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.
Citater från Henri Lefebvre, Chris Carnel, Sarah Thornton, Mark Mardon, Ron Allen och artiklar i tidningar Thrasher och Skateboarder. Text publicerat i Skateboarding, Space and the City: Architecture and the Body (Berg, 2001) av Ian Borden.
Ian Waelder (f. 1993) är en konstnär som bor i Frankfurt am Main i Tyskland. Waelder undersöker i sin konst förstadskulturen med hjälp av minnet. Han använder fotografiet genom att på många olika sätt kombinera det med text och skulpturer. Waelder studerar bildkonst på Städelschule i Frankfurt am Main.