vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 online, 1.- European Comission,n.d..‘2012 - Vitoria-Gasteiz’. Environment. European Green Capital. (retrieved 24-11-2018) htt Lander García, [email protected] Werckmeister Verónica ac.uk. ORCID ID:https://orcid.org/0000-0003-3275-0255 santiago.villajos.10@ucl. Spain. Letras, y Filosofía de Facultad Department. the city when it got the recognition of European Green Capital in 2012. in Capital Green European of recognition the got it when city the attractions of main the of fact,Vitoria-Gasteiz,wereone in muralsof The muralart. public of gallery urban its to thanks internationally known becomeVitoria-Gasteiz hasdecade, last the In 2017. December of 8th the and 4th the country,between Basque the of Vitoria-capital Gasteiz, of city the in out carried fieldwork ethnographic of results the presents paper This Abstract DOI: https://doi.org/10.1344/waterfront2019.61.6.6 of Lodz.October 2018,andreviewed for publication in 2019 February Note: Villajos Santiago in Vitoria-Gasteiz art public to approach contextualising a Intangible Heritage: and Art Street development processes of excavating, restoring, repairing, consolidating, documenting and documenting consolidating, repairing, and restoring, excavating, research of processes the development within sustainability integrated that works) project for the (Open Obras to por thanks Abierto architecture of archaeology the and management studies, heritage general the as sustainability of basis same agenda of the city. This cultural the agenda became a world-class reference in the field of cultural on 2007 in project IMVG the by produced p :// ec.europa.eu/ This This paper was selected for the 3rd. Aesthetic Energy of the City International Seminar. University Martxoak Hiru-3deMarzo. [email protected] environmen Uiesdd uóoa e ard Hsoy f Art of History Madrid, de Autónoma Universidad , , Itinerario Muralístico Vitoria-Gasteiz (IMVG). Vitoria-Gasteiz Muralístico Itinerario , t/ europeangreencapital/winnin g-cities/2012 1 They started being started They vitoria-gasteiz /, 3 vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 2014 ing together. In:Soares Neves, P. andFreitas Simoes,D. (eds.),LisbonStreet Art&UrbanCreativity. Lisbon: 8.- Werckmeister, V., 2014.ACaseStudyinMonumental Contemporary Muralism: Creating landmarks, creat 2014 ing together. In:Soares Neves, P. andFreitas Simoes,D. (eds.),Lisbon Street Art&UrbanCreativity. Lisbon: 4.- Werckmeister, V., 2014.ACase StudyinMonumental Contemporary Muralism: Creating landmarks, creat catedralvitoria.eus/ thedral’ .Notas deprensa. Catedral deSanta María - Katedrala Santa María(retrieved online, 7.- FundaciónCatedral Santa María,2008.‘Ken Follet presents World WithoutEndat theSanta MaríaCa Plan Director deRestauración. Vitoria-Gasteiz: Diputación Foral deÁlava (Retrieved online, 6.- Azkárate, Cámara, A., L.,Lasagabaster, J. I.andLatorre, P., 1998.Catedral deSanta María,Vitoria-Gasteiz. htt 5.- European Comission,n.d..‘2012 - Vitoria-Gasteiz’. Environment. European Green Capital. (retrieved online, catedralvitoria.eus/ thedral’ .Notas deprensa. Catedral deSanta María - Katedrala Santa María(retrieved online, 3.- FundaciónCatedral Santa María,2008.‘Ken Follet presents World WithoutEndat theSanta MaríaCa Plan Director deRestauración. Vitoria-Gasteiz: Diputación Foral deÁlava (Retrieved online, 2.- Azkárate, Cámara, A., L.,Lasagabaster, J. I.andLatorre, P., 1998.Catedral deSanta María,Vitoria-Gasteiz. por catedralvitoria.co por catedralvitoria.co p -obras/ -obras/ :// ec.europa.e u/ its working methods based on community practice, social engagement and public participation. public engagement and social practice, community on based methods working its is IMVG the of aspects singular most the of One ephemeral. more be to tend expressions normally where world, Art Street current the within case-study exceptional an IMVG the makessustainability caso excepcional en la península ibérica, donde muchos festivales y proyectos de arte callejero se callejero arte de proyectos y festivales muchos donde ibérica, península la en excepcional caso aí a rvs e a nepeain cultural interpretación la de través Santa a de María gótica catedral la exponiendo y documentando de consolidando, excavación, , y desarrollo reparación. restauración, investigación de procesos los en sostenibilidad la integraba que Obras de losestudios por Abierto proyecto al gracias arquitectura campo la de en arqueología el la y gestión la cultural, patrimonio de mundial declase referencia una en convirtió se cultural agenda Esta el proyecto IMVG en 2007 sobre la misma base de sostenibilidad que el general. Agenda de la ciudad. presented Ken who Follet, practice as goodrecognizedexample such internationallyof an attracting people and Un mundo sin fin, su secuela de Los pilares de la Tierra, en el edificio el en Tierra, la de pilares Los de secuela su fin, sin mundo Un presentó quien Follet, Ken como personas a atraía que y internacionalmente reconocidas prácticas exhibiting the Gothic cathedral of St. Mary through cultural interpretation. cultural through Mary St. of cathedral Gothic the exhibiting obtuvieron el reconocimiento de la Capital Verde Europea en 2012 Los murales de Vitoria-Gasteiz, de hecho, fueron uno de los principales atractivos de la ciudad cuando público. mural arte de Galería su a década,gracias conocida internacionalmenteúltima hecho ha la se Vitoria-GasteizEn 2017. de diciembre de 8 el y 4 el entreVasco, País del capital Vitoria-Gasteiz, de ciudad la en realizado etnográfico campo de trabajo del resultados los presentadocumento Este Resumen public engagement; social participation; Street Art;urban practice; mural gallery; art community sustainability; Follet; IMVGproject; Ken project; works Green Capital; for Open European country; Basque Vitoria-Gasteiz; fieldwork; ethnographic Keywords: mural artinparallel to theIMVG sincethe2000s. public of pieces large produced and quickly developed projects and festivals Art Street many where combination of these particular features makes the IMVG an exceptional case in the Iberian peninsula, participación pública participación basados trabajo de métodos del sus singulares son más aspectos IMVG los de Uno efímeras. más ser a tienden expresiones las normalmente donde Art, Street de actual mundo del dentroexcepcionalestudio de caso un sea IMVG el que hace m/docsww m/docsww en/ en/ , his sequel to sequel his End, without World A environmen curren curren w w t/1486/ke t/1486/ke 8 . La combinación de estas características particulares hace que el IMVG sea un sea IMVG el que hace características particulares estas de combinación La . .catedralvitoria.co .catedralvitoria.co t/ europeangreencapital/winnin n n - - follett follett -presents-worl d -presents-world m, 24-11-2018); m, 24-11-2018); 6 . Ese programa se convirtió en un ejemplo debuenas un ejemplo en convirtió se programa Ese . en la práctica comunitaria, el compromiso social yla social compromiso el comunitaria, práctica la ​​en , in the building. the in Earth , of Pillars The -withou -withou g-cities/2012 http http s://ww s://ww t t -enda -enda 5 . Comenzaron a ser producidos por w w vitoria-gasteiz t t .catedralvitoria.eus/ .catedralvitoria.eus/ -th -th 7 . El énfasis en la sostenibilidad la en énfasis El . e-san e-san 2 That program became program That t, 24-11-2018) t, 24-11-2018) http http /, 24-11-2018) 3 The emphasis on emphasis The http http s://issu s://issu s://ww s://ww es/ es/ abiert abiert u u .co .co w w - - 4 . . The m/ m/ o- o- - - 4 vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 2014 ing together. In:Soares Neves, P. andFreitas Simoes,D. (eds.),LisbonStreet Art&UrbanCreativity. Lisbon: 12.- Werckmeister, V., 2014.ACaseStudyin Monumental Contemporary Muralism: Creating landmarks, creat catedralvitoria.eus/ thedral’ .Notas deprensa. Catedral deSanta María - Katedrala Santa María(retrieved online, 11.- FundaciónCatedral Santa María,2008.‘Ken Follet presents World WithoutEndat theSanta MaríaCa Plan Director deRestauración. 10.- Azkárate, Cámara, A., L.,Lasagabaster, J. I.andLatorre, P., 1998. htt 9.- European Comission,n.d..‘2012 - Vitoria-Gasteiz’. Environment. European Green Capital. (retrieved online, por catedralvitoria.co p -obras/ :// ec.europa.e u/ l’IMVG són els seus mètodes de treball basats en la pràctica comunitària, la participació social i la social participació pública participació la comunitària, pràctica la en basats treball de mètodes seus els són l’IMVG de singulars més aspectes dels Un efímeres. més ser solen expressionscarrer, les de normalment on documentant i exposant la catedral gòticaconsolidant, de Santa, Marial’excavació, mitjançantreparació larestauració, interpretacióde culturaldesenvolupament i recerca de processos els en gestió i arqueologia de l’arquitectura gràcies al projecte Abierto porcultural Obrases va queconvertir enva un integrarreferent de la primer ordre sostenibilitat en el camp dels estudis sobre patrimoni cultural, ciutat.Aquestaagendala de generalsostenibilitatagenda el la mateixesque de les sobrebases 2007 Art decarrer; galeria urbana;art mural Open for Works; Ken Follet; sostenibilitat; pràctica comunitària; compromís social; participació pública; etnogràfic;camp Vitòria-Gasteiz; Capital treballde europea; verda Basc; Projecte País IMVG; Projecte Paraules clau: i ràpidament es desenvolupen Art de Street i projectes produeixen grans pecesmurals públiquesenparal·lel al’IMVG desdelsanys festivals 2000. molts on Ibèrica, península la a reconeixement el de obtenir la Capital va Verda quan ciutat Europea el la 2012 de atractius principals dels un ser van fet, de Vitòria-Gasteiz, de murals Els públic. l’artmural muralde galeria urbanització. seva la a gràciesinternacionalment coneguda és Gasteiz, capital del País Basc, entre el 4 i el 8 de desembre de 2017. A la darrera Vitòria- dècada, de ciutat a la Vitòria-Gasteiz a terme dut etnogràfic camp de treball del resultats presenta els article Aquest Resum social; compromiso comunitaria; práctica sustentabilidad Follet; participación pública; Arte callejero; galería urbana;arte mural Ken Works; for Open IMVG; Proyecto Proyecto Verde Europea; Capital Vasco; País Vitoria-Gasteiz; etnográfico; campo de trabajo Palabras clave: desde ladécada de2000. IMVG al paralelo en público mural arte de piezas grandes produjeron y rápidamente desarrollaron l’edifici a Earth, of Pillars The de seqüela seva la WorldEnd, presentarvawithout A que Follet,Ken com gent programa es va convertir en un exemple de bones pràctiques reconegudes internacionalment i atraient 11 m/docsww . L’èmfasi en la sostenibilitat fa que l’IMVG sigui un cas excepcional en el món actual de l’artde actual món el en excepcionalcas un sigui l’IMVGL’èmfasi que . sostenibilitatfa la en en/ environmen curren

12 w t/1486/ke . La combinació d’aquestescombinació excepcionalLa cas un . sigui l’IMVG particularitats que fa Vitoria-Gasteiz: Diputación Foral deÁlava (Retrieved online, .catedralvitoria.co t/ europeangreencapital/winnin n - follett -presents-worl d m, 24-11-2018); 9 . Van començar a ser produïts pel projecte IMVG el -withou g-cities/2012 http Catedral deSanta María,Vitoria-Gasteiz. s://ww t -enda w vitoria-gasteiz t .catedralvitoria.eus/ -th e-san t, 24-11-2018) http /, 24-11-2018) http s://issu s://ww es/ 10 abiert u . Aquest .co w - . m/ o- - 5 vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 17.- Ibie,2014.Interview ARYZ XFINERATS. Street ArtBarcelona (retrieved online, 16.- Cockcroft, E., Webber, J vol 2.Mainaschaff: Publikart, pp112-113 15-´ Iosifidis,K.,2009.Mural Art:Large Scale Artfrom Walls Around theWorld from Graffiti to Trompe l’oeil, 14.- Sommer, R vol 2.Mainaschaff: Publikart, p.48 13.- Iosifidis, 21.- González, M A. 20.- Wacklaweck 2011.Graffiti, A., and Street Art.London:Thames& Hudson Coup deFouet tesque to Street Art.ArtNouveau Murals and longuedurée’ IIIArtNouveau International Congress. Barcelona: introductor de realidades. México D.F.: UNAM, 1961,pp53-58; 19.- Siqueiros, D. 1973. L’art A., et larévolution. Paris: Editions Sociales p.23-26;; Mural Movement. New York: Dutto, pp238-369 18.- Cockcroft, E., Webber, J. and co ment. New York: Dutton m/intervie IMVG2010. in day.remainsactive this to murals the the of of Pitman one In John in fact, part Weber took by John Pitman Weber and William Walker under the name Chicago Mural Group (CMG) and phenomenon, the book Street Art, in 1975. The CPAG was founded five years before in 1970 Movement, whichisacleartrend withinStreet Art. have considered to be defining in the creative processes of current Street Art practice. Art Street current of processes creative the in defining be to considered have scholars that factors other as well as contextstreet the incorporate to and materials new (CPAG), Angeles, CA) and then went on to work on several projects with the (Los Chicago Center Public Resource Art Art Group Public Social the at muralism public in interest her initiated She Werckmeister.Veronica been has IMVG the of charge in person the beginning, the From oee, h ros f hs oeet a b tae bc t te eia Mrl Art stated. Mural themselves Mexican theorists their the as Siqueiros, to Alfaro David back to traced especially Renaissance, be can movement this of roots the However, the United States. United the name the first exhibitions of works made by people painting at the streets for awhile in New folkwasconsidereda expressionas pointthatgalleristsFolktermtotothe Urban the used Afro. It the or Hispanic the Latin, the as such America in ethnicities subalternexpression of mural art did not stop being produced at the street. the art establishment which does not correspond with empirical evidence, in the sense that informationlittle within thereis 1970s, revivalmuralthe art the of and 1930s Betweenthe Aires. Buenos and Montevideo,Angeles, Los in 1934 in forinnovativethe theorized produced a well-establishedworks and he discourse within art Siqueiros was a pioneer in incorporating the public space of street into the creative processes movement that spread during the 1970s in the United States, of a part are artists these All 2005. since Christina sister her with collaboration in projects the dynamics of her artistic processes in Vitoria-Gasteiz, where she has been directing many w K.,2009.Mural Art:Large Scale Artfrom Walls Around theWorld from Graffiti to Trompe l’oeil, -ary ., 1975. 13 z which was one of the most important organizations in the rising of Street Art in Art Street of rising the in organizations important most the of one was which - ., 1982.‘Murals: Fine,Popular, orFolk Art?’. Aztlan 13,pp.149-163 x - fine-rat Street Art. 15 The trainingThe Veronicaof Werckmeister at CPAGthe tocrucial is understand . and s/, 12-10-2014) 14 Their work was widely referenced in Sommer’s seminal study on the on study seminal Sommer’s in referenced widely was work Their New York: Links Cockcroft, J Cockcroft, J ., 1977.‘Aesthetics’. Toward a People’s Art:TheContemporary ., 1977.Toward aPeople’s Art:TheContemporary Mural Move- Villajos, S.G.,inpress. ‘From Ruskin’sVillajos, Gro- 21 17 During that time, mural art became an 19 They led him to experiment with experiment to him led They 16 the Contemporary Mural Art Tibol, R htt p ://ww ., 1961.Siqueiros: w .streetartbc n . 20 18

6 vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 _2018 (retrieved online, 24.- Werckmeister, tage. Paris: UNESCO, p.5(retrieved online, 23.- UNESCO, 2003.BasicTexts of the2003Convention for theSafeguarding oftheIntangible Cultural Heri 22 withou htt ‘El mural deZaramaga sobre el3deMarzo listo para serinaugurado’. Martxoak 3deMarzo (retrieved online, ww Knowing. Hillsdale,NJ:Eribaum 25.- Gibson, J. p .- Stahl, J w ://ww . gasteizho _version t -memor among communities, groups andindividuals,ofsustainable development.’ international human rights instruments, as well as with the requirements of mutual respect diversity and human creativity’, being indispensable criteria their compatibility with ‘existing cultural for respect promoting thus continuity, and identity of sense a with them provide groups in response to their environment, their interaction with nature and their history, and ‘transmitted from generation generation’ to and ‘constantly and recreatedby communities groups and, in some cases, individuals recognize as part of their cultural heritage’, which are instruments, objects, artifacts and cultural spaces associated therewith - that communities, 2001, since it means ‘the practices, representations, expressions, knowledge, skills - as of Diversity wellon Cultural as Declaration Universal the and 1989 of recommendations the after culturalguaranteeheritage‘adiversityof a as mainspring and sustainable of development’ cultural intangible the define to criteria the established UNESCO that 2003 until not was It heritage. cultural intangible their of expression factual the became they so communities, social particular to related closely were art mural of practices therefore,the 1970s, the By York inthe1970sinstead thanStreet Art, utrl nagbe eiae s xlrd n hs ae fo te on o ve o the of memory’ view without of point the future nor present ‘No mural from the of historical) and paper social (creative, creation, of processes this in explored is heritage intangible Cultural ecological approach is taken.is approach ecological that contextualising a to do order In skills. and knowledge expressions, representations, cultural heritage from ahumanrights activist´s position. Martxoak Hiru - 3 de Marzo whose aim is to protect and to enhance this particular intangible Zaramaga by Lander García (LG), a member of the local community in charge of the relation associationto the local memory of the historical facts of 3rd of March in the neighbourhood of interview with Veronica Werckmeister (VW) and a site-specific interpretation of public art in w .martxoak3.or ., 2008. J., 1977. ‘The theory ofaffordances’. theory J., 1977. ‘The In -EN.pd y y .co .ph htt Street Art. m/mural-3-d 2013.‘NoPresent norFuture withoutMemory’. La CiudadPintada Itinerario Muralístico p p , 24-11-2017); f ://ww , 24-11-2018) g / el-mural-d w Bonn: Ullmann,p.161 24 .muralismopublic (FIG 6) as a cultural project associated with a set of definite practices, definite of set a with associated project cultural a as 6) (FIG e-marz Asociación yfamiliares deVíctimas del3 demarzo deVíctimas e-zaramag o-zaramag 25 That connects global and local issues through a non driven non a through issues local and global connects That http o.co s://ich.unesc a-sobr a-inauguracion m/p : Shaw, R e-l-3d 22 / en/mural before thelatter became normalised. o.or . and e-marz /, 24-11-2017) g s/vitoria-gasteiz/n /doc Bransford, J., eds., Perceiving, Actingand o-list sr c/2003_Convention_Basi o-par a-ser o-presen -inaugurad t -nor o/; http 23 - c_Text futur , 2014. e- s:// s- - 7 vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 Veronica Werckmeister (VW) Santiago Villajos(SV) come from making public community murals in the United States, so I was invited to lead a invitedlead towas I States,Unitedso the in murals community public making from come VW Público project, whendoesitstart andhow itdevelops? SV the nor communities. artists the for sustainable not is It lot. a changing is scene the that realizing are They projects. oriented festival of kind this organize who Catalonia and States United the It is evolutionary. I’ve just arrived from Catalonia and there I was with different people from happening at thesametimebutindifferent ways. Madrid… I’m interested in contrasts between projects because it is a phenomenon that was organizersAsaltothe Festivalof in Zaragoza, artists Quintanar, in who part took Salamanca, For the last four years I’ve been developing an ethnography of Mural Art in Spain. I interviewed : It all goes super fast. So then, first, could you please explain what is the Muralismo the is what explain please you could first, then, So fast. super goes all It : : The IMVG started in 2007. Well, actually in 2005. We did a little workshop because I because workshop little a did We 2005. in actually Well, 2007. in started IMVG The Brullerías. Itinerario Muralístico Vitoria-Gasteiz. (source: common delas Vitoria-Gasteiz. Plaza at Muralístico Mural Time. Itinerario of The Thread Brullerías. 2007. (dirs), Werckmeister Christina & Veronica 1. FIG s/5/54/Vitoria_- _Plaz a_dela s_Burulleria s_%28%27Al_hil http s://uploa o_deltiemp d . wikimedi o%27%29 a.or .jp g /wikipedi g) a/ 8 vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 VW like that? methodology? Did you have some issues with the public in the city, censorship or something SV art. Everything started fromthere. public to make inorder tools with “non-artists” providing and collaboration participation, something larger and to communicate the concept, the foundations of the project, which are volunteers.a success. Itwas People likedwe couldfrom thenon and a lot it start to develop Christina and I directed the process for the participative mural with thirteen male and female sister My 1). (FIG degraded quite was that square a in town), (old Viejo Casco the of the heart in placed facade central a was it that lucky were We mural. the paint to wanted we where community flat’s the of neighbours the from permission asked We project. big any doing without independently, support, little a with just nothing, with 2007 in one first the Weorganized years. two took It outdoors. and bigger something do to wanted themselves the true realm of muralism is outdoors: public. The people who participated in the workshop understood but that much workshop very the participants enjoyed The association. cultural a for project mural collaborative indoor an conditions. did similar We under here workshop artist or team of artists that behave a little like a coach or a coordinator with artistic skills, artistic with a coordinator or a coach like a little behave that artists of team or artist an by led is project Each project. each directs that artist the is factor important Another mural thenaskfor it,butthatisnotthis.This isnotourmission”. commissioned a want you If “ said and one provide not could we instance,sketch,for a for asked they If moment. that at charge in was who on depends It institutions. with problems never insist. A community must commit to the process unanimously. We also had some other we so and mural the want not did association owners the where building some were There on. later sense, that in problems fewer considerably had we and murals we several done once had it liked people the but beginning, the at difficult was It process.…“ the about is We don’t know…” “Well, but, more or less…?”, they ask. “We don’t know because everything say we and “Ah. paint?” to going you are “What questions: more with reply inevitablythey Whenasking stakeholders, supporters and neighbours result. for something an unknown (funding, permissions, support, etc.), with something in participate to convinced be people to that have sense in the difficulty first the is That be. even will mural the what knowing facade,the forexample, of without owners mural foraskedthe are permission their togive The funding. or permission for asking when shown be can that design or sketch previous a not is there means That idea. the of conception very the from part take who themselves who designs his/her artwork and then carries it out with the people’s support, but the people design of the mural has to come from that process. That is to say, it is not an individual artist the murals had to be participative from the beginning. They have to be collaborative and the : And what was the response? What were the strengths and weaknesses of the participative : The formulation of the project is quite well based in the sense that we always believed always we that sense the in based quite well is project the formulation of The 9 vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 VW Not that… for a sketch, so never reached the point to paint something that people rejected later, right? SV VW SV art, right? individual more promoting effect in art… emerging promoting exhibitions, as such enterdedicatednot more is localwhich of culture, paths tousual the mattersother wedid say that Let Participation. Social and Communication, EconomicPromotion, as such departments, other from came it Culture, from came never Funding mural. years of projects, we only received a grant from the Culture Department for the first 10 over In branding. city intoto of fit hard projects is art public that mean I is, That In relation to the push back or obstacles... they were what one might imagine, right? momentum. different completely a It´s etc. discuss, to and yield to have you then process, collaborative the to subject are you if But moment. that at it for up stand or anyone with argue to need don´t and it express idea, an with start can Individually, we collaborative. to solitary form artistic practice your to change difficult be can it and alone, work general artistsbecause in process just as the non-artist participants do. Some artists need to be convinced to take part, collaborative the to submit to required sense, a in are, artists These world. Art Street the from come nor muralists, professional not are they if even coach, and coordinator of role that tofulfil abilities and their abilities artistic their on based artists select We course. of shifts in the sketch or the design after comments of the people who pass pass the who because people or the by, of after comments sketch design the the in or shifts from benefit or suffer murals the of all Almost painted. being are they when passersby as well as workshops, the in participating are who people the by painted, are they which moment in the by affected are designs mural the when it love we that course, of true, is It controversial matters. murals, interventions combined with responsibility, so I believe we more or less have avoided community of creation the for space the provides up set we structure The objective. an as space that can be more provocative, political, etc.. But that is not something we had wanted public the in interventions other are there that is idea fundamental the mean, However,I provocative first at glance, of critical but little thereare course, ofthem. each within details controversialnor not are murals the that obvious is it anything, or rules establishingany of need the without Then, everyone. to belongs space public that also and responsibility big a to thevolunteering also but artists, to the people and citizens who participate. direct We say that who working in the public space is ones the to only not artists, the to organization : That’s right, so you have had to face obstacles. You always stopped when you were asked : Thanks. : : I’m notsureifIanswered completely. No, let’s see. When we start a project we provide some, let´s say, guidelines from the from say,guidelines let´s some, provide we project a start we When see. let’sNo, 10 vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 you have considered sustainability… how have you thought about sustainability in the sense conservation?of materials? of If use Was taken the in into and account beginning from the though… The issue of materials. Well, you said it more or less… How do you engage the issue SV an individualityto Vitoria whichisalsoimportant. and character confersa that believe I So themselves. neighbours the by made was discover Cathedral, the historical heritage, etc. are surprised while walking by a mural that later they it aside.Inthis the see to to push Vitoria visit to come who people Viejo, Not Casco the at murals the manner,placing right? valued, tobe needs that we believe and bottom the from culture above. is from this speak, Yes, to so intervention coming, cultural other any as space same the occupy and importance given be should It outskirts. city,the the on of part We believe in public collaborative art. Art made by the people doesn´t need to be in a distant company iscontracted to dothisworkto assurethequality. the facade, prepare it for painting and fix any superficial structural problems. A construction that were in very bad condition. One of the objectives of the project is to structurally improve for intervened, we example, one first the facades, some were There renovation. social even and cultural structural, important an had has Viejo Vitoria’s Casco years, fifteen last the in to it, and there are some we both cannot and do not want to paint. On the other hand, now, To assigned conservation Eachof degree map. a a have has we building buildings the select historic buildinginVitoria’s Casco Viejo. of the city is liked by most of the people because, in the end, we had not intervened upon any part this to colour bringing of matter let’sthe love,say, But who are. they keeptoas things individuals certain architects... heritage, cultural it, name to how know of,don’t sector the within trend a been has there know dislike I people it. Some many aspects. townconditions those made from 2013 to 2016, in this neighbourhood, Zaramaga. Intervening in the historical VW the process? What are theparticularitiesof workinginahistorical centre? condition somehow centre historical a in intervening of fact the Does specify? please you SV VW it because conserved, thewholemedieval urbanstreet outline. important is it singular, is Vitoria of center historical the know I Viejo. Casco SV That isgood,yes. place that and moment that transformedin is it made, publicly is it sinceperformance and, we have had a contribution of an associationor… Well, it is publicart, which is almost like a look…”,to going is becauseit this, let’sinclude then… “look, moment that at decides group : Thank you. There is another matter that links a little with this… I planned to ask it later it ask to I planned this… with little a links matter that another is Thereyou. Thank : : I do not know if all the murals are either in the centre or not, or just the majority. Could the in murals are the all if ask I wanted to on… interesting.let’s go pretty Right, is That : : : Yes, yes,yes Right, there are 12 murals in the historical centre, in Vitoria’s Casco Viejo, and 4 murals, . 11 vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 VW SV VW SV there isnotanestablished programmefor restoration ofthemurals. and conservation and we also apply a layer of varnish in order to protect from UV degradation. Unfortunately, materials quality highest the with work we themselves, murals the of conservation the for art practice as much as one by any well-known artists working in the public realm. Therefore, our objectives because of the same argument I mentioned before on valuing a collaborative might mean their work would vanish or peel away within a year. This wouldn´t coalesce with in a mural of these characteristics and later ask them to use substandard material. Doing so participate to commit to them asking people, many so mobilize to fair it thought Wenever best. the is it but cheap, not actually is It beginning. the since paint of type this used have anyway.them used we but chosen, Wepaint.Wenot packagehad we a coloursreceived of leftover their of some sending by program the supported They donation. paint for States United of Foundation Golden Adele and Sam the asked and budget reduced very a had we Webeginning. start.paintsincethe the from acrylic support Forquality firsthad mural, the highest the used have we materials, the For too. down falls it on painted mural the falling, starts wall the if because follows everything where part, important most the say, let’s is, VW project?mural the for sustainability of outlook future your is What materials? and processes of this actually links with the next thing I am going to ask. This question was somewhere question else, was This ask. togoing am I nextthing the with links actually this SV evolves. matter this how see us let well, and, city the of identity the of part is It them. for known be to starting is Vitoria-Gasteiz there? isn’t them, keeping in interest an is there believe I but marble, on works not are forever. They last not will It painting. is it end, the In restore. to murals are a part of the city, the city itself owns them and will decide if it wants to conserve, the that said always have we then And it? isn’t mention, to important is which is something that the murals, over graffiti of problems no had have We it. fix to best my do I thing, go with a robe, the trolley, and a ladder and if there is some paint peeling or any other small adherence of the paint the to the facade, endangers doesn´t it? Of course, we this do what we can. and I voluntarily, escalating, starts Humidity enemy. worst the be can ground The well, but it is true that there are parts on some of the murals that are painted to the ground. : Right, it’s beenyears. Now... : Well, ithasnotreached thepoint ofneedingone...... : Still it is very interesting that you took this into account since the beginning. Anyway, beginning. the since account into this took you that interesting very is it Still : : : Itwasnotreachedyet, butitisgetting tothepoint . : Right. As I said before, we paint the murals on a professionally prepared surface. That surface. prepared professionally a on murals the paint we before, said I As Right. Yes, it’s been eleven years since the first one. The colours and everything keep quite keep everything and colours The one. first the since years eleven been it’sYes, 12 vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 VW I leave thisquestion. movement, the great global Street Art movement? Does it fit or not? and if… well, for now, becausewebut are herewould likeI waywhich toask you framedo projectthe this within if thereif anyis relation have I - know not do and some read whatto extent, surelyyou know SV think thingsarechanging. I of the World… cities twenty in mural same the practically doing artist An likemushrooms. to festival, fast big the to made being already are critiques since evolving, be to going is matter this think I but fast, too happening is everything art. their to contribute even might that a community within process creative their integrating andleaves. wants from benefit can they that see they or anymore,rightfeel he/she doesn´t it that realizing are They and whatever wherever paints arrives, who artist parachute the space, the of the public idea the than more in in, work they communities the towards have they individually responsibility working artists in tendency a note I Furthermore, many cities.[...] to culture, life, of lot a given has Art Street Also, good. quite is think, I which, artists many art. I think painting is coming back and the Street Art world willmake a publicshowcase for you went to museums in the past you almost could not see paintings in museums of Modern When dead. was painting that say to used People painting. in mean I people. with wonder I Art. Street within quality tremendous a is there nowadays That happens? what so, And always achieved, butitisagoal. quality to attempt that those two things go hand in hand: participation and quality. It is not one of our goals is to strive for these two things to co-exist in each project: participation and anyway. subjective, Therefore, is together. quality both artistic not quality,Moreover but is there or participation is there Where art. in paradigm either/or an is there that idea the is with people who are not artists must necessarily diminish the quality of the work, right? There which neither the social nor the collaborative or participative aspects of aproject nor working They overlap and the quality... one of the main aims of the project I personally trust much is that trend,they overlap. from come do we though even that true is it But work. social artistic almost is which trend a from We come Graffiti. of world the nor art of world the from “art come neither the world”.We with aligned less and inclusive more is which aspect social more a has Statesbut actually the United in movement the Graffiti with intersects tradition This 1970s. and United the States 1960s since in the art of tradition part collaborative comea from is which We murals. large make these to themselves repositioned have artists Graffiti the which in not a scholar on the topic, but I understand that there are different trends arising in Graffiti, that we came from a different trend when we started. That is, totally different. Because I am : Yes, thank you. The other question… you slightly answered it. What about the relation, the about What answered it. slightly question… you other Yes,The : you. thank : Well, this recent movement of Street Art has been actually striking to us in the sense the in us to striking actually been has Art Street of movement recent this Well, murals appearing everywhere appearing murals 13 vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 VW SV we do.Sometimes they overlap. At the end of the day, Graffiti has other objectives and they are not in conflict with thethings And well. It is what I said before. We overlap but we come from other… We have other aims. everything. of bit alittle is there is, letters... That bubble pieces, anything. styles:figurative, both see a collaborative mural on a dividing wall done by us and graffiti all around. In many can you around walk a have you If reasons. several are There why. know don’t I painting. to street open very are people that Ithink In Vitoria-Gasteiz, graffiti. paint normally and workshops the in up signed who people with worked we and photographer a with tandem in themurals of one whodirected practitioner graffiti female a with worked We known. relatively are many but aspect, this on details many know not do I on. so and walls offered a local level. There at are not many fines and people appreciate even them indeed. They are acceptance, asked to paint, an is there Donosti, and Bilbao like places in Also stuff. cool started painting murals. There are some good graffiti writers who work here. They do pretty VW They respect. That tells alot,but… respect. practitioners graffiti that said way. You the along dialogue that find to managed SV VW of Philadelphiaandthematter ofthosekindstypologies? school understand the I have because [experienceabout] more that, you bit little a explain you Could in Vitoria? here practitioners graffiti with collaborated ever you Have it? isn’t is… vandalistic, normally which Graffiti classic and muralism participative between - more it hasbeen?Hasthere beengentrification, hasn’tthere been any? Whichkind of…? or not in relation to gentrification processes? And so, the impact in local communities, how casethe participative of muralism somehow which integrates local communities mayoccur gentrificationin relation to Street Art interventions happenings.and Which way do you think about forums Art Street many in debated is which matter the is question one Well, been? SV cities endupbeingthesameandthatisnotbest thing. the all otherwise because this especially individuality,colour, gives it think I street. the in I the scenario. theis simply where street Graffiti generally, it, like I I it. like like interventions of world the to internal often is which understands, everyone not which language visual a language, a also is It expression. public a and activity an know, don’t I and, too willing : Yes, expression isalways there, isn’tit?Theaimofexpressing something. have youextent what to know not do I So, processes. the in expert an know,are I you : : Ok. Now… there are two questions left. The impact in local communities, how it has how communities, local in impact The left. questions two are there Now… Ok. : : : : Well, Iamnotanexpert inGraffiti. I think that the aspect of Graffiti in Vitoria is very developed. It was already before we before already It was developed. very is in Vitoria Graffiti of aspect the that think I Yes, right, Graffiti is, what I understand, almost a compulsion. It is a necessity and a and a necessity is It a compulsion. almost Iunderstand, what is, Graffiti right,Yes, 14 vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 with them. I mean the content of the murals at the Casco Viejo talks about the neighbors the about talks Viejo Casco the at murals the of content the mean I them. with content the creating and themselves neighbors the involving just of But, matter the so. it, And of here?” because living people the on impact the is what So rents… the increase will they and come will tourists murals, with all it filling are we now “Listen, awareness: of lack a of result a as think, I argumentation, of type that began Viejo Casco the of society VW SV else followseverything them. But, I don’t know. It’s not their fault. They go with good vibes. money or whatever. The artists seek inexpensive places. They go to the peripheries and then Capitalismbusinesses. howfollowstoThe it. tosay people places the tothe they go expend obvious, the artists came and it soon became expensive!” But then you say “no”. I don’t know say… that’s true, isn’t it? Now they become so expensive and you see it on paper and say “It’s I left became very hip places… No way I could afford going to those places now. And then you coincides that I lived in the United States in two cities, Oakland and Brooklyn, which the year it case my In come! who businesses the is Gentrification fault? our also this is is, sake!That God’s For everything! for blamed are artists the How it. about up worked get I instinct… VW : Sure, butthosekindsofcircumstances, inthecase ofparticipative muralism... : : Well, I’m not an expert on gentrification either, I cannot be about everything, but my but everything, about be I cannot either, gentrification on expert an not I’mWell, Sure, no. I don’t think so. That is, in the beginning, there was a certain part of the of part certain a was there beginning, the in is, That so. think don’t I no. Sure, itinerario_muralistic FIG 2. Michelle Angela Ortiz & Iván García Bartolomé (dirs), 2011. The Light of Hope. Mural Ruiz of Antonio Light (source: The Vitoria-Gasteiz. Muralístico 2011. Itinerario (dirs), 76. Bartolomé García Zapatería, & Iván Calle at Ortiz Angela Michelle 2. FIG googleuserconten t o_vitoria_gasteiz_4. . co m /-7 k O 1 6 Y q 5 Dos JP G) / UZKzOHywxxI / AAAAAAAAGP s / r 7 Q z - 2 c l 7 http B Y / s s://lh3. 1200 / 15 vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 SV of view ofthepeople,common people. the people that can’t be found in traditional history books, so it has to be told from the point of a history telling time, freezing memories, reactions, emotional Provoking it? isn’t have, should a mural objective the is that objective, the is that think I etc. stories, telling people older passers-by, by anecdotes , tears… in constantly were people the mural that did we When happened. events those all where church the of front in just victims the for memory to create a mural showing and explaining objectively what occurred and claiming justice and importantimportant very an actually was milestonewas historyThat Vitoria.the It 6). of in historicalwith deals (FIG March of first 3rd the in did about we Zaramaga memory: one clearly more that one the to neighbourhood; the from people of portrait a is figure every which in equality; gender fight for the of like that, it let’s say evolution, the matriarchy; the about equality (FIG 2), that was about particular subjects on equality at the Basque Country: done was that one the From murals. the all then, so, multiculturality. And and integration, Thereforenowadays.refers one it 21st-centurythe toand and 20th Ages Middle migration, the in there existed that diversity cultural the about tells also it but drapery, like of life almost still is a It 1). (FIG market fabric 13th-century a about it does and Brullerías las de VW: said allofthem… muralin to any particular or some murals in particular that more or less incorporated refer this? Though you just you Could theproject? within identity and memory generating of SV people understand them. the because them, and explain visit to come who relatives forwalks do they them, describe they fact, In theirs. as them see They alien. something or invasion an as them see not do They them. appreciate and murals the in themselves see people that think I do. Vitoria of murals the And right? there, from something tell it let so there, is mural The room. living the to corridor the from it move and home your in painting a as mural a take cannotYou point. the that’s think I too.important very is This located. are they place the of history the tell murals the Then activism there. existing social the honor will mural the and Viejo Casco the in project a running are we year this Now, neighborhood. the to alien things not are They it. in living people the and itself neighborhood the valuing is That back. giving is That there… anecdotes was about theneighborhoodindeed. that the history there, was that immigration the there, was that music the about Viejo, Casco the about anecdotes you tell will people Vitoria, from not are you Viejo,Cascoif the in murals the to visit a do you when is, That Viejo. Casco the in living : Right. Ifyou want to say anything else... : Genial. So this links with the last question: Which way have you integrated the processes Yes, actually every mural talks about the place since the first one, that was in Plaza in was that one, first the since place the about talks mural every actually Yes, 16 vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 llobrega 20-06-2018 (retrieved online, 26.- I.F., 2018.‘Asíluceelmural quereivindica laluchavecinal deSant Feliu deLlobregat’. ElPeriódico, t -689568 VW SV is aprocess requiringmore... because obviouslyunderstand they it, time I theychances it, do When haveand do can to it places. other in appreciated be can established have we process The 2018. in now murals two doing are we well, and, appreciated more is participation] [community that think I but so on, and a form out filling is it nothing, is That participation!” is there yes, “Oh, name: its for only participation be not would it wish I see. Let’s important. is that think I valued. more is it Here too. political and social cultural, areas: other in also but muralism for only not participation, more is there that noting are Vitoriawe in here that true is It otherwise… conditions, and time right the under it do to and citizens with volunteers, the with work to weeks six artists the give we Vitoria-Gasteiz, way. In no is, That integration. social work to artists. They give you a shitty budget, five days for painting something and you have notime VW being. We are now meeting the participants and will paint it by spring. kind Obviously, spring. this by it paint will and participants the meeting now Weare being. is it well, be… to going is it so democracy, to Transition the to War Civil Spanish the from memory historical with deals and centre town’s the at be to going is which Barakaldo mural interesting in really a making are we now and Museum Guggenheim the of front in VW you seeithasevolved andhow doyou thinkitwillevolve? But may you also consider the matter of memory to end up with something you can say how SV VW SV: to work thanks to an artists residency. going is who (Escif) artist renown a with but it, on working are they and Llobregat de Feliu VW the livingroom andsetting it atthe street. SV VW state... SV : You worked inBilbao, don’tyou? : No... I asked you about the future perspectives for the project in relation to the materials. : ...in which normally,which ...in : generally, frompainting takinga on youwhatsaid more about is it Spanish the of case the for project particular quite a actually is It scene… the in Yes, : Yes : : Idon’tknow. You seeIhavemany… blah,blah : InVitoria inparticular : Comeon.Icould saymany morethings!Istheresomething left? : : Yes Yes, yes. Now it’s being done, as I told you before, in Catalonia.I have just been in Sant Yes, we worked in Bilbao in 2012. We made a very large mural under the Salve Bridge Salve the under mural large very a Wemade 2012. in Bilbao Yes,workedin we 6, 04-07-2018) http s://ww ? w .elperiodic 26 Because that is the problem, it is not the fault of the o.co m/ es/ sociedad /20180620 [laughs] /mural-asalu t -san t - feliu - 17 vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 Lander García (LG): VW SV No, then…That’s it…Anyway, itisastruggle. reason. what for or there it placed has who know not do you and appears sculpture a next the to day one from that not is It people. the integrating for process a of attempt the been has there that understand them let reflected, themselves see them let but them, like will interventionof create… attheendwill They the arein town’s centre, not probably everyone narration calls “Transition”narration calls (1975-1978). official the Constitutional Monarchythe which of beginning Dictatorshipthe of and end the at existed that strategy oppressive an to responded they rather but occurrences, isolated as not described, are events The up. coverto State wants the that occurred that events the relating of consists tour] [The schools. high from mostly are They 1976.. in here happened have done a guided tour through the Zaramaga neighborhood in order to get to know what who people 1.200 had have we 2017, ending, is which year this For etc. talks, exhibitions, conferences, schools, with tours as guided such formats, varying with initiatives different out city.Wecarry and neighbourhood surrounding the and Place) (Memory Gunea Enua in place take which events these of memory the recovering and denouncing activities have many We conquest. a already is demands our and work our socializing and stories these tell to able Being well. as Spain of parts other in Country,and Basque the Herria, Euskal in unrecognizedand stateunpunished and violence terrorismthe strugglearound a is It 1976. in Vitoria here occurred that events in of the specifically victims, the for justice demanding while violations those denouncing and memory, historical our in violations rights human working in the name of historical memory, the struggle against omission and suppression of I’m Lander from the association Martxoak Hiru, which means 3rd of March. We are a collective SV about you,tell meyourstory, etc.” Sothentheprojectshavesuchanextra value,right? it is like you touch them, like you say: “I know you are here, I appreciate you, I want to know community,a to caressbecause likeextendinga is mural a that say community.always a I they like it. But, oh! Listening to a person, that is the best present you can give. And more to if great” “that’s say will they then something, puts and listen doesn´t and comes someone If heard. like be would to they mean I is, That heard. be to is want communities and people day,the of end the what so,at becausethink I value. integratedmore more have processes and distended more but murals fewer Probably processes]… [the down slow perhaps that fasterof results The it? isn’t see, festivalone projects, painted, suddenly are and murals ten they reality the of because itself,but Vitoria of project the of because not but others, from : Itistheprocess asyou say, that you might besixweeks withthepeople... : How beautifulthething you just said. : Yes, exactly, exactly. As you mentioned, I think the project of Vitoria is quite different quite is Vitoria of project the think I mentioned, Yes,you exactly,exactly.As 18 vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 were 4.000 people in this church, the police surrounded the temple, gassed it and used live used and it gassed temple, the surrounded police the church, this in people 4.000 were There churches. into gathered People one. third the was March of 3rd The strikes. several been already had There Vitoria-Gasteiz. in on going then protests labour the of result a as 1976, 3, March on place taking was assembly workers striking a where location the is it because March of 3rd of church the as known is Vitoria in Assisi of Francis St of church The have suchstrength inVitoria-Gasteiz. They aresomehow rooted in thespiritof1976. on so and gastetxesassociations) projects, community(youth congresses,networks, free in experiences different movements, political horizontal assemblies, workerssay, why,let´s is developed, so it is a movement which kept struggle itself alive that from the roots of which the one of 1976. on That approach horizontal and democratic the in roots many having as year by year itself characterizing on keeps March of 3rd of spirit the Therefore, nowadays. valid fully is that still and freedom, for and class working the for fight a was this end the in because struggles current with unite to order in also Gasteiz, in victims the of memory the claim to order in organized are activities many 3rd March On claims. case, memory protests, the to reopen ways legal dynamics, cultural activities, different has It 3. March, of anniversary the around issues on work to specifically 1999 in created was association The impunity. struggleagainstforthe out speaking space public tothe conquer and causeto socializethe of our cause. [We will see] artistic interventions we have done in the neighborhood that help sculptures and artistic interventions made specifically to provoke interest and understanding as well as events] the since years 41 the in changed haven´t the that elements urban [to are visits they as change, important an is streets the to out complaints our Taking space. public in conquered been have things which know to and see to order in neighbourhood the through walk a take to going are We cause. our of socializing the and space public of conquest the been has think we what on little a focus to going are We [...] impunity. and oblivion from that, likes arises that State a in act revolutionary a itself is memory say we is why That societies. from movement, popular the from bottom, the from justice for claim to truth, history, the the reconstruct to have we why is That oblivion. official and impunity absolute of phase intoa eventswent those Then reach. could changes that limits the blood with marked and change that driving were elites the like was It country. whole the in but the whole process of reform and rupture that was happening not only in the Basque Country within point turning a is 1976 March of 3rd The injured. of hundreds and murdered people five of result the with blood in drowned was process That quo. status the threatened that factories, with the labour movement. It ended up organizing the whole city into a movement reformingand GasteizIn it. revolutionary therea was process that started workplaces, in in momenta whenthepolitical dispute revolved thedictatorship with thebreakingoff around It is necessary to understand the context of 1976, barely one year after the death of Franco, in 19 vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 is the reason this [the sculpture] was placed in the early morning with fast concrete in the in concretefast with morning early the in placed was sculpture] [the this reason the is That establish. to wanted they portrait strategy,the the broken have may it because light to that brought one no that charge took thoroughly happened, what cover to and forget to wants that state the since important, very is space public of conquest the say we why is the first years because they tried to place monoliths or to build something for the place. That during arrested people were There police. the by removed quickly was before there placed still standing today (FIG 4). [It happened] in the 10th anniversary, because anything that was is it installed, was sculpture memorial a 1986, In beginning. the since victims the for space memorial a became place symbolic very That 3). (FIG murdered people first the of one of Then the graffiti “Justice” was written on thefloor right over thecrime scene with theblood [when peoplerun]outside[thechurch]. corridor a human in fell shots Many day. first the died them of Three dead. five was result the well, and, crime, State a people… of thousands magnitude... a such more... been have There could gunfire. wounded by hundred a than more were because there died people five ammunition on the people when they tried to escape the tear gas. It was a miracle that only Gasteiz in March 3, 1976. Reproduced in a poster (Dep. Legal: B.20.948-1976). FIG 4 (right). Workmen from Workmen (right). 4 Forjas Alavesas, 1986.MemorialinstallationFIG at thecrimesceneofMarch 3,1976 Vitoria- B.20.948-1976). Legal:Assisi Church, (Dep. of poster a of St.Francis in Reproduced 1976. front 3, in March floor in Gasteiz the on blood with written graffiti “Justice” (left). 3 FIG 20 vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 LG SV: became theplace whereevery yearthedemonstrations commemorate theanniversary. monolith the most So importantthe time. Forges), of the (Alava one companiesof Alavesas Mari. It was built by his workmates in the very same factory in which he used to work, Forjas over10th anniversary the symbolicplace where “Justicia” had been with the bloodof Pedro symbols of the mobilizations.symbolsthe of went marketsWomen the to of demands the order bring in to the of one were women of bags shopping empty The proposals. imaginative very devise to started strikers] [the they Therefore well. as work from fired being started people and women, students. As l more and more people were organized, some arrests started to happen Then assemblies began forming all around the city in order to support the strike: neighbours, of thewivesstrikers, interesting thatopenedupavery conflict. demonstrations an so on. That clashed with another very interesting reality which is the one then they started participating. It is very honourable to see the women in the protests, in the and strike the join to aim the with assemblies in themselves organized also women the So factory.a zipper was that Areitio instance, For women. were staff whole the almost which in Vitoria-Gasteiz in factories some were there fact, In strikes. the in participated also they so companies, for working women in resulted itself industrialization of process the But etc. Obviously, under Franco’s regime, the role of women was limited to a housekeeper position, The women were also involved because there were women who started working in factories. people. of kind that with well quite fit assemblies workers’ the of approach the so manufacturing, status quo. They were thousands coming in suddenly from rural areas without experience in the threatened and emerged workers of thousands of movement assembly an why explain that conditions the of some were These Vitoria. to arrived mass working young a suddenly started creating several attheconditions timeandthe oforganizing labor struggle because interestingly that hand, other the On 1960-1970s. the in work to came who people the all host to order in constructed was Zaramaga built. were neighborhoods new and city the on impact demographic a had That work. for Vitoria-Gasteiz to come had Andalusia, Castille, Extremadura, of areas rural the country,from the of parts other from families and people of lot a That mean? it did What 1970s. the in 160.000 150.000- to 1950s the in inhabitants 50.000 from went It years. twenty just in tripled population the and built were companies Gasteiz had about 50.000 inhabitants. Then an industrializing process occurred in which many It is important to note the characteristics of this process in Vitoria-Gasteiz. In the 1950s Vitoria- denouncement ofthecurrent system. Thatisthereasonitwasrepressed. a itself was it remember to or it claim to therefore, past, unwanted an from remained still street level. [By then] even the celebration was banned. It was a display of all the things that the at memory for fight the was That concrete.fast the to thanks stuck stayed It removed. : Was itanindependent impulse? Of course, it was installed in a clandestine manner during the night and it could not be not could it and night the during manner clandestine a in installed was it course, Of 21 vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 27.- Lekue, I.,2016.‘Memorial3demarzo Emakumeen Indarra’. Irantzu Lekue (retrieved online,I iraleku e.co 5). FIG Women, of Voice (The Indarra Emakumeen called is topic oftheempty which sculpture a the made and bags chose them of One space. public in the interventions artistic five developed have artists women Five (2016). anniversary 40th the mark to project a “M3M, is streets to the of March 3rd the about interventions artistic brings to project latest The too, because womengotorganized roleinmany againandassumedaprimary moments. 1976 too.eventsThe pointturning 1976 werea of manyin the In fields. feminist movement Vitoria-Gasteizin women Republicanthe of assembly the Then 1930s. the of years in began since unstructured completely were they because Vitoria-Gasteiz in struggles feminist the of reactivation a also was It strikes. the in women of implication the of symbols the of one empty the with squares the around went They struggle. the in were families their that meant bags empty The time. same the around doing were Argentina in Mayo de Plaza of Mothers the as just way, performative a in platforms other to strike the FIG 5.Iranzu Lekue, 2016.Emakumeen Indarra (TheVoice ofWomen). Detail ofsculpture memory memory of the 3rd of March has to be in the street. That is a conquest. Sometimes we cannot a lot of people. There is a social recognition in which the majority of people respect that the use fast concrete, to 2016, when the city council ended up supporting it thanks to the work of we created certain conditions in the city along the way from 1986, when it was necessary to necessary to place it at night nor with fast concrete in the early morning, so that means that neither It was sculpture. institutional an society. was the it feministin time the process This within we started point first the was women about intervention specific The way. another in history the reread to also but them, complete to meant just not are testimonies] [The stories. untold of lots are There women. of view of point in orderto the them… from it retell to attended reconstruct, who nurses the of injured, the of relatives of strikes, the in participated that companies the in women working of women, of testimonies collecting for campaign a through women of view of point the from March of 3rd history of the rewriting m/portfolio-ite m/ 27 It is the last sculpture placed in the neighbourhood. Also, we have started a process of process starteda have we Also, neighbourhood. the in placed sculpture last the is It emakumeen -indarr a/. 24-11-2018) bags, so that became that so bags, htt p :// 22 vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 Vitoria-Gasteiz. Itinerario Muralístico at Zaramaga quarter. Without Memory. Mural 2013. NoFuture norPast Werckmeister (dirs), FIG 6.Veronica &Christina 23 vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 (retrieved online, - Martzoak 3inaugura unmural enrecuerdo alasvíctimasdel terrorismo deEstado’’. Martxoak 3deMarzo 28.- Asociación yfamiliares deVíctimas del3demarzo deVíctimas agreed because it was supported by us, the 3rd of March association, and the subject matter neighbours paint”.the Anyway,to all going are we what know don’t “We is answer the so togoing paint”. know,not do we And process,participative the of result a be because will it when you ask someone “Listen, I am going to paint a mural in your house…” is “What are you answer first The mural. the on agree to had many neighbours which in first block tower the murals were done in the Cascowith afew Viejoinbuildings Therefore,neighbours. this was which decisions come out about what is going to be painted, how and so on. All the previous in process participative a with done be to going is mural a that fact the on agree to have could not get results like that, right? Then the neighbours of the building are asked. They all take part in the projects as volunteers. There is obviously an artistic direction, otherwise, you characteristics. special up to some sign Gasteizhas People IMVGof that thankstothe Viejo When we decided to make the mural, there existed a tradition of public mural art in the Casco things gothatway. Theideaofmakingamuralcame out of thatcontext. the let to idea good a not was the it because elements in physical protected some involved of installation get to Council the for moment the was that decided we 2012, and 2011 the panels over and over again each time they were remove seemed silly, but then, between Installing again. off panels the activity. However, took communityrather, they a but event, back on a day that coincided with the fest of the neighbourhood as a non clandestine public them put away.and thrown Wethem recoveredand removed were panels the when 2011, Rome.responses thatendedwithadeathin Nowtoclosed thechurchis worship,butnotin Vitoria-Gasteiz had in repression the years, conflictive highly those in So, surroundings. the in died he and followed shooting a incidents, of series a was There embassy. Spanish the at Vitoria-Gasteiz of events the denounce to order in leftists revolutionary Italian some by organized was that demonstration a in Marotta, Mario killed, was person a Rome in Even Vitoria-Gasteiz. of events the to response in 1976 8, March on Herria Euskal in called was that strike general the at happened murder] [the Basauri In Basauri. and cities: Tarragona other in place took which that with Gasteiz Vitoria- of repression the between link direct a create we finally is, Vitoria-Gasteiz. That of massacre the denouncing demonstrations later ones of Vitoria-Gasteiz, but also two people who were murdered in Tarragona and Basauri in church of St Francis. the by billboards on placed were panels some so happened, what tell to order in monolith the situation had reached a point in which the victims shouldbe honoured beyond the 1986 considered association the 2011 In 6). (FIG conquest great another is IMVG of mural The with] therecognition oftheCouncilmeansthatsomething hasbeenachieved, isn’tit? it [making to night at secretly sculpture a placing from going but victories, small the value htt p ://ww w .martxoak3.or 28 The panels had portraits of the victims on them. It included not only the g /memoria-en -zaramag a/, 24-11-2017) , 2014.‘Memoriaviva enZaramaga 24 vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 neighborhood, very participative. So that fit quite well with the spirit of 1976, the assembly the of 1976, spirit the with quite well fit that So participative. very neighborhood, the for event an quite was itself.It building the from neighbours were there but mural, the It transmission. symbolizesalso itself.participation of know not I do manyhow participated people in painting paradigm a like place.The is person taken young a had to explaining elder ofparticipation the with photo processes the after September in started was It 2013. October of end the at inaugurated was It months. two for mural a painting stay and or 20 years, from placing [a memorial] in a clandestine way at night to get some scaffoldings The mural is full of symbolism and little details. I insist on how the things changed in barely 15 sat infront ofajudgeandwere finallyheard. impunity that of exists in the narration Spanish state: the the victims of Francoismwith traveled to Argentina,breaking and of value symbolic the is there but judged, be to ministers his/her allow not does state Spanish the because path judicial no However,has them. that killings and many other ones are being investigated. There are even detention orders against on the basis of universal jurisdiction by which the criminals responsible of the Vitoria-Gasteiz Argentina in opened was process a Then, e.g. America, South of places other in done been has it as Francoism of crimes the judge to path judicial a open to ways no are there and itself judge not does justice Spanish obviously because regime Franco’s against Argentina in open process the about clipping newspaper a is part final The language. Basque the of recovery the to related is Vitoria-Gasteiz because city the of traits the of another is which too, Basque to Spanish from goes mural the Moreover, transmission. the red: on write to have we whitepage the is that whitepage, a on pencil a with thread red a also is there but word Justice written with blood on the floor which is the most iconic image of 3rd of March, the is There ones. younger to generations older from memory of transmission the towards on goes narration the Then before. mentioned we icon the bag, empty an brings them of One coffin. the carrying women of group a shows mural the of ofthatday part That else. somewhere police recordings the also have We funerals. the and demonstrations, great the massacre, the is part central the process, striking the of moments first the evokes or black and white to colour. Also, it is primarily chronological because the upper part recreates newspaper and photos from going shift a chromatic has from bottomtop and reads to it compositionally clippings. pinned someone which on billboard cork a like looks mural The events inthepast meanfor thefuture. those what about future the on reflection a also but remembering, about only not was It design. the on agree could they so up signed who people the between debates and talks of [Javier Vitoria-Gasteiz from artist another and IMVG, of murals previous the directed who ones and Veronica Werckmeister,of Christina the direction artistic the with workshop the for up signed who people the with started process a Then March. of 3rd the for memorial a was

Hernández Landazabal]. They directed the team of volunteers. There were two weeks 25 vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 Mural oncanvas placedat thefacade ofStFrancis ofAssisiChurch. FIG 7. Martzoak Hiru - 3 of March Society. The Funerals of March 3, 1976 at the New Cathedral in Vitoria-Gasteiz. Gabriel andVicente Aitor to ourdemands. Juan of memory the incorporated we why is That case. isolated an or family single a than dimension larger a has massacre the because association our of strength the from cases other about awareness raise to responsibility the took we So alone. Tarragonaare you and in demonstration a in killed been has brother your if same the not is It years. those during and 5.000 witnesses lead to a movement around it. But there were also many isolated cases injured 100 murdered, 5 Obviously, crime. the of dimensions the of because massacre the wasavery It 2013. important moment, since Vitoria-GasteizNovember always in has had a considerable wasinaugurated consciousness about that when time first the for reunited were Tarragona, and Basauri from ones the including also workers, murdered seven the of families The 8). (FIG Council the by placed was that itself association the by written text front of the church there is a metal post with the portraits of the victims and an explanatory relatively fast due to the weather (FIG 7). It recreates an emblematic photo of the funerals. In deteriorating is canvaswhich large a paintedon mural a is It Cathedral. New the at killings there is another artistic intervention recalling the funeral thatchurch, took placethe three daysof after the wall a On audio-guide. an with take can people route larger is quite another there But place. took massacre the where church the Francis, St at visit this finish We direction. minor contract for their first job, likewise, there was the group of volunteers and the artistic with the Council for promoting social insertion by which they employed young people with a painting, so-known as the Brigada de la brocha (paintbrush squad). There was an agreement people thirty about were There it?” do we do How do? we do “What participation: process, 26 vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 scenes in August, right? That’s logical. It is the argument they hold in order to not start a start not to order in hold they argument the is It logical. That’s right? August, in scenes bywhichthe Church the of argument associationis the cannot get the whole space for its memorial activity. People want to see nativity which inside scenes nativity of exhibition around. Remnants of gunshots can still be seen outside on the facade. There is a permanent in Vitoria-Gasteiz. Theresembles building Noah’s ark. It of waterwas plannedwithapitfull Fueros los de Plaza the designed also He Chillida. of school the from Ganchegui, Peña was designer Its built. was Aranzazu when 1960s the in place took that movement artistic an Neo-Modernism, to belongs It interestingfeatures. architectural very has Church Francis St who gotinvolved andthatwasone ofthereasonsassembliesweresoparticipative. another matter, it was one of the pillars of the dictatorship, but of course, there were priests of them were even victims of reprisal because they took part in the process.some The hierarchy was involved, course of were priests And assemblies. of assembly larger a into ones churches of the city. There was a network of assemblies that allowed to organize the isolated So these priests allowed the assemblies to take place, not only in St. Francis but in many other on. so and class working the with allied priests ones, theology liberation the as such priests the people. That had always existed. There was a rivalry between the Catholic hierarchy and with implicated were who priests class working were Moreover,there churches. the enter not could police the which by the Vatican with concordat a signed had Spain time, that By Juan Moral, Pereda Gabriel Rodrigo Knafo, Bienvenido Vicente Antón Ferrero. García Castillo José Chaparro, Barroso Romualdo Ocio, Clemente, Mtz. Aznar Mª Pedro Francisco of portraits with post metal Memorial 2016. Society,March of 3 - Hiru Martzoak 8. FIG 27 vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 Conclusion ews h mnse f neir uig h yas f h rniin n ws h onewho the ordered thepolice to shoottheworkers was gatheredinStFrancis. Itonlycan beseenhere”. and Transition the of years the during Interior of minister the was He recordings of Manuel Fraga, the founder of current Spanish People’s Party, who died in 2005. that were captured from their modulated frequency signal at a radio station. There are also police of the recordings real It includes massacre. the after hours a few sitting been have would people where place same the in right piece, audio-visual an of projection the watch to possible is it which in space small a is There 2016. in anniversaries 40 the for done were space that in artworks the of Most workers. striking the for fund resistance the for money women workers as one team and worker´s wives on the other. The match was a way to raise between place took that match football a represents that there in table football old an is There interventions. artistic a few with building in the space a little have We negotiation. like acaress to acommunity. rights and mutual respect between communities are key factors of sustainability. human murals of are promotion the which by heritage cultural intangible on internationally agreed local knowledge related to the 3rd of March reveal themselves as idoneous to fit the criteria whole the and memory without future nor present No of case the particularly generaland and so aimed to emphasize sustainability. Finally, the subject matters of the IMVG murals in view of points intangible and material from both quality, enhance to order in production former.subordinatedsomehowthe tois which Consequently, quantity sacrificed IMVG the acceptance, social than extent larger a engagement to social of out comes value which aesthetic in dynamic social wider a into embedded processes as perceived are themselves murals the objects, than more But, product. final a as understood not are artworks these how showed Vitoria-Gasteiz of informants The murals. the for caring in effect positive a has necessarily concern community since sustainability of matter the to related likewise are aspects intangible development. These integration human social producing and as well as heritage cultural intangible safeguarding and enhancing of processes the for art mural order to connect global and local issues shows some benefits in the methods of community in workcontextualizing this The approachfollowedin historicalpeoples. up local events by suchas practices Art graffiti, installations as and spaces an the inpublic of Street art expression mural interpretation of use of the in a persistence reveals Vitoria Moreover, time. along changes in Vitoria- to adapted that decision-making collective tradition and participative dialogue on and based Gasteiz community a of survival the probably The most is many. evident are study case particular this in elements key The crucial. is processes on focus the so, do to order In heritage. cultural intangible on guidelines UNESCO may the fit Art Street how demonstrates which study case a provides work ethnographic This 28 vol.61 , nr5. July the 10th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.6 References Creativity. Urban & Art Street Lisbon (eds.), D. SIMOES, FREITAS and NEVES, P. SOARES In: together?. creating WERCKMEISTER, V., 2014. ‘A Case Study in Monumental Contemporary Muralism: Creating landmarks, longue and Murals Nouveau Art durée’ Art. IIIArtNouveau International Congress. Barcelona: Coup de Fouet Street to Grotesque Ruskin’s ‘From press. in G., S. VILLAJOS, Basic_Texts-_2018_version-EN.pdf, Heritage 2003. UNESCO, 1961. R., TIBOL, 1975. SOMMER, R., iralekue.com/portfolio-item/emakumeen-indarra/ Ihttp:// Indarra’.online, (retrievedEmakumeen Lekuemarzo Irantzu de 3 ‘Memorial 2016. I., LEKUE, l’oeil 2009. K., IOSIFIDIS, feliu-llobregat-6895686, 04-07-2018) https://www.elperiodico.com/es/sociedad/20180620/mural-la-salut-sant-online, (retrieved 06-2018 I.F., 2018. ‘ Así luce el mural que reivindica la lucha vecinal de Sant Feliu de Llobregat’. El Periódico, 20- GONZÁLEZ, M.,1982.‘Murals: A. Fine,Popular, orFolk Art?’. Aztlan13,pp.149-163 J.,eds., and BRANSFORD, Acting and Knowing. R. SHAW, affordances’. In: of theory ‘The 1977. J.J., GIBSON, sant, 24-11-2018) https://www.catedralvitoria.eus/en/current/1486/ken-follett-presents-world-without-end-at-the- Santa Cathedral’María Notas. prensa.de the Catedral Santade María at End Katedrala- Santa (retrievedMaría Without online, World presents Follet ‘Ken 2008. MARÍA, SANTACATEDRAL FUNDACIÓN online, http://ec.europa.eu/environment/europeangreencapital/winning-cities/2012-vitoria-gasteiz/, EUROPEAN COMISSION, n.d.. ‘2012 - Vitoria-Gasteiz’. Movement. COCKCROFT, E., WEBBER, J. AND COCKCROFT, J., 1977. Toward a People’s Art: The Contemporary Mural online, https://issuu.com/catedralvitoria.com/docs/www.catedralvitoria.com, Restauración. de Director María, Plan Vitoria-Gasteiz.Santa de Catedral P.,LATORRE,1998. AND I. J. LASAGABASTER, L., CÁMARA, A., AZKÁRATE, martxoak3.org/el-mural-de-zaramaga-sobre-el-3-de-marzo-listo-para-ser-inaugurado/ http://www.online, (retrieved Marzo de inaugurado’.3 Martxoakser para listo Marzo de 3 el sobre ASOCIACIÓN DE Y VÍCTIMAS FAMILIARES DE DEL VÍCTIMAS 3 DE MARZO, 2014. ‘El mural de Zaramaga SIQUEIROS, D. 1973. A., , vol 2.Mainaschaff: Publikart, p.48 Prs UEC, . (eree oln, https://ich.unesco.org/doc/src/2003_Convention_ online, (retrieved 5 p. UNESCO, Paris: . Lisbon: 2014 New York: Dutton Siqueiros: introductor derealidades. Basic Texts of the 2003 Convention for the Safeguarding of the Intangible Cultural the Intangible of Safeguarding the for Convention 2003 the of Texts Basic Mural Art: Large Scale Art from Walls Around the World from Graffiti to Trompe Graffiti from World the Around Walls from Art Scale Large Art: Mural Street Art. Hillsdale,NJ:Eribaum L’art et larévolution New York: Links . Paris: Editions Socialesp.23-26; Vitoria-Gasteiz: Diputación Foral de Álava (Retrieved Álava de Foral Diputación Vitoria-Gasteiz: Environment. European Green Capital. México D.F.: UNAM,1961,pp53-58 Perceiving, (retrieved 29