#kaltenhäuser

[lesterplatt]

Hyundai "Dream" from Emile Rafael on Vimeo.

Client – HYUNDAI @hyundai Brand Manager – Alexander Biglands Product Manager – Máxime Deloget Digital Experience – Omer Candan

Agency – AKQA @akqa Senior Agency Producer – Cynthia Chabu @cys57 Associate Creative Director – TK Tenns @tk.tenns

Executive Producer - Anders Paus Hedberg

Director – Emile Rafael @helloemile Production Company – Future Frank @futurefrank.xyz Future Frank Global EP – Miguel Teixeira @_ohmiguel_ Future Frank Producer – Alex Heringa @alexheringa Future Frank Line Producer – Robert Farrelly @_roobtube_ Music - SUPERMODEL

Sound - Rascal Post Sound Designer - Izaak Buffin Producer - Maddy Lebel

1st AD – Damien Hope @damienhope DOP – Martijn Melis @martijnmelis 1st AC – Justus Engelbracht @jengeltj Gaffer – Erik de Wildt Best Boys – Aaron Homma @hommaaaaaaa, Yoshua Thomassen @yoshua.thomassen, Jeroen de Jong, Said Snono @saidsnono Grip – Daan Dillo, Melle Vaarzon Morrel @vaarzon, Roy van den Vlekkert Art Director – Nathalie Veen @nathalie.veen Set Dresser – Ruben Soffers Set Dresser – Cas Klaasen Stylist – Olivier Jehee @olivierjehee MUA – Faisa Sontodimedjo @faisa.s BTS Photography – Alina Danylchuk @alina.danylchuk, Julia Nawacka @jn_99__ PA – Stephanie Elout @stephanieelout PA – Siebe Stolk Catering – Nathalie – Lunch Idee @lunchidee On-site Editor – Bruno Verhaar VTR/ Data Wrangler – Joep Bannenberg

READYSET TEAM Virtual Production Studio – @readyset_studios, Nils Pauwels @nils_pauwels Virtual Production Coordinator – Gijs de Groot VP Technician – Daan Geurts VP Supervisor – Robert Okker Unreal Engine Operator – Philippe Trijnes @philippetrijnes Unreal Engine Operator – Jarno Blankesteijn @jarno_blankestijn

UNIT B DP – Roy van Egmond @roy_van_egmond 1st AC – Paco Kumar @pacokumar Best Boy – Aron Homma @hommaaaaaaa Best Boy – Yannick Giraud @yannick_giraud Best Boy – Angelo Hogewoning

POST–PRODUCTION Post Production – Glassworks @glassworksvfx VFX Supervisor / 2D Artist – Nils Crompton @nilcompton 2D Artists – James Mortner @jamesmortner, Muhammad Danyaro Colourist – Jonny Thorpe @kingofcurtis Colour Assists – Daniela Rotaru @dani_simone_r, Vanessa Aparicio @vanessa_colour COO / Executive Producer – Chris Kiser @chriskiser Head of 3D – Rüdiger Kaltenhäuser Executive Producer – Rebecca Johnson Producer – Sezen Akpolat @sezenakpolat Production Coordinator – Maryam Zahid @maryamzahid123 MCR – Andrew Kidd

[hitzerot-prints-and-publications]

FreightTrainWorks – Jens Besser

In the summer of 2017 Jens Besser realized the FreightTrainWorks exhibition as part of the Urban Script Continues series in Dresden. The artist, author and curator, best known for his 2010 “Muralismo Morte” book, united a variety of artworks which stand out from the traditional graffiti writing that can be found on freight trains.

The exhibition, which was held again in Görlitz in 2018, focuses on the “phenomenon of non-writing freight train painting” by artists from Germany, France, Italy, Russia and the United States. Besides an historic introduction, book recommendations on the topic and a glossary, the FreightTrainWorks catalogue includes trains by BWNC, TOCKA, Wipe Out, Zelle Asphaltkultur, ARIS, DRUCE, JINDU and Collettivo FX as well as texts on the shown works.

• Jens Besser – Freight Train Works – The Train is Rolling • Jens Besser – Art Crossing Borders • Interview with TFD (The Funky Diabetic) • Pietro Rivasi – Collettivo FX: general features and freight works insight • Interview with Zelle Asphaltkultur • Robert Kaltenhäuser – Weichenschleicher

FreightTrainWorks comes as an extravagant four color screen print zine, is limited to 100 copies, hand-numbered and includes a screen printed postcard.

Now available at www.hitzerot.com

[1upcrew]

Graffiti Now! Ästhetik des Illegalen. @kunstforum_international Interviews by: @moses.taps @1up_crew_official @rap2122 @henrychalfant @marthacoopergram und Rechtsanwalt P. Gau Außerdem: @hmza84 @trait_my_name #saeio @_olivier_d_ @der_edelstein @thomasvonwittich #OneUnitedPower #1up #Mosestaps #Graffiti #kunstforum #Kunstforuminternational #egotrip #berlinkidz Gastautoren: Martin Papenbrock, Georg Barringhaus und Robert Kaltenhäuser Thanks to @larissa_kikol for the great job! https://www.instagram.com/p/Bw8ndgbh-_e/?utm_source=ig_tumblr_share&igshid=djpes8jwu49b

[mardinoir]

SIGNALÉTISME SIGNALETISM

Acrylic on paper & canvas, 200 x 200 cm, Völklinger hütte,Völklingen, De. 

Die 5. Urban Art Biennale 2019 Unlimited, Weltkulturerbe Völklinger Hütte. Europäisches Zentrum für Kunst und Industriekultur. 

14th April to 3th November 2019. 

Gesamtleitung : Meinrad Maria Grewenig

Ausstellungkurator : Frank Krämer

Als Jean Beaudrillard seine etwas eigenwilligen Theorien zum Graffiti-Phänomen in "Kool Killer oder der Aufstand der Zeichen" erfand, drehte sich dabei vieles um "signalethique", die lustigerweise in der deutschen Übersetzung als "Signal-Ethik" stutzen ließ, obwohl eigentlich nur so etwas wie Semiotik gemeint war. Fallstricke der Philosophie - "Signalétisme" von Mardi Noir kommt da ganz in die Nähe, aber wir wollen den Fehler nicht wiederholen. Stattdessen sehen wir uns das Motiv selbst an und sehen eine Überlagerung und Wechselseitig Durchdringung autoritativ-utilitaristischer öffentlicher Leitsymbole. Typisch für Mardi Noir, der sich gern Piktogramme zum Material nimmt. Wie eine Ansammlung verwiterter alter Anschläge kündet das Werk von der Vergänglichkeit aller Autoritäten. Arzhel Prioul, der Künstler hinter dem Pseudonym, de- und rekontextualisiert seine Werke entweder, indem er sie aus dem Atelier in die Staße bringt, oder umgekehrt. Für seine Bilder nutzt er oft eine Projektortechnik, wodurch die grob hochskalierten Ergebnisse uneben un pixelig wirken, aber das ist gewollt.

Robert Kaltenhäuser, Urban Art Biennale 2019 Unlimited.

More pics here.

[matmanuk]

Audible - I am what I hear from GLASSWORKS VFX on Vimeo.

CREDITS

Client Audible

Agency Kolle Rebbe

Production company Tempo Media

Directors Dvein

Executive Producer Joan Amat

Producer Tomás Muñoz

3D Artists Rüdiger Kaltenhäuser Marco Rossi Joan Guasch Carlos Cortés Marc Urtasun Pol Soler Fabio Medrano

2D Artists Rubén Llusia Carlos de la Sotilla Dani Lopez Karen Weiss

Colorist Xavi Santolaya

Sound design Banjo Music

[placerdiario]

Pelota - Khruangbin (Music Video) from GLASSWORKS VFX on Vimeo.

Glassworks Creative Studio director Hugo Rodríguez Rodríguez commands all the colors of the rainbow in this dreamy companion to Khruangbin’s latest track. Pelota is the release single on the Texan trio’s new studio album Mordechai, but she is also a bundle of energy that bounces through the galaxy like a spirited ball.

Produced in eight weeks with a remote setup in Coronavirus times, this psychedelic journey brought together our team of pan-national talent – a mixed cel animation, 3D and 2D production that translates Alvaro Sotomayor’s magical story into visuals that capture Khruangbin’s musical aesthetics.

BAND Khruangbin

PRODUCTION AND POST Glassworks Creative Studio

Director: Hugo Rodríguez Rodríguez

Writer: Alvaro Sotomayor

Storyboard, Concept & Design: Hugo Rodríguez Rodríguez

Editors: Nils Crompton, Leonardo Grassi

Lead Compositor: Nils Crompton Compositing Arists: Jef Fleurkens, Alexis da Camara, Leonardo Grassi, David Rodríguez Rodríguez

Cel Animation Lead: Hugo Rodríguez Rodríguez 2D Clean-up: Līna Ozoliņa, Patrick Armstrong, Callum Sewell

3D Artists: Callum Austin, Jef Fleurkens, Gustav von Platen, Jacson Mitchell

MCR: Andrew Kidd

COO: Anya Kruzmetra Executive Producer: Chris Kiser Head of Production: Belén Palos Junior Producer: Katie Liston

SPECIAL MENTIONS Thank you to Hector Macleod, Duncan Buxton, Sofía Cruz, Juan Torán, Joshua Robert Nicholson Taylor, Rüdiger Kaltenhäuser

In loving memory of José Fernández Izard, may you always be surrounded by music and light.

And of Nash, forever chasing a bouncing star.

Ojitos de las estrellas, fijo en una y otra os juro que me habéis de mirar siempre, siempre puro.

Gabriela Mistral.

[motioncollector]

DCN Video Pick: Pelota - Khruangbin (Music Video) by GLASSWORKS VFX // Glassworks Creative Studio director Hugo Rodríguez Rodríguez commands all the colors of the rainbow in this dreamy companion to Khruangbin’s latest track. Pelota is the release single on the Texan trio’s new studio album Mordechai, but she is also a bundle of energy that bounces through the galaxy like a spirited ball. Produced in eight weeks with a remote setup in Coronavirus times, this psychedelic journey brought together our team of pan-national talent – a mixed cel animation, 3D and 2D production that translates Alvaro Sotomayor’s magical story into visuals that capture Khruangbin’s musical aesthetics. BAND Khruangbin PRODUCTION AND POST Glassworks Creative Studio Director: Hugo Rodríguez Rodríguez Writer: Alvaro Sotomayor Storyboard, Concept & Design: Hugo Rodríguez Rodríguez Editors: Nils Crompton, Leonardo Grassi Lead Compositor: Nils Crompton Compositing Arists: Jef Fleurkens, Alexis da Camara, Leonardo Grassi, David Rodríguez Rodríguez Cel Animation Lead: Hugo Rodríguez Rodríguez 2D Clean-up: Līna Ozoliņa, Patrick Armstrong, Callum Sewell 3D Artists: Callum Austin, Jef Fleurkens, Gustav von Platen, Jacson Mitchell MCR: Andrew Kidd COO: Anya Kruzmetra Executive Producer: Chris Kiser Head of Production: Belén Palos Junior Producer: Katie Liston SPECIAL MENTIONS Thank you to Hector Macleod, Duncan Buxton, Sofía Cruz, Juan Torán, Joshua Robert Nicholson Taylor, Rüdiger Kaltenhäuser In loving memory of José Fernández Izard, may you always be surrounded by music and light. And of Nash, forever chasing a bouncing star. Ojitos de las estrellas, fijo en una y otra os juro que me habéis de mirar siempre, siempre puro. Gabriela Mistral.

[theanimationplaylist]

Pelota - Khruangbin (Music Video)

by Hugo Rodriguez Rodriguez and GLASSWORKS

Glassworks Creative Studio director Hugo Rodríguez Rodríguez commands all the colors of the rainbow in this dreamy companion to Khruangbin’s latest track. Pelota is the release single on the Texan trio’s new studio album Mordechai, but she is also a bundle of energy that bounces through the galaxy like a spirited ball.

Produced in eight weeks with a remote setup in Coronavirus times, this psychedelic journey brought together our team of pan-national talent – a mixed cel animation, 3D and 2D production that translates Alvaro Sotomayor’s magical story into visuals that capture Khruangbin’s musical aesthetics.

BAND Khruangbin

PRODUCTION AND POST Glassworks Creative Studio

Director: Hugo Rodríguez Rodríguez

Writer: Alvaro Sotomayor

Storyboard, Concept & Design: Hugo Rodríguez Rodríguez

Editors: Nils Crompton, Leonardo Grassi

Lead Compositor: Nils Crompton Compositing Arists: Jef Fleurkens, Alexis da Camara, Leonardo Grassi, David Rodríguez Rodríguez

Cel Animation Lead: Hugo Rodríguez Rodríguez 2D Clean-up: Līna Ozoliņa, Patrick Armstrong, Callum Sewell

3D Artists: Callum Austin, Jef Fleurkens, Gustav von Platen, Jacson Mitchell

MCR: Andrew Kidd

COO: Anya Kruzmetra Executive Producer: Chris Kiser Head of Production: Belén Palos Junior Producer: Katie Liston

SPECIAL MENTIONS Thank you to Hector Macleod, Duncan Buxton, Sofía Cruz, Juan Torán, Joshua Robert Nicholson Taylor, Rüdiger Kaltenhäuser

In loving memory of José Fernández Izard, may you always be surrounded by music and light.

And of Nash, forever chasing a bouncing star.

Ojitos de las estrellas, fijo en una y otra os juro que me habéis de mirar siempre, siempre puro.

Gabriela Mistral.

[tacasting]

Pamper's 'Premium Care Pants' TVC from Thomas Adams Casting on Vimeo.

Director: Rüdiger Kaltenhäuser

Production Co: Glassworks Production

Agency: Saatchi & Saatchi

[hitzerot-prints-and-publications]

MASON  – THE ESSENCE OF WRITING  

Dortmund is one of the few cities which has an untouchable status in the history of graffiti in Europe. Especially in the 90s a small group of writers managed to kill the system, having every running train covered with pieces. One of these guys was MASON. Active since 1986 and using pseudonyms like RIO or IOS, he contributed in shaping the city’s unique style, known as thick, blocky and recognizable at first sight.

THE ESSENCE OF WRITING is not a comprehensive chronicle showing every piece he ever did. He rather did look back and separated his œuvre into chronological chapters: Getting Up (1986-1991), Running the System (1991-1995), New York (1991-1997), Changing Process (1996-2010) and Recent Past (2010-2019). Each chapter opens with introductory words by MASON and presents selected works, mainly on trains, from each period.

The last chapter takes the books’ most space. While consisting of latest pieces on trains, it also introduces canvas works and exhibitions, accompanied with essays from MOSES and François Chastanet. The exhibition catalogue-like 150 paged hardcover shows the interaction of his gallery works and public actions, opening with a text by Robert Kaltenhäuser.

The book was released in 2020 and was sold out within a week. We are happy to not only offer you the last available books of the 400 copy run, but also rare AP (artist’s proof) editions. Some of the books are also signed so choose your preferred version below.

Now available at www.hitzerot.com  

[hitzerot-prints-and-publications]

BACK IN STOCK! KUNSTFORUM International. Graffiti NOW – Ästhetik des Illegalen

In its 50th issue the established German art magazine KUNSTFORUM International did introduce Graffiti for the first time as the volumes’ main topic to its readers in 1982. Back then “graffiti” was still a wide ranged term including murals from Central America, political slogans, ironic writings, ancient carvings and often illegal interventions in the cityscape. Traditional New York graffiti writing, which dominated the city’s face for more then ten years at this point, was presented in three photos and not even a full page of text.

Maybe it was a bit too early because in the following months and years writing was transported through books, movies and vinyl covers to almost every bigger town in the western society. So only some 37 years later they did another try in May 2019 with their 260th issue. This time the word “graffiti” is much more clear defined: writing, following the New York tradition and in parts art which did evolve out of it. Larissa Kikol, responsible editor for this volume, did unite big and small names and gives a status quo of graffiti in central Europe.

With her background as an art historian, she analyzes and contextualizes the works from CLINT176 (Berlin), SAEIO (Paris), SUSIE (Berlin) and HAMS (Marseille). As city portrays you can find Berlin as today’s hot spot and as example of a well documented oldschool the city of Munich. An in-depth definition of graffiti as a tool of city marketing (Robert Kaltenhäuser and Georg Barringhaus) are part of the content as well as interviews with Henry Chalfant, Martha Cooper, RAP, 1UP, graffiti lawyer Dr. Patrick Gau and MOSES & TAPS™.

Now available at www.hitzerot.com  

[hitzerot-prints-and-publications]

Aix Vandals Graffiti und Writing in Aachen 1988–2018

From June to September 2018 the Centre Charlemagne – Neues Stadtmuseum Aachen did host the exhibition “Uns gehört die Stadt! Kids, Kunst und Krawall in Aachen” (“The City Belongs to Us! Kids, Art and Riot in Aachen”). The accompanying exhibition catalogue was created to allow deeper insight into the city’s history in graffiti and street art.

Just like many other European cities Aachen, located not far from the Netherlands and Belgium in western Germany, developed a graffiti scene in the mid 80s after the New York writing was presented in books, movies and music. But unlike other locations, Aachen was home of the at this time quite popular Klaus Paier, called the “Aachener Wandmaler” (“Aachen wall painter”) who started painting critical political messages and characters back in 1978. It seems as if his works also did influence writers of the first generations who noticeable often combined their pieces with big characters.

Without the approach to give a complete picture, the several chapters introduce early writers such as CODO and ATEST, spotlight special spots like hall of fames and writers corners and feature important protagonists of the local scene like PENCL, HUSH77, JUNK or the FYA crew in chronological order. Furthermore featured artists are PAW, CEYS, LOVE, SENCE, IKOM, LEEDS, AKSE, PUZZY, YNOT, NAV, CRUSH and DINKY.

Aix Vandals includes texts and interviews led by Harald Hinz, Robert Kaltenhäuser, Philipp Lembke, Thomas Weyres, Lene ter Haar, Paul Sous, Jasmin Waschl and Katja Glaser who focuses on stickers, stencils and non-graffiti urban interventions just like the art from Klaus Paier from more than 40 years ago.

Now available at www.hitzerot.com

[hitzerot-prints-and-publications]

Nuart Journal – #3 Brand New, You’re Retro: Memory & the City

“Nuart Journal is a forum for critical commentary on urban art, defined as broadly as possible to include all aspects of both independently sanctioned and unsanctioned art in public space that does not fall under the general rubric of traditional public art practice. Nuart Journal includes traditional peer-reviewed academic papers as well as more experimental modes of research. It is a site for scholars, artists, curators and independent researchers to publish articles, conversations, reviews, projects, and opinion pieces on street art and related topics.”

The second 2019 issue of Nuart Journal was published in this years autumn. With No.3 the editors managed to give an update to the latest scientific texts and essays on graffiti and street-art. Just like the previous issues the contributions are separated into three thematic chapters: Original Articles, Visual/Experimental and Interviews/Talks/Books. Although once again a broad spectrum of topics is featured in the 3rd issue, we especially want to point out the “Dead Graffiti Writers Never Die, They Just Fade Away” essay by Tyson Mitman, “Roman Graffiti” study on subway trains in Rome as well as the interview on the editorial team of the highly recommended Boulevard Magazine.

I. Original Articles • Stephen Pritchard: More Today Than Yesterday (But Less Than There’ll Be Tomorrow) • Andreas Petrossiants: Before and After: The Liveable City • Tyson Mitman: Dead Graffiti Writers Never Die, They Just Fade Away: Memorializing and Remembering Graffiti Writers • Hendrikje Grunow: Making Memory on the Wall: Constructing and Contesting Collective Memory in Bogotá

II. Visual/Experimental • Jad El Khoury: Burj El Hawa: Tower of Wind • Unknown Author: Erasing the Memory of the Revolution on the Streets of Cairo • Paul Harfleet: Tourist in the Daylight • Oliver East: ill Architecture • Riitta Oittinen: Traces from the Past: Ghost Buildings in Brussels • Megan Hicks: Wall Story: An Eleven-year Visual Record of a Street Art Site in Sydney • Jonathan Levin: Roman Graffiti: A Study of Deterioration and Stratification on Subway Trains (1992-2019)

III. Interviews/Talks/Books • Evan Prico: Juxtapoz Magazine: 25 years of Art & Culture • Robert Kaltenhäuser & Thomas Lauterberg: Texts Lost in Time: Boulevard Magazine • Andrea Baldini, Enrico Bonadio, Sabina Andron & Susan Hansen: A Philosophy Guide to Street Art and the Law

Make sure to order the very last copies of Nuart Journal – Number 1 and Nuart Journal – Number 2 to add the complete collection to your bookshelf!

Now available at www.hitzerot.com

[hitzerot-prints-and-publications]

ARIS – screen print

In the summer of 2017 the exhibition  „Aber Du siehst mich nicht.“ (“… But you cannot see me”), which was curated by Robert Kaltenhäuser and Katja Glaser, took place at the former waiting room at Herne station. According to the subline “Malerei + Zeichnung in und auf industriellen Infrastrukturen.” (“Painting + Drawing in and on industrial infrastructure.”) the Museum für Visuelle Dissidenz presented works from ARIS (Italy) and TOCKA (Ruhr area).

On the occasion of the exhibition both artists produced a limited edition print showing their work on a freight train (ARIS) and located at an industrial railway (TOCKA). The 2-color screen printing on raw carton matches the non-urban atmosphere of their artworks.  

The last remaining screen prints have been numbered and signed by the artists and are exclusively available at Hitzerot.

Now available at Hitzerot.

[hitzerot-prints-and-publications]

TOCKA – screen print

In the summer of 2017 the exhibition  „Aber Du siehst mich nicht.“ (“… But you cannot see me”), which was curated by Robert Kaltenhäuser and Katja Glaser, took place at the former waiting room at Herne station. According to the subline “Malerei + Zeichnung in und auf industriellen Infrastrukturen.” (“Painting + Drawing in and on industrial infrastructure.”) the Museum für Visuelle Dissidenz presented works from ARIS (Italy) and TOCKA (Ruhr area).

On the occasion of the exhibition both artists produced a limited edition print showing their work on a freight train (ARIS) and located at an industrial railway (TOCKA). The 2-color screen printing on raw carton matches the non-urban atmosphere of their artworks.  

The last remaining screen prints have been numbered and signed by the artists and are exclusively available at Hitzerot.

Now available at Hitzerot.

[matmanuk]

Audible - I am what I hear from GLASSWORKS VFX on Vimeo.

CREDITS:

Client Audible

Agency Kolle Rebbe

Production company Tempo Media

Directors Dvein

Executive Producer Joan Amat

Producer Tomás Muñoz

3D Artists Rüdiger Kaltenhäuser Marco Rossi Joan Guasch Carlos Cortés Marc Urtasun Pol Soler Fabio Medrano

2D Artists Rubén Llusia Carlos de la Sotilla Dani Lopez Karen Weiss

Colorist Xavi Santolaya

Sound design Banjo Music