Desmontando mi colección. Exergos sobre la exposición

Los distintos miembros del Grupo de Investigación FIDEX (Figuras del exceso. Políticas del cuerpo) de la Universidad Miguel Hernández, explican a los alumnos de la Facultad de Bellas Artes y público en general los distintos parámetros discursivos y de producción de sus respectivas obras expuestas en la exhibición "The Collector", que tuvo lugar en la Sala de Exposiciones de la Facultad de Bellas Artes de la Universidad de Málaga desde el 3 al 31 de octubre de 2019.Universidad de Málaga. Campus de Excelencia Internacional Andalucía Tech

Apocalypse-Calipso

This visual essay is a mash-up of illustrations, a cultural criticism made up of a non-narrative concatenation of music discs, magazine cover, press photos, postcards, advertisements and movie posters remakes, all from the decades of the 60s, 70s and 80s, that takes Benidorm as a paradigm of massive construction and of cultural and visual transformation from late Francoism until the s. XXI. The graphic tour conceptualizes an extractivist imaginary that analyzes the changes between image, culture and petromodernity derived from tourism, globalization, mass consumption and the rise of disposable goods, the empire of souvenir and kitsch, or pop and theme park aesthetics, in an increasingly artificial and less sustainable environment.The etymological game between apocalypse and Calypso (Caribbean musical genre and nymph daughter of the titan Atlas who reigned on the island of Ogigia, and therefore sister of the Hesperides, the Hyades and the Pleiades), fosters, in crescendo, a reflection between the veiled and the revealed, the bikini and the topless, the idyllic and the contaminated, through the retro-futuristic prophecy of a natural pop aquatic catastrophe. This project is a derivation, in COVID-19 times, of our series Fucking the City vol III: We love Benidorm

Apocalypse-Calipso

This visual essay is a mash-up of illustrations, a cultural criticism made up of a non-narrative concatenation of music discs, magazine cover, press photos, postcards, advertisements and movie posters remakes, all from the decades of the 60s, 70s and 80s, that takes Benidorm as a paradigm of massive construction and of cultural and visual transformation from late Francoism until the s. XXI. The graphic tour conceptualizes an extractivist imaginary that analyzes the changes between image, culture and petromodernity derived from tourism, globalization, mass consumption and the rise of disposable goods, the empire of souvenir and kitsch, or pop and theme park aesthetics, in an increasingly artificial and less sustainable environment.The etymological game between apocalypse and Calypso (Caribbean musical genre and nymph daughter of the titan Atlas who reigned on the island of Ogigia, and therefore sister of the Hesperides, the Hyades and the Pleiades), fosters, in crescendo, a reflection between the veiled and the revealed, the bikini and the topless, the idyllic and the contaminated, through the retro-futuristic prophecy of a natural pop aquatic catastrophe. This project is a derivation, in COVID-19 times, of our series Fucking the City vol III: We love Benidorm

Apocalypse-Calipso

Este ensayo visual es un mash-up de ilustraciones, una crítica cultural compuesta por una concatenación no narrativa de remakes a rotulador de portadas de discos y revistas, fotos de prensa, postales, anuncios y carteles de cine, todos ellos provenientes de las décadas de los 60, 70 y 80, que toma Benidorm como paradigma de la construcción masiva y de la transformación cultural y visual desde el tardofranquismo hasta el s. XXI. El recorrido gráfico conceptualiza un imaginario extractivista que analiza los cambios entre imagen, cultura y petromodernidad derivados del turismo, la globalización, el consumo masivo y el auge lo desechable, el imperio del souvenir y de lo kitsch, o la estética pop y del parque temático, en un entorno cada vez más artificial y menos sostenible.El juego etimológico entre apocalipsis y Calipso (género musical caribeño y ninfahija del titán Atlas que reinaba en la isla de Ogigia, y hermana por tanto de las Hespérides, las Híades y las Pléyades), propicia, in crescendo, una reflexión entre lo velado y lo revelado, el bikini y el topless, lo idílico y lo contaminado, a través dela profecía retro-futurista de una catástrofe natural acuática pop.Este proyecto es una deriva, en tiempos del COVID-19, de nuestra serie Follarse la Ciudad vol III: We love Benidorm

Apocalypse-Calipso

Este ensayo visual es un mash-up de ilustraciones, una crítica cultural compuesta por una concatenación no narrativa de remakes a rotulador de portadas de discos y revistas, fotos de prensa, postales, anuncios y carteles de cine, todos ellos provenientes de las décadas de los 60, 70 y 80, que toma Benidorm como paradigma de la construcción masiva y de la transformación cultural y visual desde el tardofranquismo hasta el s. XXI. El recorrido gráfico conceptualiza un imaginario extractivista que analiza los cambios entre imagen, cultura y petromodernidad derivados del turismo, la globalización, el consumo masivo y el auge lo desechable, el imperio del souvenir y de lo kitsch, o la estética pop y del parque temático, en un entorno cada vez más artificial y menos sostenible. El juego etimológico entre apocalipsis y Calipso (género musical caribeño y ninfa hija del titán Atlas que reinaba en la isla de Ogigia, y hermana por tanto de las Hespérides, las Híades y las Pléyades), propicia, in crescendo, una reflexión entre lo velado y lo revelado, el bikini y el topless, lo idílico y lo contaminado, a través de la profecía retro-futurista de una catástrofe natural acuática pop.Este proyecto es una deriva, en tiempos del COVID-19, de nuestra serie Follarse la Ciudad vol III: We love Benidorm

Apocalypse-Calipso

This visual essay is a mash-up of illustrations, a cultural criticism made up of a non-narrative concatenation of music discs, magazine cover, press photos, postcards, advertisements and movie posters remakes, all from the decades of the 60s, 70s and 80s, that takes Benidorm as a paradigm of massive construction and of cultural and visual transformation from late Francoism until the s. XXI. The graphic tour conceptualizes an extractivist imaginary that analyzes the changes between image, culture and petromodernity derived from tourism, globalization, mass consumption and the rise of disposable goods, the empire of souvenir and kitsch, or pop and theme park aesthetics, in an increasingly artificial and less sustainable environment.The etymological game between apocalypse and Calypso (Caribbean musical genre and nymph daughter of the titan Atlas who reigned on the island of Ogigia, and therefore sister of the Hesperides, the Hyades and the Pleiades), fosters, in crescendo, a reflection between the veiled and the revealed, the bikini and the topless, the idyllic and the contaminated, through the retro-futuristic prophecy of a natural pop aquatic catastrophe. This project is a derivation, in COVID-19 times, of our series Fucking the City vol III: We love Benidorm

Apocalypse-Calipso

This visual essay is a mash-up of illustrations, a cultural criticism made up of a non-narrative concatenation of music discs, magazine cover, press photos, postcards, advertisements and movie posters remakes, all from the decades of the 60s, 70s and 80s, that takes Benidorm as a paradigm of massive construction and of cultural and visual transformation from late Francoism until the s. XXI. The graphic tour conceptualizes an extractivist imaginary that analyzes the changes between image, culture and petromodernity derived from tourism, globalization, mass consumption and the rise of disposable goods, the empire of souvenir and kitsch, or pop and theme park aesthetics, in an increasingly artificial and less sustainable environment.The etymological game between apocalypse and Calypso (Caribbean musical genre and nymph daughter of the titan Atlas who reigned on the island of Ogigia, and therefore sister of the Hesperides, the Hyades and the Pleiades), fosters, in crescendo, a reflection between the veiled and the revealed, the bikini and the topless, the idyllic and the contaminated, through the retro-futuristic prophecy of a natural pop aquatic catastrophe. This project is a derivation, in COVID-19 times, of our series Fucking the City vol III: We love Benidorm