Los Costus, queering fascist iconography

You don’t know how happy I am bringing you this amazing collection (there is a video on Instagram for reference). It is one of my favourites and it is permanently exhibited in my hometown, Cadiz (south of Spain).

A quick skip through an important phase of Spain’s modern history will put “Costus” into context, a duo in life, love, and art between Enrique Naya Igueravide from Cadiz and José Carrero Galofré from Palma de Mallorca, an instrumental figures in La Movida Madrileña.

What was La Movida? A cultural explosion of events and freedom of expression of Spanish people after years of repression, breaking society’s rules and basically, catching up with the rest of Europe. “Costus” put into ‘picture’ the liberalisation and spirit of the epoch.

The collection is called “The Valley of the Fallen”, yes, like the controversial bloody monument that we still keep. But, queering such a monument and not only that, also religion, iconography, government, a nation makes this collection one of the most revolutionist and lawbreaking of contemporary Spanish art. The models are “Costus”, LGTBQ+ friends, and icons of La Movida; efflorescent colour that radiates the baroque iconography, the intention of a very dark room not only to radiate such a colour but also to show the underground fact of such a work at the time. I mean, such a fantasy.

Do am I missing some video installation? Some of the materials used? Those amazing fabrics that they were using? A bit of props? Maybe. But I am happy with the fact that the Spanish transition to democracy was purely Queer (I have a whole essay about it). It was represented by the queer community, with a monumental growth in art thanks to them, thanks to Costus.