At 78 years old, Alejandro "Mono" González moves with the restless energy that earned him his nickname in elementary school. The internationally renowned Chilean muralist spends his weekends at a bustling flea market in central Santiago, where he operates a small stall surrounded by screen prints and artwork. Many customers browsing his modest booth have no idea they're speaking with one of the world's most celebrated wall painters, an artist who has transformed apartment buildings and urban walls into vibrant canvases of social commentary.
Gonzalez earned his nickname "Mono" – Spanish for monkey – during his school days because of his hyperactive nature, a trait that continues to define him decades later. Meeting the artist is surprisingly easy; he can be found almost every weekend in the same hangar that occasionally hosts concerts and various happenings. However, pinning him down for an interview proves far more challenging. This son of a factory worker and agricultural laborer, both members of the Communist Party, hails from Curicó, about 125 miles south of Chile's capital.
The artist admits he only uses his phone to post on Instagram and respond to emails during leap years, making him notoriously difficult to reach. After six attempts, he finally agrees to an interview, leading the way to his studio at the other end of the market – a cheerful, cluttered space open to every breeze. "More than sales, I love the way we create an audience here," he explains, settling into a chair beside one of his 1971 posters for the Communist Youth. "While I watch furniture pass by, there's constant dialogue. I'm like a bridge-builder."
Wearing paint-stained jeans, a worn blue t-shirt, and sporting his characteristic thick mustache, González sits next to artwork that appeared in a Latin American design exhibition last year. His journey from the provinces to international recognition reflects decades of commitment to using art as a tool for social change. The posters from his early career, created during Chile's politically turbulent 1970s, demonstrate his long-standing dedication to left-wing causes and his belief in art's power to communicate political messages.
González has made urban walls and apartment building facades the primary supports for his colorful art, transforming Chile's cityscape into a gallery of social consciousness. His work represents more than mere decoration; it serves as a visual dialogue between the artist and the community, turning everyday architecture into platforms for political expression and cultural commentary. Through his market stall and ongoing artistic practice, he continues to serve as what he calls a "passeur" – a facilitator who helps create connections between art and the public, ensuring that his message of social engagement reaches new generations of Chileans.
