Photo by Nikki Cotton
Graffiti can act as a warning to large corporations and inner-city planners not to “underestimate the inherent consequences of urban renewal” (Preece 135).
Photo by Nikki Cotton
Political outrage is expressed on the sides of buildings and public spaces, and is common throughout the city of Berlin.
Photo by John Wetzel
The placement of graffiti texts in high spaces reflects the writer’s participation in the urban transformation, as well as exhibiting disapproval (Preece 137).
Photo by Chelsea Olms
Illegal graffiti is usually removed or painted over after a few days; however, activists and city residents make a point to re-establish their artwork almost immediately after removal.
Photo by Chelsea Olms
Street Art acts as an outlet of communication for the city, like an anonymous chatroom.
Photo by Emily Locke
This little orange guy is what street artist Dave the Chimp calls a “human bean:” a little character intended to spread awareness, sarcasm, and distraction through the streets of Berlin. Dave’s most famous work is his orange bean holding another white sign with the phrase “refugees welcome” scrawled on with black paint. To Dave, art is “an undercover agent for the fight against consumerism,” and is disruptive to the constant buzz of human activity. In fact, Dave started street art by displaying all of his posters in an ally, available for anyone who enjoys the beauty of art, but cannot spare the money to purchase any. Far from materialistic, Dave tries to obstruct the greed of consumption through the spread of his beans and their messages (“DAVE”).
Photo by Chelsea Olms
Each individual piece of artwork should be analyzed by itself. In one space there could be multiple illustrations and texts, yet it is crucial to view these visuals as independent works.
Photo by Nikki Cotton
Media Spree is the company behind the construction of new architecture in Berlin; it’s the same establishment that destroys areas of the city, and by default, evacuates and devastates non-conformists and “undesirables,” marginalizing the individuals who once felt familiarity within the metropolis. This is a clear reaction to the gentrification of Berlin; as the city redevelops itself, those who can no longer afford their homes or are evicted display their resentment by marking the very buildings that have alienated them (“Backpacker Bible”).
Photo by Nikki Cotton
Street Art exposes social-justice struggles, political corruption, long-lasting economic disputes, and the need to protest against these discrepancies.
Photo by Nikki Cotton
Graffiti in Berlin is not considered dangerous as it is in the United States. It is perceived as an art, not a threat.
Photo by Emily Locke
“Fear” was plastered all over the city, on different signs, walls, and subway stations. The meaning behind this is left for personal interpretation.
Photo by Emily Locke
Graffiti on signs announces “neighborhood renoavation or redevelopment projects;” it addresses social, political, and economic obstacles of the time (Preece 137).
Photo by Emily Locke
Graffiti can be found anywhere in the city of Berlin, and typically holds importance to the culture of the area.
Photo by Emily Locke
“Rise” was scrawled along abandoned walls and buildings, probably encouraging citizens of Berlin to stand up for their beliefs and social injustice.