A feel of rhythm and an aroma of sweat overcome my senses on this Wednesday evening as the popping sound of wooden tails and the connection of metal trucks to metal coping takes place. It's about time, it's about space. The production of urban bodily senses. Balancing, moving and responding while seeing, hearing and touching architecture.
There is concrete, asphalt and metal. There is some brick and wood. Every once in a while there is a tree. It is no mystery why the tree is there: someone planned it, just like everything is planned – and then falls apart. To be oppositional, appropriative of the city, irrational in organization. It was in the streets that spontaneity expressed itself – in an area of society not occupied by institutions – social space has assumed new meaning.
A curb is an obstacle until you grind across it. A wall is but ledge until you drop off it. A cement bank is a useless slab of concrete until you shred it. Benches, stairs, banks and smooth pavements. Citizens use some of these elements every day, almost to the point of excess, but still have no appreciation for the structure itself. Most people think handrails are for those with mobility problems. Christian Hosoi says they are for ollie nose grinds.
Tekstin lainaukset: Henri Lefebvre, Chris Carnel, Sarah Thornton, Mark Mardon, Ron Allen sekä artikkelit Thrasher- ja Skateboarder-lehdissä. Teksti on julkaistu Iain Bordenin teoksessa Skateboarding, Space and the City: Architecture and the Body (Berg, 2001).
Ian Waelder (s. 1993) on Saksan Frankfurt am Mainissa asuva taiteilija. Waelder tutkii taiteessaan esikaupunkikulttuuria muistin avulla. Hän käyttää teoksissaan valokuvaa monin tavoin yhdistellen sitä mm. tekstiin ja veistoksiin. Waelder opiskelee kuvataiteita Städelschulessa Frankfurt am Mainissa.