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With images from a series of ads for a hair styling product called Bio Dop, Rosell and Rabascall perform in this piece an exercise in image deconstruction. They dissect the images and re-edit them in new combinations with other images, in order to question the advertising genre and its messages. This piece, characterised by an extreme subtlety, questions the limits of advertising and propaganda, of stereotypes and of normality. It challenges the visual codes that prevail in television and generates new readings of its contents. By introducing new images into the existing advertising clips, the artists alter their reading. Visual fragments of the church (a televised church service over which we read the football scores!), of television, and of the army are inscribed within a new frame of interpretation.
This highly critical work links with a tradition of video making characterised by the disassembly of and intervention in found material, a tradition whose most significant development took place in the 1970s. This type of video practice was also found in artists of the same generation such as Eugenia Balcells and Antoni Muntadas. The growing interest that television was arousing as a medium of mass communication received in these artists’ work a critical response whereby the veracity of its intentions was put in question.
Rabascall has always been fascinated by television. Apart from collecting television shaped toys he has throughout his professional career manipulated images, altered stereotypes and questioned communication, by means of installations, photomontages and video. This interesting collaboration between two of the most important artists of Spanish conceptual art has already become one of the major referents of its genre.