Da Guernica al Guernica. Federico, il ’68 e la fotoguerriglia antitecnologica di Pablo Picasso

Abstract

From Guernica to Picasso’s Guernica. Federico, 1968 and Pablo Picasso’s antitechnologic photoguerrilla

This essay offers a “photographic” reading of Picasso’s best known work by far, showing the peculiar dynamics of a project whose every single step (ideation, execution, early positive reception at Paris Expo in 1937, later positive reception in the post-war period, etc.) is closely linked to the photoreportage, counterpropaganda and counterculture canons. A decisive role is played by Dora Maar, by the painter’s new atelier, by the structure of the Spain pavilion and by the pictures of Guernica ruins. Thus, Picasso’s masterpiece becomes a true precursor of the many future strategies adopted by the 1968 countercultural battle.