Viewing page 4 of 6

This transcription has been completed. Contact us with corrections.

Transcription: [00:28:07]
{SPEAKER name="Speaker 1"}
So, ahora vamos - We're gonna turn and talk to Elliot. So, Elliot, ¿Si nos podríamos hablar un poco sobre tu rol que tú te vez como artista de la democratización en el espacio urbano?

[00:28:17]
{SPEAKER name="Elliot"}
Eh bueno yo eh apartir de 2010 vengo pintando en la calle y considero yo esa una forma de democratizar mi trabajo. Me ha permitido poder vincularme, relacionarme con una sociedad de manera mucho más amplia. Cosa

[00:28:38]
{SPEAKER name="Elliot"}
que anteriormente no me pasaba de hecho tenia un acercamiento con la gente y gente que valoraba mi trabajo pero ya considere de que las obras y los trabajos y exposiciones que uno desarrolla sale un una heladería y

[00:28:51]
{SPEAKER name="Elliot"}
probablemente no es de consumo visual de la gente, la mayoría. Pintar en la calle a mi me ha permitido tener una amplitud de mi trabajo y del contexto también que desarrollo digamos con los murales porque son,

[00:29:05]
{SPEAKER name="Elliot"}
apelar a los textos y a la conscientización por medio de bien.

[00:29:09]
{SPEAKER name="Speaker 1"}
So, since 2010, he's been working mainly doing different kinds of street art. And he feels that street art has been a good way of kind of getting closer to people,

[00:29:20]
{SPEAKER name="Speaker 1"}
being-- have a kind of closer connection to, also, social processes that are happening in the city.

[00:29:24]
{SPEAKER name="Speaker 1"}
He says, you know, he's had work, working galleries-- is usually accessible to one particular kind of public, but we show when you do these kind of street art, you can elicit all sorts of different connections with

[00:29:34]
{SPEAKER name="Speaker 1"}
different people,

[00:29:35]
{SPEAKER name="Speaker 1"}
you feel much closer to people in general and it also becomes its own kind of context.

[00:29:42]
{SPEAKER name="Speaker 1"}
So, the place where you make art itself becomes part of the content in which an artist being made; which is something that he really appreciates.

[00:29:47]
{SPEAKER name="Eliot"}
Para hacer digamos mucho mas resumido esto, este año a principios hubo el alcalde de la Municipal de Lima se le ocurrió la grandiosa idea de borrar murales en Lima. Y eso fue un momento importante porque se

[00:30:05]
{SPEAKER name="Eliot"}
visibilizo el trabajo del arte urbano y se vio reflejado, digamos, en el respaldo de la población sobre borrado. Entonces eso ha sido digamos un evento nefasto para Lima y que transcendió a nivel, digamos, Latinoamericano y

[00:30:21]
{SPEAKER name="Eliot"}
mundial a gente que esta vinculado en el arte urbano. Fue una acción, como un genocidio de murales, el cual le quito a la ciudad de Lima, digamos, una forma de apreciación del arte.

[00:30:32]
{SPEAKER name="Speaker 1"}
So, he's talking about Lima, starting about 2010 de--le voy a explicar un poquito de los murales

[00:30:40]
{SPEAKER name="Speaker 1"}
Lima around 2010, they-- then mayor of Lima actually opened a lot of urban spaces up, and many people began painting murals all over the city,

[00:30:49]
{SPEAKER name="Speaker 1"}
and kind of created this kind of explosion of urban arts, which he was very actively involved in. The most recent mayor of Lima decided that he did not like that.

[00:31:00]
{SPEAKER name="Speaker 1"}
And they began to kind of paint over all of these urban art. And he says that in a way, this has been kind of an interesting experience, because the erasing of all of these murals

[00:31:10]
{SPEAKER name="Speaker 1"}
and all of these urban art has actually brought attention to the fact that they were there. So when people begin to notice that they were being kind of erased out, that that kind of led to a lot of outcry for not

[00:31:21]
{SPEAKER name="Speaker 1"}
only artists,

[00:31:23]
{SPEAKER name="Speaker 1"}
but for many people in the community. This has actually become kind of a, in the larger Latin American community, this has actually become kind of like this dark event that many people have kind of come to talk

[00:31:35]
{SPEAKER name="Speaker 1"}
about,

[00:31:36]
{SPEAKER name="Speaker 1"}
and that ironically, what it's doing is kind of galvanizing more people around the idea of urban eye, art and its importance, and it's need.

[00:31:43]
{SPEAKER name="Eliot"}
Aprovecho también, me salí de Lima para desarrollar talleres con, digamos, con escuelas o cosa parecido y ahí veces para contarles le sirve las anecdotas y habia una institución de diseño en Lima muy importante que me

[00:31:59]
{SPEAKER name="Eliot"}
convoco para hacer un taller pero no me quería pagar. Entonces yo imposible trabajar para empresas que ganan dinero a cosas de otros, así que no hice el trabajo aquello. Pero, en otras situaciones puedo negociar, como

[00:32:12]
{SPEAKER name="Eliot"}
con la Universidad Católica yo desarrollo charlas y lo que hago con ellos es como el día de la charla hago recolección de materiales para niños y con esos materiales puedo hacer talleres, digamos, en los

[00:32:23]
{SPEAKER name="Eliot"}
asentamientos humanos

[00:32:24]
{SPEAKER name="Speaker 1"}
So, he's pointing out that one of the things that he does to work as an artist, that kind of helps to this kind of democratizing process, is the kind of work that he has.

[00:32:33]
{SPEAKER name="Speaker 1"}
So, he likes to, in addition to just being an artist, he likes to give workshops, and for different kinds. He says that at times, he's he people who know about his work have kind of invited him and try to get him

[00:32:44]
{SPEAKER name="Speaker 1"}
to do his work for free,

[00:32:46]
{SPEAKER name="Speaker 1"}
which it's kind of a difficult thing to do. And especially, usually, when they're sponsoring corporate companies, we're kind of sponsoring these workshops in different ways.

[00:32:56]
{SPEAKER name="Speaker 1"}
But that over time, he's actually learned to kind of develop different kinds of, let's call 'em guerrilla compromises, of sorts, for example,

[00:33:03]
{SPEAKER name="Speaker 1"}
the, the University, the Catholic University, calls him often to kind of do workshops, and they they cannot pay him, but one of the things that he does,

[00:33:11]
{SPEAKER name="Speaker 1"}
is as part of the free workshops that he's giving at the university, he has all the attendance to bring with them as donations: painting supplies and painting materials,

[00:33:20]
{SPEAKER name="Speaker 1"}
which then he will use for children's workshops, that he will use in other places. So it's a way of kind of reallocating and kind of moving resources around in different ways.