Residents of the Mataderos neighborhood and opposition legislators denounced that the Buenos Aires government covered up a mural in homage to the musician Gabo Ferro, which was inaugurated at the end of 2020 after the death of the artist and declared of Cultural Interest of the City, and affirmed that the The damage occurred within the framework of an official recovery plan for vandalized fronts.
The work “Love, fear, leave” replicated the image of the artist’s 2008 album cover and was painted on the corner of Juan Bautista Alberdi and Basualdo streets, by friends and family of Ferro, together with neighborhood organizations such as Club Ercilla Juniors, Evita Comuna 9, Barrios de Pie, Front August 22 and Merendero Nuestro Barrio.
As they pointed out, the mural was on the facade of the Hispano Argentina tannery, which gave its authorization for the installation of the work in 2020, when it was decided to pay tribute to the musician who died in October of that year since he was considered a “son of Slaughterhouses”.
In this context, the complaint maintains that days ago, the City Government destroyed the work by covering it up during the work carried out in the Buenos Aires Communes for the recovery of fronts that have been damaged or painted and is in charge of the secretary of Citizen Attention and Community Management, Julia Domeniconi.
After learning what happened, the legislator of the Frente de Todos Laura Velasco presented a repudiation project and considered that the official plan “does not take into account the particular characteristics of the property to be intervened and its heritage value, nor is the artistic value of the intervention respected. popular”.
“In the case of the Gabo Ferro mural, it was not verified whether it was an unwanted intervention by the owners and the neighbors of the neighborhood,” he warned the initiative of the Buenos Aires management that aims, according to official reports, to “attend unforeseen situations for the neighbors that have to do with acts of vandalism”.
He added that “it is imperative to prevent these situations from recurring” and pointed out that “the company in charge of the work should have clear instructions on how to act in the presence of popular artistic expressions and the City Government should duly control its interventions” .
Gabriel Fernando Ferro, such the name with which he was born on November 6, 1965 in the Mataderos neighborhood of Buenos Aires, was a historian, narrator, playwright and teacher, all facets that he embraced with depth and passion.
Ferro broke into music as the founder and singer of the hardcore band Porco, which made its mark in the underground of the city of Buenos Aires between 1992 and 1998, with different formations.
After the dissolution of the group, he graduated as a historian and in 2005 he returned to the rafts with his first solo album, “Songs that a man should not sing” and the pulse of that inaugural gesture in the song set the tone for a notable repertoire that spread other 11 albums (the last one “Historias de Pescadores y Ladrones de la Pampa Argentina”, together with Sergio Ch.).
In literary and essay matters, the collection of poems “Fantastic & pneumatic elementary panoramic recipe book” and the essays “Barbarism and Civilization. Blood, monsters and vampires during the second government of Rosas” and “Degenerates, abnormal and criminals. Gestures between science, politics and representations in the Argentine case”, in addition to “200 years of Argentine monsters and wonders”.
In 2015, he won the Konex Award as one of the five best figures of the 2005-2015 decade in the Author Song discipline and in April of last year he was recognized as Outstanding Personality of Culture by the Legislature of the City of Buenos Aires.