The last decades of the 20th century were the stage of a particular cultural bloom in Southern Europe, which led to a rapid modernisation of this region. A series of conter culture movements shaped what would become contemporary culture in this part of Europe, especially in the Iberian Peninsula, fostered by the implementation of two democracies.
The research on visual culture and graphic design focuses on the emergence of contemporary culture in the context of the implementation of democratic systems in the Iberian Peninsula at the end of the 20th century. Portugal and Spain share not only a centuries-old complex history, but also peculiar contexts in the late 1970s: the end of totalitarian regimes in Portugal in 1974, and Spain in 1977. Both countries share heavy colonial heritages, latin roots, strong catholic dominance and crucially, the geographic distance from central europe, and their cultural centers.
A complex transition culture swept the two countries in the difficult process of overcoming decades of poverty, censorship and underdeveloped social customs and habits. Under similar circumstances, Portugal and Spain were driven to keep up with the pace of European development: with the implementation of democratic policies, economic growth and social improvement, the emergence of popular culture, the consolidation of consumption habits and the openness to cultural diversity.
These transformations occurred under the scope of the postmodern debate, a wider and complex reaction to modernist ideology, in which objects and authors were deeply politically-engaged and all forms of authority and power establishment were fiercely questioned. The introduction of alternative debates on gender, environment, cultural minorities, high versus low culture were also a manifestation of this cultural transformation period. A broad range of graphic references were conjured: vernacular symbols, historical references, retro styles, pastiche and parody, digital graphics, techno, punk, grunge, at a time of fast technological developments.
Aware of the understudied and underexplored relations between the movements that emerged after such a pivotal stage of development of these two Southern-European countries and design— which were crucial in shaping today’s visual culture—this project proposes a joint effort from researchers and diverse institutions, in order to trace, challenge, nurture and share a fascinating legacy of cultural heritage in Europe.
Due to its multidimensional nature, the range of the study is wide and diversified. We propose its implementation based on key themes that are relevant to the understanding of the complexity of this historical and cultural period. The points of convergence of all branches are the graphic objects produced under the scope of each theme, as well as other forms of visual materials. Visual culture relies on a variety of graphics devices used to make a critical lineage of this historic moment: booklets, newspapers, magazines, posters, flyers, fanzines, graffiti or mural paintings, (handmade) banners, among others. Given the specific nature of each theme, complementary media can also be considered, such as films, videoclips, TV ads.
Transitionless: Modernism, Antimodernism, Countermodernism, Postmodernism
The long duration of dictatorships in both countries (Spain 1939–1975, Portugal 1933–1974), prevented the circulation of social and cultural values and commodities. The “spontaneous” flow of modernist ideology across central europe did not have official and full expression in the iberian countries, due partly to efficient censorship mechanisms operated by the totalitarian regimes and also because of long-term national cultural traditions based on historic exceptionalism. The consequences of these cultural conditions had an impact in the visual culture and their emancipation in the context of these recently implemented democracies.
Subcultural movements in Iberia
Democratic policies became increasingly permissive and allowed the
expression of several subcultural movements in the public space. The moral emancipation of mundane habits, lead to the
proliferation of social behaviours, formerly marginalised by late regimes. Headed mostly by young generations, these
movements were profoundly collective, local, libertarian, urban and took the streets, the nightlife, the underground
of the cities to claim their right of expression. The anti-dictatorship dynamics, led by students, workers and intellectuals,
often grouped in clandestine organisations, were soon confronted by apparently less politicized processes that became modes
of micro-political expression, such as punk rock concerts, drag shows, fashion shows, ecology groups, feminist circles, nightclubs,
rave parties, and others sparkled all around urban centers, contributing to important cultural shifts. While mostly existing
against the grain, it was the graphic culture that many times facilitated communication, self-and collective expression, as well
as a sense of belonging.
Feminist review/ erased histories
Challenging a historical perspective dominated by male representation in the graphic design field, which led to an overwhelming underrepresentation of women in the history of graphic design and visual culture, this study paves the way for the inscription of women and other ignored persons in the history of graphic design during this period in the Iberian Peninsula.
Decolonization processes took place under different conditions in both countries, with varying impacts on colonised countries and their citizens. It led to the emergence of new forms of expression, and it also helped to open up these societies to new ideas and influences. In Portugal, the process occurred abruptly in the aftermath of the Colonial War, whose one of the most immediate consequences was the return of thousands of Portuguese emigrant families to Africa. The “returnees” contributed to opening up social diversity and visual culture, bringing more tolerant values and less conservative behaviour towards gender and racial minorities. In Spain, the transition period came with little reflection on the colonial past and present, as seen in Western Sahara and the Spanish enclaves in Morocco, let alone in relation to American colonial memory. Nonetheless, the cultural exchange between various American countries and Spain, especially due to the migration of thousands of people fleeing dictatorships in the South American cone, led to important developments in the field of graphic design and publishing.