A collective volume that delves into the figure of Ocaña, one of the most admired, free, and transgressive artists of the Transition years.
What is it about José Pérez Ocaña that, forty years after his death, continues to inspire admiration? Ocaña. The Eternal Shine of the Sun of Cantillana is a collective volume edited by Carlos Barea that attempts to answer this question through a multidisciplinary look at the life and work of one of the most prominent artists of the Catalan counterculture of the late 1970s and early 1980s.
With the intention of shedding some light on a figure about whom much has been said but little has been written, the book brings together a large group of authors who have undertaken to investigate her work and everything that surrounded her figure: from her almost forced sexile to her obsession with religious imagery in her paintings and performances, including an analysis of the artistic and cultural context in which she developed.
In addition to texts by people as close to Ocaña as the film director Ventura Pons, his close friend Nazario, and an interview with his twin brother, two previously unpublished documents are included: a biographical account signed by the artist himself and a letter written in his own hand to Felipe de Paco.
Ocaña. The Eternal Shine of the Sun of Cantillana is, in short, a book that seeks to unravel the mystery of a completely free artist who left us dressed in the sun and whose brilliance has survived to this day.
Book details:
Various Authors: VV.AA.
Carlos Barea ('The Passionflower of the Ladybugs') · Ventura Pons ('A Catalan Film Spoken in Andalusian') · Nazario ('Ocaña: Chou, Exhibitionism and Fun') · Roberta Marrero ('Ocaña and the Lost Spain') · Luis Maura ('Leaving to Save Oneself: Ocaña and Sexile') · Ernesto Artillo ('Virgin of the Flesh') · Joan Galo [MARINA] ('Ocaña and the Instinct of the Pen') · Juan-Ramón Barbancho ('An Unrepeatable Formula: Paintings, Artefacts and Performances') · Pedro G. Romero ('Ocaña: The Angel of Hysteria') · Álex Ánder ('Interview with Jesús Pérez Ocaña')
