Libres Para Siempre
“¡Viva el paro!” (Long Live the Unemployment), 1998.
Light box, 90 x 120 cm.
Created for the Paranormal Paintings exhibition, in the Doble Espacio Gallery in Madrid in 1998. Doble Espacio was a gallery dedicated to multiple art where Libres Para Siempre presented a digital catalogue of which this piece was a part, along with paintings in the multiple art price range, in other words, cheap:
“The collective offers the original piece more cheaply than the multiple because manual reproduction is cheaper than mechanical. In the end the group finances its reproducible art thanks to what is not and so loses the capital gain that is enjoyed by artworks made by hand. This honesty with the buyer sheds light on the hypocritical posture of the alternative, art market, always in detriment to the artist, of making the public believe that the lesser cost of an original piece is due to the fact that it is not unique”.
The multiple art of LPS always reflected the technological moment in which the group found itself. In all this there was a certain (vanguardist) preoccupation to connect art to the technological models of each moment. They called it advanced versions of painting: Advanced Painting.
This voyage towards Advanced Painting was produced using various programmes; one was Animator Pro, an animation programme launched in 1989 by Autodesk, licensed to the Yost Group; Ani Pro was created by Peter Kennard, Gary Yost and Jim Ken, it ran on MSDOS, with a palate of 256 colours and its native format was FLI or FLC. In 1995 LPS loaned electronically created works of art made with Animator Pro to Simon Birrel’s Pandora programme, where a digital museum and an illusory digital space were created where said artworks were exhibited in the conventional way.
In 1996 in Ciberchic (Cruce), photographs of the screen of a computer appear next to animations created with Animator Pro alongside virtual worlds created with the Russian programme Virtual Home Space Builder (VHSB). The studio was moved to the exhibition room where some videos were edited and the public came into contact with the artists and was able to observe their work methodology.
No Hay Nadie (There’s No One) (Art Futura, 1997), plastic tarpaulins printed by digital injection confront virtual reality environments that could be seen in the interior of the installation. These environments were created using, Virtual Home Space Builder (VHSB) a programme that allowed one to create domestic 3D spaces for the still novel internet, integrating text, digital images, animations, digital video, sound and hyperlinks with rapid rendering to see the created world in real time.
Viva el paro (Long Live Unemployment), in the form of a light-box made use of all of the digital resources acquired by the group in a moment of crisis in Spanish society, faced with brutal unemployment, in which the best we could do was keep painting ¡VIVA EL PARO! HIP HOP HOORAY LONG LIVE UNEMPLOYMENT!
On loan from LaAgencia Collection.