Anna Penas Describes The Sunshine And The Haze Of The Beach For 60 Years
2021-01-30 | by CusiGO
The most popular Premiere of Spanish comics in the 21st century is a story about grandma. We’re all very good, and Anna Penas’s first graphic novel (Valencia, 33) won all the important awards she could get from a takada: the National Cartoon Award (the first successful woman), the inspiration author of Barcelona salon and the FNAC international salamander graphic award. Something more difficult happened: it activated a collective spring of numbness. Hermia and marujah, who went from penya’s grandmother to the symbol of the postwar generation of women, maintained society by pouting, wearing skirts and mending socks. Half the world owes grandmothers who find freedom on their driver’s license. Life is so pervasive that the work has been translated into Croatian and French and will soon be published as mirage, the main vocabulary of American comics. In the past three decades, Spain’s tebeo Espa NIA ol has made the most shocking breakthrough in a top opera – a measure that has sold 18400 copies in a region with half circulation. So what? Would pennias be a single, successful author?
He became known as everything under the sun, which published the salamander on February 11, confirming the promise of Hermia and Maruja. If the first one is almost a self novel album, then the second one is almost a plane article about tourism and its dent in urban planning and daily life. For you, Spain is a guide to Francoism launched in 1964. The aim is to attract Europe to get rid of the cold and to attract gentrification and speculation in urban centers after public capital investment in the 21st century. Mud on bricks. “The second game made me nervous, but I can’t stop doing anything and I can’t let myself be overwhelmed. When I started this project in April 2018, the theme of tourism was super tourism Hot. “I try to make them very different, there are more novels here, and I’ve come up with my most analytical parts,” Madrid said in a face-to-face interview at its press headquarters.
Penyas has his own seal, which can also be seen in his albums showing Mexico, the name of the ship (the book of red fox) or the transitional period (the book of Bahrain): he shows a primitive scene (hand painting, Collage, by transferring images and highlighting objects, constructs the script from a critical view of reality, which is the basis of the study of the events he narrates. In her, the individual is always political. It happened in the story of his grandmother, where he claimed the importance of the kitchen in historical memory, It is now repeated in an album in which the hero’s biographical changes are marked by economic and political decisions made between seafood feasts or in design offices thousands of kilometers away. “I try to find neutral characters who are neither victims nor executioners, a bit like my grandmother, whose lives are influenced by the consequences of other people’s decisions for them. Finally, it’s also a book about capitalism and economics, showing the everyday things that macroeconomics goes through, “he explains.
The work is hand drawn with crayons and then polished on a computer to tell the history of the Spanish coast for nearly 60 years. It takes the rivantina coast as the background and records the kind of tourism developmentalism that has taken place in some parts of Andalusia, Murcia or Valencia communities since the 1960s. Pennias restored the slogans (the title of the book comes from an advertising campaign in the 1980s), posters and images, all from the moment it started. In 1967, the Swedish film am í que (yellow), directed by Vilgot SJ ó man, was a frivolous slap in the face of tourists, both then and now.
-Do you know Franco?
No, no, no, No.
What do you think of his plan?
-I don’t talk about politics on holiday.
After discovering the documentary in a book, pennias rediscovered these frameworks in an exhibition in Barcelona devoted to the impact of tourism. The Swedes who don’t know who Franco is – or, knowing that, they don’t want to leave money in their own country – are Spaniards who landed in other destinations in the pre coved era. The beach is a place where, in principle, people take a nap. “That movie reflects what we do on holiday, you leave politics behind. “I’m on holiday, most of all,” you can go to some authoritarian places, we won’t make him so disgusting. The film helps to understand the past, but it also helps to understand the logic of today’s tourists. ”
In the process of recording, some official truths were questioned: “we imagine that tourism has brought freedom and broken the regime, but on the contrary: tourism has given him several years of encouragement and, of course, money, even though it has brought contradictions to the regime itself.” Democracy reinforces the bet on the sun and the beach. “All governments more or less support the same model.”
This comic book shows the evolution of a dual process of shared brick culture: residential development required by tourism at the expense of traditional landscapes, such as the Levant garden and the gentrification of urban communities, which have been degraded and revitalized by public funds in the past, It’s like the European Commission’s urban planning. “Ultimately, regeneration means that public funds are used to attract private investment, rather than to improve the lives of people living in these communities,” the authors said.
The epidemic has hindered gentrification, but in 2018, when ana penyas chose tourism as her second project, it was a heated debate in crowded cities such as Barcelona. “But I don’t think I want to stay here now: rent rises, airbnb… In my opinion, everything could disappear soon, and now it’s obvious, “he said, referring to the end of the pandemic. “I think it’s interesting that I understand why,” he continued. “How we got there. You meet Francoism, which is the premise that tourism legitimizes the regime. In the 1980s and 1990s, tourism was regarded as innocent, and finally tourism was an excuse, leading to other problems related to Spanish territory and bricks. “