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Gap to Fakie from D3 to Documenta13 by Uffe Christensen

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Gap to Fakie from D3 to Documenta13 by Uffe Christensen Gap To Fakie From D3 to Documenta13 by Uffe Christensen Fine Arts Department, Gerrit Rietveld Academie Thesis mentor: Janice McNabb March 23 2015 I was sitting in my brothers Copenhagen apartment at the end of 2014. I am drinking a cup of coffee (aeropress) and trying to keep my mind off my obligations. One of which you are holding in your hand right now. For several months I had been struggling in Amsterdam with finding some sort of focus within my endless piles of books and photocopied texts I had obtained for the sole purpose of having something valid to say over the course of the next four-thousand-something-words. During the research- and writing process I seemed to have lost myself a bit somewhere along the way. I flip through a pile of magazines lying on his coffee table, one of which is the spring 2014 issue of Dank Magazine1. On the cover was a list of the featured skateboarders and articles in the magazine and suddenly two names that are definitively not familiar in the skateboard world: Matias Faldbakken and Geide Einarsson. They are both visual artists based in Oslo. Both of which I have a tremendous amount of respect for and both have been very influential on my work over the last couple of years. Faldbakken in particular2. So seeing his name and Geide Einarssons on a magazine cover bearing a full bleed black and white photograph of a skateboarder flying down a set of stairs struck me with curiosity. The article with Faldbakken and Einarsson was actually a review of a recently released skateboard film. The review is consisting of a transcript of a conversation between the two artists via Skype. Faldbakken and Einarsson are both watching 'cherry'3, a skateboard film made by American skateboard and lifestyle brand Supreme. It is arguably the most influential and genre defining video to come out this year in the world of skateboarding. I have seen the film too, I downloaded it the second it got released. From some russian file sharing site (my laptop doesn't have a dvd player built in. But even so I doubt I ever would have purchased a physical copy. Who buys dvd's anymore?). The global skateboard world was bursting from excitement for it to be released as it had been subject to a lot of hype and speculation due to the company moving more and more into the world of fashion in recent years rather than the skateboard market of which it came from. Mostly people were doubting wether or not Supreme could produce a skateboard film that would match the level of quality of the rivaling companies videos. Skepticism especially arose among the integrity obsessed skateboard underground when Supremes products were seen endorsed by pop icons such as Lady Gaga, Tyler the Creator and Jay-Z. To most peoples surprise (including mine): it did live up to its hype. The film was a perfectly executed 38 minute skateboard film. High end technical skating, very interesting spots4 and with editing that marked a new standard of films to come. All in all, a powerful and raw no-bullshit skateboard film. The film was being true to the original and fundamental value of the origin of the company's 1 Norwegian bi-annual Skateboarding Magazine 2 As I am most familiar with the work of Matias Faldbakken, I will focus on his work and leave out Geide Einarsson. 3 Supreme, 'cherry', Directed by William Strobeck, April 2014 4 A spot is what, in the skateboarding world, is referred to as a place ideal for skating. Anything is a spot if it offers the possibility to creatively put together a number of tricks and is in a condition that doesn't enable you of the basic necessities such as moving freely around on the ground i.e a smooth flat surface. ideology: to represent New York City skateboarding in its truest and most honest form. The very same thing that the company got born out of in 1994 when it first opened as a small skateboard shop on Lafayette street in Manhattan. Skateboarding on the east coast is very different from skateboarding on the west coast, its initial birthplace. In a city like New York you see a much more urban and aggressive approach to skateboarding as the cities on the east coast have a tendency to be much more compressed than, say major cities in California. When skateboarding in a city like New York there is a constant presence of traffic and pedestrians that has to be taken into account. This interaction with not just the urban architecture but the city as living collective organism is famously portrayed by professional skateboarder and artists Mark Gonzales in the legendary Blind 'Video Days'5. Gonzales is seen skating in and out of traffic while doing tricks constantly. Skitching6 taxis and cars in the packed streets of Manhattan in sometimes nerve wreckingly high speed. Doing so with such enjoyment making it seem so easy and playful it almost seems as if he is dancing in traffic. This style of almost circus-esque street skating is very much developed from the mind of Mark Gonzales. His playful approach to spots and tricks broke boundaries within the skateboard world and have set a standard for street skating which is still being developed to this day. Mark Gonzales is to street skating what Marcel Duchamp is to conceptual art. 23 years later this particular style of skating in the streets from 'Video Days' is carried on even further in 'cherry'. So Supremes products might be in high demand of fashionistas and white upper middle class teenagers around the world today but they still remain true to their heritage and remain a progressive and undeniably important factor in todays skateboard world. A Still from Blind's Video Days from 1994. Mark Gonzales is lying flat on his back on his skateboard in the middle of the New York Traffic 5 Blind Skateboards, 'Video Days', Directed by Spike Jonze, 1991 6 Skitching is when skating in traffic one grabs on to a vehicle and gets carried through the city. The image of the skateboarder skitching the yellow taxi cabs in traffic have become synonymous with the essence of the New York City style of skateboarding. The skateboard video have been used for promotional videos for skateboard companies since 1984. The legendary company Bones Brigade put out the very first skateboard film in that year entitled 'The Bones Brigade Video Show'7. The model used for the film back then is the same one being used today. Each skater has their part in the video with a song as the audio soundtrack for the part. The combination of style, tricks, clothing, choices spots and music is what the public were given as information to identify with each skateboarder. And the whole teams parts put together as one whole film is what the company is to the public. Skateboarding is obviously not a team sport, so the term team can be a bit misleading. One can compare the team of a skateboard company to an artist roster represented by an art gallery. So not only are the videos a promotional tool in order to sell products but also to create a certain identity around their companies. Skateboard films have since been made in thousands and they all share one thing. They are all contributing to the long history of documenting the evolution and progression of skateboarding. And so today with 'cherry' Supreme not only produced a memorable high quality skateboard film, they also stressed the ever relevant importance of the skateboarding video. Maybe the fact that the skate film as phenomenon is such an implemented part of any skaters heritage as of how you consume skateboard culture it ('cherry' for instance), needn't be reviewed in a skateboard magazine in the first place, I wonder. At least not reviewed by skaters for skaters. This could possibly be one of the reasons why the two artists were recruited by Dank Magazine instead of some names that are familiar in the skateboarding world. Faldbakken and Einarssons conversation in the magazine was very relaxed. Full of nonchalant wit and frankly not very much about the actual skateboarding in the film rather than commenting on the different locations and personas caught on tape. Lots of inside jokes and references to Norwegian musicians and b-list celebrities that I didn't feel the need to google my way through. It sounded more like two teenagers on the Facebook chat than two people reviewing a film as it was full of online giggles and a frequent use of the word LOL. I was a bit thrown off to say least, but entertained nonetheless. The outcome of the conversation in Dank Magazine was nothing I would've expected from two highly respected artists one of which have participated in Documenta8 and both having solo exhibitions in respected institutions around the world. There were very few moments (close to none) where I had the impression that I was reading two artist perceptions of the film. However the magazine cover and the article itself was also affirming me with a preconceived suspicion which I have had since seeing a picture of Untitled (Slayer Upon Slayer Upon Slayer), 2007 for the first time a few years back: That Faldbakken had been skating in his earlier days. Or at least been connected to the Norwegian skateboarding scene in one way or the other. This is a strange assumption to some, I realize that.
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