A Street Art Workshop with Berlin Massive

by Judinelly Gonzalez

Photo Credit: Dr. Heidi R. Lewis

Berlin is notorious for its graffiti and street art scene. You can see it just about anywhere when walking around the city—street corners, subways, and even the inside of a bathroom, for example. Any empty space is fair game, as long as you do not get caught by the police (yet, most police officers turn a blind eye). So, after the in-depth street art tour earlier in the week, I wondered what it would be like to be a graffiti artist.

Photo Credit: Dr. Heidi R. Lewis

The FemGeniuses all got the opportunity to experience this on the last day of the course through a street art workshop with Berlin Massive. Jenny, our instructor for the day, introduced herself in the same alleyway our class had been in the first week while waiting for the Museum Blindenwerkstatt Otto Weidt tour. She started off by sharing some of the history of the alleyway before leading us to our private workstation.

Photo Credit: Judinelly Gonzalez

I was thrilled to finally learn about why those walls had a lot of graffiti with languages other than German and English, because it was something I noticed the previous time I had been there, specifically a large piece with various Latino names and Spanish phrases. I had questioned why a piece like that was in Berlin, because I was not expecting to see Spanish words and phrases on the walls of a predominantly white city where everyone either speaks German or English. Basically, I wanted to know how a Brown artist ended up there and Jenny answered it by saying that a lot of the art around us was done by international, female artists.

Photo Credit: Dr. Heidi R. Lewis

Once the quick history lesson ended and we were seated in our private workstation, it was finally time to begin our graffiti art process. There were three main steps. The first was to brainstorm individually and then share with our table group, the second was to share the table group consensus with the larger group in order to decide on the final group concept, and the third was to spray paint the final group concept onto the canvas, in other words, our “wall.” Jenny kept encouraging us to write, doodle and sketch. It was apparent that the brainstorming step is the most crucial step for the street art scene because how else can a street artist quickly paint a wall? Personally, whenever I do not brainstorm enough for a painting or drawing, it makes it extremely frustrating for me, because it means I am still unsatisfied with what I wish to create—that I do not have a set visual for the final product. Therefore, it makes it even longer for me to finish an art piece. Nevertheless, the FemGeniuses all agreed with an idea we wished to see on the larger canvas, completing step two.

Photo Credit: Dr. Heidi R. Lewis

When we finally got to the third step, we geared up with a plastic poncho, painter’s mask, and singular glove on one’s dominant drawing hand. We were then given five minutes to practice using a spray can on a large wooden board before moving onto the dominating white canvas all of us had seen as we walked into the area. It was at that moment I realized spray painting would not be as easy as it seemed, especially when I wanted to make thin lines. That is why I did not attempt any of the fine lines in the final piece (Jenny heavily assisted with those), but it was fun to watch everyone else give it a go. One of the most memorable parts from the workshop were the black marker additions right at the end. I will admit that our concept may have been too ambitious for us novice graffiti artists to complete in less than an hour.

Photo Credit: Dr. Heidi R. Lewis

I was aware that the workshop would be more of a hands-on activity rather than a discussion. And while I was not able to ask many questions after the workshop because of the quick clean up, I was still able to learn a little bit about Jenny’s work. I loved that the positive and humorous attitude she maintained throughout the entire workshop was reflected in the answers to my questions. She was straightforward in saying that she’s a graffiti artist that does both political and “just for fun” pieces. She then mentioned she typically uses stencils and stickers because they are “really fast to copy and print everywhere,” especially since graffiti on a subway or train is big in Germany. This subway or train graffiti comment had me immediately asking if she had ever tagged a subway and all she did was laugh and say it was up to my imagination.

Photo Credit: Dr. Heidi R. Lewis

The workshop let me experience the challenge it is to be a graffiti artist. They have to spend a lot of time figuring out how and what they want to paint on a wall that many people will most likely notice. They have to be precise with their line strokes because they cannot afford to waste any time cleaning them up. They know they risk of getting caught by the police.

Photo Credit: Dr. Heidi R. Lewis

However, I question that risk level. If a passerby walked by and saw a graffiti artist’s skin color, hair type, or any other visible phenotype, would they continue to pass by or immediately call the police? And yes, in Berlin, the local authorities typically turn a blind eye because, as Simon Arms describes in “The Heritage of Berlin Street Art and Graffiti Scene,” “street art in Berlin is a big industry” and “attracts tourists” (1). But what if it is not based in Berlin? What if I, a Latina woman, were to ever graffiti a wall in the United States. Do you think I would easily be let go? Probably not. A Brown or Black person spray painting a wall in the United States is immediately associated with vandalism. What I am trying to say is yes, both white people and people of color face the risk of getting caught, but white people will always have less of a risk. The consequences of being caught will be different depending on your race, ethnicity, and nationality.

Photo Credit: Berlin Massive

These reflections remind me how different things can be for someone that is a part of the minority. We learned that one of the minorities in Germany is the immigrant community. One typical assumption about them mentioned in Jin Haritaworn’s “Queer Injuries: The Racial Politics of ‘Homophobic Hate Crime’ in Germany,” the “homophobic migrant,” which associates people of color that migrated to Germany with hate crimes (80). I find this upsetting because it puts whole communities in a negative light. It puts a target on who to blame whenever there is trouble. It is why whenever I saw street art with connections to race, street art I could tell was done by an artist from a racial minority, I found myself not quickly pulling away. One of those pieces that caught my attention was mentioned earlier in this blog. It featured various Latino names and Spanish phrases and primarily used a warm color palette. For someone that only knows English, the one English phrase, “YOU TOOK THEM ALIVE, WE WANT THEM BACK ALIVE,” gives enough context to a viewer that the Latino people painted on the wall were missing. But for someone that knows both English and Spanish, it is so much more. My eyes focused on “¡VIVO SE LO LLEVARON! ¡CON VIDA LA QUEREMOS!” which translates to “THEY TOOK HIM ALIVE! WE WANT HER ALIVE!” and “¿DONDE ESTÁN?” which translates to “WHERE ARE THEY?” because I could imagine my mother crying these out if I suddenly disappeared.

Photo Credit: Berlin Massive

That is why after this graffiti workshop, I have gained a further appreciation for street art—street art that connects with people on a deeper level and art done by someone from a marginalized group. It takes a lot of creativity, skill, and courage for these artists to express themselves, even if they are often doing it anonymously. There must be a lot of pressure to include the right words (if the artist decides to use words) or to find the right composition. I mean, it usually takes me a significant amount of time to figure out what I want to do with a black piece of paper. Can you imagine how long my graffiti process would take if I wanted to put something I was proud of on a street wall corner? Graffiti artists like Jenny and whoever painted that piece centered around missing Latino people deserve a lot of respect and acknowledgement for the work they do. They are drawing attention to voices typically overshadowed by white males. I know street art will not magically solve racism, sexism, ableism, and any other form of discrimination we are still facing, but it at least addresses social issues people have to notice on their way to school, work, and|or social events. So, if I were to ever hear about someone simply passing through this alleyway, located at Rosenthaler Straße 39, 10178 Berlin, Germany, I would be shocked, because just like the Berlin Wall, there is “layer upon layer of zest, life, and color” to stop and acknowledge for more than a few seconds (Arms 2).

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Judinelly (Judy) Gonzalez is a rising sophomore at Colorado College from San Rafael, California. One of her favorite things she’s read so far in the classes she’s taken has been the counternarrative, because it is something she can connect with on a variety of different levels. She is still figuring out what she wants to major in and hopes to double minor in Studio Art and Race, Ethnicity, and Migration Studies. When she is not studying, you can find her in the ceramic studio, listening to music, or hanging out with friends. This is her first time in Berlin, and she has loved exploring different parts of the city.

Graffiti & Street Art Walking Tour + the Urban Nation Museum

by Alexis Cornachio

Photo Credit: Dr. Heidi R. Lewis

The arts and Berlin. Somehow it had been ingrained in me to immediately associate each one with the other. I think it was my limited knowledge of the city of Berlin that had informed some romanticized imaginations of an exploding and dynamic queer arts scene. On the car ride from the airport to the apartment we would be living in for the next three weeks on Pohlstraße in Schöneberg, my imaginations were confirmed as I looked out the window onto passing buildings, cafes, shops, and street signs that had all seemed to be covered with splatted illustrations, unfamiliar symbols, and words—art was everywhere, and it was explosive.

Ignorantly, I had thought little about how my vivid preconceptions of the city had been contributing to a narrative of the exceptionalism of Berlin, a narrative that works to render marginalized groups invisible by relying on the prominence of street art culture and what this culture symbolizes.

Photo Credit: Dr. Heidi R. Lewis

Street and graffiti art are inextricably bound to opposition. They possess resistive qualities not only because they are technically illegal in Berlin, but also because they represent a form of self-expression and can work as modes of making political statements and commentary on society. With the qualities of street art and graffiti being inherently resistive and the city explicitly welcoming artists to participate in this form of artistic expression, an exceptionalizing narrative has been carefully constructed and continues to be reproduced as street art culture is commodified for tourism.

Photo Credit: Dr. Heidi R. Lewis

I am obviously not an expert on Berlin. I certainly do not think I am qualified nor knowledgeable enough to argue that the dynamic and accepting image of the arts culture of Berlin society is a façade. However, I do find value in critiquing the function of this narrative. I think it is important to examine which groups are being affected most by the perpetuation of an exceptionalizing narrative and by the impact of commodifying street art culture. Is a society that seems to be bursting with art, queerness, liberalism, and inclusivity on the surface, in actuality, invisibilizing voices of marginalized people, such as immigrants, people of color, and the transgender community?

I was able to gain a deeper understanding of the importance of community and culture among street artists during a walking tour our tour guide whose name is Cole. I came in with some loose knowledge of the so-called “rules” of street art. I knew that everyone has their own “tag,” artists rarely ever cover other artists’ work, and that there is a solidarity in anonymity. Cole further explained the importance of adhering to these rules and how the culture of respect strengthens the graffiti and street art community. Street art in Berlin has a genuine uniqueness to it, which values artists regardless of background. The community respects each other’s art, and there is a unified value in self-expression and ultimately in humanity, which I found to be very inspiring.

Photo Credit: Dr. Heidi R. Lewis

When it comes to the ways city authorities like police react to street art and graffiti, I question whether it comes from a place of respect and genuine value in humanity. Cole claimed that in Berlin, the police often turn a blind eye to street art and graffiti. For example, he told us about two artists who were creating on the side of a building when a cop slowed to a stop next to them, gave them a thumbs-up, and left. For Berlin, street art is a significant part of the economy. Hence, the Urban Spree area we had the opportunity to visit is in the midst of gentrification. It is being sold off to a corporation that will build “luxury” apartments and clubs. Moreover, only two squats exist when in the years following the Cold War, the city was one of the main hubs for squatters. Most of the spaces for squatting have been sold off by the city and replaced with “luxury.”

Photo Credit: Dr. Heidi R. Lewis

Gentrification was a consistent theme throughout our tour. Cole described a sort of fetishization of Berlin’s “cool, crazy alternative scene” that manifests in the arts, specifically street art. One story that explained with how many street artists are reacting to the gentrification of their community was about the iconic artist Blu. Blu found out luxury apartments were being built in the space near one of his massive paintings that covered the whole wall of a building. Instead of the corporation destroying his art, they were advertising that their luxury apartments would face Blu’s painting for all the people living there to see. In outrage about a squat being destructed to make room for “luxury” apartments, a fire broke out in the exact area the corporation was using. The city was quick to blame the houseless for starting the fire; although, it is largely suspected that this was the doing of local street artists. One night soon after the fire, Blu and some friends decided to paint the entire wall of the building black, covering his painting. The painting depicted two hands reaching out, so Blu painted over all the fingers except the middle finger of one of the hands, leaving a poetic message for passersby. Stories like this make me think about the anger and frustration of street artists and question in what ways the culture of the arts will evolve and|or dissolve in Berlin.

A couple hours after our tour, we visited the Urban Nation Museum for Contemporary Art, which features various artists and multimedia works, including street art. Within the museum are “chapters,” different exhibits that focus on particular themes. When I walked in, I was met with the exhibit entitled “We Need to Talk,” which is focused on putting different works of art “in conversation with each other.” The curators placed artworks about different social issues such as race, femininity, war, and consumerism across from one another so that they look like they are “having conversations.” At the end of this exhibit, there is a sketchbook and a pen lying on a podium. I thought this was a cool interactive element of the exhibit, because if someone thought there should have been more representation of a particular issue or conversation, they could write that in. Also, if someone just had something on their mind, they were given the freedom and opportunity to share and have others read their thoughts.

Photo Credit: Dr. Heidi R. Lewis

Upstairs was, in my opinion, one of the most intriguing exhibits, because it featured artists who made their creative processes visible. One work by Ida Lawrence, “A Village and Surrounds VI (Mirrors and Moulds),” was breathtaking. Lawrence works and lives in Berlin, and uses a combination of imagery and text to illustrate memory and historical narrative. For this work, she used a large canvas filled with handwritten journal-like entries, differently sized and scaled images, and vibrant colors. My eyes moved around the canvas, and in every corner, there was something new to fixate on. It showed me how one artist can go through a diverse range of styles and thought processes, all culminating in one creative piece.

Photo Credit: Dr. Heidi R. Lewis

The art in Urban Nation exhibited an expression and reconciling of the self. According to the curators, the project of the museum is to create a space that will be used to educate and foster community among street artists of Berlin. In “The Heritage Of Berlin Street Art And Graffiti Scene,” Simon Arms describes postwar Berlin street art and graffiti as an expression of “what it meant to be free” (3). I think an important way my perspective complicates the idea of art as an expression of freedom is rooted transnational feminist discussions about how definitions of “freedom” differ. The past couple of days, I have been walking past an open studio space on Pohlstraße a couple of doors down from our apartment where two German students are building a wall that will soon exhibit a woman’s art starting early July. The students and I became friendly, and one day I mentioned this blog I was writing about urban street art in Berlin, and we started talking about Urban Nation Museum. One of the students had strong opinions regarding the ethics of the museum and how he thought it was counterproductive to uplifting street art culture. He was critical of how the museum categorized street art and graffiti and about how the artwork in the museum was not what street art in Berlin is about. I think their perspectives on museum politics and gentrification are important to consider when thinking about how freedom is defined and expressed in art and why it is damaging to conflate the art in the museum with street art on the streets of Berlin. Is the art in the Urban Nation Museum a representation of inclusivity in the art world? Is it taking something away from street art culture as Berliners and local artists know it? Is the art being exploited as a tourist attraction and perpetuating a narrative of the exceptionalism of Berlin?

In reflecting on my positionality as an American tourist and college student, I think I have been able to gain some insight into the ways various art in Berlin has been specifically catered to tourists. The ingrained image I hold of the lively, queer, and accepting arts culture has fed into my preconceptions of ideas about Berlin, even though I had limited prior knowledge. This exceptionalizing narrative draws in people and money that will continue to benefit the city’s economy, and street art and graffiti become commodified tourist attractions. Obviously, though, the arts community in Berlin is a community I think anyone can learn something from. From what I’ve experienced, it is expressive and fearless, and the culture among street artists themselves is representative of what it means to value one another’s humanity through valuing another’s art and expressions of the self.


Alexis Cornachio is a Sociology major and rising junior at Colorado College. She grew up in New York, and has been enjoying the urban setting of Berlin. She loves music and enjoys playing guitar and singing. She is passionate about what she has learned so far about Berlin society and is excited and grateful to travel and learn more in her life.

The 2022 #FemGeniusesinBerlin

Photo Credit: Dr. Heidi R. Lewis

Click here to view a slideshow of pictures, and follow @FemGeniuses and|or @AudresFootsteps on InstagramTwitter, and Facebook to see more pictures and videos.

Multimedia Podcast Index:

The RomaniPhen Feminist Archive + the Romanja Power Walking Tour with Estera Iordan” by Christiana García-Soberanez
A Conversation with Jasmin Eding” by Eliza Strong
Jewish History & Culture Walking Tour + Museum Blindenwerkstatt Otto Weidt with Adam Schonfeld” by Bridget Hanley
BlackEurope: The Beginnings of Black Self-Organization in Europe” by Erin Huggins
German Colonialism Walking Tour w/ Josephine Apraku + the Neues Museum” by Amalia Lopez
A Conversation with Sharon Dodua Otoo” by Latra Demaçi
The Wall Museum + the Berliner Unterwelten Tour” by Margalit Goldberg
Blackness in America and Europe: Where the Grey Space Exists” by Monica Carpenter
A Conversation with Dana Maria Asbury, Mona El Omari, and Iris Rajanayagam” by Vicente Blas-Taijeron
Graffiti & Street Art Walking Tour + the Urban Nation Museum” by Alexis Cornachio
“A Conversation with Judy Lynne Fisher” by River Clarke
“Queer Berlin Walking Tour w/ Mal Pool + the Schwules*Museum” by Riley Hester
“A Street Art Workshop with Berlin Massive” by Judy Gonzalez

To read and|or listen to the finales and view the indices and slideshows for previous #FemGeniusesinBerlin, click here

Some Final Thoughts on the 2018 #FemGeniusesinBerlin

IMG_8271It’s been a while since I contributed to “Some Final Thoughts.” So, bear with me, please, as I shake some of the rust off.

Despite earning tenure and promotion to Associate Professor this spring, this year had its rough spots—some worse than others, especially the death of one of my closest aunts. Because of that, a few people—some who I thought were close to me and others who I knew weren’t—recommended that I cancel this course. In some strange way, I’m glad they did, because it reminded me of two very important things:

  1. A lot of people who compliment me on this course have no idea what it is, what it does, and/or what it means—not just to me but to my students and my friends and comrades in Berlin.
  2. This course means a lot to me and my students and my friends and comrades in Berlin.

My faith in the course was rewarded by a great group of students. They were thoughtful, kind, patient, interested, curious, and outright hilarious. I had so much fun with them, and I miss them already even though it’s only been one week since the course concluded. I could fill this page with memories:

  1. Charles declaring, “Those two left at the same time.”
  2. Me and Charles, singing, “If you liked it, you shoulda put a ring on it.”
  3. Laila’s hilarious faces and hand gestures—I wish I could type the sound she made to complement her monster face and hands.
  4. Dana’s and my “cheese fight.”
  5. Our first long-distance trip in the course.
  6. Izzy’s visit.
  7. The constant references to John’s future run for Senate.
  8. Sarah’s broad-shouldered dinner jacket.
  9. The search for mom jeans and the finding of a pair “in pristine condition.”
  10. Dereka’s new nose ring.

And as always, we had such a great time with and learned so much from everyone in Berlin who gave their time and energy to the course. Best of all, I think everyone knew just how much we appreciated them, because these students made every effort to ensure that from start to finish. If you haven’t yet, please check out the student podcasts (index below) and share them with anyone you know who may be interested in what we study here.

2018 FemGeniuses in Berlin Podcast Index:
Click here to view a slideshow, and follow us on Instagram and Twitter to see more pictures and videos!

Jewish History & Culture Walking Tour and the Gedenkstätte Deutscher Widerstand” by Noah Shuster
ReachOut Berlin” by Madi Doerre
Examining German Colonialism” by John B. Capers, Jr.
Joliba Interkulturelles Netzwerk” by Laila Marshall
Romanja Power and Cultural Preservation at the RomaniPhen Feminist Archive” by Anna Wermuth
Talking Feminisms on Reboot.FM” by Sarah Leve
1968 and The Berlin Wall” by Abby Williams
Initiative in Memory of Oury Jalloh” by Charles Meyer
The Queer Berlin Walking Tour and Visit to the Schwules* Museum” by Dereka Thomas
LesMigraS” by Diana Muñoz
Street Art & Graffiti Walking Tour and the Urban Nation Museum” by Zoë Frolik

To read and/or listen to the finales and view the indices and slideshows for previous FemGeniuses in Berlin, click here

Street Art Workshop & Tour

Wynter (Judy)

Photo Credit: Judy Fisher

This podcast—led and produced by Wynter Haley Scott—examines our “Street Art Workshop & Tour” with Declan (tour guide) and Rob (workshop guide) of Alternative Berlin Tours. According to the tour company, “On this two-part tour, we take the back streets and discover some of the latest, greatest and oldest examples of street art, graffiti, and mural art in this famous capital of urban art. The street art tour component is a detailed look at local and international artists who have left their amazing art on the streets of Berlin.” Further, they note that all of their guides are “street artists/graffiti writers and experts on the scene and will show you some of the best stencil art, throw ups, mural art, hall of fame pieces, paste ups, tagging, ad busting, heaven spots, burners and installations, while teaching you who is behind the art and what their motivations are.” Finally, the tour concludes “in a former abandoned margarine factory in the district of Lichtenberg where you will get the opportunity to paint and receive instructions on various street art and graffiti techniques from both local and international artists. You’ll then get to make your very own canvas piece to take home with you as a memento of this truly Berlin experience!”

Photo I

Photo Credit: Wynter Haley Scott

Wynter Haley Scott is a senior at Colorado College, where she studies Political Science and Sociology. Wynter Haley is originally from Memphis, Tennessee, but came to the Colorado College because of its unique block plan. During her spare time, Wynter Haley enjoys reading books, watching Netflix movies, and playing with her puppy, Meela. This was only Wynter Haley’s second trip outside of the country, but she chose this class because she has always been interested in Germany’s rich and complex history.

Photo III

Photo Credit: Wynter Haley Scott

Joining Wynter Haley in her discussion are Anabel Simotas—a New York City native and sophomore at Colorado College majoring in History, Political Science, and Classics, and Maya Littlejohn—a Brooklyn native and junior at Colorado College majoring in Race, Ethnicity, & Migration Studies.

NOTE: The photo credit for the featured image also belongs to Wynter Haley Scott.