WEBVTT

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The wall is
the people\'s newspaper.

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I think it\'s something
too important,

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especially in Latin America,
where the movement has become so strong.

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And where can we see that

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all the struggles and all the resistances
that are going on today,

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are being expressed
on the street.

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Chile is full
of street interventions.

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And there are different identities,
or different styles,

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and different qualities.

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We’re forming this subculture,
or counter-culture,

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at the margins of the city,
or around the axis of power.

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Some people believe
painting is an adolescent thing,

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a certain type of people.

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So I think...

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painting on the street
is like a constant provocation.

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Graffiti says
that there is another city.

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Where the rules of public space

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make the city uninhabitable,

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graffiti brings out
the utopia of a habitable city.

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♪ They call me this and that
\'cos I live my way ♪

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♪ I get dirty from this life
as if it were mud ♪

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♪ I try, I go
if it fails, I’m screwed ♪

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♪ Always true to my desire
elbow to elbow ♪

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♪ The north takes me away
the north is mine ♪

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♪ I write it
every morning is a challenge ♪

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♪ I breathe, watch, and trust ♪

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♪ And when the night comes
I stare at the moon and smile ♪

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♪ Nomad life
wherever life ♪

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♪ Lighter life
live your way ♪

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♪ Live carefree
live how you want ♪

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♪ Don\'t let anyone set your horizon
or border ♪

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♪ Live without a boss
live without a master ♪

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♪ I\'m led by the beat
of my heart ♪

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♪ I ride the wind
and this song ♪

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♪ They say I\'m lost
I say revolution ♪

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Graffiti says
that there is another city.

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Where the rules of public space

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make the city uninhabitable,

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if we understand inhabiting it as
subjectivizing it, appropriating it, marking it.

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Graffiti brings out

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the utopia of a habitable city.

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When you\'re marking rocks, walls,

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you\'re taking part
in the construction of history.

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Through your practices,

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you’re positioning yourself
one way or another,

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with the socio-political world.

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It\'s allowing for the reproduction of

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some ways of knowing
and understanding the world.

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In pre-Hispanic times,

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people marked immovable
elements of that space.

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Graffiti today
does the same.

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What\'s the difference?

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That the landscape
is so humanized,

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that these immovable elements
are no longer rocks,

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they’re walls.

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They’re very similar things
in their logic,

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but recognizing that they\'re born in
different historical and social contexts.

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They rely on the same
basic human principle,

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which is to construct information,
and to create meanings,

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in the space,

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and therefore,
group memory is generated.

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It’s an extremely complex
social phenomenon.

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When you talk about graffiti,
you\'re talking about...

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something illegal. You\'re not talking
about muralism, street art,

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but graffiti is something
totally pure,

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You don’t want to…
clean up neighborhoods,

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It\'s totally pure
in the sense that you go,

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and do what you want.

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Some walls make people say:
\"That\'s beautiful\".

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And maybe for you
that surface is just...

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you can bombard it, and...

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Or there\'s a mural
which everybody loves,

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but you think:
\"Oh, what a location.\"

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I just go and cover it
with some 2-color shit,

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and I don\'t care,
because I love it.

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I\'m not interested in
looking for an explanation either.

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Currently, or in the last 5 or 10 years,

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the role of that painting in public space
has been questioned much more

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Who are they,
why do they do it,

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why do they do this thing
and not that other thing,

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where do they come from,

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why are they painting here,
if they\'re from somewhere else...

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We do it because the objective
is always to do more and more...

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We try to be
in as many places as possible.

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In the end it\'s about
one\'s own satisfaction,

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when you pass by a street

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and you’ve painted here and there.

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I believe that
in the concrete public space,

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on the walls,
on the streets,

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there is an expression
of the subject\'s presence.

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If we think, for example,
about graffiti, or tags,

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the individual is expressing themselves,
they\'re sending a signal.

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When I come across
graffiti, a tag, a mural,

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the sign says, \"I was here.\"

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\"I existed here\",
\"I passed by here\".

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There\'s a relationship with time.

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Graffiti teaches you
to know the street...

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Every time you paint, you realize
how to place graffiti,

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or the richness of the spaces.

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They’re different.

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That\'s why you go to Valpo (Valparaíso),

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and it\'s another energy there.

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The scenes of Santiago and Valpo
are totally different.

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I think that helps us a lot
as a group as well,

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to not just get stuck
in one city.

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By getting to know
the guys there,

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we also evolve a lot as writers.

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I think Valparaíso is
the only city in Chile

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where there\'s so much freedom,
that there\'s room for everything.

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It\'s like an open space,
where we can find

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the most diverse
street expressions, especially.

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And the crazy thing is that...

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...it\'s the \"heritage\" city of Chile.

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The UNESCO World Heritage title
was pitched to Valparaíso residents

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as the solution to its
economic debacle.

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A Valparaíso in which the port

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no longer had any economic function.

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It no longer played a social role either.

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Valparaíso in the 80s
is completely that story,

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a Valparaíso in decline.

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In the mid-90s,

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also with all the hopes
that came

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from the regime change,
the return to democracy,

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Valparaíso was supposed
to recover economically,

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through tourism
and heritage.

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Valparaíso\'s specific relationship
with graffiti,

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is ambiguous.

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The first phase consisted of
trying to erase all graffiti,

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and to protect the city
from graffiti.

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Because that would dirty
this heritage city.

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But I think that,

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since tourists are also interested
in photographing the graffiti,

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authorities have begun
to value these expressions,

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as heritage of the future.

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The logic of the cultural good

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that can be exhibited
in the showcase.

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I would say there\'s a
very interesting articulation

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between the logic of the market,
and what\'s politically correct.

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So, being receptive
to graffiti,

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is also testimony of a democratic,
tolerant, and pluralistic spirit.

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And that also gives you
a different status,

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almost of a developed country.

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Here the market reigns.
Literally.

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I don\'t know if there\'s
anything equivalent to street painting,

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as an urban expression
of the city of Valparaíso.

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I think it\'s
the most predominant.

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Street painting

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– and by that I mean
not only graffiti or murals,

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but also the writing,
and all the graphics

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that occupy public space
as a creative medium –

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is a threat
to the local authority.

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It’s street writing.

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Much of Valparaíso’s graffiti,

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when it\'s not commissioned,

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has to do with a form of expression

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of what I would call…

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unrest.

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I understand unrest
as dissatisfaction

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that cannot be translated into necessity.

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So it’s directed
towards language.

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And that, I would say,
gets embodied in public space.

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At that time, I would say,
language becomes insubordinate.

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The lack of means, the suffering,

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can be transformed
into the occasion that enables

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an aesthetic production.

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This occurs when unrest
operates as a theme.

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It\'s hard to imagine
the future of a country

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that constitutes its subjects
based only on unrest.

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There is no greater unrest in Chile,
I think, than in Valparaíso.

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In this sense, I think of Valparaíso
as a laboratory for the future of Chile.

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All the struggles, and all the resistances
that are going on today,

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are being expressed
on the street.

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Seeing what happens with education,
with pension systems,

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with femicide,

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many struggles are coming together
in the same space,

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and there\'s a reason
why we\'ve taken the street.

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Because deep down
we\'re tired of the official media,

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which censor us,

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where there\'s a monopoly
that ultimately decides

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what appears
and what doesn’t.

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All throughout history,

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women have been typified
in a certain way,

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a certain role
has been imposed on us,

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and they\'ve also been limited
to the private space.

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A woman is supposed
to stay at home,

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in the space where
she can\'t be seen as much.

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And that often doesn\'t fit in

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with painting, traveling,

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doing things related...

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...to graffiti.

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We\'re in a macho, patriarchal country,

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no matter how much you deny it,
it does exist.

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That\'s a reality.

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And consequently, graffiti
is also a bit like that.

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There\'s still a powerful fight against that.

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Maybe women used
to accompany the guys painting,

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in a passive role,
as spectator.

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And although many of us
had also been painting,

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it was very difficult
for our work to be considered.

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I think that\'s been one of the
greatest barriers we\'ve overcome,

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facing the injustice of...

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...the silence that is expected
of a woman.

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We started painting together,
and we started...

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to have a more collective vision,

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and to feel more
part of the environment,

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to feel that we were
recovering spaces,

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that we were appropriating them.

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For us it\'s like planting a seed.

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Rather than saying:
\"This space is mine\",

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it\'s more like:
\"This space is now more visible,

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it can be occupied
in a better way, with better vibes\".

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Boys sometimes
criticize us too

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because we\'re forming

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a strong movement
for the union of women in Chile,

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and that\'s like...

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still not understanding that we really
need our space back.

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And that we are not
asking for permission,

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we\'re just taking
what belongs to us.

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What it brings to the street,
or to the urban scene, is that.

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Mature women, empowered,
with plenty of wisdom in our bodies,

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and being able to create
networks among ourselves.

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Some people believe
painting is an adolescent thing,

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a certain type of people.

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So I think...

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painting on the street is a constant provocation.

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Deep down,
I write my name on the street

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because I feel the need
to see myself.

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And I feel the need
to be seen.

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Through my name,
to be able to

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begin to be seen
within this city,

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that wanted me silenced,
that wanted me quiet.

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We have something to say,
we want to say something,

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and we\'re starting
to take our city,

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because this city
is supposed to belong to everyone,

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and I take it because
it belongs to me.

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In the past femininity was…

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frowned upon, or undervalued.

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And I think that little by little
we\'ve realized that...

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it\'s a source of pride.

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And it\'s part of those beautiful
differences that distinguish us

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from our male peers.

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The street has become
a place of visibility for us,

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we stand as equals
to our male peers,

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we\'re not afraid of great challenges,
in terms of format,

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spot, places, or time of day...

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Girls, don\'t be afraid
if the line is crooked.

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We\'re proposing
from our femininity,

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from our energy,

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we’re leaving
our mark on the street.

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And I think
that’s something that, little by little,

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the public,
and our male peers

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have begun to recognize.

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One of the differences
that we have

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from the male graffiti movement,

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has to do with
the sense of collectivity.

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We\'ve been able, through work
and years of dedication,

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to gradually think collectively.

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From a place of respect, validation,
and collective support.

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The urban planning movement,
from 1930 onwards,

00:18:48.544 --> 00:18:51.004
has started to imagine
the modern city

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from a logic that\'s
very vertical and very divisive.

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Where, in the end,
they sought a normative space,

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as homogeneous as possible,
as neat as possible.

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Imagined around a summit, and aesthetic utopias,

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that overlook what\'s really happening
in the territory.

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Graffiti,
and street painting,

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position themselves
as something other

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than that urbanism
that wanted to transform the city.

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I really like this city
because it\'s small.

00:19:30.919 --> 00:19:34.631
In a short time, you can cross
from one side of Santiago,

00:19:34.715 --> 00:19:37.634
from the southern periphery,
to the northern periphery, without problems.

00:19:39.052 --> 00:19:43.849
That has also made graffiti
invade the city even more.

00:19:46.143 --> 00:19:50.147
Graffiti is essentially
seeing a place and wanting it.

00:19:51.648 --> 00:19:54.443
I think that\'s the first thing ...

00:19:54.484 --> 00:19:56.111
and what calls people

00:19:56.153 --> 00:19:57.321
to want to do it.

00:20:04.870 --> 00:20:08.040
Panamericana is one of the
main avenues of Santiago,

00:20:08.207 --> 00:20:11.001
which has evolved for years as well.

00:20:16.965 --> 00:20:21.094
This avenue has been
one of the most invaded with graffiti.

00:20:27.726 --> 00:20:30.938
Having been able to invade it
for years,

00:20:31.605 --> 00:20:35.025
has also caused graffiti to evolve,

00:20:35.192 --> 00:20:38.487
for people to have seen
and accepted it.

00:20:41.740 --> 00:20:44.701
I started making my first
more complex walls here.

00:20:45.077 --> 00:20:49.206
That was around 1998, 2000.

00:20:49.915 --> 00:20:52.125
By 2000 I had invaded it all.

00:21:19.778 --> 00:21:22.030
I knew about graffiti
through my brother,

00:21:22.239 --> 00:21:24.032
in the early 90\'s,

00:21:24.199 --> 00:21:27.828
he painted for his soccer team,
the University of Chile,

00:21:29.413 --> 00:21:31.540
The \'barras bravas\'
were a hot topic then,

00:21:31.623 --> 00:21:33.667
and each \'barra brava\'
also had its \'crew\',

00:21:33.667 --> 00:21:37.045
who went out to paint
and mark the neighborhood.

00:21:40.966 --> 00:21:43.260
And later,
with the influence of graffiti,

00:21:43.302 --> 00:21:47.347
we started to leave the neighborhood,
and invade a wider area of Santiago.

00:21:47.431 --> 00:21:49.975
Invade it with tags,
basically.

00:22:10.078 --> 00:22:12.664
Graffiti couldn’t develop
because of the dictatorship,

00:22:12.748 --> 00:22:15.292
so as soon as the regime ended,

00:22:15.584 --> 00:22:17.377
it started...

00:22:17.419 --> 00:22:18.795
to develop little by little.

00:22:25.010 --> 00:22:28.472
The first tags I saw were from
people who had returned from exile,

00:22:28.638 --> 00:22:30.182
who had grown up
in other countries.

00:22:30.223 --> 00:22:33.143
That marked us,
and influenced us a lot.

00:22:44.321 --> 00:22:45.739
And it started in the 90s.

00:22:45.822 --> 00:22:47.991
When the returnees
started to arrive,

00:22:48.241 --> 00:22:52.871
from Germany, the United States,
France, Sweden,

00:22:53.080 --> 00:22:56.208
with a broader knowledge
of what graffiti was.

00:22:57.376 --> 00:22:59.378
My parents are
detained-disappeared,

00:22:59.544 --> 00:23:02.297
I knew Chile was leaving
the dictatorship behind,

00:23:02.422 --> 00:23:03.799
then I started to paint graffiti.

00:23:03.965 --> 00:23:05.675
And I did it alone, I didn\'t know anyone.

00:23:05.759 --> 00:23:07.386
I started to walk through the streets,

00:23:07.511 --> 00:23:09.012
and to paint wherever I went.

00:23:11.348 --> 00:23:14.643
And then I met Cekis,
and he told me...

00:23:14.684 --> 00:23:17.479
we started to go out and paint together,

00:23:17.521 --> 00:23:18.814
and he brought me
to Mapocho Station.

00:23:42.796 --> 00:23:45.048
Within hip-hop culture,
it was a hub that...

00:23:45.257 --> 00:23:48.510
that united many
different sides of Santiago.

00:23:51.638 --> 00:23:53.932
The four branches met,

00:23:54.015 --> 00:23:57.561
at that time,
a lot of b-boys, graffiti artists,

00:23:57.644 --> 00:23:58.645
rappers...

00:23:58.770 --> 00:24:03.859
It was the hub where you could
feed off hip-hop.

00:24:03.942 --> 00:24:06.987
If you wanted to buy a valve,
a marker, you\'d go to Mapocho.

00:24:07.112 --> 00:24:09.489
Mapocho was like a catharsis

00:24:10.115 --> 00:24:12.617
for Santiago
when the dictatorship ended.

00:24:12.826 --> 00:24:15.287
In several countries,
when a dictatorship is over,

00:24:15.704 --> 00:24:18.623
you want to do
everything you couldn\'t do before.

00:24:25.964 --> 00:24:28.800
I had brought
photocopies of magazines.

00:24:28.925 --> 00:24:32.304
Cekis at some point
traveled to Washington,

00:24:32.554 --> 00:24:34.639
and brought magazines, caps,

00:24:34.681 --> 00:24:37.184
lots of things
that were used for graffiti,

00:24:37.350 --> 00:24:38.852
and didn\'t exist here in Chile.

00:24:39.019 --> 00:24:41.730
That helped people
develop their activity a little more,

00:24:42.230 --> 00:24:44.191
and we coordinated to go to paint.

00:24:44.357 --> 00:24:45.525
We were there, we said:

00:24:45.692 --> 00:24:48.612
\"Ok, where are we going today,
to whose neighborhood.\"

00:24:48.945 --> 00:24:50.572
\"Let\'s go to Independencia\",

00:24:50.739 --> 00:24:53.366
and we all went to paint there.

00:24:55.785 --> 00:24:59.080
That was I think the expansion...

00:24:59.247 --> 00:25:02.125
beyond the neighborhood;
at first it was just here,

00:25:02.292 --> 00:25:06.630
but from Mapocho we were able
to go to other neighborhoods,

00:25:06.796 --> 00:25:10.050
and enter neighborhoods
that were more difficult.

00:25:20.894 --> 00:25:23.230
I think everything is related,
in a way.

00:25:23.396 --> 00:25:29.027
Like a new wave of…
young people who wanted to look for...

00:25:29.361 --> 00:25:31.446
Or to recover what they had tried to eliminate,

00:25:31.488 --> 00:25:33.448
because the dictatorship tried
to eliminate...

00:25:33.782 --> 00:25:36.159
popular culture in Chile.

00:26:00.225 --> 00:26:04.104
All murals were erased,
musicians were killed,

00:26:04.271 --> 00:26:05.689
and all that was done, so...

00:26:05.855 --> 00:26:08.441
obviously you can\'t
recover that fast,

00:26:08.858 --> 00:26:11.194
now I think
it has been recovered.

00:26:11.653 --> 00:26:14.072
And mixed with what was new.

00:26:32.882 --> 00:26:35.135
Returning to my school,
to paint a mural,

00:26:35.218 --> 00:26:40.056
as a... serious, professional painter,
and fully dedicated to this,

00:26:40.140 --> 00:26:41.683
is like a...

00:26:41.683 --> 00:26:44.603
a prize in a certain way, for persistence.

00:26:44.853 --> 00:26:47.439
It\'s also a great responsibility,

00:26:47.522 --> 00:26:52.861
but at the same time
being able to paint is pure pleasure.

00:26:57.490 --> 00:27:01.369
In this case, I am representing
youth or children,

00:27:01.661 --> 00:27:06.958
with the plants, which are blooming,
they’re leaving school.

00:27:07.250 --> 00:27:11.755
Within what I do,
there\'s always something critical, or political,

00:27:11.921 --> 00:27:14.758
or something that has to do
with my surroundings.

00:27:15.300 --> 00:27:16.676
That\'s important to me.

00:27:28.605 --> 00:27:32.192
It influences me, gives me ideas,

00:27:32.275 --> 00:27:36.196
and they’re experiences
I can portray,

00:27:36.237 --> 00:27:38.114
or that lead me to paint.

00:28:03.640 --> 00:28:05.684
We\'re always talking
about a counter-culture.

00:28:05.850 --> 00:28:08.395
People say
\"these paintings don’t beautify\".

00:28:08.687 --> 00:28:10.480
Hey, street art
is not for decoration.

00:28:11.439 --> 00:28:14.776
Decorating... I could have
everything clean and pure. And virgin.

00:28:14.776 --> 00:28:16.403
But it\'s not that virgin or pure.

00:28:16.486 --> 00:28:18.154
Because deep down
I\'m censoring too,

00:28:18.154 --> 00:28:19.948
and I\'m not allowing people
to say anything.

00:28:20.365 --> 00:28:22.992
Deep down decorating impedes
others from saying things.

00:28:32.502 --> 00:28:35.714
There’s a national history,
that\'s very intense, and common,

00:28:35.922 --> 00:28:38.675
no one is excluded from pain,

00:28:39.718 --> 00:28:41.136
from exploitation,

00:28:41.761 --> 00:28:42.929
from amnesia,

00:28:43.471 --> 00:28:44.764
from injustice,

00:28:45.014 --> 00:28:46.141
that is, we’re all in it.

00:28:46.433 --> 00:28:48.560
If we play dumb,
that\'s a different story.

00:28:55.734 --> 00:28:58.361
So I always talk about
the legacy of the dictatorship.

00:29:00.238 --> 00:29:02.574
Or the marks that the dictatorship
has left on this society.

00:29:04.576 --> 00:29:07.162
And what it installed.
It founded another country.

00:29:07.328 --> 00:29:09.581
It is a society
of submission, of dread.

00:29:10.206 --> 00:29:11.416
And of fear and fright.

00:29:11.833 --> 00:29:13.293
We live in fear.

00:29:13.752 --> 00:29:16.004
We don\'t live liberated.
And art can liberate.

00:29:25.597 --> 00:29:26.890
It\'s the skin of the city.

00:29:27.015 --> 00:29:29.934
Sometimes I used to say:
I feel I\'m tattooing the city.

00:29:30.351 --> 00:29:33.104
You understand?
What we do is tattoo the city.

00:29:50.997 --> 00:29:56.085
It\'s denunciation, communication,
dialogue, opinion.

00:29:57.629 --> 00:29:59.506
To participate in this
ideological fight.

00:29:59.714 --> 00:30:01.883
We’re in an ideological fight
every day.

00:30:25.949 --> 00:30:29.160
For example, all the things
we’ve gone through have marked me.

00:30:29.369 --> 00:30:31.621
Because this is not a society
that has served justice.

00:30:31.913 --> 00:30:34.707
It’s not a society
that has mended these wounds,

00:30:34.707 --> 00:30:36.292
on the contrary,
it maintains them.

00:30:39.671 --> 00:30:41.381
This design,

00:30:41.673 --> 00:30:44.467
has to do with the horror
of the detained-disappeared.

00:30:45.385 --> 00:30:46.219
See?

00:31:01.109 --> 00:31:04.404
The street mural, the visual work
of the street, is super important.

00:31:04.529 --> 00:31:06.030
Because it sensitizes
society.

00:31:06.114 --> 00:31:07.866
So that\'s what I aim for.

00:31:09.492 --> 00:31:12.579
Marking identities, marking presence,

00:31:12.704 --> 00:31:15.290
giving your opinion in the street,
not staying silent,

00:31:15.373 --> 00:31:17.625
opening every possibility.

00:31:18.585 --> 00:31:22.964
This is the sketch of the mural
of the Bustamante Park Subway Station.

00:31:23.381 --> 00:31:24.424
It\'s made to scale.

00:31:24.507 --> 00:31:27.218
What’s important about this is the reading
that one learned on the street.

00:31:27.427 --> 00:31:29.262
Here it\'s full of information.

00:31:29.387 --> 00:31:31.890
But it starts to open,
it goes down.

00:31:32.140 --> 00:31:34.601
It opens, it goes down, it goes up.

00:31:34.684 --> 00:31:36.060
And there\'s a movement.

00:31:36.811 --> 00:31:39.522
I asked myself many times:
”Should I do this mural or not?

00:31:39.564 --> 00:31:42.233
If the street thing
is ephemeral, it\'s in transit”.

00:31:42.358 --> 00:31:43.985
I said, \"Well,
but I\'m going to die,

00:31:44.027 --> 00:31:45.737
so what should I leave?\"

00:31:45.778 --> 00:31:48.156
The subway mural
is a visual testimony.

00:31:49.282 --> 00:31:50.617
The viewer is in motion.

00:31:50.700 --> 00:31:53.703
But also, how many people
ride that subway?

00:31:53.912 --> 00:31:55.288
How many people
see it every day?

00:31:55.371 --> 00:31:57.582
When we paint on the street,

00:31:57.749 --> 00:32:00.627
we alter the visual landscape
in one day, in a short time.

00:32:00.793 --> 00:32:02.086
But here, this mural will remain.

00:32:02.253 --> 00:32:04.881
So many times people
will commute in that space,

00:32:04.964 --> 00:32:07.216
they come and go,
but they will suddenly find

00:32:07.342 --> 00:32:08.885
that it becomes
part of the landscape.

00:32:08.968 --> 00:32:11.054
By seeing it so much,
they don\'t see it anymore.

00:32:11.137 --> 00:32:14.015
Or don\'t look at it.
Or don\'t pay attention. It\'s part of it.

00:32:14.140 --> 00:32:15.600
It\'s the same as memory.

00:32:15.683 --> 00:32:17.894
Suddenly, it ends up in oblivion.

00:32:17.977 --> 00:32:19.812
They end up under the rug.

00:32:19.938 --> 00:32:23.775
I mean, because...
people don\'t have that persistence.

00:32:24.150 --> 00:32:26.361
And deep down the mural
also has to do with that.

00:32:28.363 --> 00:32:30.281
If you\'re sitting in one place,
you see that part.

00:32:30.406 --> 00:32:32.241
But you don\'t sit
in that place every day.

00:32:32.283 --> 00:32:33.785
But also it\'s immersive,
I mean,

00:32:33.868 --> 00:32:36.955
if you walk through the station,
this mural doesn\'t have a literal reading,

00:32:36.996 --> 00:32:38.456
it doesn’t have
a beginning and an end.

00:32:38.623 --> 00:32:39.832
It doesn\'t have a narrative,

00:32:39.916 --> 00:32:41.876
rather the narratives
are made by the viewer.

00:32:42.377 --> 00:32:44.712
So the visual codes
that are put here,

00:32:44.837 --> 00:32:47.632
and have to do with love,
or with the mountains,

00:32:47.674 --> 00:32:50.551
or faces, or work,

00:32:50.635 --> 00:32:52.136
bullets, or death.

00:32:52.303 --> 00:32:54.222
So deep down
those visual codes

00:32:54.263 --> 00:32:56.432
are brought from the street
to this place.

00:33:22.417 --> 00:33:24.919
There has always been
political graffiti.

00:33:25.128 --> 00:33:27.171
From the left,
or the unions,

00:33:27.296 --> 00:33:30.425
from the Recabarren era,
from social organizations.

00:33:30.758 --> 00:33:34.137
Because the street and the wall
have always been a form of expression.

00:33:34.470 --> 00:33:36.931
Allende\'s \"X\" is a tag.

00:33:37.015 --> 00:33:39.225
Which was a shortened
form of \"vote for.\"

00:33:39.350 --> 00:33:40.601
\"A\": Allende.

00:33:40.685 --> 00:33:43.730
And we scribbled it
on the bus, on the street,

00:33:43.771 --> 00:33:46.232
in the bathroom, at school,
on the bench,

00:33:46.274 --> 00:33:47.150
or anywhere.

00:33:47.233 --> 00:33:50.028
The act of painting,
or the gesture of painting,

00:33:50.111 --> 00:33:51.779
it was one, two, three.

00:33:51.863 --> 00:33:55.408
Reduce the gesture,
the time, and the material.

00:33:55.491 --> 00:34:00.955
The message of Popular Unity
had been so significant,

00:34:01.122 --> 00:34:04.333
expanding the concepts of revolution,

00:34:04.500 --> 00:34:06.836
social transformation, of…

00:34:07.045 --> 00:34:10.757
voluntary work, participatory youth,

00:34:10.882 --> 00:34:13.342
street murals,

00:34:13.551 --> 00:34:17.305
inspiring participation
and social commitment,

00:34:17.388 --> 00:34:18.639
So, to counter that,

00:34:18.723 --> 00:34:22.602
a hygiene and cleaning operation
had to be done,

00:34:22.935 --> 00:34:25.938
trying to erase
those cultural traces

00:34:26.022 --> 00:34:28.566
with which Popular Unity

00:34:28.733 --> 00:34:31.819
had constructed and magnified
their collective imagination.

00:34:32.070 --> 00:34:33.321
They were erased, plain and simple.

00:34:36.699 --> 00:34:37.992
It’s a silencing.

00:34:38.117 --> 00:34:41.079
I think that\'s the best example
of how art works politically,

00:34:41.162 --> 00:34:43.372
because art is always
associated with power.

00:34:43.456 --> 00:34:46.375
Visual languages construct reality,

00:34:46.501 --> 00:34:48.795
a way of seeing the world.

00:34:57.845 --> 00:34:59.055
One thing is super important:

00:34:59.055 --> 00:35:01.849
even at the time of the dictatorship,
many times I said:

00:35:01.891 --> 00:35:03.893
\"Why paint a mural,
when people are being killed.\"

00:35:03.976 --> 00:35:04.685
But hey…

00:35:05.228 --> 00:35:07.188
That\'s life!
It\'s survival.

00:35:07.188 --> 00:35:09.190
Imagine a neighborhood, after the protests

00:35:09.232 --> 00:35:11.526
a mural appears, very well done.

00:35:11.609 --> 00:35:13.361
\"They\'re beating us up\",

00:35:13.444 --> 00:35:15.947
but this appears.
It\'s life.

00:35:17.281 --> 00:35:19.617
I loved that some people,
even if they couldn\'t draw,

00:35:19.617 --> 00:35:21.035
they drew the human figures.

00:35:21.119 --> 00:35:22.578
Because the result was what it was.

00:35:22.662 --> 00:35:24.997
But they were made
by those people from that territory.

00:35:24.997 --> 00:35:26.874
It was their space,
their place.

00:35:26.958 --> 00:35:29.335
Their expression
in the midst of repression.

00:35:29.460 --> 00:35:33.005
But that helped people’s self-esteem a lot.

00:35:33.089 --> 00:35:35.466
So the question was not
about the work being done.

00:35:35.550 --> 00:35:38.136
The result was important.
What remained.

00:35:38.302 --> 00:35:39.762
What it signaled.

00:35:40.096 --> 00:35:41.180
What it marked.

00:35:42.431 --> 00:35:45.101
The street is where
all ideologies are expressed.

00:36:17.800 --> 00:36:20.011
At first, many painters gathered

00:36:20.052 --> 00:36:23.347
to create murals and graffiti,
mixed, combined.

00:36:23.347 --> 00:36:25.641
It was a combination of different textures,

00:36:25.641 --> 00:36:28.019
that’s why UFO became a brigade.

00:36:28.186 --> 00:36:30.938
It was born from the elements
and textures of different people,

00:36:30.980 --> 00:36:32.481
who created a piece together.

00:36:32.565 --> 00:36:34.192
Also erasing
the idea of an author,

00:36:34.233 --> 00:36:36.444
the idea of an artist,
of a creative subject,

00:36:36.527 --> 00:36:37.987
becoming a collective.

00:36:38.112 --> 00:36:40.323
Different bonds generating a force.

00:36:46.078 --> 00:36:50.082
UFO is re-founding the image,

00:36:50.249 --> 00:36:52.210
and everything that\'s
outside the comfort zone.

00:36:52.251 --> 00:36:56.631
All graffiti laws are directed
to be enforced downtown.

00:36:56.714 --> 00:37:00.301
Always in the margins,
always from the trash,

00:37:00.593 --> 00:37:04.639
from the simple, giving a message
that\'s even bigger and more powerful.

00:37:07.558 --> 00:37:12.104
Painting is being used
for various action initiatives.

00:37:12.271 --> 00:37:16.108
One of them now is the mythical
refounding of Santa Rosa,

00:37:16.317 --> 00:37:19.654
through the mythological murals
that are being made as a brigade.

00:37:24.533 --> 00:37:27.912
We have the Oscar Lucero mural,
100 years after his birth.

00:37:42.510 --> 00:37:44.929
Oscar Lucero gave messages
on the street,

00:37:45.012 --> 00:37:47.098
he delivered the messages
of his visions.

00:37:47.139 --> 00:37:48.557
For us he’s like a prophet.

00:37:48.641 --> 00:37:50.643
The cornerstone
of writing on the walls.

00:37:56.190 --> 00:37:57.984
There are places
loaded with that magic.

00:37:58.025 --> 00:37:59.902
The brigades are feeding that force.

00:38:14.917 --> 00:38:18.379
UFO works hard to return the myth.

00:38:19.714 --> 00:38:22.216
To take us back to that time

00:38:22.425 --> 00:38:25.720
where that power did exist,
magic did exist,

00:38:25.970 --> 00:38:29.557
and not everything depended on the
productive forces in favor of capital,

00:38:29.640 --> 00:38:34.145
but people did have their mystique,
and their rituals.

00:38:34.603 --> 00:38:38.065
And all that, which has been lost
by overwhelming technology,

00:38:38.149 --> 00:38:39.608
we try to make it strong.

00:38:40.151 --> 00:38:41.652
Little by little, returning

00:38:41.694 --> 00:38:42.778
to that era of myth,

00:38:42.862 --> 00:38:44.655
pumping it with all our might.

00:39:38.084 --> 00:39:41.295
The symbol is not only
an abstract thing, an image,

00:39:41.295 --> 00:39:42.505
it\'s much more complex.

00:39:42.588 --> 00:39:43.923
The symbol instills in you

00:39:44.006 --> 00:39:45.383
a series of beliefs,

00:39:45.591 --> 00:39:46.967
a series of experiences,

00:39:47.051 --> 00:39:48.427
a series of social actions.

00:39:48.552 --> 00:39:50.846
So the symbol constructs reality.

00:40:08.155 --> 00:40:13.619
Throughout the process of modernity
in Latin America,

00:40:13.702 --> 00:40:16.914
where Latin America
took as its reference

00:40:17.039 --> 00:40:20.126
first Europe,
and then the United States,

00:40:20.209 --> 00:40:22.753
the symbols valued
were the foreign ones.

00:40:23.003 --> 00:40:24.046
Not local ones.

00:40:24.171 --> 00:40:25.631
And that obviously leads

00:40:25.756 --> 00:40:29.135
to all indigenous iconography
being silenced, for example.

00:40:33.222 --> 00:40:35.307
The Spanish tried

00:40:35.349 --> 00:40:38.602
to prevent indigenous communities
from following their own traditions.

00:40:39.019 --> 00:40:40.521
And one of their practices

00:40:40.604 --> 00:40:42.857
was to end the manufacture
of rock art.

00:40:42.940 --> 00:40:44.942
The whole strategy,

00:40:45.067 --> 00:40:47.069
or a good part of
the Spanish colonial strategy,

00:40:47.111 --> 00:40:48.863
relies on the symbols.

00:40:51.866 --> 00:40:53.534
By valuing some symbols,

00:40:53.617 --> 00:40:54.577
and devaluing others,

00:40:54.702 --> 00:40:56.829
a world is being generated.

00:41:08.716 --> 00:41:11.677
I had passed through Arica,
but I had never experienced Arica.

00:41:12.470 --> 00:41:16.223
I came, and realized
how little I know my country.

00:41:18.726 --> 00:41:22.688
We usually live isolated,
back in Santiago, Valparaíso,

00:41:22.730 --> 00:41:24.023
and more to the south of Chile.

00:41:24.064 --> 00:41:25.816
We have no idea
what\'s going on outside.

00:41:26.484 --> 00:41:29.069
Arica is like the plug.

00:41:29.153 --> 00:41:31.447
Chile is the long cable,

00:41:31.572 --> 00:41:32.948
and Arica connects.

00:41:33.032 --> 00:41:35.493
The only place
that enters into Latin America.

00:41:43.083 --> 00:41:46.086
I try to have
a rather universal theme,

00:41:46.128 --> 00:41:49.048
that helps me adapt
to different places.

00:41:50.007 --> 00:41:53.135
I create this character,
who gradually gets dressed,

00:41:53.177 --> 00:41:56.347
through these symbols
I\'ve related to in my life,

00:41:56.722 --> 00:41:57.848
And so, in one way or another,

00:41:57.932 --> 00:41:59.808
people, depending on
the territory they\'re in,

00:41:59.850 --> 00:42:02.144
feel identified
with those symbols.

00:42:03.729 --> 00:42:05.022
On this particular wall,

00:42:05.105 --> 00:42:07.483
I used the playful theme
of the carnival.

00:42:07.566 --> 00:42:10.402
As well as in a mural
I had done before in China.

00:42:10.736 --> 00:42:13.656
This character is like
a carnival clown,

00:42:13.739 --> 00:42:15.366
represented in my style.

00:42:16.492 --> 00:42:19.328
It relates to the figure
of the sacred clown,

00:42:19.411 --> 00:42:22.081
that exists in several
Latin American cultures.

00:42:22.498 --> 00:42:24.458
There\'s something in playing,

00:42:24.792 --> 00:42:26.502
something that\'s important.

00:42:26.627 --> 00:42:29.588
It\'s important to play,
it\'s important to have this clown,

00:42:29.672 --> 00:42:31.382
who is able to say and do things

00:42:31.507 --> 00:42:33.551
that we normally wouldn\'t say

00:42:33.634 --> 00:42:36.053
if we didn\'t have a mask.

00:42:40.391 --> 00:42:42.184
That festive spirit

00:42:42.476 --> 00:42:46.021
is a way of celebrating
peoples\' worldviews too.

00:42:46.188 --> 00:42:49.191
At least I see it that way,
living outside,

00:42:49.441 --> 00:42:51.777
if something characterizes
us here, it’s that...

00:42:52.319 --> 00:42:55.489
we celebrate our
religious ceremonies.

00:42:55.698 --> 00:42:57.866
There\'s not the grief,
nor the pain, but

00:42:58.200 --> 00:43:01.829
there\'s a joy behind it,
and a good excuse to get out,

00:43:02.329 --> 00:43:05.374
and have colors, music,
have fun and get together.

00:43:06.041 --> 00:43:07.960
And I think
that\'s remarkable.

00:43:38.115 --> 00:43:41.744
Make the most of him because
soon we\'ll lift him to keep painting.

00:43:42.536 --> 00:43:45.706
Is it important for you
to go to the academy?

00:43:46.457 --> 00:43:49.043
I think it\'s good to know

00:43:49.335 --> 00:43:50.878
the art world,

00:43:51.211 --> 00:43:55.007
understand the techniques,
the movements that have occurred,

00:43:55.341 --> 00:43:57.009
hopefully to get beyond it.

00:43:57.092 --> 00:43:58.469
I believe that\'s the key.

00:43:58.802 --> 00:44:00.846
What\'s your main
motivation to create,

00:44:00.971 --> 00:44:02.431
to represent on the walls.

00:44:02.723 --> 00:44:05.726
It varies with time,
and according to the place.

00:44:05.851 --> 00:44:08.145
At some point
I wanted to see my name everywhere.

00:44:08.604 --> 00:44:11.023
But that changes,
one grows,

00:44:11.106 --> 00:44:14.109
you realize that everything
you do in public space,

00:44:14.151 --> 00:44:15.027
has an impact.

00:44:15.110 --> 00:44:18.113
I started to realize I could have
a positive impact.

00:44:18.197 --> 00:44:20.866
What\'s the message you want
to send with this mural?

00:44:21.617 --> 00:44:23.535
I\'m still looking for it.

00:44:43.847 --> 00:44:47.184
At least I hope it
generates a conversation.

00:44:47.309 --> 00:44:49.561
Whether about the theme
of the mural itself,

00:44:49.687 --> 00:44:52.648
or about the fact itself
of having painted a mural,

00:44:52.731 --> 00:44:55.401
in this public space,
why it’s done,

00:44:55.526 --> 00:44:57.319
who has the right
to use it or not,

00:44:57.528 --> 00:44:58.946
I think that
is already positive,

00:44:59.029 --> 00:45:01.615
and there\'s a little seed there...

00:45:02.116 --> 00:45:03.742
for good coexistence,
I believe.

00:45:09.123 --> 00:45:14.837
With all my heart, may this work be praised,
that our brothers did,

00:45:15.129 --> 00:45:18.090
and also the sisters
who participated in this.

00:45:20.884 --> 00:45:22.386
Jallalla!
(Congratulations!)

00:45:22.803 --> 00:45:26.140
When two cultures come together,
and have two different ways,

00:45:26.223 --> 00:45:28.475
but there is acceptance
of one another,

00:45:28.642 --> 00:45:30.060
something positive comes out.

00:45:35.858 --> 00:45:37.151
I wish at least

00:45:37.192 --> 00:45:38.527
for my work to be on that path.

00:45:38.610 --> 00:45:40.696
I mean, if someone could understand,

00:45:40.779 --> 00:45:42.573
or had the feeling that:

00:45:42.614 --> 00:45:45.784
\"Look, here’s a variety of things,
and it\'s positive, and it\'s beautiful\"...

00:45:46.535 --> 00:45:49.163
I\'d love to be able to achieve
something like that with my work.

00:47:11.620 --> 00:47:15.916
♪ To have the strength ♪

00:47:18.126 --> 00:47:22.548
♪ every morning
every morning ♪

00:47:24.967 --> 00:47:28.929
♪ I\'m looking for that
lost flower ♪

00:47:31.515 --> 00:47:35.936
♪ in my window
in my window ♪

00:47:37.980 --> 00:47:42.025
♪ Behind the sun lights up ♪

00:47:44.945 --> 00:47:48.782
♪ a new melody ♪

00:47:51.660 --> 00:47:54.705
♪ Is hope that comes ♪

00:47:58.250 --> 00:48:02.754
♪ dancing to the pace
of the days ♪

00:48:05.007 --> 00:48:08.886
♪ To have the strength ♪

00:48:11.597 --> 00:48:14.975
♪ I\'ll set my conscience
on fire ♪

00:48:18.395 --> 00:48:22.274
♪ I let pigeons fly ♪

00:48:25.027 --> 00:48:29.740
♪ let time fade away ♪

00:48:31.783 --> 00:48:36.413
♪ let time fade away ♪

00:48:37.998 --> 00:48:41.460
♪ let time fade away ♪

00:49:02.064 --> 00:49:05.943
Let\'s not forget that graffiti
is a way of searching for identity.

00:49:06.151 --> 00:49:08.278
So I think that
in a country like Chile,

00:49:08.695 --> 00:49:10.822
where we’re still
on that search,

00:49:10.989 --> 00:49:15.953
where we still have the possibility,
even, to construct that part,

00:49:16.161 --> 00:49:18.622
perhaps even to heal certain wounds,

00:49:19.081 --> 00:49:21.833
that exist in our society
and in our history.

00:49:23.377 --> 00:49:25.087
No matter what type of society it is,

00:49:25.087 --> 00:49:27.172
public spaces
will always be occupied.

00:49:28.465 --> 00:49:32.260
And in public spaces
not only the anti-systemic is there,

00:49:32.552 --> 00:49:35.347
but there’s also a strong presence
of the system.

00:49:35.722 --> 00:49:38.141
Those monuments
to the national heroes,

00:49:38.225 --> 00:49:40.644
to the Presidents of the Republic,
grand sculptures,

00:49:40.769 --> 00:49:42.896
and grand things, big squares.

00:49:43.021 --> 00:49:46.400
That’s what these murals,
or these urban interventions,

00:49:46.650 --> 00:49:47.526
oppose.

00:49:50.195 --> 00:49:51.989
We’re painting on the street,

00:49:52.114 --> 00:49:54.866
but at the same time,
we’re raising projects

00:49:55.283 --> 00:49:57.744
that allow for
the promotion of graffiti

00:49:57.828 --> 00:49:59.830
as a transformation tool,

00:50:00.288 --> 00:50:04.084
and it\'s necessary to keep working
to generate this type of projects,

00:50:04.251 --> 00:50:05.877
that place value
on the territory.

00:50:05.961 --> 00:50:07.921
In the end, graffiti comes
from the neighborhood.

00:50:08.046 --> 00:50:09.840
The poor areas,
the ghettos,

00:50:10.340 --> 00:50:13.885
those territories where people
don\'t dare to enter,

00:50:14.136 --> 00:50:17.389
to which private investment
hardly arrives,

00:50:17.681 --> 00:50:18.932
which...

00:50:19.057 --> 00:50:22.644
are stigmatized
in the mainstream media,

00:50:22.853 --> 00:50:25.897
and in that sense
we have a huge challenge:

00:50:26.023 --> 00:50:28.316
we’re facilitators
of social processes.

00:50:30.444 --> 00:50:33.780
For me the social issue
has always been super important.

00:50:33.864 --> 00:50:35.866
And that\'s how
I understand graffiti.

00:50:35.866 --> 00:50:37.159
As something very social.

00:50:37.242 --> 00:50:40.662
And just as it may have changed your life
by keeping you away from other things,

00:50:40.746 --> 00:50:42.330
it may change
other children\'s life too.

00:50:42.497 --> 00:50:45.250
Imagine if a child
learns to paint,

00:50:45.292 --> 00:50:48.045
or a person with limited resources
understands what it is to paint,

00:50:48.128 --> 00:50:49.254
it may become their trade.

00:50:49.463 --> 00:50:50.756
It may be their living.

00:50:50.922 --> 00:50:52.299
And I think it has happened to many of us.

00:50:52.340 --> 00:50:54.593
And maybe you didn\'t come
from a neighborhood

00:50:54.634 --> 00:50:57.262
or from a family that would allow you
to be an artist

00:50:58.555 --> 00:51:01.516
You ran into this,
and it allowed you

00:51:01.641 --> 00:51:03.852
to travel, to meet people,

00:51:03.935 --> 00:51:05.812
to be able to say
what you want to express.

00:51:05.979 --> 00:51:11.193
I think it\'s a very important change
in the life of those who understand it,

00:51:11.193 --> 00:51:13.111
and who understand that painting

00:51:13.153 --> 00:51:17.991
can be more than just being
in a certain space doing a wall.

00:51:18.992 --> 00:51:21.995
It’s necessary, I think, to overcome
that barrier of aesthetics,

00:51:22.037 --> 00:51:26.249
and start thinking about the impact
we’re having on the street.

00:51:26.333 --> 00:51:30.504
The place that we occupy to create
is not just any place.

00:51:30.754 --> 00:51:32.464
It\'s the citizens’ space.

00:51:32.714 --> 00:51:34.591
And we, as street painters,

00:51:34.633 --> 00:51:36.927
and as agents and cultivators
of the urban arts,

00:51:37.135 --> 00:51:39.554
we have that role, I think.

00:51:39.679 --> 00:51:43.517
To start showing those territories
that have historically been silenced,

00:51:43.642 --> 00:51:45.143
through street art.