The Centro de Arte Contemporáneo de Málaga is currently hosting an exhibition of works by El Roto, the pseudonym of Spanish cartoonist Andrés Rabago, whose work appears regularly in the daily newspaper El País. Entitled ‘Apocalipsis: Cartoons from the Book of Debits and Credits’, the exhibition is striking not only for its size—271 works arranged in four themed sections — but also for its unbridled anger. His sense of revulsion is almost palpable. It drips off the canvas and onto the parquet.
‘Apocalipsis’ closely resembles Los Caprichos, a series of 80 aquatint prints created by Spain’s greatest artist, Goya, in 1797 and 1798, which he described as a condemnation of “the innumerable foibles and follies to be found in any civilized society” and “the common prejudices and deceitful practices which custom, ignorance, or self-interest have made usual”. Like Goya, El Roto rarely mocks anyone outright, tending instead towards archetypes that render his critique more universal. He also shares Goya’s tendency towards grotesques—in one image, two revolting-looking businessmen raise their glasses: “for another crisis like this one”—and the master’s anti-clericalism. One of the simplest and most graphically striking cartoons in the show shows a minaret, a church steeple and a radio tower in a row, with the Burroughs-like caption: “Control towers.”
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Matthew Clayfield
Matthew Clayfield is a journalist, critic and screenwriter.
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