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El Víbora Dossier.Indd Dossier de prensa Portada: Martí. Portada del núm. 35 de El Víbora, 1982 Del 20 de junio al 29 de septiembre de 2019 Organización y producción: FICOMIC y Museu Nacional d’Art de Catalunya Comisario: Antoni Guiral con la colaboración de Àlex Mitrani, conservador del Museu Nacional Sala de exposiciones: Temporales 2 Nazario. Original para la portada del núm. 1 de El Víbora, 1979 © Nazario, VEGAP, Barcelona, 2019 FICOMIC y el Museu Nacional organizan la exposición El Víbora. Comix contracultu- ral, un homenaje a la desaparecida revista, testimonio de los inicios de la democracia y de la eclosión del movimiento underground. Con cerca de 100 portadas, 38 obras originales, fotografías y documentación com- plementaria la muestra celebra los 40 años de la aparición del primer número de la revista, en 1979. 3 Max. Portada del núm. 13 de El Víbora, 1980 Mariscal. Una noche particular. Original para el núm. 65 de El Víbora, 1985 © Mariscal, VEGAP, Barcelona, 2019 El Víbora. Comix contracultural permite descubrir el valor artístico de los autores que publicaron en ella sus trabajos, como Nazario, Roger, Isa Feu, Marta Guerrero, Laura Pérez Vernetti, Mariscal, Gallardo, Pons, Martí, Carratalá, Montesol, Ceseepe, Max, Calonge, Jaime Martín y Pamies, entre muchos otros. La revista El Víbora (1979-2004) encarnó a la perfección el sincretismo cultural que se vivió en Barce- lona al inicio de la democracia. Sus páginas acogieron a una parte de los autores que habían iniciado la cultura underground en los años setenta, un fenómeno cultural y artístico especialmente vinculado a la ciudad. A través de revistas, documentos y dibujos originales de comic y otras obras, la exposición introduce el comix underground en el contexto internacional y barcelonés, que fue el sustrato en el que nació la re- vista. Se exponen cerca de 100 de sus portadas impresas, unas 30 publicaciones y 35 obras originales, como los dibujos de Max e Isa Feu para el histórico número especial sobre el golpe de Estado de 1981 o el original de Nazario para la cubierta del número 1 de la revista. El Cómic en el Museu Nacional Esta muestra forma parte de la estrategia del museo que trabaja para incorporar el cómic a sus colec- ciones y hacer visibles las relaciones que se pueden establecer entre todas las artes. El Víbora, Comix contracultural supone un paso más en esta línea de trabajo y la continuidad de algu- nas muestras realizadas anteriormente, como la muestra de originales de Santiago García y Javier Oliva- res, Premio Nacional de Cómic 2015, De viñeta en viñeta y Ego Sum Lux Comic, con la escuela Joso, o la dedicada a Las nuevas aventuras de Corto Maltés, al mismo tiempo que refuerza la alianza del museo con el Salón del Cómic y el trabajo conjunto de difusión y patrimonialización de esta expresión artística. El Museu Nacional ha impulsado también la publicación del primer ensayo en cómic sobre un museo, Gótico, una obra de Jorge Carrión y de Sagar dedicada a las colecciones medievales, que se publicó en 2018 y tendrá una continuidad hasta completar las diferentes colecciones. 4 Manel Esclusa (foto). Algunos colaboradores de El Víbora pintando el cómic en vivo Amor en Vallvidrera, 1980 © Manel Esclusa, VEGAP, Barcelona, 2019 La incorporación del cómic a los relatos y proyectos del museo, como un lenguaje visual más y expre- sión de la cultura popular, permite reflejar determinados contextos histórico-artísticos y conectarlos con nuestro presente. El proyecto se inscribe también en el marco de trabajo que el museo desarrolla para alargar su colección y su ámbito de actuación hasta el arte de posguerra y segunda vanguardia. Un cómic en vivo, 1980 En este marco, el museo ha incorporado recientemente gracias a una donación una obra de gran for- mato (280 cm x 2400 cm) y valor histórico-artístico. Se trata del cómic Amor en Vallvidrera realizado el año 1980 de manera colectiva por un número significativo de artistas vinculados a El Víbora. Amor en Vallvidrera: Un cómic en vivo, 1980 Con motivo del 13º cumpleaños de la escuela de diseño EINA, en 1980 se realizó un “comic en vivo” en la vanguardista Galería 13 de Barcelona. Se reunieron una serie de autores de entre los principales pro- tagonistas del underground, algunos de los cuales ya trabajaban para El Víbora. El espíritu de la revista, cargado de lo que hoy se denomina “incorrección política”, recorre esta obra colectiva y performática donde se critica la sociedad de la época, desde los sectores conservadores hasta el progresismo. La obra también ofrece testimonio de los vínculos entre los autores del undergound barcelonés y algunos de los impulsores de la movida madrileña. Después de todos estos años fuera de la vista del público, Un amor en Vallvidrera ha ingresado en las colecciones del Museu Nacional y está actualmente en proceso de restauración para su próxima exposición. Autores de Amor en Vallvidrera Peret, Gallardo, Roger, El Hortelano, Mariscal, Max, Montesol, Isa Feu, Roger, Martí, fotografías de Ouka Lele. 5 Marta Guerrero. Dolores sus labores. Original para el sumario del núm. doble 138-139 de El Víbora, 1991 6 AUTORES CON OBRA ORIGINAL EN LA EXPOSICIÓN (Alfredo) Pons Jaime Martín Montesol (Javier Ballester) (Antoni) Calonge (Javier) Mariscal Nazario (Luque) (Antonio) Pamies Laura (Pérez Vernetti) Onliyú (José Miguel González Ceesepe (Carlos Sánchez Marta (Guerrero) Marcén) Pérez) Martí (Riera) Roger (Subirachs) (Ernesto) Carratalá Max (Francesc Capdevila) Tornassol Isa Feu (Maria Lluïsa Mediavilla (Juan José López) Barraquer) (Miguel) Gallardo AUTORES DE LAS CUBIERTAS Nº 2 (enero de 19809: Gallardo Nº 24 (noviembre de 1981): Nº 47 (octubre de 1983): Nº 3 (febrero de 1980): Martí Joost Swarte Liberatore Nº 4 (marzo de 1980): Pons Nº 25 (diciembre de 1981): Nº 48 (noviembre de 1983): Max Cadelo Nº 5 (abril de 1980): Max Nº 26 (enero de 1982): Nº 49 (diciembre de 1983): Nº 6 (mayo de 1980): Roger Ceesepe Sento Nº 7 (junio de 1980): Carratalá Nº 27 (febrero de 1982): Nº 50 (enero de 1984): Nº 8/9 (julio de 1980): Mariscal Nazario Gallardo Nº 10 (septiembre de 1980): Nº 28 (marzo de 1982): Pamies Nº 51 (febrero de 1984): Félix Nº 29 (abril de 1982): Varenne Nº 11 (octubre de 1980): Carpinteri Nº 52 (marzo de 1984): Pamies Nº 30 (mayo de 1982): Pons Nº 12 (noviembre de 1980): Calonge Nº 54 (mayo de 1984): Carulla Ceesepe Nº 32/33 (julio de 1982): Nº 55 (junio de 1984): Pons Nº 13/14 (diciembre de 1980): Mariscal Nº 56/57 (julio de 1984): Max Nº 34 (septiembre de 1982): Mariscal Nº 15 (febrero de 1981): Roger Nazario Nº 58 (septiembre de 1984): Nº 16 (marzo de 1981): Daniel Nº 35 (octubre de 1982): Martí Yoshihiro Tatsumi Torres Nº 37/38 (diciembre de 1982): Nº 60 (noviembre de 1984): Nº 17 (abril de 1981): Gallardo Gallardo y Mediavilla Carratalá Nº 18 (mayo de 1981): Martí Nº 39 (febrero de 1983): Max Nº 61 (diciembre de 1984): Nº 19 (junio de 1981): Gilbert Nº 41 (abril de 1983): Charles Gallardo Shelton Burns Nº 62 (enero de 1985): Laura Nº 20/21 (julio de 1981): Nº 42 (mayo de 1983): Roger Nº 63 (febrero de 1985): Max Mariscal Nº 44 (julio de 1983): Gallardo, Nº 64 (marzo de 1985): Muñoz Nº 22 (septiembre de 1981): Mediavilla y Carulla Nº 65 (abril de 1985): Diego Roger Nº 45 (agosto de 1983): Max Nº 74 (enero de 1986): Boada Nº 23 (octubre de 1981): Nº 46 (septiembre de 1983): Liberatore Nº 75 (febrero de 1986): Max Carulla 7 Nº 76 (marzo de 1986): Nº 125 (abril de 1990): Nº 299/300 (diciembre de Gallardo Pazienza 2004): Nazario Nº 77 (abril de 1986): Galiano Nº 128 (julio de 1990): Especial Amor (1980): Pons Nº 81 (agosto de 1986): Galiano Especial toda la verdad sobre Daspastoras Nº 135 (febrero de 1991): el Golpe (1981): Max Nº 82 (septiembre de 1986): Jaime Martín Especial USA (1981): Robert Jaime Hernández Nº 143 (octubre de 1991): Crumb Nº 86 (enero de 1987): Tomi Jamie Hewlett Especial Música (1982): Max Nº 87 (febrero de 1987): Avilés Nº 144 (noviembre de 1991): Especial Europa Viva (1983): Max Nº 91 (junio de 1987): Mariscal Margit Marnul Nº 145 (diciembre de 1991): Nº 100 (marzo de 1988): Pons, Especial Crimen (1986): Avilés Beto Hernández Martí, Gallardo, Mediavilla, Especial Guerra (1990): Calonge, Galiano, Avilés, Nº 150 (mayo de 1992): Daspastoras Mónica y Bea Seguí, Vallés, Laura, Das Especial Japón (1992): Suehiro Pastoras y Nazario Nº 151 (junio de 1992): Jaime Maruo Martín Nº 102 (mayo de 1988): Especial Violencia (1995): Iron Gallardo Nº 165 (agosto de 1993): Especial nuevo comix Vince Nº 106 (septiembre de 1988): underground (1997): Peter Seguí Nº 166 (septiembre de 1993): Bagge Nº 115 (junio de 1989): Cadelo Tanaka Nº 119/120 (octubre de 1989): Nº 289 (diciembre de 2003): Daspastoras redacción Nº 122 (enero de 1990): Nº 298 (septiembre de 2004): Gilbert Shelton Miguel Ángel Martín El Rrollo Enmascarado. Miquel Farriol TEXTOS DE SALA 40 Aniversario El primer número de la revista barcelonesa El Víbora apareció en los quioscos en diciembre de 1979. El subtítulo, “comix para supervivientes”, dejaba claro su contenido. El comix era la historieta contracultu- ral y alternativa, generada en los Estados Unidos en la década de los años sesenta. Fue un fenómeno social y cultural que rompía moldes con el cómic comercial, historias libres de censura que hablaban de temas cotidianos (de drogas y sexo, sí, pero también del día a día) o metafísicos, con la sátira como bandera, con grafismos muy personalizados y de distribución restringida. El origen de El Víbora estaba en el comix underground (es decir clandestino y provocador) que floreció en Barcelona en los años setenta, en la estela del cómic contracultural estadounidense.
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