More than forty years after its creation, interest in the Movida has not waned. The brilliance and influence of those vibrant years for creativity in music, painting, film or literature have not faded. It’s the blaze of lightning that won’t stop. The splendor of a post-modern Golden Age that retains its light when that of many of its protagonists fades, like Paloma Chamorro, the journalist who baptized that time golden whose images, far from turning yellow, are green today. This ceaseless brilliance is reflected by three exhibitions held simultaneously and until July by Serrería Belga, a new cultural space a stone’s throw from the Reina Sofía Museum and the CaixaForum, on the south side of Madrid’s golden mile. Three proposals that revisit and celebrate those years of vertigo to save the images of Mariví Ibarrola, notary of the Movida, the seminal work of Las Costus, the duo of pop painters who decorated the mythical bar La Vía Láctea and forty years of the exemplary Alcobendas Photography Collection. The extensive archive of Mariví Ibarrola (Nájera, La Rioja 1956) contains more than thirty thousand negatives. Pilgrim of the turbulent nights of the Movida, almost with the gift of omnipresence through what she calls “pedestrian rock” (at street level), she was regularly present in locations such as Rock-Ola, El Sol or La Vía Dairy, temples and laboratories of those creative revolution. ‘I shot in the eighties’ was Ibarrola’s first book, and that is the title of the exhibition, included in the official section of PHotoEspaña 2023. It brings together fifty-four images created with equal naturalness and urgency by makers who have embraced Spanish culture. transformed . In front of his camera Eduardo Benavente, Pedro Almodóvar, Ana Curra, Alaska, Loquillo, Poch, (from Derribos Arias), the Urquijo brothers (from Los Secretos), Antonio Vega and groups like Hombres G, Radio Futura, Siniestro Total, Glutamate Ye – Yé, Gabinete Caligari, Aviador Dro, Los Pistones or Duncan Dhu. Many of the photos were selected by Ana Berruguete, the curator, and have not been published. They recreate the Madrid that would become an international benchmark for openness, freedom and experimentation without anyone imagining it. “We were not aware at the time that we were experiencing something that would eventually become historic,” Ibarrola admits. “I just wanted to enjoy what I was doing, try to make a living from my photos and publish them. If I manage to get a thousand pesetas for a picture, honey on flakes, “says the photography teacher today, whose images appeared in Rock Espezial, Route 66, Muskaria, Rockdelux, Diario Vasco, Diario 16, Interviú, Madrid Me Mata, Tintimán Gratix and a multitude of fanzines. From the eye of that creative hurricane, Ibarrola witnessed Andy Warhol’s first visit to Spain, Derribos Arias’s legendary concert at the Escuela de Caminos, the wild punk nights of Rock-Ola, the set of the Golden Age or Eduardo Benavente’s last concert with Permanent Paralysis, celebrated days before the musician’s tragic death in a traffic accident.’Costus: La Vía Láctea’, curated by Elisa Hernando, after being hidden for almost 40 years, brings exposed to the public, the nine paintings and three pop sculptures created by Juan Carrero and Enrique Naya, a mythical painting duo known as Costus or Las Kosten.The studio house of these “seamstresses” of modernity became one of the epicenters of the movement. These paintings had not been exhibited since they were removed from La Vía Láctea, a legendary bar in the Malasaña neighborhood in 1984. They are life-sized pieces and a pop icon that have undergone a restoration process that has brought them back to the original splendor with which they were painted in the late 1970s. They depict icons such as Ava Gardner, Brigitte Bardot, Elvis Presley, Gina Lollobrigida, Marlon Brando or Yul Brynner along with celebrities such as cañís like Lola Flores. The series was the beginning of the collaboration between Naya and Carrero. Naya painted the figures with her unique realistic style, influenced by the North American pop of Rosenquist and Wesselman, and Juan Carrero did the same with the backgrounds. Illustrated Chochonism The exhibition includes ‘Caños de Meca’, a canvas acquired by the Madrid Museum of Contemporary Art at Arco 2022 that was part of Madrid’s only Las Costus exhibition, held in 1981 and titled ‘Illustrated Chochonism’. In it, Naya portrays Carrero emerging from the waters of Cádiz. AIDS took Naya’s life in May 1989 and Carrero committed suicide a month later. ‘Caleidoscope’ brings together a selection of images from the Alcobendas Photography Collection for the first time. Selected by Mario Canal, they capture the vibrant energy of Madrid by masters such as Ramón Masats, Alberto García-Alix, Ouka Leele or Cristina García Rodero. With “a vision without prejudices and stereotypes”, Canal has brought together landscapes, portraits, gestures and spaces to celebrate the 40th anniversary of a reference collection of the Alcobendas City Council, which houses 900 images by more than 170 Spanish artists.
Source: La Verdad
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