DAIM

In addition to the artistic work at this year’s Frühlingserwachen at Autostadt Wolfsburg, it was also a special experience to discover Wolfsburg and the Autostadt for the first time. The architecture is impressive – from the entrance building in front of the Autostadt, the Phaeno, designed by Zaha Hadid (), to the distinctive brand pavilions and the museum dedicated to the history of the automobile inside of the Autostadt. This context adds another layer to the entire project.

The combination of urban art, architecture, and public space makes this parcours a truly unique experience. The large number of international artists who have worked on monoliths brings together a remarkable diversity of positions and styles.
The works can still be seen on site until the end of April – if you have the chance, don’t miss it. It’s worth experiencing the pieces not only visually, but spatially.

Many thanks to the fantastic team at Autostadt, as well as Studio Wehberg and Neonbraun for the excellent organization and on-site support.

It was a great pleasure to be part of this project.

, , , .iri

Beyond the artistic work, at this year’s Frühlingserwachen at Autostadt Wolfsburg, it is also the encounters that make such projects special. It is always enriching to meet new artists within the context of new projects, while also reconnecting with friends and companions I have known for decades.

The exchange on site, the conversations, and insights into different working methods open up new perspectives and broaden one’s own view of artistic practice. It is precisely this human aspect that makes projects like this far more than just a place of production.

The combination of urban art, architecture, and public space makes this parcours a truly unique experience. The large number of international artists who have worked on monoliths brings together a remarkable diversity of positions and styles.
The works can still be seen on site until the end of April – if you have the chance, don’t miss it. It’s worth experiencing the pieces not only visually, but spatially.

Many thanks to the fantastic team at Autostadt, as well as Studio Wehberg and Neonbraun for the excellent organization and on-site support.

It was a great pleasure to be part of this project.

, , , .iri

, , , .io, , , , , , , , , ,

As part of this year’s Frühlingserwachen at Autostadt Wolfsburg, I had the opportunity to create one of the imposing monoliths – a freestanding structure over eight meters high with a side length of two meters.

This project was a special experience in many ways. For the first time, I worked on an object that can be fully walked around. This led to a completely new approach to my style: my “DAIM” lettering is no longer conceived as a frontal piece, but develops as a closed, endless form in space. The “M” meets the “D” again at the end – a visual loop that can be compared to the principle of a Möbius strip: a form without beginning or end, representing continuity, recurrence, and simultaneous transformation. This tension was central to my approach. In line with the theme of “Frühlingserwachen”, I deliberately chose a fresh, vibrant color palette, even though the conditions on site were at times still almost wintry.

The combination of urban art, architecture, and public space makes this parcours a truly unique experience. The large number of international artists who have worked on monoliths brings together a remarkable diversity of positions and styles.
The works can still be seen on site until the end of April – if you have the chance, don’t miss it. It’s worth experiencing the pieces not only visually, but spatially.

Many thanks to the fantastic team at Autostadt, as well as Studio Wehberg and Neonbraun for the excellent organization and on-site support.

It was a great pleasure to be part of this project.

, , , .iri

The current issue of Artistic Hub Magazine includes an in-depth article about my artistic work and journey. The magazine, based in Switzerland, is an international luxury lifestyle publication.
As a curated platform, it features artists from around the globe, presenting their work to an international audience through carefully composed editorial content. The article looks back on 35 years of artistic development – from the first graffiti pieces on the street to large-scale installations and international projects.

In the interview, I talk about the retrospective at the WAI Woods Art Institute, about collectors who help preserve the ephemeral nature of graffiti, and about my fascination with three-dimensional space as a field of artistic experimentation.

The full article is available online at artistichub.online.

I’ve always been drawn to artists who dare to dismantle what is considered “order.”
Frank O. Gehry was one of them.

His architecture rejects symmetry, clear axes, and easy readability. Instead, volumes collide, shift, and fracture. What should feel stable becomes tense. Structure is broken down and reassembled into motion. And in that movement, something new emerges.
What impressed me most was the work itself. The way Gehry breaks form apart and reassembles it into something unexpected. Not as a gesture, but as a process.

This approach has deeply influenced my own practice. For me, letters are not symbols. They are bodies. They occupy space, overlap, resist clarity, and challenge order. Through deconstruction, they gain energy.

I was fortunate to experience several of Gehry’s buildings in person – and to enter into a direct dialogue with his architecture through one of my wall works at the archive building of the Museum .

Gehry reminded us that breaking rules isn’t about provocation. It’s about creating space for new ways of seeing.

RIP: Frank O. Gehry (1929–2025)


Photos:
1.+2: 2001 – | Weisman Art Museum of the University of Minnesota in Minneapolis / USA.
3.+4.: 2003 – | Guggenheim-Museum in Bilbao / Spain.
5.+6.: 2013 – | Museum Marta Herford in Herford / Germany. Photos taken by
7.+8.: 2024 – Dancing House (Tančící dům) in Prague / Czech Republic (with Vlado Milunić).

Hearing my name in the new track “Writers” by NAS & DJ Premier means a lot to me.
Not as an award, but as recognition coming from within the culture.

The Song draws a clear line connection rap writing and graffiti writing. The mic becomes a marker, lyrics turn into tags, beats into surfaces. Rap and graffiti come from the same mindset here: showing presence, developing style, putting your name up — again and again, no matter the circumstances.

A large part of the track is built around calling out real writers and crews. Many from New York, many legends, many names that helped build this culture from the ground up. Graffiti is named for what it truly is: a visual language, urban history, ghetto hieroglyphics.

Since 1995, I’ve been in New York many times. I painted there, worked there, learned there, built friendships. I became part of the FX Crew — a crew that is also mentioned in the song. Seeing that connection reflected in a track like this feels like a long road becoming visible, without needing to be explained.

Graffiti was never about surface or career planning for me. It was always about name, repetition, commitment, and attitude. Anyone who’s a writer knows what that means.

“Writers” isn’t a song for outsiders. It speaks to those who know the names — and to those who understand what it means to stay dedicated to what you love, no matter what.

Respect to Nas & DJ Premier and to for releasing this track.
Respect to all the writers who carry this culture forward. Too many to name them all…

Photos: Some random flicks I took in the 90ies in New York. Love that City!

RIP .one_fx

.berlin and so many more…

I have already painted on many different surfaces and objects in my career. A grand piano was still missing. I am very happy with the result!

Many thanks .parameswaran and
Excellent service: .moeller

"Leider geil! - 40 Jahre deutscher Hip-Hop" ist eine Zeitreise durch über vier Jahrzehnte Musikgeschichte - vom Aufstieg aus der Subkultur hin zum großen Musikbusiness. Die 180 Minuten lange Doku beleuchtet den Siegeszug des Hip-Hops an die Spitzen der Charts. Sie beweist, dass die neue Frauenpower des Hip-Hops mehr ist als nur eine "Eintagsfliege". Zudem taucht sie tief ein in die erfolgreiche Hamburger Szene der 90er () und stellt klar, warum Stuttgart und Frankfurt wichtig für die Entwicklung der damals noch jungen Subkultur waren. Außerdem erläutert die Doku den Einfluss von Spotify, TikTok und der Werbeindustrie auf das Business.

Experten wie Falk Schacht (), Lina Burghausen (), Heidi Süß (.nogimmickz), Niko Backspin (), Hadnet Tesfai () und Michael Herberger ordnen die Geschichte des deutschen Hip-Hops historisch ein.
Aber auch Sterne-Koch Nelson Müller (), die Breakdancer Heiko Hahnemann, Tom Nixx () oder Vartan Bassil von den Flying Steps, sowie der international berühmte Graffiti-Künstler Mirko Reisser alias DAIM () erklären die Faszination der Hip-Hop Kultur, die aus vier Elementen besteht: Rap, Breaking, DJing und Graffiti.

Zu Wort kommen Stars der deutschen Hip-Hop Szene, wie Samra, , , Haftbefehl, Capital Bra, Bausa, Badmómzjay, Die Fantastischen Vier, Das Bo (), König Boris von Fettes Brot, , , , , Eko Fresh, Hava, Eunique, Montez, , Cora E, Die Stieber Twins, , Xatar, Ferris MC (.ferris.reimann_official), Tyron Ricketts (), , Bürger Lars Dietrich, Toni Cottura, Kayef, Laas Unltd, Melbeatz (), Esther Graf, Gier und Finch.

Start am Sa., 07. Juni und ab sofort im Streaming .

Was bedeutet eigentlich das Sammeln von Kunst?

Es ist weit mehr als das Anhäufen von Dingen. Es ist eine zutiefst menschliche Handlung, ein Akt der Verbindung, getragen von Neugier, Erinnerung und der Suche nach Sinn. Eine Sammlung erschafft Resonanzräume, in denen Kunstwerke miteinander in Beziehung treten und Bedeutungen sich entfalten, Welten entstehen.

Die Ausstellung You Cannot Say Goodbye to a Myth lädt dazu ein, diesem Weltenöffnen zu begegnen – durch 16 Räume, 16 Stationen, 16 Momente der Auseinandersetzung mit Kunst. Sie zeigt einen Dialog über Körper und Geschichte, über Erinnerung und Mythos, über Vergänglichkeit und Verwandlung.

Im Zentrum steht das Werk des niederländischen Künstlers .dejong Folkert de Jong (*1972), dessen skulpturale Inszenierungen aus so unbeständigen Materialien wie Polyurethanschaum und Styropor ebenso verstören wie faszinieren.

Diese Ausstellung ist also eine Einladung:
zum Staunen, zum Denken, zum Fühlen. Zum Dialog mit den Werken, mit der Geschichte und bestenfalls mit uns selbst.

Besuch planen

Excited to officially collaborate with for the launch of their new online shop — a go-to for curated drops with top international graffiti and street artists. Honored to debut my first capsule collection with Verve Projects as part of the launch. 

Check out verveprojects.shop