NIEVES CORREA

DESCRIPTION OF CONTENTS

Preparatory material

1 intervened postcard
22 negatives, one of which was the final poster image
1 contact sheet of these 22 negatives

Remains of the action

62 original posters size 27 x 50 cm in white/black/red (the posters are not
glued to any surface, they are the ones left over from the glueing)
2 period photographs of the action in Madrid, size 15 x 20 cm in colour (they have
traces of glue stick on the back)
8 color negatives in relation to the action in Madrid
2 vintage photographs of the action in New York, size 10 x 15 cm in color (with traces of paper glue on the back of the photo)
20 color negatives relating to the action in New York
2 vintage photographs of the action in Amsterdam, size 10 x 15 cm in color (with
traces of glue on the back of the paper)
22 color negatives relating to the Amsterdam action
4 color negatives in relation to the Barcelona action
2 color slides in relation to the action in Barcelona

Postcards

Original composed of four photographs pasted on yellow cardboard and sticker
MADRID – NEW YORK – BARCELONA – AMSTERDAM size 21 x 25,2 cm. No postcard
of this original was published.
Original to compose the back of the postcards size 21 x 29,7 cm.
3 original postcards size 11 x 17 cm. The postcards are photocopied in color.
2 original postcards size 11.7 x 18 cm. One of them has a sticker with a recipient’s address on the back. The postcards are photocopied in color.

Description of the action

“1992 was a year of great splendour. After fifteen years of intense aerobic exercises and a good face-lift, Spain was ready to show itself to the whole world as the queen of Europe.
Public-Art, as a model company in the sector and to commemorate the thirty-second
anniversary of its birth, decided to join the “facelift” operation
and launch its most emblematic image in an international campaign.
During that year thousands of posters were pasted on the streets of Madrid, Barcelona, New York and Amsterdam; emblematic capitals of the contemporary cultural scene”.

In 1992 Public-Art was basically my alter ego. Things have changed a bit over the years and Public-Art has started to live on its own and to get out of my hands, so I couldn’t say the same today.
Public-Art’s existence up to that point had been rather discreet, but that year the passion for festivities and commemorations infected us all and I decided to publish the poster Public-Art 1960-1992, Thirty-two years of experience in the field of visual communication, intended for an international audience.
The posters, about a thousand, were pasted in Madrid and New York during the summer and in Barcelona and Amsterdam at Christmas. These trips were not expressly organized and the cities were not chosen beforehand for the action, they were simply vacation trips that I took advantage of to take and paste my posters.
For me this was one of the actions in which I have felt more free since in the gratuitousness of its conception, I did it for the simple pleasure of doing it, and in the process of its materialization I did not need anything or anyone to complete it; and yet it was effective, and as these lines show, it still is.
After the circuit of the four cities and to close the work definitively, I edited a postcard in which an image of each of the stickers appeared and which was sent by mail to friends, admirers and the specialized public.

References

Group Exhibition “Al Carrer”. Transformadors Hall. Barcelona, 1992
Group Exhibition. Fine Arts Circle. Madrid, 1993
“Documents for a History of Heterodoxy in Art”. The Atomic Eye”. Madrid, 1993
Group Exhibition “The Situation”. Faculty of Fine Arts. Universidad de Cuenca, 1993