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Rebellion

“YOU START WRITING AND DOODLING (pissing) ALL OVER THE MOCKUP” -Lasn, K. (2006)

  As quoted by Lasn, doodling, writing and ultimately vandalising over what appears to be a final product is a mark of rebellion against society norms on the finalisation of a product. This reflects the ideas present in the experience, as the beginning product is portrayed as a final design, and the accidental graffiti which turns into purposeful graffiti becomes an act of rebellion against the finalisation of the product. Legendre (1989) states that graffiti can be an act of desire for an individualist or group recognition, in the rebellion against authority, this being a higher power position than one’s own whether it be the police, government figure or anyone that holds more power than said individual. The implication of graffiti is causing a scene and bringing attention to a certain group of people or way of thinking, however it can also be an adventurous act of liberation, Khan (2013).This theory of vandalism and graffiti being an act of rebellion is also relevant in the article Conflict Graffiti written by Salopek (2011) where the idea that graffiti can be used as a hateful act against someone or something, described as relating to war and liberation against the wars and often a form of publicising for the rebels. D’Amico & Block (2007) goes on to explain how the rebellion label is given to graffiti, as it is an action which is breaking the law and creates economical as well as political implications to a city, a clear indication of rule breaking, and rebellion against societies ideas and laws put in place.

To create a mood of rebellion using the ideals and relations of rebellion and graffiti as stated by Lasn, Lagendre, Khan, D’Amico, Block and Salopeck the foundation behind the experience created was the idea of vandalising a finished art project, which had personal attachment to the other participant, as well as the artist on hand. To create this experience involved a set up presented much like a gallery space containing three artworks pinned to the wall, these artworks being 3 posed photos of one of the participants, with the title “senior tutor”. While taking a closer look, the participants noticed a small mark on each of the pictures, and used the cleaning material conveniently provided close by to give the work a quick clean to try and remove the mark. However the cleaning materials provided contained red and blue paint hidden inside the bottle, unseen from the outside, and so instead of cleaning the art piece, the participants vandalised the artwork in the form of spray paint, reflecting the ideas behind graffiti. To evoke the feeling of rebellion this experience was performed in front of, the artist and the person who was depicted on these pictures of art, evoking the mood and idea of rebellion through graffiti and personal attachment.

The experience contains a point in which there was a surprise element, this means to begin with the rebellious act was accidental. However, as the paint is dispersed, the participant realised, and however kept going, becoming bigger and more sure of their movements and marks against the picture. This make the act even more rebellious, as it was an accidental act of ruining a piece of artwork, however the act is continued, and more fluently completed the rebellion grows. 

The idea of personalisation in this experience helps evoke the feeling of rebellion on a more personal level along with the graffiti. To use one of the participants photos in the experience, links the art to that person, and because of this the participant feels a more personal bond to the work, Williams & Garland (2002), and so then when the piece was vandalised, not only does the action create a feeling of rebellion through liberation and graffiti, but through the feeling of ruining a fellow participant and fellow workmates photo, which makes it a more personal attack and motion of rebellion through the  graffiti and connotations of being used as a ‘hateful’ deed. Wells (2000)’s interview data collected suggests that women link personalisation of areas to their own well-being, and so because of this knowledge, the participant vandalising a personal item, will also make the connection between the participant and the item, not only rebelling in the physical action, but also mentally. The personalisation also continues in the name of the art piece being “senior tutor” the two participants have personal attachments to this phrase, and so the feeling of rebellion also comes through in this aspect as both participants relate to being named senior tutors. Because of this phrase, the rebellion can also be shown through the rebelling against the title of senior tutor, as well as who is and what is a senior tutor.

The act of vandalism and graffiti through de-facing a photo or image that resembles someone in particular is evident throughout history as an act of liberation and a form of protest. Salopek (2011) recites the movement in which protesters de-faced an image of the Mexican government as a form of rebellion and to protest and draw attention to the unjust proclamations made. A similar case is stated by Groothand (2006) where university students defaced an image of their president, and are now in jail because of this. Much like this act of vandalism and graffiti the idea of de-facing someone has a lot of history and common stereotypes behind the history of the motion and power, by naming the piece “senior tutor” the notions of power are reflected and therefore the act if graffiti on the face of the “senior tutor” comes across as a reflection of protest against power and titles.

Vandalism is reflected in the experience, as the act of graffiti and spray painting on a picture of a co-workers face, whilst they are present evokes the ideas of power positions as well as causing a scene and participating in an act that effects an individual’s emotion, however this is done in a much less influential way and evokes the emotion of liberation, and adventure through rebellion.

  Bibliography

D’Amico, Daniel J & Block, Walter (2007) A legal and economic analysis of graffiti. Humanomics 23 (1) pp 29-38 United Kindgdom

Groothand, Bob (2006) Stop rebellion against tyrants, The Augusta Chronicle. P:A04 Georgia.

Hazard, Andrea (2008) Vandalism Hurts, Current Health 1, 31 (8) p 22-25.United States

Kahn, M Ayaz (2013) Graffiti: Art, vandalism or rebellion? The statesman, 15(104) AsiaNet Pakistan (Pvt) Ltd.

Lasn, K. (2006). Design&Anarchy Vancouver: Adbusters Media Foundation

Legendre, Caroline (1989) Le délire de la rue. Psychologie Medicale 21(6)

Salopek, Paul (2011) Conflict Graffiti. Foreign Policy. 189 pp 94-95. United states

Wells, Meredith M (2000) Office Clutter or meaningful personal displays: the role of office personalization in Employee and organizational well-being. Journal of Environmental psychology 20 (3)

So ive asked for white hanging panels and a plinth and i think everything is almost ready.

I have painted the squirty bottles white so the paint wont show through

I have watered down the red face paint (red being the most rebellious colour after black) and using facepaint so that it will be easiest to clean off

Brought a plastic table cloth, that will be used as a drop cloth

Gotten the photos taken, and printed in A1 size :) the best size to fit on panels and give enough room to graffiti freely at eye level