What surprised him the most Andres Rabago, The artist who is also Rabagolike his last name, Ops and The Brokenwhen he entered the huge room that housed his story Illustrator, calligraphy editor and everyday illustrator In Spain, the brightness of the room in which the various aspects of his work have been shown since last Thursday in Madrid Department of Fine Arts.
They are white rooms, which feature his paintings, vignettes and drawings, and are divided into different aspects of his personality as a witness to life. It is he who paints, who denounces, who merely says what he does not understand. man in between risk realism Albert Camus And willingness to hide to look down on nonconformists like Franz Kafka or Juan Carlos Onetti.
To illustrate his different attitudes towards cloth or paper, since Spain was a dictatorship as dark as the tomb in which republican democracy remained, this man who looks like a secular monk looks up at the sky as if passing in disguise. Thus, he has adopted different identities, all coinciding with his questionable and ironic outlook, which does not always translate into words.
he Silence in his drawings or in his paintingsYes, it is part of his way of speaking, or painting, of denoting a reality he hated when he smelled putrefaction of the Francuans, and also now, when other kinds of prisons are imposed, some wrapped in trompe l’oeil. l’oeil of cybernetics.
Thus, this man who is astonished by the clear air that surrounds his luminous paintings or his old and modern drawings of the dark life of the spirit of the successive reigns which ended in 76 years is, Andres Rabago, It is divided, in order of art and testimony, into Three numbers which are somewhat similar to each other. Rabago is the painter, Dedicated to observing everyday life and as if aspiring to the tranquility offered by colours, she is clean, serene and optimistic. Ops is witness to rot Which means, in Spain, the dictatorship that even in the last post-war period has turned citizens into beings whose minds are still imprisoned. And Broken is the person who faces every day (for years in Country, before in Diary 16) What is happening in your country and abroad.
It is, so to speak, Editorial writer on call Which he always said, as did Bagaria V.I sun Spain or Menchi Sábat in Clarion From Buenos Aires, which is unexpected to turn immediately into what we were really waiting to see how to interpret the news, or the noise of the day.
For a long time we thought these three were, in fact, three, but here he is, looking at his paintings, his drawings, his graphic editorials, and he’s the only Andres Rabago in existence.”
For a long time we thought these three were, in fact, three, but here he is looking at his paintings and drawings editorials graphics, Andres Rabago is the only one presentseated in front of his large exhibition by Oscar Corisis, also a specialist in silent art, Francis Bacon, which he titled The silent factory His contribution to the catalog that contains this Miniature history of the world Which constitutes an exhibition of this singular man from Madrid, a man in the third, only when he smiles, ironically, for what he does not understand. Then maybe Andres Rabago.
I asked him, then, what was going on. The root is Ops. The stem is El Roto. The branches and fruits are Rabago… Each of them belongs to a different historical period. Ops are late francoism. El Roto is indeed a resident of democracy. And Rábago is immortal and mldr. I think what Ops did for me was clean up all the dirt that had accumulated throughout the dictatorship. I looked inside and saw my monsters and demons. I looked outside and saw the monsters and demons of society at that time.”
Cleaning is something he did, he told me, “when the dictatorship had not yet gone & mldr; that was his last period, but he was present there.” A gray, arrogant world, full of black jackets, clattering swords and trash cans. I lived near where they are [en Madrid] Government cells and the stench that emanated from those cells, ah, I still noticed today when I passed by. That is the smell of dictatorship. Therefore, the house had to be ventilated, and the windows opened & rdquor ;.
He was self-taught, his school was the patience of his father who taught him, museums were close, and so were the art books that were in the house.”
He was automatic recognitionHis school was the patience of his father, who taught him, and the museums were near him, as well as the art books that were in the house. That’s how you know. And now your gray matter, that one They are displayed on canvases or paintings Like this one now in Madrid Department of Fine Arts, are also part of what people feel are editorials against the reality of an obscure and scathing cartoonist dedicated to emphasizing the world’s poverty. He does not attach importance to the historical significance of his triple personality. He always did, he says, “what I have to do, without thinking about the scenes, otherwise we would have to think tactically & mldr; & rdquor;
that’s it conducting operationsSince I was painting magazine Brother Wolf, A graphic challenge to the fangs of dictatorship. May 1968 inspired him, and foreign publications gave him a perspective of other areas of freedom not yet glimpsed in Spain, “and this allowed me to see what level I had to do my work & rdquor;
Ops, then, “belongs to a dictatorship and when democracy arrives, its coded language and court are no longer a case. His world was disappearing, Luckily. It was also a rather difficult personal period: what am I going to do now? And I went to El Roto, which I had already rehearsed for My brother the wolf [la revista que fue hijuela de Triunfo, el más importante semanario progresista en tiempo de Franco]. It was, like, magazines that came in from abroad, and our fellow Chummy Chummies, tough humor, very foul mouthed & rdquor;
El Roto is still very active. “He was changing the form. But he was always, in all the media in which he was published, a position of absolute independence with respect to that media and mldr; I give a general, indefinite view of the things that happen. But the moral position has not changed: I am an observer and I reflect the things I see in text Accurate and attractive drawing.Or so I pretend, because I am opposed to easy drawing”.
– And what is the easy drawing, Andres?
– The formal degeneration that existed during the dictatorship: drawings in which only the text was of value. And I always wanted the drawing to have a good quality. Because text can decompose, but drawing cannot. That’s why he gives her permanence.
There, they coexist, in the luminous rooms, the chiaroscuro of Ops, the skin of El Roto, and the self-absorbed sensibility of Rábago & mldr; “
There, they coexist, in rooms too brightly lit, Ops’ chiaroscuro, El Roto’s leather, and Rábago’s self-absorbed sensibility… For the first two drawings, the pointed drawings, says Andres, “represent a different mental state and mldr; Ops and El Roto. And Rabago communicate in the lands of the spirit. Which is why they are different too. And the three? Well, they are unrelated, because they are so different.
Rabago enjoys light and colour, “It’s the emotion and the vibrations that can lift us up. Ops is black, sometimes it’s red,” he admits. “It was a very violent time, very violent. As now, aggressive as now. How does Andrés Rabago see this time?” with great concern. I think we are going in the wrong direction and there is no control over what is going on. There is war, environmental devastation, economic turmoil, science has become an accessory to industry and more democratic awareness is needed.
When we go outside, Rábago’s windows light up as Ops and del Roto’s graphics scream and Andrés prepares to cast a glance at the light in the room.