Hugo Kaagman-Stencil [email protected]

Transcription

1 3. Sprayin g in Gallery ANUS, 1979, and on the me t ro b uil ding, 1 9 7 8.
012 | St en cils an d tags f or the Grand P rix de Graffi ti , Gallery ANUS, 1979.
l e b o w sk i p u b l i s h e r s 2 0 0 9
Hu g o K a a g m a n
Stencil King
© Hugo Kaagman, Amsterdam, 2009
© Lebowski Publishers. Amsterdam, 2009
© introduction Tristan Manco, 2009
© texts Oscar van Gelderen & Hugo Kaagman, 2009
© translation Judith van der Wiel, 2009
Editorial assistance Rick Lightstone
Book designed by DPS & Hugo Kaagman
Cover designed by Davy van der Elsken
Cover photograph by Jos van der Tol
Photographs by: © Erwin Olaf (6), Ido Vunderink (8, 15, 18, 20, 21) Henk Schiffmacher (17),
Edo Kuipers (41, 42, 43, 53, 55, 56, 59, 60, 61, 62, 63, 73, 81, 110, 113), Peter van Roon (44),
José Mélo (46), Ron Zijlstra (57, 58), Melcher de Wind (120), Frank Berbée (151)
formulering Rick Lightstone XXX
NUR 640
ISBN 978 90 488 0275 3
www.kaagman.nl
www.stencils.nl
www.artkitchen.nl
www.lebowskipublishers.nl
Lebowski Publishers is an imprint of Dutch Media Uitgevers bv
Hu g o K a a g m a n
Stencil King
to Waterloo Station
Before the Internet revolution, the only way to appreciate graffiti art was to experience it first hand. As a teenager
growing up in England in the early 80s, my knowledge of
graffiti was limited to what I could find in my own city or
rare glimpses in magazines and movies. Today graffiti from
around the world is available to view at the click of a button, but back then if you didn’t see it yourself you would be
completely unaware of its existence. So it was with some
degree of luck or fate that I first came to know Hugo Kaagman’s work during an art college trip to Amsterdam in 1986.
While most of my fellow students were more interested in
getting stoned I was having my own epiphany as I stumbled
across a giant wall of Kaagman’s stencilled art alongside the
Waterlooplein flea market. Seeing this amazing wall made
up of hundreds of different stencils was 2, and something
that was to have long lasting influence on me. I had seen
some stencil graffiti before in books, but this wall was my
first real understanding of the power, versatility and simple
fun of stencil art.
graffiti perfectly reflected its alternative scenes. Amsterdam
was known as a hub for alternative lifestyles, nightlife, its
squatter movement, as well as an appreciation for comic art
and Modern art. All of these elements influenced the local
graffiti scene and were influences in Kaagman’s art. Amsterdam and Rotterdam were also some of the first European
cities to embrace the New York style of graffiti, which further added to local enthusiasm for graffiti culture.
During the 70s and 80s, graffiti culture was growing globally but locally it was widely different from country to country, city to city and sometimes even from borough to borough. Without the instant global communications we have
today, local graffiti scenes were more specific to one city,
flavoured by their particular arts scene, culture and politics.
In a progressive place like Amsterdam, Kaagman’s stencil
Through my research into stencil graffiti history I’ve often
come across artists who have been a great influence at a particular time and place. For instance, in Bristol at the end of
the 90s, Banksy’s work started a huge craze across the city
for stencil art where once there had been no stencils at all.
Similarly in the 1980s Blek le Rat’s work in Paris and Alex
Vallauri’s stencil art in Sao Paulo ignited local stencil graffiti
scenes. The same can be said of Kaagman, whose work has
inspired generations and put The Netherlands on the stencil graffiti map. Kaagman’s work spans many decades, during which time, fashion and styles have changed and been
revived again and while his work has continually evolved
it still somehow stays true to its original punk spirit and a
passionate obsession for his craft. In his personal work and
commissions for well known institutions, Kaagman always
conceives and executes his ideas with a great sense of humour and with an eye to entertain and inspire his audience.
In 2008 it was a huge pleasure to be able to invite Hugo to
London to take part in an international celebration of stencil art, otherwise known as the Cans Festival. Set in a 200
metre long bricked Victorian subway underneath Waterloo
station, the entire tunnel was given over to stencil artists
from around the world to create a vast subterranean art gallery. Initially the location was kept secret, and disclosed only
to the invited artists who spent a week undercover installing their work. On the last day the address was revealed to
the public. The public reaction to the show was incredible,
over the first three days the festival received 30,000 visitors
and after the initial festival the space remained open to the
public. The 50 artists who were invited, including the worldrenowned Banksy, came from 15 countries. At the same time
651 members of the public registered to add their own work
to the walls, reminding us of how inclusive stencil graffiti
can be. Hugo’s work caught the eye of many visitors who
took hundreds of photographs, over 50,000 photographs
tagged “Cans Festival” can now be found on the Flickr website. The festival was also an important showcase, which
highlighted the variety and scope of stencil art. As this book
also illustrates the infinite possibilities for creativity and expression using the simple medium of stencils by one artist
– Hugo Kaagman – the stencil king...
Tristan Manco, Hove, East Sussex, November 2009
From Waterlooplein
‘In 1976 I spent three months at Bab Boujeloud in Morocco.
There was a general sense that the end of days was drawing near.
The driving force, Dr. Rat a.k.a. Dr. Death a.k.a. Frits Zanzibar.
All of this under the motto: black and white unite and
fight.
The blue gate of Fez.
Boredom.
In 1978 he was proclaimed the winner of our Prix de Graffiti, and he died in 1981, from an overdose.
I wanted to figure out what to do with my life.
Nuclear missiles.
I was actually putting into practice the social geography
I’d studied at university.
The neutron bomb.
Watching My Name Go By by Jon Naar and Norman Mailer, a book from 1974, was our Bible.
I didn’t want to be a punk leader, I wanted to be a hidden
persuader. I was also a bit older than most of those other
guys. I considered punk an anti-culture, I was more of
an ideologist who wanted to put everything into a wider
perspective.
I moved to Amsterdam-East.
We wrote our names, we wrote for ourselves.
Sniffin’ Glue, the punkzine that was also an eye-opener
for me, was the example for the KoeCrandt, photocopy
art, mail art, but it also related back to Fluxus, just like the
happening during the opening of the metro on Weesperplein in September 197 7.
That was punk, too.
It coincided with the emergence of gangs like the Hells
Angels and the Kreidler gang that were also based in Amsterdam-East.
To me, punk was neo neo-dada, it was the rock ’n’ roll
swindle made real, it was our revolt against the generation of 1968, don’t trust the hippies, it was shaping chaos,
it was innovative. Our hair was cut short, we had stickers,
badges. Do it yourself. Take action. Don’t slip into apathy.
What was also funny was that we made it seem like we
were this huge army, the city was covered in our names,
but all we really were was an army of aliases, a group that
consisted of only a few people.
After that came punk club DDT 666, founded in 1978 by
Dr. Rat, Diana Ozon and me, because they wouldn’t let us
in to Paradiso and the Melkweg.
If the world is going to end, this is your last chance.
Participative observation…
Those kids who hung around the gate spoke twenty languages, they could tell instantly what country people
were from, they were totally high, it was all-round theatre, a ready-made happening.
It was situationism on the streets.
I decided: I’m going to be an artist.
And I thought: there are countless similarities between
punk and Africa, the notion that you have only yourself
to rely on to get things done is a daily reality here.
I returned to Amsterdam in March of 1977, and became a
squatter.
My pseudonym was Amarillo.
Between 1978 and 1982, it was mostly punk graffiti that
turned up throughout the city. Dr. Rat wrote all over tram
seats, especially tram number 666, and he and Dr. Junk,
CAT 22, Attack, Zoot, EGO, N-Power, Mr. Mono, Walking Joint and Vendex put their tags on Waterlooplein.
At the club we played punk and reggae, which has always
proven a good mix: the calm and dope of the Rastafari
somehow matched remarkably well with the aggression
and speed of the punks.
The Malcolm McLaren of the Dutch punk movement, if
you like.
Pompeii graffiti: if they drop the bomb, at least you’ve
written your own epitaph.
I made my first stencil in 1978.’
seventies
0 1 2 S t e n c i l s a n d ta g s f o r t h e G r a n d P r i x d e G r a f f i t i , G a l l e r y AN U S , 1 9 7 9
0 1 3 S p r ay i n g i n G a l l e r y AN U S , 1 9 7 9 , a n d o n t h e m e t r o b u i l d i n g , 1 9 7 8
0 1 4 C o m i c s t o r y f o r p u n k fa n z i n e t h e K o e C r a n d t, 1 9 7 9
0 1 5 S t e n c i l e d s p r ay- pa i n t i n g s , 1 9 7 9 , a n d s p r ay a c t i o n , 1 9 8 0
0 1 6 S t e n c i l e d s p r ay- pa i n t i n g s o n pa p e r , 1 9 7 9
0 1 7 E x t e r i o r w a l l o f G a l l e r y AN U S , ta g s a n d T- s h i r t s , 1 9 7 9
0 1 8 S t e n c i l e d s p r ay- pa i n t i n g o n c a n va s , 1 9 7 9
0 1 9 S p r ay i n g w a l l s i n S e n e g a l , 1 9 7 9 , a n d T h e G a m b i a , 1 9 8 0
012 | St en cils an d tags f or the Grand Prix de Graffi ti , Gallery ANUS, 1979.
0 2 1 S t e n c i l e d s p r ay- pa i n t i n g s o n pa p e r a n d c a n va s , 1 9 8 1
0 2 3 S p r ay i n g ‘ T h e M i l k m a i d ’ o n t h e R i j ks m us e u m , A m s t e r d a m , 1 9 7 9
0 2 4 Mu r a l s i n A m s t e r d a m , 1 9 8 1 , a n d b a n n e r s , 1 9 8 1
1 3. Sprayin g in Gallery ANUS, 1979, and on the me t ro b uil ding, 1 9 7 8 .
‘After DDT (1978) came gallery Anus (1979), came gallery
Ozon (1980), came gallery Zebra (1981).
I became a paperless ideologist.
Aorta was also founded in 1980. Riots at the crowning of
Beatrix. The city was on fire. Apocalypse.
I used the ornaments and patterns as the source, the
frame, and I merged that with the beauty of tradition. To
that I added contemporary issues and topics.
Punk was past its prime in 1981-1983, it was followed by
New Wave.
Those commissions allowed me to find my niche, and I
alternated that work with illegal stuff.
And then of course came 1984: the Orwellian vision of
the police state.
In 1984-1985 New Wave gave way to yuppiedom, the advent of pragmatism.
Nobody was doing well.
In 1983 I made a legalised fence mural on Waterlooplein,
a KoeCrandt on panels, sixty metres of political and social
commentary, Arabic patterns, zebra motifs.
In 1984 the rise of American graffiti was a fact. In his gallery, Yaki Kornblit had people signed up on waiting lists
to buy those works. They sold like mad.
Big pieces throughout the city.
1985 came around: hip hop culture – this is the music, this
is the dance and this is the art. In your face.
The rise of the United Street Artists in Amsterdam.
Shoe.
Bubble letters and wild style became popular, that gave
the whole deal a push forward, I liked wild style, that
turns it into art.
Legible letters were too much of an ego trip to my taste.
In 1986 the media declared graffiti dead; USA quit, became an advertising agency. Graffiti didn’t generate much
of an income you see, and a lot of those Americans went
back to their paper routes.
Between 1985 and 1990 I started to paint on canvas, in
a studio. I felt a kinship with Rob Scholte, his views on
post-modernism, copyright, how everything’s been
done, and that there’s nothing you’re not allowed to use.
That’s an especially useful concept when you work with
stencils.
He was a man with a definite noetic gravity, and his attitude appealed to me – not a brush stroke, but the intellectual approach.
The art world in the Netherlands – don’t forget that yuppies had entered the arena – ran parallel to New York.
And so, everybody wanted to own art, it was a status
symbol, things were positively brimming over, there was
massive attention in the media, there was loads of money,
we sold a lot.
I held my first exhibition in 1988 at The Living Room,
which was the hottest gallery back then. I showed predominantly abstract works with patterns. According to
the gallery, the days of Rasta and punk were over, all they
cared about was what they could sell.
I was introduced to the official art world, with its trendsetters, the policy makers, the coke snorters. I didn’t
know the lay of the land, but I wanted to belong, I wanted
to push forward, I wanted to put my mark on society, because although you can accomplish a lot from down on
the streets, you really do need the cultural elite.
Or so I thought.
In 1985 I was commissioned to work on the Transvaal
tunnel near the Parool building.
Delta.
Damn. Another city gate.
High.
He played the money game, he preceded Jef Koons in that
respect.
I learned an important lesson: what you don’t say can’t be
used against you.
I thought to myself: now I’ve evolved from ideologist to
artist, and I’ve found my means of expression.
Joker.
Art’s no good until it sells.
And that’s how things went until the first Gulf War in
1992.
Jaz.
Business art.
They didn’t give a toss about delivering a message. Messages were for answering machines.
It all relates back to Warhol - anything can be art.
The collage.
I could put more into that than I could in the writing.
But for me personally, the eighties came to their definitive end in 1994, with the attempt on Rob Scholte’s life.’
eighties
0 3 0 T h e i n t e r i o r a n d e x t e r i o r o f t h e Z e b r a H o us e , 1 9 8 0
0 3 1 W o r k i n g o n t h e Z e b r a f e n c e , 1 9 8 3 a n d Z e b r a H o us e , 1 9 8 1
0 3 3 Z e b r a pat t e r n a n d s t e n c i l e d Z e b r a s p r ay- pa i n t i n g , 1 9 8 1
0 3 4 O v e r v i e w W at e r l o o p l e i n m u r a l f e n c e , 1 9 8 3
0 3 5 Z e b r a h o us e a n d Z e b r a f e n c e , 1 9 8 3
0 3 6 W at e r l o o p l e i n m u r a l f e n c e , 1 9 8 3
0 4 1 ‘ Z e b r a A h e a d ’ , s t e n c i l e d s p r ay- pa i n t i n g o n c a n va s , 1 9 8 8
0 4 2 ‘ C o n g o m a n ’ , s t e n c i l e d s p r ay- pa i n t i n g o n pa p e r , 1 9 8 1
0 4 3 ‘ B a b B o u j e l o u d ’ , s t e n c i l e d s p r ay- pa i n t i n g o n c a n va s , 1 9 8 9
0 4 4 Pa i n t i n g o n t h e T r a n s va a l t u n n e l , A m s t e r d a m , 1 9 8 5
0 4 7 Pa i n t i n g o n t h e e n t r a n c e o f t h e T r o p e n m us e u m , A m s t e r d a m , 1 9 8 7
0 4 8 Pa i n t i n g o n a p i l l a r i n t h e M i n i s t r y o f S o c i a l A f fa i r s , t h e H a g u e , 1 9 8 7
0 4 9 Mu r a l d u r i n g t h e Cu lt u r a l C a p i ta l F e s t i va l , At h e n s , G r e e c e , 1 9 8 5
0 5 0 Mu r a l i n t h e M a r c o M o uss o u r o u s t r e e t, At h e n s , G r e e c e , 1 9 8 5
0 5 1 Mu r a l i n t h e M a r c o M o uss o u r o u s t r e e t, At h e n s , G r e e c e , 1 9 8 5
0 5 2 Pa i n t i n g o n a B r uss e l b us f o r t h e Cu lt u r a l C a p i ta l F e s t i va l , 1 9 9 3
0 5 3 ‘ H aw a i i ’ , s t e n c i l e d s p r ay- pa i n t i n g o n c a n va s , 1 9 8 9
0 5 4 ‘ R e v o l u t i o n ’ , c e r a m i c p l at e , 1 9 9 6
0 5 5 Ru Pa r é S c h o o l , f i r s t m u r a l , A m s t e r d a m , 1 9 8 7
0 5 6 Ru Pa r é S c h o o l , s e c o n d m u r a l , A m s t e r d a m , 1 9 9 0
0 5 7 Ru Pa r é S c h o o l , t h i r d m u r a l , A m s t e r d a m , 2 0 0 5
0 5 9 ‘ M o sk ’ , s t e n c i l e d s p r ay- pa i n t i n g o n c a n va s , 1 9 8 9
0 6 0 ‘ V i v e l a F r a n c e ’ , s t e n c i l e d s p r ay- pa i n t i n g o n c a n va s , 1 9 9 4
0 6 1 ‘ H o ku w av e s ’ , s t e n c i l e d s p r ay- pa i n t i n g o n c a n va s , 1 9 9 2
0 6 2 ‘ P i s a G o d ’ , s t e n c i l e d s p r ay- pa i n t i n g o n c a n va s , 1 9 8 8
0 6 3 ‘ T i m e C o n q u e r o r ’ , s t e n c i l e d s p r ay- pa i n t i n g o n c a n va s , 1 9 8 8
‘In 1990 I decided to explore the Netherlands, to study
the Netherlands as an anthropological phenomenon, to
take it in the way a foreigner would. I opted against shifting my focus to far-away places and instead decided to
approach the Netherlands with an open mind, making a
fresh start.
I thought back to punk, because of its bipartite nature:
either the world ends and you’ve rebelled against it, put
up a fight, or the world keeps on turning and you’ve prepared yourself, you’ve turned your hobby into a career.
I took the bus to the Keukenhof – the only Dutchman in
the tour group.
Babylon did not fall.
We stopped at a souvenir shop in Delft.
That’s where the penny dropped: there must be a better
way.
Tripping in bed, a two-week bout of the flu, I was looking
through a reference work on Chinese earthenware and I
came across Delft blue, pieces from the Ming dynasty.
I had to keep on working. The world had not ended.
It had taken a while, but it finally dawned on me: essentially, it’s about doing the right things at the right time.
I discovered the world art behind Delft blue, that it traced
back to Chinese porcelain. That it was popular in the
Netherlands as early as 1600, and there was even such
a thing as Chine de commande, that Western prints on
porcelain were made to order in China, but that the Delft
blue industry as such had vanished completely as little as
two hundred years later.
So much more beautiful than the Dutch pieces.
Delft blue has become my trademark.
I set to work.
At that time, this was looked at with utter disdain. In the
Netherlands, you weren’t supposed to dive into your own
culture, into common tastes, popular sentimental songs,
Dutch blues; that was all a joke.
The early nineties were horrible, jealousy reigned supreme. Nevertheless, there was the Netherart exhibition
in New York in 1993, a group show with ten young Dutch
artists, but it was in the midst of a financial crisis, and we
sold nothing.
I personally brought Delft blue back to Asia in 1994, when
I worked on Rob Scholte’s major project in Japan, Après
nous le déluge. I painted the garden doors of the replica of
the Huis ten Bosch palace in Nagasaki.
To me personally it didn’t make much of a difference: the
scenes ebbed away, and I became a solo artist. The train
was moving and kept on doing so, and I created my own
works, regardless of the general current, of the others, of
popular taste.
In 1996 British Airways commissioned me to decorate
the tailfins of nineteen of their Boeings. The project was
called World Tails, and it led me back to world music from
the eighties.
Artists from all over the world were asked to participate,
bringing everything full circle, the recurring theme in my
life: my connection to other cultures, that we are all world
citizens, that everything is connected to everything and
everyone.
Painting the sky, a gallery in heaven.’
NINETIES
0 6 8 W a l l pa i n t i n g i n t h e T e r m i n a l W e s t, S c h i p h o l A i r p o r t, 1 9 9 3
0 7 3 ‘ S k i n n y B r i d g e ’ , s t e n c i l e d s p r ay- pa i n t i n g o n c a n va s , 1 9 9 4
0 7 4 ‘ D e l f t b l u e D ay b r e a k ’ , 1 9 B r i t i s h A i r w ay s ta i l f i n pa i n t i n g s , 1 9 9 6
0 7 5 T h e T h at c h e r s f o r t h e BBC , B r i t i s h A i r w ay s ta i l f i n pa i n t i n g s , 1 9 9 6
0 7 8 Pa i n t i n g o n t h r e e d o o r s o f Pa l a c e Hu i s t e n B o s c h , N a g a s a k i , J a pa n 1 9 9 4
0 7 9 Pa i n t i n g o n t h r e e d o o r s o f Pa l a c e Hu i s t e n B o s c h , N a g a s a k i , J a pa n 1 9 9 4
0 8 0 G r a f f i t i A c t i o n i n K u n s t v e r e i n , N e u e n h a us , G e r m a n y, 1 9 9 5
0 8 1 ‘ C h i c ’ , s t e n c i l e d s p r ay- pa i n t i n g o n c a n va s , 1 9 8 9
0 8 2 D e l f t b l u e s t e n c i l e d s p r ay- pa i n t i n g o n c a n va s , 1 9 9 3 - 1 9 9 8
0 8 3 D e l f t b l u e m u r a l o n a h o us e o p p o s i t e t h e W e s t e r t o r e n , A m s t e r d a m , 1 9 9 7
0 8 4 ‘ H e i n e k e n R o o m ’ , s t e n c i l e d s p r ay- pa i n t i n g i n a h o t e l , A m s t e r d a m , 1 9 9 7
0 8 5 ‘ H e i n e k e n R o o m ’ , s t e n c i l e d s p r ay- pa i n t i n g i n a h o t e l , A m s t e r d a m , 1 9 9 7
0 8 6 S p r ay i n g f o r t h e i n s ta l l at i o n i n t h e K u n s t h a l , R o t t e r d a m , 1 9 9 8
0 8 7 V i d e o a n d pa i n t i n g i n s ta l l at i o n i n t h e K u n s t h a l , R o t t e r d a m , 1 9 9 8
0 8 8 Pa i n t i n g o n t h e H i lt o n s h u t t l e b us , At h e n s , G r e e c e , 1 9 9 8
0 9 0 Pa i n t i n g o n t h e H i lt o n s h u t t l e b us , At h e n s , G r e e c e , 1 9 9 8
0 9 1 Pa i n t i n g o n a c h i m n e y i n a t r a d i t i o n a l h o us e i n Z e e l a n d , 2 0 0 4
0 9 2 Mu r a l i n t h e Du t c h C o n su l at e i n S t. P e t e r s b u r g , Russ i a , 1 9 9 8
zeros
I only read about him in 2005, he picked up the stencil style,
content-wise it was good and I loved the fact that he painted
tags on cows and pigs.
From 1985 until Banksy, working with stencils was looked
down upon, with the exception of that other stencil pioneer,
Blek le Rat from France.
I thought Banksy was a just kid, working alone.
But it turned out he was the vanguard of an entire group.
I was afraid my stencil technique would be made obsolete
by technological advances, I considered myself to be the last
traditional spray-paint stencil artist.
I was thrilled to be working alongside everybody, to be a part
of that scene, a global movement, with Poles, Italians, Brazilians, you name it. A city like Melbourne played an important role, too.
There it was again, my life’s recurring theme, the desire to
be connected to the world, or rather: to connect worlds, because I had been operating solo for a decade or so. For example, Sarajevo in 2000, the war was over, the bullet holes
in the walls had been plastered over, I wanted to offer some
moral support to the people over there.
So in my pieces I used Arabic motifs, and Escher tessellations - Escher had been inspired by the Alhambra - and I felt
there was a link to the Muslims over there.
That work was called Peace Talks.
I happen to cut faster than I draw.
Maybe it helped.
Then Banksy came along and he made life-sized works on
the streets of Bobbies pissing, snorting and kissing. That was
unprecedented.
That was also the time that Internet grew explosively, cyberpunk, all of a sudden you could communicate with the entire
world, look for and find anything and everything.
I found a soulmate in Banksy.
The world as an open archive.
I was honoured to be asked to participate in the first Cans
Festival, in May 2008, in Leake Street in London. A tunnel
was transformed – guerrilla style – into an open-air gallery,
people were flown in from all over the world to paint: in addition to Banksy, a group of people including Blek, Vhils,
Jef Aerosol, Faile, Eine, Pure Evil and a huge viking of a man
from Norway, Dolk.
Banksy turned out to be an eye-opener in that respect, too.
The graffiti we were familiar with in the Netherlands was
American graffiti, which set the scene globally.
I rather liked that, of course.
The stencils of rats that Banksy painted all over London and
Bristol, the rat as a symbol of all those who feel unloved,
who find themselves at the frayed edges of society.
Dr. Rat is back!
As a graffiti artist, you want your work to jump out at the
world, but as a person you prefer to keep a low profile, the
artist’s persona remains in the shadows. The identities of
many street artists are still completely shrouded in mystery.
There was a lot more machismo involved in hip hop graffiti,
the size of the letter matched the size of the artist’s ego.
Banksy was enormously productive, both with stencils and
slogans, in prominent locations throughout the city. This
drove people to play around with icons, with Che Guevara,
whom I had already cut a stencil of in 1981 (and which was
even corny back then), Marilyn, Mona Lisa, everybody started making stencils in their own unique style, I thought that
was fantastic.
to all of these capital cities to leave their work, like Invader,
Dolk and others.
This stencil technique also corresponded perfectly with a
concept from house music: the remix.
I could remix my own past, Delft blue with zebra, punk with
Delft blue, sampling, mixing, distorting. I constructed my
works much like songs: motifs like drum patterns, the bass
adds an extra layer of pattern, the chorus, coloured in with
instruments, you can dub stencils by moving them as you
spray, it creates an echo-effect, the abstract work was more
instrumental and the singing consisted of the texts and images.
I have been working alongside a train station platform for
four years now, and all the passers-by can see straight into
my studio, you could say it also serves as an exhibition space.
Because that is what a street artist is after: you go out in the
streets to find an audience, to gather immediate response,
because you want your work to evoke a reaction.
The city as a canvas. the canvas as a reflection of the city.
I particularly respected Logan Hicks, who made extremely
complex stencils of buildings, but he no longer does that
kind of intricate work.
But it turned out that there was so much more out there.
Cutting out stencils is a technique, and its limitation may be
that it’s always black and white, but by working with multilayered stencils, you can construct a realistic colour image.
Anyhow, Banksy put street art on the map. It evolved from
graffiti, its scope expanded, it was more than just letter images, it had humour, it was political and it brought back social criticism.
Street art was a global invasion, something everyone could
understand, and I noticed that everybody left work everywhere. I found a Faile on a fence in the Red Light District in
Amsterdam, I had no idea that these guys travelled around
And because my work is always topical, I can read something in the paper in the morning, cut it out and spray it in
the afternoon, and then hang it up at night.
You know what?
I feel like a new man!’
‘The graffiti landscape was barren until Banksy appeared.
0 9 8 D e l f t b l u e f e n c e i n D e l f t i n c o l l a b o r at i o n w i t h 4 5 g r a f f i t i k i d s , 2 0 0 2
0 9 9 W a l l pa i n t i n g , e x h i b i t i o n a n d fa s h i o n s h o w i n W i l l e m s ta d , Cu r a ç a o , 1 9 9 9
1 0 1 W a l l pa i n t i n g s i n H r a s n o , S a r a j e v o , B o s n i a a n d H e r ç e g o v i n a , 2 0 0 0
1 0 4 W a l l pa i n t i n g s i n t h e l i b r a r y o f G a l l e r y l e B e ss e t, F r a n c e , 2 0 0 4
1 0 5 W a l l pa i n t i n g s i n t h e l i b r a r y o f G a l l e r y l e B e ss e t, F r a n c e , 2 0 0 4
1 0 6 W a l l pa i n t i n g s i n t h e g u e s t r o o m o f a su m m e r h o us e , A m e l a n d , 2 0 0 2
1 0 7 W a l l pa i n t i n g s i n t h e g u e s t r o o m o f a su m m e r h o us e , A m e l a n d , 2 0 0 2
108 Three murals on concrete walls, Almere, 2005
109 Three murals on concrete walls, Almere, 2005
1 1 0 ‘ Du t c h g i r l’ , s t e n c i l e d s p r ay- pa i n t i n g o n c a n va s , 1 9 9 4
1 1 1 ‘ Bu t t e r f ly t u n n e l’ , t h e M a r s l a n d e n , H a r d e n b e r g , 2 0 0 2
1 1 2 C e r a m i c w o r ks m a d e i n Va l l a u r i s , F r a n c e , 2 0 0 6
1 1 3 ‘ G r at i s ’ , s t e n c i l e d s p r ay- pa i n t i n g o n c a n va s , 1 9 9 8
1 1 5 I n s ta l l at i o n o n a c a b l e b r i d g e i n A m s t e r d a m C e n t r a l S tat i o n , 2 0 0 3 - 2 0 1 2
1 1 8 S t e n c i l e d pa i n t i n g s f o r b a n n e r s o n t h e D a p p e r m a r k e t, A m s t e r d a m , 2 0 0 5
1 1 9 S t e n c i l e d pa i n t i n g s f o r b a n n e r s o n t h e D a p p e r m a r k e t, A m s t e r d a m , 2 0 0 5
1 2 2 Pa i n t i n g o n a s e a c o n ta i n e r f o r t h e P o r t o f A m s t e r d a m , 2 0 0 5
1 2 2 Pa i n t i n g o n a s e a c o n ta i n e r f o r t h e P o r t o f A m s t e r d a m , 2 0 0 5
1 2 4 Pa i n t i n g o n a w at e r ta n k i n t h e S o u t h o f F r a n c e , 2 0 0 7
1 2 5 Pa i n t i n g o n a w at e r ta n k i n t h e S o u t h o f F r a n c e , 2 0 0 7
1 2 7 W o o d e n Gu a r d s m e n at t h e A m s t e r d a m C e n t r a l S tat i o n , 2 0 0 6
1 3 1 T h e C a n s F e s t i va l , S TENCIL S TREET ART BATTLE , L e a k e S t r e e t, L o n d o n , 2 0 0 8
1 3 6 Pa i n t i n g i n a f i s h e r m e n ’ s h o us e i n t h e Zu i d e r z e e Mus e u m , E n k h u i z e n , 2 0 0 8
1 3 8 Pa i n t i n g i n a f i s h e r m e n ’ s h o us e i n t h e Zu i d e r z e e Mus e u m , E n k h u i z e n , 2 0 0 8
1 3 9 Pa i n t i n g s o n w o o d e n pa n e l s f o r a f e n c e i n G e u z e n v e l d , A m s t e r d a m , 2 0 0 8
1 4 0 Pu b l i c a r t s t u d i o i n S tat i o n A m s t e r d a m RAI , b e t w e e n t r a c k 1 a n d 2 , s i n c e 2 0 0 6
1 4 1 Pu b l i c a r t s t u d i o i n S tat i o n A m s t e r d a m RAI , b e t w e e n t r a c k 1 a n d 2 , s i n c e 2 0 0 6
1 4 2 S t e n c i l e d s p r ay pa i n t i n g s m a d e a n d e x p o s e d i n S tat i o n A m s t e r d a m RAI .
1 4 3 S t e n c i l e d s p r ay pa i n t i n g s m a d e a n d e x p o s e d i n S tat i o n A m s t e r d a m RAI .
1 4 4 ‘ D e l f t b l u e T e m p l e ’ , 1 3 0 0 m ² pa n e l s o n t h e e l e c t r i c i t y b o i l e r h o us e i n E n s c h e d é , 2 0 0 9
1 4 5 F o u r pa n e l s f o r t h e ‘ D e l f t b l u e T e m p l e ’ , t h e e l e c t r i c i t y b o i l e r h o us e i n E n s c h e d é , 2 0 0 9
1 5 0 S a m p l e s f r o m t h e K a a g m a n ’ s s t e n c i l c ata l o g u e , 2 0 0 9
Fotocredits
Group Exhibitions (selection)
2004Graffiti Heroes, Go Gallery, Amsterdam, NL
1992 Hollands Museum, Farewell show W. Beeren,
2003Nederlands Instituut, Athens, GR (cat.)
Berlagebeurs, Amsterdam, NL
2009Stencil King, ArtKitchen gallery, Amsterdam, NL
2009Modern Spray Art, Galerie die Treppen,
2003EKWC, Salone Internazionale del Mobile, Milan, IT (cat.)
1992100 Young Dutch Painters, Living Art,
200730 Years Stencils, Balengebouw, Enschede, NL
2003Visitors to clay, Garth Clark gallery,
2006Chronique d´une Décoration Révolutionée, 2009Time boom the devil dead, with Rob Scholte 1992 Realities, Circulo de Bellas Artes, Madrid, ES (cat.)
2002Blue+White=Radical, Garth Clark Galley,
1991 Double Dutch, Tilburg, NL (cat.)
1991Art Fair, The Living Room, Brussels, BE
Galerie Aqui Siam Ben, Vallauris, FR
Erlangen, DE
and Tim Benjamin, Galerie Witteveen, Amsterdam, NL
New York, USA
2004 Je maintiendrai, Galerie Le Besset, St. Jeure d’Andaure, FR
2008Expo XXI, Messe fur aktuelle Kunst, Artkitchen Gallery, 2002Reli Works, artKitchen gallery, Amsterdam, NL
2002More than red, white& blue, Haags
1990 ARCO, The Living Room, Madrid, ES
1999 Ceramics, Nederlandsche Bank, Amsterdam, NL
2008Infiltrate the city, Medialab, Enschede, NL
1988 Royal Subsidy for painting, Royal Palace,
1999Blauw Curaçao, Kas di Alma Blou, Curaçao, NA
200 Blue Fish Vendor, Zuiderzee Museum,
2001Delft in detail, Haags Gemeente Museum,
1998 From sketchbook to sky, Galerie Bleeker,
1988 Jetlag, Turon Travel, New York, USA
2008The Cans Festival, curated by Banksy and Tristan 2001Cityscapes, Amsterdam Historical Museum,
1988 Beg, steal or borrow, Gallery Rahmel, Cologne, 1997 Cut & Shoot, ArtKitchen Gallery, Amsterdam, NL
1996 The secret of the color blue, Filmmuseum, 2008Nightwatch Research Project, Verbeke
2000Holland Horizons, with Rineke Dijkstra and Rob 1988 Meeresbilder, Gallery Kaes-Weiss, Stuttgart, DE
1988 Art Cologne, The Living Room, Cologne, DE
Heemstede, NL
Amsterdam, NL
Cologne, DE
Enkhuizen, NL
Manco, London, GB
Foundation, Antwerp, BE
New York, USA
Sonsbeek, Arnhem, NL (cat.)
Gemeente Museum, The Hague, NL
The Hague, NL
Amsterdam, NL
Scholte, Mueso de Bellas Artes, Buenos Aires, AR
Amsterdam, NL
DE (cat.)
1994 40 jaar Kaagman, Gallery ArtKitchen,
2007Pretty Dutch, Princessehof, Leeuwarden, NL (cat.)
1998The Plate Show, Collins gallery, Glasgow, GB
1987 Coloured Walls, Slot Zeist, Zeist, NL
2007Vazen met tuiten, Gemeentemuseum The Hague, 1998 Blue Wave, video-installation, Kunsthal, Rotterdam, NL
1986 Amsterdam Notes, Museum FODOR,
1992 Shocking Blue, Rijksuniversiteit Groningen, NL (cat.)
1998 KunstRai, ArtKitchen Gallery, NL
1992New Work, The Living Room, Amsterdam, NL
2007Banknotes, Geldmuseum, Utrecht, NL (cat.)
1997Art in ceramics, Voerman Museum, Hattum, NL
1985Poster Acquisitions, Stedelijk Museum,
1991 Kaagware, The Living Room, Amsterdam, NL (cat.)
2006Geef mij maar Amsterdam, Amsterdams
1996 Behind glass, Galerie Bleeker, Heemstede, NL (cat.)
1988 Spray Art, The Living Room, Amsterdam, NL
1996 GOD, exposition, ArtKitchen Gallery, Amsterdam, NL
1982Beeldenstroom, AORTA, Amsterdam, NL
1986 Black & White, Gallery ZEBRA, Amsterdam, NL
2005Landen van de ondergaande zon, Art et 1996 Triple X Festival, Westergasfabriek, Amsterdam, NL
1980 Tutti Frutti, Museum FORDOR, Amsterdam, NL
1982Kaagman Kompleet, Gallery De Krater, Amsterdam, NL
1995 The Living Room, Kunstverein Neuhaus, DE (cat.)
1980 Anti-World War III, San Francisco, USA
1981 Zebra Art, Gallery ZEBRA, Amsterdam, NL
2005The Evil, Tropenmuseum, Amsterdam, NL
1993 Nether Art, Cultural Centre, Winnipeg, CA
1974 Municipal acquicitions, Vleeshal, Haarlem, NL
1980 Motives, Gallery OZON, Amsterdam, NL
2005World of Graffiti, Manone Gallery, Chicago, USA
1993 Nether Art, Cultural Centre Chicago, USA
1971 Visions, Nieuw Unicum, Zandvoort, NL
1979Graffiti Championship, Gallery ANUS,
2005World of graffiti, Vip Art, Rotterdam, NL
1993 Nether Art, Grey Art Gallery, New York, USA (cat.)
2004Portraits, Literair Museum, The Hague, NL
1992 ART 23, The Living Room, Basel, CH
Amsterdam, NL (cat.)
Amsterdam, NL
The Hague, NL (cat.)
Historisch Museum, Amsterdam, NL
Amicitiae, Amsterdam, NL (cat.)
Amsterdam, NL
Amsterdam, NL
Solo Exhibitions (selection)
022-023 ‘The Milkmaid’, spray-painting a stencil of
048 Pattern painting, a pillar in the Ministry of Social on Waterlooplein in Amsterdam, 1983.
008 ‘Prophecy’, stenciled spray-paint on the wall of Gallery anus, 1979.
012 Stencils and tags for the Grand Prix de Graffiti, Gallery anus, 1979.
013 Video stills: spray-painting in Gallery anus for the
New Wave television program neon, 1979, entrance hall to the Zebra house and spraying a Sid Vicious stencil on the metro building, 1978.
014 Comic story for the KoeCrandt, 1979.
015 ‘ Babylon’, stenciled spray-painting on paper,
65 x 50 cm, 1979 (Collection Stedelijk Museum in Amsterdam). Kaagman spray-painting in a television studio (The launch of channel nl3), 1980. Punk Art, stenciled spray-painting and collage on paper, 65 x 50 cm, 1979.
016 ‘Babylon Shall Fall’, ‘Jah War’, ‘Sterile Vision’,
‘Hijack Earth’, stenciled spray-paint and collage on paper, 65 x 50 cm, 1979. ‘Het Lied’, spray action for the television show Jeugdjournaal, 1979.
017 Exterior wall of Gallery ozon, stenciled spray-
painting on wall, 1979. Stenciled spray-painted t-shirts and tags for the Grand Prix de Graffiti, 1979.
018 ‘Spray’, stenciled spray-paint on canvas,
100 x 120 cm, 1979.
019 Stenciled spray-paint on walls in Senegal, 1979, and The Gambia, 1980.
020 ‘The Beast 666’, stenciled spray-paint on paper
(in collaboration with Peter Pontiac), 65 x 50 cm, 1981.
021 ‘Lee “Scratch” Perry’, stenciled spray-painting, 100 x 100 cm, 1988, and ‘Crisis’, 100 x 100 cm, 1989.
‘H.I.M. Selassie I’ and ‘Apocalypse Now’, stenciled spray-paint on paper, 65 x 50 cm, 1979. And police stencils on t-shirts, 1979.
Vermeer on the exterior wall of the Rijksmuseum in Amsterdam, 1979.
024 Stenciled spray-painting on a wall at a former prison courtyard in Amsterdam, 1981.
Background banner for poetry performances, 1981,
and painted metro building, 1980.
025 ‘Creation’, stenciled spray-painting on paper,
100 x 80 cm, 1980.
026 ‘Undergound’, stenciled spray-paint on wood,
part of the fence on Waterlooplein in Amsterdam, 1983.
030 The interior and exterior of the Zebra House, 1980.
031 Working on the Zebra fence on Waterlooplein, 1983, and Zebra House, 1981.
And an old ice cream cart in Zebra style.
032 Zebra pattern, 1980.
033 ‘Zebra’, stenciled spray-paint on paper,
40 x 30 cm, 1980.
034 Overview Waterlooplein mural fence 80 m
in Amsterdam, 1983.
035 Zebra house and Zebra fence, 1983.
036-039 Waterlooplein mural fence 80 m in Amsterdam, 1983.
040 The first Dutch Breakdance album by the Electric Boogie Men and Waterlooplein mural fence, 1983, and Waterlooplein mural fence in Amsterdam, 1983.
041 ‘Zebra Ahead’, stenciled spray-paint on canvas,
1 x 1 m, 1988.
042 ‘Congoman’, stenciled spray-paint on paper,
40 x 40 cm, 1981.
043 ‘Bab Boujeloud’, stenciled spray-paint on canvas,
1 x 1 m, 1989.
044-046 ‘World without frontiers’, Transvaal tunnel in Amsterdam, 120 m, 1985.
047 Tropenmuseum entrance in Amsterdam, stenciled spray-paint on wall, 1987.
Affairs in the Hague, 1989.
049-051 Greek mural painting in the Marco
Moussouroustreet in Athens, Greece, during the first Cultural Capital Festival, initiated by Melina Mercouri, 1985.
052 ‘12 buses for Europe’, stenciled spray-painting on a Brussels bus for the Cultural Capital Festival in the Belgian capital, 1993.
053 ‘Hawaii’, stenciled spray-paint on canvas,
1 x 1 m, 1989.
054 ‘Revolution’, ceramic plate, Ø 80 cm, 1996.
055 Ru Paré School in Amsterdam, first mural,
6 x 10 m, 1987.
056 Ru Paré School, second mural ‘Mini World’,
8 x 12 m, 1990.
057 Ru Paré School, third mural, 8 x 12 m, 2005.
058 Ru Paré School close-up, 2005.
059 ‘Mosk’, stenciled spray-paint on canvas,
1 x 1 m, 1989.
060 ‘Vive la France’, stenciled spray-paint on canvas,
1 x 1 m, 1994.
061 ‘Hokuwaves’, stenciled spray-paint on canvas,
1 x 1 m, 1992.
062 ‘Pisa God’, spray-paint on canvas, 1 x 1 m, 1988.
063 ‘Time Conqueror’, stenciled spray-paint on canvas, 1 x 1 m, 1988.
064 ‘Delftblue Daybreak’, British Airways tailfin painting, 1996.
068-073 Schiphol Airport mural ‘Nice Trip’, 65 m wall
painting on laminated panels in the Terminal West at Schiphol, 1993.
071 ‘Skinny Bridge’, stenciled spray-paint on canvas,
1 x 1 m, 1994.
074-077 ‘Delftblue Daybreak’, 19 British Airways tailfin paintings, 1996-2006.
The Thatchers at B.A. (bbc, June 1997).
Ms. Thatcher: ‘It is terrible !’ Mr. Thatcher: ‘Is that actually flying, the black and white?’ BA: ‘That’s Dutch! We’ve got designs from all over the world.’ Mr. Thatcher: ‘Is that Dutch design actually flying on our airplanes? For Christ’s sake, why don’t we have our own British design?’
078-079 Painting of three doors for the replica of Queen Beatrix’ Royal Palace Huis ten Bosch in Nagasaki, Japan, 1994.
080 Graffiti Action in Kunstverein Graftschaft Bentheim in Neuenhaus, Germany, 1995.
081 ‘Chic’, stenciled spray-paint on canvas,
100 x 80 cm, 1998.
082 Delft blue paintings ‘Reliware’, ‘Afroware’, ‘Amsterware’, ‘Biznizman’ and ‘Crossware’, stenciled spray-paint on canvas, each 100 x 100 cm,
1993-1998.
083 Mural of a Delftware plate on the wall of a house opposite the Westertoren in Amsterdam,
Ø 6 m, 1992.
084-085 ‘Heineken Room’, stenciled spray-painting in
room nr. 302 of the Winston Hotel in Amsterdam, 1997.
086-087 Video and painting installation in the Kunsthal in Rotterdam, during the Centennial M.C. Escher Exposition, 1998.
088-090 Stenciled spray-painting on the Hilton shuttle bus during the Holland Festival in Athens, Greece, 1998.
090 Stenciled spray-painting on a chimney in a traditional house in Zeeland, 2004.
092-093 ‘The Great Voyage’, in the new Dutch Consulate in St. Petersburg, Russia, 7.75 x 2.55 m, 1998.
Cover Hugo Kaagman hammering his graffiti panels
124 - 125 Stenciled spray-painting on a water tank on the Route de St. Tropez in the South of France, 2007.
126 - 129 Stenciled spray-paintings on wood of ‘Guardsmen’ at Amsterdam Central Station, 2006.
130 - 135 The Cans festival, stencil art street battle, Leake Street London, on invitation by Banksy and Tristan Manco, May 3 to May 5, 2008.
136 - 138 ‘The blue fish vendor’, stenciled spray-painting
of a traditional fisherman’s house in the Zuiderzee Museum in Enkhuizen, 2008.
139 Stenciled spray-painting on twelve wooden
panels for a fence in Geuzenveld, Amsterdam,
2008.
140 - 141 Station Amsterdam rai, public art studio,
since 2006.
142 - 143 Paintings made in the Station Amsterdam rai, 2007-2009.
144 - 145 ‘Delftblue Temple’, 1300 square meter metal
tile panels for the electricity boiler house
in Enschedé, 2009.
146 Spray action in front of the Rijksmuseum
in Amsterdam for the Rembrandt year, 2006.
147 Billboard action on Museumplein
in Amsterdam, 2007.
148 - 149 Exposition on Cologne Art Fair XXI
in Germany, 3 to 5 October 2008.
150 Samples of Kaagman’s stencil catalogue, 2009.
151 Spraying the ‘Butterfly tunnel’, in the Marslanden,
Hardenberg, 2002.
Binnenkanten voor en achter:
Stenciled spray-painting on canvas, made in the Station
Amsterdam rai, 85 x 100 cm, 2007-2009.
Selected bibliography
Boujloud, Bad, The Happening at the Blue Gate in Fez,
Morocco, edition of 100, private publication: 1977.
Füller, Gregory, Kitsch-Art, wie Kitsch zur Kunst wird,
DuMont Buchverlag: Cologne, 1992. ISBN 10: 770129040
Houts, Catherina van, ‘Graffiti art in tunnel’, Het Parool, 1985.
Kaagman, Hugo, ‘Graffiti en motieven. De geschiedenis
van kunst’, nr. 124, Bres Magazine, June/July 1987.
Kaagman, Hugo, Papua Punk. Best of the KoeCrandt,
Uitgeverij De Woelrat: Boskoop, 1982. ISBN 90-70464-08-X
Kellerhuis, Tom, ‘Hugo Kaagman, specialist in
sjabloonkunst’, SUM, March 1992.
King Adz, Street Knowledge, HarperCollins Publishers:
London, Sept/Oct 2010.
Koopman, R., Amsterdam Graffiti, the Battle of Waterloo. 25
years of graffiti history, 1978-2003, Stadsuitgeverij: 2004.
ISBN-13: 9789053661017.
Kroonjuwelen ‘Hard Times, Good Times, Better Times’, 76
minutes dvd. Including A5 book. Stunned Film: Zwolle, 2006.
Lava, Arthur en Thijs Mast, ‘De hemelse inspiratie van
Hugo Kaagman’, Playboy, edition 8, 1990.
Middendorp, Jan. ‘De multiculturele kunst van Hugo
Kaagman’, MAN, volume 16, November 1989.
Miltenburg, Ron, Kaagware Delftblue Catalogue, Van Spijk
Art Projects: Venlo, 2001. ISBN 9062167489
Prins, Henrico, ‘De Mohikanen van het Delfts blauw’, de
Volkskrant, January 4, 1991.
Riout, Denys, Dominique Gurdijan en Jean-Pierre Leroux,
Le livre de graffiti, Editions Alternatives: France, 1990.
isbn 2 86738 509 1
Stahl, Johannus, Street Art, Tandem Verlag GmbH:
Germany, 2009. ISBN 978-3-8331-4943-6
094 Wooden Guardsman at Amsterdam Central Station, stenciled spray-painting on wood, 2006.
098 Delft blue fence in Delft, done in collaboration with 45 graffiti kids, 220 m, 2002.
099 Wall painting, exhibition and fashion show in Willemstad, Otrabanda, Curaçao, during
a three-month Artist Exchange, 1999.
100 - 103 Five wall paintings in Hrasno, Sarajevo, Bosnia and Hercegovina for CityLink Amsterdam-
Sarajevo, 7 x 7 m each, 2000.
104 -105 Wall paintings in the library of Gallery le Besset, St. Jeure d’Andaure in Ardeche, France, 2004.
106 - 107 Wall paintings in the guestroom of a
summerhouse on the Dutch island of Ameland, 2002.
108 - 109 Three murals in Almere, a new city in the polder
of the Netherlands with the elements Fire, Sky, Land, stenciled spray-painting on three concrete walls, each 30 m, 2005.
110 ‘Dutch girl’, stenciled spray-painting on canvas,
1 x 1 m, 1994.
111 ‘Butterfly tunnel’, stenciled spray-paint on walls, in the Marslanden, Hardenberg, 2002.
112 Ceramic works made in Vallauris, France, 2006.
113 ‘Gratis’, stenciled spray-paint on canvas,
100 x 80 cm, 1998.
114 - 117 Installation ‘2B or not 2B’, 80 m panels on the cable bridge on track b at Amsterdam Central Station, 2003-2012.
118 - 120 Stenciled spray-paintings for banners on the
Dapper Market centennial celebration
in Amsterdam, 2005.
121 - 123 Stenciled spray-painting on a sea container
during sail, Art-on-a-Box project of the Port of Amsterdam, 2005.
012 | Ste nc ils and tags fo r the Grand Prix de Graffi ti , Gallery ANUS, 1979.
Dekeukeleire, Diana Ozon, Frans Kotterer, Wim Kroese, Johnny van Doorn, Roelof
Neeteson, Wim Beeren, Laser3.14, Basirou M’Bow, Tjebbe van Tijen, Django
Edwards, Henk-Jan Gortzak, Wally Tax, Simon Vinkenoog, Pi de Bruin, Rob Scholte,
ProRail, Saskia Bos, Boy Rap, Fries de Fries, Lee ‘Scratch’ Perry, Wim T. Schippers,
Banksy and of course Tristan Manco and Oscar van Gelderen!
In memory of Dr.Rat (May 21, 1960 – Amsterdam, June 29, 1981) and Keith
Haring (May 4, 1958 - New York, February 16, 1990)
All paintings courtesy of Artkitchen Gallery,
Joris van den Berghweg 106, 1067 HP, Amsterdam,
the Netherlands
www.lebowskipublishers.nl
www.kaagman.nl
www.stencils.nl
www.artkitchen.nl
A word of thanks to Jeannette Dekeukeleire, Melody and Floris, An de

Hugo Kaagman-Stencil [email protected]

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