▶️ HISTORIA del GRAFFITI en MADRID. DEL ESTILO FLECHERO AL HIP-HOP GRAFFITI.

Introduction to Graffiti in Madrid

This section provides an introduction to the graffiti movement in Madrid during the early 1980s. It discusses the different styles of graffiti and their origins.

Graffiti Autóctono (Native Graffiti)

• The graffiti autóctono, also known as graffiti flechero or writing graffiti, emerged in Madrid in the early 80s.

• It was not directly influenced by the signature graffiti that invaded New York at that time.

• The inspiration for this type of graffiti came from Amsterdam, where the punk culture used graffiti to write band names and slogans.

• In Madrid, the Movida Madrileña cultural movement played a significant role in promoting graffiti among young people.

Expansion of Graffiti Autóctono

• The first wave of native graffiti appeared in the mid-80s in districts such as La Latina, Carabanchel, Fuencarral, and Tetuán.

• The expansion of graffiti extended to the metro system and various neighborhoods across Madrid.

• Initially, writers used markers for their signatures without any desire for murals or a specific style.

Key Figures and Evolution

This section highlights key figures who played a significant role in shaping the graffiti scene in Madrid. It also discusses how these writers evolved over time.

Key Figures

• Muelle was one of the main figures who pioneered native graffiti in Madrid. He introduced a distinctive arrow-shaped style into his signature.

• Bleck (la rata) gained popularity due to his presence throughout the city and his association with famous French artist Bleck le Rat.

• Other notable writers include JOSESA Punk, Glub, Jojass Punk, and Juan Manuel.

Evolution of Signatures

• Writers gradually evolved their signatures, incorporating different types of arrows and styles.

• The introduction of hip-hop graffiti in the mid-80s forced native graffiti writers to adapt and incorporate new elements such as shine, colors, shadows, and a three-dimensional appearance.

Recognition and Competition

This section discusses the growing recognition of graffiti in Madrid, its coverage in the media, and the emergence of competition between different styles.

Media Coverage

• Graffiti started gaining attention in national newspapers, radio shows, and TV programs.

• In 1990, a documentary titled "Mi firma en las paredes" was released, focusing on the flechero graffiti movement and Muelle's influence.

Evolution of Styles

• Muelle led the revolution by introducing new techniques such as fillings, varying thicknesses, and shine into his signature.

• Some writers from the native graffiti scene transitioned to hip-hop graffiti or maintained a hybrid style.

• Competition between different styles led to occasional conflicts between hip-hop writers and flechero writers.

Conclusion

This section concludes by highlighting how some native graffiti writers embraced hip-hop graffiti while others chose to distance themselves from competitive environments.

Transition and Choices

• Some native writers fully embraced hip-hop graffiti or maintained a hybrid approach.

• Others decided to distance themselves from competitive environments due to increased rivalry.

The transcript provided does not cover all aspects of the video.

Graffiti in Madrid: Origins and Influences

This section discusses the origins of graffiti in Madrid, particularly focusing on the influence of native writers and the emergence of Subway Art or graffiti in the metro and trains.

Native Writers and Subway Art

• Native writers in Madrid were pioneers in Subway Art or graffiti in the metro and trains.

• Notable names include Rafita, who was one of the most active writers known for spending more time underground than painting on surfaces.

• The writing style of native writers was more elaborate and complex compared to others.

Graffiti Hip-Hop

• The graffiti Hip-Hop movement started in Madrid around 1984-1985, influenced by American culture and European trends, especially from France.

• Factors that delayed the arrival of graffiti Hip-Hop to Madrid included technological limitations, lack of English language proficiency for consuming visual resources, etc.

• The screening of Style Wars in 1986 played a significant role in popularizing graffiti Hip-Hop in Madrid.

Spread and Locations

• Barcelona played a crucial role in introducing Hip-Hop graffiti to Madrid due to its multicultural character and being a vacation destination for many European youth.

• The ACME collective was formed as a direct link between Barcelona and Madrid, comprising writers from both cities.

• Graffiti spread throughout the community, with notable locations including Carabanchel, Vallecas, Campamento, Móstoles, etc.

• The Ramiro de Maeztu Institute served as a prominent meeting point for writers in Madrid.

QSC: Promoters of Hip Hop Graffiti

• QSC (Quicksilver Crew) from Campamento neighborhood played a significant role as promoters of Hip Hop Graffiti in Madrid.

• QSC members such as Seone and Enry 538 (later known as KOOL) were considered leaders within the group.

• Other notable members of QSC included AGS, ARDI, CAME, CHEMA C, IVAN Q, MATA, SAC, and SNOW.

Development and Exchange

• The transition from signature graffiti to large-scale mural pieces occurred around 1986.

• The Hip Hop graffiti movement in Madrid had a common line due to shared music preferences, fashion styles influenced by rap and hip-hop culture from New York.

• Different groups emerged in various locations such as Móstoles, Alcorcón, Parla, Valdemoro, Torrejón de Ardoz, Coslada.

• Information exchange through fanzines and participation in events and festivals contributed to technical advancements and diverse styles.

Commercialization Divide

• The years 1992-1993 marked the golden age of Hip-Hop graffiti in Madrid with increased media exposure and inclusion in commercial art galleries.

• Two distinct branches emerged: one maintaining the illegal and traditional nature of graffiti while the other adapted to market demands for more commercialized and sellable graffiti.

Graffiti on Demand

This section discusses the emergence of graffiti on demand and how only a few artists were able to adapt to this new trend.

Graffiti on Demand

• In the golden era of graffiti, there was a rise in demand for graffiti art.

• Only a few artists were able to adapt to this new trend of creating graffiti on demand.

• This type of graffiti required artists to create customized pieces based on specific requests.

Graffiti on Trains

This section explores the rise of graffiti on trains, particularly in Madrid, and the competition among different groups for control over painting various metro lines.

Rise of Graffiti on Trains

• During the golden era, there was also a surge in graffiti art on trains, especially in Madrid.

• Different groups competed to control and paint different metro lines in Madrid.

• The most affected lines were 1, 5, 6, and 10, with lines 5 and 10 being notable due to their exterior sections that increased visibility.

• The influence from New York's train graffiti scene was evident in Madrid's subway system.

Research and Challenges

This section highlights the extensive research and challenges involved in painting on the metro and trains during that time period.

Researching and Overcoming Challenges

• Painting on the metro and trains required extensive research and planning.

• Artists had to analyze which stops were less monitored by authorities.

• They would trespass fences or use tunnels to access train depots or even ride until the end of a line.

• Documenting the process through photography became an important aspect inspired by American movies, books, and documentaries.

Decline and Shift to Legal Spaces

This section discusses the decline of the graffiti hip-hop movement in Madrid in the mid-90s due to increased restrictions on the metro. It also mentions how some artists shifted their focus away from graffiti.

Decline and Shift to Legal Spaces

• In the mid-90s, there was a decline in the graffiti hip-hop movement in Madrid.

• This was primarily caused by stricter policies on the metro and some artists deciding to move away from graffiti.

• The subway art scene shifted towards painting on RENFE's regional train network, as painting on the metro became more challenging.

• However, this period also saw a resurgence in the mid-90s with the emergence of a new school of graffiti artists around 1994.

Current State and Legal Art

This section reflects on the current state of graffiti in Madrid, highlighting that while it remains active, its golden years have passed. Many artists now focus on legal spaces such as murals and urban art.

Current State and Legal Art

• Graffiti in Madrid is still present and active today, but its golden years have passed.

• Artists continue to paint illegally, but locations are more heavily monitored.

• Many artists have transitioned to legal spaces, focusing on creating murals or engaging in urban art projects.

Conclusion

This section concludes the journey through Madrid's graffiti history, inviting viewers to share their thoughts and contributions while emphasizing subscribing to the channel for more content.

Conclusion

• This concludes our exploration of Madrid's graffiti history, covering important dates, key figures, styles, and techniques used.

• While not all aspects may have been covered, viewers are encouraged to share their thoughts and contributions in the comments.

• Don't forget to subscribe to the channel for more content.