Musician, plastic artist and artistic producer, Alfonso Barbieri He stands out as a songwriter and for his paintings.
exposed individually in galleries, museums and cultural centers, together with Rosario Blefari, Marina Fages, Santiago Motorizado, Rocambole, Marta Minujin, Carlos Alonso, Dani Umpi, Eduardo Stupía and Daniel Santoro.
In parallel, burst onto the music scene from Cordoba with groups such as Los Rústicos del Viejo Sueño and Los Cocineros, as well as a first solo album with guests such as Hilda Lizarazu and Liliana Felipe.
Since then he has deepened his painting with successive exhibitions, while continuing to record his subjects and distinguishing himself in the “songwriter” scene of the turn of the century. He added more luxury guests, like Palo Pandolfo, Adrián Dárgelos, Kevin Johansen and Lisandro Aristimuñoin addition to the entries of Graciela Borges, Victor Hugo Morales, Marikena Monti and Fernando Noy.
new album and show
now launched Alfonso National of the Arts, their tenth album, with thirteen new songs and a conceptual sense where they mix recitations (by Pizarnik and André Breton) and interventions, like a fascinating surreal collage. The presentation will be This Thursday at Café Berlin (Av. San Martino 6656)
-How did you manage to put together such a rhythm to do so much work, be it plastic or musical?
-Obviously it’s a system I’ve put together to survive in the world, from a very young age and also encouraged by my parents. They are antibodies to be a little better and face the problem of existence on the planet. I don’t know if I would find much sense in being here, without doing the things I do, often as a series of many paintings. And with music it is the same.
-Is it frustrating when there isn’t so much impact?
-The feeling is a bit like being born in another era. I don’t understand what happened to many of my generation. There was a lot of support ten years ago, with a re-evaluation of what we were doing, with books and documentaries. And suddenly there’s not a lot of recognition of our current work.
-Maybe there was a time when you were the new generation, renewing and refreshing. But it has become a novelty and has not yet entered the category of “classics”. Miss that jump.
-It is a good summary of the phenomenon that happens with this whole group of people. It’s a bit difficult because something also emerges in this type of transition, namely the speed with which a new, very effective market is generated for the generation that claims hip-hop and rap. The technology and modus operandi of the market has generated a speed for easy success and to earn a lot of money. And it’s very cruel, because just as they generate exponents so fast, the other one is naturally eliminated.
expo-concerts
-Have you ever combined the plastic artist with the musician in the same event?
-Sure. For several years, from 2016 until the pandemic, I did “expo-concerts”, and in fact in the new album there is a song called end-of-expo concert. It was once a month in Rosetti. She exhibited old or new things, played the records I have and there were guests. It was a nice cycle and it worked really well. Filling a seat with a hundred people is great, the tickets are paid and on top of that you sell your work.
I feel this is not happening now, perhaps due to a post-pandemic symptom. I don’t know if it’s a fear or something of listening to other music, because this huge success of so-called urban music is very recent and coincides with the pandemic. the tremendous explosion was from 2019 to 2021 and today.
-I read that you wanted to release the album as a single track.
-I couldn’t on Spotify but I did and I did on YouTube which is always a good option. I like it because albums like this have continuity, something I’ve learned from lovesexy from Prince, which I bought at age 12 in Bariloche and thought it was great that you could make it. It seemed to me a nice rebellion, a political gesture.
-Although many times you were looking for musical allies, now you were looking for older people for recitals. Why Marikena or Víctor Hugo in the casting of the new album?
-It’s that I really think of my albums as plays or movies. In general, I have the title and the album cover first, and then I start working with these two factors as the backbone. It seemed to me that the joke in the title of Alfonso National of the Artsand the poems he chose, he gave for the voices of the elders.
I thought it was cool that Victor Hugo Morales recited a poem by Marcia. And I met the generation of Fernando Noy, Batato Barea and Gambas al Ajillo live in the late 80s thanks to my brother, and it was as big an impact as -I don’t know- piano bar by Charly García or the first Babasónicos album.
INFORMATION. Alfonso Barbieri at Café Berlin, Thursday 8 at 11.00 pm Av. San Martino 6656.
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Source: Clarin
