NO SHITTY ADS
Presented by FACT.
Curated by Skateboardmuseum Berlin
Duration : 10/7 (Sat) – 10/15 (Sun) 12:00 – 20:00
Opening Reception : 10/6 (Fri) 18:00 – 21:00
Location : 16 / 6-9-15 Jingumae Shibuya-Ku Tokyo, Japan
As the second wave of skateboarding was taking a deep dive in the early 80s, skate park after skate park was bulldozed into oblivion. Skateboarding shifted from concrete pools into wooden backyard half-pipes. The music turned from Disco to Punk and New Wave and the glossy skateboard magazines went out of print.
Around the same time Thrasher skateboard magazine started up as a newsprint zine type of thing inspiring and even encouraging the readers to start a zine of their own as they saw a “new energetic spirit with radical ideas to further expand previous established barriers. Take a pen in hand and draw upon this untapped energy and record the action from the source.” (Thrasher June 1981)
Many skateboarders listen to the advice or were simple driven by their DIY ( Do It Yourself) attitude and stared to take the fate of skateboarding in their own hand.
So its no wonder that the first known zine was called Skate Fate followed by hundreds of zines with great names in the following years. In the early years, edition sizes ranged roughly between 25 to 50 copies. The later years the print runs was around 50 to 100. The zines had a very artist and punk rock inspired design. Next to reports on the local skateboarding scene and skateboarders, trick tips, interviews the creators looked also into art, music, cartoons, and creating their own ads.
Besides that many zines were crudely rendered punk rock-inspired affairs with technically bad photos and crappy drawings, the rawness of no boundaries by advertisers, parents or authority let to amazingly artistic documents of a very unique youth culture. Starting from the US, skateboarders all over the world began to make their own zines and documenting their local secret society!
Famous skateboarders of today like GSD ( Gary Skate Davis ), Steve Caballero, Tod Swank, Claus Grabke and many more created their own zines, played in bands and created their own DIY apparel.
“The exhibition “NO SHIITY ADS” curated by the Skateboardmuseum Berlin and in partnership with FACT. will display a special selection original zines from all over world. Next to a collage of zine content, DIY, Punk and New Wave inspired apparel and the option to look into selected reprinted zines. For a new generation of zine makers, the show hosts artist and zine maker Sergej Vutuc who will create a personal and authentic wall for the show.”
Skateboardmuseum Berlin / Curator Juergen Bluemlein
Born 1973 – got in touch with skateboarding in 1987 and is on board ever since. Juergen roots are simple from the streets to skateboarding / art / film and fashion. Starting an early passion for design and starting collecting with Swatch watches in the 80s. Studying at Art School going to Film academic and started working at the movies and commercial industry. Into the art scene in early 2000 as founding member of the artist group FauxAmi. Organising and curating art exhibitions to become the founder of the first Skateboardmuseum in Europe. Curating skateboard heritage exhibitions and creating an unique archive of skateboard heritage. Curator and Co-Author of the exhibition / book MADE FOR SKATE: The Illustrated History of Skateboard Footwear – Based on the world’s largest collection of skateboard footwear. Working on the upcoming book about skateboarding fashion and apparel – to be released in early 2018.
Artist Sergej Vutuc
Born in Doboj (Bosnia and Herzegovina) in 1979 was raised in Zagreb (Croatia), Heilbronn (Germany) and currently lives and works in Berlin (Germany). The work of Sergej Vutuc is about observing the development of the modern society; a privatisation of the public space and conquering the nature with concrete, on one side, and the natural human urge to expand one’s consciousness, to be in between, to exist playfully and live through imagination, on the other side. Skateboard culture is just one of many contemporary social subcultures whose philosophy is based on the aspiration for playfulness and urge to use the open space in the context of freedom of expression. Since the mid 1990s Vutuc has been engaged in the punk and skateboarding community and the aesthetics and philosophies of these DIY-cultures have granted his work a distinct character. Skateboarding is an undeniable part of all this, but the board here might better be understood as a vehicle, than a sporting tool or past time. Vutuc’s work reaffirms that the skateboarder is not a detached voyeur of urban modernity.
Tokyo Art Book Fair
5 − 8 October
SECTION : Z | BOOTH : Z-098
Preview/ Opening Reception
October 5th (Thu) 15:00-21:00
Admission: 1,000 yen
Dates: October 6th (Fri) 12:00-20:00
October 7th (Sat) 12:00-20:00
October 8th (Sun) 11:00-19:00
This autumn marks the hosting of the 9th TOKYO ART BOOK FAIR, an art-centered book and publication festival unfolding within the heart of Tokyo. From our new venue in Tennozu Isle, this year we welcome a diverse congregation of over 350 different exhibitors – featuring publishers, booksellers, galleries, artists, and more – making their way from both within Japan and across the globe. Joining forces with shops and galleries located in the nearby vicinity, this year’s TABF reaches proportions it has never yet achieved.
BUILDING, Sergej Vutuc
In the last several years, photographer Sergej Vutuc has published a large number of small zines often to be found in subcultural contexts such as the skating scene – simple style, fast, roughly produced and often used as an item to share among friends. Like the scene itself, the focus ranges between urbanity, streets, shapes, bodies and occupancy of public spaces. Photography seems to be an accompanying, or even a fraternizing medium, following up the fast skating flow.
In his latest publications, Vutuc uses the possibilities of book-making in a more object-wise style. The way the books (they don’t really fit to the genre of zines anymore) are bound and printed is playing a more important role. Building opens up with a risograph-printed cover, which makes your fingers dirty the minute you hold it in your hands for the very first time. Uncovering it is not easy, as the cover is locked up with a masking tape which will surely disturb the surface of the cover once you try to unveil it. Looking at the book is an experience in itself; each person approaches the book-object in their own unique way to finally reveal the spreads that Vutuc has composed. You will still find the blurry, strongly treated black and white compositions with words scratched on them that are – if at all readable – not necessarily understandable, because they are written in several different languages. At this point, Vutuc couldn’t be more far away from photography as a medium of documentation, and even the words describe almost nothing but appear more like signs and symbols. “Building” as a title for the book holds of course its simple meaning of any kind of a house, but also refers to the act of building – and one should leave it in that richness of associations as it is – whether it’s physical, natural, or in any figurative sense.
On a pictorial level, Building represents a purely analog photographic and artistic approach, shifting from recognizable details like (recurring) stairs or the hand of the photographer himself to abstract forms made out of shadows or edges of the film negatives. In this way, Vutuc remains true to himself in translating the physical experience on of the street into a visual language on paper, opening up general and social questions alongside the personal (skate-)experience: questions about order in public space and the use of public space in front of interchangeable urban surfaces.
Selfpublished, Edition of 100, 36 pages, 20 x 28,8 cm
Risographer print at We Make It, Berlin 2017
Incl. skaters as Fricis Štrauss, Axel Cruysberghs, Shingo Ogura, Katsumi Minami, Laurence Keefe, Aymeric Nocus, Bobby Dekeyser, Zachary Chamberlin, and Alex Greemann.