{"id":36908,"date":"2025-10-23T08:21:34","date_gmt":"2025-10-23T06:21:34","guid":{"rendered":"https:\/\/desarrollo.montera34.com\/?p=36908"},"modified":"2025-10-23T08:37:15","modified_gmt":"2025-10-23T06:37:15","slug":"opening-of-the-exhibition-aqui-hay-petroleo","status":"publish","type":"post","link":"https:\/\/desarrollo.montera34.com\/en\/conferences\/opening-of-the-exhibition-aqui-hay-petroleo\/","title":{"rendered":"Opening of the exhibition \u201c\u00a1Aqu\u00ed hay petr\u00f3leo!\u201d"},"content":{"rendered":"\n<blockquote class=\"wp-embedded-content\" data-secret=\"vGvOJGkw99\"><a href=\"https:\/\/www.circulobellasartes.com\/exposiciones\/aqui-hay-petroleo\/\">\u00a1Aqu\u00ed hay petr\u00f3leo!<\/a><\/blockquote><iframe loading=\"lazy\" class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" style=\"position: absolute; visibility: hidden;\" title=\"\u00ab\u00a1Aqu\u00ed hay petr\u00f3leo!\u00bb \u2014 C\u00edrculo de Bellas Artes\" src=\"https:\/\/www.circulobellasartes.com\/exposiciones\/aqui-hay-petroleo\/embed\/#?secret=3nSN5Y5CTN#?secret=vGvOJGkw99\" data-secret=\"vGvOJGkw99\" width=\"500\" height=\"282\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"315\" height=\"160\" src=\"https:\/\/desarrollo.montera34.com\/wp-content\/uploads\/2025\/10\/aqui-hay-petroleo.jpg\" alt=\"\" class=\"wp-image-36900\" srcset=\"https:\/\/desarrollo.montera34.com\/wp-content\/uploads\/2025\/10\/aqui-hay-petroleo.jpg 315w, https:\/\/desarrollo.montera34.com\/wp-content\/uploads\/2025\/10\/aqui-hay-petroleo-300x152.jpg 300w, https:\/\/desarrollo.montera34.com\/wp-content\/uploads\/2025\/10\/aqui-hay-petroleo-21x11.jpg 21w\" sizes=\"auto, (max-width: 315px) 100vw, 315px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>This exhibition explores the relationships between fossil fuels, contemporary forms of power, and the imaginaries of desire.<\/strong> It focuses on the cultural history of fossil modernity in Spain and, in particular, during Francoism, tracing a genealogical line that connects past and present.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The dictatorship promoted several oil prospecting initiatives aimed at guaranteeing the country\u2019s energy sovereignty during the autarkic period, while simultaneously fostering international cooperation to reduce the regime\u2019s isolation. As a satire of this fossil anxiety, Rafael J. Salvia\u2019s film <em>\u00a1Aqu\u00ed hay petr\u00f3leo!<\/em> (1955), which gives the exhibition its title, depicted how the hopes of finding oil were ultimately disappointed in the Castilian town of Castilviejo.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Through numerous images from various state and private archives, the exhibition shows how the dictatorship generated a set of cultural imaginaries intended to ward off and overcome the perception of backwardness in its attempt to join the accelerated rhythms of industrial modernity. After the failure of its colonial projects, the avant-garde aesthetics of energy infrastructures and industries fulfilled a redemptive role in the history of Francoism. They were seen as capable of closing the gap between the alleged greatness of the national spirit and the scarcity of natural resources required by modernization policies. These infrastructures established a link between energy and well-being that, while never forgetting the legitimacy of the regime\u00b4s origin, projected it toward a future that would leave behind the trauma of the Spanish Civil War.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>\u00a1Aqu\u00ed hay petr\u00f3leo!<\/em> proposes a fundamental idea: fossil modernity is not merely an industrial policy program. It is also a source for the production of collective imaginaries. The curatorial narrative incorporates the reflections of researcher Cara Daggett, who has defined the relationship between masculine subjectivity and the use of fossil fuels through the concept of \u201cpetromasculinity.\u201d One of its origins lies in the fascist exaltation of war culture and the cult of the leader during the interwar period. Francoism reproduced these imaginaries around the crusade of the civil war and around the tractor as a symbol of economic autarky. Later, with the rise of developmentalist policies, the private automobile became the focal point for expectations of happiness and freedom associated with the idea of progress, while reinforcing patriarchal structures.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Updating this historical matrix, the exhibition illustrates how these worldviews constitute the subjective substrate upon which contemporary petromasculine cultures are reconstructed, drawing on new formats such as digital imagery, social media, and video games. This occurs at a time when the fossil world shaped after World War II is being shaken by the threat of climate change, the urgency of an accelerated energy transition, antifeminist backlash, and the emergence of sadistic, fascist, and genocidal global leaders.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Image credits<\/strong>: Calatrava. Calvo Sotelo Complex in Puertollano [General view. Night] Juan Miguel Pando Barrero, February 1971. Pando Archive, Spanish Cultural Heritage Institute, IPCE, Ministry of Culture and Sports, MCD<\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u00a1Aqu\u00ed hay petr\u00f3leo! This exhibition explores the relationships between fossil fuels, contemporary forms of power, and the imaginaries of desire. It focuses on the cultural history of fossil modernity in Spain and, in particular, during Francoism, tracing a genealogical line that connects past and present. The dictatorship promoted several oil prospecting initiatives aimed at guaranteeing [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":36905,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"actividad":[],"class_list":["post-36908","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Opening of the exhibition \u201c\u00a1Aqu\u00ed hay petr\u00f3leo!\u201d - Est\u00e9tica F\u00f3sil<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/desarrollo.montera34.com\/en\/conferences\/opening-of-the-exhibition-aqui-hay-petroleo\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Opening of the exhibition \u201c\u00a1Aqu\u00ed hay petr\u00f3leo!\u201d - Est\u00e9tica F\u00f3sil\" \/>\n<meta property=\"og:description\" content=\"\u00a1Aqu\u00ed hay petr\u00f3leo! This exhibition explores the relationships between fossil fuels, contemporary forms of power, and the imaginaries of desire. It focuses on the cultural history of fossil modernity in Spain and, in particular, during Francoism, tracing a genealogical line that connects past and present. 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Investigador del Programa de Ayudas Ram\u00f3n y Cajal (2018) del Instituto de Historia del Consejo Superior de Investigaciones Cient\u00edficas, donde es Investigador Principal del proyecto de investigaci\u00f3n: \u201cEst\u00e9tica f\u00f3sil: una ecolog\u00eda pol\u00edtica de la historia del arte, la cultura visual y los imaginarios culturales de la modernidad\u201d (PIE, ref. 202010E005). Es coordinador del bloque \u201cEcolog\u00edas culturales\u201d del Programa de Estudios Independientes del Museo de Arte Contempor\u00e1neo de Barcelona y autor de libros como Est\u00e9tica f\u00f3sil. Imaginarios de la energ\u00eda y crisis ecosocial (Arcadia, 2020), La Familia Lavapi\u00e9s: arte, cultura e izquierda radical en la transici\u00f3n espa\u00f1ola (La Bah\u00eda, 2019), Transparente opacidad. Arte conceptual en los l\u00edmites del lenguaje y la pol\u00edtica (Brumaria, 2015, 2016 y 2019) o La vida por asalto: arte, pol\u00edtica e historia en Argentina entre 1965 y 2001 (Brumaria, 2014) y ha editado, entre otros, el volumen Visualidades cr\u00edticas y ecolog\u00edas culturales (Brumaria, 2018) y (junto a Jes\u00fas Carrillo) el n\u00famero 8 de la colecci\u00f3n Desacuerdos. Sobre arte, pol\u00edticas y esfera p\u00fablica en el Estado espa\u00f1ol (MACBA, 2014). Integr\u00f3 el equipo curatorial de la exposici\u00f3n \u201cPerder la forma humana. Una imagen s\u00edsmica de los a\u00f1os ochenta en Am\u00e9rica Latina\u201d, inaugurada en el Museo Nacional Centro de Arte Reina Sof\u00eda en octubre de 2012, cuyo cat\u00e1logo coedit\u00f3. Es miembro de la Red Conceptualismos del Sur, una plataforma de investigaci\u00f3n sobre las pr\u00e1cticas art\u00edstico-pol\u00edticas emergidas en Am\u00e9rica Latina desde la d\u00e9cada de los sesenta. Con las RedCSur ha editado y co-escrito los vol\u00famenes Desiventario: esquirlas de Tucum\u00e1n Arde en el Archivo Graciela Carnevale (Ocholibros, 2015) y Archivo CADA. Astucia pr\u00e1ctica y potencias de lo com\u00fan (Ocholibros, 2019).\",\"url\":\"https:\\\/\\\/desarrollo.montera34.com\\\/en\\\/author\\\/jaime-vindel\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Opening of the exhibition \u201c\u00a1Aqu\u00ed hay petr\u00f3leo!\u201d - Est\u00e9tica F\u00f3sil","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/desarrollo.montera34.com\/en\/conferences\/opening-of-the-exhibition-aqui-hay-petroleo\/","og_locale":"en_US","og_type":"article","og_title":"Opening of the exhibition \u201c\u00a1Aqu\u00ed hay petr\u00f3leo!\u201d - Est\u00e9tica F\u00f3sil","og_description":"\u00a1Aqu\u00ed hay petr\u00f3leo! 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Investigador del Programa de Ayudas Ram\u00f3n y Cajal (2018) del Instituto de Historia del Consejo Superior de Investigaciones Cient\u00edficas, donde es Investigador Principal del proyecto de investigaci\u00f3n: \u201cEst\u00e9tica f\u00f3sil: una ecolog\u00eda pol\u00edtica de la historia del arte, la cultura visual y los imaginarios culturales de la modernidad\u201d (PIE, ref. 202010E005). Es coordinador del bloque \u201cEcolog\u00edas culturales\u201d del Programa de Estudios Independientes del Museo de Arte Contempor\u00e1neo de Barcelona y autor de libros como Est\u00e9tica f\u00f3sil. Imaginarios de la energ\u00eda y crisis ecosocial (Arcadia, 2020), La Familia Lavapi\u00e9s: arte, cultura e izquierda radical en la transici\u00f3n espa\u00f1ola (La Bah\u00eda, 2019), Transparente opacidad. Arte conceptual en los l\u00edmites del lenguaje y la pol\u00edtica (Brumaria, 2015, 2016 y 2019) o La vida por asalto: arte, pol\u00edtica e historia en Argentina entre 1965 y 2001 (Brumaria, 2014) y ha editado, entre otros, el volumen Visualidades cr\u00edticas y ecolog\u00edas culturales (Brumaria, 2018) y (junto a Jes\u00fas Carrillo) el n\u00famero 8 de la colecci\u00f3n Desacuerdos. Sobre arte, pol\u00edticas y esfera p\u00fablica en el Estado espa\u00f1ol (MACBA, 2014). Integr\u00f3 el equipo curatorial de la exposici\u00f3n \u201cPerder la forma humana. Una imagen s\u00edsmica de los a\u00f1os ochenta en Am\u00e9rica Latina\u201d, inaugurada en el Museo Nacional Centro de Arte Reina Sof\u00eda en octubre de 2012, cuyo cat\u00e1logo coedit\u00f3. Es miembro de la Red Conceptualismos del Sur, una plataforma de investigaci\u00f3n sobre las pr\u00e1cticas art\u00edstico-pol\u00edticas emergidas en Am\u00e9rica Latina desde la d\u00e9cada de los sesenta. Con las RedCSur ha editado y co-escrito los vol\u00famenes Desiventario: esquirlas de Tucum\u00e1n Arde en el Archivo Graciela Carnevale (Ocholibros, 2015) y Archivo CADA. Astucia pr\u00e1ctica y potencias de lo com\u00fan (Ocholibros, 2019).","url":"https:\/\/desarrollo.montera34.com\/en\/author\/jaime-vindel\/"}]}},"_links":{"self":[{"href":"https:\/\/desarrollo.montera34.com\/en\/wp-json\/wp\/v2\/posts\/36908","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/desarrollo.montera34.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/desarrollo.montera34.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/desarrollo.montera34.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/desarrollo.montera34.com\/en\/wp-json\/wp\/v2\/comments?post=36908"}],"version-history":[{"count":2,"href":"https:\/\/desarrollo.montera34.com\/en\/wp-json\/wp\/v2\/posts\/36908\/revisions"}],"predecessor-version":[{"id":36910,"href":"https:\/\/desarrollo.montera34.com\/en\/wp-json\/wp\/v2\/posts\/36908\/revisions\/36910"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/desarrollo.montera34.com\/en\/wp-json\/wp\/v2\/media\/36905"}],"wp:attachment":[{"href":"https:\/\/desarrollo.montera34.com\/en\/wp-json\/wp\/v2\/media?parent=36908"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/desarrollo.montera34.com\/en\/wp-json\/wp\/v2\/categories?post=36908"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/desarrollo.montera34.com\/en\/wp-json\/wp\/v2\/tags?post=36908"},{"taxonomy":"actividad","embeddable":true,"href":"https:\/\/desarrollo.montera34.com\/en\/wp-json\/wp\/v2\/actividad?post=36908"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}