The Chicano Movement of the late 1960s provided a platform for Mexican Americans, particularly in Los Angeles, to express their political and artistic voices.
In 1972, four young artists from East LA, Patssi Valdez, Willie Herrón, Harry Gamboa, Jr., and Gronk, formed a groundbreaking collective known as Asco.
Their work showcased absurdist and satirical guerrilla art, delving into themes such as police brutality, immigration, gender, and sexuality.
Now, a documentary titled ‘ASCO: Without Permission’ highlights their influence, featuring a compilation of short films and music from a fresh wave of artists inspired by the original collective.
The film will premiere at the Los Angeles International Latino Film Festival, running from May 28 to June 1.
The name ‘Asco’ translates to nausea or disgust in Spanish, aptly reflecting the group’s initial approach to art, which utilized shocking techniques.
Travis Gutierrez Senger, the documentary’s director, mentions the original Asco members employed symbols like dead birds to provoke a visceral response.
However, over time, their artistry evolved into more politically charged commentary.
“The incessant coverage of LA gangs only exacerbated violence,” explains Senger.
He adds that the artists were appalled by the stereotypical representations of Latinos in Hollywood films, which they found offensive and ridiculous.
As they witnessed police brutality and the violent suppression of protesters in their community, it stirred a profound sense of asco within them.
Despite the often grim themes, the group skillfully wove layers into their work, creating meaningful artistic statements.
One notable project was a ‘walking mural’ that took inspiration from a Christmas parade once held along Whittier Boulevard, which had been permanently shut down due to violence.
In challenging the tradition of Mexican muralism and the Catholic influences surrounding them, Asco aimed to revive the culture of community celebration that law enforcement had taken away.
Senger emphasizes the “wonderful queerness and playfulness” within their projects, highlighting an undercurrent of fun and rebellion that accompanied their art.
The collective also pioneered provocative still photographs referred to as ‘no movies,’ which captured the essence of cinematic storytelling within a single frame.
Senger elaborates that these images are imagined films ranging from melodramas to futuristic tales.
Artists resonating with Asco’s narrative have begun to craft their ‘no movies’ for contemporary audiences, extending the legacy into the 21st century.
For example, Senger collaborated with El Paso sculptor Ruben Ulises Rodriguez Montoya on a piece titled ‘The Possessed.’
In this work, anchors of a satirical news show discuss a fabricated crisis regarding immigration from Central America, South America, and Mexico, urging viewers to stay indoors and arm themselves.
As the narrative unfolds, ‘possessed migrants’ take control of the broadcast, revealing the absurdity of dehumanizing portrayals perpetuated by media outlets like Fox News.
The aim was to showcase not only the dangerous narratives that create fear around immigration but also the absurdity of these representations.
After Asco disbanded, their legacy continued to inspire countless artists across generations.
Senger notes that many emerging and established artists are channeling Asco’s ethos into their work today.
He believes that their enduring influence fosters collaboration and inspires a daring approach to art among contemporary creators.
As interest in Asco’s original vision grows, it opens up new dialogues about identity, representation, and the political role of art in society.
These discussions challenge artists to infuse their practices with the bold spirit that defined Asco, ensuring the collective’s legacy will endure well into the future.
image source from：https://www.kcrw.com/news/shows/press-play-with-madeleine-brand/trump-fentanyl-chicano-art/asco
