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2 A concert in honour of Canito, former drummer of the band Tos, is usually considered the official birthdate of La Movida. The musician passed away in a car accident in New Year s Eve of 1979 and the concert was held the following 9th of February in the Faculty of Engineering at Madrid Polytechnic University. Most likely, as I have already mentioned in other occasions, this improvised concert would have never had such an impact if it had not been broadcasted by Popgrama of TVE (Spanish National Television show) and the radio stations Onda 2 and Radio 3. The latter became an important element in the spread of a phenomenon that was starting to build up. La Movida This social phenomenon was a creative explosion that came to life and acquired its true dimension in the streets. It is here where, along with the activity of music bands, the work of painters, photographers, designers, illustrators, stylists and moviemakers, came together. Almodóvar, Ouka Leele, Alberto García-Alix, Borja Casani, Javier Mariscal, El Hortelano or Ceesepe were among the artists in this extensive list, in which places like Rockola, Vía Láctea, Morasol or Penta, the real music temples of the time, should be included, as well as magazines such as La Luna, Madrid me mata, El Paseante and El Europeo, or the mythical TV programme La Edad de Oro by Paloma Chamorro. After thirty years and from the perspective of the recent history, the movement keeps provoking a growing interest in different fields of study. It does not leave anyone indifferent: there are those who fervorously defend it and those who say it was nothing but a socialist invention backed by the then Mayor of Madrid Tierno Galván. In any case, the attention focusing on the phenomenon and its creative, sociological and political effects keep increasing both in Spain and internationally. Sabas Martín

3 Pop Revolution This pop music that changed the overall picture of Spanish music 25 years ago, originates mainly in punk music and was characterised by a break with the recent past. None of the members of Kaka de Luxe knew how to play an instrument, but this drawback did not hold them back from getting up on stage to express themselves through songs that were coming to life, bit by bit, as they were learning how to sing and play their instruments. POP REVOLUTION. Punk music put an end to the common belief (according to Spanish philosopher Ortega y Gasset: an established idea which is universally accepted) that only experimented vocalists and instrument players should be part of a musical band. Kaka de Luxe was the best example of a band that challenged this and other common ideas. When Mexican Olvido Gara, who would later adopt Alaska as her pseudonym, honouring a Lou Reed song, arrived in Spain in 1973, she was already trying to find someone interested in Glam Rock. It was not until 1977 that she found some like-minded people: It was then when we started to make music and zines. We, the rejected ones from every generation got together. People of all ages and backgrounds. I was fourteen by then, Bernado Bonezzi was thirteen, while others were twenty-five or thirty. I think we were the ones who did not fit in our generations. But pop is not only music. Alaska believes that zines were, in many cases, the seeds for groups like Kaka de Luxe: La Liviandad del Imperdible was very important for me because this is how I got to know Fernando Márquez El Zurdo and other people who were part of a fantastic scene. I was fourteen by then and setting up zines, bands and concerts was all I wanted to do. In addition, it was an opportunity to realise that this was what we wanted to do. And from there on, we had to get in touch with the appropriate people: Nacho Canut, Carlos Berlanga and, later on, Enrique Sierra.

4 Pop Revolution Kaka de Luxe, founded in Madrid, was deliberately mimicking the Ramones. However, as Fernando Márquez wrote in Música Moderna: Alaska was doing so to an even greater extent. In her last trip to London, she brought back a peculiar potpourri of beaming leftovers of hard rock music, such as ACDC or UFO, surf minimal - Ramones -, pure or semi-pure punk -The Clash, The Sex Pistols, Damned. In any case, it was a not too innovative girl band with a cover version of Kim Fowley that captivated Alaska and first caught our attention. The band was The Runaways and the song Born to be bad, which deals with a girl who ran away from home and troubled her parents because she was born to be bad. Out of Kaka de Luxe s ashes arose the first star: Alaska, after featuring a photographic documentary by Alberto García-Alix, a member of the Cascorro Factory along with Ceesepe y El Hortelano. From the very beginning, photographers like Alberto García-Alix, Ouka Leele, Pablo Pérez Mínguez, Maribí Ibarrola, Vicente LLuna, Miguel Trillo, María Luisa Cuadrado Tonkín or Dj Floro; illustrators and painters like Pejo, Ceesepe, Herminio Molero, El Hortelano, Javier de Juan or Sigfrido Martín Vegé; poets, writers, journalists, designers, tailors, and an endless number of the most diverse mixture of artists were part of a movement that was going to be known as La Movida. Some of them are nowadays considered prestigious figures of the official culture, such as Javier Mariscal, Pedro Almodóvar, Oscar Mariné, Las Costus, el Gran Wyoming, Moncho Alpuente o Borja Casani, etc. Almodóvar s movies especially his first motion pictures Pepi, Luci, Bom y otras chicas del montón and Laberinto de Pasiones wouldn t exist without Alaska y Los Pegamoides, Derribos Arias, Los Zombies, Radio Futura, Las Costus, Pablo Pérez Mínguez and all the members of La Movida. Jesús Ordovás

5 The Exhibition Jesús Ordovás was one of the first-hand witnesses of the birth of La Movida and the new Spanish wave. It is therefore not suprising that the exhibition is an extract of his own personal collection, made up of the material that he has been receiving in more than 30 years on air in programmes like Diario Pop, Esto no es Hawaii or Ipop. The exhibition includes a significant collection of photographies, posters, flyers, zines, discs, books and multimedia material on three decades of La Movida. The exhibition features posters of performances of the early 80s in Rockola (Almodóvar y McNamara, Alaska ), demos of bands that were starting then (Radio Futura, Kaka de Luxe ) in all the formats that existed at that time (reel to reel tapes, audio tapes, mini discs ) and also discs covers. All of them were selected according to the importance of the band, Ilegales, Los Zombies, Gabinete Caligari, etc., and those who made them, photographers and designers such as Ouka Leele, Alberto García-Alix, El Hortelano or Ceesepe. Another extraordinary interesting section of the exhibition is dedicated to the audiovisual material of the time, including music videos and a great number of TV shows from the Spanish National Television of the 80s, like La Bola de Cristal, as well as concerts and interviews of major figures back then. The book collection also constitutes a relevant asset, made up of an important number of books on pop music available for public consultation. The exhibition invites the audience to take a closer approach to the musical and cultural heritage of La Movida, highlighting relevant aspects of the evolution of pop. These traits of La Movida have been transferred from generation to generation and they are part of contemporary music, maintaining its own distinctive identity. The display deals with the phenomenon of music and is also works as a mirror of society.

6 Due to the nature of the exhibition and the diversity of exhibition spaces, the set up is entirely modular, so each module can be exhibited independently. The exhibition comprises more than 40 panels that reflect this cultural movement through its music, illustrations, design, photography, literature and aesthetics. In addition to the panels, depending on the exhibition space and the possibilities of each site, the exhibition can be complemented with additional material, such as: memorabilia to be displayed in showcases, a book and zine collection, digital audiovisual material, etc., as well as a karaoke kit equipped with music of the 80s, which gives visitors the opportunity to participate actively. Design

7 Demos and First Recordings Singles and LPs Audio Tapes, CDs and DVDs Zines, Magazines and Books Posters Tickets, flyers and promotional items Photographies Interviews Contents

8 Nowadays, the success of an exhibition depends on the additional activities that are organised along with it. Additional Activities This exhibition deals mainly with music, but also with photography, design, painting, aesthetics, fashion, literature, cinema. In short, it deals with an endless number of creative and artistic disciplines which were initiated in this moment. This plurality offers a wide range of possibilities regarding the organisation of additional activities along with the exhibition: from talks and round tables with the protagonists of the time, to film series and movie screenings, seminars, DJ sessions, concerts, creative workshops. Including a pop party, ready to take us back in time with the 80s music and aesthetics. Jesús Ordovás, fundamental figure and witness of that time, attends the opening of the exhibition as the curator. His presence represents a perfect opportunity to organize a talk or a DJ session.

9 A unique and individual catalogue can also be published for the occasion. The catalogue is a highly visual book that, according to Jesús Ordovás, brings together the images that best depict this movement. Catalogue Features: Format: 23 x 25 cm. 80 pages Colour Illustrations Published by Everest Directo Some of its content Posters of the concerts that took place in University Residence Halls, discos and other venues. Flyers and concert tickets. Covers of the first independent singles and LPs recorded by all kinds of record labels. Samples of reel to reel tapes and songs that bands used to send to the radio stations (Onda 2 and Radio 3). Independently recorded Audio tapes. Books about La Movida, writen by Fernando Márquez and other musicians and journalists. Zines Magazines such as Madrid Me mata, La Luna de Madrid, etc.

10 Communications The communications and marketing strategy of La Movida exhibition is based on an integrated set of activities that aim to increase the appeal of the exhibition. It is intended to achieve an adequate level of popularity and a positive image in order to stimulate cultural interest in its underlying concept. Activities Opening. Attendance of Jesús Ordovás, institutional representatives Distribution of press releases through the press office of Interexpo PR activities with institutional representatives and other target groups Graphic design of all materials Catalogue of the exhibition (optional) Online marketing

11 TITLE La Movida... del Diario Pop Technical information ORGANISATION Jesús Ordovás Museo Interactivo de la Música (Málaga, Spain) Interexpo, Exposiciones Internacionales, Culturales e Interactivas, S.L. CURATOR Jesús Ordovás CATALOGUE Published by Everest Directo Format: 23 x 25 cm Pages: 80 PRODUCTION Museo Interactivo de la Música (Málaga, Spain) Interexpo, Exposiciones Internacionales, Culturales e Interactivas, S.L. GENERAL CONDITIONS Target group Availability Room size Useful surface area Ceiling height EXHIBITION CONTENTS panels Memorabilia Showcases required All groups Consult 100 m 2 (min) 300 m 2 50 m min 2,50 m. The number of panels depends on exhibition available space. Demos and First Recordings Singles and LPs Audio Tapes, CDs and DVDs Zines, Magazines and Books Posters Tickets, flyers and promotional items Photographies Audiovisual material Sound projector required. Library Showcase with a key and library staff required

12 MUSEUMS Museo Interactivo de la Música (Málaga, Spain) 1st December th January 2006 Museo de Bellas Artes de Castellón (Castellón, Spain) 7th 28th June 2007 Museo López Villaseñor (Ciudad Real, Spain) 18th October 15th November 2007 Museo de Jaén (Jaén, Spain) 28th March 4th May 2008 Exhibition Sites Museo de Almería (Almería, Spain) 25th November th February 2010 UNIVERSITIES Universidad Politécnica (Cartagena, Spain) 14th 28th February 2006 Universidad de Cantabria (Laredo, Spain) 17th July 27th August 2006 Universidad de Castilla la Mancha (Cuenca, Spain) 20th October 20th November 2006 Universidad de Salamanca (Salamanca, Spain) 26th January 25th February 2007 Universidade da Coruña (La Coruña, Spain) 24th January 24th February 2008 Universidad de Granada (Granada, Spain) 8th May 6th June 2008 Universidad de Sevilla (Sevilla, Spain) 10th June th September 2010

13 CULTURAL CENTRES Instituto Cervantes (Manchester, United Kingdom) 9th March 7th April 2006 Centro Cultural San Clemente (Toledo, Spain) 1st 14th September 2006 Complejo Cultural San Francisco (Cáceres, Spain) 19th September 16th October 2006 Teatro Principal (A Estrada, Spain) 1st 26th March 2007 Exhibition Sites Teatro Campoamor (Oviedo, Spain) 2nd 29th April 2007 Edificio Botines - Gaudí (León, Spain) 2nd 31st May 2007 Centro Cultural Joaquín Roncal (Zaragoza, Spain) 14th December 12th January 2008 Ateneo Ferrolán (Ferrol, Spain) 28th February 23rd March 2008 Casa de la Juventud (Jerez de la Frontera, Spain) 3rd July 1st August 2008 Centro Cultural Miguel de Cervantes (Madrid, Spain) 23rd April 23rd May 2009 Centro Cultural La Misericordia (Palma de Mallorca, Spain) 6th 26th May 2010 Centro Cultural Provincial (Palencia, Spain) 9th July 4th September 2011

14 Fanzines VERTION Biblioteca Regional de Murcia (Murcia, Spain) 6th March - 26th April 2008 Universidad de Málaga (Málaga, Spain) 9th May - 12th June 2008 Biblioteca central de Córdoba (Córdoba, Spain) 16th July - 31rd Agost 2008 Biblioteca de Aragón (Zaragoza, Spain) 4th December th January 2009 Exhibition Sites Virtual Pop VERTION Eólica Festival (Granadilla, Tenerife, Spain) 18th - 19th July 2006 Fira del Disc (Palma de Mallorca, Spain) 9th - 10th September 2006 Easy Pop Weekend (Andorra, Teruel, Spain) 25th - 27th October 2007 Tremendo Pop (Monzón, Huesca, Spain) 19th - 20th April 2008 Universidad de Navarra (Pamplona, Navarra, Spain) 24th - 26th Febrary 2009

15 5/7/2010 Page 72 What they say... 6/9/2010 Page 48

16 5/9/2008 Page 65 What they say... 6/11/2010 Page 8

17 9/2/2006 Page 36 What they say... 23/04/2009 Pág. 11

18 PROJECT MANAGER Gloria Patón Fernández-Pacheco T Interexpo, E.I.C.I., S.L. Calle Compañía, 34. 4ª planta Málaga / Spain Museo Interactivo de la Música - Málaga P/ Marina s/n Málaga / Spain Contact

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