期刊名称：Liminalities : a Journal of Performance Studies
电子版ISSN：1557-2935
出版年度：2012
卷号：4
期号：1
出版社：Liminalities
摘要：The first Finders Keepers "street-gallery" was described on the hand-drawn flyer as presenting "found, stolen and borrowed city trash gloriously decorated for your pleasure by London's filthiest marker wielding villains" (see figure 1). The idea behind the event was for a group of street artists to meet up, go drinking and seek out items of street detritus on which to produce their work. A week later, they would reconvene at a secret location, bringing with them their finished artworks, which would then be put on display. Members of the public were then invited to "come join the crowd for broken beats and dustbin booze," forming a kind of opening party in the temporarily occupied space. The event culminated with the blowing of a whistle, at which point the crowds were free to grab an item of work they liked and take it home with them, ripping down the whole scene in a few short minutes and disappearing into the night. Initially these events were located in the distinctive post-industrial landscape around the Shoreditch Triangle in the London Borough of Hackney, UK¡ªa warren of small streets, alleys, abandoned plots and seedy bars framed by Old Street to the north, Great Eastern Street to the west and Shoreditch High Street to the east¡ªand became a notor-ious part of what was later described as the "glory days of British Street Art" (Hames) that had characterized the area at the turn of the millennium. Given the success of the London events, Finders Keepers went on to host a series of temporary street-galleries in Europe throughout 2003 and 2004, appearing in Barcelona, Munich and Milan (see C100 178-179; Reinecke 63-68).
