UNTIL SUNDAY 14/5
THE SHIP. University, 2
In times of dictatorship, the mental acuity of journalists and graphic comedians is sharpened to find that saying without saying that manages to get the message across, jumping over the censorship mark.. The magazine had done it masterfully The Quail for over thirty years and did so for a few Brother Wolf with some of the members of the first, tired of traditional and naive humor. The time had come to give way to a more political and angry humor, This is how Chumy Chúmez understood it when he founded Brother Wolf, a magazine that featured the pens of Manuel Vicent, Paco Umbral and Manuel Vázquez Montalbán and the PAHO cartoons (The broken), Gila, Manuel Summers, Perich, Forges o Quino, among others. There is nothing. Following in the wake of the exhibition dedicated to another publication, it is from the 19th century, The Traca, the University of Valencia has set up this reviews the history of a satirical magazine that had a circulation of 170.000 copies in a Spain unaccustomed to reading the press. Era 1972 when he went out into the street, the regime was dying, but he still had time to open six files and suspend its publication once under the Law of Press and Printing. (1966) by Fraga. Technically, censorship did not exist, but this law managed to financially suffocate publications and that is precisely what it did with The Quail. It is one of the reasons that according to Antonio Laguna, co-curator of the exhibition, explain his short life. The others would be that it had no advertising, was financed solely by sales, and the competition from other magazines of a similar nature such as Please, Barabbas, Leopold the crocodile o The Papus, who would end up taking the lead with his combination of eschatology, uncovering and satire (Thursday, that still survives, would be born in 1977). One last reason, paradoxical but real: when he could say everything, there was nothing left to say. A crisis of creativity emerged perfectly contained in that “against Franco we lived better” that is attributed to Vázquez Montalbán. The exhibition proposed by La Nau focuses on the graphic part of the magazine and leaves the journalistic part fallow for obvious reasons., It is much less powerful visually. Forges it fuels the stagnation of parties that believe themselves to be revolutionary, OPS (The broken) criticizes the emetic behavior of the new American empire, Summers laughs at the “spiritual reserve” that for Franco was Spain in the West and Chúmez reinvents advertisements loaded with double meanings in an exhibition that has a soundtrack of the time in the background. S.M.
