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,

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it\'s no longer yours.

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There\'s a poetry to it,

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detachment from the work.

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It\'s important to me
for people who intervene in the street

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to be people who walk the street,
who know where they are,

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what city is theirs,
its neighborhoods, what\'s going on.

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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.

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Generating some form of bond,

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is the essential thing
when one goes to paint.

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Here\'s a phrase
that many people say:

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\"At what point
did Peru get screwed up?\"

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And everyone repeats
just like a mantra,

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\"At what time
did Peru get screwed up.\"

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To which I reply:
\"Well then,

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at what point
was Peru not screwed?”

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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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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.

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Lima was a bucolic city,

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very quiet,
very orderly, with walls.

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But it\'s after the 1950s
that it\'s urbanized, modernized,

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and invaded
by all the rural people.

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Not only from the mountains,

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but the ruralites of the coast,
the ruralites of the jungle.

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Lima is, definitely,

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a gloomy, gray city.

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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.

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However, we’re still

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a very discriminatory society.

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Racist dynamics continue to occur
in the streets of Lima.

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People talk about the \"cholification\",

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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.

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They came to Lima because in their places
they didn\'t have a chance to live, to work.

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The so-called “slums” were formed,
then they were called the “young towns”,

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and this poor area

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was one of misery

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in traditional Lima.

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A while ago I saw a video
of Lima in 1950,

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and it was unbelievable,
it was an absolute oasis.

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No cars…

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I think it\'s a city

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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,

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with highways,
everything to foster more consumption.

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Those things
can change over time too,

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cities transform.

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I think real transformations
can be seen in more than 10 years,

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in 50, in 70,
even in 100 years.

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So it\'s important to make
those marks visible.

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I’m the son of migrants too,
my family comes from the Peruvian jungle.

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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.

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I use black and white
instead of color,

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for the abstraction it generates
when viewing the images.

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What I like about making urban art
is that once you leave the street,

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and you leave a piece,
it\'s no longer yours.

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There\'s a poetry to it,

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detachment from the work.

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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

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that might captivate them.

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I\'m not a graffiti artist,
I\'m a photographer,

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and I use a technique
known as lambe-lambe,

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\"wheat paste\" in English,

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which consists
of directly pasting

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photos printed on paper,
in the streets.

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That technique really…

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it\'s a form of expression

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which I see more as
resistance, an antithesis

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to the effects
advertising has today.

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This concept of clash
and cultural diversity in the city,

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a displacement of images,

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and placing them in a context
different from their origin.

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The origin of the images…

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they weren\'t necessarily
part of the place where they were shown,

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but I was just interested

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in that clash,
to talk about our cultural diversity.

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There are several imageries,

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it\'s like a fragmented city.

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Peru,
whether you like it or not,

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is highly dependent
on drug trafficking.

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Drug trafficking now
is almost accepted.

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The police
let it be, let it pass.

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Because it\'s abundant,
and generates revenue,

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some people even say
that in Congress

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there\'s a \"narco-caucus\".

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So you say:

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Where does so much money come from?

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And one says:
\"Hm, laundromat.\"

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In Lima, they use the word \"laundromat\"
for these stores, or businesses,

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that launder money
from drug trafficking,

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namely the \'chifas\' (Chinese restaurants),
hostels, clinics.

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So you\'ll find a lot of them,
but empty.

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These new businesses,
this new \"boom\",

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in construction, too.

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Because the middle class
has generated constructions.

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But there\'s plenty of them!
So, where there was a chalet,

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today there\'s a building.

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Where there was a factory, or even a park!
Today there\'s a building.

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So where does that money
come from?

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Again we return
to the political question.

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For the political campaigns,
a kind of graffiti is also created,

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popular, informal,
and almost criminal.

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The hills in these areas,

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where people also
live on the slopes,

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in the upper parts,

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that\'s the perfect canvas
for a political campaign.

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And they all take the hills.
All the mayors take the hills.

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Then a sort of hill grammar is created,

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from the commitment
of the political promise.

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All the roads
in Peru are full of graffiti,

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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.

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Very popular,
very elementary,

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There\'s a phrase here
that a lot of people say,

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which comes from a novel
by Vargas Llosa, which says:

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\"At what point
did Peru get screwed up?\"

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And everyone repeats,

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like a mantra,

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“At what point did Peru get screwed up?”
To which I reply:

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\"Was Peru ever not screwed?\"

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Because Peru has existed since 1821,
and before it was a colony,

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and the Republic
did not break the colonial order.

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That is, when the Peruvian Republic
was founded,

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Afro-Peruvians
remained slaves,

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the natives continued
not having citizenship.

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In the structure of domination
caused by the arrival

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of the Spanish state and its interests,

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Peru became a territory

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defined as the
Viceroyalty of Peru.

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Ideologically
the baroque was used

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as a method of evangelization.

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That culture was imposed
by fire and blood.

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All that visual production,

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is the result of permanent negotiations,

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that also have to do with each side’s efforts

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to translate each other.

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I understand the Andean Baroque
as a culture of resistance.

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And we would need to understand
what they were resisting.

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So they set up
a system of quote and copy.

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And they introduced
slight modifications.

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And in those modifications,
they introduced

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their own culture,
that they wanted to preserve.

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Like contraband.

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They were made
by the indigenous artists themselves.

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The Virgin Mary is represented
as a mountain, as an apu.

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The apu is actually
the tutelary space,

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a spirit that protects
a space, an area.

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It’s the indigenous people interpreting

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the visuality of non-indigenous people,

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and producing a visual proposal

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that non-indigenous people can understand.

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And that requires transformations.

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So it\'s interesting how something
that was once used

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to ideologically make you
a pawn of the cultural system,

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- in this case, viceroyal -

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ends up being,
over time,

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a kind of memory capsule
that allows us

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to understand what that society was like.

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And I think that
an expression of that baroque,

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is on the street posters.

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People were beginning to adopt
new forms of occupation of public space.

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And one of the ways
was not only folk celebrations,

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but also the visual imagery
around that.

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We have the word \"chicha\",
which is used in Latin America,

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but in Peru
it has a special meaning.

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It\'s supposedly
the ancestral drink of the Incas.

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It was associated
with drunkenness, and partying.

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So people who went
to tropical music parties,

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started being called \"chicheros\".

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But actually the term \"chicha\",

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on the music side,
began to be accepted

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only around the year 1983, 84,

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thanks to Los Shapis. They started…

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When you see
the names of the albums,

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they start to use the term
\"cumbia folk\", \"tropical cumbia\",

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and only in the year 1983-84,

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Los Shapis decide to call
their songs \"chicha\".

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The \"chicha\" started to be identified
as something negative,

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that is, as people who…

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as disorder, chaos,
breaking the rules.

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So this chicha culture
was the culture of “informality”,

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of those who broke the law

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because they had
no place within the State.

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But what happens when imperialism
is assimilated by the popular masses

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and totally transgressed?

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A new product is created.

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So, somehow

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all this colonial condition,
in the images, the music, the economy,

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that we have in Latin America,

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is transgressed
by popular subjects,

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with a new aesthetic that here in Peru
some of us call \"chicha\".

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Absorbing, or assimilating
what comes from the West,

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imperial products,
images of imperialism,

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and adapting them, subverting them
and turning them into your own language.

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So, for example
this album cover of Los Shapis,

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if you remember,
it\'s a parody, a transgression,

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an act of piracy that\'s really…
subversive,

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of a Ramones cover,
from their album Road to Ruin.

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Which is what we can
label as \"chicha\":

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the subversion of the colonial,

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to create a culturally, or totally…
new and challenging product.

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This word, \"chicha\",
comes from mostly…

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since Los Shapis came

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from Huancayo to the capital, Lima.

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Lima had its groups.

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Its tropical groups,
whose music was \"cumbia\".

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It was when…
the rural people started

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dancing to the music
of Los Shapis, of Alegría,

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people called it \"chicha\".

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Chacalón attracted people
from the ‘hoods, from the hill,

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or the ill-off,
as they say now,

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\"piranha\" people,

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and the people themselves
called it \"chicha\".

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When… Papá Chacalón,

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dueled against
the popular Tongo,

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they came to my workshop,
at that time on Mexico Avenue,

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they said, \"Monky, I want something
never-before-seen,

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I want you to make my posters”.

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Because my previous work
had that quality.

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We started working on
the basic, old colors,

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which are natural.

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I was the promoter,
or the pioneer,

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in making this kind of…
mixing those \"chicha\" colors,

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the neon colors as they call them.

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In 1988, 89.

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In those years…

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these colors were born.

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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.