Modern Vices. Ceesepe 1973-1983
This exhibition will revisit a very specific period in Ceesepe's production, primarily focused on the visual language of comics and cartoons.
Before becoming the painter who discovered poetry in the back streets of Madrid, Ceesepe was a precocious, tenacious and brilliant comic book artist. Although active in the comic world for barely ten years, his influence and resonance transcended that relatively short period, and today, decades later, his work is held up as a unique mirror of life in the aftermath of Franco's death and the end of the dictatorship. This crucial period in the history of Spain is impossible to understand without the stimulus triggered by underground comix. The comic books created by Rollo in Barcelona and the Cascorro Factory in Madrid were two of the focal points of a movement that brought together young people with different sensibilities. Chief among them was a Madrid artist who had developed an original instinct for drawing as a teenager.
Ceesepe, who would soon become one of the leading figures in the Madrid scene known as La Movida, acted as a bridge between Madrid and Barcelona, creating a vital link between the Rastro flea market and Las Ramblas—in other words, between two hegemonic places in the new wave of freedom that emerged in Madrid and Barcelona. Politically incorrect and controversial by nature, comics enabled a novice like Ceesepe to experiment with drawing and its narrative potential.
Before abandoning comics altogether, Ceesepe created the posters for Pedro Almodóvar's first film, Pepi, Luci, Bom and Other Girls Like Mom, and wrote, drew and filmed with García-Alix a jewel of amateur cinema: the medium-length movie The Day That Bombita Dies, whose colourist and dramatic comic version hints at the future painter’s personality.
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