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.