PREVIEW & INTERVIEW: “Borderless: Latin America” an International Group Exhibition, Opening at Gabba Gallery – Saturday April 21st

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Shortly 3 months after the closing of Pacific Standard Time: LA/LA, Los Angeles continues to serve as a culturally diverse haven, exploring Latin American and Latino art in dialogue with its surroundings.

We continue to embrace this multifaceted culture with an international art exhibition held at Gabba Gallery, opening Saturday, April 21. The exhibit showcases the work of six of Latin America’s premier street artists converging from 3 countries: Colombia, Brazil, and Mexico. During their stay in SoCal, the artists will also be paintings murals throughout the city in collaboration with Gabba Alley Project, Smile South Central, and Street Artist in Residence at House of Trestles.

Cartwheel Art contributor Michelle Homami managed to catch each of the artists in their respective hometowns for individual interviews, getting unique perspectives on the provocative history of street art, how it has fostered complex social narratives and opened doors for creative and political expression within their countries, and how they plan to weave their more urbanized artwork into the gallery walls of Los Angeles’s Gabba Gallery.


DjLu, Colombia

1. Give us a little introduction about your style and conceptual objectives as an artist.

I like to say that I don’t have a style since my work is very reproducible and mechanic, plus I’m terrible doing freehand. My work is about communication, sending out a message, from the pictograms which include the pineapple grenade, passing through the portraits of people I found on the streets to the latest politic animals project. The pictograms worked as signals and through symbolic language they point out a lot of different political, social issues. In the political series I do tend to draw attention -among other issues- on the responsibility that we all have as citizens to make use of the vote in a conscious way. I also expose in an ironic way the rotten habits of traditional politics through relating politicians to animals. I think art has the possibility and compromise of opening some minds and thus collaborating in making a better society.

2. How does your city/country currently receive street art? How have you seen this change in the past 5-10 years?

Bogotá is like a playground for street artists, there’s a bunch of different expressions which make it very rich and diverse, there’s a lot of residual spaces where to paint, there’s a lot of events going on and police is pretty tolerant with the practice, this makes our city one of the best places for graffiti and street art currently.

It has always worked out that if you have the owner permission then it’s legal to paint, unless in historic neighborhoods which has been prohibited by the actual mayor. Many years ago (CA 2000) the practice was not regulated and as it was not that common it was invisible for most of the people, so that make it very easy to paint, it all depended on your luck and your way to talk out of it if the police caught you – which was rarely. By 2012 the practice was very widespread and very visible in part by the incident of the killing of Tripido but also because the media was starting to engulf the street art and graffiti to serve their objectives as it always happens with the vanguard art practices at first denigrated by the establishment. At that point the former mayor of the city made a study on the practice, configured a graffiti desk and promoted the practice with city resources, at that point the practice was decriminalized and regulated by a law degree, by then it had become almost legal to paint and that brought a big burst of urban expressions. With the new mayor and a new police code, laws have become tighter and they have erased a lot of what was painted, but even in that situation, graffiti and street art appear every day with more intensity and variety.

3. Street art was recently decriminalized in Bogota, Colombia after the unfortunate death of a young street artist, Diego Felipe Becerra. Since then, there’s been a beautiful outburst of artistic and cultural expression in the streets. For those in Colombia—how do you feel about this shift? Has it affected your work as an artist? For those outside of Colombia— what shift would you like to see culturally and artistically within your country in the next 5-10 years? What needs to be done?

I do believe that graffiti and street art has become the voice of the ones that did not have a part in traditional channels, it is also an escape valve to many social problems that our youth encounters and the incapability of our governments to provide educational and cultural spaces for this vulnerable group. I have always been interested in relating my work to political or cultural issues, and the internal conflict of my country is among those themes but not the only one, there’s always going to be something deplorable in this world and worthy of being pointed out with the power of surprise that art provides.

4. What makes Los Angeles different from other cities where you’ve exhibited and/or created artwork?

As many big cities Los Angeles have lovable and hated things, I love the feeling of respect and diversity, cultural clashes and eclectic styles, the taste for art and design; but I consider it very expanded and difficult to discover, I also dislike the racial and social gaps. Street art and graffiti in Los Angeles is more scattered and domesticated than in my city but there a lot of pieces of huge artists that are difficult to see down here. If Los Angeles offers big artworks of international artists, Bogotá offers a diversity of savage expressions. I always enjoy visiting LA since I’m able to paint, sometimes sell my work and always have a great time with friends.

5. “ Borderless: Latin America” brings together Latin American artists from 3 different countries (Mexico, Colombia, and Brazil). In what ways is this significant to you? How is it different from working with artists from other cultures/countries outside of Latin America?

It is always a pleasure to work with Latin American artists, our countries are similar in their problems and treasures and we have very close cultural deep-rooted bonds which makes it easy to get along. We share knowledge without jealousy and configure a big family. I’m thankful for Gabba Gallery for the invite and with Smile South Central for the contact and best guesting ever.

6. Some of you will be creating murals during your visit in L.A. Can you give us a sneak peak into what you will be creating?

Initially I’ve intended on painting two murals, one in South Central Area and the other at Venice Beach. The south central wall will present a portrait of a small black kid with a huge attitude and a big afro hair, it is based on a photograph taken by Adam Ayala (Smile South Central Project) during his activities with the community, the intention here is to homage them normal kids that use those streets every day and through them make a call to diversity and respect. The wall in Venice Beach makes part of the latest series of animal politicians, a human/pig hybrid that points out the greedy and predatory attitude of people that runs our countries.


Erre, Colombia

*Translated from Spanish by Michelle Homami

1. Give us a little introduction about your style and conceptual objectives as an artist.

I was born and grew up in Zipaquirá, a small city located close to Bogotá, in the middle of a large, Catholic, and machista family (a big problem in Colombia); what generated a desire to “be contrary”, to question the religion and the role of women in society, and I ended up in an explosion of questions, ideas, images in my head, and actions on the street.

The images that I use are illustrations created in high contrast using markers and rapidographs (technical pens), and that I reproduce in the street from stencil technique, since it allows me to propagate the same figure easily. My work is free from the usual range of colors and images that people generally associate with a female artist. I believe in the power of the street, and in that of women.

2. How does your city/country currently receive street art? How have you seen it change in the past 5-10 years?

Currently in Bogotá, as in many cities around the world, the reception of street art is more favorable than a few years ago. The dynamics and problems that my city has do not allow the authority to spend their time controlling the street expressions because there are many other things that require more attention, which allows greater ease of finding spaces to paint, as well as reaching agreements with the police or the owners of the spaces. In addition to this, in 2011, the national police killed Trípido, a 16-year-old graffiti artist who was painting in public space, and they tried to make him look like a villain to justify his death; which generated indignation and put the theme in vogue, further generating a giant impulse in the youth who decided with more desire than before, to go out to paint the city.

In addition to that, the ease of intertwining networks and communicating between artists from all over the world has allowed both the visit of artists from different cities of the world, as well as the emergence and participation in major festivals of Colombian artists, generating the growth of the scene.

3. Street art was recently decriminalized in Bogota, Colombia after the unfortunate death of a young street artist, Diego Felipe Becerra. Since then, there’s been a beautiful outburst of artistic and cultural expression in the streets. For those in Colombia—how do you feel about this shift? Has it affected your work as an artist? For those outside of Colombia— what shift would you like to see culturally and artistically within your country in the next 5-10 years? What needs to be done?

Like I mentioned earlier, this unfortunate event triggered a huge impulse in young people to take to the streets, to expose the case and demand justice, it strengthened and expanded our desire to take over the streets and became for many a means to communicate and denounce the problems that exist in our country. In addition, the decriminalization has caused many people who were afraid to go out on the streets, be encouraged to do so, so that citizens and politicians put the issue in dialogue; which created a law to control graffiti, but in reality did not really work, because graffiti cannot be controlled (at least not in our country), but it did allow a little understanding of the dynamics and break some prejudices that had been created around the people who paint on the street.

4. What makes Los Angeles different from other cities where you’ve exhibited and/or created artwork?

I’ve never been to Los Angeles; I know that there’s a grand artistic movement in the city… and I’m very excited to be able to paint and exhibit my work in this city.

5. Borderless brings together Latin American artists from 3 different countries (Mexico, Colombia, and Brazil). In what ways is this significant to you? How is it different from working with artists from other cultures/countries outside of Latin America?

I believe that street art allows people to come together around the street (from here or anywhere in the world), regardless of their place of origin. That’s something I like a lot about street art because it breaks a bit of those barriers. Among Latinos we are very similar, it is easier to communicate and our countries have similar cultures and problems, but I enjoy exchanging experiences with artists from anywhere in the world


Toxicómano Callejero, Colombia

*Translated from Spanish by Michelle Homami

1. Give us a little introduction about your style and conceptual objectives as an artist.

I try to compose and disseminate critical or proactive messages that mix image and text. In the first instance, I developed a concept “as a slogan” that contains the matrix of the idea, which, included with the image and/or the location in the street, is formed or deformed. Partly due to the evolution of the same idea, partly due to the feedback that the audience makes at the time of execution or later through social networks, and partly to the political or economic social context that is breaking through. I work with images in high contrast, derived from my own photographs, those captured by third parties, comics, advertising illustrations or simple graphic curiosities found, that even when mixing with one another other with the different concepts developed, generate new interpretations and meanings.

2. How does your city/country currently receive street art? How have you seen it change in the past 5-10 years?

I live in Bogota, Colombia. Years ago, the national guerrillas influenced by events of May 1968 in France had already set a precedent in terms of taking to the streets and being creative. Then almost unwittingly, the disorderly growth of the city was generating all these kinds of expressions. At the end of the 90’s the city was transformed with the construction of the public transport system, which left large areas uncovered on the edge of the main avenues that turned out to be the perfect canvas for a large number of young people that apart from living in a place with many social issues, it was opening up to internet information, urban tribes and citizen participation.

In recent years, thanks to social networks and unfortunately to the assassination of Diego Felipe Becerra, street art and graffiti were mediated and grew exponentially. Today the city is full of tags, throwups, stickers, stencils, posters, and murals. The artists have organized themselves, many independently and others as the result of social processes and have increasingly gained more space, more recognition, more respect and more experience.

3. What makes Los Angeles different from other cities where you’ve exhibited and/or created artwork?

I do not know Los Angeles but from what I have seen, read or been told, I perceive a gigantic city that, while providing opportunities, devours souls. In the first instance, the architecture and the wide spaces will likely be very different to Bogota, where everything is very close together, very close together. And in the second question will be the own culture of the neighborhoods, which were developed with the immigration. Without a doubt, it is a place where many paths and different types of people cross and that seems very interesting to me.

4. Borderless brings together Latin American artists from 3 different countries (Mexico, Colombia, and Brazil). In what ways is this significant to you? How is it different from working with artists from other cultures/countries outside of Latin America?

It is still a bit strange, that we Latin Americans find ourselves meeting in the United States, but it is a reality. Many of its great cities act as a bridge between a lot of people of different cultures. On the other hand, Latin Americans usually always unite within each other. We have many common codes such as food, music, family traditions, which make us feel close. In the end, we are from different countries, but from the same continent. These things make us feel like brothers.

5. Some of you will be creating murals during your visit in L.A. Can you give us a sneak peak (preview) into what you will be creating?

I will work on a concept, “Mestizaje is not dead”, which tries to reflect the richness that the crossing of cultures and races has produced worldwide. The power of difference, of intermixture, of openness to changes. Faces of people of different races who look forward to a better future. And on a more critical side, some graffiti referring to Trump and some other referring to the enormous vigilant power that today’s social networks have.


Iskar, Mexico

*Translated and transcribed from a video call interview

1. Give us a little introduction about your style and conceptual objectives as an artist.

My name is Iskar… I studied Graphic Design and started my career in design, but I’ve always been painting. My family is full of painters- my grandpa was a painter, and a few others as well, so I’ve been painting since I was little. This includes a lot of styles and techniques, and since I am 40 years old now, you can imagine that since I started when I was 4 years old, I’ve walked many paths in art. About 13 years ago, I started a company for decorative murals for institutions, homes, rooms, interior design, and companies. I started working this way, and this work is what allowed me to travel to different countries and cities… so one thing leads to another, and through my murals, I began to pay attention to street art and murals in the streets. To be honest, I wasn’t very interested in this at first. I thought that it was putting too much effort for not enough pay. But I decided to start doing street art because I felt there was a lot of freedom in the streets. I felt like there, it wasn’t like a gallery, it was free.

2. How does your city/country currently receive street art? How have you seen it change in the past 5-10 years?

In Guadalajara right now, there’s a big movement in street art including important artists, and international artists make a stop here for sure. I don’t think it is like Los Angeles, but the people already like it (street art) and have taken note of it. Now, artists have a larger commitment and I think the quality of art is better and more fresh in the streets, more authentic.

3. Street art was recently decriminalized in Bogota, Colombia after the unfortunate death of a young street artist, Diego Felipe Becerra. Since then, there’s been a beautiful outburst of artistic and cultural expression in the streets. For those in Colombia—how do you feel about this shift? Has it affected your work as an artist? What shift would you like to see culturally and artistically within your country in the next 5-10 years? What needs to be done?

In the last few years, I’ve painted favelas in Rio, Brazil, created murals with a non-profit organization that helps children, and I’ve been working with lots of institutions here in Mexico- I’ve painted in rehabilitation centers, orphanages… and I personally believe in the power of art. I believe it is a tool for social transformation, a powerful tool to transform the reality of people. And this is the message I’ve been promoting- I’m interested in the social questions. Here in Mexico, there’s still a lot of repression from the government. Police have zero tolerance for street art, which is also part of the value of street art.

First, I think informing people is key. To inform people that street art is an expression, a sign of freedom, to carry a message without any censorship- regardless of whether you like the message or not. I think we need to show people that the streets do not belong to the politicians, nor to the police, but to all of us. I see that art is fundamental to express freely- so to change things, we need to inform the government and show them that they can also benefit from the international business through art.

4. What makes Los Angeles different from other cities where you’ve exhibited and/or created artwork?

What I love about Los Angeles is that the people always receive art well, in every way. Angelenos are very receptive, friendly, and open to new proposals and ideas- very open-minded. This will be my first official exhibition in Los Angeles, so I’m really excited about bringing all different types of my work.

5. Borderless brings together Latin American artists from 3 different countries (Mexico, Colombia, and Brazil). In what ways is this significant to you? How is it different from working with artists from other cultures/countries outside of Latin America?

I think this question is very interesting. I know that our culture has a lot of strength… it is very colorful, very unique. So it’s really nice to share this with other people from other similar cultures. I identify being a more universal human despite how much I love my Latin culture. I lived in England for 3 years, and stayed in Brazil for a bit… but if I left this world and came back with a different pair of eyes, I think I’d still see our culture as very attractive, colorful, and tasty.

6. Some of you will be creating murals during your visit in L.A. Can you give us a sneak peak (preview) into what you will be creating?

I’ll be making a mural with Jason at Gabba Gallery. But I’ll be staying in Los Angeles for one month, so I’d love to do more murals and look for more opportunities while I’m out there. With my creative process, things aren’t so planned. I like to arrive to a place, get a feel for it, and then start working on the design.

Captured interview with Iskar and Cartwheel Contributor Michelle


Binho Ribeiro, Brazil

1. Give us a little introduction about your style and conceptual objectives as an artist.

My name is Binho a.k.a. Binho Ribeiro. Pioneer in the graffiti scene in Brazil and Latin America since 1984. I have my artworks all over the world in about 40 countries – my art style comes from the classic graffiti with characters, letter and scenarios, overcoming the boundaries of the surreal, the world of the dreams.

2. How does your city/country currently receive street art? How have you seen it change in the past 5-10 years?

São Paulo is covered with urban art that goes from all sized projects to representative many artists, but still shows repression and all the essence needed for an authentic and real movement of urban art. This is SP! Basic changes for me that accompanied this for more than 30 years means more recognition, a better-prepared market to consume the urban art – not only in streets but also on canvas, paintings and other forms of purchase. It would be good to have growth in the artists’ perspective and galleries/collectors too, in an authentic process of the street art.

3. What makes Los Angeles different from other cities where you’ve exhibited and/or created artwork?

I believe that Los Angeles is the big reunion of cultures- Latin, European, and American. But I see the Latin presence in a special way there, with the graffiti being a strong feature of it. It was created by black and Latin people in the NY ghettos and spread to the rest of the world. So LA reflects this energy, talent, and strength that it brings together in this fantastic place, very well represented, in addition to the great reception and international visibility.

4. Borderless brings together Latin American artists from 3 different countries (Mexico, Colombia, and Brazil). In what ways is this significant to you? How is it different from working with artists from other cultures/countries outside of Latin America?

Part of this exhibition with Latin artists who speak Spanish, different than myself who speaks Brazilian Portuguese is very cool because it shows a unit we have in the whole Latin America and I think the Borderless expo will show this very well, the amount of collaboration with the North American culture that is also Latin. North America, South America – it’s very cool to be part of this group. I’m very happy and excited to exhibit my art and live in this period of time in such an amazing experience! I already have this vivence in Miami and other countries, living in Latin artists, we always got along nicely and I feel the satisfaction. I’ve lived outside of Brazil for a while so I also speak Spanish, so for me, it will be awesome to produce with those artists in this special moment in Los Angeles.

I’d like to say that every time I visit LA I feel more at home, close to friends and people that treat me well, in all the neighborhoods I’ve visited – especially in South Central, Venice Beach, Koreatown and the Hollywood Hills. I know the city, also some murals on Melrose Ave, the alleys like one from 2011 that are well conserved – it’s an honor to know that I have some respect with the local artists that I admire a lot. I have a good expectation that this exhibition will be a milestone to show my artwork and feel like I was very close to home, near friends, cousins… It’s very pleasurable to stay there.

Also, I’d like to thank my crews CBS (can’t be stopped), 3º Mundo (worldwide production) and ABL (Brazilian Academy of Letters) that are present in my life as well.

5. Some of you will be creating murals during your visit in L.A. Can you give us a sneak peak (preview) into what you will be creating?

The influence of the place we will stay, the energy will come along in the creation of the space. I’m bringing pieces that are being developed specifically for this exhibition in the last 3 months so I’m excited to put them on the wall and add more details and information. Some surprise will come from this material but also something that will be 100% developed there for sure.


Lesivo, Colombia

*Lesivo was not available for an interview. A sampling of his work is below and additional work will be on view at the exhibition at Gabba Gallery.


Exhibition:
“Borderless: Latin America”
April 21 – May 12, 2018

Opening Reception:
Saturday, April 21st
7-11pm

Free & open to the public. No RSVP required. DJ Jonathan Williams spinning.Bar sponsored by Humboldt Distillery and Auspicion Wine.

Free parking behind 3125 Beverly Blvd. (enter off Dillon)

 Address:
3126 Beverly Blvd.
Los Angeles, CA

Gallery hours: Weds-Sat 12-3pm or by appointment.

 

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