Now that I've returned to the field, collation and Juan Ugalde post about a few weeks ago published Readvolution Fiasco, I reproduce here the interview I did with this interesting artist in 2005 for the Exit Exit Madrid: When Juan Ugalde decided to leave Madrid and go to live in El Escorial, in search of privileged environment of the Sierra de Guadarrama, had no idea that this paradise could become a scene of the normally same speculation is rampant in our cities. Interestingly, the dehumanization of the environment urban and surrounding areas came to be a recurring theme in the work of Ugalde, who has always liked to stare at anything that may make us reflect on our voracious colonization of nature neighborhoods bland concrete blocks, vacant lots, cemeteries Car or slums. "My approach to these problems has become a personal issue," says referring to the urban riots of the mountains, future National Park.
project until July 10 exposes the Conde Duque Cultural Center, within PHotoEspaña2005 programming, falls back on these issues. "In New City Vision do an installation in which I argue, in a tone of parody, which limits being reached in the growth of the contemporary city. The installation evokes the atmosphere of a booth selling a property, where billboards show stark images of buildings under construction, and includes a promotional video of the alleged agency. "
There are things in Juan Ugalde (Bilbao, 1958) that make him an outstanding figure in contemporary art. One of them is their attitude to the public, the antipodes of any elitism. "They are doing some museums are not for society in general, but for experts. There is an art, especially from 90, based on a too filtered languages \u200b\u200bthat I do not care, that is not understood, and has an aura of mystery that is window-dressing. I've always wanted to use languages \u200b\u200bthat were understandable to everyone. " The truth is that it takes more than twenty years getting it.
their early paintings was somewhere between Expressionism and Pop-often included characters from the comic book publisher Bruguera, in which pictures inserted press cut. Ugalde, who knew firsthand the Madrid and New York 80, acknowledges that this was a time of great creative ferment. "Those years were fun, very important for all we started, but also quite mercantilism. Obviously here we were more naive, we left a dictatorship where we needed a lot of information, but we needed that moment of madness. " formed in the Big Apple, along with some artists, the mythical collective Estrujenbank, that on his return to Spain served as a platform for genuine artistic subversion. "It was intense, and it was a brutal shift from individual to collective work. We did things in many fields, from writing a book to make videos, photo, had an exhibition ... all great, but We threw stones at the time because did not fit in the conventional art circles. We got to make a campaign questioning the bombast of events like the Expo of Seville, and some other initiatives that alienated many people from criticism, as Juan Manuel Bonet, we began to stock. "
From 1992 began to work with those who attained the highest honor, his famous photographs glued to a canvas, whose reason Ugalde prolonged and studied based retouching brush. "What kind of left me I asked. My work is painting, but photography. Some time ago I tried a series of pictures without including any pictures and I'm not convinced, not pulled. Actually the support is not important. In the New Town project Vision, for example, the video plays an important role. "
always been easy to identify in the work of Juan Ugalde many features that normally attach to the artistic postmodernism: parody, the mixture of styles, collage , quotations from popular culture .. ., features, where appropriate, articulate a walking path towards a progressive formal stylization. But the cloud never overly concerned Ugalde. "Several years ago there was talk much of it, what the postmodern era. Not now, perhaps the issue is already a bit old fashioned. Personally I do not want to give up the aesthetics, but also social commitment. We live in a world where increasingly we care only of the material, for many people reduce their aspirations to live in a villa in a residential swimming pool and paddle tennis court ... I try to approach it all through the irony and, yes, some beautification. "
Juan Ugalde, wearing the orange jersey that gave many headaches to the photographer, Bethlehem Cerviño 
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