Don’t miss FSRN’s 2016 Oaxaca Street Art Calendars!

FSRN depends on its audience to keep the stories flowing and the coverage independent. The end of the year is our most important fund raising time. Your tax-deductible donation of $75 will help keep FSRN operational and will get you a lovely wall calendar of street art in Oaxaca to boot.  Supplies limited, act now!

Cover photo of the 2016 calendar shows a view from what was once the Oaxaca City train station.

Large scale stencil mural by the Lapiztola Collective shortly before its completion. The Oaxaca City government painted over the mural in October, 2015.

“We are the children of the warrior you couldn’t kill,” read the words on this piece along one of Oaxaca’s main thoroughfares.

This mural on the state university campus draws an arc between land defense movements in the revolutionary and modern eras.

Mural in front of an ecological center in Juchitán remembers the “bicuniza” – Zapotec for otters – that used to live in the nearby river before it became too polluted as the city grew.

Portrait near the entrance of the Cultural Center of Tehuantepec – housed in a former convent – is one of many large-scale paintings of community elders adorning the walls in the state’s Isthmus region.

Motocarro taxis pass in front of a mural in Tehuantepec portraying a woman in traditional headdress alongside regional flora and fauna.

Alligators adorn the facade of a former artists’ workshop in an alley in downtown Oaxaca City.

Detail of a block-long mural painted by multiple artists that leads up to the Cultural Center of Tehuantepec.

Wall size photo collage in Oaxaca City shows a mezcal producer along with the process of harvesting maguey plants.

A graffitero waits for a woman to prepare a tlayuda in a clay griddle, next to an altered phrase by poet Jaime Sabines, which originally read “Love is the finest silence.”

“The Absent Embrace” is another piece by the Lapiztola Collective. It was originally commissioned by an organization of mothers of the disappeared. Calligraphy in this version of it is by Said Dokins.