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Arts & Communication Urban expressions festival: The resignification

urban artist and the writer through payment. Separately, creation of the wall is driven by economic issues. The
El Pura (graffiti artist) referred to an important aspect in motivations are reflected in the festival, including the
relation to the material: “they try to give you more paint creative and expressive ones, because the festival generates
than aerosols. And it is like learning to make something a platform and gives a space for the works, as well as
nice, a mural, and stop doing graffiti.” economic ones because it gives positioning in the artistic
field and diffusion to the artist.
Peste Burner (graffiti artist) recounted that “the issue
of quality should be taken care of a little more, that is, not Callegenera could be perceived as a shared laboratory
inviting people because it is what it is. If not, because of for artists, where various expressions, styles, and
the great difference in quality of work and activity on the techniques come together. There is a constant relationship
streets. Whether pieces, characters, or Street art. That they and influence within this space and the conjugation of
be active, original people with a commitment to quality. artistic relationships. The artist ceases to be isolated in
In order not to lose the status of the event and not be just the street in terms of identity and surrounds himself with
another expo. That it be recognized for quality and respect. peers: urban artists and writers. In this way, the artistic
And whoever wants to be there, prepare and work to earn language is modified in certain cases, when techniques are
a place. And that they don’t invite you, because it is what shared and interpenetrated.
it is or because there is no budget to invite someone else.” Most of the artists show a positive reaction to
6. Looking forward for a broader Callegenera, as a platform that comes to legitimize,
destigmatize, and give greater diffusion, despite the fact
perspective that there have been censorship events during the festival.

The contrast between temporality and the temporal The struggle to achieve cultural and social capital is still
landscape inside and outside Callegenera is evident. We present on the city’s stage. Callegenera also seeks to obtain
can assert that there is a disruption in the festival in the it, as has been seen in the interventions in the city, which
space and main stage of urban art, in which the artist has caused the struggle to continue.
continues to generate his works, but the environment is
designated and closed. It goes from stationary, open public 7. Final considerations: New uncertainties?
spaces, where the works have a social temporality, to a In short, festivals of this type in direct connection with
stationary, closed public space, with a limited temporality. the growth of metropolitan areas and intermediate cities
By not occupying public spaces with interventions, the in Latin America are generating a paradigm shift in terms
festival is limited to the reappropriation of public spaces of our vision as a region, inviting us to question how we
by artists and the city, and a disturbance is produced in can adapt to the new urban standards without losing our
the main objective of urban art, which is to generate visual identity. The rise of urban art in Latin America in the last
memories, as well as the appropriation and democratization decade is largely the product of our society facing this
of space. transformation, where the intervention of space is no longer
just a rebellious act, but a desperate appropriation of the
On the other hand, there is a transformation in the environment to fight against the homogeneity imposed by
symbolic space used by the artists when they intervene modern urbanization. We can conclude that Callegenera
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pictorially and graphically on the walls of the Nave is considered the largest, longest, and most international
Generadores. However, there is still a significant festival of its kind in Mexico – it is the only one that covers
contribution within this change. Yes, the relationships most of the musical genres, movements, and urban artistic
in space and their correlations are no longer analogous expressions that exist in the city and in the country. This
to what they are in the street, new relationships are also is achieved through its various exhibitions, interventions,
created, especially those that are cemented between urban and activities.
artists working in the same area. In this way, the space There is no doubt that the city is the original channel
is configured toward one of creation, exchange of ideas, for these expressions, and when analyzing it together
and artistic techniques. Thus, a spatial autocorrelation is with society, it allows us to find a thought, a form of
conjugated between agents that have similar objectives, action, cultural, esthetic, and even philosophical norms.
where a reciprocal space of knowledge is generated.
The works that appear in the city allow us to identify a
A motivational discontinuity between theory and social reality, hence the importance of analyzing it from
practice is denoted. The motivations are centered on the its contexts and in its natural habitat, and above all from
individual and their need for catharsis, rather than being a decolonial vision. Urban and street art then becomes a
political. Circumstances are also present in which the process of appropriation of territory, understood as the

Volume 3 Issue 2 (2025) 8 doi: 10.36922/ac.2864