Serie Negra
Equipo Crónica [Rafael Solbés, Manuel Valdés Blanco]
1972
Serie Negra
Serie Negra
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Founded in 1965 by artists Rafael Solbes, Manuel Valdés and Juan Antonio Toledo, the Valencia-based collective Equipo Crónica was best known for its incisive critique of Franco’s regime, particularly through what they called “estampa popular” ...
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Serie Negra
Equipo Crónica, Rafael Solbés, Manuel Valdés Blanco
1972
Valencia and Madrid: Galeria Val i 30 and Juana Mordó
Unpaginated [20 pages]
21 × 22.8 cm

Founded in 1965 by artists Rafael Solbes, Manuel Valdés and Juan Antonio Toledo, the Valencia-based collective Equipo Crónica was best known for its incisive critique of Franco’s regime, particularly through what they called “estampa popular” (popular print).


 


Conceived as a film storyboard, this publication was produced solely by Solbes and Valdés, five years after Toledo left the group in 1967. Its filmic narrative unfolds through a series of monochromatic scenes that revisit the imagery of 1940s gangster films through a Pop Art, Lichtenstein-inspired aesthetic. Yet, as fictional as the narrative may appear, it exposes the poverty-driven crime that characterised Spain under Franco, marked by banditry and a vast underground black market. While the regime censored representations of American-style mafia syndicates, a new genre of police cinema emerged during these years: “cine policiaco” (Spanish police cinema), which focused firmly on the police’s triumph over crooks and gangsters.


 


The assemblage of screenprints in this publication recalls other Pop Art treatments of criminal imagery, notably Andy Warhol’s Dossier No. 2357 (The Thirteen Most Wanted Men), published in 1967 and held in the Metabooks collection.

Valencia and Madrid: Galeria Val i 30 and Juana Mordó
Unpaginated [20 pages]
21 × 22.8 cm

Founded in 1965 by artists Rafael Solbes, Manuel Valdés and Juan Antonio Toledo, the Valencia-based collective Equipo Crónica was best known for its incisive critique of Franco’s regime, particularly through what they called “estampa popular” (popular print).

 

Conceived as a film storyboard, this publication was produced solely by Solbes and Valdés, five years after Toledo left the group in 1967. Its filmic narrative unfolds through a series of monochromatic scenes that revisit the imagery of 1940s gangster films through a Pop Art, Lichtenstein-inspired aesthetic. Yet, as fictional as the narrative may appear, it exposes the poverty-driven crime that characterised Spain under Franco, marked by banditry and a vast underground black market. While the regime censored representations of American-style mafia syndicates, a new genre of police cinema emerged during these years: “cine policiaco” (Spanish police cinema), which focused firmly on the police’s triumph over crooks and gangsters.

 

The assemblage of screenprints in this publication recalls other Pop Art treatments of criminal imagery, notably Andy Warhol’s Dossier No. 2357 (The Thirteen Most Wanted Men), published in 1967 and held in the Metabooks collection.

DESCRIPTION

Founded in 1965 by artists Rafael Solbes, Manuel Valdés and Juan Antonio Toledo, the Valencia-based collective Equipo Crónica was best known for its incisive critique of Franco’s regime, particularly through what they called “estampa popular” (popular print).

 

Conceived as a film storyboard, this publication was produced solely by Solbes and Valdés, five years after Toledo left the group in 1967. Its filmic narrative unfolds through a series of monochromatic scenes that revisit the imagery of 1940s gangster films through a Pop Art, Lichtenstein-inspired aesthetic. Yet, as fictional as the narrative may appear, it exposes the poverty-driven crime that characterised Spain under Franco, marked by banditry and a vast underground black market. While the regime censored representations of American-style mafia syndicates, a new genre of police cinema emerged during these years: “cine policiaco” (Spanish police cinema), which focused firmly on the police’s triumph over crooks and gangsters.

 

The assemblage of screenprints in this publication recalls other Pop Art treatments of criminal imagery, notably Andy Warhol’s Dossier No. 2357 (The Thirteen Most Wanted Men), published in 1967 and held in the Metabooks collection.

Valencia and Madrid: Galeria Val i 30 and Juana Mordó
Unpaginated [20 pages]
21 × 22.8 cm

Founded in 1965 by artists Rafael Solbes, Manuel Valdés and Juan Antonio Toledo, the Valencia-based collective Equipo Crónica was best known for its incisive critique of Franco’s regime, particularly through what they called “estampa popular” (popular print).

 

Conceived as a film storyboard, this publication was produced solely by Solbes and Valdés, five years after Toledo left the group in 1967. Its filmic narrative unfolds through a series of monochromatic scenes that revisit the imagery of 1940s gangster films through a Pop Art, Lichtenstein-inspired aesthetic. Yet, as fictional as the narrative may appear, it exposes the poverty-driven crime that characterised Spain under Franco, marked by banditry and a vast underground black market. While the regime censored representations of American-style mafia syndicates, a new genre of police cinema emerged during these years: “cine policiaco” (Spanish police cinema), which focused firmly on the police’s triumph over crooks and gangsters.

 

The assemblage of screenprints in this publication recalls other Pop Art treatments of criminal imagery, notably Andy Warhol’s Dossier No. 2357 (The Thirteen Most Wanted Men), published in 1967 and held in the Metabooks collection.

MORE BOOKS

Founded in 1965 by artists Rafael Solbes, Manuel Valdés and Juan Antonio Toledo, the Valencia-based collective Equipo Crónica was best known for its incisive critique of Franco’s regime, particularly through what they called “estampa popular” (popular print).

 

Conceived as a film storyboard, this publication was produced solely by Solbes and Valdés, five years after Toledo left the group in 1967. Its filmic narrative unfolds through a series of monochromatic scenes that revisit the imagery of 1940s gangster films through a Pop Art, Lichtenstein-inspired aesthetic. Yet, as fictional as the narrative may appear, it exposes the poverty-driven crime that characterised Spain under Franco, marked by banditry and a vast underground black market. While the regime censored representations of American-style mafia syndicates, a new genre of police cinema emerged during these years: “cine policiaco” (Spanish police cinema), which focused firmly on the police’s triumph over crooks and gangsters.

 

The assemblage of screenprints in this publication recalls other Pop Art treatments of criminal imagery, notably Andy Warhol’s Dossier No. 2357 (The Thirteen Most Wanted Men), published in 1967 and held in the Metabooks collection.

MORE BOOKS