Libres Para Siempre

Libres Para Siempre (The Free Forever) is a collective of Spanish Artists with a pop tendency, formed by Beatriz Alegre, Almudena Baeza, Alberto Cortés, Juan Jarén, Miguel Angel Martín, Alvaro Monge, Ana Parga and Mª Luz Ruiz. Their first exhibition took place in 1990 in the Estrujenbank Room belonging to the collective of the same name with whose members they maintain a close personal and professional relationship due to the experience.

In their initial phase (1989-1994), the collective was anonymous and had many names (Arigato Obrigado, La Rubia, G.A., Agradezco Esta Oportunidad, Artistas Todos… almost one per exhibition) until, in the new period dedicated to electronic art and coinciding with their presence on the internet, they definitively adopted the name Libre Para Siempre.

They have exhibited in commercial galleries (Fúcares in Almagro,1991; Buades, 1992; DobleEspacio, 1998; Valle Quintana, 2000) and alternative galleries (El Ojo Atómico, Sala Cruce), as well as in fairs (ARCO 1992, ARCO 1996, ARCO 2001), participating in performance festivals (IIFIARP,1992; Festival de Performances de la Facultad de Bellas Artes de Cuenca,1998; Cha Cha Chá,1999; Pasen y Vean in CCCB,1999, Doméstico 2000 y Festival de Performances de la Facultad de Bellas Artes de Madrid y Los lunes de la fábrica, 2002) and electronic art (Art Futura,1997; Existencias Agotadas,1999), they have published recordings, videos and a book (Arte en las Redes, AnayaMultimedia, 1997) and created an open call for an online competition within the framework of Observatori 2000. On the internet they maintain a web page where they periodically create open calls (Devorolor las plantillas que devoran el olor. El plantillazo, 2003) and upload pieces such as el alfabeto de dibujos ¡Libres, 2003.

In February 2013 an exhibition linking to the collective to the neopop movement of Luis Gordillo was held. Later the Nueva Figuración Madrileña and its followers Jaime Aledo and Elena Blasco influenced their work, as did Juan Ugalde and Patricia Gadea of the Estrujenbank Collective.

Their electronic piece, Composite was acquired by MEIAC (Museo Extemeño e Iberoamericano de Arte Contemporáneo), and another museum, el Museo del Barro de Asunción (Paraguay), houses work of the collective in their contemporary Spanish, graphic collection. Despite having worked in a multitude of expressive media (painting, photography, performance, digital animation, video, virtual reality, net art…) they maintain a formal and symbolic coherency that leads them to conserve certain characters and scenes and a sense of domestic impudence throughout their work.

Their work in BEEP Collection: “¡Viva el paro!”