ENTER THE “ZONA SIN LEY” WITH CASO PERDIDO

If you’ve ever wondered what the city looks like through someone else’s eyes, from other points of view, we recommend the work of Caso Perdido, which you can see on his social media or in the Zona sin Ley exhibition at the Montana Cafè Restaurant.
We approached the Venezuelan writer to get a glimpse of his process. As he says, he is not a photographer, but a graffiti writer with something to tell. Don’t expect grandiose answers, don’t get picky; his discourse can be perceived through his images.

Tell me, did you study photography or is your work purely self-taught?
I am self-taught photographer.

Do you think that means that you don’t need to be taught in order be a photographer?
You don’t need studies, you don’t need to be guided by anyone. Nowadays you can get all the knowledge you need on the Internet. In my opinion, the most important thing is to dedicate yourself to something with devotion, heart and determination.

“(…)my biggest reference is photographers like Myriam Boulos, Miguel Rio Branco and Sabiha Çimen”

What are your references?
When it comes to street photography, my biggest reference is the photographers from Magnum Foto, such as Myriam Boulos, Miguel Rio Branco and Sabiha Çimen. I also have references in terms of graffiti that have been documenting the scene for a long time.

What percentage of the content that you create, in your view, is related to graffiti?
I started taking photos thanks to graffiti because I documented the scene around me and I still do. Then I got the need to document graffiti because that’s what I saw every day.

And when you take a step back from the subject of graffiti, what do you usually gravitate towards? We can imagine it from your photos, but could you explain it?
Now I focus on making more of a concept study of each photo. For example, in projects such as “Zona sin ley” the research focuses on the different subcultures found in the city. In order to go deeper and better study the peculiarities of these subcultures, I manage the project through a series of sub-chapters. One of the sub-chapters I am currently documenting is “Arquitectura De Calle” which talks about homeless people who improvise and build their own urban homes.

“Barcelona is like any big city, with its positive and picturesque side, but also its dark and often forgotten side.”

Do you think Barcelona is a different city? What is special about Barcelona, so that your work turns out the way you want it to?
Barcelona is like any big city, with its positive and picturesque side, but also its dark and often forgotten side. The latter is especially evident if you live here and don’t just look at the superficial side of reality. This also applies to me and my surroundings. But what I find fascinating is that my environment will always be illegal, because of the graffiti, you know what I mean, and that arouses fascination in different fields, street, graffiti, characters… things that I already saw in my city, because what changes is the environment.

Analog photography has become fashionable and, as is usually the case, there are a lot of posers. What do you say about this?
It’s always been like that. Always. That now analogue photography is like the “boom” is because we are going through a time when everything that is old, vintage so to speak, is “cool”. So, if you go out in Barcelona, which is a multicultural city where there are many urban tribes, where there are all kinds of groups, you notice it in people’s appearance: 20 year-old kids who dress like we used to dress when we were 15. Everything is recycled now; not only analog photography, but the era of 10 megapixel digital photography has also come back. Everything gets recycled when it becomes fashionable. That drives up the value of cameras, or film, for example. I, for example, don’t call myself a photographer, -and I’m just an ordinary user who likes to document what I see- I’m affected by trends because a reel of film that I’ve always used and that always cost me 10 euros, now costs me 20.

Like µju?
Exactly. It is a camera that cost 40 euros and now costs 200.

Why do you think the µju camera has become fashionable?
Because it is a simple pocket camera that is easy to use and it has tools that not all analog cameras have; like a more expandable flash, zoom, and a retractable lens.. But basically everything depends somehow on what is fashionable. Some people like the Olympus, tomorrow it will be the Pentax Espio, the day after tomorrow it will be the Leica M6. But everything will depend on how much people can afford to spend.

Let’s talk about the exhibition. How did you go about selecting the photos?
On the one hand, by being myself, with what I liked, and reflecting on each photo, with the unique meaning it has for me. On the other hand, as I have already indicated, the project “Zona sin ley” is divided into several sub-chapters. In selecting the photographs for the exhibition, I tried to capture and attune the content of the different sub-chapters.

Please explain a photo. One of the ones you have exhibited.
One of my favorite photos is of my friend Jazz. A former graffiti writer from Caracas, who for me has been a reference among many graffiti writers in Caracas. What makes that photo special for me is that he has spent a lot of time with a brace on his femur because he had an accident but that didn’t stop him from continuing to paint and do what he likes. However, he never stopped, he always went for more, be it painting, creating his art projects or writing texts and poetry, something unique that makes him different from the rest.

Tell us about the exhibition. How was the opening and everything?
Well, in terms of ehxhibition, I saw that you don’t need to try to be someone different in the city. I think the feedback I got, I got from being the same person. It doesn’t define you where you have your exhibition, whether it’s at the Montana Cafè or the Montana gallery, at MOMA or MACBA. Because I saw that the people who went really valued me, first of all, on a personal level, but also because they like what I do. That gave me to understand that it’s not a question of ego of “let’s go for him because he is such and such”, but also a question of support.

Anything to add as a farewell?
Thank you for the opportunity and for believing in what I do. I think that the dedication and love that you give to your art, to your graffiti, to your photography, is the springboard to whatever you want to do, but always in touch with yourself; be yourself. Nothing else.

“Zona Sin Ley is a personal narrative and visual exploration of the lesser-known facets of Barcelona; it invites viewers to experience this city through the eyes of a Venezuelan migrant who assumes these subcultures as part of his daily life. In capturing Barcelona’s rich web of subcultures, Caso Perdido stands at a unique intersection between observer and participant. His lens becomes a bridge between his own path and the surrounding subcultures.

Through the lens of Caso Perdido, we are offered a deeper understanding of his trajectory and the interconnectedness of all these subcultures, and we see how his own sense of belonging is intertwined with the subjects he portrays. This series of photographs challenges preconceptions and opens a window into the vibrant and dynamic Barcelona that often remains in the shadows, waiting to be discovered by those willing to look beyond the surface. Ultimately, these searing photographs from the Lawless Zone project challenge us to reflect on the human connection that transcends social boundaries.”