Interview with Georg Waibel, artist and co-founder of the PFFFestival
Every summer, Stuttgart turns into an open-air gallery. As part of the PFFFestival, international artists transform building facades into striking murals. Public space becomes a stage, and where grey surfaces once dominated, visual landmarks emerge. Places where neighbors stop, watch, and start conversations. Since 2022, the stylistic diversity of mural art has grown year by year across all districts of the city, accompanied by spontaneous encounters between artists and local communities.
The PFFFestival has become one of the most important urban art formats in southern Germany. Not only because it brings art into everyday life, but because it shows how powerfully art can reshape and connect urban space.
In this interview, I speak with Georg Waibel about curatorial decisions beyond the white cube, facades as social meeting points, and the challenges behind the scenes of a project that continually helps shape the pulse of the city.
What idea lies behind the PFFFestival, which transforms Stuttgart’s public space anew each year?
We want to make urban art visible and accessible to everyone. No admission, no barriers. Art belongs to everyone. The festival brings international artists to Stuttgart and shows how strongly art can shape, disrupt, transform, and ultimately connect public space. For us, urban art is not a niche phenomenon but an important cultural tool for sparking dialogue within the city. To make this process transparent, we accompany every mural with contextual information directly on the wall, social media content, film documentation, and our PFFFestle events, where people can meet the artists in person and talk with them.
What curatorial approach guides your work?
We curate with diversity in mind: stylistically, in terms of gender balance, geography, and artistic handwriting. We also want to give artists from a more classical fine art background the opportunity to create their first large-scale facade. The festival should look visually different every year and reflect the full spectrum of urban art, from figurative to abstract, from typographic works to graphic concepts. Curating in public space differs greatly from the white cube. Many factors influence whether a wall is feasible, including structural conditions, accessibility, and urban planning regulations. Our aim is to enable artistic freedom while ensuring that each work functions within its specific urban context.
What was your personal highlight of this year’s festival?
Without a doubt, the encounters on site. Especially during the PFFFestle events. You really notice how the walls bring together people who would otherwise never have met: neighbors, art enthusiasts, passersby. That is exactly why we do the PFFFestival. Another highlight was the exhibition opening and the presentation of our PFFF Journal. You can feel how the festival has evolved into a platform that is not only artistic, but also documentary and discursive.
Which reactions from the local community surprised you most?
We were genuinely surprised by how positive and curious many residents are. While artists are painting, long conversations often emerge. Some people spontaneously bring coffee, others talk about how the new mural has changed their perception of the street. You can feel that urban art sparks discussion, but above all a sense of connection. Identification with one’s own neighborhood grows much more strongly than we initially expected.
What have been the biggest challenges in recent years?
One major challenge is securing additional funding beyond approved grants in order to realize the festival in its full scope. Another recurring challenge is finding suitable facades. This process requires a great deal of time and sensitivity. Once the walls are secured, the real work begins: permits, logistics, material procurement, coordination around motifs, structural requirements, accessibility, and communication with residents. Every wall is its own project with individual requirements and a tight timeframe, as everything has to happen during the summer.
What role do sponsors and partners play?
A huge one. Many things would simply not be possible without them. This includes vehicles, material discounts, and infrastructure support. Over the years, partnerships have developed that support the PFFFestival not only financially, but also ideologically.
How do you organize your communication work?
We take a combined approach. Internally through our own channels, website, social media, press texts, and selected collaborations. Each wall gets its own communication moment, from the announcement to the film documentation. Being close to the creation process is important to us. People experience things as they happen. The PFFF Journal and our documentation also provide the festival with a lasting framework beyond the immediate moment.
Where do you see your biggest communication challenges?
Our biggest challenge is maintaining continuous visibility, especially with a small team and without a large budget. Communication, curation, and project organization run in parallel, which requires constant prioritization. Year-round communication also demands more resources than a small team can sustainably provide.
Are there things you would like to try if time or budget were no issue?
Definitely. Larger-scale facades, international collaborations, a symposium on urban art with other major festivals, workshops for young people, a temporary outdoor exhibition, a scholarship program, and a permanently activated platform for urban art in Stuttgart. And perhaps even a large “signature wall” project that is redesigned every year.
Describe the PFFFestival in three words.
Artistic. Accessible. Colorful.
