Arte urbano, política y memoria en 2019: Primeros pasos hacia la conformación de un archivo del muralismo político en Santiago de Chile.

espanolEl presente ensayo nace desde la inquietud en torno a la volatilidad del grafiti como obra, imagen e intervencion del espacio urbano y busca ser una exploracion de lo que ocurre con el grafiti muralismo en Santiago de Chile. Se centra en la vocacion politica de este considerando como precedentes importantes el muralismo Mexicano como tambien las Brigadas Ramona Parra y Elmo Catalan. En el trabajo se hace enfasis en el muralismo con vocacion politica y mensajes explicitos llevandolos a lo que se ha entendido como el rol social del arte desde autores como Nelly Richard o Gaspar Galaz, aludiendo a la obra de grafiteros como Agotok, UFO o Aguarda Kiltro con importantes intervenciones en la zona sur de Santiago, sector caracterizado por el habitat popular. A nivel metodologico se realiza una exploracion en la Avenida Santa Rosa, una de las principales arterias de la zona sur de Santiago, con gran cantidad de obras en sus muros, concluyendo en el centro cultural donde se encuentra el trabajo “el gol de Chile” del destacado muralista Roberto Matta. Se hace enfasis en la necesidad de registro fotografico del arte urbano, para llegar a formar un fondo adecuadamente ordenado para la conformacion de un archivo del arte urbano que seria un campo altamente dinamico y en constante disputa, siendo un ejercicio interesante para recuperar y fortalecer la memoria historico social. Como conclusion se destaca que el presente esbozo se plantea como un primer paso, un ejercicio reflexivo sobre la necesidad de registrar y archivar como ejercicio de memoria que puede resultar en experiencias destacables. EnglishThis essay was born from the concern about the volatility of graffiti as a work, image and intervention of urban space and seeks to be an exploration of what happens with mural graffiti in Santiago, Chile. It focuses on the political vocation of the latter considering as important precedents the Mexican muralism as well as the Ramona Parra and Elmo Catalan Brigades. The work emphasizes muralism with a political vocation and explicit messages leading them to what has been understood as the social role of art from authors such as Nelly Richard or Gaspar Galaz, referring to the work of graffiti artists such as Agotok, UFO or Aguarda Kiltro with important interventions in the southern area of ​​Santiago, a sector characterized by the popular habitat. At the methodological level, an exploration is carried out on Santa Rosa Avenue, one of the main arteries of the southern area of ​​Santiago, with a large number of works on its walls, concluding in the cultural center where the work “the goal of Chile” is located of the prominent muralist Roberto Matta. Emphasis is placed on the need for a photographic record of urban art, in order to form a properly organized fund for the conformation of an archive of urban art that would be a highly dynamic and constantly disputed field, being an interesting exercise to recover and strengthen the social historical memory. In conclusion, it is highlighted that this outline is presented as a first step, a reflective exercise on the need to register and file as a memory exercise that can result in outstanding experiences. Emphasis is placed on the need for a photographic record of urban art, in order to form a suitably ordered fund to create an archive of urban art that would be a highly dynamic and constantly disputed field, an interesting exercise to recover and strengthen the historical social memory. Finally, a long-term but highly relevant work is proposed around the creation of an archive of urban art with explicit political messages in Santiago, with the hard work involved.