In Colombia, urban art fights against historical violence, reclaims public…
Nuevo Mundo, Ep. 04 - Peru
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In Lima, Peru’s capital, the convergence of migrants from diverse regions of the country has created a vibrant cultural mosaic, vividly expressed on the city’s walls. This urban art reflects the struggles of those seeking to carve out their own space amidst the internal racism that permeates the nation.
Through murals and graffiti, artists expose deep-seated social issues that trace their origins back to the colonial era and persist through Peru’s history of political violence, terrorism, and internal conflict.
In this episode, we explore how these visual expressions not only document personal and collective histories but also challenge societal norms, using public spaces to highlight the resilience and creativity of those marginalized by structural inequality. From bold depictions of Andean traditions to confrontational images addressing modern struggles, Lima’s walls serve as a testament to a city that is both a meeting point and a battleground for diverse identities and stories.
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Distributor subjects
Visual Arts; Urban Studies; Sociology; Anthropology; Culture + Identity; Economics + Social Class Issues; Culture + Identity; Activism; Latin American Studies; Race + EthnicityKeywords
WEBVTT
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What I\'ve always liked a lot
about making urban art, is that
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once you leave the street,
and leave a piece,
00:00:17.434 --> 00:00:18.768
it\'s no longer yours.
00:00:19.227 --> 00:00:22.063
There\'s a poetry to it,
00:00:22.188 --> 00:00:24.274
detachment from the work.
00:00:26.609 --> 00:00:29.279
It\'s important to me
for people who intervene in the street
00:00:29.320 --> 00:00:31.698
to be people who walk the street,
who know where they are,
00:00:31.740 --> 00:00:34.576
what city is theirs,
its neighborhoods, what\'s going on.
00:00:37.495 --> 00:00:39.706
For people to be part of it,
and not be foreign to that,
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I mean,
I can\'t go somewhere
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and impose something on the locals
that means nothing to them.
00:00:44.419 --> 00:00:47.047
Generating some form of bond,
00:00:47.213 --> 00:00:49.924
is the essential thing
when one goes to paint.
00:00:54.888 --> 00:00:57.640
Here\'s a phrase
that many people say:
00:00:57.766 --> 00:00:59.350
\"At what point
did Peru get screwed up?\"
00:00:59.434 --> 00:01:01.102
And everyone repeats
just like a mantra,
00:01:01.227 --> 00:01:02.687
\"At what time
did Peru get screwed up.\"
00:01:02.812 --> 00:01:04.564
To which I reply:
\"Well then,
00:01:04.647 --> 00:01:06.775
at what point
was Peru not screwed?”
00:01:12.405 --> 00:01:15.033
♪ They call me this and that
\'cos I live my way ♪
00:01:15.325 --> 00:01:17.744
♪ I get dirty from this life
as if it were mud ♪
00:01:17.827 --> 00:01:20.371
♪ I try, I go
if it fails, I’m screwed ♪
00:01:20.580 --> 00:01:23.124
♪ Always true to my desire
elbow to elbow ♪
00:01:23.249 --> 00:01:25.418
♪ The north takes me away
the north is mine ♪
00:01:25.502 --> 00:01:28.004
♪ I write it
every morning is a challenge ♪
00:01:28.088 --> 00:01:30.048
♪ I breathe, watch, and trust ♪
00:01:30.090 --> 00:01:32.842
♪ And when the night comes
I stare at the moon and smile ♪
00:01:32.884 --> 00:01:35.011
♪ Nomad life
wherever life ♪
00:01:35.261 --> 00:01:37.555
♪ Lighter life
live your way ♪
00:01:37.722 --> 00:01:40.308
♪ Live carefree
live how you want ♪
00:01:40.391 --> 00:01:43.478
♪ Don\'t let anyone set your horizon
or border ♪
00:01:43.603 --> 00:01:45.897
♪ Live without a boss
live without a master ♪
00:01:45.939 --> 00:01:48.399
♪ I\'m led by the beat
of my heart ♪
00:01:48.441 --> 00:01:50.819
♪ I ride the wind
and this song ♪
00:01:50.944 --> 00:01:53.738
♪ They say I\'m lost
I say revolution ♪
00:02:45.790 --> 00:02:49.961
In Lima,
migrant cultures have made
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this city, this urban center,
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this megalopolis,
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what it is today:
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an amorphous monster.
00:03:04.517 --> 00:03:06.477
Lima was a bucolic city,
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very quiet,
very orderly, with walls.
00:03:11.357 --> 00:03:14.569
But it\'s after the 1950s
that it\'s urbanized, modernized,
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and invaded
by all the rural people.
00:03:17.614 --> 00:03:19.032
Not only from the mountains,
00:03:19.115 --> 00:03:21.910
but the ruralites of the coast,
the ruralites of the jungle.
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Lima is, definitely,
00:03:24.871 --> 00:03:27.749
a gloomy, gray city.
00:03:27.832 --> 00:03:30.710
There are hardly two, three months
when the sun comes out.
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In this place called Lima,
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these new colors began to sprout.
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This polychrome
of the ruralites,
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who bring the pictorial load
from their towns,
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which have a lot of sun.
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The migration processes,
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the empowerment of the
migrant sectors in the city,
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have made it less easy
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to hierarchize, to discriminate.
00:03:57.654 --> 00:03:59.739
However, we’re still
00:03:59.864 --> 00:04:01.532
a very discriminatory society.
00:04:01.658 --> 00:04:04.869
Racist dynamics continue to occur
in the streets of Lima.
00:04:10.166 --> 00:04:12.126
People talk about the \"cholification\",
00:04:12.210 --> 00:04:16.089
a term to name this mass
of people who came here…
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not for holidays, by the way;
they came to survive.
00:04:20.176 --> 00:04:23.846
They came to Lima because in their places
they didn\'t have a chance to live, to work.
00:04:26.641 --> 00:04:30.436
The so-called “slums” were formed,
then they were called the “young towns”,
00:04:30.645 --> 00:04:31.771
and this poor area
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was one of misery
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in traditional Lima.
00:04:54.961 --> 00:04:59.465
A while ago I saw a video
of Lima in 1950,
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and it was unbelievable,
it was an absolute oasis.
00:05:03.052 --> 00:05:04.595
No cars…
00:05:04.721 --> 00:05:05.680
I think it\'s a city
00:05:05.763 --> 00:05:07.432
that has been transforming…
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for worse,
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since the city\'s being built
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mainly for cars,
00:05:14.188 --> 00:05:18.735
with highways,
everything to foster more consumption.
00:05:18.943 --> 00:05:21.571
Those things
can change over time too,
00:05:21.821 --> 00:05:22.989
cities transform.
00:05:23.072 --> 00:05:26.909
I think real transformations
can be seen in more than 10 years,
00:05:26.951 --> 00:05:30.330
in 50, in 70,
even in 100 years.
00:05:30.788 --> 00:05:34.584
So it\'s important to make
those marks visible.
00:05:36.794 --> 00:05:40.506
I’m the son of migrants too,
my family comes from the Peruvian jungle.
00:05:41.007 --> 00:05:45.928
And just like my parents,
a lot of people came in the 60s and 70s.
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There\'s still a lot of
racism and discrimination.
00:05:53.269 --> 00:05:56.731
I use black and white
instead of color,
00:05:56.856 --> 00:05:59.734
for the abstraction it generates
when viewing the images.
00:06:01.527 --> 00:06:05.365
What I like about making urban art
is that once you leave the street,
00:06:05.448 --> 00:06:07.700
and you leave a piece,
it\'s no longer yours.
00:06:07.867 --> 00:06:11.120
There\'s a poetry to it,
00:06:11.245 --> 00:06:13.748
detachment from the work.
00:06:14.082 --> 00:06:16.167
And to just let it be.
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If it deteriorates over time,
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if someone comes
and paints over it,
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and the dialogue continues,
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I think that\'s much more enriching,
this dialogue with the surroundings,
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with the environment,
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the grandpa that passes by
and thinks it\'s crap,
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or the kid who\'s surprised
to suddenly see a figure
00:06:39.941 --> 00:06:41.359
that might captivate them.
00:06:53.746 --> 00:06:56.916
I\'m not a graffiti artist,
I\'m a photographer,
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and I use a technique
known as lambe-lambe,
00:07:01.337 --> 00:07:02.922
\"wheat paste\" in English,
00:07:03.214 --> 00:07:05.883
which consists
of directly pasting
00:07:06.092 --> 00:07:08.678
photos printed on paper,
in the streets.
00:07:09.512 --> 00:07:12.140
That technique really…
00:07:12.306 --> 00:07:14.684
it\'s a form of expression
00:07:14.767 --> 00:07:19.522
which I see more as
resistance, an antithesis
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to the effects
advertising has today.
00:07:26.863 --> 00:07:31.826
This concept of clash
and cultural diversity in the city,
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a displacement of images,
00:07:34.412 --> 00:07:38.249
and placing them in a context
different from their origin.
00:07:38.332 --> 00:07:39.709
The origin of the images…
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they weren\'t necessarily
part of the place where they were shown,
00:07:43.212 --> 00:07:44.839
but I was just interested
00:07:44.922 --> 00:07:48.009
in that clash,
to talk about our cultural diversity.
00:07:59.729 --> 00:08:02.315
There are several imageries,
00:08:02.398 --> 00:08:05.318
it\'s like a fragmented city.
00:09:03.584 --> 00:09:05.795
Peru,
whether you like it or not,
00:09:06.337 --> 00:09:08.923
is highly dependent
on drug trafficking.
00:09:09.215 --> 00:09:11.592
Drug trafficking now
is almost accepted.
00:09:12.009 --> 00:09:14.387
The police
let it be, let it pass.
00:09:14.887 --> 00:09:17.390
Because it\'s abundant,
and generates revenue,
00:09:17.598 --> 00:09:20.142
some people even say
that in Congress
00:09:20.226 --> 00:09:21.936
there\'s a \"narco-caucus\".
00:09:24.188 --> 00:09:25.231
So you say:
00:09:25.273 --> 00:09:26.732
Where does so much money come from?
00:09:28.150 --> 00:09:29.860
And one says:
\"Hm, laundromat.\"
00:09:30.027 --> 00:09:32.947
In Lima, they use the word \"laundromat\"
for these stores, or businesses,
00:09:33.030 --> 00:09:34.991
that launder money
from drug trafficking,
00:09:35.324 --> 00:09:38.494
namely the \'chifas\' (Chinese restaurants),
hostels, clinics.
00:09:38.744 --> 00:09:41.372
So you\'ll find a lot of them,
but empty.
00:09:41.998 --> 00:09:45.376
These new businesses,
this new \"boom\",
00:09:45.501 --> 00:09:47.753
in construction, too.
00:09:47.962 --> 00:09:50.089
Because the middle class
has generated constructions.
00:09:50.214 --> 00:09:53.050
But there\'s plenty of them!
So, where there was a chalet,
00:09:53.092 --> 00:09:54.343
today there\'s a building.
00:09:54.468 --> 00:09:58.180
Where there was a factory, or even a park!
Today there\'s a building.
00:09:58.347 --> 00:09:59.807
So where does that money
come from?
00:09:59.932 --> 00:10:02.018
Again we return
to the political question.
00:10:06.939 --> 00:10:10.901
For the political campaigns,
a kind of graffiti is also created,
00:10:11.027 --> 00:10:14.155
popular, informal,
and almost criminal.
00:10:15.156 --> 00:10:16.490
The hills in these areas,
00:10:16.574 --> 00:10:18.576
where people also
live on the slopes,
00:10:18.659 --> 00:10:19.785
in the upper parts,
00:10:19.869 --> 00:10:22.580
that\'s the perfect canvas
for a political campaign.
00:10:22.705 --> 00:10:25.708
And they all take the hills.
All the mayors take the hills.
00:10:25.833 --> 00:10:29.045
Then a sort of hill grammar is created,
00:10:29.170 --> 00:10:32.173
from the commitment
of the political promise.
00:10:32.381 --> 00:10:35.801
All the roads
in Peru are full of graffiti,
00:10:35.885 --> 00:10:39.347
painted on the stones,
on the slopes of the hills,
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on the roadside.
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Very effective
propaganda is done there.
00:10:44.018 --> 00:10:45.686
Very popular,
very elementary,
00:11:01.160 --> 00:11:04.163
There\'s a phrase here
that a lot of people say,
00:11:04.330 --> 00:11:06.540
which comes from a novel
by Vargas Llosa, which says:
00:11:06.582 --> 00:11:08.167
\"At what point
did Peru get screwed up?\"
00:11:08.292 --> 00:11:09.543
And everyone repeats,
00:11:09.627 --> 00:11:10.753
like a mantra,
00:11:10.795 --> 00:11:13.089
“At what point did Peru get screwed up?”
To which I reply:
00:11:13.130 --> 00:11:16.050
\"Was Peru ever not screwed?\"
00:11:16.133 --> 00:11:19.303
Because Peru has existed since 1821,
and before it was a colony,
00:11:19.387 --> 00:11:21.639
and the Republic
did not break the colonial order.
00:11:21.847 --> 00:11:23.849
That is, when the Peruvian Republic
was founded,
00:11:24.016 --> 00:11:26.435
Afro-Peruvians
remained slaves,
00:11:26.519 --> 00:11:29.522
the natives continued
not having citizenship.
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In the structure of domination
caused by the arrival
00:11:56.173 --> 00:12:00.511
of the Spanish state and its interests,
00:12:00.970 --> 00:12:04.765
Peru became a territory
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defined as the
Viceroyalty of Peru.
00:12:14.024 --> 00:12:16.527
Ideologically
the baroque was used
00:12:16.569 --> 00:12:19.196
as a method of evangelization.
00:12:20.406 --> 00:12:23.451
That culture was imposed
by fire and blood.
00:12:24.785 --> 00:12:27.538
All that visual production,
00:12:27.663 --> 00:12:30.791
is the result of permanent negotiations,
00:12:31.000 --> 00:12:34.712
that also have to do with each side’s efforts
00:12:34.879 --> 00:12:36.464
to translate each other.
00:12:49.977 --> 00:12:53.731
I understand the Andean Baroque
as a culture of resistance.
00:12:53.856 --> 00:12:56.776
And we would need to understand
what they were resisting.
00:12:58.277 --> 00:13:01.155
So they set up
a system of quote and copy.
00:13:01.238 --> 00:13:03.866
And they introduced
slight modifications.
00:13:03.991 --> 00:13:06.535
And in those modifications,
they introduced
00:13:06.577 --> 00:13:09.246
their own culture,
that they wanted to preserve.
00:13:09.330 --> 00:13:11.290
Like contraband.
00:13:11.415 --> 00:13:14.043
They were made
by the indigenous artists themselves.
00:13:16.295 --> 00:13:20.090
The Virgin Mary is represented
as a mountain, as an apu.
00:13:20.174 --> 00:13:23.636
The apu is actually
the tutelary space,
00:13:23.719 --> 00:13:26.972
a spirit that protects
a space, an area.
00:13:28.349 --> 00:13:32.061
It’s the indigenous people interpreting
00:13:32.102 --> 00:13:33.729
the visuality of non-indigenous people,
00:13:33.771 --> 00:13:35.689
and producing a visual proposal
00:13:35.773 --> 00:13:37.983
that non-indigenous people can understand.
00:13:38.150 --> 00:13:40.027
And that requires transformations.
00:13:42.196 --> 00:13:45.407
So it\'s interesting how something
that was once used
00:13:45.533 --> 00:13:49.328
to ideologically make you
a pawn of the cultural system,
00:13:49.370 --> 00:13:50.746
- in this case, viceroyal -
00:13:50.788 --> 00:13:52.873
ends up being,
over time,
00:13:53.040 --> 00:13:55.042
a kind of memory capsule
that allows us
00:13:55.084 --> 00:13:56.836
to understand what that society was like.
00:14:00.089 --> 00:14:02.174
And I think that
an expression of that baroque,
00:14:02.174 --> 00:14:04.468
is on the street posters.
00:14:07.304 --> 00:14:11.725
People were beginning to adopt
new forms of occupation of public space.
00:14:11.809 --> 00:14:14.687
And one of the ways
was not only folk celebrations,
00:14:14.812 --> 00:14:18.023
but also the visual imagery
around that.
00:14:44.800 --> 00:14:47.970
We have the word \"chicha\",
which is used in Latin America,
00:14:48.053 --> 00:14:50.139
but in Peru
it has a special meaning.
00:14:50.264 --> 00:14:53.392
It\'s supposedly
the ancestral drink of the Incas.
00:14:53.559 --> 00:14:56.520
It was associated
with drunkenness, and partying.
00:14:57.563 --> 00:15:02.151
So people who went
to tropical music parties,
00:15:02.192 --> 00:15:04.570
started being called \"chicheros\".
00:15:15.831 --> 00:15:17.583
But actually the term \"chicha\",
00:15:17.625 --> 00:15:20.419
on the music side,
began to be accepted
00:15:20.461 --> 00:15:23.005
only around the year 1983, 84,
00:15:23.088 --> 00:15:25.925
thanks to Los Shapis. They started…
00:15:26.091 --> 00:15:28.344
When you see
the names of the albums,
00:15:28.427 --> 00:15:32.556
they start to use the term
\"cumbia folk\", \"tropical cumbia\",
00:15:32.640 --> 00:15:34.391
and only in the year 1983-84,
00:15:34.558 --> 00:15:37.436
Los Shapis decide to call
their songs \"chicha\".
00:15:40.105 --> 00:15:42.900
The \"chicha\" started to be identified
as something negative,
00:15:42.942 --> 00:15:45.152
that is, as people who…
00:15:45.361 --> 00:15:49.490
as disorder, chaos,
breaking the rules.
00:15:49.573 --> 00:15:52.785
So this chicha culture
was the culture of “informality”,
00:15:52.868 --> 00:15:54.453
of those who broke the law
00:15:54.620 --> 00:15:56.956
because they had
no place within the State.
00:15:58.916 --> 00:16:02.753
But what happens when imperialism
is assimilated by the popular masses
00:16:02.753 --> 00:16:04.588
and totally transgressed?
00:16:04.797 --> 00:16:06.173
A new product is created.
00:16:06.215 --> 00:16:07.800
So, somehow
00:16:07.925 --> 00:16:12.471
all this colonial condition,
in the images, the music, the economy,
00:16:12.513 --> 00:16:14.014
that we have in Latin America,
00:16:14.139 --> 00:16:16.767
is transgressed
by popular subjects,
00:16:16.892 --> 00:16:20.521
with a new aesthetic that here in Peru
some of us call \"chicha\".
00:16:20.938 --> 00:16:24.316
Absorbing, or assimilating
what comes from the West,
00:16:24.525 --> 00:16:28.028
imperial products,
images of imperialism,
00:16:28.195 --> 00:16:32.366
and adapting them, subverting them
and turning them into your own language.
00:16:32.658 --> 00:16:34.827
So, for example
this album cover of Los Shapis,
00:16:34.952 --> 00:16:38.747
if you remember,
it\'s a parody, a transgression,
00:16:38.872 --> 00:16:43.585
an act of piracy that\'s really…
subversive,
00:16:43.752 --> 00:16:47.214
of a Ramones cover,
from their album Road to Ruin.
00:16:47.464 --> 00:16:49.341
Which is what we can
label as \"chicha\":
00:16:49.425 --> 00:16:51.218
the subversion of the colonial,
00:16:51.218 --> 00:16:55.681
to create a culturally, or totally…
new and challenging product.
00:17:03.897 --> 00:17:07.568
This word, \"chicha\",
comes from mostly…
00:17:07.776 --> 00:17:11.697
since Los Shapis came
00:17:11.739 --> 00:17:13.574
from Huancayo to the capital, Lima.
00:17:14.408 --> 00:17:16.243
Lima had its groups.
00:17:16.535 --> 00:17:19.913
Its tropical groups,
whose music was \"cumbia\".
00:17:19.997 --> 00:17:24.209
It was when…
the rural people started
00:17:24.251 --> 00:17:28.505
dancing to the music
of Los Shapis, of Alegría,
00:17:28.589 --> 00:17:31.425
people called it \"chicha\".
00:17:31.842 --> 00:17:36.680
Chacalón attracted people
from the ‘hoods, from the hill,
00:17:36.805 --> 00:17:39.308
or the ill-off,
as they say now,
00:17:39.600 --> 00:17:41.393
\"piranha\" people,
00:17:41.435 --> 00:17:46.690
and the people themselves
called it \"chicha\".
00:17:49.693 --> 00:17:52.446
When… Papá Chacalón,
00:17:52.446 --> 00:17:55.032
dueled against
the popular Tongo,
00:17:55.115 --> 00:17:57.951
they came to my workshop,
at that time on Mexico Avenue,
00:17:58.118 --> 00:18:03.248
they said, \"Monky, I want something
never-before-seen,
00:18:03.415 --> 00:18:05.000
I want you to make my posters”.
00:18:05.042 --> 00:18:08.337
Because my previous work
had that quality.
00:18:10.756 --> 00:18:13.884
We started working on
the basic, old colors,
00:18:13.967 --> 00:18:15.552
which are natural.
00:18:15.636 --> 00:18:18.472
I was the promoter,
or the pioneer,
00:18:18.639 --> 00:18:23.727
in making this kind of…
mixing those \"chicha\" colors,
00:18:23.894 --> 00:18:26.313
the neon colors as they call them.
00:18:27.564 --> 00:18:29.483
In 1988, 89.
00:18:30.651 --> 00:18:32.653
In those years…
00:18:32.820 --> 00:18:34.404
these colors were born.
00:19:27.416 --> 00:19:28.709
I\'ll tell you, for example, that
00:19:28.792 --> 00:19:30.335
the chicha poster appears in the 80s,
00:19:30.377 --> 00:19:32.254
in parallel with
tropical Andean music,
00:19:32.337 --> 00:19:34.715
that Jaime Moreira
later calls \"chicha\",
00:19:34.923 --> 00:19:38.677
arguing, as a musician
of indigenous descent,
00:19:38.719 --> 00:19:42.764
that chicha, and corn,
is an element that develops
00:19:42.806 --> 00:19:46.560
in all corners of America,
00:19:46.643 --> 00:19:50.480
from the south of Chile,
to the north of Mexico,
00:19:50.606 --> 00:19:52.191
and surely beyond that.
00:19:52.399 --> 00:19:56.153
So, for him, corn represents
that sort of community.
00:19:56.778 --> 00:19:59.198
That feeling, which already existed
around the chicha drink,
00:19:59.323 --> 00:20:02.701
which worked as
a kind of social catalyst,
00:20:02.826 --> 00:20:06.538
so the music, the rhythm
is referred to
00:20:06.788 --> 00:20:07.873
as \"chicha\".
00:20:07.998 --> 00:20:11.418
You never know
who coins a certain aesthetic.
00:20:11.543 --> 00:20:16.298
Because I have the idea
that all development…
00:20:16.465 --> 00:20:19.843
or creation of
popular aesthetic lines,
00:20:20.052 --> 00:20:21.511
is not created by one person.
00:20:21.762 --> 00:20:23.055
It\'s created collectively.
00:20:23.138 --> 00:20:24.348
It happened with the posters.
00:20:24.389 --> 00:20:27.392
It was not one person that created
the final idea of the poster.
00:20:32.648 --> 00:20:36.401
I think that\'s the main value
of popular silk-screening.
00:20:36.568 --> 00:20:40.197
It was born out of deficiencies,
it was made out of needs,
00:20:40.447 --> 00:20:42.866
and developed
to such an extent that,
00:20:42.991 --> 00:20:47.454
although at one time it represented
the chicha musical phenomenon,
00:20:47.746 --> 00:20:50.499
it inevitably transferred
00:20:50.582 --> 00:20:53.794
to all forms
of popular communication.
00:21:08.433 --> 00:21:12.437
Grabbing the spray, the brush,
and all that on a large scale,
00:21:12.521 --> 00:21:14.898
it was no problem,
and then like…
00:21:14.940 --> 00:21:17.734
my learning on the wall
was very fast, very dynamic,
00:21:17.859 --> 00:21:20.112
and that was why…
00:21:20.195 --> 00:21:23.865
my work immediately
took a new course,
00:21:24.074 --> 00:21:26.952
because I had made
posters, silk-screening,
00:21:27.160 --> 00:21:30.455
but I hadn\'t done
urban art, in public space,
00:21:30.497 --> 00:21:33.250
and when I started painting,
it kind of became like…
00:21:33.834 --> 00:21:35.919
a new scene
I began to discover,
00:21:36.128 --> 00:21:38.714
and the first thing I painted
was the \"Cholo I am\".
00:21:38.797 --> 00:21:41.466
And I think I started with that.
00:21:41.508 --> 00:21:43.135
With something personal, that was like
00:21:43.260 --> 00:21:46.972
recognizing myself as mestizo,
00:21:47.139 --> 00:21:49.141
and within the mestizo condition,
a \"cholo\".
00:21:49.224 --> 00:21:52.227
It\'s always good to know
where you come from
00:21:52.352 --> 00:21:56.148
to be able to project
everything you want and desire.
00:21:56.356 --> 00:22:00.694
It was the moment
I began to get involved with urban art.
00:22:59.795 --> 00:23:02.255
\"For a better life\",
or \"love and freedom”.
00:23:02.381 --> 00:23:03.340
\"Fight and transform\",
00:23:03.507 --> 00:23:05.842
which is like the sense of the neighborhood,
00:23:06.218 --> 00:23:10.931
of a more than 30-year struggle
behind community projects.
00:23:12.015 --> 00:23:14.726
I think in consideration,
those two words
00:23:14.810 --> 00:23:18.230
could summarize the concern of…
00:23:19.106 --> 00:23:21.691
of what the neighborhood wants,
as a community.
00:23:21.900 --> 00:23:23.568
Well, that\'s it then…
00:24:24.671 --> 00:24:28.842
How do I make what I paint,
even if it\'s a single word,
00:24:29.009 --> 00:24:31.678
part of the immediate context.
00:24:32.137 --> 00:24:33.305
Make people part of it,
00:24:33.430 --> 00:24:34.473
and not alien to it.
00:24:34.473 --> 00:24:36.475
I mean, I can\'t go somewhere,
00:24:36.516 --> 00:24:37.851
and impose something…
00:24:37.934 --> 00:24:39.561
that means nothing to them.
00:24:39.644 --> 00:24:42.731
It has to generate
some kind of bond,
00:24:42.814 --> 00:24:46.193
that\'s an essential principle
when you go to paint.
00:25:23.146 --> 00:25:26.608
We have this idea of
building a narrative from powers,
00:25:26.691 --> 00:25:28.902
from representation
of characters and powers.
00:25:29.027 --> 00:25:30.862
I think Tupac Amaru is…
00:25:30.904 --> 00:25:32.656
the most important mobilizing myth
00:25:32.697 --> 00:25:34.616
that we have for the culture of resistance.
00:25:34.866 --> 00:25:37.786
When he rebels
against the Spanish Crown,
00:25:37.911 --> 00:25:38.954
he says:
00:25:39.037 --> 00:25:41.373
\"Now we ourselves
are going to organize the territory\"
00:25:41.373 --> 00:25:44.793
And he mobilizes us,
in our imagination, until today,
00:25:44.876 --> 00:25:47.087
because he
physically confronted them.
00:25:47.128 --> 00:25:51.716
He also appealed
to being the Inca, this idea that…
00:25:51.841 --> 00:25:55.929
the pre-existing culture
was going to prevail again.
00:25:56.054 --> 00:25:57.097
And moved masses.
00:25:57.180 --> 00:25:59.224
When he was subdued,
00:25:59.391 --> 00:26:01.643
his execution was carried out
in a public square,
00:26:01.726 --> 00:26:03.687
his and that of his entire family,
00:26:03.728 --> 00:26:06.106
and all his more distant relatives.
00:26:06.314 --> 00:26:09.651
The execution of Tupac Amaru
sought to make an example for posterity
00:26:09.734 --> 00:26:11.319
that they should not rebel.
00:26:11.403 --> 00:26:15.240
And for that very reason,
being so powerfully violent,
00:26:15.323 --> 00:26:18.159
it became
a possibility of rebellion.
00:26:18.868 --> 00:26:20.495
Inkarri is the Inca King,
00:26:20.579 --> 00:26:22.122
And the myth is that
00:26:22.247 --> 00:26:26.209
the Inca who has been killed,
executed, and dismembered,
00:26:26.334 --> 00:26:29.045
his remains have been placed
throughout different parts
00:26:29.170 --> 00:26:30.547
of the territory of Peru,
00:26:30.547 --> 00:26:32.382
and there\'s a place
where his head\'s buried,
00:26:32.465 --> 00:26:34.551
and in that place,
the body\'s reassembling.
00:26:34.676 --> 00:26:36.261
And when the body
reassembles,
00:26:36.511 --> 00:26:40.098
that head will take the body
and come out of the ground.
00:26:40.348 --> 00:26:43.393
And then the \"pachakuti\" will happen,
which is the inversion of the world.
00:26:43.602 --> 00:26:45.270
The tortilla will be flipped over.
00:26:45.353 --> 00:26:47.647
Those on the bottom
will be on top, and vice versa.
00:26:47.772 --> 00:26:50.400
Rebellion is justified!
What do we have? Nothing!
00:26:50.400 --> 00:26:53.111
What do we want? Everything!
00:26:53.153 --> 00:26:54.779
We want a new society!
00:26:54.988 --> 00:26:56.323
Without rich or poor,
00:26:56.406 --> 00:26:58.074
a society of eternal harmony!
00:26:58.199 --> 00:27:00.076
Presidente Gonzalo guarantees it,
00:27:00.118 --> 00:27:02.162
hoisting, defending, and applying
00:27:02.370 --> 00:27:04.247
Marxism-Leninism-Maoism.
00:27:04.331 --> 00:27:05.624
Sendero Luminoso (Shining Path)
00:27:05.665 --> 00:27:07.917
is explained to a great extent
00:27:08.126 --> 00:27:11.796
by the Inkarri mythology.
00:27:11.963 --> 00:27:14.758
The Inca that
must be reconstituted.
00:27:14.924 --> 00:27:16.301
In 1980,
00:27:16.384 --> 00:27:20.138
Sendero Luminoso declares war
on the Peruvian State.
00:27:20.513 --> 00:27:23.308
And the process
of political violence begins,
00:27:23.433 --> 00:27:26.144
which is the internal war
from 1980 to 2000.
00:27:26.394 --> 00:27:32.525
Evidently, Sendero
was a… utopian movement.
00:27:32.692 --> 00:27:36.363
They aspired to a
communist, Maoist way of life,
00:27:36.613 --> 00:27:38.365
The utopia was that
00:27:38.531 --> 00:27:42.619
Peru would be the place
for the \"Fourth Sword\"
00:27:42.786 --> 00:27:46.956
of the World Revolution,
the Maoist way of life,
00:27:47.207 --> 00:27:49.751
which today doesn\'t
even exist in China.
00:27:52.003 --> 00:27:54.339
Sendero Luminoso
also generated an aesthetic.
00:27:54.673 --> 00:27:58.802
A graphic,
subversive aesthetic,
00:27:58.927 --> 00:27:59.886
and a seductive one.
00:28:00.303 --> 00:28:01.971
It\'s these signs that have
00:28:02.097 --> 00:28:03.640
some kind of relationship
00:28:03.682 --> 00:28:06.601
with the Chinese signs,
because Shining Path related to
00:28:06.601 --> 00:28:08.436
the Communist Party of Peru,
00:28:08.478 --> 00:28:09.771
but from the Chinese faction.
00:28:09.896 --> 00:28:12.190
So everything that was culturally Chinese,
00:28:12.357 --> 00:28:15.610
in posters, songs, marches,
00:28:16.152 --> 00:28:18.113
all that was accepted by Sendero,
00:28:18.196 --> 00:28:19.489
and Sendero propagated it.
00:28:19.656 --> 00:28:23.368
Even in prisons
they made this aesthetic display,
00:28:23.493 --> 00:28:26.162
of red flags,
with the yellow hammer and sickle…
00:28:27.247 --> 00:28:31.167
♪ Movement / Movement
Women / Women ♪
00:28:31.459 --> 00:28:34.379
♪ Popular women\'s movement ♪
00:28:34.629 --> 00:28:38.466
♪ Mine is the sword, the starlight ♪
00:28:38.591 --> 00:28:42.303
♪ Almighty ideology ♪
00:28:43.138 --> 00:28:46.850
♪ For the Gonzalo thought ♪
00:28:47.100 --> 00:28:49.352
♪ Shining path we walk…♪
00:28:49.519 --> 00:28:51.896
One can look at
Senderista art,
00:28:51.938 --> 00:28:55.567
and find parallels with Nazi art
or Stalinist socialist realism,
00:28:55.775 --> 00:28:58.194
the giant leader, the small people,
00:28:58.236 --> 00:28:59.738
and it\'s very interesting to analyze
00:28:59.738 --> 00:29:01.156
their artistic proposals,
00:29:01.281 --> 00:29:02.741
because you can see this ideology
00:29:02.824 --> 00:29:04.159
that looks more like a church.
00:29:06.035 --> 00:29:09.247
Sendero Luminoso, in Peru,
00:29:09.414 --> 00:29:11.416
violated human rights,
00:29:11.541 --> 00:29:13.501
destroyed the social movement,
00:29:13.543 --> 00:29:15.503
assassinating leaders of the democratic left,
00:29:15.628 --> 00:29:17.547
such as María Elena Moyano and others,
00:29:17.630 --> 00:29:19.799
assassinating peasant leaders
00:29:20.425 --> 00:29:23.052
because they didn\'t affiliate
with their thinking,
00:29:23.136 --> 00:29:25.680
so it was really, almost...
00:29:25.930 --> 00:29:28.558
a very fundamentalist thing.
00:29:29.225 --> 00:29:31.269
I don\'t know, man, really…
00:29:31.603 --> 00:29:33.104
well, damn…
00:29:33.938 --> 00:29:35.690
Everything\'s a sham, everything\'s a lie,
00:29:35.732 --> 00:29:37.275
it’a all corruption, demagoguery,
00:29:37.400 --> 00:29:38.568
manipulation,
00:29:38.610 --> 00:29:40.570
populism, crap, trash,
00:29:40.695 --> 00:29:41.821
same old, same old.
00:29:42.989 --> 00:29:46.701
All the crap in the system
falls on young people,
00:29:46.951 --> 00:29:49.454
but… well…
00:29:52.207 --> 00:29:55.668
In 1989,
when I\'m intervening on walls
00:29:55.752 --> 00:29:57.962
in San Marcos,
right amid its spiral of violence,
00:29:58.004 --> 00:30:02.300
San Marcos being a space
that Sendero considers fertile ground,
00:30:02.383 --> 00:30:05.011
it was obviously dangerous
to paint a wall there,
00:30:05.094 --> 00:30:07.472
as a campaign
for life and peace.
00:30:14.854 --> 00:30:16.898
What’s interesting is that
00:30:16.981 --> 00:30:18.775
the crisis of authority was so big
00:30:18.817 --> 00:30:20.610
that you could do whatever you wanted.
00:30:20.735 --> 00:30:22.612
Obviously I wasn\'t going to hit anyone,
00:30:22.612 --> 00:30:24.656
what I mean is:
there was a wall,
00:30:24.781 --> 00:30:26.991
I could just take it
and start painting.
00:30:32.747 --> 00:30:36.292
So it was obviously
very visually striking,
00:30:36.501 --> 00:30:39.879
and I had the students’ support.
00:30:40.046 --> 00:30:43.883
Sendero had painted every wall, everywhere.
00:30:44.175 --> 00:30:46.177
It was very difficult for us
to find a wall to paint
00:30:46.302 --> 00:30:48.555
where I didn\'t have
to erase a Sendero painting.
00:30:48.680 --> 00:30:51.224
Sendero called their paintings
\"murals of the people\".
00:30:51.307 --> 00:30:53.685
If you erased a \"mural of the people\"
you were a snitch,
00:30:53.726 --> 00:30:55.144
and snitches had to be killed.
00:30:59.482 --> 00:31:02.068
I remember a Sendero slogan,
which said:
00:31:02.235 --> 00:31:05.697
\"Blood does not drown revolution,
it waters it.\"
00:31:05.822 --> 00:31:09.117
The massacre they caused
according to them, was part
00:31:09.200 --> 00:31:10.785
of their idea of a revolution.
00:31:10.910 --> 00:31:15.290
Sendero leadership had no problem
sacrificing a generation of young people.
00:32:13.264 --> 00:32:18.353
When political violence started,
and Sendero Luminoso appeared,
00:32:18.686 --> 00:32:21.606
the Army settled here
in the Putis community,
00:32:21.689 --> 00:32:23.608
we had a base in front of us.
00:32:24.025 --> 00:32:26.319
These were the school facilities,
00:32:26.402 --> 00:32:29.656
all the peasants
were housed here.
00:32:29.781 --> 00:32:35.411
The dawn of December 13, 1984,
00:32:35.536 --> 00:32:39.958
the political command ordered them…
to open fire.
00:32:40.333 --> 00:32:44.128
And they covered it all,
the stacks of bodies,
00:32:44.462 --> 00:32:48.216
men, women,
elderly, children, adults,
00:32:48.299 --> 00:32:49.717
all kinds of people.
00:33:02.981 --> 00:33:11.364
The massacre happened when the military
00:33:11.447 --> 00:33:18.079
were sent by their chief to this area of Putis,
00:33:18.079 --> 00:33:23.084
the military tricked us, made us dig a hole,
00:33:23.751 --> 00:33:27.588
supposedly for a fish farm
that we used,
00:33:27.714 --> 00:33:31.551
but they ordered us to dig a hole
to later kill us there.
00:33:31.676 --> 00:33:35.263
The remains that were exhumed
from that grave are here now.
00:33:49.861 --> 00:33:54.115
For us, the wall
that young Olfer has painted
00:33:54.282 --> 00:33:55.575
is an identification.
00:33:55.783 --> 00:34:02.498
It\'s our story
of what happened here,
00:34:02.582 --> 00:34:11.424
so we can transmit our pain and the loss
of innocent families in the community.
00:34:20.308 --> 00:34:22.310
The people realize that
00:34:22.393 --> 00:34:23.394
they have to organize
00:34:23.436 --> 00:34:24.896
in order to be respected.
00:34:24.937 --> 00:34:27.356
All the rights they have acquired, everywhere,
00:34:27.356 --> 00:34:28.858
have been acquired through struggle.
00:34:31.110 --> 00:34:36.282
In the 1980s, when the armed process
developed in Peru,
00:34:36.449 --> 00:34:39.911
many adherents of the guerrillas
were peasants,
00:34:39.994 --> 00:34:42.789
because they were fighting over land,
against the feudal system,
00:34:42.830 --> 00:34:45.166
all this led to the display
00:34:45.333 --> 00:34:47.168
of great support from the population.
00:34:47.877 --> 00:34:51.547
They openly supported
the insurgents, the subversives.
00:34:51.672 --> 00:34:54.926
And the State, not having
a strategy on how to combat them,
00:34:55.009 --> 00:34:57.136
applied low-intensity warfare,
00:34:57.220 --> 00:34:59.472
carried out an extermination, a genocide,
00:34:59.597 --> 00:35:01.265
which was a policy…
00:35:01.307 --> 00:35:02.850
to generate terror in the population.
00:35:05.436 --> 00:35:07.939
The murals for memory
at Huanta Stadium,
00:35:08.022 --> 00:35:10.024
are a set of murals
that pay homage,
00:35:10.066 --> 00:35:12.443
with family members
looking at the spectator.
00:35:12.527 --> 00:35:13.861
And there\'s a rose and candles,
00:35:13.861 --> 00:35:16.030
a symbolic mourning through art.
00:35:19.492 --> 00:35:21.494
Huanta Stadium was
a concentration camp,
00:35:21.619 --> 00:35:24.747
where the Navy established,
thus initiating a holocaust.
00:35:25.998 --> 00:35:29.085
The murals were created
with the intention
00:35:29.127 --> 00:35:32.004
of constructing this visual
condensation of the past.
00:35:33.256 --> 00:35:35.091
There\'s another mural
called “Interrogation”,
00:35:35.174 --> 00:35:38.719
it\'s a detainee, half-naked,
his hands behind him,
00:35:38.845 --> 00:35:40.638
who is appealing to the spectator.
00:35:41.180 --> 00:35:44.308
He may or may not be
a subversive,
00:35:44.559 --> 00:35:47.228
because many people were
detained and disappeared.
00:35:47.353 --> 00:35:51.190
Some were committed to the
communist cause, some weren\'t.
00:35:51.774 --> 00:35:55.444
\"The victims\" tends to be
a very paternalistic view.
00:35:55.570 --> 00:35:57.446
Ultimately
the dead belong to everyone.
00:36:02.618 --> 00:36:04.996
Massacres happen,
throughout the 80s.
00:36:05.079 --> 00:36:07.957
Repression in the city
is widespread.
00:36:08.082 --> 00:36:11.502
By the year 92,
Fujimori\'s coup d\'état had occurred,
00:36:11.586 --> 00:36:14.463
and they just annihilated
everything that moved.
00:36:14.547 --> 00:36:15.715
The first thing they did was
00:36:15.715 --> 00:36:16.841
go into the jails
00:36:16.883 --> 00:36:18.509
and execute everyone they thought
00:36:18.551 --> 00:36:20.011
to be Sendero leaders.
00:36:21.804 --> 00:36:24.098
For these things, Fujimori
has not yet been prosecuted.
00:36:24.223 --> 00:36:26.058
He\'s responsible for student genocide,
00:36:26.100 --> 00:36:28.144
especially
in the Andean Center.
00:36:28.394 --> 00:36:31.230
People in jails
hadn\'t been accused of terrorism,
00:36:31.314 --> 00:36:32.607
but they were exterminated,
00:36:32.690 --> 00:36:34.233
as in the prison massacre.
00:36:39.864 --> 00:36:42.867
It was a State policy of extermination,
00:36:42.992 --> 00:36:44.285
through the Armed Forces.
00:36:44.452 --> 00:36:46.412
The Belaúnde government,
the García government,
00:36:46.537 --> 00:36:48.122
and the Fujimori government
00:36:48.289 --> 00:36:50.166
have already generated
a historical memory
00:36:50.291 --> 00:36:52.168
that whitewashes
the State itself.
00:36:55.671 --> 00:36:57.381
They, being
Peruvian citizens,
00:36:57.423 --> 00:37:01.385
need a space where their families
can pay them tribute.
00:37:01.594 --> 00:37:04.138
A space for reflection.
00:37:04.347 --> 00:37:07.099
And that\'s why we\'re painting,
that\'s why we\'re here.
00:37:09.101 --> 00:37:10.561
As a central image,
00:37:10.645 --> 00:37:14.440
I decided to work
on the maternal image of a woman,
00:37:14.565 --> 00:37:17.652
holding in her hand
an hourglass.
00:37:17.735 --> 00:37:20.905
The idea is to represent
the same image,
00:37:20.905 --> 00:37:22.156
right-side-up and upside-down.
00:37:22.198 --> 00:37:25.159
The image is crumbling
to always form the same image.
00:37:25.326 --> 00:37:26.410
Time can pass
00:37:26.535 --> 00:37:29.956
but the image and memory
of loved ones,
00:37:29.997 --> 00:37:31.082
are always there.
00:38:05.741 --> 00:38:08.494
I\'m recounting my vision
00:38:08.577 --> 00:38:12.373
starting from what happened
to different people, of all kinds.
00:38:13.332 --> 00:38:15.126
And obviously it\'s strategic,
00:38:15.251 --> 00:38:18.713
having a mural inside
an institution, a museum,
00:38:18.796 --> 00:38:20.673
that tells contemporary history,
00:38:20.756 --> 00:38:24.010
to attract different young people
00:38:24.093 --> 00:38:26.637
who don\'t remember
what happened 20 years ago
00:38:26.637 --> 00:38:28.389
because they weren\'t born then.
00:38:34.770 --> 00:38:36.814
In this area,
the wall begins
00:38:36.939 --> 00:38:40.109
with the clash of the two groups,
of the two forces,
00:38:40.151 --> 00:38:42.486
which would be the State,
the Armed Forces,
00:38:42.570 --> 00:38:45.281
and the revolutionary groups.
00:38:45.364 --> 00:38:49.535
This takes a toll
of the dead, the disappeared,
00:38:50.119 --> 00:38:53.372
that ultimately remain
in people\'s memories.
00:38:53.456 --> 00:38:56.125
And that seems to me like
the right way to construct history.
00:38:56.250 --> 00:39:00.921
from the perspectives of different
people, from different strata,
00:39:01.088 --> 00:39:03.215
taking them all into account,
not ignoring any one.
00:39:03.299 --> 00:39:06.093
And this is how it manifests itself,
through bridges.
00:39:06.177 --> 00:39:08.262
They\'re all connected
through bridges,
00:39:08.346 --> 00:39:09.847
the bridges of memory.
00:39:10.306 --> 00:39:14.810
This would be like
the hopeful vision on the mural.
00:39:14.894 --> 00:39:18.522
To talk about a society
going in one direction maybe,
00:39:18.606 --> 00:39:20.274
or, regardless of the direction,
00:39:20.358 --> 00:39:23.652
of a society
that walks together,
00:39:24.028 --> 00:39:26.113
putting themselves
in other people\'s shoes.
00:39:26.322 --> 00:39:29.033
This is how we collectively
take the steps,
00:39:29.033 --> 00:39:32.870
leaving traces that take root,
traces that transcend.
00:39:37.333 --> 00:39:41.212
When people approach the mural,
they don\'t identify a specific culture,
00:39:41.337 --> 00:39:45.174
but they do identify
that it\'s Peruvian, autochthonous.
00:39:46.509 --> 00:39:51.597
If you look from within the Chavín culture,
one of the oldest in Peru,
00:39:51.680 --> 00:39:55.768
there are iconographic codes and patterns
that are repeated in what I’ve used.
00:39:55.893 --> 00:39:59.688
Maybe the rhombus,
the spiral shapes,
00:39:59.855 --> 00:40:01.440
staggered lines.
00:40:01.774 --> 00:40:05.611
To awaken the identity of others,
I have appealed to an ancient visuals.
00:40:07.613 --> 00:40:11.450
To reaffirm this identity,
what I found was
00:40:11.492 --> 00:40:13.828
working with pre-Hispanic graphics,
00:40:13.869 --> 00:40:18.791
because everything pre-Hispanic
is what somehow connects us
00:40:18.916 --> 00:40:21.836
and affirms us as part of one soil.
00:40:25.548 --> 00:40:28.926
It\'s important to recognize
that the mural
00:40:29.093 --> 00:40:32.847
is no longer understood
as merely decorative,
00:40:32.930 --> 00:40:34.473
to transform spaces,
00:40:34.682 --> 00:40:37.184
it\'s understood
as a code of communication.
00:40:37.309 --> 00:40:40.020
What you want is to tell the story
00:40:40.146 --> 00:40:42.314
to the widest possible audience.
00:40:54.577 --> 00:40:58.998
The strategies of erasing memory,
by governments,
00:40:59.123 --> 00:41:02.793
but also by organizations
that are against critical memory,
00:41:02.960 --> 00:41:05.004
begin by erasing any vestiges
00:41:05.087 --> 00:41:07.047
in architecture or urban planning,
00:41:07.131 --> 00:41:08.799
that remind you of what happened before.
00:41:09.008 --> 00:41:11.093
Detaching you
from your own city,
00:41:11.177 --> 00:41:13.053
so you don\'t have
anything to defend.
00:41:13.137 --> 00:41:15.097
You wouldn\'t defend
something you can\'t love,
00:41:15.181 --> 00:41:16.390
because you can\'t remember it.
00:41:19.518 --> 00:41:24.398
Now, I don\'t know if people here
are a little naive, or delusional,
00:41:24.440 --> 00:41:25.858
or don\'t really realize
00:41:25.941 --> 00:41:30.446
that street art
is often used to speculate,
00:41:30.529 --> 00:41:32.990
and I think
there\'s a big contradiction.
00:41:32.990 --> 00:41:37.536
Placing works on the street,
requires a lot of responsibility, too.
00:41:38.120 --> 00:41:42.917
Because we are ultimately
handing over, to public space,
00:41:43.042 --> 00:41:45.753
a work that will reach many people,
00:41:45.794 --> 00:41:47.087
so the responsibility is greater
00:41:47.129 --> 00:41:48.881
regarding what you’re communicating.
00:41:49.131 --> 00:41:51.592
No one says \"We\'ll occupy this space
00:41:51.675 --> 00:41:53.052
to gentrify it.\"
00:41:53.302 --> 00:41:56.263
It\'s done strategically,
they use urban art as makeup.
00:41:56.430 --> 00:41:58.349
For me public space
is sacred,
00:41:58.432 --> 00:42:01.852
so…
it should not be stained
00:42:02.019 --> 00:42:04.313
just because there are
companies interested.
00:42:07.566 --> 00:42:10.903
On the other hand,
there are people who bet on making art
00:42:10.945 --> 00:42:12.530
a platform for development.
00:42:12.655 --> 00:42:16.909
I mean, development is not just
more commercial stores, more cement.
00:42:17.034 --> 00:42:19.370
There are figures
and studies about it,
00:42:19.411 --> 00:42:22.164
if there\'s a hip-hop group
working in the neighborhood,
00:42:22.289 --> 00:42:25.167
if there are theater workshops
in a neighborhood,
00:42:25.292 --> 00:42:28.462
crime goes down,
school dropout goes down,
00:42:28.546 --> 00:42:30.005
and that\'s development too.
00:42:30.214 --> 00:42:32.383
We dispute public space
00:42:32.383 --> 00:42:34.093
as a space for citizenship.
00:42:34.343 --> 00:42:36.053
As a space for people.
00:42:45.938 --> 00:42:48.941
Changing a neighborhood for the better,
00:42:49.066 --> 00:42:51.485
and creating opportunities,
00:42:51.527 --> 00:42:52.653
is a good thing.
00:42:52.778 --> 00:42:56.907
Turning a neighborhood,
from dangerous to safe.
00:43:08.877 --> 00:43:11.297
In a country where
politics is worth nothing,
00:43:11.380 --> 00:43:13.841
I think actions are worth more.
00:43:17.845 --> 00:43:21.473
Standing in the street
is a political statement.
00:43:21.599 --> 00:43:24.018
Standing here,
is political.
00:43:31.358 --> 00:43:35.821
Edwin is of Japanese descent,
I’m of Afro descent,
00:43:35.988 --> 00:43:40.409
so it was a search by two people
who do not belong to one race
00:43:40.534 --> 00:43:43.245
which is the race that should
predominate in my country.
00:43:47.666 --> 00:43:50.544
In a mestizo society they\'re supposed
to accept you much more,
00:43:50.628 --> 00:43:52.338
people from other races are more tolerant
00:43:52.379 --> 00:43:53.839
because we are much more mixed,
00:43:53.964 --> 00:43:56.508
always keeping this idea
00:43:56.634 --> 00:43:59.094
that I’m not only
the representation of a race,
00:43:59.178 --> 00:44:04.016
but I am the representation
of a whole story behind this.
00:44:07.353 --> 00:44:09.313
We’re not gringos,
we’re not Americans,
00:44:09.355 --> 00:44:11.774
we can\'t copy them forever.
00:44:11.899 --> 00:44:14.151
So inevitably, at some point,
00:44:14.193 --> 00:44:16.695
we were going to see everything
that was going on around us,
00:44:16.820 --> 00:44:19.281
take it, apply it,
make it ours.
00:44:22.284 --> 00:44:24.578
I can\'t paint a character
in just one color,
00:44:24.662 --> 00:44:27.373
or with a single gesture,
or with a single trait,
00:44:27.414 --> 00:44:31.126
but I have to add this resilience,
this pride for having suffered.
00:44:31.168 --> 00:44:33.796
I\'m always looking for
a story behind the character,
00:44:33.837 --> 00:44:35.297
to flesh it out a little bit more.
00:44:36.507 --> 00:44:38.634
Some people look Hindu,
00:44:38.717 --> 00:44:41.220
some look
black from the Congo,
00:44:41.345 --> 00:44:43.222
some look very Amazonian.
00:44:43.347 --> 00:44:46.934
All those traits that are so strong
and prevalent, mixed together,
00:44:47.059 --> 00:44:48.894
create endless races,
00:44:48.936 --> 00:44:52.189
and that makes us paint them.
00:44:53.941 --> 00:44:56.902
I think the value of the street,
00:44:56.944 --> 00:44:59.655
is the direct contact
one has with the receiver.
00:44:59.780 --> 00:45:00.739
For me it\'s important
00:45:00.739 --> 00:45:02.533
for the people who intervene in the street
00:45:02.658 --> 00:45:04.952
to be people who walk the street,
who know where they are,
00:45:04.952 --> 00:45:07.037
what their city is about,
know its neighborhoods,
00:45:07.079 --> 00:45:09.331
what\'s happening,
how to move,
00:45:09.373 --> 00:45:12.376
not an alien to where they live.
00:45:22.761 --> 00:45:26.223
This place
where I\'m painting now,
00:45:26.306 --> 00:45:29.059
was like a wasteland
full of garbage.
00:45:29.184 --> 00:45:31.437
And the neighbors who
live closer to the esplanade
00:45:31.520 --> 00:45:34.106
complained because kids
used to play back there,
00:45:34.398 --> 00:45:38.318
since not many cars pass,
and they kicked the ball at the door,
00:45:38.402 --> 00:45:40.654
screamed, made a lot of noise.
00:45:40.988 --> 00:45:45.367
But I have a friend who lives there,
and he had another view.
00:45:46.368 --> 00:45:47.995
Everyone got involved,
00:45:48.120 --> 00:45:51.290
with the help of the neighbors
they bought the materials,
00:45:51.415 --> 00:45:53.375
and they cleaned up this whole dump.
00:45:53.542 --> 00:45:54.918
The trash was up to here.
00:45:55.544 --> 00:45:57.212
They cleaned it…
00:45:57.629 --> 00:45:59.339
raked, removed the stones,
00:45:59.423 --> 00:46:00.507
installed the goal posts,
00:46:00.549 --> 00:46:04.136
and now this is the new
soccer field for all the kids.
00:46:05.512 --> 00:46:09.391
When my friend Iván told me
what was going on here,
00:46:09.516 --> 00:46:12.561
I was
touched by the initiative,
00:46:12.644 --> 00:46:14.104
and I wanted to contribute somehow,
00:46:14.146 --> 00:46:17.316
I felt I had to, because
I\'m a neighbor too, I live right here.
00:46:17.399 --> 00:46:20.110
This photo
was taken by my friend,
00:46:20.235 --> 00:46:21.945
and I wanted to represent it
in this space
00:46:21.945 --> 00:46:23.864
as a reminder
of what happened.
00:46:44.718 --> 00:46:48.138
I think Peru,
or Latin America in general,
00:46:48.222 --> 00:46:51.350
is the root
of all my work,
00:46:51.433 --> 00:46:52.768
I get everything from here.
00:46:52.851 --> 00:46:54.269
It\'s my inspiration,
00:46:54.311 --> 00:46:56.647
from which all creation begins.
00:47:19.503 --> 00:47:23.507
Translate any situation you see,
into a visual theme,
00:47:23.590 --> 00:47:26.176
It doesn\'t need
to be a political issue.
00:47:27.636 --> 00:47:31.932
I\'m a little more open,
my work is more contemplative too,
00:47:32.057 --> 00:47:35.644
imaginary, magical,
talks a lot about spirituality,
00:47:35.811 --> 00:47:40.649
about nature, and man\'s connection
with animals or nature.
00:47:45.237 --> 00:47:48.156
Some murals
will go down in history,
00:47:48.282 --> 00:47:52.369
are part of history,
of the moment the city went through.
00:47:53.078 --> 00:47:57.124
Street art
is absolutely for everyone.
00:47:57.291 --> 00:47:59.793
And in my particular case,
I speak for myself,
00:48:00.335 --> 00:48:04.214
I try to make my work
easy to digest, to understand,
00:48:04.631 --> 00:48:09.094
so that anyone
who sees the wall,
00:48:09.261 --> 00:48:11.305
can try to read it.
00:48:32.993 --> 00:48:35.370
For the public space
to serve for reflection.
00:48:35.454 --> 00:48:38.999
Those who start doing
a type of illegal graffiti,
00:48:39.082 --> 00:48:41.960
that\'s much more fearless,
more vandalistic,
00:48:42.127 --> 00:48:44.254
more personal and egotistic,
00:48:44.296 --> 00:48:47.758
later begin to create content
that also links to social issues.
00:48:55.432 --> 00:48:57.434
Transforming the space to improve it,
00:48:57.434 --> 00:48:59.603
and that discourse
occurs in every context.
00:48:59.811 --> 00:49:02.147
From the city
to the most humble neighborhoods,
00:49:02.189 --> 00:49:04.733
one goes to paint a small town,
or human settlement,
00:49:04.816 --> 00:49:05.776
to beautify it.
00:49:05.901 --> 00:49:08.654
For me, art has to
make you reflect and see,
00:49:08.737 --> 00:49:11.531
make you feel,
touch your fiber.
00:49:11.615 --> 00:49:14.952
I think mural art,
not being merchandise,
00:49:15.035 --> 00:49:16.244
belongs to everyone.
00:49:16.328 --> 00:49:17.913
As long as art
is merchandise,
00:49:17.996 --> 00:49:19.790
it will always be enclosed
within 4 walls.
00:49:20.248 --> 00:49:21.833
And art is not
just the product,
00:49:21.917 --> 00:49:24.419
it\'s not just the picture,
the poem, the song,
00:49:24.503 --> 00:49:26.046
but also how it reaches people.
00:49:26.129 --> 00:49:29.341
That is, the spaces,
the distribution and consumption circuits.
00:49:29.466 --> 00:49:31.843
That\'s why taking the street,
from that point of view,
00:49:31.927 --> 00:49:33.971
implies a political position.
00:49:39.643 --> 00:49:43.647
A questioning not only
of the way governments
00:49:43.689 --> 00:49:46.650
have tried to control
and discipline our populations,
00:49:46.692 --> 00:49:48.694
but of the way
Western culture
00:49:48.735 --> 00:49:51.947
has tried to mold
our popular masses.
Distributor: Pragda Films
Length: 51 minutes
Date: 2020
Genre: Expository
Language: Spanish
Grade: High School, College, Adult
Color/BW:
Closed Captioning: Available
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