Constanze Molnar


1. As an artist, what is it about street art that inspires you?  When did you first deal more intensively with this art form?

I am particularly enthusiastic about the spontaneity and freedom of this art form and its social and community factor. Many paste-ups, stencils or graffiti make direct reference to current events or they arise from an immediate urge to communicate with the world.  And in very different, often surprising ways.

By using a "tag", i.e. anonymizing yourself, you also have absolute freedom and do not have to worry about negative effects.

Another important bonus point of street art is its social factor. I love that this art form is for everyone.  Anyone can admire it for free, get upset about it, or condemn it. You don't have to go to a museum or gallery, you are simply surprised on your way without premonition.  And I think that's just wonderful.

My closer relationship with street art actually came about through my place of residence.  I live in Berlin / Prenzlauer Berg and took my dog ​​for long city walks every day.  There it is practically impossible not to discover new and surprising art in public spaces every day.  At some point I started taking photos and documenting a lot, because I noticed that many paste-ups disappeared after a short time.  I thought that was a shame, because I found some of them particularly artistic, funny or quick-witted.

2. Is street art always loud or can it also be quiet?

Of course, it can do both and all tones in between.  That's part of the fascination.  Street art is just as diverse as the people on our planet.

This ranges from large events such as the “Mural Festivals”, which take place on a regular basis around the world, where the artists are provided with meter-high walls, to tiny statement stickers that are spontaneously stuck to traffic lights.

I also think it's great that some artists are now able to move through the world as street artists and make a living from it.

3. How does street art go with silk?  Isn't that a contradiction?

Yes, that's the greatest possible contradiction :-)) and that's why it is particularly fascinating for me.  The often “dirty” street art and the high-contrast, noble silk.  What a contradicting combination.

By choosing this noble material, I try to celebrate the motifs or to underline their importance.

To put them on a pedestal, so to speak, in order to draw attention to the genre as a whole.  Street art still has a slightly negative aftertaste for some people and I would like to straighten that out.

In addition, silk has this incredible brilliance of colors that I have not found in any other material.

4. What criteria did you use to select your artists?  How important were the countries of origin to you?

It was a process of development and learning.  Many street artists live the mobility of our time fully and often change their place of residence accordingly.

As a result, I gradually prioritized the location of the motifs.

The “New York” motif was stuck there, but the city was only home to Holly Anne Buck (stage name: Collagism) for a certain period of life. As a native Australian who currently lives in London, she perfectly represents multi-faceted street art for me, somehow also as a way of life.

The motif “Paris”, on the other hand, is “French” through and through, i.e. where the motif and artist are in the same country.

Above all, it is important to me which inspiration the artworks create in me. In what way they reflect the feeling of the city in which they were created, or how I feel about these cities myself. Almost by the way and quite organically, there was a beautiful and stimulating diversity in the selection.  In doing so, however, I did not look at the artists' fame.

5. Every scarf tells a story. Is there one that particularly impressed you?

That's a really tough question.  Because of course I think all the stories are great.

But right now I am mainly concerned with my hometown Berlin. We got the wonderful offer to present our creations in the new Humboldt Forum in Berlin.  Its opening to the public had to be postponed several times due to the lockdown.  But as soon as it starts there, the focus will initially be on Berlin. The plan is to gradually introduce the other 6 artists and Cities over the whole of 2021.

The story of “Berlin” is really very appropriate.  The motif comes from the Berlin street artist CAZ.L from her series “When strangers become friends”, in which she humorously advertises tolerance between all living beings.

It's easy to find at #salamidoggy on Instagram.  It's about a little dachshund (a stereotype of the German domestic animal), who always meets new and extraordinary animal friends and experiences all kinds of adventures with them in Berlin.  CAZ.L takes these paste-ups with them on their travels and that's why #salamidoggy has already got around quite a bit.

6. Are there national differences when it comes to street art in Paris or Buenos Aires?

I don't know whether you can generalize that, because behind each motif are a wide variety of people with a wide variety of cultural roots. So, there is everything from professional street artists who travel from street art festival to festival and the casual artists who go around the houses at night and spread their messages.

But in a certain way it is of course true ..., especially with the motifs I have chosen. 

The Paris motif comes from the French artist "Madame Moustache".  She comes from the world of theatre and staging. For her wonderful collages she uses the iconography of the old world, i.e. Europe, Africa and Asia. She uses a wide variety of historical materials, such as photos of copperplate engravings, newspapers, but also wood, fabrics and, of course, above all poetry. For me, all of this embodies the old Paris, which she skillfully combines with the present. It is wonderful that she then stages her fine work as huge posters in public space for all of us.

The painter Mabel Vicentef from Buenos Aires, on the other hand, is largely concerned with the nature that surrounds us. With the beauty around us and also with its endangerment.  Which, as we all know, is a particularly topical issue and affects us with a certain urgency.  Mabel works on a huge scale and spends a lot of time on lifting platforms to create her often 8-10 meter high “murals” with which she celebrates both nature and people.

7. You embed every street art motif in a special environment, what inspires you?

I am mainly inspired by the motif itself. My goal is to always focus on the artist and his work and to largely put myself aside. Which is not always easy. Often, I search for days until I find a suitable background that underlines the motif in a complementary way and does not distract from it.

In „Berlin“, for example, I used an old billboard as a background and you have to look carefully to see details such as detached corners or writing, etc.

Furthermore, I sometimes look for a special detail in the work or for “ingredients” that underline the message without taking anything away from the original or just copying it. In "Buenos Aires", for example, these were the trees from the motif, which I mirrored and rearranged several times. Then there was the question of the choice of color. But I'm very happy with that now, and so is Mabel Vicentef.  And that's what I'm most happy about

8. For you personally, what makes street art so special, its political message, its unique poetry ...?

Above all, the diversity of urban art. From the political message to solving one's own problems. From simple, sometimes rough, statements to sophisticated staging. The whole range of human sensitivities. I also find it appealing that everyone - regardless of status or education - has access to it. So both when viewing and creating art. To be able to make an appearance in public space is simply terrific.

I myself use this opportunity from time to time.

So, some time ago I cleared my anger about the immensely increasing number of Airbnb rentals in my neighborhood. This incessant rattling of the trolley suitcases over cobblestones has prompted me to stick the Paste Up series “Trolley cases” on the walls of houses around me.

That gave me relief, laughs! also because I know that some of my neighbors also liked it.

9. Street art belongs on the street - or should it be on the wall at home?

Street art is a must on the street;  that is what constitutes their true essence and enriches all of our lives every day in one way or another. I see myself more in the role of an ambassador and supporter. I want to make people aware of how beautiful and diverse street art can be. And how differently it is represented in the world, how many well-known and unknown artists actually deal with it.

But above all I want to support the artists themselves.

They all give us so much and I think it's great that they let us all participate in their work. That's why it is a nice thought for me that someone might have a favorite motif, a favorite city or a favorite artist who will accompany them in their life in the form of a silk scarf or wall art.  And by the way, he can also support the artists in their further work.

10. Many street art works struggle with the impermanence factor. Was this also one of the reasons that moved you to present street art in a new form?

Yes, at least that was my initial thought. When I kept finding these small, fine paper works in my immediate vicinity, which then almost always disappeared after a few days or weeks.

I thought that was such a shame, although that is also a characteristic of street art. Anyway, I started to photograph and collect these motifs. Then I wanted to share it with the world.  Simply because I thought it was so great and unique.

Normal prints were somehow not enough for me and then silk came into play. I think it's nice to be able to take the motif of your heart from a certain city with you when you travel.

11. Are you still looking for new motifs?  How do you perceive the development of the street art scene in Berlin and around the world?

Yes absolutely!  I have decided to work with smaller editions. I'm just too curious about what's still out in the world. And there are so many interesting cities and countries to explore. At the moment I'm looking in the Asian area, although it seems to me that it could be a bit more difficult this time. Or maybe Mexico. I already have someone in mind.