SANTIAGO'S SCREAMING STREETS

         Half the people in the immensely long and varied country of Chile live in the sprawling capital city Santiago, in a hollow under the Andes, under a cloud of smog. Towering office blocks, mainly banks, mushroom along the avenues of the affluent Las Condes district, heading towards the massive curtain of mountains in the east. The car culture has a suburban US flavour, revolving around traffic jams, parking spaces, petrol stations and shopping malls. The old bungalows and sprinkled lawns are being demolished in favour of tall towers that block out the sunlight. The Las Condes residents are aware that they live in an artificial bubble of privilege, behind electric gates, looked after by domestic servants. The grass verges are unnaturally green, graffiti is quickly painted out, and all the shops and cinemas are a short drive away in the land-cruiser. There is little need to descend into the streets of the bustling centre, let alone the mean ‘barrios populares’, some of which are no-go areas for the Carabineros police force. Television reports showing violent demonstrations in the centre flicker across the plasma screens of Las Condes like news from another planet.

      

          I visited the Roberto Matta show, filling three cavernous spaces with cosmic visions on a grand scale. It was like seeing Moebius’ vertiginous science-fiction cities blown up into blurry extravaganzas the size of tennis courts. Some of the 1960’s, anti-US-military canvases captured the spirit of Paris ’68. In 1970, when Allende’s left-wing coalition was in the ascendant, Matta visited Santiago from France. He assembled a group of fellow-communists to paint an optimistic mural, structured like a comic strip, on a wall in the poor district of La Granja. With Matta, the muralists of the Brigada Ramona Parra produced a colourful sequence that was obliterated under several layers of paint in 1973. Now, it is being painstakingly restored. The exhibition space itself sat under the rebuilt Presidential Palace, bombed by the air force during the coup.

          Across the main road from the Moneda Palace, the walls were covered in graffiti and murals, left over from the 20011 student demonstrations. The front of the building was a compendium of bold, defiant images, in a variety of styles. Some ‘portraits’ of individual students showed self-depreciating humour. More slogans and pictures were scattered along the sidewalks for miles, in all directions. In 2006, Juan Vazquez had published comics supporting the protests of children against low educational standards under the Bachelet government, known as ‘The Revolution of the Penguins”, because of their school uniforms. He pointed out a series of big comic-strip pages, criticising police brutality, pasted to the University walls.

      

"These were produced by a group I belong to called "A Mano Alzada" (Freehand)," he said, "We aim to do much more in the coming year."

         
 If, as seems probable, Pinera’s centre-right coalition continues to insist on private education run for profit, as opposed to a decent, free, state system, the stones, water cannons and tear gas canisters are set to fill the air again with the coming autumn. Further layers of paint, paper and aerosol will be added to the open-air expressionist exhibition in the streets. The contrast with the clean walls and glass office towers of Las Condes could not be greater.

          A short walk from the centre, the bohemian quarter of Bellavista lies across the glorified storm drain that is the river Mapocho. Here, the low-rise shops, clubs and bars are also decorated with garish murals. Experimental and imaginative styles proclaim the district’s rebellious character. They provide a funky backdrop to a good night out, covering entire blocks. With a dynamic, action-packed wall behind you, leading through different themes and moods, you inhabit your own comic strip as you walk along. Bellavista is a designated playground for youngsters and students to let their hair down, a safety valve, surrounded by loud music and loud imagery.

          From this immersive environment, it is only a hop across the bridge into the wide avenues where the demonstrations take place. The concrete banks of the Mapocho used to feature massive political murals, like Picasso’s ‘Guernica’ with a Native American flavour, during Allende’s government. Under Pinochet, dead bodies floated past the over-painted blank surfaces. Now, a hotchpotch of slogans had reappeared.

          The southern nights are closing in again. I am sure we can expect a greater bursts of creativity on the walls of downtown Santiago. It is, of course, only the illusion of a revolution. The rich streets will remain untouched, but the message is up there, in the city centre, for all to see. It is more than hip-hop-style ‘tagging’. It goes far beyond vandalism and the marking of urban territory. The scope is broader, and the roots deeper, than the repetitive conformity of aerosol gangland graffiti. These theatrical backdrops for the ritual drama of confrontations with the riot police are the visible fault-line of a fractured society. You can’t appreciate them on television, or even in a magazine. You have to run your hands over the blistered surfaces, with the noise of the streets in your ears, and realise that you are a part of it all. This is a huge gallery with no entry fees, no catalogues, no price tags and no free glasses of wine. It is pure communication of thoughts and feelings; the essence of art. I don’t think I would miss Santiago’s ubiquitous advertising hoardings if they all vanished overnight, but the environment would become distinctly less human if the soldiers returned with their buckets of white paint to make the murals disappear again.                                                                         

          

   

MAGICAL MONTANITA

The village of Montanita lies on the Pacific coast two-and-a- half hours’ drive north of Ecuador’s largest city, the port of Guayaquil. I arrived during the 2012 mosquito-infested rainy season, with my Chilean girlfriend. We had been warned never to hire taxis unless local hotels recommended them. Robbers prey on tourists using hijacked cabs. In Guayaquil, only the main 9 de Octubre Avenue from the centre to the modern riverside promenade, the Malecon Dos Mil, is safe, with armed guards, toting pistols and shotguns, on every block.

          As a middle-aged couple seeking peace, we found Montanita bursting at the seams with an international crowd of young backpackers and surfers, mainly from Argentina, with European, US, Canadian and Australian elements. The local population is brown, short with jet-black hair, wearing sneakers, sportswear and baseball caps. When not working or hustling, they swing in hammocks in their porches. Small children play freely in the streets. Credit cards are rarely accepted. The village centre throbs with a cacophony of reggae and salsa, notably in an alley dedicated to cocktail vendors, where the racket of the competing loudspeakers is deafening. Fast food smells mix with the stink of inadequate drains. Most of the roaming dogs are not strays, but belong to local households. We saw one lying dead in the surf at noon. The huge oysters sold on the beach greatly increase the chances of diarrhoea. One would have to be very drunk or exhausted to be able to sleep in the adjoining hostels. The tattooed youngsters party a few steps from the beach, where they can collapse on grey-yellow sand round driftwood fires until dawn.

          We had booked a room at the quieter north end of the beach, at La Punta, where substantial palm-thatched buildings sit behind a dirt road and bamboo bars and kitchens. The three-storey Hostal del Sol looks luxurious from the outside. My girlfriend Maria chose it online because of its Yoga classes, which take place two, or three times a day in a purpose-built thatched room above the reception.

          Maria enjoyed the Yoga and Nia, conducted with enthusiasm and expertise for ninety-minute sessions. She found the overcast weather and sea temperature too chilly compared with the Caribbean. Being English, I loved swimming among medium-sized breakers under heavy rainclouds. When the sun emerged briefly, it was scorching. The mosquito bites became more frequent and itchy as the season progressed. Our dark room, with a view of next-door’s toilet, felt oppressive. The hostel had just changed ownership and there was often no water supply while a succession of plumbers tried to fix the pipes. The dirt road turned into a river of sticky mud. On the sixth day a power cut added to our discomfort

          We moved next door to the more salubrious Rosa Mistica. It’s beach bar/kitchen provided unforgettably beautiful moments, watching sunsets and surfers in a red Pacific glow to the music of Bob Marley and Peter Tosh. Despite this, Maria had had enough. When we heard that the village was about to be invaded by 60,000 visitors attending the 2012 Reef Classic surfing competition with a concert by a San Diego reggae band, we decided to leave. Giant inflatable beer bottles and speaker stacks worthy of Woodstock arose yards from our retreat. In a short while, simply negotiating the cars double-parked everywhere, since the parking area was flooded, might take five hours. We cut our losses and headed back to the Grand Hotel in Guayaquil, next to the Cathedral, with its cool suites, efficient showers, room service, armed guards, security boxes and spectacular swimming pool.

          Even so, Montanita possesses a unique magic. With all the diverse cultures milling around, we never witnessed an angry scene, let alone any drunken violence. The secret lies in a combination of two factors; the close-knit village community, effectively one extended family, and the peaceful nature of the visitors: educated backpackers, laid-back surfers and old hippies. There is a third factor. On the rare occasions that a rapist, paedophile or hard drugs dealer is identified, the local men by-pass the corrupt national police, drag the offender into the jungle and burn him at the stake.

HOT TOWN - SUMMER IN THE CITY

February to March in Santiago; there was much less traffic, the kids on holiday, half the population at the seaside. It was hot and bright in the blazing sun. I ate scrambled eggs for breakfast every weekday morning in the 'Coffee Break' snack bar on Apoquindo with Rosario Sur. The owners, Katy and Rolo, proudly framed a page from Chile's most famous cartoon strip 'Condorito', in which they themselves have been immortalised by the graphic team who continue the work of the late Rene Rios Boettiger, known as 'Pepo'. Here the same nice couple who served me attend to the little vulture in the comic.

For more information on 'Condorito', see http://en.wikipedia.org/wiki/Condorito

My two artist friends remained in town; the comic-strip draughtsman Juan Vasquez (http://www.juanvasquez.cl/) had good news. Alejandro Jodorowsky chose him to adapt his 1970 film 'El Topo' into a graphic novel format. A few months ago, during the students' riots and occupations, Juan's path crossed with that of Marcelo Gamonal (http://marcelogamonal.blogspot.com), when Juan's group  'A Mano Alzada' (http://www.youtube.com/watch?v=HxJqwkAM9FU&feature=share) stuck their cartoon-strip posters on the same university walls that Marcelo was using to showcase his 'controversial' photomontages. Marcelo exhibits in the dry Mapocho riverbed. His shows are now 'by invitation only', since he has become a target for right-wing Catholic thugs. Marcelo is wearing the Monty Python 'Nobody Expects The Spanish Inquisition' T-shirt I sent him from London. The three of us finally met together in the Instituto Alpes on the 9th of March (below, from left to right, Hawthorne, Gamonal and Vasquez).

                                                                                       

I saw the Roberto Matta exhibition in the Moneda Cultural Space. It was inspiring to see the large scale images so well-lit. Saturday 25th February and Friday 2nd March found me starting and completing a banner-size picture at Marcelo's house in the Quinta Normal, in enamel paint and charcoal. 

 (below, overlapping with a Matta from the Museo de Bellas Artes). I managed to get something off my chest about both Hitler's Condor Legion, the 1973 Fascist coup and the sections of Chilean society who continue to applaud it. See - http://www.youtube.com/watch?v=vCsj02nvbps&feature=youtu.be  

In the video, an image showing a stout man in front of a cross, with a model dressed as a nun and a black dog, is propped against the wall beside me. The man in the picture is the late Patricio Egania, a key figure in Santiago's underworld, a notorious armed robber and cocaine vendor to the degenerate entrepreneur Claudio Spiniak. Marcelo befriended Patricio shortly before the criminal's violent and mysterious death in 2006, photographing him for his provocative 'Hijo de Perro' series. Chile's National TV station broadcasted a docu-drama about Patricio, a kind of latter day Jean Genet, which can be seen in 7 parts at http://www.youtube.com/watch?v=MLRqDmQ2iyY&feature=share

 With the release of Meryl Streep's film, I couldn't resist taking a back-handed swipe at Maggie with a few posters stuck around the city centre, reminding people of her support for Pinochet. Pity I didn't depict his ugly mug more accurately in the original painting, but hopefully the message is clear. Naturally, the British Ambassador invited selected guests to a private screening of 'The Iron Lady' at the Embassy, as if it was a cause for celebration. We await a film about the treacherous general.

Chile remains as divided as ever. The Fascist mayor of the Providencia district recently suggested erecting a statue in honour of the convicted torturer Miguel Krassnoff, who ran the infamous interrogation and murder centres in 38 Calle Londres and the Villa Grimaldi. I read Monica Echeverria's biography of this officer, of Ukrainian Nazi descent; 'Krassnoff - Arrastrado Por Su Destino' (Santiago de Chile: Catalonia, 2008), as well as Manuel Salazar's 'Las Letras Del Horror - Tomo 1: La DINA' (Santiago de Chile: LOM Ediciones, 2011). Finally, I informed myself about the Claudio Spiniak affair with Pablo Vergara & Ana Maria Sanhueza's 'Spiniak Y Los Demonios De La Plaza De Armas' (Santiago de Chile: Escuela De Periodismo Universidad Diego Portales/ La Copa Rota, 2008). All this, with ten days in Ecuador and the completion of another chapter of my pirate novel, made the time fly. I'm waiting till April to see if I won anything with my competition blog, a little post about Montanita in Ecuador, for Matador Network. I returned to discover that Roehampton University had awarded me a First Class Honours Degree in Creative Writing. I'll have to put it to good use now! Keep those buccaneers on the move! 

OXFORD UNIVERSITY

The dons didn't like me during my 1970 scholarship-level interview at Oxford University, so it gives me perverse pleasure to see one of my drawings of the 1981 Brixton Uprising on this dust jacket. I may not be IN the History books, but at least I'm ON one!

Lambeth Archives used the picture first, on their 2005 pamphlet by John Salway. The original is in The Museum of London, along with a larger drawing of the 1990 Trafalgar Square Poll Tax Riot, which spelt the beginning of the end for Margaret Thatcher, just as the 1981 events had ushered in her regime.

http://www.20thcenturylondon.org.uk/server.php?show=conObject.6029

Check out the 'Brixton Riots Anais Mika' video on Youtube.

ART BEYOND THE ANDES

I finally handed in all my University assignments on Monday. Phew! Six years seems like a long trek, even if it was part-time. The last module, 'Publishing for the Internet, included a blog of my investigation of Santiago de Chile's cultural scene in May 2011. The Graduation ceremony will be next July. I'm reading Ariel Dorfmann's 'Feeding on Dreams' (HMH). He's constantly looking for closure, and sees his task as 'to repeatedly, achingly, liberate all the zones, one after the other, that Pinochet conquered, take back every last corner of this contaminated land'. That corner I found by the Mapocho river is one.

 See a draft of the blog at http://jottify.com/works/art-beyond-the-andes/

FAR FIELDS ARE ALWAYS GREEN

Ariel Dorfman's Death And The Maiden continues its run at the Harold Pinter Theatre. Is the revenge of the victim best served cold? Or do we become as bad as the torturers by indulging in it? (See my effort to tackle the subject in a short story, Anubis, on http://jottify.com/works/anubis/  Marie-Celie Agnant also uses the device of rendering the oppressor helpless in Un Alligator Nomme Rosa, when Antoine catches up with the obese, immobile Rosa Bosquet. He drives her mad, cuts out her tongue (that's the way I read it) and dumps her in an old people's home under a false name, where the residents are strapped to their chairs in front of the television. Perfect. Still, we rarely get our hands on the big fish. Put Hussein and Ghadaffi aside for a moment, and consider the comfortable, untouchable careers of bloodstained creatures like Kissinger, Bush and Blair. Why is Baby Doc back in Haiti? Where would our revenge end? One ends up calling for civil war and guillotines, ushering in more tyrants. I guess it makes more sense when it's personal. Dorfman's PBS interview with Tavis Smiley, http://video.pbs.org/video/2163553821/ , develops the idea of Art ventilating the stench of History's unburied corpses. If we can't have justice, at least we can dream about it and let the criminals know we've got their number. I still wouldn't like to be an investigative journalist in, say, Putin's Russia. Fiction is a safer bet. For instance, a lot of Latin America's recent history finds its way into crime novels. In Russia, who can look at that Mafia State without thinking of John Le Carre's 'vors' spreading their tentacles around the world?

TRAVEL TIPS...AND TRAPS

The reflective commentary that must be submitted with each module portfolio is one of the least popular chores at university. Still, it produces valuable self-critical insights. Binyavanga Wainuna would not have been too pleased with my MAGIC SKIN in the Congo, complete with monkey stew and voodoo skulls! Tough titty; bushmeat protein and magic bones are driving forces, whether he likes it or not. A full belly and a working mojo work wonders in the Heart of Darkness. Reading Herge's Tintin in the Congo (Egmont) immediately after William Galvez's Che in Africa (Ocean) made me want to insert Che's comments into the comic's speech bubbles to produce "Tintin Guevara and the Mugangas". My teenage Kinshasa excursion might be put alongside a young African stumbling through some remote Baltic village, or racist Muscovite suburb, for balance. It's good to be reminded that so many places are mentally medieval. All the same, Richard Stupart's post at http://matadornetwork.com/bnt/travel-illusion-the-awkward-african-diptych-vid/ makes a valid point about the 'exotic' being described by the imperial Centre, especially when that Central Empire is represented by the likes of Robin Wiszowaty.