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Teemanumeron etusivu

Street art has been pouring out on the streets of Finland during the last couple of years. But for it to gain the status as an art form has been a long and rocky road. The issue covers different sides of street art from graffiti to performance.
Christine Langinauer & Sini Mononen Street art has been pouring out on the streets of Finland during the last couple of years. But for it to gain the status as an art form has been a long and rocky road. Migrating from New York, street art harbored in Finland during the 1980s. It came together with another urban culture trait: hip-hop culture – the beats, the spray, and the streets. However, the streets in Finland were a whole lot different than the ones in New York; in Finland, underground culture evolving around graffiti was just beginning to emerge. Our first hip-hop and graffiti artists come from the same generation as our current cultural minister Paavo Arhinmäki, who has been one of the biggest spokesmen for street art.
Ljiljana Radosevic Putting street art into any serious discussion is quite a difficult undertaking. First and foremost because of the fact that there is not a clear delineation of what street art might represent in all its wideness. Secondly because understanding this phenomenon is easiest for those who practice street art, produce new meanings, and live by the rules of their worldwide community and think of it as a lifestyle, thus leaving us researchers with an unclear set of information, or, rather, scraps of information we collect from those who belong to the culture. Or, they leave us with the possibility of becoming a part of the culture in a superficial way that can blur our judgment due to an incomplete understanding of the phenomenon. Nevertheless, street art is such an exciting practice that it should be given deeper thought, and every study that comes out brings new perspectives, ideas and glimpses into it. Therefore, I will try to find out what street art can be by analyzing books which have been written on this topic or have included street art in their overview.
Helena Björk A few years ago, pictures of knitted pieces on lamp posts and traffic signs started showing up on the internet. I must have been looking for a simple hat pattern when I ran into one of these. On the surface a silly craze, there was something about the phenomenon that kept teasing my mind. The fact that a traditional women's handicraft, usually strictly confined to making everyday objects, would find itself into public space was fascinating in many respects. This was the starting point of exploring an encounter of the home and the public sphere, of the feminine and the masculine, of commercial messages and individual expressions. The following article unravels the background of graffiti and textile expressions, and suggests an interpretation to what a piece of knitting in a public setting represents.
Jenna Jauhiainen Things on the streets of Helsinki have changed in the last few years. In 2008, the Stop töhryille! -project of the city of Helsinki ended, after ten years of a zero tolerance policy towards all forms of Street Art. I wrote about the matter here, in Finnish, in the spring of 2008, six months before the project ended. Around the time I had traveled quite a bit in central Europe and in ex-Soviet countries, and the quality of art in the public sphere in numerous cities down there was remarkable, especially because it was apparent that most of the works were non-commissioned, i.e. no-one had paid for them. For me it signified an expansion of art into the everyday life of city-dwellers, and I could but wonder why we up here were so dispassionate about our public places.
Teksti: Tuomas Jääskeläinen Kuvat: Helsinki Graffiti Graffiti tuli Suomeen break-tanssin mukana. Syksyllä 1984 saivat ensi-iltansa Beat Street ja Breakdancing -elokuvat. Helsingin tanssiopisto aloitti breikin opettamisen samana syksynä. Tanssiopiston tunneilla tavannut jengi muodosti ensimmäisen hip hop -yhteisön. Toiset keskittyivät tanssimaan, joku kiinnostui erityisesti musiikista, toisia graffiti veti puoleensa, mutta tyypillistä oli että aluksi kaikki tekivät kaikkia hip hopin osa-alueita. 80-luvun puolivälissä Helsingin kaupunkikulttuuri mullistui. Yöelämän rajoituksia purettiin, uusia baareja ja klubeja perustettiin. Vuoden 1986 kesään mennessä Helsingissä oli jo kymmeniä taitavia graffitimaalareita ja piissit olivat toinen toistaan suurempia ja kauniimpia. Siihen aikaan maalaaminen yölliseen aikaan oli vielä suhteellisen helppoa, kiinnikjäämisen riski oli pieni, ja valmiit maalaukset saivat koristaa seiniä pitkään.
Veera Jalava A few years ago I started an experimental project in which I aimed to discover and test innovative approaches to teaching seniors through street art. Today this project has developed into a fulltime job. However, it is still a work in progress. In the following article I will address and describe the process until now. After three years, over 10 senior street art projects and a large number of participants between 61 and 93 – I would definitely say graffiti can be used for pedagogical purposes. Learning about street art can benefit senior citizens in a number of ways; I have witnessed people being ”empowered” through exploring new sides of themselves, gaining new confidence and skills and finding new social contacts.
Kalle Turakka-Purhonen Länsiväylä is a Helsinki based and focused open art group. It was founded in 2007 with the car window washing happening Länsiväylä in Ruoholahti, Helsinki. Länsiväylä’s second piece the Pyöräilykaista (Bike lane) was a more established one. It was done in co-operation with the Huuto-galleries and Kiasma’s urban theatre festival URB. In a warm August night in Kallio, Helsinki, more than two hundred bikers drove down Hämeentie, through colourful pools of paint. Their tires painted a much-wanted bike lane to that busy street of Helsinki. The group Länsiväylä consists of artists, activists, journalists and researchers (and whoever is needed or wants to) who are interested in Helsinki. Working in the street feels both good and essential.
Jarkko Vikberg EASA (European Architecture Students Assembly) on vuosittain eri maissa järjestettävä arkkitehtiopiskelijoiden arkkitehtuurifestivaali. Heinäkuussa 2012 EASA toi Helsingin Suvilahteen 500 arkkitehtiopiskelija yli 42 maasta ja 240 arkkitehtuurikoulusta ympäri Eurooppaa. Helsingin EASA -tapahtuman teemana oli Wastelands.
Mika Helin Kirjoituksessa luon katsauksen kahteen keskeiseen, mutta toisistaan poikkeavaan kansainväliseen luvallisen graffitin tapaukseen: ”tapaus Bruggeen” (Belgia) ja ”tapaus The 5Poinziin” (NYC, USA). Tapauksien on tarkoitus kansainvälisinä esimerkkeinä taustoittaa ja herättää keskustelua Helsingissä sijaitsevien Suvilahden ja Kalasataman luvallisten graffitiaitojen elinkaaren eri vaiheissa, niin luvallisen graffitin kaupunginosakohtaisissa käynnistymisvaiheissa kuin mahdollisessa Kalasataman luvallista harrastamista keskittävän maalauspinta-alan vähentämisvaiheessa. Kahden tekstissä esiteltävän kansainvälisen tapausesimerkin tarkastelulla voidaan tavoittaa luvallisten graffitipaikkojen toimintaa ehdollistavat ääripäät. Kärjistäen luvallisen graffitin osalta ”tapaus Bruggessä” korostuu uuden paikallisen kaupunkipolitiikan toteutus ja ”tapaus 5Poinzissa” kiinteistömarkkinoiden ehdolla tapahtuva aluekehitys ja paikan kohtaama luvallisen maalaamisen vähentämiseen johtava muutos.
Irmeli Hautamäki Since the 80’ bigger and smaller towns in Finland have been invaded by a generation who make and use graffiti. As a result various kinds of graffiti, stickers and wall paintings have become a permanent part of urban space. The urban generation has adjusted to public space in a different way than the previous ones. This raises naturally many political and ethical questions. What concerns me here as an art theoretician is an aesthetic problem: how to evaluate the graffiti and wall paintings from artistic point of view – and can the anonymous art of the streets truly be called as art? First, the graffiti belongs to the younger generation’s culture. The decorations on the walls are part of their mutual communication and interaction. They carry different messages like joy, happiness and maybe also political messages. Young peoples’ specific groups and clans can read and evaluate them.