Saturday 28 June 2014

Trigger

The incident as pictured in a contemporary newspaper
It's been a century since that 28th of June which ended the world as it was known since then, although The Great War wouldn't start until a month later. Archduke Franz Ferdinand of Austria, heir presumptive to the Austria-Hungarian throne, was in a trip to observe the scheduled military manoeuvres in Bosnia, as commanded a year earlier by the Emperor Franz Joseph I (Empress Sisi's husband, for those of you fond of romantic literature). After a brief inspection of the military barracks, the six car motorcade led Franz Ferdinand and his wife Duchess Sophie to open the state museum of Sarajevo in its new premises.

Danilo Ilic, local leader of the Serbian Black Hand, had spread six of his men along the motorcade route to make they wouldn't miss their chance. Two of them missed their shot. The third one, Nedeljco Cabrinovik, threw his bomb at 10:10am but the timed detonator made it explode under the next car or the parade. Alerted by the explosion the procession sped away towards the town hall, cancelling the visit to the museum. The other three murderers failed to act as the cars passed them at high speed. History would have been so different if Franz Ferdinand stayed in instead of going to the Sarajevo Hospital to pay a visit to the affected by the explosion. On that second motorcade they were supposed to avoid trouble using a different route, but no one told the driver and thus they ended up being too close to Gavrilo Princip position, one of the murderers who after failing had moved to a better position. Princip got as close as five feet and fired two shots with a Belgian-made 9x17mm semi-automatic pistol. The first bullet wounded the Archduke in the jugular vein, the second inflected an abdominal wound on the Duchess. Both died the same day. The Austria-Hungarian Empire demanded Serbia an explanation, this one answered that the matter did not concern the Serbian Government. So the former sent the July Ultimatum, which was not conceded, and then the declaration of war. Germany was an ally of the Empire while the Kingdom of Serbia was supported by Russia, member of the Triple Entente alongside France and the United Kingdom. Hence the conflict between Serbia and Austria-Hungary was the trigger of the first world wide conflict.

Alliances map of Europe in 1914

But why did Serbia attack its neighbour? That goes back to the Treaty of Berlin signed in 1878 by the United Kingdom, France, Germany, the Austria-Hungarian Empire, Italy and the Russian Empire. With that treaty Serbia, Romania and Montenegro where recognised as independent kingdoms, but Bosnia remained attached to the Austria-Hungarian Empire. On the first years of the 20th Century Serbian military officers led by Dragutin Dimitrijevic, who also took part on the 1914 assassination as the leader of the Black Hand group, stormed into the Serbian Royal Palace, killed the former king and installed in its place Peter I of Karadordevic. A new dynasty more nationalistic was born and their purpose was to reunify all the territories that belonged to the Serbian Empire (which collapsed on 1371, get over it!) including Bosnia.

So even if Austria-Hungary (and Germany) longed for an excuse to attack, it was originally Serbia who, in the shadows, broke the Treaty of Berlin. Once the conflict started the Allies came out defending one each other and although the Triple Entente was helping the “guilty” kingdom it really didn't matter any more because all these countries had little unsolved issues between them. The tension had been in the air for so long and the death of Franz Ferdinand was only the straw that broke the ice.


What would had happen if the Archduke had listened to his wife fears instead of enjoying the chance of a day out with her (as a Czech countess she was treated as a commoner at the Austrian Court so public displays of affection were not aloud, not even to sit next to her husband)? Highly probably, and sadly, history wouldn't have change much. Germany or Russian, the most eager for battle, would have found another excuse among their allies to face each other and extend their territories. Who knows if in that case Germany would also have had to pay, unfairly, most of the costs of the war and hence lead Europe, and the world, to the second major conflict of the last century. Because, after all, the Second World War was in a huge part the continuation of these unsolved issues that had been wounding Europe for so long time.

Archduk Franz Ferdinand and Duquess Sophia on 28th June 1914 in Sarajevo

Saturday 26 April 2014

A secret behind Les Miserables: Victor Hugo's paintings





Les Miserables, original novel by Victor Hugo turned into musical, has been already 29 years succeeding on stage. Since the première at the London Barbican Theatre in 1985 it has been continuously represented around the world, while starting to be an important part of the history of musicals as a theatre type. The Spanish production of this play is now on tour around the Mediterranean country, garnering a great success.
How come could its creators, Alain Boublil and Claude-Michel Schönberg, think that their work would be represented around the world in the most important theatre and would win various awards, including eight Tony. Furthermore the stage fame turned the play into a movie which won three Oscar under Tom Hopper's direction.
But one of the more relevant facts we want to talk you about is the scenic renovation on the sets assembly, which hits the original novel essence and spots a new difference. This material change took place four years ago, in occasion of the 25th anniversary on stage. Cameron Mackintosh present us in this new production some fresh air to renew the interest and passion for this realist, passionate and human literary work. The atmosphere in general terms changes from a light and coloured area to a gloomy and grey environment, mimicking with the feeling of the characters and the real historical situation. The new use of these colours does not create monotony in the plot but on the contrary: it gives a poetical depth.

However, there is another key aspect to high-light the misery and poverty atmosphere: Victor Hugo's paintings projected at the back of the stage. Although he is mostly known as a poet, novelist and playwright, Les Miserables author worked also with fine art. As a result from his autodidact character the French poet and painter created a whole fine art production based on watercolour and charcoal techniques, which according to coetaneous sources helped to inspire him. As they were conceived as a sort of rehearsal and not for the public audience, Victor Hugo never showed them for fear of the critics as it could shadow his literary production, which was the one that really succeed.



Who could have told to the author of Les Miserables that his novel would had triumphed as a stage musical and that his paintings would be projected! We can only add to wish to to enjoy the play if you ever had the chance to see it.

Antoni Obiols

Saturday 19 April 2014

Best-sellers and Junk-books

These days are specially joyful: there is a lot of people on holidays, celebrating Easter, or not, with traditions like the Spanish processions or the “Mona”, a traditional cake eaten in Catalonia the day after Sunday of Easter. But this year it is very close with Saint George: two festivities almost the same week. And we, who have never before write a post about literature, have decided to write our very first.

Biografías, 2003. Alicia Martin intervention at Palacio Linares Casa De America, Madrid

We want to know how are our followers: do you read only in summer, next to the beach? Or do you read so many books a year that you need to write down a list with your new acquisitions? Do you buy them? Do you borrow them from libraries? Do you give them as a present with hidden meaning? Are books your loyal travel companions? Do you read on the tube, bus, train...? We would like also to have a though not only about how do we read but about what we read. Are we really what we read on the same way it is said we are what we eat? A couple of months ago El Cultural hosted a debate about the existence of high and low literature, various literature levels; and they went as far as to say some books are not literature: the best-sellers. What do you think? Are they literature? Just hobbies? Junk books? Does that really exists? Something with such a low quality we could called it junk? A best-seller is a book that in a shot time gets to a huge audience, usually with addictive stories which, perhaps, are close to banality and with a simplicity in its form. There are always exceptions and books of great literary value had become a selling success – like Umberto Eco's The Name of the Rose – although the problem maybe is not in the book itself but in the speculative market around it, which is closely connected with the speculative market of art, governed for trends and the rules of supply and demand. The book's culture acts within a merchandising and publicity much savage, with a huge amount of money in the game and other interests. In this humor post it can be seen how, unfortunately, most people don't read or only read best-sellers, so we can always say that what matters, after all, is to at least read something.


Most read books according to http://todayilearned.co.uk
But is that true? The important thing is to read anything? Here I could use my colleague Ricard for a duet pro-against best-sellers, like that that article we did for the blog's anniversary! Clearly there are books with more or less quality, but in what is that based? On the writing or on the conceptualization? The purpose we search in reading is different depending on our mood or the moment of our life we are in. Sometimes we will look for books to feed our soul and reflect about the world and the human being; other times we will want a complex story, or perhaps just an occasional entertainment. After all everything might be ok. Everything? What do you think?



Guiomar Sánchez

Saturday 12 April 2014

Wikipedia Phenomenon

It is undeniable that heritage and technology are closer day by day. Apps, games and a long etc. but when what is wished is to get opened to a wider audience (scholars, researchers, visitors, onlookers...) there is a perfect way: Wikipedia.

Since not so far a lot of museums have incorporate the position of the resident Wikepedian, which means a person dedicated to spill on Wikipedia all the information about the institution and its collections. Some of the Catalan museums that have opened their doors to the Wikipedian are the Museu de la Música, the Museu d’Història de Catalunya, the Museu Nacional d'Art de Catalunya and the Biblioteca Museu Víctor Balaguer in Vilanova i la Geltrú.

Inside view of the Biblioteca Museu Víctor Balaguer. Source: Wikipedia

In this last museum is from the will of showing the collections, open it as if it was the museum database, with accurate information and high quality images. An excellent way of proving to the digital audience and the outlooker: look what a collection we have, we offer it to you, is yours!
When a museum propose to itself a challenge like that must know what is the purpose of it and how must the project be developed. In our case, when we met for the first time, it seemed like an unapproachable thing: all the museum's collection, with preference on the displayed works, upload the images being careful of the copyright, author profiles, artwork profiles... but fortunately we all took Nike's slogan: Impossible is nothing.
We divided the task and created various work methodologies on the go, and almost without realising at the beginning/mid-term of January we had already uploaded to Wikipedia all the artwork (painting and sculpture) displayed in the Museum: images at Wikimedia Commons, at the proper profiles, posts about the authors and posts about the artwork. Once achieved this purpose, we continued working actualizing the already existing posts: add bibliography, complement with quality images... As well as uploading some images from the storage.

Also, every Wikipedian has taken an individual challenge: to do a quality article, one totally trustful, with quality sources, a good redaction and a list of parameters, which must be presented for its aproval.

The Nesi mummy has been the quality article shared between the 3 Wikipedian. Besides each one has done an individual one.



A part from all this it must be said how spectacular it is to keep watching the results. As a bit of a taste:

Defense of the Artillery Park of Monteleón
Image positions (museum images have been used in about 480 different articles and in various languages) and in approximately three months there has been an average of 175.000 monthly views of images of the collection artwork! Besides the succes of Joaquín Sorolla's painting Defense of the Artillery Park of Monteleón. Only in Desember it had a total of 78.000 views.

And this is the project in which I have been working almost five month: working for the collection of the Biblioteca Museu Víctor Balaguer of Vilanova i la Geltrú to be accessible from every corner of the world. And the best of it, as part of a team, as we are three resident Wikipedians in the museum: Marina Padilla, Elisenda Almirall and myself.

Among us and the other resident Wikipedians, as with other people related to the phenomenon, there is a collaborative link and a networking that is, perhaps, the future of working in culture.

Screenshot of the edition process at Wikipedia
Montse Medina

For more information:



 Collections Online: motto and aim. Let's do it with 3 Wikipedians in Residence at a timeArticle about the singularity of being three Wikipedian workers

Saturday 5 April 2014

#MuseumWeek, museum-what?

There has been a week on Twitter where culture has become Trending Topic each day. Seven days and seven hashtags have taken – or have wanted to take – the European museums to all the community on this social network.

Lately it has been the week of museum on Twitter which, under the hashtag #MuseumWeek, represented a whole week to promote and publicize the work carried out by the institutions that have participated.
That is not new; Twitter had already host previous activities and cultural days like the #AskACurator ongoing since 2010, o the #MuseumSelfie days on this past 21 and 22 January. But the difference this time has been the will to implicate as much museums as possible, moving it from one or two days to a complete week engaged to the museums. The pioneers where museums from Great Britain, and at the end there were included French, Italian and Spanish museums. In Catalonia, from where we write this blog, we could find big institutions like the national museum MNAC (Museu Nacional d'Art de Catalunya), the Museu Picasso or the Fundació Miró, up to more local museums like the Museu d'Art de Morera (Morera's Art Museum) or the Museu d'Art Modern de Tarragona (Museum of Modern Art of Tarragona). All of them have desired to give some space to the questions and opinions of the Twitter users, as well as publicize the museums but also giving voice to the intern works that we usually won't see when we visit them, like the restoration team and the educational or maintenance services.

The methodology of this initiative was to propose activities and show something of the museum throughout various hashtags: on Monday #DayInTheLife to show the daily routine of a museum worker, from directors or curators to maintenance or security team; moreover, must be thought most museums close their doors on Monday and that is a good way to show what they do and how they work even if the galleries remain closed, emphasizing the internal tasks like management, curatorship, maintenance, restoration, etc; on Tuesday we had #MuseumMastermind where Twitter users were encouraged to answer questions about the collection, history, building, etc., even with some prizes! Wednesday was time for #MuseumMemories, where everyone could explain anecdotes and memories about museums, thus creating a relaxed and friendly environment with a good mood and the most original stories. The fourth day was #BehindTheArt, where the museum has taken prominence, talking about his artwork, museology, architecture, etc., making clear the changes and remodelations that have evolved the institution over time, including iconic or curious facts that have happened inside those.
Friday was the #AskTheCurator day, a hashtag that has already been long time in the network, whose objective was for the users to ask questions to the museum workers about internal or external issues around the exhibitions, the favourite exhibitions for directors or curators, how difficult is to restore certain materials or which educational policy are they following are some of the tweets we were able to see.

It has been left for the weekend, successfully, two topics where the principal action is on the Twitter users and no on the institution: I am talking about #MuseumSelfie, consisting on upload selfies taken inside the museums; and #GetCreative where the user of this social network was encouraged to use their wit and produce creative pictures or reinterpreting an artwork, among other options. However it must be said that the museums' CM have been active during the whole weekend doing a commendable job with some probably underpaid overtime, so it has been a very intense week for both freelance and institution affiliated Tweeter users.


Therefore we can say this week has been a great success for the participating museums: for the big institutions it has served to enforce audience loyalty and for the smaller ones to release themselves and acquire some followers, which means more diffusion. Though there is still a lot to do, as it has been fun and entertaining but we must think that, maybe, this diffusion we guess they have had it has only been a mirage: we must take account that an important part of this social network users, specially the ones not linked, directly or not, with the museums and culture, hasn't find out about this initiative. This, anyway, is a task for the next #MuseumWeek, because what does have been clear is the desire and will of the museums, professionals and cultural sector in general, to create links, to get out of the museum rooms and to show the inside of every institutions, as it has been proved this last days with games, riddles and upstanding their most fun and playful side; pretending to develop a quality, open and participative job. 

Guiomar Sánchez

Saturday 29 March 2014

Objectiu Actiu: Tarragona's second photography meeting

On 19 March it was held at the Cafe Metropol of Tarragona (Spain) the Second Edition of Objectiu Actiu, an initiative of four citizens with the objective of getting to know the photographers of this Mediterranean city. To do so they organize periodical hangouts where the photographers can show their work with total freedom on the subjects.


Adrià Borràs (photographer), Joel Giné (graphic designer), Pau Luzón (visual editor) and Roberto Eduard (visual amateur) give the opportunity to any photographer, amateur or professional, to show their work. That is how they describe themselves: “we want to be a platform for the young talents and the social voice for the photography community in Tarragona”.

On their web page you can find the projects shown on all the editions of the festival and also a news blog! Please take a look, you will find very interesting projections! On this second edition I myself presented a visual project made with my colleagues Gerard Mateo and Pablo Gonzalez. You can take a look here, we hope you like it: http://vimeo.com/89343368

But... why Objectiu Actiu (Objective Active)? The team assure us the first thing they were sure about was the red bulb logo, a wink to the red light needed in a photography laboratory. Afterwards they had to deal with the riddle of a name, so they look for a clear and catchy pun, and that is how they end up with Objectiu Actiu: Objectiu means either a goal and the camera lens, while Actiu reflects their will and enthusiasm on this project.



You want now to do an audiovisual project and present it at the Cafe Metropol? Then here is the link with the requirements you must follow:

A great initiative that was born when Adrià finished his studies of photography in Tarragona's School of Art. In that moment he came up with a good idea and created this event with friends who had studied and worked on the world of visual arts to keep themself busy and somehow contribute to Tarragona's cultural life.

The Objectiu Actiu team states their satisfaction with the two editions and explain us that the first one was more about the novelty of being born as a collective but still being a success. On the second edition they were looking for reaffirmation and to connect with audience and participants, and so they did. With hard work and passion they have got a nice place in Tarragona's photography world, which gaves them plenty of energy to keep working forward to grow and improve.
Adrià Borràs



But this young team will not remain only with projections, their are getting stronger and even if the shows are at the base of their project we will see soon new contents like conferences, meetings and much more! 





Paula Arbeloa Suárez

Saturday 22 March 2014

The Silence of the Museum of Yugoslav History



View of Belgrade from the Museum
The sky is cloudy. Some falling raindrops. From the House of Flowers the whole city of Belgrade can be seen. The Saint Sava and a concrete building monopolize the view. In front of the Mausoleum of Tito it looks like time has stopped. A lady with a folded umbrella is reading “Josip Broz Tito 1892-1980” in golden letter over white marble.
Inside of the House of Flowers. Tito's mausoleum
At the same time, in the current Bosnia and Herzegovina, with a sunny sky, thousands of people from all ethnic groups take the streets. Some go for a walk. Other for shopping. But a lot of them take part in a demonstration. Unlike what had happen in the last years they are not out to show the division between them but the social union. They are workers against corruption and in favour of justice, who don't want their public heritage to be sold any more.

And with all that the Museum of Yugoslav History is still, like a fossil, at the former capital, now in Serbian territory. There we will not find a historiographical reading of any past, at least not at first sight. Surely the effects of the war, which was over not so many years ago, and some wounds that are still bleeding, might made impossible an official reading without hurting any sensibilities. A lot of their borders are still in question marks. Or maybe they explain that to us using the silence.


Outside the Museum. Allegorical sculpture of Yugoslavia
The Museum is somehow of a cult to Tito, with his mausoleum as the epicentre of it, surrounded by the torches that Yugoslav youth brought there when his anniversary was near. Outside there are statues over the grass, not only his but also with interpretations that some artists made about his position or about the old State in general. In the same set there are included a series of rooms with the presents this marshal received from various countries and regions. In addition to an interpretation centre and some rooms used for temporary exhibition, the artists who expose today are war orphans. They are still too young, which proves we are still to close from the latest bombings.
Temporary exhibitions rooms with war orphan's paintings

Actual state of Belgrade's Defense building after OTAN's bombing in 1999
Surely not everyone agree with Tito's ideology. What is clear is that his internal and foreign politics gave Yugoslavia a period that was little expected to end as it ended, at least as seen from its context and outdistance. Surely that cult, which still today has its reminiscence in all Balkan republics, could explain how everything collapsed after Tito's death, on May 4th at 3:05pm.

Obviously that neither explains Yugoslav history or provides any revelatory vision of the former federation. However, if every history museum must have and historiographical reading, this is a possible one that we can take from the absence of it. A project that writes his history from the figure of a leader. A mausoleum which calls himself as museum. With the leader the ethnic tensions get to a balance position for the collective sake and class need. With his death, his project dies also. And it remains the House of Flowers, the Museum, as a witness of peace, a quiet space, an oasis inside the capital, isolated from traffic and daily headaches of such a complex big city.

Complementary information:


Gabino Martínez

Saturday 15 March 2014

Then

During the last month of February it was held in London the second edition of the Waterloo Vaults Festival. For six weeks the labyrinth of tunnels under Waterloo station were filled up with concerts, art and alternative theater. We enjoyed so much Then, the new show written by and starring Yve Blake supported by the Young National Theatre Studio.

Entrance to the Waterloo Vaults Festival


The stage is almost empty: a microphone stand, a computer, a projector and a curtain for the few but effective costume changes. But as soon as the show begins Yve Blake takes care of covering the entire stage with monologues, interacting with the projections, singing, dancing... and she even dares to go with rap!
The show begins with three questions: Who are you? Who you'll be? And, most important, who you used to be? It is from this last question that the the full show is developed. We are always the same throughout our lives? Or the situations we live make us change gradually while we grow up? Then talks about the past we used to live in, but also invites us to reflect on what this implies about changes and about life .
The project started well before staging with the creation of the website Who Were We where people around the world was invited to anonymously submit their stories, pictures or memories about the people who they used to be in the past. From there the artist created a speech including more than a hundred of the stories received to make us think about ourselves, as most of them are stories which anyone can feel identified with, putting aside a comedy look that turns the reflection in a fun and entertaining show.

Promotional image for the show
Many of the stories are read by the interpreter from behind her computer, some of them accompanied with images from the projector, while others are put together into songs linked by themes and tidying up the speech by age of this past persons. So throughout the show we see our thoughs when we were infants, how we saw the world when we went to school and the problems of becoming a teenager. The last part of the show, however, brings together the reflections of older people who also collaborated on the website and give us an idea of how they see it was their life when they were 20, 30 or 40 years old.
One of the positive parts of this structure is the increase in the intensity of emotions. Leaving the reflections of older people for the end of the show allows it to start in a much lighter and fun way, including the preference for sandwiches without crust, to gradually pass to the typical adolescence body concerns and self-acceptance. Getting to the end of the show one of the most tender and sweet songs is “You grow me up, now I'll grow you down” where, without leacing completely aside the bold and fun touch of the show, we can reflect about elderness and how generation after generation some help us to make the road to success in life while in exchange, sooner or later, we will have to help them rid the road of life.

Finally, the show concludes with a final song bringing the most interesting responses to this particular question from the site : If you had five minutes with your past you, what would you say? We invite you to answer it yourselfs.


Ricard Gispert
@ricardgispert

Tuesday 25 February 2014

Discussing Lichtenstein

Roy Lichtentein (1923-1997) was an American Pop Art painter, graphic artist and sculptor, specially known for his large scale representations of comic art; but today at Cultural Crops we want to debate whether an artist can be considered as it or not.


Ricard Gispert: From all Lichtenstein professional career we can only think of him as an artist for the works in which he is author of all the material, the ones in which he hasn't borrowed anything from any comic strip. In all those other cases the artist is the cartoonist, the comic drawer who had created original contents using his own technique and stile, different from other comics. It is not totally a plagiarism because Lichtenstein does make changes on the artwork, but it is true that the cartoonist like Irv Novick or Jack Kirby should take credit for the work. They are the ones who should enjoy the fame and money.

Guiomar Sánchez: ‘Good artists borrow, great artist steal’. It was said by Picasso that the true genius was to know how to flip what has already been done, and it could be said that, perhaps, in art we can never ever speak about “original content” or at least virgin on form or concept. It will always have been done before, the primal idea from which the artist starts to create his own concept will have been conceived before. We have quite clear examples in the same Picasso with Les Demoiselles d'Avignon, “copying” or better said “seizing” from African masks and Romanesque eyes. This past that moves towards creation appears also inside artworks, more or less clear, showing gratitude for the referent, or even a criticism, as for example Manet's Balcony, by Magritte, when Manet had also inspired himself in Goya's balcony.

RG: Totally agree: gratitude as a result of admiration or the criticism of an artist justifies the inspiration in the masters that precede us; but the difference in Lichtenstein artwork is that he imitates other artists as a support for his message, not as part of the message. As you have properly indicate he is not the first author looking at others' work to keep his own moving forward, and I will even go further taking as example Miro's Intérieur Hollandes or Las Meninas by Picasso, trully copies of the homonyms artworks, but in this cases the copy is part of the message: homages to great painting masters read under the filters of contemporary art. However to make an homage to an artist this one must have a certain fame, but what Lichtenstein does is to take advantage of other people's work who has less popularity than him without not even giving an artistic value to this appropriation.

GS: It has nothing to do, on my point of view, the fact that those artist are less popular. Lichtenstein uses comics as an artistic purpose and, indirectly, involves comic culture, playing with an everyday element as it was typical in Pop Art. Referencing again to Picasso, remembering the famous cubist faces, he extracts this idea from African masks, the author of those we don't even know who might be, because that culture doesn't care about authors as mush as we do in Occident.

RG: But still the difference between Picasso and Lichtenstein is that the first one extracts an idea from African art, as you have said, while the other one copies entirely fragments of comics drawn by other authors. It is not only an inspiration in other people's work, even if sometimes he does collages with fragments from various comics. Another important difference is that any book or Internet source will explain how the cubist artist based his faces on African masks, while very few are the sources where it is said in which authors was based Lichtenstein work, you must feel lucky if you find a reference to DC Comics. So if we highlight Lichtenstein as an artist we must do so with Jerry Grandetti, Russ Heath and so many other comic artists.

GS: The fact is, I think so, comic and its authors had never been considered artists, but it was seen as a simple entertainment. Lichtenstein artworks push comic aesthetic to an art level and somehow, even without quoting their names, is extolling this authors and the symbolism of comic's world, giving way to a global recognition that they didn't use to have.

RG: Yes, we can agree that it extols comic's symbolism, but not the authors, as so many of them still remain anonymous nowadays. However it is also true, as you have well indicated, that History of Art feeds itself, evolving to present new artists ans styles, and seeing it that way Lichtenstein is a one more piece of this big puzzle that is contemporary art.

GS: Well, is perfectly understandable your position, specially because of the injustice it suppose, by the artistic institution and society at large, the treatment received by comic authors, who has been relegated to the background or even labelled as simple entertainment. It should be given – or maybe Lichtenstein should have done that – a higher treatment to this kind of handwork – labelling it as art – that has been a referent for great artists.

#1yearCC

Ricard Gispert

Guiomar Sánchez