Printed Press Selection

ED Magazine, September 2019
Best Artist 2019
By Loreto Prada (Santiago)

Victor Castillo
The Invisible Cage
Isabel Croxatto Galeria

Victor recounts that his career as an artist started when he left the university and his county. In Barcelona he started to demonstrate his talent, from abroad, he continues to explore themes of national contingency.
[Translated from Spanish]

ROOSTER Magazine, March 2019
Art Talk w/ Victor Castillo

Your works tends to blend whimsy with dread, combining a lighthearted style with a darker theme. Would you say that you lean more toward pessimism or optimism in the real world?

Both things influence my life and my work: disappointment and optimism. There's anger but also humor. I'd like to remove, even just a little bit, the blindfold that society puts over our eyes.

La Tercera Newspaper, December 13, 2018
Victor Castillo against the academy and power
By Denisse Spinoza (Santiago)

Bright colors in scenes inspired by animation and street art are keys in the work of the painter who has been associated with the Lowbrow movement born in the 70s in California. 

[El artist local radical en EEUU exhibe por partido doble en Santiago sue icónicos niño de narices rojas. Colores llamativos en escenas que se inspiran en la animación y el arte callejero, esas son las claves del trabajo del pintor que a menudo ha sido asociado al movimiento Lowbrow, nacido en los 70 en California. ]

étapes: design et culture visuelle, #212
Victor Castillo / Aux portes de l’enfer
By Hanja Anoukian (France)

Dessinateur compulsif, Victor Castillo développe très tôt des affinités avec le dessin. Il intègre différentes écoles d’art sans jamais y trouver satisfaction. Autodidacte, le peintre trouve son inspiration dans les oeuvres de David Lynch, Brian Eno, Paul McCarthy ou Marc Caro & Jean-Pierre Jeunet, entre autres. Il se plaît à aveugler fillettes et garçonnets, tour à tour anarchistes, désoeuvrés, délirants, et les confronte aux vices humains.

hDL Magazine, #35
Featured Artist: Victor Castillo

"The idea is that we are constantly being lied to in and by society. In my paintings it's also about clowns so it's a mix between lies and clowns. The sausage noses are a comic touch from Pinocchio, like the cherry on a cake."

CARNEMAG, Issue #20
Feat. Victor Castillo
Q&A by Carlo Luetto (USA / Argentina)

What is behind your work?
Disillusionment, fear, lies, unconsciousness, innocence, cruelty, and a long list of human passions, not to mention a touch of love and hope.

Artists you recommend? 
Hayao Miyazaki, John Heartfield, Henry Darger, Chris Cunningham, Peter Greenaway, Paul McCarthy, Joel Peter Witkin, Capitan Beefheart, Goya, Barry McGee, Robert Crumb, Ralph Bakshi, Andrei Tarkovsky, Manuel Ocampo, and an unending list of musicians and other tremendous artists.

JUXTAPOZ, March 2013 n146
Victor Castillo
By Gwynn Vitello (USA)

What about your next show Under Heavy Measures?

Right now we see extreme measures in society and the economy, so I want to work with that idea about power. That is the line that is going to connect my paintings, the abuse of measures. But I have to confess that it's hard for me to work in a line. I like chaos, when the idea is messy. And really, any painting is independent of the others.

Mono, Number 8
Cliché sobre el Cliché
By Elisa Rodríguez (Venezuela)

Many artists echo the pain denounced by Goya and reinterpret his engravings in their original sense, as deep wounds that remain open almost two centuries later. From the bittersweet illustrations of Chilean Victor Castillo to the British Chapman Brothers, they recognize the importance of Goya’s ability to capture the essence of modern warfare and strip it from the romance and chivalry that have been linked to it for so much time.

Georgie, Issue 9
Victor Castillo
By Glenn Leavitt (Canada)

Victor Castillo says he’s not a rebel, but you can be forgiven for thinking otherwise. His work is full of images mocking the traditional pillars of authority in society, whether churches, schools, or government. Patriotism, sports, the nuclear family, youth groups, mass entertainment and even Santa Claus are called into question in Castillo relentlessly dark, but morbidly funny view of the world.

The Cruelest Intentions: The Art of Victor Castillo
By Kirsten Anderson (USA)

Interestingly there has been a subtle shift in Castillo’s work since we last spoke with him. His new paintings occasionally express a new sort of sentiment, in step with the global ramifications of events such as the uprisings in the Arabic world and the Occupy movements. His characters now occasionally are depicted doing something revolutionarily optimistic.

Chakota Mag, Vol. 23
Cruel y bonito: Interview with Victor Castillo
By cka (Mexico)

“I am convinced that art can sensibilize and therefore improve our lives, but it can also be a bore reserved only for the academy.”

Public Art, #062
Cover Artist: Victor Castillo

[Translation from Korean to come]

Bang Art, #8
Delitto Castillo: An Interview with Victor Castillo
By Filippo Brunamonti (Italy)

“The exhibition Restless and Wild is about a vision of the world that is ‘innocent, wild, and cruel’, like children can be when they play. Like all of us can be. I feel more like I am a witness than speaking of personal things.”

[Restless and Wild, es sobre una visión del mundo ‘inocente, salvaje y cruel’, como pueden ser los niños cuando juegan. Podemos ser todos. Me siento más como un testigo, que hablando sobre cosas personales.]

The Colors of the Underground:
Beyond Pop Surrealism
By Juan S. Luna (Spain)

Riding between Barcelona and Santiago, Chile, Victor Castillo has signed up to today more than three-hundred paintings in which cruelty and innocence are drawn with unusual mastery, irony, and a critical vision of the world in which we live. Up to today he has exhibited in cities such as Barcelona, Berlin, Los Angeles, and London. [Translated from Spanish]

MODART, No. 10
Mickey Mouse has a Meat Cleaver
By Harlan Levy (Belgium)

Victor Castillo doesn’t mess around. He shoots straight to the core, unrooting current and historic horrors of the species known as humanity. He rips issues up out of our collective suffering and expresses them with the chiaroscuro contrasts of an X-ray. Victor feels that there is a delicate line separating good and evil; his work suggests that he toes the line.

LOW Kunstmagazin, No. 5
Interview by Danny Winkler (Germany)

“From 1991 on I went through different art schools. I left all of them, disappointed, until I ended up attending the worst one: The Catholic School of Arts. The incompatibility was so big, I was finally expelled. You can imagine what it feels like, to study arts in a place where you can’t talk about sex, religion or politics. It makes no sense at all.”

Copying Eden: Recent Art in Chile
By Gerardo Mosquera (Chile)

“Children are often cruel out of their own innocence” is the quote from Saint Augustine, which opens the catalog of Victor Castillo’s show Children OFF Revolution (Barcelona, 2005). This work combines a parody of the supposedly idyllic world of childhood with a criticism of the globalized industrial icons which are imposed on children’s imagination. It also contains the aesthetic of comics and cartoons in all their expressive power. [Translated from Spanish]

Victor Castillo’s Appetite for Destruction
By Kirsten Anderson (USA)

Victor Castillo’s vision is prompted by the injustices and hypocrisy perpetuated by the questionable promises of capitalism, global politics, and religion rampant in the world today. He states, ‘I don’t adopt any political militancy. I try to have a wide and critical approach to politics in general, paying attention to the apolitical position. I deeply mistrust both politics and religion.’ But clearly his work is influenced by much introspection and investigation into the workings of human interaction and power plays through history.

The Triumph of Pop Surrealism
By Xavi Sancho (Spain)

Victor Castillo is a child of the Seventies, of comics, of Mazinger Z, of Pop as clandestine culture in a society marked by autarchy and the violence inherent to dictatorship. He grew up in a neighborhood that he remembers as ‘brave’. His work touches paintings and illustration, and it assumes without complexities classical references and that which have been called Pop Surrealism, most of all in its bloody and political aspects. Violence in primary colors. [Translated from Spanish, Nov. 2007]

Lamono, Núm. 31
Interview by Eva Villazala (Spain)

“The biggest lie that they have sold to immobilize us is consumption and complacency. What is the use of art? In front of the world's real problems, art does not have utility. Maybe when it is affiliated with denunciation and provocation, like the messages we find in the documentary genre, it becomes relevant — that it can have a role educating social consciousness. [...] Behind my work is the constant predatory warning that man desires man, that ‘man eats man.’” [Translated from Spanish]

Salir, Salir, Número 79
By Julián Elliot (Spain)

A child’s world has the seeds of what is to come. ‘Violence in the media transforms children, the adults of the future,’ Victor Castillo affirms, ‘We reap what we sow.’ Frustration faced with the world, a certain impotence with regards to the conditions of society today are motivations behind his work. ‘For this reason I show a tragic-comic vision of reality.’ [Translated from Spanish]

Iguapop Gallery Bible

The work of Victor Castillo is a piercing force; he reveals in his paintings post-apocolyptic landscapes drawn from the gut. Castillo uses his own language based on popular icons inherited from the world of comics, illustration and the cathode rays that flooded his childhood. After being unraveled, amputated, recomposed and recontextualized by the artist, Castillo’s characters become the narrative threads that spring from personal experiences but are elevated to universal facts. [Translated from Spanish]


Continue to interviews