Unlock & wissensART present
Art & Place Conference
Bridging the Gap Between Street and Contemporary
TALKS ● FILMS ● BOOKS
Saarbrücken, Germany
1–4 May 2025
HISTORICAL MUSEUM SAAR
HBKSAAR UNIVERSITY
KINO ACHTEINHALB
Unlock & wissensART present
Art &
Place
Con-
ference
Bridging the
Gap between
Street and
Contem-
porary
TALKS ● FILMS ● BOOKS
Saarbrücken
Germany
1–4 May 2025
HISTORICAL MUSEUM SAAR
HBKSAAR UNIVERSITY
KINO ACHTEINHALB
Chalk writing self-attributed by French theorist Guy Debord, Rue de Seine, Paris, ca. 1952.
This postcard was printed by a local commercial publisher as an amusing anonymous message, first in 1953 and again in this hand-coloured version ca. 1963.
Image courtesy of Mehdi El Hajoui.
Chalk writing self-attributed by French theorist Guy Debord, Rue de Seine, Paris, ca. 1952. This postcard was printed by a local commercial publisher as an amusing anonymous message, first in 1953 and again in this hand-coloured version ca. 1963. Image courtesy of Mehdi El Hajoui.
What is
Art & Place?
Art & Place is a revealing approach to street art that links the practice to more established forms of art.
Art & Place explores the art that works with places, from graffiti to site-specific intervention, public art and land art.
Although these practices may seem distant from each other, they share a key aspect: the relation between an artist and a particular place.
A place can be a rural setting, a back alley, a neighbourhood or a whole city. In any of the diverse forms of Art & Place, the sensibility of the artist towards the surroundings determines the quality of the resulting artwork.
Art & Place identifies links between newer and more established practices and opens novel doors in both directions.
What is
Art & Place?
Art & Place is a revealing approach to street art that links the practice to more established forms of art.
Art & Place explores the art that works with places, from graffiti to site-specific intervention, public art and land art.
Although these practices may seem distant from each other, they share a key aspect: the relation between an artist and a particular place.
A place can be a rural setting, a back alley, a neighbourhood or a whole city. In any of the diverse forms of Art & Place, the sensibility of the artist towards the surroundings determines the quality of the resulting artwork.
Art & Place identifies links between newer and more established practices and opens novel doors in both directions.
Art that works with places
Is graffiti insensitive towards the place it appears on? The same has been said about the public artworks of well-respected artists.
From the large-scale sculpture in the middle of a square to the smallest furtive intervention, the quality of the art depends on the ability of the artist to understand the setting and make it work.
Society perceives great differences between these practices. However, approaching them from the prism of art reveals how they actually overlap in their essence, and creates a shared field of dialogue with untapped potential.
Art & Place provides a new and necessary framework for the charting of this transversal field encompassing furtive art, public art, urban and rural settings.
Art that works with places
Is graffiti insensitive towards the place it appears on? The same has been said about the public artworks of well-respected artists.
From the large-scale sculpture in the middle of a square to the smallest furtive intervention, the quality of the art depends on the ability of the artist to understand the setting and make it work.
Society perceives great differences between these practices. However, approaching them from the prism of art reveals how they actually overlap in their essence, and creates a shared field of dialogue with untapped potential.
Art & Place provides a new and necessary framework for the charting of this transversal field encompassing furtive art, public art, urban and rural settings.
The lost decades of street art
For its opening instalment in Saarbrücken the Art & Place Conference delves into the largely forgotten prehistory of today’s street art.
The program is developed in cooperation with Ulrich Blanché, curator of the milestone exhibition “ILLEGAL: Street Art Graffiti 1960–1995”, currently on view at the Historical Museum Saar in Saarbrücken.
Based on an extensive use of rare documentation, the exhibition proves that the history of unofficial art in the street is much longer and richer than most would suspect.
In keeping with the goals of the exhibition, this instalment of the Art & Place Conference lays a special focus on the oldest and lesser-known decades of street art and graffiti, before their international hype.
The lost decades of street art
For its opening instalment in Saarbrücken the Art & Place Conference delves into the largely forgotten prehistory of today’s street art.
The program is developed in cooperation with Ulrich Blanché, curator of the milestone exhibition “ILLEGAL: Street Art Graffiti 1960–1995”, currently on view at the Historical Museum Saar in Saarbrücken.
Based on an extensive use of rare documentation, the exhibition proves that the history of unofficial art in the street is much longer and richer than most would suspect.
In keeping with the goals of the exhibition, this instalment of the Art & Place Conference lays a special focus on the oldest and lesser-known decades of street art and graffiti, before their international hype.
Report from 1984 on local magazine Zitty about the mysterious “Shadowmen” left in Berlin by North American artist Richard Hambleton.
Report from 1984 on local magazine Zitty about the mysterious “Shadowmen” left in Berlin by North American artist Richard Hambleton.
A substan-
tiated approach
to street art
Art & Place explores street art through a new prism that brings to light the actual values of the practice.
Art & Place emphasises the quality of good street art: working sensitively with its context. This argument is effective in two different ways:
On the one hand, it allows for a new approach to the legacy of street art, a sieve to filter and highlight the quality art that deserves recognition.
On the other hand, it also accommodates practices such as land art or site-specific intervention, thus opening a novel space for the dialogue between public art and street art.
A subs-
tantiated
approach
to street art
Art & Place explores street art through a new prism that brings to light the actual values of the practice.
Art & Place emphasises the quality of good street art: working sensitively with its context. This argument is effective in two different ways:
On the one hand, it allows for a new approach to the legacy of street art, a sieve to filter and highlight the quality art that deserves recognition.
On the other hand, it also accommodates practices such as land art or site-specific intervention, thus opening a novel space for the dialogue between public art and street art.
Bridging the gap between street and contemporary
A solid space for dialogue between two artistic spheres detached from each other until now.
The concept of street art is today more slippery than ever, and its expiration date seems close. A steadfast change of conceptual course is needed, one that would provide enough perspective to review and understand what has happened over the past 30 years.
Art & Place gives access to street art through a new, substantiated framework that highlights its actual values and links them to those of other, more established art practices.
Art & Place thus creates a working bridge between graffiti, street art and contemporary art. It highlights the values of good graffiti and good street art, while inducing cross-pollination between different art audiences.
Bridging
the gap
between
street and
contem-
porary
A solid space for dialogue between two artistic spheres detached from each other until now.
The concept of street art is today more slippery than ever, and its expiration date seems close. A steadfast change of conceptual course is needed, one that would provide enough perspective to review and understand what has happened over the past 30 years.
Art & Place gives access to street art through a new, substantiated framework that highlights its actual values and links them to those of other, more established art practices.
Art & Place thus creates a working bridge between graffiti, street art and contemporary art. It highlights the values of good graffiti and good street art, while inducing cross-pollination between different art audiences.
Call for Papers
An opportunity to showcase investigations and discussions about art in public space — including street art, contemporary art and graffiti.
Deadline: 20th January 2025
This Call for Papers is open to PhD students and scholars, yet it explicitly encourages applications from non-scholars. We aim to showcase the work of researchers who operate without institutional support — published or unpublished authors, professional or non-professional photographers, rogue archivists, and independent experts who publish their work on blogs, websites and social media.
From the prism of Art & Place, a public artwork is effective when it relates effectively to its context. The Art & Place Conference is interested in papers that explore this kind of art and shed light upon its inner workings.
How did the place inspire the art? How did the art adapt to the place? How did the art change the place? Did the place change the art over time?
Was the relation between art and space fruitful at artistic, human or social levels? Was it detrimental? Did the human condition of the artist affect this relation? Are there any revealing contrasts or parallels to other cases?
What can be learned from these questions regarding art, urban and rural environments, and how artists, dwellers and passers-by relate to them?
From the prism of Art & Place, a public artwork is effective when it relates effectively to its context. The Art & Place Conference is interested in papers that explore this kind of art and shed light upon its inner workings.
How did the place inspire the art? How did the art adapt to the place? How did the art change the place? Did the place change the art over time?
Was the relation between art and space fruitful at artistic, human or social levels? Was it detrimental? Did the human condition of the artist affect this relation? Are there any revealing contrasts or parallels to other cases?
What can be learned from these questions regarding art, urban and rural environments, and how artists, dwellers and passers-by relate to them?
This Call for Papers is open to PhD students and scholars, yet it explicitly encourages applications from non-scholars. We aim to showcase the work of researchers who operate without institutional support — published or unpublished authors, professional or non-professional photographers, rogue archivists, and independent experts who publish their work on blogs, websites and social media.
Amsterdam, 1985: local graffiti pioneer Vampirella (Valesca M.) in front of her piece, with two unsuspecting policemen on a motorcycle. The wall was burnt during the street riots of Queen’s Day.
Picture courtesy of Valesca M.
Amsterdam, 1985: local graffiti pioneer Vampirella (Valesca M.) in front of her piece, with two unsuspecting policemen on a motorcycle. The wall was burnt during the street riots of Queen’s Day. Picture courtesy of Valesca M.
More than lectures
Our packed four-day program features talks, films, books, museum tours and more. Access is free to all activities.
The program of lectures will be hosted by the Historical Museum Saar, in the centre of the city and close to the river Saar.
A ten-minute stroll away from the museum is HBKsaar University, where our Book Showcase will be located.
Our evening film screening program takes place at Kino Achteinhalb, a twenty-minute walk into the alternative nightlife area of the city.
The conference program includes visits to the Völklinger Hütte, the vast industrial World Heritage Site that hosts the Urban Art Biennale. The train to the neighbouring city of Völklingen takes 30 minutes.
More than lectures
Our packed four-day program features talks, films, books, museum tours and more. Access is free to all activities.
The program of lectures will be hosted by the Historical Museum Saar, in the centre of the city and close to the river Saar.
A ten-minute stroll away from the museum is HBKsaar University, where our Book Showcase will be located.
Our evening film screening program takes place at Kino Achteinhalb, a twenty-minute walk into the alternative nightlife area of the city.
The conference program includes visits to the Völklinger Hütte, the vast industrial World Heritage Site that hosts the Urban Art Biennale. The train to the neighbouring city of Völklingen takes 30 minutes.
Film screening program
The iconic local arthouse theatre Kino Achteinhalb hosts a program of rare films on graffiti and street art featuring German and European premieres.
The Art & Place Conference presents a special program of rare and lesser-known documentary films, with a focus on the period 1960–1995.
The program highlights artists from different eras and backgrounds working without permission in public space. Its scope includes contemporary artists, street artists and graffiti writers, as well as fully outsider artists.
Among the outstanding films in the program is “Stations of the Elevated”, the milestone experimental documentary from 1981 about the founding years of New York subway graffiti. The film was directed by the recently-passed Manfred Kirchheimer, born in Saarbrücken and Honorary Citizen of the city.
Film screening program
The iconic local arthouse theatre Kino Achteinhalb hosts a program of rare films on graffiti and street art featuring German and European premieres.
The Art & Place Conference presents a special program of rare and lesser-known documentary films, with a focus on the period 1960–1995.
The program highlights artists from different eras and backgrounds working without permission in public space. Its scope includes contemporary artists, street artists and graffiti writers, as well as fully outsider artists.
Among the outstanding films in the program is “Stations of the Elevated”, the milestone experimental documentary from 1981 about the founding years of New York subway graffiti. The film was directed by the recently-passed Manfred Kirchheimer, born in Saarbrücken and Honorary Citizen of the city.
Unlock Book Showcase
The lobby of the HBKsaar Fine Arts University hosts a showcase of books about graffiti and street art.
Similar to a small book fair, the Unlock Book Showcase offers a wide display of books and fanzines for visitors to browse through and purchase.
Our Book Showcase allows time to decompress from the lectures and films, socialise with other visitors and speakers, and discover rare and conversation-sparking publications.
The Unlock Book Showcase is an ambassador to the Unlock Book Fair, the long-established international gathering of independent graffiti publishers.
Unlock Book Showcase
The lobby of the HBKsaar Fine Arts University hosts a showcase of books about graffiti and street art.
Similar to a small book fair, the Unlock Book Showcase offers a wide display of books and fanzines for visitors to browse through and purchase.
Our Book Showcase allows time to decompress from the lectures and films, socialise with other visitors and speakers, and discover rare and conversation-sparking publications.
The Unlock Book Showcase is an ambassador to the Unlock Book Fair, the long-established international gathering of independent graffiti publishers.
Guided Museum tours
Curator Ulrich Blanché hosts a series of guided tours into his milestone exhibition at Historical Museum Saar.
The exhibition “ILLEGAL: Street Art Graffiti 1960–1995” has marked a turning point in the study of the history of street art.
In a pioneering, all-encompassing approach, the show seamlessly links forms of uncomissioned public art from both the contemporary art and the street art realms, offering new perspectives and highlighting lesser-known artists.
The Art & Place Conference offers the perfect opportunity to travel to Saarbrücken and visit the show.
Guided Museum tours
Curator Ulrich Blanché hosts a series of guided tours into his milestone exhibition at Historical Museum Saar.
The exhibition “ILLEGAL: Street Art Graffiti 1960–1995” has marked a turning point in the study of the history of street art.
In a pioneering, all-encompassing approach, the show seamlessly links forms of uncomissioned public art from both the contemporary art and the street art realms, offering new perspectives and highlighting lesser-known artists.
The Art & Place Conference offers the perfect opportunity to travel to Saarbrücken and visit the show.
Work in Zurich by Swiss artist Harald Naegeli, known as “The Sprayer from Zurich”. Picture 40 of many cases filed against the artist in a trial.
Photographed between 1978 and 1979 by the Zurich City Police.
Work in Zurich by Swiss artist Harald Naegeli, known as “The Sprayer from Zurich”. Picture 40 of many cases filed against the artist in a trial. Photographed between 1978 and 1979 by the Zurich City Police.
About the conference
The Art & Place Conference Saarbrücken 2025 is produced by Unlock Bureau and wissensART Foundation.
Unlock Bureau is the cultural agency behind Tag Conference and Unlock Book Fair, the long-established events spearheading the field of graffiti and street art studies.
wissensART is a German foundation engaged in urban art and contemporary culture through content creation and working partnerships.
Director
PhD Javier Abarca, ES
Production
Ulrich Blanché, DE
KP Flügel, DE
Marita Brinkmann, DE
Head of the Scientific Committee
PhD Ulrich Blanché, DE
Scientific Committee
PhD Orestis Pangalos, GR
Prof. Susan Hansen, UK
PhD Javier Abarca, ES
Chair
Prof. Susan Hansen, UK
Advisory board
Prof. Rafael Schacter, UK
Prof. Lachlan MacDowall, AU
PhD Edward Birzin, US
PhD Pedro Soares, PT
Prof. Ilaria Hoppe, AT
Prof. Richard Brook, UK
Prof. Thomas Huot-Marchand, FR
David Demougeot, FR
Tobias Barenthin Lindblad, SE
Support
Saar Historical Museum
HBKsaar University
Kino Achteinhalb
Additional support
Filmhaus Saarbrücken
Saarland University
Völklinger Hütte
About
the con-
ference
The Art & Place Conference Saarbrücken 2025 is produced by Unlock Bureau and wissensART Foundation.
Unlock Bureau is the cultural agency behind Tag Conference and Unlock Book Fair, the long-established events spearheading the field of graffiti and street art studies.
wissensART is a German foundation engaged in urban art and contemporary culture through content creation and working partnerships.
Director
PhD Javier Abarca, ES
Production
Ulrich Blanché, DE
KP Flügel, DE
Marita Brinkmann, DE
Head of the Scientific Committee
PhD Ulrich Blanché, DE
Scientific Committee
PhD Orestis Pangalos, GR
Prof. Susan Hansen, UK
PhD Javier Abarca, ES
Chair
Prof. Susan Hansen, UK
Advisory board
Prof. Rafael Schacter, UK
Prof. Lachlan MacDowall, AU
PhD Edward Birzin, US
PhD Pedro Soares, PT
Prof. Ilaria Hoppe, AT
Prof. Richard Brook, UK
Prof. Thomas Huot-Marchand, FR
David Demougeot, FR
Tobias Barenthin Lindblad, SE
Support
Saar Historical Museum
HBKsaar University
Kino Achteinhalb
Additional support
Filmhaus Saarbrücken
Saarland University
Völklinger Hütte
PRESENTED BY
WITH SUPPORT FROM
ADDITIONAL SUPPORT
PRESENTED BY
WITH SUPPORT FROM
ADDITIONAL SUPPORT
French graffiti pioneers Bando and Blitz posing in 1984 in front of their work at Stalingrad, the massive empty lot in the centre of Paris that would become the first iconic graffiti hall of fame in Europe.
Photograph by Claude Abron.
French graffiti pioneers Bando and Blitz posing in 1984 in front of their work at Stalingrad, the massive empty lot in the centre of Paris that would become the first iconic graffiti hall of fame in Europe. Photograph by Claude Abron.