Fundamentals Fundamentals Fundamentals Fundamentals Fundamentals


Legal and less legal ways of using our playgrounds

We have tossed around the title of the project many times. ‘Decaying concrete’ was an option. It’s harsh and tough, but a little too wild and negative. Discipline, in the English pronunciation. Sounds good, multi-interpretable, but is too close to a project in Hamburg, a couple of years ago. Streetart, no way. Better avoid the G-word as well, even when it is preceded by post.
It never ceases to amaze me, a relative outsider without any marker or spray can smudges on my roots, but with a passion for subversive art in the street, how much the use of the right terminology matters in circles of raiding artists. Sometimes I am surprised about the strictness with which the distinctions are made; at other times, I do understand the sensitivities and appreciate the seriousness with which the words and the things are assigned a place. A place of their own most of all, away from commerce and the art circuit, away from interferers and wannabees, always engaged in serious mutual debate and in an ongoing fight for freedom and self-determination.  

It is in fact this ongoing fight and debate, this combat around words and territories that guest curators Jeroen Jongeleen and Erosie have tried to bring together under the name of Fundamentals. They are presenting here eleven elusive artist practices that have been active without any borders for years. Let one thing be clear, though, Fundamentals is not a marked-out project. It is about the exterior as well as the interior, about autonomy and circuit, art space and street, and the undeniable tension between these elements. 
MU gladly offers them the chance to make all this happen. Not because Streetart is hip or because it scores easily. There are enough examples of this to be found in our country and in the rest of the world. No, it is because the artists assembled in Fundamentals - just for this single occasion – manage to dance ahead of the machinations of the all-devouring pull of underground culture. Because they are too fast, or to monomaniacal, too stubborn, or above all, just too smart. They value their freedom over worldwide fame and acclaim.


Matthias Wermke / Mischa Leinkauf (DE), Erosie (NL), Allergy / Nicolas T. / Honet (FR),

Boris Tellegen (NL), Olivier Kosta-Théfaine (FR), Influenza (NL), François Morel (FR),

Navid Nuur (NL), Honet (FR), BLU (IT), Jeroen Jongeleen (NL)