Sólo para tus ojos covers the professional career of Toni Galindo (1962-2006), graphic designer and artist, founder of Art&Maña, along with his partner Anna Obradors, one of the most prestigious communication companies that exist in our country. His work includes some of the advertising and graphic image campaigns for the most profitable films in recent Spanish cinema history.
The current exhibition not only conducts a chronological and exhaustive review of the more that sixty full-length films in which Galindo has left his mark, but also goes through the contributions that the young designer created for prestigious film competitions and television channels; two of the posters designed for the San Sebastian International Film Festival received Key Art Awards in Los Angeles.
By reviewing the panels, we familiarize ourselves with the creation process of a poster, from numerous original sketches, rejected proofs, the promotional teasers to all kinds of additional material including the information used to achieve the accepted final product.
In his Mansion in remote Estiria, the romantic and sinister Jack Mircala subjects himself to a feverish activity in which time does not condition the meticulous creation of his work. Between attacks of melancholy and uncontrollable fits of passion, Mircala lets his darkest and most extreme artistic fantasies run free. Impenetrable landscapes and monsters spring from the darkest folds of his altered inspiration. Captivated by extravagant imagery, his illustrations and stories explore the history of gothic literature, horror films and expressionist painting.
After showing his illustration works in the 2001 Terror Week and creating a life-size set for last year’s poster, in which Alaska posed as a seductive and voluptuous vampire, Mircala returns to San Sebastián. With Mansión Mircala, this extravagant and brilliant author offers us a bittersweet taste of his artistic creation, created in a small room in his home that he, with his dual personality, insists on describing it as a “beautiful and decadent gothic mansion”.
Considered one of the great masters of the fetishist cartoon strip, John Willie also did photography and theorized on techniques and concepts of fetishism in general and particularly restraints in countless articles.
In 1946, he begins to edit Bizarre, a magazine made in an artistic fashion which history has made an icon in the sadomasochistic world. Shortly after, in 1948, he creates the unforgettable characters of the ingenious Gwendolyn, the clumsy Sir D’Arcy, the wicked countess M and the kindhearted agent U-69, converting the cult author into a hero of the erotic comic.
His work, created in an historic moment marked by fierce censorship, was published in a semi-underground fashion. In the early 70s, coinciding with the permissiveness provided by the sexual revolution and the rebellious movements of the swinging 60s, Willie’s work was wonderfully re-evaluated.
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