TOTHROWUP: AN ATMOSPHERIC VIEW ON THE GRAFFITI WORLD

_Throw-Ups

TOTHROWUP is the name of a Cologne-based collective dedicated to the documentation of graffiti – and its name says it all: their examination of the nowadays highly differentiated field of graffiti is concerned exclusively with the documentation of so-called throw-ups (and tags), i.e. relatively ‘simple’ and unpretentious writings in public space, which focus on reduced colours and the contour as a form-giving element. Outline. Fill-in. That’s it. What attracts the collective to throw-ups are two aspects in particular: “On the one hand, […] to implement something ‘fancy’ with simple means. Secondly, in our opinion, there is unfortunately not much that really focuses on throwies as something independent. Throw-ups are often seen as trivialities, which are quickly ‘put up’ with leftover cans and then painted over by the next person with a ‘real’ picture. We would like to give more appreciation to throw-ups as a whole and convey their very special aesthetics”, TOTHROWUP remark.

Documentary insights in print, photo and video

It should be emphasized that the group does not see themselves as artists (m/f), but at best as documentarists (m/f). “We provide extracts of documentary insights into areas of the graffiti scene. We cannot relate so much with the concept of art”, they describe their practice. “The origin dates back to the turn of the millennium, when we started to document our strongly youth-subcultural environment with camcorders and cameras. Videos on VHS and DVD were still very important at that time, because platforms like YouTube didn’t exist. So we got ourselves a relatively crappy editing program and released our first video on DVD after about a year. At that time, it was mainly about skateboarding, BMX and motocross. But we also had some small graffiti parts in the videos. After a few years the focus shifted more to photography and print media. Video productions only played a role again much later”, TOTHROWUP explain. While the motivation for them, according to their own statements, was initially to document current events as well as possible – “no one else did that and it seemed important to us” – today they are mostly interested in providing an alternative view on the graffiti scene. Having started as autodidacts, they have acquired all the skills that go into their projects themselves over the years. “In addition, our equipment is very manageable and ‘low budget’. However, that is precisely the attraction for us: to create something decent out of simple, reduced things.”

Regarding their sphere of action, Cologne is in a central position. “Cologne is our base and we have a special connection to Stuttgart. But in our feed you can also find photos from Leipzig, Berlin, the Rhine-Main area or various regions in southern Germany”, TOTHROWUP reply. Cologne seemed a bit repulsive to them at first, but a second look revealed many interesting aspects. “It’s worth taking a closer look and if you open your eyes, there’s quite a lot to discover! The scene here is generally very warm, connected and you can definitely make a noticeable contribution. We see it more as an advantage that Cologne is currently not as trendy and crowded as Berlin, Leipzig or Hamburg. In the end, you’ll always find a nice spot and there’s always something to do if you’re in the mood.” And for all Cologne residents (m/f), TOTHROWUP also have a little tip to share: “In terms of favorite spots, we can only urge everyone to simply take a close look at both sides of the Rhine. This early medieval Rhine side hate is complete nonsense! The Schäl Sick is just as pleasant to us as the districts on the left bank of the Rhine.”

However, TOTHROWUP only consider collaborating with other writers (m/f) if certain preconditions are given: “[First of all,] the people should of course be really into throw-ups and hits, and last but not least, sympathy plays an important role. You won’t get very far with us if you do chavvy shadow boxing moves or topless push-ups on the backjump. In other words, we’re not interested in useless mackers (m/f) and if people have any kind of unfortunately not so rare views in the direction of sexism, homophobia or racism, there will certainly be no cooperation”, TOTHROWUP clarify their position.

Atmospheres and perspectives

It is now more or less a common understanding that documentation is of great importance in the field of graffiti – and TOTHROWUP also share this opinion. “Since graffiti is usually a very short-lived and ephemeral matter, we would classify the documentation of it as quite relevant. Take trainwriting for example: Who still remembers the people who were active ten, twenty or even thirty years ago? Moreover, the scene is constantly in rapid change. What often remains are only photo or video documentation and a handful of blurred memories that at some point mutate into pale myths – or disappear completely. But also with the recordings it depends of course whether these disappear in private archives, or are kept, e.g. in a book. If you want to know what was going on in Stuttgart in the past, we recommend a look at ‘Sprüher im Rudel’. In Cologne, glimpses into the past seem to us more associated with detective work”, TOTHROWUP note.

However, the group is not interested in perpetuating the image of graffiti that has been reproduced millions of times by the mass media. Rather, their practice focuses on an alternative approach and wants to open up new, additional perspectives. TOTHROWUP explain: “In general, we would like to offer an alternative view on graffiti and do not simply want to repeat again and again what has already been reproduced a thousand times.” Thus, their documentation is by no means about the blunt filming or photographing of graffiti or graffiti actions, rather they always try to bring in their very own points of view and perspectives.

The focus of their practice lies in capturing and conveying atmospheres. “If you look closely, painting in reality often takes the least amount of time and the result is the most important. In many documentaries, however, the focus is often precisely on this, which sometimes equals a real proof. We are not interested in this at all. We are much more into conveying a feeling for the atmosphere, connecting the painting process with it, and attaching just as much importance to the surroundings. In any case, we are enormously pleased every time a video appears that clearly stands out from the crowd – which unfortunately happens rarely. But maybe we also inspire one or the other person with our work to try something new”, TOTHROWUP contiue. If you look at their work, it quickly becomes clear what they are talking about. Often their photos do not show the action of painting itself, but take the viewer (m/f) on a journey into a world off the beaten track: to empty grounds, abandoned buildings, along railway lines, in underground shafts and tunnels. In this way they provide an alternative view on the city and reveal the parallel world experienced and lived by writers (m/f) in their everyday practice (cf. Abarca, a). Scrolling through their Instagram account resembles an alternative city walk, revealing one of the essential characteristics of graffiti ‘making’: the exploration and reinterpretation of the environment. The action of writing remains permanently present in their photographs not in spite of, but precisely because of its absence. What is offered to the viewer (m/f) is a permanent oscillation between the absent and the present, the visible and the invisible, which creates an enormous picture-inherent tension and density. “For us, the daily search for new spots is directly related to the exploration of the urban environment”, TOTHROWUP note. “Both things are interrelated, quite automatic. How many spots we discovered just on the way to another spot… And just because a fence, a door or even a prohibition sign appears somewhere, it doesn’t mean that there’s no way out. There is always a way. So far, it has always been worthwhile to take detours or turn off where you had no business before. And frankly speaking, we prefer to take pictures when not everything is painted all over yet”, TOTHROWUP tell with regard to their documentation practice.

b/w compositions

A look at TOTHROWUP’s works makes it clear that for them, identifying alternative perspectives and conveying atmospheres always goes hand in hand with exploring formal aesthetic criteria. For example, great importance is attached to the play of light and shadow as well as the inclusion of the night as an independent actor. “For us, darkness has actually always been more interesting – from an aesthetic point of view and as a challenge. Of course, this can be solved technically, for example with particularly bright lenses, but also creatively”, TOTHROWUP explain.

And they continue: “Since we are not so technically skilled, we put more emphasis on perspectives and image composition. For example, there is a strict ban on GoPro recordings or placing the camera on the ground while filming. A steady hand with a sense for perspectives is indispensable for us. In addition, the locations play an equally important role. Without including the environment and the atmosphere around it, our videos wouldn’t work at all”, TOTHROWUP explain.

Against this backdrop, the recourse to pure black-and-white shots is only logical, as it reflects their preference for formal-aesthetic reduction and limited means – this time on the level of reproduction. “The idea actually came from the black-and-white throw-ups, which have a longer tradition in Cologne. In this context, it was the logical consequence for us to record the whole thing in grayscale as well. Black-and-white shots convey a very special, somehow unreal atmosphere and also give us a few more options, for example, when it comes to filming in difficult lighting conditions”, TOTHROWUP remark.

At the same time, however, the music also plays an important role. Sometimes it takes over a strong rhythmic function, sometimes it serves the ironic refraction. This may be due to the fact that TOTHROWUP are musically very versed. They explain: “Since we have a musical background ourselves, our video soundtracks enjoy a special status. Movies like ‘Sweet Dreams’ or ‘Endless Illusions’ have shown relatively early on how cool a neat choice of music can be for the overall atmosphere of such a flick – especially when explicitly cut on it. The music selection of both videos was rather unconventional until then and many tracks can still be found in countless playlists today.” In their own music selection, they proceed predominantly intuitively: On the one hand, they try to offer a wide range, but on the other hand, they also rely on surprise effects. “Our selection depends, of course, on what we currently like ourselves. We always try to keep the whole thing quite diverse and also like to surprise by using one or another stylistic contrast. We often modify certain tracks to our taste, employing them only briefly or interrupting at points where you really get going. But that also describes quite appropriately what our videos are in the end: Small glimpses of short-lived events, with a demand to incompleteness and a desire for more. At other points, however, we take our time, for example in the 2nd episode of our video series. A special thanks goes out to PISTOLPOSSE, who regularly provide us with first-class beats for free!”

Intermedial re-readings

TOTHROWUP are aware of the fact that graffiti lives from spontaneity – that is why they also give enough space to chance in their work. “In fact, there is relatively little planning behind everything we do. Of course there are certain ideas or concepts that we pursue, but since everything always turns out differently than planned, especially in the area of graffiti, our project lives mainly from spontaneity. The best shots and situations have always been spontaneous. And even with Episode 06, which was a remake of the video clip ‘Throw Dem Gunz’, the best shots and spots only emerged spontaneously during the shoot”, TOTHROWUP tell us. However, TOTHROWUP vividly prove in their videos that spontaneity and conceptual thinking do not have to be opposites, but can also form a fruitful combination. Thus, each of their videos is dedicated to a certain topic in a certain sense. TOTHROWUP explain: “While Episode 01 from the TTU-SERIES is simply about a five-day visit to Stuttgart, Episode 02 is really conceptual. The title ‘EMPTY WARREN’ refers to the lyrics ‘The warren is empty’ by the band ‘Fall of Efrafa’, which refers to the 1972 novel ‘Down by the River’ by Richard Adams. The story is about a group of wild rabbits, which one day have to leave their burrow and go through life-threatening adventures together in search of a new home. Our episode examines the abandoned rabbit burrow – so we only shot at abandoned spots and so-called non-places”, TOTHROWUP explain.

And the reference to other media, genres and disciplines is not uncommon within their work, as the following statement proves: “In our ‘DESTRUCTORS’ video, as another example, we refer to the short story of the same name by Graham Greene from 1954, which is discussed in the film ‘Donnie Darko’. The main protagonist, Donnie, questions whether the ‘senseless’ destruction of something can be creative. And that was exactly our starting point.” So it’s about topics like destruction, vandalism, censorship and negation – not understood as an end point, but as a possibility to move on, to overcome and as a motor for creativity. This again underlines TOTHROWUP’s experimental approach to the medium of video, through which they keep trying new things. “In its own way, each of our videos is a little experiment, and that alone teaches us a lot each time. [We] like to experiment with different stylistic elements and always try to find new solutions to somehow realize certain ideas”, they explain.

Involuntary complicity

The examples given here clearly demonstrate that TOTHROWUPs photos and videos far exceed the status of pure documentation. Rather, they cultivate an alternative, partly experimental approach to the phenomenon of graffiti and thus set a counterpoint to the assumptions and descriptions of graffiti formed by the mass media and reproduced millions of times. The unbiased interplay of spontaneity and strict composition creates an enormous visual density within their works and ensures a high degree of pictorial tension. The great added value of their works, however, lies above all in showing a practice, making it tangible and palpable by not showing it at all – at least not explicitly. Locations appear impressively singular, site-specific, and yet seem to be interchangeable at will. Put another way: TOTHROWUP take their viewers (m/f) into a parallel world far away from common routes and visual habits and offer an alternative way of exploring the city. In doing so, they follow the protagonists of the graffiti world (m/f) and let the viewers (m/f) become accomplices (m/f) of a practice situated in illegality.

It remains to be seen with which projects and actions the collective around TOTHROWUP will surprise the graffiti world in the future. But one thing should be pointed out in the end: “Currently, we are not actively working on a new print medium, but actually the idea of a TOTHROWUP magazine is pretty close to being planned. If we launch that, it will initially be in print only. Digitally only sometime, when it is totally out of stock and already pretty old… ”, TOTHROWUP reveal. So you may be curious.

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youtube.com/channel/UCMB80LR71CrrXEaYK9z6ncg

References
Abarca, Javier (no year): Exploration Workshops.
www.javierabarca.es/en/workshops/exploration/ (accessed on: 11.11.2020).

German quotes were translated into English by the author.