Archive for the 'Interview' Category


“i want you to listen to this. you’re going to like it”

On Saturday, May 1st we hosted A.Y.I. Unplugged featuring the 3-piece Indie/Alternative band A.Y.I. Hailing from New York and Republica Dominicana A.Y.I.’s sound encompasses traditional and contemporary musical elements from both regions. A.Y.I.’s frontwoman and guitarist Ayi Guzman cites a wide range of influences on their sounds from artists like Regina Spektor and Radiohead to Natalia Lafourcade and Luis Dias. Their 3-piece combines steady guitar chops with various percussion instruments and lush keyboard driven melodies in a style they call “experimental, alternative, folk, and rock”.

LA: How long have you been playing shows?
AYI: Our first gig was on March 17th. We just started playing shows and we aren’t particular to any scene yet. We’d like to to play for an audience that will support us. We want to move people.

LA: Why La Pregunta?
AYI: I played a solo show here for fun a year ago. I love this place. It’s got an artsy vibe to it and it supports artists in the neighborhood. It’s a good scene and place to chill.

LA: What’s your favorite song to cover?
AYI: My brother’s song, Ahora Que No Estas Aqui by Luis Guzman.

LA: How would you describe your sound in one word?
AYI: Funkification.

Photos by Luis Romano


interview: Dan Freeman

Dan Freeman’s The Underground Railroad is currently on display at La Pregunta. The following is an excerpt from an interview we conducted with the artist:

LA: Why did you want to leave the mistakes in your art uncorrected?

DF: The art pieces started off as pieces of paper that would go up on a wall in an auditorium. It wasn’t anything special. I used pastels because it gives the work a crayon-y feel. Markers can be too sharp sometimes, a little to clean, and that in turn leads to intimidation. I didn’t want to intimidate students. A lot of artists strive to create something complex or perfect and it evokes a response in the viewer that’s like “Wow, that’s hot. I’d never be able to do that.” I wanted to create something that seemed attainable to my students. In its quality, you can look at the work and see I put time in to it, but in the same sense a kid could look at it and say, “I can do that Mr. D. I can do that better than you”. If you look real close you might see pencil lines, little smudges that should have been erased or other little imperfections that most artists would not allow to remain there. I wanted my students to be able to say “I can do that”. That was the main thing I was trying to transmit through this art: You can do this. If you feel like you can do it, try, it doesn’t matter. It’s OK to fuck up. It’s OK to get some bumps and bruises. Nowadays, perfection is pushed on students so much they are afraid to mess up or make mistakes. The best way to learn is to earn a few scars. That’s one thing I try to do with my art. To say: Don’t worry about being perfect. If the love is there, if the passion is there, it will definitely show and resonate.


On Display: Israel, Palestine, and the 21st Century Negro

Richard Marius’s exhibition Israel, Palestine and the 21st Century Negro has recently been the subject of critical discussion inside the exposed brick walls of La Pregunta. Since the beginning of the exhibition, many have expressed appreciation/opposition/curiousness towards his work. Regardless of the variety of opinions and criticisms his work has created, one thing is for sure: people are talking!

In an interview conducted by Winston, Richard gets verbose as he answers The Question:

Winston: What’s up with the 21st Century Negro and what is the connection to Israel/Palestine?

Richard: I was invited to a show last year, right after Obama won the election to celebrate black history month. When I submitted my paintings that were critical of Israel’s actions in Palestine, the black curator kicked me out of the show. So the 21st century Negro -the censorship of black radicals in the 21st century, tells you something about race and racism as a contemporary issue in the country. It points to how whiteness, blackness, colorism is still a crucial issue regardless of who is sitting in that white house. So the 21st century Negro is me and people like me, regardless of their race who disregard that censorship and continue to practice activism, radicalism, regardless of their race. They don’t let their race or ethnicity prevent them from speaking, because there are a lot of people of color who are afraid of speaking out against white supremacy and the situation it creates for people of color. I am treating Israel’s treatment of Palestine as similar to Europe’s treatment of the colonized people from Africa, Ireland, South America, and the North American “Indians” in their colonial and imperial process. I am here to say that I am Black, and I am going to talk about Israel, I am going to criticize Israel deeply, the same way I will criticize and denounce colonialism and imperialism regardless of what you think, regardless where you come from.

La Pregunta's Flickr Photostream

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