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There is among the heralds of beauty a new allergy that bothers them to the point of suffocation: the period artist. That's what they call him. They refer to the one who breaks with propaganda and offers a stroke of perspective to the community in which he acts. It is the typical artist who looks, analyzes, reflects and, above all, acts. They are plumbers who dedicate themselves to unveil the flaws in the system that clog it to privilege some over the majority. They are artists but also documents, because they record what happens around them and leave testimony of what happens to us. They are unbearable figures for aesthetes and art speculators. They do not have that 'pedigree' that frees them from their time. Indeed, Rogelio Lopez Cuenca is one of those unbearable figures and, after four decades of career, the Ministry of Culture has just awarded him the National Plastic Arts Prize, worth 30,000 euros.
I wish I could even consider it, and with this you have a clear idea of the situation of the vast majority of cultural workers," explains on the other end of the phone a key figure to understand the historical and artistic evolution of the Spanish state. Rogelio Lopez Cuenca (Malaga, 1959) is an artist of his time who first encountered the bad arts of the system at Expo 92. The organization withdrew the installation that the State Society had commissioned him for a price of five million pesetas. There were about twenty signs, exactly the same as those of the Expo, but altered. They included political and poetic content about the show...