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Fallas have always been the sum of different disciplines. Even, from the officiality, the awards are differentiated by adding a specific as unique as ingenuity and grace. Sculpture, painting, drawing, humor, literature and, obviously, design, are fundamental components of that ephemeral architecture so deeply rooted in our Mediterranean culture of fire and music. But the festival has gone further, and has begun a route of specific collaboration with design that has given a certain turn to the image of the monuments, evidencing that disciplinary fusion. Modernity, the new calligraphies, the will to innovate, have begun to form part of the party.
It is true that back in 1954 there was a first knock with what was called the Dalí falla. An experience of fusion between disciplines that was not particularly effective but that, without a doubt, opened a path that today we know there is no turning back. This collaboration between crafts and design was recovered in the eighties with a trilogy in the municipal failure. Sento, Ortifus, the writer Manuel Vicent and the fashion designer Montesinos, with the artisan Manolo Martín as a common denominator, consolidated a mestizo reality of trades that put their commitment to tradition to the fore in order to make the festival something different, new , a product rooted in modern design currents.
The Quart-Palomar falla with the artist Alfredo Ruiz, between 1996 and 2002, begins an irreversible path that proposes a new aesthetic and a new social commitment in monuments, increasing abstraction and references to ethics. In this sense, since the beginning of this century, more and more fallas have been openly committed to design, with the craftsmen themselves taking on this role (Anna Ruiz, Nituniyo or Mixuro are examples) or incorporating prestigious professionals such as Iban Ramón, Isidro Ferrer, Didac Ballester, Escif, and a long list of designers who, in collaboration with Fallas artists, have completed a new way of coexisting between Fallas and design. The Falla Corona commission has pioneered this trajectory.
The municipal falla itself returned from 2018 to recover that commitment to the present and has developed a new policy of interaction between the falla and the museum, as one more step in that progression of the festival. Led by the masters Latorre and Sanz, the artists Okuda and Pichiavo composed innovative monuments and, at the same time, their works were exhibited at the Carmen Center in an unprecedented mix in the city: art, museums and festivals, hand in hand , enriching the party.
That is why now he wants to zoom in and turn his gaze towards the designed object within which the falla is supposed to be, and thus bring to the forefront the value and pairing of this discipline with our festive culture.
Curated by
Rafael Rivera
Ricardo Ruíz
Coordinated by CTAV
Pablo Peñín
Photography
CTAV
