Title: Al habla con los pintores de Elche
Duration: 13 min., 4 seg.
Sound collection: Radio Paris. Ramírez/del Campo
Summaries: Serie de entrevistas a los componentes del colectivo pictórico Grup d'Elx con motivo de una exposición de los mismo realizada en Mutxamel (Alacant) entre los días 7 y 19 de septiembre de 1970. La exposición tuvo lugar en la sede del Club de Amigos de la Unesco de Alicante en Mutxamel. La inauguración contó con una mesa redonda sobre "El arte pictórico en el pueblo" que contaba con la presencia del crítico de arte Ernesto Contreras y los artistas plásticos Arcadio Blasco y Andrés Castillejos
When analyzing the cultural life in the Spain of the 1960s, time of developmentalism, it is important to differentiate the critical or committed culture (very minority) and mass culture (debted to the popular clases). The reappearance of critical thinking was parallel to the development of mass culture, linked to social changes experienced by the whole country, especially in urban areas. The regime used media such as television, to try to impose a set of values for the desideologization and the popular depoliticization, consumerism and the primacy of individualism, having as its main objective to eradicate the collective interests and socially supportive attitudes. The success was a triumph and an individual value, achieved through labor, social and ideological guidelines dictated by the dome. In general terms, all these approaches were nothing more than mere adaptations of the classical premises of capitalism, only that seasoned with great doses of censorship and repression for dissidents, typical of the Franco regime.
Since the mid-1950s the gradual emergence of an eminently dissident intellectual generation against Franco is observed, being Marxism (black beast of Francoism) the dominant ideology. This also had its side in the pictorial field. While at first its manifestations were oriented towards informalism and abstraction, in the 1960s - and even if these trends were never abandoned-, there was a series of artists who conceived the art as a chronicle of the reality and each artistic work as social and political manifesto. And for that they cultivated realism and figuration, in a context where new currents appear in the periphery, breaking the centralist hegemony. A line where the Crónica de la Realidad movement stands out, whose theoretical approaches - inspired by the Marxists theses assumed by the dissidence - were elaborated by the Valencian critic Vicente Aguilera Cerni, where consumerism, mercantilism and the mass media were very present. It was essentially what "critical realism" meant to literary activity. In the province of Alicante, the art of criticism had its maximum expression in Ernesto Contreras, from the journal Information, emerging groups connected to this trend, as they were mainly the Grup Alcoiart (1965-1972) and Grup D'Elx (1966, 1969-1975), plastic collective that concerns us. In a first phase, 1966, the Grup D'Elx was made by Albert Agulló (1931), Almela, Pola Lledó, and Sixto Marco (1916). In 1969 it became composed by Agullo, Ramón g. Castejón (1945), Antoni Coll (1942) and Sixtus (1916).
The exhibition took place in the social premises of the Club of friends of UNESCO in Mutxamiel. It marked the first participation of Andreu Castillejos following its inclusion in the group. Opened during the celebrations "moros y cristianos", September 7, 1970, with a round table entitled "the art of painting in the people" (see Journal information, 06-IX-1970). The manifesto, drawn up by Ernesto Contreras, served as the official presentation of the text. These artists, with other supports, will promote the creation of the prestigious Museum of Contemporary Art in Elche.
The exhibition Cinc generacions, Mig segle de pintura a Elx, held in Elche at the end of 2002, was a tribute to this generation of artists (El Pais, 12 26, 2002).
University of Alicante. University Library. Music Library.