Berlin: a paradigm in the past, present and future of urban art

  • Sandra Gracía Melero
DOI: https://doi.org/10.37558/gec.v16i0.705
Keywords: graffiti, street art, muralism, Berlin, Berlin wall, east side gallery, Urban Nation Museum

Abstract

From the Berlin Wall and the East Side Gallery, to the Urban Nation. A political history with a commercial perspective. Berlin has always been a reference in urban art worldwide. The area occupied by the USA, West Berlin, was in the eighties a hotbed of subcultures from which  graffiti writers emerged who used the wall as their canvas. After its fall in 1989, these street manifestations spread throughout the city and from the end of the nineties until today graffiti, urban art and muralism have been mutating and continue to be part of Berlin countercultural environment. Framed in this context, in 2017 the Urban Nation Museum opened its doors, a clear example that the museumization of urban art is a great challenge, since it is an oxymoron with respect to its values, codes and media which differ from traditional art.

Downloads

Download data is not yet available.

References

ARMS, S., (2011). The Heritage Of Berlin Street Art And Graffiti Scene, https://www.smashingmagazine.com/2011/07/the-heritage-of-berlin-street-art-and-graffiti-scene/#comments-the-heritage-of-berlin-street-art-and-graffiti-scene , [Último acceso: 30 de agosto 2019].

BERLIN MURAL FEST (s.f.). https://berlinmuralfest.de/, [Último acceso: 30 agosto 2019].

CALDAS, R., (2015). Gallery, Interpretation and Communication of Uncomfortable Heritage: the East Side, Cottbus: BT University Cottbus-Senftenberg.

CALVOCORESSI, R., (1983). 'Zeitgeist' en el Martin-Gropius-Bau. Berlina. The Burlington Magazine, p. 120.

COUVREAUX ALIJARTE, N., (2016). La Biblia del graffitero: una teoría constructiva para la generación que tomará el relevo, Granada: Universidad de Granada.

ESCORIAL, M., (s.f.). http://www.berlinamateurs.com/desaparicion-del-graffiti-de-blu-en-berlin/, [Último acceso: 30 agosto 2019].

FIGUEROA SAAVEDRA, F., (2014). El grafiti de firma: Un recorrido histórico-social por el grafiti de ayer y hoy. Madrid: Minobitia.

GARZÓN, D., (2013). El Muro de Berlín. Final de una época histórica. Madrid: Marcial Pons. Ediciones de Historia.

HATCH KINGDOM, (s.f.). http://hatchkingdom.com/, [Último acceso: 30 agosto 2019].

HEINSOHN, B., (2015). Critical Voices from Underground: Street Art and Urban Art Transformation in Berlin. En: Envisioning Social Justice in Contemporary German Culture. Rochester: Camden House, pp. 119-141.

ICOM, (s.f.). https://icom.museum/es/actividades/normas-y-directrices/definicion-del-museo/, [Último acceso: 10 agosto 2019].

JAKOB, K., (2017). Street Art in Berlin: Version 8.0. Berlín: Jaron Verlag GmbH.

KÜNSTLERINITIATIVE EAST SIDE GALLERY, (2013). http://www.eastsidegallery-berlin.de/, [Último acceso: agosto 2019].

KÜNSTLERINITIATIVE EAST SIDE GALLERY, (s.f.). http://www.eastsidegallery-berlin.com/ [Último acceso: 23 agosto 2019].

KIMVALL, J., (2015). The Rise, Fall, and Aftermath of the Berlin Wall Graffiti. En: G-Word: Virtuosity and Violation, Negotiating and Transforming Graffiti. Arsta: Dokument Press, pp. 81-104.

LE GRAND JEU, (s.f.). https://www.legrandj.eu/veso_portfolio/marthacooperlibrary/ [Último acceso: 28 agosto 2019].

PUYOL, A., (2014). Del desafío pictórico a la generación de un símbolo: Thierry Noir, pionero de la acción artística sobre el Muro de Berlín.Asociación Aragonesa de Críticos de Arte, Issue 28.

MAS, A., (2018). https://www.eldiario.es/cultura/arte/East-Side-Gallery-Berlin-gentrificacion_0_845865702.html, [Último acceso: agosto 2019].

NGBK, A. D. L. G., (1986). https://archiv.ngbk.de/projekte/stadtsichten-berlin-new-york-exchange-i/ [Último acceso: 15 agosto 2019].

NOIR, T., (s.f.). https://thierrynoir.com/berlin-wall/photo-history/ [Último acceso: 20 agosto 2019].

PINTO, S., (2015). The wall is dead, short live graffiti and street art! Graffiti, street art and the Berlin Wall's heritage. Lisboa, Authors and Editors, pp. 62-72.

PUBLIC DELIVERY, (s.f.). https://publicdelivery.org/keith-haring-berlin-wall/, [Último acceso: 15 agosto 2019].

PUGH, E., (2015). Graffiti and the Critical Power of Urban Space: Gordon Matta-Clark’s Made in America and Keith Haring’s Berlin Wall Mural. The Art/History Resistance. Special issue, 18(2), pp. 1-15.

STAHL, J., (2009). Graffiti und andere Kunst an der / mit der / über die / neben der / Berliner Mauer., https://www.burg-halle.de/~jstahl/texte/mauer09.html, [Último acceso: agosto 2019].

STIFTUNG PREUßISCHER KULTURBESITZ, (s.f.). http://www.preussischer-kulturbesitz.de/ueber-uns.html, [Último acceso: 10 agosto 2019].

STREETARTBLN, (s.f.). https://www.streetartbln.com/heat-wave-in-berlin-it-gets-hotter/, [Último acceso: 30 agosto 2019].

URBAN NATION MUSEUM FOR URBAN CONTEMPORARY ART, (s.f.). https://urban-nation.com/, [Último acceso: agosto 2019].
Published
2019-12-11
How to Cite
Gracía Melero, S. (2019). Berlin: a paradigm in the past, present and future of urban art. Ge-Conservacion, 16, 166-175. https://doi.org/10.37558/gec.v16i0.705
Issue
Vol. 16 (2019): Ge-conservación Nº16
Section
Suplemento
  1. Copyright and intellectual property belongs to author. Author guarantees editing and publishing rights to Ge-Conservación Journal, under a Creative Commons Attribution License. This license allows others to share the work with authorship and the original source of publication acknowledgement.
  2. Articles can be used for scientific and educational purposes but never for commercial use, being sanctioned by law.
  3. The whole content of the article is author’s responsibility.
  4. Ge-Conservación Journal and authors may establish additional agreements for non-exclusive distribution of the work version published at the Journal (for example, on institutional repositories or on a book) with acknowledgment of the original publication on this Journal.
  5. Author is allowed and encouraged to disseminate his works electronically (for example, on institutional repositories or on its own website) after being published on Ge-Conservación Journal. This will contribute for fruitful interchanges as also for wider and earlier citations of the author’s works.
  6. Author’s personal data will only be used for the Journal purposes and will not be given to others.

Most read articles by the same author(s)