question what this means.”

In the line up of “Fandalism” we see both writers who are close to art and others who are completely distant from it. What criteria were followed to select the participants?

As the title of the show was given: “Fandalism – Graffiti Before Mainstream Adoption”, the criteria were about putting a show together with fresh people who are, again, very active on the streets and trains all over the globe. Its nature is to focus solely on graffiti and its most active current contributors, whilst giving the opportunity for the onlooker and the artist themselves to question what this means.

What do they all have in common?

Most of them were already friends / knew each other from previous adventures. They are active, smart and want to have fun!

“(…) I am aware of how this could also be ‘sensitive’ for some of the participating artists, especially those who are less established as an artists -for want of a better word- and very much writers.”

How did you manage to convince all of them to work in an exhibition space?

This took time. I myself have been a part of this scene for two generations, and not only as a curator from an institution. Therefore I am aware of how this could also be ‘sensitive’ for some of the participating artists, especially those who are less established as an artists -for want of a better word- and very much writers.
It definitely relied on a lot of trust, between myself and the artists, and here I must mention in particular that Jason and I have been friends for more than a decade. He is very well connected, and we trust each other. He was playing a key role putting together the “avengers of graffiti”. As I said, It’s a lot about trust.

What are the main challenges for writers in carrying out this task?

I don’t really like the word challenge, as It can often seam negative. Whilst I can’t think of a more fitting word right now, I would say that a lot of time was put into working closely with each artist, and carefully considering how the gallery space was going to articulate the concept, and how far we could push it.

Have there been writers who have been left out of the line-up or some who weren’t available at the beginning?

“Fandalism” is a box word. It’s a mix between fandom and vandalism. There are some protagonists not in this line up, that I am a big fan of. Some of those are not active anymore; and it was important to me that the participants are visibly active to date.
Also, our gallery space is quite big but also limited in a way. I have invited 12 artists (or vandals) which I am a fan of and for me, created a synergy between one another. There are of course a couple more out and about.

Can you comment on the work presented by three of them?

1. Gazela came up with an amazing room installation, referring to her passion for underground structures, tunnels and ‘non places’.
   Transferring the white cube into a cave-like experience adds a great sense of authenticity for our visitors; its very immersive. Gazela is a great artist and I respect her awareness for details and dedication, breaking stereotypes like the idea that only men would work with metal, power drills and gas burners.
2. Sharing the space together, Jason and Fatzoo, with the helping hands of others, have installed a collage with more than 250 picture frames.
   Every frame tells a story, referring to adventures and happenings or bringing back memories of great moments. If you look closely you will find that most of the artists from the show were already on an adventure with the duo Jason & Fatzoo.
3. Sonik has been actively doing graffiti since ’96. His taste for adventure and exploration has taken him to chaotic peri-urban areas, particularly in the Balkans where he originates from. Sonik has an amazing repertoire of skills when it comes to putting together different sorts materials, technique and shapes. His pieces are unique and fresh, focusing on the notion of the west dream and the emergence of new cult- transforming traditions. He is highly experienced and sure of his processes and absolutely keeping up with the contemporary art market.

“The exhibition is not trying to present the participants as “modern artists” or glorify their status; but more to gain an understanding and insight into why, how and what it means to them.”

Writers like Error or Noee, whose exhibition experience must be humble, or non-existent, what do they offer within the walls of a gallery that they don’t already offer on trains?

The exhibition is not trying to present the participants as “modern artists” or glorify their status; but more to gain an understanding and insight into why, how and what it means to them.

This is portrayed through short visual insights into their life and a space to express certain visions and free on-thoughts… what they offer is what they feel is important to portray.

Graffiti and exhibition art, what is the relationship between these concepts and what are the limits from Colab Gallery’s point of view?

I would say that the relationship between graffiti and exhibition art, in the context of this show, is not limited in its relationship, nor does it have to even be considered a relationship. For some of the artists, it was very clear they wanted to be as pure and as close to their street reputation as would suffice, and others have taken their work on a more artistic and expressive journey. Both are equally as important in addressing the title of this show. The exhibition does not show graffiti per se, because you see that when you walk down the street with your eyes wide open or when you wait for the next S-Bahn.

Overall, the exhibition sees itself as a research project and discourse that addresses the questions of why? and for what reason? In investigating this -and being aware of the fact that there is no definitive answer- the exhibition offers the public the opportunity, but not the obligation, to position themselves on this question and to share their aspects.

♠Born in 1985 in Hamburg, Daniel Künzler earned his diploma at the University for Design & Arts in Bolzano, Italy in 2011.
Künzler has curated “Corners Of(f) Society” in 2019 and the current exhibition
“Fandalism – Graffiti Before Mainstream Asdoption”.
Currently planning the following exhibition at Colab Gallery, opening 8th. June, 2024.