March 4, 2021

The Movida that lived (and portrayed) | Culture


Those who lived it repeat it ad nauseam: the Move, that highly mythified chapter, but poorly known and poorly documented, was not an artistic or political movement. There were no theoretical dogmas to be respected nor were programmatic leaflets distributed. And yet, its effects on visual culture were resounding and lasting. As much as the change caused at the social level, which managed to dynamite the inheritance of the Francoism and the ethics of sacrifice imposed by religion. Of both things, the 150 images of The move. Chronicle of an agitation 1978-1988, the great exhibition inaugurated in Encounters of Arles, Festival of reference in Europe, which highlights the work of four photographers linked to the movement: Alberto García-Alix, Ouka Leele, Pablo Pérez-Minguez and Miguel Trillo.

The previous attempts to lock the Movida in a museum, rather scarce, have shown that it is a difficult entity to domesticate. The Arles show prefers to approach the phenomenon "from a strictly photographic point of view," as its curators Pepe Font de Mora and Irene de Mendoza point out, from the FotoColectania foundation in Barcelona, ​​which will host the exhibition starting on October 18, when Finish your way through the French festival. "Those photographers did not believe that his work could have transcendence. They reflected what was part of their day to day. In that sense they do not work as chroniclers, or they are unconsciously, "the curators add. They act as narrators from four different worlds, which rub together but do not always overlap, located in a mutant and nocturnal city that awakens after four decades of lethargy.

Walking through the exhibition, García-Alix reviews a handful of vintage copies that look like the reverse of the medal of that world of supposed perpetual joys. The stars are a generation decimated by drugs and AIDS. "Even so, I want the viewer to leave with a sense of vitalism. They are still photos of a man of 24 years, full of life and hedonism, "says the photographer. García-Alix believes that the movement continues to bother. "Those who did not live the Movida hate it, I believe that out of envy. And those who lived it know that it will not come back, "he says. It does not miss a greater recognition. "I flee from the institutional", is justified. But he thinks that the earthquake has not been sufficiently studied or understood: "Maybe we ourselves have not been able to promote or sell it. Many nonsense about La Movida has been said. It has been tried to turn into a political question, saying that it was programmed by the PSOE, when I never saw the face to them ".

Two rooms beyond, inside the Provençal palace that occupies the exhibition, Ouka Leele reacts to the possibility of creating a museum dedicated to the Movida, as he proposed the vice-mayor of Madrid, Begoña Villacís, during the campaign of the municipal. "That the politicians do not use us. We broke with the two Spains. We were children of parents marked by war and we wanted to live in another world. We thought that the human being was something more than two opposite ways of seeing life, "says Leele, who does not understand the criticisms that the transition culture awakens today," even though I like Podemos's. " For the photographer, creating a museum can be a good idea, but only if certain guidelines are followed. "You have to understand the Movida as an artistic movement and not as something frivolous or festive," he adds, along with his mythical series Barber Shop, which presides over the portrait of the photographer Maria Espeus wrapped in lemons, which the festival has chosen as a poster.

Eduardo Haro Ibars and Lirio, portrayed in 1980.


Eduardo Haro Ibars and Lirio, portrayed in 1980.

The image was taken in Barcelona, ​​where Leele lived between 1978 and 1982. In that sense, the hypercentrism of the Movida is another myth that he would like to overthrow. "Almost all the photographs in the sample are from the Barcelona period," he says. "The deep story is very different from the legend that people repeat. I returned to Madrid to treat a lymphoma. In full Movida, I went bald and exhausted to Rock-Ola ", recounts the photographer. Remember also that Poch, leader of the group Derribos Arias, died of a degenerative disease, and that Kike Sierra, Radio Futura, used to undergo dialysis "every three days" to treat a kidney disease. "Nor is it true that we were all children well. Sometimes, we had to choose between buying food and paper to reveal, "adds the photographer.

Miguel Trillo is the one who best remembers that time, despite his appearance of wise confused. "Maybe because he was the one who took the least drugs," jokes the photographer, who documented extensively the music scene and the urban tribes. At the exhibition in Arles, Trillo has reproduced his mythical pirate exhibition in the Amadis Gallery in 1983, where he posted color photocopies of his images of the walls. "Was arte povera, but without the theoretical discourse ", ironizes. His images are reminiscent of the golden youth who frequented the concerts of Permanent Paralysis or the Pegamoides. "Before the Constitution was approved it would have been impossible to make those photos. People would have believed that I was a policeman, "he says with his models, proud to pose before the camera.

Trillo says that Spain has a lot of work pending in the rereading of an era that determined the collective imaginary of the democratic period. "La Movida is something more than Almodóvar vbullfighting, but there is still some resistance to recognize its importance. Analysis and claim missing It is no coincidence that the first exhibition that brings it takes place in France, "denounces the photographer. "For many people, right or left, this still does not fit their definition of culture. Cristina García Rodero's photographs of popular traditions, for example, have a different status. " Trillo attributes it to the negative image that, for a time now, the culture of transition has acquired. "I am against that message, launched by certain political parties. We would like to have today the same freedom we had then, "ditch. At his side, his crestudos protagonists seem to agree with him.

(tagsToTranslate) moved (t) live (t) portray (t) alberto garcía-alix (t) ouka leele (t) pablo pérez-mínguez (t) miguel trillo (t) star (t) exhibition (t) movement ( t) cultural (t) transform (t) spain (t) arlés meetings



Source link