Mixed media (carbon paper and watercolor pencil)
23 x 32 cm
This series of drawings presented by the artist refer to the graphic translation of themes and references on which he has been working in recent years through video and photography. Thus, while the translation (or extension of the work) to the drawing is related to the pandemic, due to limitations and interruptions. However, the work itself does not have a direct connection to the health crisis.
The drawings show images from two different sources: on the one hand, reproductions of youth costumes and accessories, as well as iconography of soloists and post-punk and new wave bands from their extensive archive of clippings and British music press from the late 1990s. 70s and early 80s; the second group of images shows us work scenes and panoramic views of factory interiors and exteriors. Both sources share time and geographic context. To Congost, the political moment of that time and its repercussion on culture and society seem especially significant in order to understand the current moment. In recent years, he has referred to it on several occasions: in the video “Abans de la casa/ Un biopic inestable a través del sonido Sabadell” (2015); in the installation “Tarzan Boy” (2013) for Box 27 of the Casal Solleric (Palma de Mallorca), in the series of object-collages “Smash Hits” (2018) and he will do it again in his new video “¿Para qué sirven las canciones?”.
For the artist, the historical moment is important because it coincides with the implantation of the neoliberal theories of Margaret Tatcher and the Reagan administration in the United States, which permeated whichever area of the economy, culture and society. In the book “Like Punk Never Happened“, its author Dave Rimmer compares the groups of New Pop of the 80s with those of punk of the 70s. In a way, the artists of that time become aware of the product and behave as such. For this, they do not hesitate to take punk those elements that can favor them (their aesthetics as a showy claim, the do it yourself, the denial of virtuosity) and disregard the structural, the ideals, in order to fit into the neoliberal model and become thus in an ephemeral and alienating product. In this sense, there would have been a betrayal that the artist finds interesting because we can see it repeated in many other areas and at many other times. In general, his interest is to re-read pop to talk about issues that go beyond the purely musical.
Regarding the technique used, the artist is interested in photocopying and fanzine as aesthetics and reproduction as a concept, that is why he has used carbon paper to reproduce the images in his archive, taking advantage of all the random factors and errors that appear during the transfer of the image. He has also used watercolor pencils to enhance the expressiveness and gestures of the line, in some cases. His will is to refer to the reproducibility of the images, to the mechanical, through purely manual work.
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