It is 1983 in Munich, the walls are gray and bare, marked only by a few political slogans and the odd declaration of love. Then, suddenly, abstract sign language, peculiar characters and cryptic combinations of letters begin to appear, their meaning a puzzle to all who chance upon them. The pieces begin to spread across the city and mark the start of the graffiti movement in Germany and throughout Europe. The photographic archives of attorney Konrad Kittl and Anthropology academic Peter Kreuzer reveal the first layer of graffiti in Munich: experiments with color and form, unprecedented and free from rules or preconceptions.

Commissioned by the department for arts and culture, Klick Klack Publishing realized Munichs first official graffiti website. Next to general informations about the culture you will find an interactive map with halls, spots and locations in the city as well as a big history part with photo and video footage from the very early days until now.


For one day, the artist Zedrick Meyer used two opposing mirrors to extend a 30-meter long, abandoned railway track into infinity. This publication is documenting the process, its realization and the result of the intervention. Available in a edition of 250 numbered copies, the booklet comes in a silk-screened envelope, each including one offset print (880 × 630 mm) of the final installation.

32 different individuals, each of them involved in graffiti culture, are making unique statements spread over one double page. The composition of photos, portraits, essays and stories in this publication tries to uncover the quintessence of a constantly growing and developing culture by showing the variety and complexity of this illness called graffiti: From young kids on the run and experimenting concept artists, up to the retiring generation and self-reflective retrospections.

This broadly based compilation of the Munich graffiti scene is focusing on its local characteristics: both its polarizing presence and its prominent role in the past. Next to a hand-picked selection of painted trains, it contains well-researched reports and essays about the city’s subway system as well as reflections on styles and graffiti itself, rounded out by a tribute to the caricaturist Ernst Hürlimann and a large special feature and interview with Lopes from TKS crew.