WEBVTT

00:00:13.138 --> 00:00:16.641
Bolivia is one of the few countries in the world
whose culture is still alive.

00:00:18.268 --> 00:00:20.020
We are mestizos, indigenous.

00:00:20.061 --> 00:00:22.522
In Bolivia we are still a little classist.

00:00:22.605 --> 00:00:24.107
We want to end that.

00:00:28.945 --> 00:00:32.532
Our territory contains
more than 36 nations.

00:00:32.615 --> 00:00:35.952
Each one with their own perceptions,
world view, spirituality,

00:00:36.036 --> 00:00:38.788
colors,
and way of seeing the world.

00:00:38.872 --> 00:00:44.627
It\'s important to decolonize,
and walk the true path of who we are.

00:00:47.505 --> 00:00:50.842
You cannot decolonize
without abolishing the patriarchy.

00:00:51.301 --> 00:00:56.681
Graffiti is our way
of taking public space, the street,

00:00:56.723 --> 00:01:02.562
the only space of democracy, and history,
in Bolivia and Latin America.

00:01:09.360 --> 00:01:12.280
♪ They call me this and that
\'cos I live my way ♪

00:01:12.614 --> 00:01:15.033
♪ I get dirty from this life
as if it were mud ♪

00:01:15.116 --> 00:01:17.660
♪ I try, I go
if it fails, I’m screwed ♪

00:01:17.869 --> 00:01:20.413
♪ Always true to my desire
elbow to elbow ♪

00:01:20.538 --> 00:01:22.707
♪ The north takes me away
the north is mine ♪

00:01:22.791 --> 00:01:25.293
♪ I write it
every morning is a challenge ♪

00:01:25.376 --> 00:01:27.378
♪ I breathe, watch, and trust ♪

00:01:27.420 --> 00:01:30.131
♪ And when the night comes
I stare at the moon and smile ♪

00:01:30.173 --> 00:01:32.300
♪ Nomad life
wherever life ♪

00:01:32.509 --> 00:01:34.844
♪ Lighter life
Live your way ♪

00:01:35.011 --> 00:01:37.597
♪ Live carefree
live how you want ♪

00:01:37.680 --> 00:01:40.767
♪ Don\'t let anyone set your horizon
or border ♪

00:01:40.892 --> 00:01:43.186
♪ Live without a boss
live without a master ♪

00:01:43.228 --> 00:01:45.688
♪ I\'m led by the beat
of my heart ♪

00:01:45.730 --> 00:01:48.108
♪ I ride the wind
and this song ♪

00:01:48.233 --> 00:01:51.027
♪ They say I\'m lost
I say revolution ♪

00:02:22.642 --> 00:02:26.479
Bolivia... our tradition
of urban art is recent.

00:02:27.730 --> 00:02:31.651
Myself and my colleague Javier
come from the academy,

00:02:31.693 --> 00:02:32.861
we studied.

00:02:33.486 --> 00:02:37.657
We started...
painting and exhibiting in galleries,

00:02:37.740 --> 00:02:40.076
but you don\'t reach most people
in a gallery.

00:02:40.118 --> 00:02:43.872
And we also think it\'s too bureaucratic,
too elitist...

00:02:44.789 --> 00:02:47.375
Three of us got together,
and we decided to do this.

00:02:47.458 --> 00:02:49.169
To take art to the streets.

00:02:51.963 --> 00:02:57.844
Our goal, as Cemetery of Elephants,
is to align with social movements.

00:02:59.345 --> 00:03:03.016
It\'s not a closed group,
but we\'ll always lean left.

00:03:04.767 --> 00:03:08.062
The mural is like
illustrating the moment.

00:03:10.690 --> 00:03:12.650
I salvage that,
because that’s what we do.

00:03:12.817 --> 00:03:14.319
We capture
what people are living.

00:03:16.613 --> 00:03:18.573
In Bolivia we are still a little classist.

00:03:18.656 --> 00:03:20.283
We want to end that.

00:03:31.669 --> 00:03:34.047
\"LIFE IS SIMPLY TO BE SPENT ON OTHERS\".
Luis Espinal

00:03:34.047 --> 00:03:36.716
This is the concept
that we look for in the murals.

00:03:36.716 --> 00:03:37.800
Urban concerns…

00:03:38.593 --> 00:03:42.597
...and we are in this project,
to pay tribute to everyday people.

00:03:56.653 --> 00:04:00.865
Drawing or painting a shoemaker,
has that social stigma.

00:04:02.200 --> 00:04:03.660
It’s an insult here.

00:04:07.538 --> 00:04:10.124
Two taxis drive down the road,

00:04:10.375 --> 00:04:12.919
one gets cut off,
and they insult each other.

00:04:13.127 --> 00:04:15.546
And the first insult that comes out
is \'shoemaker\'.

00:04:15.672 --> 00:04:17.548
Which isn’t their job,
it just means they can\'t drive.

00:04:21.511 --> 00:04:24.889
And I just wanted to do a tribute
to the shoemaker.

00:04:25.556 --> 00:04:29.560
But then I found out that the shoemaker
didn\'t like what I did.

00:04:29.686 --> 00:04:31.771
My portrait bothered him.

00:04:31.938 --> 00:04:33.940
Some people bullied the poor man,

00:04:34.148 --> 00:04:35.984
and he asked me to erase it.

00:04:36.150 --> 00:04:38.778
He said “Young man, please erase it.

00:04:38.903 --> 00:04:40.321
They’re bullying me too much”.

00:04:40.405 --> 00:04:41.489
I said \"Ok\".

00:04:42.240 --> 00:04:43.908
Society itself reacted,

00:04:44.284 --> 00:04:47.787
they told him: “You should be
proud of your job”.

00:04:50.206 --> 00:04:53.751
I came back the next day to erase it,
but I didn\'t.

00:04:54.252 --> 00:04:57.755
He came to me and said:
\"Keep it there, this is what I am,

00:04:57.797 --> 00:04:59.257
just go ahead\".

00:05:01.676 --> 00:05:03.803
And that was a great joy.

00:05:04.721 --> 00:05:06.723
It\'s like empowering people, right?

00:05:07.223 --> 00:05:09.684
CEMETERY OF ELEPHANTS
ART FOR THE PEOPLE

00:05:13.688 --> 00:05:19.402
The year 1952, on April 9,
a need emerges

00:05:19.527 --> 00:05:23.698
to replace the landowning oligarchy
with another state.

00:05:24.240 --> 00:05:29.996
Some political movements start, such as
the Revolutionary Nationalist Movement,

00:05:30.079 --> 00:05:31.873
the Socialist League...

00:05:31.956 --> 00:05:35.960
And the peasants play a role too,
although not a starring one,

00:05:36.085 --> 00:05:41.424
but they participate in some way
in these revolutionary deeds of April 1952.

00:05:42.759 --> 00:05:44.886
President Paz Estenssoro

00:05:45.053 --> 00:05:51.059
knew that the Mexican Revolution
was sung by the artists.

00:05:51.684 --> 00:05:54.103
And he launched a project:

00:05:54.395 --> 00:05:59.817
Bolivian artists would paint murals
praising the revolution\'s achievements.

00:06:00.568 --> 00:06:04.614
The educational reform,
the nationalization of the mines,

00:06:04.781 --> 00:06:09.243
the foundation of the
Bolivian National Oilfields Company...

00:06:13.289 --> 00:06:16.584
Miguel Alandia Pantoja,
who was a trotskyist,

00:06:17.001 --> 00:06:20.296
was called on
by President Paz Estenssoro.

00:06:32.183 --> 00:06:35.603
He was one of the most prolific painters ever
in this country.

00:06:35.853 --> 00:06:38.981
He didn\'t go to art school.

00:06:39.148 --> 00:06:42.985
He was self-taught,
trained in mining centers.

00:06:43.152 --> 00:06:46.072
He participated in
many historical processes

00:06:46.155 --> 00:06:48.574
within our country’s
labor movement.

00:07:00.837 --> 00:07:03.423
Culture is the voice
of an entire people.

00:07:03.589 --> 00:07:07.510
And Alandia Pantoja\'s murals
reflect the feeling of an entire society,

00:07:07.552 --> 00:07:13.224
aware of the transformation, of the need
to change this country through revolution.

00:07:13.391 --> 00:07:15.435
A proletariat revolution.

00:07:17.812 --> 00:07:19.897
Muralism is a monumental work.

00:07:20.106 --> 00:07:24.694
You need to capture the feelings
and the aspiration of an entire people.

00:07:28.030 --> 00:07:32.410
In the Bolivian Revolution of 1952
all these structures are moved.

00:07:33.202 --> 00:07:35.913
And there’s an advance of the indigenous world.

00:07:36.247 --> 00:07:38.374
But it was cut short,

00:07:38.458 --> 00:07:40.585
and the fascist coups came.

00:07:42.253 --> 00:07:45.339
To the right wing,
Alandia Pantoja was the enemy.

00:07:47.175 --> 00:07:52.346
One of the most important artworks he painted
was in the Government Palace.

00:07:52.388 --> 00:07:53.764
They machine-gunned it.

00:07:53.848 --> 00:07:57.643
Then they gathered the pieces,
and drove a steamroller over them.

00:07:59.979 --> 00:08:02.565
It’s said that there are murals here or there...

00:08:02.982 --> 00:08:06.861
There\'s no serious research work,
by the government,

00:08:06.944 --> 00:08:10.323
to rescue all of
Alandia Pantoja’s murals.

00:08:33.721 --> 00:08:35.515
HERNÁN SILES THEATER

00:08:42.146 --> 00:08:44.899
We stumbled upon a big surprise.

00:08:44.982 --> 00:08:47.151
It’s very important for my country,

00:08:47.193 --> 00:08:48.569
and for all of Latin America,

00:08:48.653 --> 00:08:51.239
the discovery of Alandia Pantoja’s mural.

00:09:07.922 --> 00:09:11.175
This mural is located here
in the town of Milluni.

00:09:12.385 --> 00:09:16.013
The importance of this mural for us
is that we\'re rediscovering our history,

00:09:16.180 --> 00:09:19.892
we’re digging again, and...
telling a forgotten story,

00:09:19.976 --> 00:09:21.435
for future generations.

00:09:26.107 --> 00:09:31.904
It was once one of the most important
mining extraction sites.

00:09:38.119 --> 00:09:40.830
It all started with a general strike

00:09:40.913 --> 00:09:43.374
called by the Bolivian Workers’ Center.

00:09:44.792 --> 00:09:49.630
In 1965, the Government entered
with tankettes,

00:09:50.131 --> 00:09:53.467
shooting rapid-fire throughout the town.

00:09:54.468 --> 00:09:56.470
It\'s unknown how many people died,

00:09:56.596 --> 00:09:59.765
there are only stories
that everything was a river of blood.

00:10:04.353 --> 00:10:07.857
Upon entering the town,
before \'la tranca\', there\'s a cross,

00:10:08.232 --> 00:10:11.944
and perhaps that\'s where
many of those sacrificed here are buried.

00:10:12.778 --> 00:10:15.906
It\'s part of this country’s history
of exploitation.

00:10:17.158 --> 00:10:20.953
After that, Alandia Pantoja
came to paint a mural.

00:10:26.542 --> 00:10:31.922
The surprise was finding the wall
collapsing and deteriorated.

00:10:32.465 --> 00:10:35.217
We immediately contacted the authorities,

00:10:35.384 --> 00:10:37.261
because we knew the importance of this mural.

00:10:37.595 --> 00:10:40.389
There\'s moisture on the surface,
at the base.

00:10:42.350 --> 00:10:45.561
Now we’re working away,
several colleagues joined.

00:10:46.354 --> 00:10:49.649
We\'re digging small channels,
ditches,

00:10:49.732 --> 00:10:51.567
to divert the water.

00:10:57.406 --> 00:10:59.950
We\'re excavating memory,
along with the mural.

00:11:00.242 --> 00:11:05.039
And we want to show that in Bolivia,
as in all of Latin America,

00:11:05.164 --> 00:11:08.751
we\'re still resisting,
we\'re still struggling with our murals,

00:11:08.834 --> 00:11:11.087
with what we have,
with the weapons we have.

00:11:25.601 --> 00:11:29.063
Racism is the absolute denial
of the humanity of the other.

00:11:31.941 --> 00:11:36.862
\"The other\" is born when the European ego,
which comes to conquer the New World,

00:11:37.113 --> 00:11:39.740
to invade what will be America,

00:11:40.199 --> 00:11:44.578
positions itself as the \"center\"
in the world context.

00:11:45.830 --> 00:11:47.998
So, for Europe to be the center,

00:11:48.040 --> 00:11:50.418
which it had never been in its entire history,

00:11:50.626 --> 00:11:53.045
they need to create a periphery.

00:11:53.713 --> 00:11:55.506
That periphery is going to be us.

00:11:59.260 --> 00:12:00.594
In the modern world,

00:12:00.970 --> 00:12:04.306
the subjectivity of the elite themselves
is colonized in such a way

00:12:04.432 --> 00:12:07.893
that they become
stewards of dispossession,

00:12:08.185 --> 00:12:12.565
not only of the material wealth
of their country, of their nation,

00:12:12.940 --> 00:12:14.900
but the dispossession
of their own humanity.

00:12:15.151 --> 00:12:18.571
They pay tribute to the empire
in humanity.

00:12:29.081 --> 00:12:31.292
We Bolivians are

00:12:31.333 --> 00:12:33.127
mostly of indigenous origin,

00:12:33.377 --> 00:12:35.087
if not just plain indigenous.

00:12:35.880 --> 00:12:37.256
When Bolivia was founded,

00:12:37.298 --> 00:12:40.176
neither the indigenous world
nor the “cholo” participated.

00:12:41.010 --> 00:12:45.765
Only the white colonist world and
the pseudo-white mestizo world participated,

00:12:46.182 --> 00:12:50.102
and they excluded
the indigenous and \"cholo\" majority.

00:12:52.646 --> 00:12:55.941
René Zabaleta Mercado put it in very clear terms:

00:12:56.525 --> 00:12:59.320
\"The only stable business in Bolivia

00:12:59.570 --> 00:13:00.696
was the natives\".

00:13:01.280 --> 00:13:03.741
And the oligarchy
could give up everything,

00:13:03.824 --> 00:13:07.077
except the oath of superiority

00:13:07.328 --> 00:13:09.455
that they assumed over the natives.

00:13:09.747 --> 00:13:12.958
And this was
with or without liberalism,

00:13:13.042 --> 00:13:15.044
and even
with or without Marxism.

00:13:18.631 --> 00:13:19.757
The new generations

00:13:19.882 --> 00:13:21.884
have to decolonize their consciousness.

00:13:23.803 --> 00:13:25.346
The \"suma qamaña\"...

00:13:25.596 --> 00:13:30.100
is the horizon,
to keep moving forward.

00:13:30.518 --> 00:13:33.896
The \"suma qamaña\" is the community,

00:13:34.104 --> 00:13:38.526
living with nature,
not off of nature.

00:13:38.984 --> 00:13:42.905
To privilege the individual
as part of a community.

00:13:43.155 --> 00:13:46.408
And not the individual by themself.

00:13:46.742 --> 00:13:48.911
To decolonize the consciousness

00:13:49.036 --> 00:13:54.083
is for new generations
to approach this life model.

00:13:54.416 --> 00:13:57.711
Where consumer society
has to disappear.

00:13:58.003 --> 00:14:02.174
In the indigenous world, that doesn\'t exist,
it\'s quite the opposite!

00:14:02.508 --> 00:14:07.137
So we believe that art, culture,

00:14:07.388 --> 00:14:12.434
has to model new generations in that spirit.

00:14:29.076 --> 00:14:32.955
Graffiti is...
in my perception, energy.

00:14:33.080 --> 00:14:35.958
That\'s why young people often do it.
That\'s how I started.

00:14:36.250 --> 00:14:39.420
I couldn\'t sleep, so I was like:
\"What can I do, I want to do something\",

00:14:39.670 --> 00:14:42.965
and I didn’t have a car
to drive around,

00:14:43.132 --> 00:14:46.051
I didn\'t have money to buy alcohol,

00:14:46.176 --> 00:14:49.430
I had some paint
that my parents had left over.

00:14:49.889 --> 00:14:53.392
I took it, I went out every night
and did all this.

00:14:55.853 --> 00:14:58.856
At this age, or in these times,

00:14:58.898 --> 00:15:00.983
if you survive, it’s because you want to be here.

00:15:01.483 --> 00:15:05.237
You like to walk, you do it at night,
you like to think,

00:15:05.404 --> 00:15:07.615
while you walk, you think,
and you go and do it.

00:15:14.914 --> 00:15:17.917
It\'s very easy to paint in La Paz,
it\'s like...

00:15:18.083 --> 00:15:20.878
you just go to a specific place,
and paint.

00:15:21.045 --> 00:15:24.006
It\'s just about having the time,
and the desire.

00:15:39.939 --> 00:15:42.024
I started doing my tag
everywhere,

00:15:42.191 --> 00:15:43.025
the whole city.

00:15:43.275 --> 00:15:44.652
Basically tags.

00:15:46.236 --> 00:15:50.199
But at a certain point I got tired,
I got bored and stuff.

00:15:50.532 --> 00:15:52.701
Then I tried to go a little further,

00:15:53.035 --> 00:15:58.207
and do something that wasn\'t huge,
or too elaborate,

00:15:58.624 --> 00:16:00.834
but it wasn’t a simple tag,
either.

00:16:03.712 --> 00:16:08.592
Then I found a mid-point,
drawing an icon, with simple strokes,

00:16:08.717 --> 00:16:10.761
that means something too.

00:16:10.928 --> 00:16:15.808
Then I took the \"chullo\"
as a character, or element,

00:16:15.975 --> 00:16:17.309
which is very Andean

00:16:17.601 --> 00:16:20.562
The first was very different,

00:16:20.604 --> 00:16:23.107
because he had very big feet,

00:16:23.482 --> 00:16:26.193
he had... the \"chullo\" hat
always had a pointy tip...

00:16:26.485 --> 00:16:33.492
And then, for space reasons,
I had to find another shape, and changed it.

00:16:33.742 --> 00:16:35.703
Until I got to what I do now.

00:16:40.624 --> 00:16:44.920
When I started thinking about
creating this icon,

00:16:45.129 --> 00:16:46.797
I didn\'t think politically.

00:16:46.880 --> 00:16:50.509
But I understand that
it can be transformative too.

00:16:52.678 --> 00:16:57.891
I used this especially
so that people, or I,

00:16:58.058 --> 00:17:01.854
would realize what the country
is going through.

00:17:02.730 --> 00:17:05.566
There was a lot of racism before,

00:17:05.816 --> 00:17:09.903
many people reject our origins,

00:17:10.279 --> 00:17:15.868
so it was like saying:
\"Hey, we\'re all like that, a mix\".

00:17:31.842 --> 00:17:34.887
Also, something
I always include...

00:17:35.095 --> 00:17:40.100
is trying to bring images
to the common people.

00:17:45.189 --> 00:17:47.483
La Paz is also more traditionalist,

00:17:47.733 --> 00:17:51.070
so that struggle is still there,
it isn\'t fully accepted yet.

00:17:57.117 --> 00:17:59.286
In the end, it\'s about...

00:17:59.453 --> 00:18:02.831
creating things
that can wake people up a little.

00:18:03.582 --> 00:18:07.961
You always hear comments,
and then you see the impact of the piece.

00:18:08.045 --> 00:18:12.716
It should provoke something,
whether for better or worse.

00:18:20.432 --> 00:18:22.518
I believe Bolivia entered

00:18:22.601 --> 00:18:25.395
the world of hip-hop graffiti

00:18:25.562 --> 00:18:26.855
from the 1990s on.

00:18:28.190 --> 00:18:31.110
I mean, graffiti is
actually recent in Bolivia.

00:18:33.445 --> 00:18:37.741
You slowly start to find pieces,
to see tags more often,

00:18:37.991 --> 00:18:42.121
with their different styles, the wildstyle,
the bubble letters, and so on.

00:18:43.747 --> 00:18:46.375
Before hip-hop graffiti,
that is, before the 90s,

00:18:46.583 --> 00:18:48.961
the intention was simply
to express oneself.

00:18:49.378 --> 00:18:52.798
And after the 90s,
there’s a kind of desire to express

00:18:52.965 --> 00:18:55.676
one’s own, or a group’s identity

00:18:57.302 --> 00:19:00.973
It’s strongly related to the Tiwanaku culture.
There are Andean crosses ,

00:19:01.140 --> 00:19:06.353
also a lot of colonial-urban
elements, in the city,

00:19:06.478 --> 00:19:09.189
the \"chola\", the Pepino, the Kusillo,

00:19:09.231 --> 00:19:11.900
hip-hop graffiti takes it
as part of its identity.

00:19:15.154 --> 00:19:16.738
I like to say...

00:19:16.822 --> 00:19:21.410
I belong to the second generation
of kids who I saw painting.

00:19:22.995 --> 00:19:27.249
The first generations stood out
by being a little transgressive.

00:19:27.457 --> 00:19:29.543
I grew up watching that work.

00:19:31.378 --> 00:19:35.299
But in the end they turned away or quit,

00:19:35.632 --> 00:19:39.511
having been cut short for...
financial issues.

00:19:39.678 --> 00:19:44.141
There was no support
from the media and stuff.

00:19:46.059 --> 00:19:49.271
For some time, nobody did anything,

00:19:49.730 --> 00:19:52.983
and if there had been other people doing it,

00:19:53.108 --> 00:19:55.527
maybe… this would have grown more.

00:19:56.445 --> 00:20:00.908
Graffiti is not well understood
and is therefore rejected.

00:20:01.783 --> 00:20:02.951
That’s changed.

00:20:03.076 --> 00:20:06.830
Since the 2000s,
there’s some support from institutions,

00:20:07.122 --> 00:20:10.042
to define a kind of urban aesthetic.

00:20:10.792 --> 00:20:12.669
Some places are designated

00:20:12.753 --> 00:20:15.547
for artists to paint
the topics that interest them.

00:20:15.714 --> 00:20:17.883
This benefits artists,

00:20:17.925 --> 00:20:20.177
because they get materials
and space.

00:20:47.329 --> 00:20:50.457
Here in Bolivia, there have never been
good materials,

00:20:50.540 --> 00:20:52.751
there have never been
good sprays,

00:20:52.876 --> 00:20:58.090
the kind needed to really do
a good piece of quality urban art.

00:21:03.136 --> 00:21:08.850
But when you\'re inspired
and feel the need to express yourself,

00:21:09.017 --> 00:21:11.436
you get the means, go out to the streets,

00:21:11.436 --> 00:21:13.063
and you do it anyway.

00:21:19.194 --> 00:21:20.654
Cochabamba has become...

00:21:20.862 --> 00:21:25.075
a super interesting place,
for people from elsewhere to come paint,

00:21:25.200 --> 00:21:27.828
because we’ve shown...

00:21:27.995 --> 00:21:32.374
that there are lots of walls
that are incredible to intervene,

00:21:32.499 --> 00:21:34.626
and people are
super interested in coming,

00:21:34.710 --> 00:21:37.379
and we’re also eager
to paint more.

00:21:47.055 --> 00:21:51.977
Painting here, to be honest,
I wouldn\'t have imagined it.

00:21:52.352 --> 00:21:54.271
With permission, I mean.

00:21:54.438 --> 00:21:56.523
I’ve always tried to go down,

00:21:56.648 --> 00:21:57.899
and paint illegally,

00:21:58.066 --> 00:22:00.944
It\'s always been my idea to do that.

00:22:01.111 --> 00:22:02.738
But like this, with permission, no…

00:22:02.946 --> 00:22:04.114
It’s a challenge for me.

00:22:06.742 --> 00:22:10.120
The place itself tells me
what I have to paint.

00:22:10.495 --> 00:22:13.123
I get to the place,
I feel it, I’m there,

00:22:13.290 --> 00:22:14.708
I see the people’s vibes,

00:22:14.833 --> 00:22:17.461
and I try to be faithful to that.

00:22:19.796 --> 00:22:21.965
I started doing stencils.

00:22:22.299 --> 00:22:26.178
I was a young boy then,
a little angry at the world.

00:22:26.303 --> 00:22:29.389
I wanted to be a little rebellious,

00:22:29.473 --> 00:22:31.850
so I didn’t like art in itself,

00:22:31.933 --> 00:22:33.977
but I was somehow
doing art,

00:22:34.061 --> 00:22:36.730
so that\'s why I called myself
\"Mata-arte\" (\"Art-Killer\").

00:22:37.814 --> 00:22:41.610
My first stencils were little skulls,
I made them everywhere.

00:22:41.943 --> 00:22:45.447
I didn\'t like to portray people,

00:22:45.614 --> 00:22:48.075
so instead of making them
white or brown,

00:22:48.241 --> 00:22:50.410
with green or black eyes,

00:22:50.535 --> 00:22:53.038
I just made skulls,
you know?

00:22:53.330 --> 00:22:57.042
In the end,
we’re all skeletons inside.

00:23:02.798 --> 00:23:07.969
I was a big fan of horror movies
from the 1950s, like “The Fly\"…

00:23:08.136 --> 00:23:10.931
I used to listen lots of punk, hardcore...

00:23:13.683 --> 00:23:16.937
Part of my family
is into folklore, so…

00:23:17.270 --> 00:23:20.273
I combined that
with my horror side.

00:23:36.081 --> 00:23:39.126
As in all cities,
there\'s been a development of...

00:23:39.334 --> 00:23:42.337
a spontaneous movement
of young people,

00:23:43.380 --> 00:23:48.718
basically a counter-culture, which
appropriates very visible public spaces,

00:23:49.052 --> 00:23:50.512
to say something.

00:23:51.805 --> 00:23:53.849
I think urban art
has that strength,

00:23:53.932 --> 00:23:57.811
it starts from what’s local,
from the street,

00:23:57.936 --> 00:24:00.564
and seeing something
that speaks to you,

00:24:00.772 --> 00:24:03.692
to the explosion that it has now
as far as social media.

00:24:03.775 --> 00:24:05.527
There is no other
artistic discipline

00:24:05.694 --> 00:24:08.155
that is spread as much
as the photos of murals

00:24:08.196 --> 00:24:09.281
all over the world.

00:24:18.832 --> 00:24:24.337
All the kids here
are going out to paint,

00:24:24.463 --> 00:24:26.715
I think the identity...

00:24:26.798 --> 00:24:29.551
in urban art, you can feel it.

00:24:29.759 --> 00:24:34.347
People try to show where they\'re from,
and what their culture is,

00:24:34.723 --> 00:24:37.267
and that has defined an aesthetic.

00:24:41.438 --> 00:24:44.649
When we organized
the first biennial, in 2011,

00:24:44.691 --> 00:24:47.402
we decided to bet on urban art,

00:24:47.569 --> 00:24:49.696
precisely to move outside a bit,

00:24:49.821 --> 00:24:52.115
to connect more
with the neighborhood people,

00:24:52.365 --> 00:24:56.786
to make art, and artistic language,
more accessible to the city.

00:25:01.249 --> 00:25:06.296
Five or six years ago,
you rarely found anything on the street.

00:25:07.005 --> 00:25:08.673
Nobody came,
and well,

00:25:08.840 --> 00:25:11.134
they launched the Urban Art Biennial,

00:25:11.301 --> 00:25:12.677
and created a big boom.

00:25:12.928 --> 00:25:15.972
They bring people
from other countries,

00:25:16.264 --> 00:25:19.392
who are interested in the city.

00:25:23.271 --> 00:25:26.024
It\'s the fruit of sustained
collaboration and dialogue,

00:25:26.525 --> 00:25:28.860
the kids who are painting more
in the streets.

00:25:29.277 --> 00:25:31.947
And it helps to consolidate this,

00:25:32.280 --> 00:25:35.367
it shows they could paint
really good murals,

00:25:35.700 --> 00:25:37.619
and people start to appreciate them,

00:25:37.702 --> 00:25:40.956
and outside artists also start
to pay attention.

00:25:41.414 --> 00:25:44.334
Before no one had Cochabamba as a reference,

00:25:44.501 --> 00:25:45.961
and now they do.

00:26:02.519 --> 00:26:04.563
In the indigenous worldview,

00:26:05.313 --> 00:26:07.440
death does not exist.

00:26:08.525 --> 00:26:11.152
It’s another change
of state of matter,

00:26:11.528 --> 00:26:13.196
and it’s circular.

00:26:13.488 --> 00:26:16.700
You’re born, you reproduce, you die.

00:26:17.117 --> 00:26:19.244
You’re born, you reproduce, you die.

00:26:21.580 --> 00:26:24.165
On November 8,
in La Paz

00:26:24.416 --> 00:26:27.377
there’s this ceremony of the skulls,

00:26:27.502 --> 00:26:29.796
which in La Paz
is called \"Las Ñatitas\".

00:26:32.966 --> 00:26:36.177
A loved one dies,
the skull is preserved,

00:26:36.386 --> 00:26:38.430
and it\'s taken out for the holidays,

00:26:38.471 --> 00:26:40.640
it\'s decorated, people put candles on it,

00:26:40.890 --> 00:26:42.684
they give it food offerings.

00:26:43.101 --> 00:26:45.645
And it’s a beautiful tradition that…

00:26:46.146 --> 00:26:49.232
helps you remember
people who are gone.

00:26:49.524 --> 00:26:52.444
And the offerings make them
take care of you,

00:26:52.652 --> 00:26:54.696
always by your side.

00:26:57.407 --> 00:27:02.454
The “Ñatitas” relate
to the concept of the cycle of life.

00:27:03.580 --> 00:27:05.206
Because if someone
is missing,

00:27:06.249 --> 00:27:08.501
the Jach\'a Ajayu is in danger,

00:27:08.793 --> 00:27:10.795
the big soul of the world.

00:27:11.171 --> 00:27:16.593
That\'s why this rite is carried out,
so that the dead join that chain.

00:27:17.010 --> 00:27:19.596
So that nobody’s missing
in that circle.

00:27:28.271 --> 00:27:31.149
Salvador (aka Salvaje) and I,

00:27:31.399 --> 00:27:34.569
decided to organize, very quickly, last year,

00:27:34.736 --> 00:27:36.488
this event called “Ñatinta”,

00:27:36.821 --> 00:27:38.698
dedicated to the Ñatita.

00:27:40.283 --> 00:27:43.828
The idea was to include all this
in the murals.

00:27:44.537 --> 00:27:47.457
And we said, half jokingly:

00:27:47.666 --> 00:27:50.043
“It would be great
to have a festival here,

00:27:50.126 --> 00:27:51.461
to be able to paint the cemetery,

00:27:51.628 --> 00:27:53.546
but will they let us paint?\"

00:27:54.089 --> 00:27:57.175
We talked to the cemetery management,

00:27:57.384 --> 00:28:01.054
and we were met with very open people,
very enlightened, I think,

00:28:01.596 --> 00:28:04.307
who proposed that we paint
inside the cemetery.

00:28:04.641 --> 00:28:06.976
We got enthusiastic,
\"Ok, we\'ll do it\".

00:28:08.311 --> 00:28:12.482
Of about 200 available walls,
we painted about 15.

00:28:17.779 --> 00:28:20.907
While we were painting,
most of the people passing by

00:28:20.990 --> 00:28:23.702
were delighted.
And that surprised me.

00:28:23.702 --> 00:28:26.037
Because we thought:
\"How will passersby receive it?\"

00:28:27.831 --> 00:28:32.335
That event, in a few days,
really made a difference.

00:28:32.585 --> 00:28:37.340
The impact, when someone enters,
is totally different than it was before.

00:28:42.846 --> 00:28:46.725
Our Latin American culture
is baroque,

00:28:47.392 --> 00:28:48.685
no matter how you look at it.

00:28:51.604 --> 00:28:55.150
Therefore, European intrusion,
minimalism,

00:28:56.067 --> 00:29:01.489
with its simplicity and consistency,
will not enter this culture easily.

00:29:03.992 --> 00:29:07.787
It\'s visible, because we\'re full of nature,
even the high plateau,

00:29:08.538 --> 00:29:11.791
the landscape itself gives us joy.

00:29:11.958 --> 00:29:13.585
Our air is still very clean.

00:29:13.710 --> 00:29:18.298
Here in Bolivia there’s no pollution
like in Santiago or Lima.

00:29:18.423 --> 00:29:23.720
So I believe that\'s why
saturated colors are widely used here.

00:29:24.345 --> 00:29:30.977
The Andeans used to prefer
the colors of earth, of terracotta.

00:29:31.227 --> 00:29:34.689
But nowadays that has changed
into very vivid colors.

00:29:42.489 --> 00:29:47.035
I don\'t think it\'s an anthropological rupture,
or a lack of respect,

00:29:47.118 --> 00:29:50.079
but a contemporary interpretation.

00:29:53.082 --> 00:29:54.501
We, as Andeans,

00:29:54.626 --> 00:29:59.589
despite being told the colors
we use here are loud,

00:29:59.714 --> 00:30:01.758
it’s our thing.

00:30:01.925 --> 00:30:06.930
Europeans are dazzled
by that dynamic loudness.

00:30:07.347 --> 00:30:09.432
And it’s very unlikely

00:30:09.557 --> 00:30:12.018
that it would be taken from us.

00:30:12.143 --> 00:30:14.020
I think there\'s a resistance there.

00:30:27.784 --> 00:30:30.453
My grandmother used to say
that vivid colors

00:30:30.662 --> 00:30:32.872
are to scare away
evil spirits,

00:30:33.081 --> 00:30:36.751
and not to live in darkness,
but to live life in joy.

00:30:47.011 --> 00:30:51.766
My paintings are like an offering,
as a thank you to Mother Earth,

00:30:51.933 --> 00:30:55.603
because that\'s the meaning of man,
the inheritance we\'ve received.

00:31:00.483 --> 00:31:03.319
The foundations of my art
are the Andean worldview.

00:31:03.945 --> 00:31:07.532
Respect for the air,
respect for fire,

00:31:07.574 --> 00:31:09.826
respect for Pachamama,

00:31:09.951 --> 00:31:14.080
respect for others,
living in community.

00:31:15.415 --> 00:31:18.543
Those foundations,
those moral principles

00:31:18.626 --> 00:31:21.379
of harmonic coexistence
with all human beings,

00:31:21.504 --> 00:31:23.798
have become part of my work.

00:31:24.632 --> 00:31:27.844
Mamani wouldn’t exist
if it weren’t for his identity,

00:31:27.969 --> 00:31:30.638
his community,
his perceptions,

00:31:31.014 --> 00:31:33.892
and the pride
of being what we are.

00:31:38.855 --> 00:31:42.108
One of the other principles
of the Andean worldview,

00:31:42.275 --> 00:31:45.737
is the sharing, the collectivity,
the “ayni”.

00:31:46.529 --> 00:31:48.990
\"Ayni\" means reciprocity.

00:31:49.407 --> 00:31:52.452
You receive something
and you have to share with the community.

00:31:52.994 --> 00:31:55.580
That principle, in art…

00:31:55.622 --> 00:31:59.375
there also comes a time
when art has to be for everyone.

00:31:59.626 --> 00:32:04.005
And the murals become
a representation of that expression.

00:32:12.263 --> 00:32:16.184
When they invited me,
they told me:

00:32:16.476 --> 00:32:20.563
\"Mamani,
we\'re painting seven buildings,

00:32:20.730 --> 00:32:25.485
for people who don\'t have a home,
it’s social housing\".

00:32:28.571 --> 00:32:31.240
And I said: \"Ok, my pleasure\".

00:32:31.491 --> 00:32:35.912
But normally the Andean man
relates with the earth.

00:32:35.995 --> 00:32:38.456
They experience a relationship
with the earth.

00:32:38.915 --> 00:32:40.875
But since we’re already urban,

00:32:41.084 --> 00:32:44.128
then having a building
breaks this relationship.

00:32:45.797 --> 00:32:47.382
We’ve made it possible,

00:32:47.507 --> 00:32:50.426
so we’ll do something
that represents the community.

00:32:52.845 --> 00:32:54.514
And the concept of the \"wiphala\",
the flag.

00:32:54.639 --> 00:32:56.432
Let’s not forget that,
in the wiphala,

00:32:56.516 --> 00:32:59.060
each color represents a community,

00:32:59.143 --> 00:33:02.063
it\'s the collision of two rainbows,
and the wiphala is born.

00:33:02.855 --> 00:33:06.317
Our territory contains
more than 36 nations,

00:33:06.526 --> 00:33:08.403
each one with their perceptions,

00:33:08.528 --> 00:33:10.446
spiritual worldview, colors,

00:33:10.571 --> 00:33:12.323
and way of seeing the world.

00:33:17.495 --> 00:33:19.914
There are the seven colors
in the rainbow,

00:33:20.081 --> 00:33:23.459
each color represents
an important symbol.

00:33:23.835 --> 00:33:27.463
The red building,
where the Amauta is,

00:33:27.588 --> 00:33:30.967
is the one who teaches
and bestows the wisdom

00:33:31.134 --> 00:33:32.885
of the Andean worldview.

00:33:35.722 --> 00:33:40.435
In the blue building is Mallku,
a winged being,

00:33:40.518 --> 00:33:44.022
so it represents the world above,
the Alak Pacha.

00:33:45.857 --> 00:33:47.483
In the green building,

00:33:47.650 --> 00:33:50.486
we’ll see Jamp\'atu,
the toad,

00:33:50.570 --> 00:33:53.740
which represents
fertility, fecundity.

00:33:55.533 --> 00:33:58.453
In the yellow one,
that\'s the coca man.

00:33:58.578 --> 00:34:00.538
Our eyes are coca leaves,

00:34:00.663 --> 00:34:02.498
our mouth is a coca leaf.

00:34:02.623 --> 00:34:04.876
We can see and talk
with the coca leaf.

00:34:05.209 --> 00:34:07.503
It’s sacred and ancient.

00:34:08.337 --> 00:34:09.797
And here in the violet one,

00:34:09.922 --> 00:34:13.301
one of the most important colors
in the Andean worldview,

00:34:13.509 --> 00:34:14.886
there\'s the Condor Child.

00:34:15.011 --> 00:34:18.181
They’re are our children,
our grandchildren, our nephews.

00:34:18.389 --> 00:34:20.141
And to have that lineage,

00:34:20.224 --> 00:34:23.269
we have to teach them
what the Andean worldview represents.

00:34:23.561 --> 00:34:26.230
Respect for the air, respect for fire…

00:34:26.314 --> 00:34:29.817
They’re the ones
that will lead that land.

00:34:35.198 --> 00:34:37.075
I think the people who will see it,

00:34:37.283 --> 00:34:41.079
the 336 families that will live here
and the people around them,

00:34:41.204 --> 00:34:45.083
will know that each of these murals
is part of our worldview.

00:34:45.124 --> 00:34:47.376
It\'s information about who we are.

00:34:48.920 --> 00:34:53.758
Everybody fulfills a mission:
engineers, architects.

00:34:54.217 --> 00:34:56.135
I bring the colors.

00:34:56.844 --> 00:35:00.640
In the end, what we do
is for the community.

00:35:20.409 --> 00:35:23.579
El Alto is the youngest city
in the country,

00:35:24.080 --> 00:35:26.958
therefore there\'s a lot of migration
from the nearest villages.

00:35:28.251 --> 00:35:31.212
If you go and paint at night illegally,

00:35:31.295 --> 00:35:33.339
they might mistake you for a thief,

00:35:33.422 --> 00:35:34.465
a rapist, anything.

00:35:37.051 --> 00:35:39.679
The moment they find you,
if you try to explain to them:

00:35:39.846 --> 00:35:41.806
\"I\'m doing art\",

00:35:42.056 --> 00:35:43.891
or \"I\'m just writing my name\",

00:35:44.392 --> 00:35:45.726
they won\'t understand.

00:35:46.435 --> 00:35:49.272
It\'s very complicated
to paint up there.

00:35:49.438 --> 00:35:53.776
If you don\'t know people there,
or there\'s a project, stuff like that.

00:35:56.529 --> 00:35:59.949
CAUGHT THIEF WILL BE BURNED
El Alto is interesting, because…

00:35:59.949 --> 00:36:01.951
SUSPICIOUS CAR WILL BE BURNED
... people no longer feel safe.

00:36:01.951 --> 00:36:03.536
Nor do they trust the institutions

00:36:03.578 --> 00:36:04.996
that should give them safety.

00:36:05.413 --> 00:36:09.000
So they \"protect\" themselves,
so to speak.

00:36:09.000 --> 00:36:11.544
DRINKING IS BANNED ON THIS STREET
Signs that are sort of \"death sentences\",

00:36:11.544 --> 00:36:13.546
CAUGHT THIEF WILL BE BURNED
Signs that are sort of \"death sentences\",

00:36:13.546 --> 00:36:16.174
like \"Caught thief will be burned\",

00:36:16.382 --> 00:36:18.551
\"Here we lynch thieves\".

00:36:18.676 --> 00:36:21.679
So, it’s very aggressive, but...

00:36:21.846 --> 00:36:23.639
it seems effective.

00:36:23.764 --> 00:36:27.852
They contribute in a chilling way,
to construct the graphic style of a city.

00:36:29.854 --> 00:36:33.482
El Alto, where we are,
I think, is a stronghold…

00:36:33.816 --> 00:36:38.154
…of the Andean force, the Aymara force.

00:36:40.573 --> 00:36:44.076
A city where you can even make
political changes,

00:36:44.202 --> 00:36:47.538
or movements where people
have nothing to lose,

00:36:47.663 --> 00:36:52.001
because they have their principles,
their rebellion.

00:37:04.388 --> 00:37:09.810
The \"Movement to Socialism\"
is not just another government,

00:37:10.269 --> 00:37:14.023
because it was born
out of a popular revolt.

00:37:14.482 --> 00:37:18.319
In 2003, Bolivian society proposes

00:37:18.402 --> 00:37:20.947
the nationalization of hydrocarbons,

00:37:21.280 --> 00:37:24.158
which are the most important
natural resource today,

00:37:24.659 --> 00:37:26.744
sending away
transnational corporations,

00:37:27.119 --> 00:37:30.414
the sovereignty of the country
over our resources,

00:37:30.665 --> 00:37:33.084
the need for a constituent assembly.

00:37:33.376 --> 00:37:36.128
It was basically
a kind of massive agenda,

00:37:36.462 --> 00:37:39.799
not only from a supposed
indigenous vanguard,

00:37:40.049 --> 00:37:41.926
but also from many people

00:37:42.009 --> 00:37:45.221
who didn’t belong
to any social organization,

00:37:45.346 --> 00:37:47.807
and who joined the popular revolt.

00:37:47.974 --> 00:37:50.184
It wasn\'t just about
overthrowing a government,

00:37:50.309 --> 00:37:53.145
but about questioning a whole system,
and a whole state.

00:38:00.778 --> 00:38:05.950
And in that context, Evo Morales
takes power in a kind of vacuum,

00:38:06.325 --> 00:38:11.080
created by social organizations,
where no party managed to take hold.

00:38:12.331 --> 00:38:13.791
Many of us

00:38:14.125 --> 00:38:17.128
started campaigning for President Morales,

00:38:17.420 --> 00:38:18.796
because there was hope

00:38:19.213 --> 00:38:22.300
that he would finally
include the indigenous world.

00:38:22.466 --> 00:38:24.260
And establish a plurinational state.

00:38:24.844 --> 00:38:26.762
It was a time of anointing.

00:38:28.848 --> 00:38:31.517
Many ephemeral murals
were painted.

00:38:32.184 --> 00:38:35.855
The mayor\'s office or the police
erased them,

00:38:35.980 --> 00:38:38.232
but for us it was
like a new canvas,

00:38:38.482 --> 00:38:40.318
we would paint again.

00:38:41.652 --> 00:38:45.197
It was ephemeral art
that had an immediate purpose,

00:38:45.323 --> 00:38:49.076
which was to position the figure
of the first indigenous president.

00:38:49.702 --> 00:38:53.706
\"You are appointed
as constitutional president...\"

00:38:58.127 --> 00:39:01.672
This acceptance of the Andean,
the indigenous,

00:39:01.756 --> 00:39:04.342
had existed long before Evo Morales.

00:39:05.634 --> 00:39:08.262
I think Evo Morales is the result of that.

00:39:08.763 --> 00:39:09.764
He became president

00:39:09.930 --> 00:39:12.892
precisely because there was already
a desire to identify ourselves

00:39:13.142 --> 00:39:17.688
with what we believed to be ours,
in this case, the Andean identity,

00:39:17.772 --> 00:39:20.316
and after Evo Morales,
it became official.

00:39:21.650 --> 00:39:25.863
In El Alto, young people are more active,
they are more politicized.

00:39:26.572 --> 00:39:29.367
And there’s a rejection
of the president,

00:39:29.492 --> 00:39:31.702
but there are also people
who support him.

00:39:32.119 --> 00:39:33.496
Where is it expressed?

00:39:33.537 --> 00:39:34.705
It’s on the walls.

00:39:36.123 --> 00:39:40.127
From insults directed at the president,
to praise of the president.

00:39:42.338 --> 00:39:45.508
Those kinds of battles
on the walls,

00:39:45.633 --> 00:39:46.926
especially in El Alto,

00:39:47.426 --> 00:39:50.346
all are centered around the president.

00:39:52.932 --> 00:39:54.558
Either you accept him or you reject him,

00:39:54.600 --> 00:39:56.727
there’s no middle ground.

00:39:58.104 --> 00:40:00.147
They are small cells
that are formed from…

00:40:00.523 --> 00:40:01.732
a neighborhood, let’s say.

00:40:01.816 --> 00:40:04.985
There’s a social center,
they hire two painters,

00:40:05.069 --> 00:40:07.113
or some friends get together,

00:40:07.279 --> 00:40:09.031
to paint political messages .

00:40:09.365 --> 00:40:11.409
Here it has become popular culture.

00:40:11.617 --> 00:40:14.078
I participated in that,
I was hired to do that once.

00:40:14.161 --> 00:40:16.330
To go and cover the walls
with “Yes”, “No”...

00:40:16.455 --> 00:40:19.166
you get hired, you do it,
and you get paid.

00:40:21.836 --> 00:40:24.755
Art is embedded in politics.

00:40:25.214 --> 00:40:28.259
That effervescence
still exists in Bolivia.

00:40:28.676 --> 00:40:31.011
But there\'s also disappointment.

00:40:37.017 --> 00:40:38.936
I\'ve painted a wall

00:40:39.061 --> 00:40:42.314
about the parties
that fight for power,

00:40:42.523 --> 00:40:44.150
within my context, for example.

00:40:47.611 --> 00:40:49.655
It is a \"tinku\" fight.

00:40:49.822 --> 00:40:51.240
The aim of this dance

00:40:51.323 --> 00:40:53.451
is the bloodshed
for the Pachamama,

00:40:53.617 --> 00:40:55.161
for a good harvest.

00:40:57.830 --> 00:40:59.915
I have taken this dance
as a reference,

00:40:59.957 --> 00:41:01.876
with the colors of the political parties.

00:41:02.168 --> 00:41:04.837
And with a scene behind,
in gray,

00:41:04.920 --> 00:41:08.466
showing people’s indifference,
when this is happening.

00:41:12.011 --> 00:41:15.848
This is what the political parties’ fights
represent to me.

00:41:22.104 --> 00:41:28.027
We all have the possibility of...
expressing what we believe to be right,

00:41:28.402 --> 00:41:32.698
and propagandizing our ideas
in any way we can.

00:41:34.283 --> 00:41:37.953
I’m lucky to be able
to paint facing the street,

00:41:38.037 --> 00:41:40.581
and have a free billboard.

00:41:42.041 --> 00:41:44.293
And what better way
than to do it on this scale,

00:41:44.335 --> 00:41:46.253
and with this crowd of people.

00:42:07.483 --> 00:42:11.070
KSR starts as a project
between me and Puriskiri.

00:42:12.780 --> 00:42:14.907
He mostly makes characters,

00:42:15.407 --> 00:42:18.494
and I make letters,
so we complement one another,

00:42:18.911 --> 00:42:22.873
and we maintain a graphic line
that we’ve been managing.

00:42:32.758 --> 00:42:36.053
Basically the question was:
What will we paint? What will we write?

00:42:36.220 --> 00:42:37.888
And why do we write it?

00:42:37.972 --> 00:42:41.809
And how do we make it shorter,
to have more impact,

00:42:41.892 --> 00:42:44.144
how do we make you understand
in 3 seconds.

00:42:44.562 --> 00:42:46.897
It was a dialogue
between both of us.

00:42:53.153 --> 00:42:56.031
It is very difficult to meet
with other people out there.

00:42:56.156 --> 00:42:59.118
Because there\'s always advertising
selling you something,

00:42:59.243 --> 00:43:00.953
there’s the authority,

00:43:01.036 --> 00:43:03.289
or something else
that tells you what to do and stuff…

00:43:07.209 --> 00:43:09.295
And you find something
that simply

00:43:09.336 --> 00:43:12.172
makes you think in some way,
good or bad,

00:43:12.715 --> 00:43:13.966
...so that’s the point.

00:43:18.053 --> 00:43:20.055
DEMOCRACY

00:43:21.807 --> 00:43:25.352
I think we have a strong stigma
with gender violence, so to speak.

00:43:26.353 --> 00:43:31.233
Much of the violence
is against women,

00:43:31.483 --> 00:43:35.279
who play a fundamental role
in trade.

00:43:35.696 --> 00:43:39.241
If you go to La Cancha market,
all the merchants are women.

00:43:46.040 --> 00:43:50.836
A subject that I like to deal with
in painting.

00:43:53.213 --> 00:43:58.886
I\'ve tried to use the activity
they carry out, which is trade,

00:43:59.094 --> 00:44:03.140
to say something about
what they sell us.

00:44:03.432 --> 00:44:08.020
They should sell us education,
they should sell us historical memory.

00:44:10.314 --> 00:44:14.318
I had to paint, for example,
in the alleyway where flowers are sold,

00:44:14.652 --> 00:44:17.071
where all the people
who work there are women.

00:44:17.780 --> 00:44:19.698
There I had the chance
to portray a woman,

00:44:19.823 --> 00:44:23.202
with a bouquet of flowers
inside a Molotov cocktail.

00:44:39.426 --> 00:44:43.472
I believe that the streets of Bolivia
are full of poetry.

00:44:44.139 --> 00:44:50.521
I love the streets of La Paz,
El Alto, Cochambamba.

00:44:50.979 --> 00:44:52.981
I believe that the poetics of the street

00:44:53.065 --> 00:44:54.608
has been installed by women.

00:44:54.733 --> 00:44:55.859
Definitely.

00:44:59.905 --> 00:45:01.699
They’ve filled it with colors,

00:45:01.865 --> 00:45:04.368
they’ve filled it with atmosphere.

00:45:05.619 --> 00:45:07.413
With meaning, with feeling.

00:45:07.579 --> 00:45:09.998
The way that women
have occupied the street

00:45:10.290 --> 00:45:13.460
is poetics in a public space.

00:45:19.341 --> 00:45:22.261
Nothing can beat these poetics.

00:45:22.469 --> 00:45:28.892
Nothing lives up to a woman
napping at her fruit stand.

00:45:31.186 --> 00:45:37.025
And it\'s massive, it\'s fabulous,
it\'s a tremendous takeover of the street.

00:45:37.317 --> 00:45:41.029
A street that in Bolivia is
completely alive…

00:45:41.196 --> 00:45:43.991
Completely… flammable.

00:46:32.414 --> 00:46:36.502
For us, graffiti is a way
to provide an additional dimension

00:46:36.668 --> 00:46:39.129
to the street,
which we consider to be

00:46:39.254 --> 00:46:42.716
the only space
of democracy and history,

00:46:42.883 --> 00:46:45.052
in Bolivia and in Latin America.

00:46:45.552 --> 00:46:47.596
We sign as \"Women Creating\",

00:46:47.805 --> 00:46:50.140
because it\'s very important to us
that people know

00:46:50.265 --> 00:46:51.809
that behind that phrase

00:46:51.892 --> 00:46:53.185
there’s a thought,

00:46:53.435 --> 00:46:56.271
a movement, a group of women.

00:46:57.564 --> 00:47:00.484
And also because
we take responsibility for what we say.

00:47:05.239 --> 00:47:09.201
BLOOD, BONES
THE FOOTPRINTS OF PROGRESS

00:47:12.371 --> 00:47:16.083
From the start we thought of creativity

00:47:16.083 --> 00:47:17.709
as an instrument in the struggle,

00:47:18.085 --> 00:47:21.547
so it was a challenge for us
to consider new languages,

00:47:21.630 --> 00:47:24.591
and new forms
of political manifestation.

00:47:24.758 --> 00:47:27.469
The judiciary has proven it\'s corrupt!

00:47:27.636 --> 00:47:31.348
The judiciary has proven
its lack of professionalism!

00:47:31.431 --> 00:47:34.309
NEITHER THE EARTH NOR THE WOMEN
ARE CONQUEST TERRITORY

00:47:34.309 --> 00:47:36.019
For us graffiti has always been

00:47:36.019 --> 00:47:38.397
an instrument of
denunciation, on one hand,

00:47:38.522 --> 00:47:40.524
but also of provocation, of irony…

00:47:40.691 --> 00:47:43.068
and also a poetic language.

00:47:43.944 --> 00:47:47.364
EVO, YOUR BETRAYAL OF THE PACHA
ENDED YOUR GOOD STREAK

00:48:03.505 --> 00:48:05.924
EVE WILL NOT COME
FROM EVO’S RIB

00:48:08.051 --> 00:48:10.012
We understand feminism,

00:48:10.804 --> 00:48:12.431
among many things,

00:48:12.681 --> 00:48:16.977
as a symbolic struggle,
a dispute of symbols,

00:48:17.352 --> 00:48:20.898
and as a dispute of social imageries.

00:48:23.025 --> 00:48:25.360
Since we founded the movement,

00:48:26.069 --> 00:48:28.906
we were clear
that we needed to get a space.

00:48:29.114 --> 00:48:32.492
Then we made the effort
to generate our own space.

00:48:32.618 --> 00:48:34.369
The first was La Carcajada (The Laughter).

00:48:34.786 --> 00:48:37.915
It was an affordable food court
for many years,

00:48:38.040 --> 00:48:41.877
which also worked for us to meet, study,

00:48:42.002 --> 00:48:44.671
and any woman could get there.

00:48:44.963 --> 00:48:48.842
And then, we decided to jump
from La Carcajada,

00:48:49.593 --> 00:48:51.136
to a house...

00:48:51.511 --> 00:48:56.224
that would allow another concept to thrive
that we had already developed,

00:48:56.391 --> 00:48:58.185
and which was not present
at La Carcajada.

00:48:59.686 --> 00:49:02.022
We want a feminism
that can be eaten,

00:49:02.147 --> 00:49:04.816
touched, and seen.

00:49:05.609 --> 00:49:09.237
For that, we’ve developed
this concept of concrete politics,

00:49:09.404 --> 00:49:13.992
which is to translate ideology
into service practices.

00:49:16.703 --> 00:49:18.038
Here we have

00:49:18.246 --> 00:49:23.043
the most prestigious and interesting
feminist service against sexist violence

00:49:23.085 --> 00:49:24.670
in the whole country.

00:49:26.129 --> 00:49:28.131
We have a self-defense school.

00:49:28.423 --> 00:49:30.884
We have a radio station,
we have accommodation.

00:49:31.510 --> 00:49:35.597
Women Creating is today
a reference of struggle,

00:49:36.014 --> 00:49:38.976
of rebellion, of resistance,

00:49:39.476 --> 00:49:40.811
and of proposals

00:49:40.978 --> 00:49:44.564
for the whole of Bolivian women, firstly,

00:49:44.815 --> 00:49:47.442
but also for the whole
of Bolivian society.

00:49:54.241 --> 00:49:56.535
We\'re like history books, right?

00:49:56.702 --> 00:49:58.829
That show us
what has happened, a massacre,

00:49:58.912 --> 00:50:01.039
the injustice that exists at the moment,

00:50:01.248 --> 00:50:03.041
and we\'re on it, in constant struggle.

00:50:04.167 --> 00:50:05.877
To not forget.

00:50:08.296 --> 00:50:10.507
Everything that happens
at the political level,

00:50:10.674 --> 00:50:14.469
reconfigures what happens
at the visual level within cities.

00:50:16.054 --> 00:50:18.223
And I believe that
in about 2 or 3 years,

00:50:18.515 --> 00:50:21.601
things will change again
here in Bolivia.

00:50:26.648 --> 00:50:29.276
It\'s complicated to talk about
a so-called \"Bolivian art\".

00:50:29.484 --> 00:50:32.863
I\'ve taken these issues myself,
these icons,

00:50:33.113 --> 00:50:36.908
trying to identify ourselves,
to make them ours.

00:50:41.329 --> 00:50:44.624
It opens young people\'s minds
to other ways of expressing themselves,

00:50:44.750 --> 00:50:48.086
to other means of living,
to other types of information.

00:50:50.130 --> 00:50:52.090
People will always take to the street.

00:50:52.257 --> 00:50:56.136
It\'s a moment to show a little
of the roots we have.

00:50:57.763 --> 00:51:01.516
Muralism has always been a rebellion.

00:51:02.142 --> 00:51:06.313
To take spaces that the museum
and the gallery don\'t allow you...

00:51:06.563 --> 00:51:10.150
In the art world,
muralism is also a reaction...

00:51:10.317 --> 00:51:12.611
to these established rules.

00:51:13.195 --> 00:51:16.782
We began to express
where we live,

00:51:17.157 --> 00:51:19.618
where we eat,
where we do our rituals,

00:51:19.826 --> 00:51:21.995
and to know that we have to be

00:51:22.037 --> 00:51:23.580
proud of who we are.