La Boca is a popular destination in Buenos Aires, known for the football stadium, La Bombonera and also for the most colourful street in the city: El Caminito. Despite being a mass tourism attraction, La Boca remains a rough, working class and downbeat neighbourhood with its houses made by cast-off ship materials and the life that takes place in its streets.
In fact, it’s right here that Color BA, urban art project curated by Tamara Selvood, works on walls, façades and buildings to convert La Boca into a street art reference place, creating an en plein air art hub.
As a result, Franco Fasoli, internationally known as Jaz, takes part in 2017 Color BA with a huge and astonishing mural entitled “El Puntero”. Jaz investigates identity, human condition and conflict featuring often hybrid creatures. Usually they are in a clash or gathered in a circle, to evoke metaphoric violence and bipolarity of human mind. Sometimes, we can find masks or faceless figures to analyse the concept of identity and the tension between culture and sub-culture. In addition, there is a steady reference to popular and local tradition, especially to Argentinian socio-political situation which is marked by conflict and dualism. Moreover, Jaz explores the culture as a product of man and his surroundings to feature a story, a subject matter or simply a message. Consequently, his art, instead of giving explanation or answers, it wants to motivate the viewer, encouraging him to reflect on our culture and political conditions of our society.
His artwork “El Puntero” is firmly inspired by the area showing the depiction of a barbecue, made by a faceless character intent on cutting and distributing sausages as symbol of power. The view from inside the grill prevent us from identifying the lady, but we perceive that she has a strong neighborhood charisma: those who live there can easily put a face on that body. Importantly, there is a deep reflection on urban plans that are changing the identity and the neighborhoods by launching an unstoppable process of gentrification. In this way, Jaz creates a powerful analogy, using the asado as a symbol of daily life in these areas that could disappear in the near future.