Movies

‘Asco: Without Permission’ honors four East L.A. friends who changed Chicano art

BBG News

During the 1970s and ’80s, the artist collective known as Asco, which translates to “disgust” in Spanish, left their mark across East L.A. The young artists at that time engaged in a variety of playful antics for art’s sake: they would stick themselves to walls to create an “Instant Mural,” staged a performance dinner on Whittier Boulevard called “First Supper After a Major Riot,” and reenacted their own version of the “Stations of the Cross” by carrying a life-sized cross down the street.

Using an unconventional strategy in the realm of performance art, the founding members of Asco – Harry Gamboa Jr., Glugio “Gronk” Nicandro, Willie Herrón, and Patssi Valdez – established a significant legacy by broadening the horizons for Chicanos within the art world.

Following their disbandment in 1987, it wasn’t until 2011 that any significant art institution acknowledged their work. The Los Angeles County Museum of Art eventually held a retrospective exhibition titled “Asco: Elite of the Obscure,” which was more than three decades after the group had carried out acts of vandalism, like spray-painting its “Spray Paint LACMA” series, as a means to challenge the museum’s lack of representation for Chicano art.

In a recently released documentary called “Asco: Without Permission,” premiered on March 10 at South by Southwest, filmmaker Travis Gutiérrez Senger aimed to share Asco’s story. As he stated to De Los, “Our goal is to honor Asco, but also to impart what they achieved to the upcoming generation and carry forward their legacy.

Over Austin’s Lady Bird Lake, a diverse crowd of Asco admirers and documentary enthusiasts came together in a transformed hotel ballroom-turned-cinema. For five years, Gutiérrez Senger, under the leadership of Mexican filmmakers Gael García Bernal and Diego Luna, has been dedicated to this project, from its inception to its completion. Last Tuesday evening, he was accompanied by García Bernal, original Asco members Gamboa and Valdez, as well as other contributors to the film, for the celebration of its premiere screening.

As I delve into this cinematic exploration, I find myself immersed in the early days of the groundbreaking collective known as Asco. This film offers valuable insights into their most iconic pieces, painting a vivid picture of their artistic journey. What truly sets Asco apart is their profound impact on the modern Chicano art scene, a fact this movie makes abundantly clear through an engaging narrative style. The story unfolds using a unique blend of archival footage, dramatized recreations of their works, and candid on-camera interviews with the very members who made Asco a household name in the world of contemporary Chicano art.

A day following the SXSW debut, Gutiérrez Senger had a conversation with De Los about everything related to “Asco: Without Permission.

This interview has been condensed and edited for clarity.

Can you recall your initial experience with Asco’s artwork? What specifically caught your attention about it?
To be honest, my first real encounter was with the “Decoy Gang War Victim” image where Gronk is on the ground surrounded by red flares. However, what truly piqued my interest was the artist’s name, Asco. This curiosity led me to explore further online in search of more captivating visuals.

It was then that I discovered the “No Movies,” a collection of fictional film frames featuring Chicanos reinterpreting Hollywood. As a filmmaker, gazing upon these images of a fresh take on cinema from this community left me utterly amazed and thrilled. Nothing quite like it had ever crossed my path before. The notion that young creators were behind such groundbreaking work, rich in narrative depth, resonated with me almost immediately.

Could the unique concept behind the group’s project called “No Movies” resonate with you in any way? Are there particular images or frames from it that particularly stand out for you, or help shape your perception of cinema?

The Gores’ production resonated deeply with me. It’s their unique take on a science fiction film from a Chicano perspective that’s both captivating and playful. They seem to have crafted the costumes themselves, demonstrating resourcefulness beyond belief. And it’s clear they were all enjoying the process.

The absence of films, particularly those by Asco, stirs an inner energy within me. They empower me with increased confidence, self-love, and motivation. Asco’s work ignites my imagination, creativity, and drive – qualities that I deeply appreciate about it. It encourages one to create, which is a truly wonderful gift. Just looking at Asco’s work often sparks new ideas and inspiration in me.

As I was delving deeper into Asco’s heritage, what were the circumstances in my life as a filmmaker at that time? Well, I was primarily seeking out more stories and characters of Latino origin. I had always admired Gael [García Bernal] and Diego [Luna]. They were role models for me growing up. Their films resonated with me, and their work in Mexico was inspiring. I felt a strong connection to them.

When I discovered Asco, it felt like an impactful force due to their identity as Chicanos. Witnessing these bold and revolutionary creators, who were also Chicano, struck a chord with me on a deeper level. Therefore, integrating all these inspirations into the film was a remarkable experience for me on a personal level, as they represented the most significant milestones in my life as a Latino.

In the documentary, we chose to highlight artists such as Ruben Ulises Rodriguez Montoya, San Cha, and Maria Maea, who created work for the 2023 exhibition “ASCO and the Next Gen” and short films that are part of the film. We decided to incorporate contemporary voices in the project because we felt it was essential not just to present a movie about ASCO, but also to actively contribute to the movement ourselves, even if it meant taking a risk. The outcome was truly impactful.

If we’re going to discuss and tackle the challenges that Asco encountered, it requires more than just a chat. Asco is all about doing, so we needed something bold or striking to convey our identity and answer the question, “What kind of narratives do we want to showcase today?” We drew inspiration from Asco’s work, but the short films presented are undeniably stories of the 21st century. They are not intended to be reenactments of Asco’s work.

From a passionate movie buff’s perspective, I found it essential to incorporate various generations in this film to resonate with my peers and the younger Latino community. Asco’s experiences mirrored many issues that we face today, such as police brutality, media representation, and the struggle for self-expression. By featuring young actors embodying Asco’s life, mid-career artists, and showcasing the viewpoints of Asco’s contemporaries, I aimed to create a bridge between their struggles and ours. This intergenerational approach allows us to learn from the past while shaping the future with our own voices and perspectives in the artistic world.

What did you personally gain from being involved in creating this movie, considering how much you admire the artistry of the subjects? Well, initially, Asco shared their passion for redefining the Chicano image, which resonated with me too. However, as I delved deeper into the project, I realized that at the heart of Asco’s work was a powerful message about self-love. It’s all about acknowledging and nurturing one’s own abilities and talents.

After completing the process, I felt incredibly proud to identify as Chicano and eager to share our narratives. For me, creating this film marked a turning point where I began to think we could challenge these established institutions. Although my desire to disrupt them remains strong, I now feel a greater sense of dignity, pride, and connection to my community.

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2025-03-19 18:31

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