Abstract
The iconography of the joker, clown, jester, etc. has been very attractive and has been worked from different points of view throughout the art history. From cinema to painting, passing through literature and theatre. The resurgence of this character after the screaming of the Hollywood super production directed by Todd Phillips and interpreted by Joaquin Phoenix has become an excuse to revise the figure from different perspectives, and a way of finding the relationship between this figure and our present. Authors such as Velazquez or even within circus performances have nurtured this character. In this text we want to point out the case of the artist Chema Cobo (Tarifa, 1952), a relevant figure in Spanish Contemporary art since the 70s, and who has been working on this theme since the 80s. Cobo has nurtured his practice from this character, presenting him as the master of ceremonies, becoming his own alter-ego, and one of the pillars of iconography.
Highlights
The iconography of the joker, clown, jester, etc. has been very attractive and has been worked from different points of view throughout the art history
Estos bufones de palacio tienen su reflejo en el mundo contemporáneo en la figura del payaso que, con su bipolaridad triste-alegre, sirven para dinamizar los entreactos en el circo
La ironía sirve para demostrar que la inmediatez como expresión en el arte es una ficción”
Summary
The iconography of the joker, clown, jester, etc. has been very attractive and has been worked from different points of view throughout the art history. Aquí señalamos con más énfasis el caso del artista Chema Cobo (Tarifa, 1952), persona trascendental para el arte contemporáneo español desde la década de los 70 y que, desde finales de los años 80, ha trabajado sin cesar sobre este personaje.
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