Facing Klone: The Address of a Voice in Tel-Aviv’s Street Art

Juxtapoz // Saturday, 08 Aug 2009


“How do Klone’s human-alien-predators speak to us, as they unexpectedly surface on buildings, houses, walls, street corners, power boxes, doors, entryways, doorframes and windowsills, as they flicker – appearing and disappearing – on Marmorek, Yehuda Halevi, Shenkin, Lillienblum and Herzl streets; on Rothchild Boulevard, or in the Florentin and the Old Central Bus Station districts; in the Dizzengof Square area, the old Tel-Aviv Theater on Pinsker Street, in Bezalel Market and northward along Ben Yahuda Street? How should we listen to the voice of these images?”




“The act of graffiti is typically understood in terms of a struggle to make one’s voice heard in the public sphere, a confrontation with the predominant social deafness that bars the street artist from recognizing his or her voice as part of that sphere. The act of graffiti – e.g., bombing – is an attack on those 'walls of silence' that signify the exclusion of 'bombers' from legitimate spheres of expression. In this respect, the act of signing one’s name, graffiti’s ur-form, the signature appearing on a wall, a telephone booth or on a subway car, is not a mode of self-expression, but is, first and foremost, an act of self-assertion, self-positioning and thus a marking – indeed, often an aggressive, antagonistic demarcation – of one’s territory within public space.”


Read the entire essay here.




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