On 3 February 2011 begins a case against Hamburg's most famous graffiti artist. Eight years of his life sitting in prison Oz. Now it further, in the worst case more years in prison for threatening his artistic activity. Oz is being pursued not only as a single street activist, but is representative of graffiti as urban art form criminalized. The current charges are usually banal. Often it's about "crimes" such as the beautification of the back of traffic signs or attaching labels on vending machines. Criminalized Oz is clearly not for these acts, they simply appear to be unobtrusive, but for all his work. So far, Oz was mostly criminalized without critical public. This seems to change now. On Tuesday, 01.02.2011, an information and solidarity meeting held in Gängeviertel the current process and repression rather than against Oz. By solidarity groups will also now called the process attend.
A specter is haunting the cities!
should be measured by the recognition of Oz one of the most successful graphic artist and painter from Hamburg. In Europe you know your smileys and its logo, which appears everywhere in Hamburg. Where other Künstler_innen are courted and recognized, the city is trying its marketing creative credit for the site and the Hamburg brand will respond in the case of Oz with unprecedented repression. The reason is simple in nature: the main part of his work defies economic recovery.
In tabloids, he was vilified in recent years with big headlines as "outsiders" and "threat to society." His works are not shown in this perspective as a resource to people, but conjured up as a diffuse threat to the public. The Urban is in this interpretation beyond a historical concept of freedom of urban air to a very German form of common destiny, it is is subordinate. People who insist on their autonomy or just bulky to be considered as a deviation to be controlled.
one hand, reveals himself by an ancient, deep-seated contempt for other bourgeois lifestyles, on the other hand, lack the prerequisites to understand the importance of cultural expressions, which apparently deny economic sense. But because the legalities of the art market is also in the areas concerned which try to evade him, a part of the work of Oz is now quite landed in exhibitions and galleries. He stands in the tradition of controversial artists such as Gérard Zlotykamien or Harald Naegeli,
that constitute "enjoyable vandalism" Art can even sniffs the flagship of Hanseatic culture at the time. Is there yet another street art activist celebrated literally ". With Banksy, the urban vandalism was entertaining as anyone else, he knows how to transform the most desolate cities in pleasurable exhibition spaces" analogies are a dangerous place and although Smileys Stop signs the irony of Bansky accord fully will it not be to compare the work of both. But who can imagine, the right to not have Bansky in hip London but lived in Hamburg dazzling. The Hamburg prosecutor it would keep him under surveillance by 12 MEK officials sought unsuccessfully to court for ways to him as a "notorious property damage" to deny the culpability and therefore it should be classified as sex offenders and threaten them with preventive detention. In the media would be his sentence had been gleefully greeted with "graffiti only in jail" and he had spent much of his life in prison.
We wonder where the crime lies in drawing a smiley face on an electrical box or a blank wall? How can we understand or explain that a person therefore receives a total of more years of imprisonment, which on the duration of legal severity of crimes like murder or manslaughter equivalent? A society that says it does, or authorizes, moving not only beyond legal minimum standards, but is in all respects an authoritarian and inhuman, you meet the most basic of all liberties with one of the most serious of all means: the right to visibility, voice and self-interpretation of its own existence with years of imprisonment and the imperative of silence.
The legal exorcism, to mitigate the Oz characters are driven out goes hand in hand with an increasingly repressive notion of urban and public space. Camera surveillance, state and privatized control, cleanliness and order as the measuring points of subjective Security penetrate the public space. Slogans, pictures, posters, demonstrations and street theater are part of public life.
Most of it is in cities now banned in order to perfect a smooth consumption. In the bourgeois concept of freedom is to be traded economically-rational and self-realization is through work and consumption goods. In the surreal messages of Oz is a subtle act of resistance against the constraints associated with such standards. You raise a hidden refusal to introduce an inner defense against the task nonconformist individuality through self-positioning in urban planning and control rooms. They refuse the dictates of a function and recovery in Kapitalimus.
people as Oz do not belong in prison, but to life in the city. They are important because they show up and a relationship of violence that surrounds us in the form of bare walls and screaming advertising reality, give thoughtful designs and shapes. Oz gives the architecture of the city while a dignity that was of gold rush fever and investors landscapes, growing city and security needs, long forgotten and repressed. He gives the desire for life is a language that resounds from the walls, and copies will be circulated.
The "ghost" is for the French philosopher Jacques Derrida, the sign of a dead einsickerrn in a lively discourse. In "Marx Specters of it is the idea of justice. There are people who want to forget Marx, but his ghost can not get rid of. They "transform" itself, no one can say when and where they appear, but they keep coming back. The symbolic world of Oz defy the repressive reality and multiply. You swear to uncertainty in the eyes of Ordnungsfanatiker_innen and a backdrop of desire for others.
tell you anything about the copyright or an act of Oz, but believes that the city is not dead Location of constraints is. The lettering Oz, smilies and curls are artistic protest of urbanity as a concept of freedom against the supposed necessities. There are over 100 000 oz graffiti, they have appeared in other cities in Europe and developed during his detention. It is not the person is now to be condemned, but an attempt to drive out ghosts, the revolt against the apparent lack of alternatives to an existing order and world view. A world view that explains the economy into a fetish, meaning and purpose to which the political element, the art and life are subordinated in the city. This is the subversion of the smilies the undefined ones need for punishment, the hysteria against the ghostly spreading character and man Oz
We demand freedom for Oz and the setting of his case, because every other state governmental authority as a model and cement of social life promoted and the loss of individual freedom means the benefit of the economic constraints of a common destiny. Who wants to drive Oz from the image of the city, will not rob him alone the language, but all who are trying to reinvent themselves and express themselves beyond existing standards do.
Source: indymedia.org
court dates
info 01/28/2011 - 00:52
3.2. Clock 13
A specter is haunting the cities!
should be measured by the recognition of Oz one of the most successful graphic artist and painter from Hamburg. In Europe you know your smileys and its logo, which appears everywhere in Hamburg. Where other Künstler_innen are courted and recognized, the city is trying its marketing creative credit for the site and the Hamburg brand will respond in the case of Oz with unprecedented repression. The reason is simple in nature: the main part of his work defies economic recovery.
In tabloids, he was vilified in recent years with big headlines as "outsiders" and "threat to society." His works are not shown in this perspective as a resource to people, but conjured up as a diffuse threat to the public. The Urban is in this interpretation beyond a historical concept of freedom of urban air to a very German form of common destiny, it is is subordinate. People who insist on their autonomy or just bulky to be considered as a deviation to be controlled.
one hand, reveals himself by an ancient, deep-seated contempt for other bourgeois lifestyles, on the other hand, lack the prerequisites to understand the importance of cultural expressions, which apparently deny economic sense. But because the legalities of the art market is also in the areas concerned which try to evade him, a part of the work of Oz is now quite landed in exhibitions and galleries. He stands in the tradition of controversial artists such as Gérard Zlotykamien or Harald Naegeli,
that constitute "enjoyable vandalism" Art can even sniffs the flagship of Hanseatic culture at the time. Is there yet another street art activist celebrated literally ". With Banksy, the urban vandalism was entertaining as anyone else, he knows how to transform the most desolate cities in pleasurable exhibition spaces" analogies are a dangerous place and although Smileys Stop signs the irony of Bansky accord fully will it not be to compare the work of both. But who can imagine, the right to not have Bansky in hip London but lived in Hamburg dazzling. The Hamburg prosecutor it would keep him under surveillance by 12 MEK officials sought unsuccessfully to court for ways to him as a "notorious property damage" to deny the culpability and therefore it should be classified as sex offenders and threaten them with preventive detention. In the media would be his sentence had been gleefully greeted with "graffiti only in jail" and he had spent much of his life in prison.
We wonder where the crime lies in drawing a smiley face on an electrical box or a blank wall? How can we understand or explain that a person therefore receives a total of more years of imprisonment, which on the duration of legal severity of crimes like murder or manslaughter equivalent? A society that says it does, or authorizes, moving not only beyond legal minimum standards, but is in all respects an authoritarian and inhuman, you meet the most basic of all liberties with one of the most serious of all means: the right to visibility, voice and self-interpretation of its own existence with years of imprisonment and the imperative of silence.
The legal exorcism, to mitigate the Oz characters are driven out goes hand in hand with an increasingly repressive notion of urban and public space. Camera surveillance, state and privatized control, cleanliness and order as the measuring points of subjective Security penetrate the public space. Slogans, pictures, posters, demonstrations and street theater are part of public life.
Most of it is in cities now banned in order to perfect a smooth consumption. In the bourgeois concept of freedom is to be traded economically-rational and self-realization is through work and consumption goods. In the surreal messages of Oz is a subtle act of resistance against the constraints associated with such standards. You raise a hidden refusal to introduce an inner defense against the task nonconformist individuality through self-positioning in urban planning and control rooms. They refuse the dictates of a function and recovery in Kapitalimus.
people as Oz do not belong in prison, but to life in the city. They are important because they show up and a relationship of violence that surrounds us in the form of bare walls and screaming advertising reality, give thoughtful designs and shapes. Oz gives the architecture of the city while a dignity that was of gold rush fever and investors landscapes, growing city and security needs, long forgotten and repressed. He gives the desire for life is a language that resounds from the walls, and copies will be circulated.
The "ghost" is for the French philosopher Jacques Derrida, the sign of a dead einsickerrn in a lively discourse. In "Marx Specters of it is the idea of justice. There are people who want to forget Marx, but his ghost can not get rid of. They "transform" itself, no one can say when and where they appear, but they keep coming back. The symbolic world of Oz defy the repressive reality and multiply. You swear to uncertainty in the eyes of Ordnungsfanatiker_innen and a backdrop of desire for others.
tell you anything about the copyright or an act of Oz, but believes that the city is not dead Location of constraints is. The lettering Oz, smilies and curls are artistic protest of urbanity as a concept of freedom against the supposed necessities. There are over 100 000 oz graffiti, they have appeared in other cities in Europe and developed during his detention. It is not the person is now to be condemned, but an attempt to drive out ghosts, the revolt against the apparent lack of alternatives to an existing order and world view. A world view that explains the economy into a fetish, meaning and purpose to which the political element, the art and life are subordinated in the city. This is the subversion of the smilies the undefined ones need for punishment, the hysteria against the ghostly spreading character and man Oz
We demand freedom for Oz and the setting of his case, because every other state governmental authority as a model and cement of social life promoted and the loss of individual freedom means the benefit of the economic constraints of a common destiny. Who wants to drive Oz from the image of the city, will not rob him alone the language, but all who are trying to reinvent themselves and express themselves beyond existing standards do.
Source: indymedia.org
court dates
info 01/28/2011 - 00:52
3.2. Clock 13
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