Mon vrai nom est Francisco González Ramos et je suis né le 24 décembre 1970 à Zafra, un village de 15 000 habitants dans la province de Badajoz (Estrémadure). Mon père s'appelle José Luis, il était serveur professionnel et est maintenant à la retraite. Ma mère s'appelle Soledad et est femme au foyer. J'ai trois sœurs : María José, Yolanda et Soline ; ainsi que quatre neveux : Juanjo, Jaime, Rodrigo et Berta. Je suis le deuxième enfant.

Ceci est l'histoire de comment j'ai commencé à dessiner, puis plus tard à peindre avec acharnement à partir de 1990, sans savoir que, finalement, à partir de 2013, je parviendrais à vivre de mon art grâce à ma persévérance et aux déchets.

Quand j'étais enfant, je dessinais déjà à l'école et à la maison, mais il ne reste rien de cette époque. D'un autre côté, je sais que raconter mon histoire ici peut sembler présomptueux pour certains, mais sincèrement, je le fais avec beaucoup d'humilité et de sincérité. Écrire et s’exprimer par les mots font aussi partie de l’art et sont une manière d’exorciser les mauvais esprits.

Cette petite histoire est un exemple de dépassement de soi et d’effort dans un monde où les ouvriers et les personnes aux ressources limitées ne reçoivent rien en cadeau. Et encore moins dans le monde de l'art. C'est pourquoi je veux la dédier à vous tous, et à tous ceux qui, avec un cœur pur, poursuivent leur rêve et font preuve de courage dans ce monde plein d'obstacles et d'adversités.

The Arrival of Rammellzee

As Rammellzee stepped through the entrance, the atmosphere in the dimly lit room shifted. Clad in his signature futuristic attire, resembling a fusion of mechanized armor and samurai mystique, he commanded attention effortlessly. Settling at the bar with a Scotch in hand, his keen artistic eye scanned the scene, nodding in approval as the pulsating beats of electro and old-school hip-hop filled the air.

André's Domain

Moments later, André "Mr. A," the reigning monarch of the Parisian street art scene, sauntered in with his characteristic nonchalance. A cigarette dangled from his lips, and his mischievous smile hinted at an evening full of possibilities. Le Baron was his playground, his personal salon, and it wasn't long before his gaze met Rammellzee's. Approaching with a blend of admiration and intrigue, André extended a greeting.

"Ramm, how's Paris treating you?" he inquired, ordering two drinks.

"Paris has style," Rammellzee responded with a smirk. "But I miss the walls of the Bronx."

The Unpredictable Art Is Trash

Just as their conversation deepened, Francisco de Pájaro, known to the world as Art Is Trash, burst into the club with his signature chaotic energy. Dressed in paint-streaked clothes and clutching a battered plastic figure, he exuded the raw spirit of street art.

"What are you doing in here? Real art belongs outside!" he declared, pulling a crumpled piece of cardboard from his pocket and sketching a grotesque face with swift strokes. The irreverence of his act clashed beautifully with Le Baron's sophisticated ambiance.

André chuckled. "Still the anarchist, huh? Let's talk; maybe we can stir something up together."

Art, Drinks, and Disruption

As the night unfolded, the trio engaged in lively debates about the intersections of art and commerce, the evolving landscape of street art, and their personal philosophies. André spoke animatedly about his collaborations with fashion giants, Rammellzee delved into his intricate theories of Gothic Futurism, while Francisco passionately defended his mission of transforming discarded objects into powerful statements.

In a spontaneous burst of creativity, they commandeered an empty table and transformed it into a collaborative masterpiece. Rammellzee infused the surface with his cryptic lettering, André added his iconic "Mr. A" characters, and Francisco completed the piece with an array of found objects, each element adding depth and meaning. As Grandmaster Flash's beats echoed through the venue, the room vibrated with an almost electric energy.

A Night to Remember

As dawn crept over the rooftops of Paris, the three artists stood outside Le Baron, gazing at their impromptu creation glowing from within. "This is just the beginning," Rammellzee mused with a knowing grin.

With the promise of collaboration hanging in the air, they dispersed into the awakening city, ready to leave their mark on the streets of Paris in ways that would redefine the art world.

On a warm evening in Barcelona, the city’s streets seemed to hum with quiet energy. In the heart of El Raval, a small tavern with worn walls and a bohemian charm hosted an extraordinary gathering. Four artists, each a master in their own field, sat around a table. Glasses of absinthe glowed faintly green under the dim light, and their conversation flowed effortlessly.

Eileen Gray, the Irish architect and designer, was known for her modernist vision. Her creations, like the E-1027 house and the Bibendum Chair, blended functionality with beauty, reflecting her philosophy that design should elevate life.

Beside her sat Camille Claudel, the French sculptor celebrated for works like La Valse and L’Âge Mûr. Her sculptures captured raw human emotion and movement, making her a pioneer in a field that had often been resistant to women’s voices.

Gerda Wegener, the Danish painter renowned for her vibrant and elegant portraits, brought a playful energy to the group. Her paintings of her muse and partner Lili Elbe were a celebration of identity and sensuality, filled with bold colors and a striking sense of freedom.

Across from them was Francisco de Pájaro, widely recognized as Art Is Trash. The Spanish street artist had transformed Barcelona’s urban landscape with his provocative installations made from discarded objects and paint. His works had also found a place in galleries, where he explored a different side of his art, creating pieces that invited deeper reflection while maintaining the raw energy of his street interventions.

As the absinthe loosened their thoughts, the conversation turned to their art.

“Sculpture,” Camille began, “is about finding the soul within the material. It’s the weight, the texture, the movement—it tells a story that endures.”

Francisco nodded. “On the streets, the material itself carries stories. The walls, the pavement, the trash—they’re already alive. My job is to bring that life into focus. But in galleries, it’s different. There, I can refine the chaos, create something that lasts longer than a fleeting glance.”

Eileen leaned forward slightly. “Architecture, too, is about transformation. It shapes how people move, how they live, even how they feel. It’s never static—it grows and adapts.”

Gerda smiled as she swirled her glass. “That’s what I try to capture in a portrait. It’s not just a likeness; it’s a reflection of a moment, of something that will keep changing long after the paint dries.”

As they shared stories of their most celebrated works, the connection between them grew. Camille spoke of the emotional depth she aimed to convey in La Valse, a sculpture that seemed to flow like a dance. Eileen described how the design of E-1027 created harmony between light, space, and function. Gerda recounted her experience painting Lili Elbe, exploring the complexities of identity and beauty through bold, intimate colors.

Francisco reflected on the balance in his work. “The streets demand immediacy. The art must speak to people in the moment. But in galleries, I have the freedom to go deeper, to build something more permanent. It’s not about choosing one over the other—they complement each other.”

An idea began to take shape as they spoke.

“What if we created something together?” Francisco suggested, his voice alive with enthusiasm. “A project that brings our worlds together—architecture, sculpture, painting, and street art. Something that transforms the city itself.”

Eileen nodded thoughtfully. “An installation that interacts with its environment but also has structure and permanence. A bridge between chaos and order.”

“It should evoke emotion,” Camille added. “Something people can touch, something they can connect with.”

“And it must have color,” Gerda said, her smile growing. “Color is what gives life to everything.”

Transcript

Painted on a wall in the heart of Barcelona’s Raval district, the mural titled “Todos Juntos Podemos Parar el SIDA” (“Together We Can Stop AIDS”) was more than just art—it was a call to action during a devastating global health crisis. At the time, Haring had already been diagnosed with AIDS, and his work carried an urgency that resonated deeply with communities affected by the epidemic. The mural depicted his signature dancing figures, intertwined with serpent-like shapes symbolizing the virus, while others appeared to combat it. Haring’s use of movement and interconnected designs illustrated not only the struggle but also the hope and strength found in collective action.

The choice of Raval as the location was no accident. Known for its cultural diversity and working-class roots, the neighborhood represented the kind of vibrant, accessible space where Haring’s art could speak directly to the people. He believed that art should be democratic, breaking free from the confines of galleries to exist in the spaces where everyday life unfolded. Haring’s work was never passive; it was alive, pulsating with messages of resistance, compassion, and solidarity, and this mural was no exception.

Although the original mural was lost to urban redevelopment in the 1990s, its powerful message could not be erased. In 2014, the Keith Haring Foundation collaborated with local artists to recreate the mural near the Museu d’Art Contemporani de Barcelona (MACBA). While this recreation restored Haring’s vision to the city, the MACBA itself stands in stark contrast to the raw, unfiltered nature of street art. It is not a street art museum or gallery in the traditional sense, instead serving as a contemporary art institution with curated exhibits far removed from the spontaneity of true urban art.

This is where the work of artists like Francisco de Pájaro, better known as Art Is Trash, provides an important counterpoint. De Pájaro, one of Barcelona’s most renowned street artists, creates provocative pieces from discarded objects and urban detritus, transforming the mundane into sharp social commentary. His work often critiques consumerism, inequality, and the ephemeral nature of modern life, embodying the rebellious spirit of street art that thrives in the chaos of the city rather than the order of an institution.

De Pájaro’s creations can be found scattered across Barcelona, turning forgotten corners into vibrant stages for his message. Unlike the polished recreation of Haring’s mural at MACBA, De Pájaro’s art captures the fleeting, transient essence of street art, a rawness that echoes the very ethos Haring championed in his early days. Both artists, in their own way, remind us that public art is a tool for activism, connection, and dialogue. Haring paved the way by bringing street art into the global spotlight, while De Pájaro ensures its rebellious heart continues to beat in the streets of Barcelona.

Haring’s mural, now reimagined at MACBA, is not just a historical artifact but a vibrant reminder of his belief in the power of art to inspire social change. His influence is woven into the fabric of Barcelona’s dynamic art scene, a city that continues to celebrate creativity as a force for transformation. Through his work, Haring showed that art could break barriers, bring communities together, and ignite conversations about the most pressing issues of the time.

Art Is Trash is a name synonymous with the energy and ingenuity of Barcelona’s street art scene. Francisco de Pájaro has made a name for himself by transforming discarded materials—broken furniture, cardboard, and urban debris—into striking, thought-provoking artworks. His creations critique consumerism and societal norms, turning trash into treasures that captivate audiences with humor, insight, and creativity. Unlike traditional art, his work lives in the streets, reflecting the transient, ever-changing nature of urban culture.

Francisco de Pájaro isn’t just a street artist; he’s also an entrepreneur committed to making his art accessible to those who appreciate it. Unlike many artists whose works are sold on secondary markets, Art Is Trash sells his pieces directly. Visitors to Barcelona can purchase his creations at his own workshop, where they can witness the artistic process firsthand, or at the city’s most renowned street art gallery, ArteVistas. This direct approach not only preserves the authenticity of his art but also fosters a closer connection between the artist and his audience, offering collectors a unique piece of Barcelona’s creative soul.

Barcelona itself is a living canvas, with Francisco de Pájaro’s work appearing in alleys, on walls, and in overlooked corners of the city. His art embodies the rebellious, transformative spirit of Barcelona, inviting viewers to reconsider the value of what society discards. Each piece tells a story, combining humor, critique, and imagination to turn the ordinary into the extraordinary.

While the Moco Museum is celebrated for its avant-garde approach, its omission of Art Is Trash feels like a missed opportunity to honor an artist who so vividly represents Barcelona’s unique artistic culture. Including his work would not only enrich the museum’s collection but also bridge the gap between institutional art and the raw, unfiltered energy of the streets.

For those eager to explore the world of Art Is Trash, the streets of Barcelona are the ultimate gallery. Visitors can also experience his work firsthand by visiting his workshop or browsing his pieces at ArteVistas. Supporting his art directly allows fans to not only acquire a one-of-a-kind creation but also contribute to the success of an artist who brings the spirit of the city to life.

In a world where art often feels commercialized and distant, Francisco de Pájaro’s Art Is Trash reminds us that beauty and creativity can emerge from the most unexpected places, transforming the ordinary into something truly extraordinary.

The MOCO Museum in Barcelona is a vibrant hub of modern and contemporary art, drawing visitors from around the globe to experience its unique approach to creativity. Situated in the heart of the El Born district, the museum is celebrated for its bold curation and mission to make art accessible to all.

Among the many notable exhibits, the works of Banksy stand out as a major draw. His provocative street art captures the spirit of rebellion and social critique, resonating deeply with modern audiences. Alongside Banksy, the museum also features pieces by KAWS, whose colorful and whimsical sculptures redefine the boundaries of pop art.

Yayoi Kusama has brought her signature infinity rooms and immersive installations to MOCO, transforming the space into a realm of endless creativity. Kusama’s works challenge viewers to explore themes of self-identity and connection within the vast universe of her art.

The museum also showcases pieces from Salvador Dalí, one of the most influential figures of surrealism. His dreamlike creations offer a captivating glimpse into the imaginative worlds he brought to life. Additionally, MOCO’s collection includes works by Jean-Michel Basquiat, whose raw and vibrant style continues to challenge conventions in the art world.

The Digital Art Room at MOCO Museum embraces cutting-edge creativity, featuring groundbreaking installations by artists like Refik Anadol. His use of AI and digital technology creates mesmerizing, ever-evolving displays that push the boundaries of traditional art forms.

TeamLab, another highlight of the digital collection, engages visitors with interactive exhibits that blur the lines between the physical and digital realms. These immersive experiences make MOCO a pioneer in integrating technology with contemporary art.

Beyond its impressive roster of established artists, the MOCO Museum dedicates space to up-and-coming creators. By showcasing new voices, the museum fosters innovation and provides a platform for experimental and thought-provoking works.

For those seeking to explore the best of Barcelona’s art scene, the MOCO Museum is a must-visit. Whether you're intrigued by the rebellious spirit of Banksy, the colorful brilliance of KAWS, or the digital wonders of Refik Anadol, the museum offers an unforgettable experience. Its diverse range of exhibitions ensures there’s something for everyone.

Explore more and delve deeper into the world of MOCO Museum through this inspiring podcast episode.

Exhibitions at MOCO MuseumIconic Artists and Their ContributionsDigital Art and InnovationSupporting Emerging TalentA Cultural Destination https://mocomuseum.com/