‘ By Gerlaine Kiamco Following a long legacy of artists who use their art to speak out against injustice and demand social change, Oaxacan artists have addressed the unfolding political conflict using a wide array media. From paintings in galleries to murals in the streets, the people of Oaxaca have had the opportunity to see parts of their lived histories represented on the walls around them. In October, 2006, a group of artists who had been supporting the Popular Assembly of the Peoples of Oaxaca (APPO) organized to combine their efforts.

They called themselves the Revolutionary Assembly of Artists of Oaxaca, ASARO by its Spanish acronym. According to their manifesto, they united “artistic collectives, independent artists, folk artists, and creators of diverse artistic disciplines” to join together in the “search for new and free art, joining our people in resistance against the oppression and alienation imposed by an individualistic, decadent culture.” They also expressed their intention for the construction of spaces of artistic creation for children and youth. Collectives and artists such as ArteJaguar, StencilZone, Colectivo ZAPE, individual art students, and graffiti artists had worked separately in order to inform the people and support the movement with their work.

But with the death of various activists and the entrance of the federal police which coincided with one of Mexico’s most important holidays, Day of the Dead, ASARO formed as an organized assembly of all the aforementioned groups. ASARO invited all of the artists to come and work for the people. They made large tapetes, colorful sand sculptures, throughout the central streets and at the feet of the armed riot police blocking access to the city center. In that way, they honored those fallen in the movement and began to organize sustained artistic resistance to the conflict. From this day forward, the artists of ASARO have painted in the marches and in the streets.

They created a mural for the Law School at the state university, exhibited their work in the Institute of Graphic Arts of Oaxaca (IAGO) and spoke about their vision of visual resistance at the National School of Anthropology and History (ENAH). They have printed woodblock prints and postcards to sell in order to support their projects. Images of Emilio Zapata, grasshoppers, students, marches, people, indigenous symbols, police violence, and much more are present in their images. They intend for the content of their work to be clear, direct and open possibility for dialogue between artist and spectator. However, Oaxacans are not the only ones who are viewing ASARO’s art. Because of tourism, national and international support, and the Internet, people from all over the world have access to these images.

Also, ASARO has been working with an American artist who has been organizing exhibitions and selling their work in the U.S.