Graffiti is a difficult art form to categorise, partly because of its constantly changing nature, but via some big names coming to the fore the genre has come a long way in recent years.
No longer thought of as “delinquent” and somewhat marginalised as a result, graffiti-based art has moved beyond the peripheries of the art world. There was a stark example last year when a work by the late Jean-Michel Basquiat, who rose to prominence through his graffiti work in New York during the late 1970s, sold for $110.5m (£85m), a record for an American artist at auction.
But despite the high profile of figures such as Basquiat and the Bristol-born graffiti artist Banksy, museums tend to show street art in temporary exhibitions, rather than permanent spaces. London’s Tate Modern held a street art show back in 2008, shown on the gallery’s facade facing the river Thames, although it still has no permanent space to display this type of work.
But street art recently found a home in the form of Urban Nation, a museum for urban contemporary art, which opened in the Schöneberg area of Berlin in September last year.
The museum, which took four years to plan and construct, displays more than 150 works that were created for the opening exhibition by established and emerging street artists. The show was put together by a team of 10 curators, and features international artists such as Shepard Fairey, Olek, Fintan Magee and Lora Zombie as well as German artists Herakut, Mimi S and deerBLNas, among others. The exhibition will run until the summer, when another set of works will arrive. The facade of the museum, which is in a building converted by Graft architects, also operates as a changing display.
Despite creating a physical space, Urban Nation has not forgotten its connection to the street. More than 13,000 people came to the temporary open-air gallery that was created for the opening weekend – the accompanying festival also featured a skateboard ramp, open-air yoga and performances by a breakdance group. Urban Nation has an ongoing programme to support street art in Berlin and beyond.
Yasha Young, who started her career as a gallery owner and curator, is the executive creative director of Urban Nation.
Why did you decide to open a physical space?
Yasha Young: To be able to tell the story as a whole and support the genre with a lot more backbone via an established institution. Furthermore, with our residencies for artists, we are so much more than an exhibition space. The museum is ever-changing and hosts many important aspects of the work we do. Most of all, it is a nucleus from which we can do our work in the world and bring the world to Berlin.
How is street art viewed by the art world?
I think there is much more of an open mind toward the genre than a few years ago, but graffiti and street art are not integrated in the art-historical thread just yet. At the moment we are experiencing dangerous hype and an oversaturated art market as sales skyrocket, especially around the big names in street art. I am more interested in its long-term integration into historical context and art education.
Why has Berlin become such an important centre for street art?
It has always been a place for innovation and has had strong voices for rapid change and experimentation. It has always been graffiti heavy and very international. Artists have made Berlin their home over the years, expanding an existing network that is now surfacing as the attention rises.
What types of visitors are attracted to the museum?
All types of visitors are excited to come to the museum. Some of them have visited again and again. I think it is because nearly everyone sees urban art on the streets and they are curious to gain more background and insight.
We welcome everyone regardless of age or cultural background. As it says in our mission statement: “All nations under one roof.” We are happy to see this become a reality.
What kind of reaction have you had since opening?
We have a lot of very positive reactions from press, visitors and the art scene. We have also had some interesting suggestions as to how we should develop. I think the best reactions are those that make me want to work ever harder. Internationally, we have gained a lot of momentum and I am glad to see we have inspired cities including Amsterdam or Lisbon to build their own museums. This will be a beautiful network in the future.
What is the most innovative thing about the museum?
The exchangeable facade is one of them. We’re able to let artists create their works on it, while taking it down to archive and to ship to other museums, or even install it again if we want to. But ideologically it’s the fact that we live and breathe with the works as they are developed and we help protect careers and support living and working artists. Our collection is amazing with more than 250 pieces.
Main funders Berliner Leben Foundation
Architect Graft Architects
Admission Free
No longer thought of as “delinquent” and somewhat marginalised as a result, graffiti-based art has moved beyond the peripheries of the art world. There was a stark example last year when a work by the late Jean-Michel Basquiat, who rose to prominence through his graffiti work in New York during the late 1970s, sold for $110.5m (£85m), a record for an American artist at auction.
But despite the high profile of figures such as Basquiat and the Bristol-born graffiti artist Banksy, museums tend to show street art in temporary exhibitions, rather than permanent spaces. London’s Tate Modern held a street art show back in 2008, shown on the gallery’s facade facing the river Thames, although it still has no permanent space to display this type of work.
But street art recently found a home in the form of Urban Nation, a museum for urban contemporary art, which opened in the Schöneberg area of Berlin in September last year.
The museum, which took four years to plan and construct, displays more than 150 works that were created for the opening exhibition by established and emerging street artists. The show was put together by a team of 10 curators, and features international artists such as Shepard Fairey, Olek, Fintan Magee and Lora Zombie as well as German artists Herakut, Mimi S and deerBLNas, among others. The exhibition will run until the summer, when another set of works will arrive. The facade of the museum, which is in a building converted by Graft architects, also operates as a changing display.
Despite creating a physical space, Urban Nation has not forgotten its connection to the street. More than 13,000 people came to the temporary open-air gallery that was created for the opening weekend – the accompanying festival also featured a skateboard ramp, open-air yoga and performances by a breakdance group. Urban Nation has an ongoing programme to support street art in Berlin and beyond.
Yasha Young, who started her career as a gallery owner and curator, is the executive creative director of Urban Nation.
Why did you decide to open a physical space?
Yasha Young: To be able to tell the story as a whole and support the genre with a lot more backbone via an established institution. Furthermore, with our residencies for artists, we are so much more than an exhibition space. The museum is ever-changing and hosts many important aspects of the work we do. Most of all, it is a nucleus from which we can do our work in the world and bring the world to Berlin.
How is street art viewed by the art world?
I think there is much more of an open mind toward the genre than a few years ago, but graffiti and street art are not integrated in the art-historical thread just yet. At the moment we are experiencing dangerous hype and an oversaturated art market as sales skyrocket, especially around the big names in street art. I am more interested in its long-term integration into historical context and art education.
Why has Berlin become such an important centre for street art?
It has always been a place for innovation and has had strong voices for rapid change and experimentation. It has always been graffiti heavy and very international. Artists have made Berlin their home over the years, expanding an existing network that is now surfacing as the attention rises.
What types of visitors are attracted to the museum?
All types of visitors are excited to come to the museum. Some of them have visited again and again. I think it is because nearly everyone sees urban art on the streets and they are curious to gain more background and insight.
We welcome everyone regardless of age or cultural background. As it says in our mission statement: “All nations under one roof.” We are happy to see this become a reality.
What kind of reaction have you had since opening?
We have a lot of very positive reactions from press, visitors and the art scene. We have also had some interesting suggestions as to how we should develop. I think the best reactions are those that make me want to work ever harder. Internationally, we have gained a lot of momentum and I am glad to see we have inspired cities including Amsterdam or Lisbon to build their own museums. This will be a beautiful network in the future.
What is the most innovative thing about the museum?
The exchangeable facade is one of them. We’re able to let artists create their works on it, while taking it down to archive and to ship to other museums, or even install it again if we want to. But ideologically it’s the fact that we live and breathe with the works as they are developed and we help protect careers and support living and working artists. Our collection is amazing with more than 250 pieces.
Project data
Cost UndisclosedMain funders Berliner Leben Foundation
Architect Graft Architects
Admission Free