SUBVERTED SPACES
Subverting public space is a way of hacking and reclaiming urban spaces taken over by commercial interests or privatization. A form of media subversion, it alters advertising and reminds us that public spaces should serve the public interest. Subvertising, rooted in situationism, visually hacks advertising spaces to initiate reflection on propaganda and its impact on public spaces, while provoking thought about direct democracy.
This practice, with its combination of “subversion” and “advertising,” creates parodic or satirical advertisements that critique mainstream advertising’s manipulative nature. Through public posters that merge billboard aesthetics with new artwork, subvertising brings the context of public spaces to the forefront. This media activism challenges the status quo and stimulates thought and discussion about the power and influence of advertising in society. By creatively rethinking the norms, rules, and uses of public spaces, subverted spaces encourage us to question the imagery we are confronted with in the public space.
Introduction
In the chapter SUBVERTED SPACES you experience art as a form of creative resistance against the overwhelming commercialization of public space. Subversion means revolt and upheaval. Subversive art is always looking for new ways to reclaim areas of the city. This art intervenes in urban advertisement and reminds us that public space is meant for all of us.
Subvertising – a combination of the terms “subversion” and “advertising”—describes the hijacking of advertising space in a creative and often satirical way. With subvertising, we experience works of art when we were supposed to be mere consumers. The artists encourage us to reflect and to ask questions: how much power do commercial images have, and who determines the rules and purposes of urban space? And how can we reclaim this space?
OX
French artist OX has been working in public spaces for almost forty years. His approach is characterized by an artistic rebellion against conventional definitions of art and urban space, which makes his works particularly exciting and innovative. He uses billboards, which he transforms in discerning and humorous ways. His most important influences are pop art and the urban art pioneer Jean Faucheur.
OX works with optical illusion and color patterns in connection with the direct environment. In describing the development of his artworks, OX says, “I am interested in the landscape, architecture, signage, street furniture, advertising or even shadows.”
In his work, the original commercial content is transformed into something new and dynamic. This is achieved by applying clear graphic shapes and bold colors, sometimes by cutting out and deliberately tearing off parts of the advertising poster.
For the exhibition LOVE LETTERS TO THE CITY, OX has created a series of new artworks on billboards all over Berlin. Here in the museum, his site-specific works can be seen on the interactive map and also in our media guide. The background wall panel you see was originally in his studio, and on it OX prepared the new interventions for Berlin's urban space, which were then installed on the street. They will eventually succumb to the ephemeral nature of the street, whereas the ghosts of the paintings remain permanently and are presented here in the museum. That’s why the artist describes the installation of the large plastic tarpaulin sheets as a “ghost painting.” We recommend examining it more closely as well as watching the video that captures his actions in the city. There’s no doubt you’ll enjoy the surprising ways his art interacts with its surroundings: as an extension or continuation of the world around it.
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