I Hate the Rat Mural and Other Observations about the Mural Movement in Pilsen

I Hate the Rat Mural and Other Observations about the Mural Movement in Pilsen

What is a mural? That’s not too hard to figure. In its strictest definition, a mural is just a painting on a wall. It could be inside, it could be outside, and as an art form, it is open to the boundless imagination of the artist who creates it. The subject matter can be just about anything, even a painting of a rat. That’s right! A big nasty eviscerated RAT!

Yes, last year someone painted a mural of a giant rat in my beloved neighborhood of Pilsen, (more about that later). It turns out that our local alderman had started a program to invite artists, both local and international, to paint murals along the railroad viaduct that runs along the northern border of the neighborhood. This sounded like a good enough idea to me. All you had to do was to submit a design to The Chicago Urban Arts Society, Alderman Danny Solis’ arts initiative, and you could go ahead and start painting. That seemed fine enough. I mean there was no Money attached to this program, just permission to paint. So you were on your own to raise the dough. Terrific. Needless to say I passed on the opportunity. I mean don’t get me wrong, I’m all about giving out the freebies, (I’m an artist after all, it’s not a job for us, we do it for the Fun!), but in this case I would have to spend money for supplies and whatnot. Oh well, no mural for me.

So I set about to look at the murals that the other artists came up with. There sure were a lot of them. Not bad overall. I’d say the results are mixed. Some of the works are brilliant. Gabriel Villa’s mural at the west end of the viaduct on 18th street is a striking statement. His juxtaposition of disembodied “hoodies” paired with cryptic symbols in front of Pilsen house facades is very visually engaging; it compels you to confront it. Another work by graffiti artist Rahmann Statik on 16th and Wood Streets is bold and brilliant. Next to his is a mural by Ricardo “Naco” Gonzales and Erick “Roho” Garcia. This work is filled with joyful depictions of Mexicano/Chicano pop culture imagery.

As you go further east along the viaduct you begin to see more “street art” by guest artists from outside the community. A piece by graffiti artist GAIA, called Quetzalcoatl and the Stork, is an effective work. Another artist who goes by the name of “Overunder” also has a well painted effort. Further down you’ll see some sections of the wall are filled with funky little cartoon characters and other bits of graphic silliness.

…and then there’s the rat.

The Rat Mural was painted by a Belgian street artist that goes by the name ROA. Apparently he’s some sort of big deal. I had not heard of him until I saw this particular mural, so I took some time and looked him up. I liked his stuff I guess. A lot of his murals depict creepy animals, mostly rendered in black and white, except for flashes of red used for bloody emphasis. His murals are typically placed in urban settings around the world. Perhaps he’s making some sort of statement about urban decay. I really don’t know. I guess I’m just not feeling it. I’m not hating on the guy, but, (And I know I’m going to catch hell for this), I just don’t like the mural. It’s an unpleasant image. Simply put. I hate it. There’s just no getting around the fact that it’s a picture of a giant rat cut in half. I mean I understand that art is often about hard subjects and that it ain’t always about the pretty pictures, but geez, couldn’t you have picked a cute little birdie in our case? Thanks pal.

Actually this brings me to a larger issue. These new murals have to be understood in a larger historical context. This is not about me not thinking that certain types of murals should not be painted or that the imagery should be limited in some way. Paint whatever you like. It’s really an issue about understanding the history as to where these things are being painted, content notwithstanding. Many of these artworks have been painted right next to murals that were created as much as 40 years earlier. These older murals were created for very different reasons, under very different circumstances. They were painted in a Pilsen that is very much different than the community we see today. I think what’s needed here is a little historical background info.

Chicago’s Pilsen community is pretty darn old. It was founded back in the late 19th century by Czech, German and other Eastern European immigrants. From its inception Pilsen has always been a working class immigrant port of entry. My grandfather, who came to Chicago back in the 1920’s in search of work, was part of a second immigrant wave, this time from Mexico. He slaved at a metal foundry for his entire life. He was just trying to survive and to provide for his family. I’m sure he didn’t spend a lot of time pondering his place in the larger scheme of things. He just went to work. My father followed suit, serving in the army and then going straight into the work force. My mother, who arrived in Chicago while still a young teen, got a job straightaway at a candy factory. Back in those days Mexicans just went about their jobs and did not ask a whole lot of questions. However in the years that were to follow the ensuing generations began to ask the big questions. Who are we as a people? Where are we going? Our community began to undergo a profound political and cultural awakening.

In 1970 The Brown Berets, a sort of Chicano version of the Black Panthers, (who, just a week previous, had gone by the name The Latin Counts), laid siege to a community center named Howell Neighborhood House on Racine Street and renamed it Casa Aztlán. They felt that the Mexican community needed a place where they could get together and exchange ideas and plan for a better future. Taking inspiration from our brothers and sisters in the Chicano Movement in the American Southwest, they started thinking in terms of Latino pride.

Casa Aztlan bustled with activity. They offered English classes, a free medical clinic, a food pantry and an after school program for the kids. They put together an alternative library where people could study the history of our ancestors and learn about our varied and rich culture. The mural movement also started there. Artists such as Ray Patlan, Bill Campillo, Marcos Raya, Salvador Vega and Mario Castillo began painting murals throughout the barrio.

To us the community based mural served a very specific purpose: It was a visually exciting way to convey complicated political, social and cultural ideas to the people; it was also useful as a community organizing tool. Residents could participate in the murals if they wanted to. Young people were encouraged to join in. Whole summer youth programs were developed to teach the art of mural painting, to help beautify the neighborhood and to inspire the young people. This is when I began participating, first as a youth participant and then later as a lead artist.

During the late 80’s I took a job as a youth organizer at Casa Aztlán. During this time young people were getting into Graffiti art and Hip-Hop Culture. I helped organize mural projects and art exhibits both in the neighborhood and citywide. We organized events that put together House DJs and visual artists. The artwork was new and fresh; the sounds from the turntables were organic and spontaneous. Again all this activity was part of an effort to empower and enrich the community. That’s what made it all so special to me. Those were heady times indeed.

To me the whole Hip-Hop ethos in graffiti art was an extension of the mural movement, albeit with a new twist. Its origins in the Bronx back in the 1970’s were concurrent with other cultural movements in other communities of color throughout the US. It was all about people who had few resources empowering themselves and making great art.

Contrast this with the current “Street Art” movement of today and you’ll see certain clear differences. In my opinion this whole Street Art movement is yet another label used to market and monetize the artwork of largely sincere creative individuals. Many of these young artists are doing very exciting and interesting work. However the biggest “stars” of the genre are very savvy business people. Street Artists like Banksy and Shepard Fairey are masters of electronic media manipulation. Their work is an exercise largely of commerce. They are cynically Appropriating the imagery of social change and revolution, while not actually doing anything to bring about those results. It’s what writer Tom Wolfe referred to as “Radical Chic” in his 1970 essay of the same name. This tendency is clearly in lock step with the interests of the art establishment. A lot of these artists are painting on the street in hopes of getting mainstream recognition. They’re playing in the minor leagues of the art world, waiting to be called up to the majors by the elites of the art establishment and of the gallery system.

The motivation to paint on a wall for us was clearly different. Our work was about affecting social change. It really boils down to what one believes the role of the artist is in a society. If you look at many artists from Latin America or even Europe You’re going to see someone who is woven directly into the fabric of his culture. That guy’s a participant! He’s a social critic, he’s an activist. The Latino artists here in the US often bring that mindset with them. US born artists like myself then adopt it. Other artists however, take the American view of the artist as a sort of “Rugged Individualist”. This is a guy who makes statements from the detached vantage point of his studio. He views visual art as a means towards achieving notoriety, fame and fortune. That’s fine, but ultimately that sort of artwork will be seen for what it is: a lot of style, but not a whole lot in the way of any substance.

Times change, I understand that. I see the changes in the neighborhood every day. The agents of gentrification have descended upon this community. They see a future for the area that does not include the working poor. This is an entirely new phenomenon for Pilsen. Casa Aztlán shut its doors for good last year, and the building was bought up by realtors who will most likely tear it down and build condos. I can’t help but feel sad about that. Oh well. Our struggle continues. There is still work to be done. The Mexican presence in Chicago has increased over the years. We are filling the southwest side of the city and the surrounding suburbs. In reality our community is wherever we find ourselves. Back in the day it was Pilsen, today its Cicero, Melrose Park, Waukegan, Aurora and beyond. Perhaps it’s time to take the mural movement to the people, and to start new projects where we can engage the public in this ongoing discussion. Let’s get this conversation started. I’m ready.

Perhaps in time I’ll grow to like The Rat. I am an artist, but I’m also just a community dude with an opinion. I look at things in a visceral way just like the next guy. When they unveiled the Picasso statue in downtown Chicago back in 1967 everybody hated it. Now it’s on t-shirts and caps and whatnot and everybody loves it. Maybe years from now everybody will embrace The Rat.

Probably not me though, I’ll still hate it. What can I say? The older I get, the crabbier I get.

Robert Valadez. Artist/Muralist has been active in the Midwest Chicano art scene for nearly 30 years. He hails from Chicago’s Pilsen community, one of the city’s largest Mexican neighborhoods. His works reflect his bicultural roots, taking cues from both Mexican and American pop culture imagery.

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