Nahrain Al-Mousawi published an essay about “Aesthetics of Migration” on featuring the Yesckas piece in Tarifa.

In Grenada, stencilled street art by Yescka shows two figures running toward each other, one white and holding a surfboard and the other black and holding a life preserver, presumably to identify the African and the European runner. The art again evokes the notion of ‘collision of worlds’ between migrant and tourist in the same contact zone, but where one experiences the same site as holiday space and the other experiences it as prison or cemetery.

Read the essay here: was working at Millerntor Gallery 2014 in Hamburg.

Hecho en Oaxaca 15.09.2013

Yescka’s “la ultima cena” has become a popular image in Mexico. Right now the Museum of Contemporary Art in Oaxaca shows a huge Version of it as part of the “hecho en oaxaca” exhibit together with pieces of other famous street artist like Date Farmers, Dr. Lakra, How & Nosm, Lapiztola, MOMO, Nunca, Retna, Saner, StenLex, Swoon and Vhils

La ultima cena 15.03.2013

The “apostles” represent a part of mexico’s political, economical and religious elite. The most powerful among them is a well-known drug boss in Jesus place. The others are gathered around him, begging for his recognition. They are all sitting at one table, distributing the power among each other. Their thirst for power makes them devour the values that represents the head of Benito Juárez in the middle of the table, like freedom and justice and they abuse the responsibility they received from the people.

Los “apóstolos” en el imagen representan una parte de la élite mexicana. Como el más poderoso entre ellos, se presenta un narco popular tomando el lugar de Jesús. Los demás se juntan alrededor de él y piden su favor. Todos están sentados en una mesa y reparten el poder entre ellos. Su avidez de poder les hace comer los valores representados por la cabeza de Benito Juárez, como libertad y justicia y se abusan de la responsabilidad de la les ha encargado el pueblo.