SUBVERTISING MANUAL MANUAL SUBVERTISING SUBVERTISING MANUAL What you need and how to do it BRANDALISM SUBVERTISING MANUAL CONTENTS 1// INTRO //4 2// BUS STOP AD SPACES //10 3// OPERATING IN PUBLIC SPACE //20 4// CREATING YOUR OWN HI-VIS UNIFORMS //30 5// KEYS //37 6// ARTWORK //4 4 7// DOCUMENTING THE INSTALL // 50 8// UK LEGAL ADVICE // 54 9// CREDIT DUE // 58 2 3 1 // INTRO #YeahWeGotKeysForThat Hello world. This guide is an introduction and a practical ‘how to’ manual for all those who are interested in reclaiming ad spaces in their cities and neighbourhoods. 5 1 These two keys can hack over 100,000 ad spaces in cities and towns around the world. Thanks globalisation! You’ll find more info on the different types of keys used later on in Chapter 5 of this manual. INTRO // H60 T30 6 7 1 You may be a graffiti writer or street artist that hides in the shadows and wants to take over some corporate high visibility ad spaces. You may be a member of the public who just wants to open corporate ad spaces in the city and remove INTRO // the offending advertisements. Or you may be an activist that wants to raise awareness of your struggle by using the advertising space as a way of reaching the public. Whatever your reason, one thing is clear: a city with fewer ads, more public art and a mixture of stories and voices in public space is a healthier and more representative city. The right to author, change, create and recreate the public spaces that we inhabit, share and live in is a fundamental right for all people that coexist in communities, no matter what size. The multinational corporations that own ad spaces didn’t ask you or any member of the public for consent before they took over every city in the world with adverts. You have the right not to be constantly advertised at, especially in public space. So don’t ask their permission, it’s your right to take thse spaces back. Plus climate change is happening, so maybe it isn’t the best idea to keep constantly telling people to buy shit all the time, everywhere. Just sayin’. Within this manual is a selection of the research and practices that have been created by artists in several countries around the world who have worked hard to learn about these spaces, find the keys, test the processes and develop easy, risk- free ways to take over these ad spaces. Essentially we have done the hard work so you don’t have to. 8 Thanks to globalisation, you can now spend around £12, and get access to over 100,000 ad spaces across the world. Over the last few years Brandalism, PublicAdCampaign, Special Patrol Group and other friends around the world have installed thousands of artworks in ad spaces in various countries. We have written this guide because we want to encourage you to take these spaces back and use them to share your creative, social and political ideas or artworks with the public. If you are a street artist, graffiti writer or tagger, you couldn’t get your artwork in a more public spot. All we ask is: just don’t be a dick, and put anything racist, sexist or detrimental to any other culture, gender, race or religion in the spaces that you reclaim. Adverts already do this all the time. We’re better than that. Have fun. Bill Posters (Brandalism) 9 2 BUS STOP AD SPACES Types of ‘6 sheets’ In cities across the world, large multinational advertising corporations install and maintain bus stops to ensure that they can create permanent spaces to advertise shit to you. A bus stop poster ad is known as a ‘6 sheet’ in industry lingo. Within the UK, Europe and across the world there are 2 main types of ‘6 sheet’ ad spaces that take over public space in cities – we call them the ‘Bus Stop one’ and the ‘Lollipop’. This guide shows you how to hack both of them. 11 2 Some of the largest outdoor advertising companies in the world have contracts with local councils or municipal regions for the installation and management of public transport infrastructure. These contracts are essentially monopolies that can last 30 years or more. In exchange for allowing multi-national corporations to build and maintain this infrastructure, they get to install advertising all across the city whilst local councils save money from their non- existent budgets as a result of the financial crisis and neoliberal free-market economic policies. Sounds like a fair deal right? Wrong. BUS STOP AD SPACES // AD SPACES BUS STOP THE ‘LOLLIPOP’ ONE These ad spaces are very common in large towns and cities in the UK, Europe, and many other cities around the world. They are double sided too so twice as much exposure for your art when you hack them. Win. The Lollipop can be a little taller than the other bus stop ad spaces at around 210cm - 240cm high. As a result, they sometimes require a small set of steps to reach the top of the advert when you open the frame with your key. If you don’t have a small set of steps, don’t worry, we’ll show you how to install your artwork easily in our step-by-step guide on the next pages. 12 THE LOLLIPOP ONE 13 2 BUS STOP AD SPACES // AD SPACES BUS STOP INSTRUCTIONS: 14 15 2 THE BUS STOP ONE There are thousands of bus stop ad spaces to choose from when considering where to install your artworks in the city. The newer models open with only one key; however, some older spaces require two keys and the following guide shows you all the things you need to know in order to open these easily and install your artworks. THINGS TO THINK ABOUT • Do your research and check if you need to bring some steps, or a small crate to stand on when installing your artwork. The last thing BUS STOP AD SPACES // AD SPACES BUS STOP you want is to start sweating when you realise that you can’t reach the top and you will have to bail on the installation! Not cool. • After a while you will realise that some of the older bus stops have pretty shit locks, they can get worn down as they are opened every 2-4 weeks over many years. Don’t worry if the lock is shit and you can’t open it, just move on to the next one, there are thousands to play with. • The best thing to do is to put a high vis jacket on, and just test the keys in daylight. Nobody gives a shit, and that way you can learn how they open and be more efficient when you return with your artwork to install. 16 THE BUS STOP ONE 17 2 BUS STOP AD SPACES // AD SPACES BUS STOP INSTRUCTIONS: 18 19 3 OPERATING IN PUBLIC SPACE Hiding in plain sight 21 3 Now you’ve identified your type of target, you will want to feel confident and relaxed when you go out to install your creativity in public space. When I first started looking into taking over ad spaces in the city I would approach it the same way as I approached graffiti. Hood up, late at night, trying to see how to get into these spaces, how to get them opened and what I might need to make it happen. I remember finally popping one open, and then shattering the glass as I forced it closed after photographing the locks. As I was legging it away, I thought there must be an easier way to do it than this shit. OPERATING IN PUBLIC SPACE // // IN PUBLIC SPACE OPERATING 22 Over time it became clear that if you want to get away with taking over ad spaces in the city, you need to simulate the behaviour of the workers that install the ads in the first place. This is because if people expect to see something happening in a certain space, at a certain time in the city they will automatically ignore it. It forms part of the backdrop to the rhythm of the city, the metabolism of urban space. Listed below are some notes on suggested practice and processes for installing artwork in ad spaces in the city. These reflections were learnt over many years of trial and error by Brandalism and friends around the world. We hope that this knowledge will save you loads of stress and frustration when you start reclaiming ad spaces. 23 3 TIME OF DAY Save yourself loads of of stress and hassle from the cops, and from other members of the public (late night dog walkers especially, pure trouble), and go out in the daytime. Don’t go out (like I started doing) at 2am in the morning, looking shady, trying to figure shit out. Use your head and go out in the day time. At first it will feel exposed, and you will be nervous, but after the first opening of a cabinet or the first installation of an artwork, alongside a rush of adrenalin, you will realise that: 1. Nobody gives a shit. If you look like you should be there, and your behaviour is what people (including the cops) expect to see at that time around that ad space, OPERATING IN PUBLIC SPACE // // IN PUBLIC SPACE OPERATING then you will be fine. This is why a hi-vis is so important, as it gives you legitimacy.