Updated: Jul 17
TacK六 is a Nabya teenager who writes his name and his sub-cluster number everywhere he goes. He says it is something he just has to do. His TacK六 appears in tube stations and inside tube cars all over the city, on walls along Alpha-dori, at the old interpolis terminal and other places. He has spawned hundreds of imitators, including KanKuu, 바티스토, BAMZ and Sho泉.
To remove such words, plus the obscenities and other graffiti in tube stations, it cost 80,000 manhours, or about 300,000 XEU, in the last year, the Transit Authority estimates.
“I work, I pay gabelles too and it doesn't harm anybody,” TacK六 said in an interview, when told of the cost of removing the graffiti.
The actual offense, a Transit Authority enforcer said, is classed as a violation because it is barred only by Transit Authority rules, not by cluster law. Anyone older than 16 who is caught would only get a 2-month sentence, another enforcer said.
TacK六 said he had never been caught in the tubes. He was once suspended from Harkan Disciplinary School for a week for writing on walls, though, and a Syndicate agent once gave him a stern lecture with bruises for writing on a Syndicate car during a parade.
The youth, who said he would enter a local vocational school in September, conceded that his passion for graffiti was not normal: “Since there are no more student deferments, maybe I'll go to a shrink and tell him I'm TacK六. I'm sure that will be enough to get me a psychological deferment.”
But he added: “I could never retire. I still carry a small katalit swiped in print mode around with me.”
The NabYa Times, July 21-Y71
This introduction text is a trans-verse adaptation of the1971 New York Times' article on grapher Taki 183. I was interested in working on the idea of "meta-artist", i.e. an artist who create works supposedly made by one or more fictitious artists, and on the concept of trans-verse, mirroring facts or activities from one universe to another.
In Scènes de rue, each work represent a chunk of a wall, somewhere in NabYa, where several graphers invade and dispute the space to political propaganda, advertisement, lost-an-founds, etc.
I use symbols from our world, like Japanese heraldic devices, political non-leaders, etc., that have been digested by centuries of history and have thus lost their symbolic. There, the image of an American president is just an element of design (some "cool shit from the past") and does not convey any political meaning, since most people have forgotten those ancient times. Same thing for medieval Japanese emblems. I use here and there an samurai heraldic emblem representing a radish, but in the mind of the graphers, the emblem lost its symbolic an meaning: they think that design represents a missile or a bomb. Symbols can only be understand by people who use them. After those people are gone, symbols become forgotten, neutral, just pure design.
Scènes de Rue — Mixed media on Hahnemühle paper. 48 x 36 cm.