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Darío Basso
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The Art of Pere Joan
Born in Mallorca, Pere Joan Riera (known professionally as Pere Joan) thrived in the underground comics world, beginning in the mid-1970s with the self-published collections Baladas Urbanas and MuŽrdago, both of which were released almost immediately after the death of the dictator Francisco Franco and Spain's transition to democracy. The first monograph in English on a comics artist from the Spain, The Art of Pere Joan takes a topographical approach to reading comics, applying theories of cultural and urban geography to Pere Joan’s treament of space and landscape in his singular body of work. Balancing this goal with an exploration of specific works by Pere Joan, Benjamin Fraser demonstrates that looking at the thematic, structural, and aesthetic originality of the artist's landscape-driven work can help us begin to newly understand the representational properties of comics as a spatial medium. This in-depth examination reveals the resonance between the cultural landscapes of Mallorca and Pere Joan's metaphorical approach to both rural and urban environments in comics that weave emotional, ecological, and artistic strands in revolutionary ways.
Queer Transitions in Contemporary Spanish Culture
Offers a sustained analysis of both high and low queer culture and its connections to cultural and political processes in Spain.
Darı́o Villalba
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If this be Not I
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Encounters
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Urban Space, Identity and Postmodernity in 1980s Spain
During the 1980s, the urban youth movement known as la movida transformed the Spanish cultural landscape, particularly in the country's capital, Madrid. After a four-decade long dictatorship, artists and thinkers sought to make the most of their newly found freedoms. The vibrancy, optimism and aesthetic heterogeneity of the period are best captured in contemporary ephemera - in the fanzines and magazines that provided movida participants with an immediate and largely unmediated outlet for their creative experiments. Among them, monthly arts magazine La Luna de Madrid is arguably the most iconic, and its preoccupation with urban space, identity, and postmodernity suggests that la movida was indeed more than 'just a teardrop in the rain', as some of its critics have suggested.
