First come, first painted

TASSO & René Kästner

Creative art is not just for galleries and museums. The IBUg (Industriebrachenumgestalten) transforms old industrial wastelands into accessible art spaces. This weekend, 80 artists from all over Europe will be making the pilgrimage to Chemnitz. From 25 August to 3 September, the old VEB Spemafa (special machinery factory) Chemnitz in Lerchenstraße will be transformed into a collection of art installations, pictures and messages. IBUg father TASSO (51) from Meerane and Chemnitz-born René Kästner (40) have been involved with the street art festival since its first steps in 2006. The IBUg has now grown up and is in the hands of a dedicated team led by Thomas Dietze from Leipzig. We met the two artists TASSO (street art/graffiti) and René (graffiti) in the run-up to the IBUg for a chat about the many facets of art in public spaces.

Why does the IBUg exist?
TASSO: Back then, there were many events that focussed on traditional graffiti, such as the Meeting of Styles. While travelling, I got to know a lot of people who did other things, especially from the street art scene. People like that don't have a chance to present themselves in the Hall of Fame (editor's note: this is the name given to walls on which graffiti can be legally sprayed). And as I had permission at the time to use the old IFA works in Meerane for my art, I thought I would make the space available to these street artists for their works. And then I just did it.
Almost nobody came in the first year, nobody was interested. We were a few mates and two artists from other regions. But the town of Meerane liked it so much that they offered us another property. And that's how IBUg gradually came into being.
René Kästner: We've been friends for some time and when someone from the group does something, we come round. Painting in a wasteland was nothing new in itself, it was just unique that it was done in such a large community and officially. I enjoyed meeting people there and painting. Hanging out and partying is an important factor in the whole thing.
TASSO: I like to compare it to the bohemian style of the 18th century. The artists went underground in neighbourhoods and built their own world there. Working together, networking, creating something creative. That's how the IBUg family came about.

How did these families come together? Do you find the artists or do the artists find you?
TASSO: In the beginning, I had to actively search for them, and then I knew many of them from the road. Nowadays, it's all about the artists' applications.
René Kästner: There are a handful that keep coming back. They are simply part of it!

From the provinces to the big city, why is Chemnitz the venue this year?
TASSO: Chemnitz is actually something special in the context of this event. Otherwise, the IBUg is always held in the Saxon province. That was also the attraction for artists travelling from cities like Munich, Berlin or Hamburg. Chemnitz is the first major city to host the IBUg. In small towns like Limbach or Meerane, we immediately attracted attention with our event.
René Kästner: People were always very curious and helpful. I think it will be different in Chemnitz. None of the residents will provide us with coffee this time (laughs). On the other hand, it's easier to find sponsors and media support in a larger city. By moving to a big city, we are definitely deviating from the concept and trying something new.

Is the IBUg also an enrichment for the city of Chemnitz?
TASSO: That happens automatically, we don't intend it to. Our aim with the festival is more to familiarise people with our kind of art. The majority of people have negative opinions about graffiti and street art because they have no connection to it. The IBUg brings art to people who don't go to museums or galleries. It's simply a different approach to art. I would like to see municipalities and cities approach us. They should see that we are making a positive contribution to urban development. But so far it's still been along the lines of: "Can we give you a nice party and beautify your industrial wasteland?"
René Kästner : Such projects must increasingly emerge from the city itself. The IBUg moves on every year. Something is happening in Chemnitz, the collaboration between the city and the organisers is closer and more cooperative, such as at the Kosmonaut Festival.

What is shown? Is there a theme for the motifs?
TASSO: I like theme parties, but a theme for art is boring. The artists often incorporate the history of the building into their works.
René Kästner: The artists receive a briefing about the building and its background in advance. A lot happens in this direction. It is also partly in the nature of the artist to reflect and absorb their surroundings.

As an artist, do you look at the premises beforehand or do you decide spontaneously what to create?
TASSO: Arrive, get started!
René Kästner: Anarchy, first come, first painted.

Is there a street art scene in Chemnitz?
René Kästner : There was a pronounced graffiti scene back in the 90s, which still exists in parts today, but there is no street art scene.

With this question, a discussion breaks out between the two of them about street art and graffiti. Whether figures, messages, stickers or letters created semi-illegally or illegally in public spaces: The layman hardly sees a difference there. "Graffiti was a form of rebellion in our time," emphasises René. "We didn't ask, we just did it!" In fact, street art wouldn't exist without the American graffiti scene. It provided the basis from which today's street art developed. In contrast to graffiti, street art is now more widely accepted in society. While graffiti usually consists of letter combinations that are not always decipherable, street art is characterised by more recognisable motifs. However, IBUg also serves another level of art, concept art, in which it is the idea and not the aesthetics of the object that counts. "It's now a huge mishmash of styles, it's hard to tell them apart, but it's important and interesting," TASSO tells us, recalling his first graffiti, which he discovered in Chemnitz.

TASSO: It was shortly after reunification and I was sure that it could only have been American. I'd never seen anything like it before. The graffiti scene was flourishing in Chemnitz at the time. There were simply a lot of legal walls and opportunities to spray.
René Kästner: Many people are still active in the graffiti scene. But there's not much innovation in terms of style. Back then, a lot was done and tinkered with here in Chemnitz, there were lots of offers for young people or people simply created something themselves. The attitude towards graffiti has changed a lot. In society, graffiti has a negative connotation and is associated with graffiti and illegality.

Isn't it a shame if IBUg locations are eventually torn down?
TASSO: There are no plans to demolish Spemafa yet. Most of the artists taking part here have already done a lot on the streets and in public spaces. They are used to their work disappearing the next day. What's more, demolition plans for brownfield sites have an appeal for visitors. Either you were there that day or you will never see it again.

Once all the works have been completed, what else happens during the festival week?
TASSO: There are parties in the evening, firstly for the atmosphere and secondly for the team, so that the volunteers can also give something back. Guided tours are also organised for schoolchildren. The individual artists talk about themselves and their style. Such background information is more exciting for most kids than a classic museum visit. In the neighbourhood on Brühl, there will also be a creative programme and art events parallel to the IBUg.

Where do you see Chemnitz and public art in 2025?
René Kästner: Workshops, events and walls to paint on are needed more. New meeting places for young people are important to give them opportunities. It is important to identify the needs that are currently popular with young people. And Chemnitz needs a neighbourhood culture, which is perhaps possible on the Brühl.
TASSO: I would advise Chemnitz to continue to open up to new things. Art is part of the Capital of Culture, but not just the classical art that was created before 1900, but also the more unconventional things, such as street art. This is the art of our time and we should pass it on to the next generation.