4-layer stencil. Aerosol and acrylic paint on canvas. 105 x 85 cm (41.3" x 33.5") Tinku, 2016
On 16th May 1999, Guatemalans were summoned to participate in a popular consultation to pass or reject a series of Constitutional reforms, which were previously suggested in the Peace Accords.
Voter turnout was 18.5% and the ‘No’ vote won in all four questions on the ballot paper; however, it did not surpass the 10% of all registered voters in any of the questions.
The hegemonic civil, military and evangelical sectors all united behind the ‘No’ vote; organizing and financing a strong campaign of misinformation: “if you do not know the proposals, its better to vote No”, “if you vote Yes, you are a guerrilla”, “if you vote Yes, taxes will increase”. Despite this, the Yes vote won in regions with the highest indigenous population, consequently, the most affected by State violence during the war.
Among many objectives, the consultation process aimed to prove Guatemala was “multicultural, multilingual and multiethnic” country. It also sought to reform the role of the army, absolving it of internal security, allowing civilian courts to prosecute common crimes committed by army personnel, and allowing civilian personnel to occupy high positions of the Ministry of Defense.
360° took this photo of a quiche woman, who walked amidst the morning mist on 16th May 1999.
Let this stencil be a new homage to the life and struggle of the Guatemalan indigenous women who, once again, give us lessons of dignity and courage.
Congratulations to Tinku for winning the 2016 stencil art prize!!! A cracking piece and well deserved
Thanks a lot, opie I really liked your piece and would have loved to see it from close. I like the way the portrait blends with its background. It was great to see it there (and to see some other users of this forum as finalists).
I couldn't be happier about this. A well deserved honor for Tinku. And I might add that it is well worth looking at all of this year's entries online. Winning the award is that much more meaningful given the overall excellence of the pieces that were submitted.
I am sorry about not having answered as I should have on this thread. This month was quite busy (I am still at university and we had the elections of the student body + exams), but this frenetic rhythm will slow down soon and I will have time to immerse myself on the stencils once again.
It is a big honour for me to get these comments (it was a pleasure to meet treweman in Mexico and he owns Retorno, sɐǝpı ɟo uoıʇɐɹǝpǝɟ is very familiarised with great artists I admire and POGO is extremely talented at cutting stencils). As sɐǝpı ɟo uoıʇɐɹǝpǝɟ pointed out, the amount of us (NBF members) participating at the SAP in growing, and it is a pleasure to see this happening.
In order to make this post a bit less boring, I'm leaving an image of Tributo, painted in Guatemala. I wanted to put emphasis on the parallelisms (both in form and content) between the Virgin that was already pasted on the door and the woman I portrayed:
This is the portrait of a girl photographed by my father on the 11th of September 2001 in Soweto, South Africa. Soweto was built on the outskirts of Johannesburg to relocate the black population, displaced from areas destined exclusively for whites by the Apartheid regime. In June 1976, close to 20000 black students from Soweto took to the streets to protest against the imposition of Afrikaans (Germanic language which represented White political power and domination, in particular the Apartheid regime) as the official language of instruction in schools. The protesters were repressed by State Forces and hundreds of students were killed. The legacy of the Group Areas Act and Bantu Education still haunt South Africa and Soweto is today, as in the past, a symbol of the struggle against racism, oppression, exploitation and marginalization.
Main edition of 7
70 x 60 x 8 cm (27.5 x 23.6 x 3.1 inches) Three-dimensional stencil on lightbox. Caoba wood, handpainted stencil cutouts (cut on MDF), aerosol, aluminum, electric and lighting materials.
Tinku, 2017 With the support of 360° and Cune.
*Instead of using the stencil layers to paint Soweto, the cutouts themselves make the image. Due to the way they are painted and located, the portrait reveals itself when the layers are lit. The distance between them makes the appearance vary when the angle from which Soweto is seen changes, producing a dynamic three-dimensional feeling.
My generation grew up with tales of defeat. They told us of markets that distributed everything, of the victory of technique in the face of ideologies, of the absolute supremacy of the individual self and its insatiable thirst for profit, of fragmented struggles and increasingly brief, banal and fleeting exchanges.
My generation grew up with tales of defeat, but also inherited experiences and longings, that resurface at times whispered, at times loud and clear.
“La Herencia” is a tribute to those who taught us to dream and build a society in which the intelligence, organization, solidarity and creativity of the many prevail, in which science and culture are communal patrimony and not tools of oppression and exploitation. “La Herencia” is a tribute to those that taught us to struggle for a society in which no one reaps the fruits of another’s work, in which man ceases to be a wolf to man.
Handcut stencils, aerosol and acrylic paint on canvas 130 x 100 cm Tinku, 2018