Equipo Palomar rejoins Adolfo with Barcelona, where he studied and was part of the academic community during the 70s; he also befriended Alberto Cardin, Felip Colomé and Magne Fernández-Génova (to name a few), in the first intellectual homosexual clubbers who read Freud, Barthes and Foucault in Spain, to the rhythm of revolutionary disco music. His return provides an update of that context in present-day Barcelona through a figure which is still active but living outside the “ciudad condal”.
Adolfo Fernández-Punsola, nostalgic and nonconformist from birth, has an ambiguous production inevitably embodied in himself. Back in 1975, he started working in the female prêt-à-porter section, within Toni Miró’s design department (then “Groc”), developing his innate passion for clothing and, of course, dressing himself, and others, with his own designs, always combining these experiences with his knowledge in art, thought, film and humanities. For this reason, and with the intention of being fair to his reappearance in the city, Adolfo will introduce himself (and represent himself) in a conference where he will show us his hypothesis concerning Libelular’s prenatal origin, through his imagination and visions.
On this occasion, El Palomar will not host any temporary exhibition, condensing Adolfo Fernández-Punsola’s presentation in his scheduled presentation.
It is our desire to leave a physical reminder of the visit; therefore, in addition to this talk, which Adolfo calls “Manifesto Libelular”, we will present a limited publication of forty numbered and signed copies titled “Mujer Japonesa”. Self-published and produced by Team Palomar, it contains drawings and archived pictures of Adolfo and a foreword by María V ela Zanetti. This material will be available for purchase the day of the presentation as well as afterwards, by making an appointment via e-mail.
Fernández-Punsola (Cabezón de la Sal, Cantabria, 1954) is an art historian, tailor, designer and curator. He studied Philosophy and Letters, Art Section, at Universidad Autónoma de Barcelona. Besides working in Toni Miró’s design studio, he set up his own knitting company in Cabezón de la Sal His models were published in the most prestigious fashion magazines.He developed a very simple but original line of clothing. He has exhibited his silk embroidered dresses on mannequins at the Museo de Bellas Artes (Santander, 1983), “Mi lugar de trabajo”, a recreation of his workshop with his creations at the Chamber of Commerce (Santander, 1987), and a facility hosting a collection of shirts in the same Venue titled “Marilyn Monroe y los Kennedy”(1990), a collection of uniforms for Santander Port’s guards, shown at the Palacete del Embarcadero (1992),“Morling”, an installation simulating a cemetery which showed some unsettling t-shirts at the Galería Índice (Santander, 1993) and a photo-sculpture installation entitled “Cooperación, Mundo y Utopía” at the Palacete del Embarcadero (Santander, 2000); “Moda y Sombras”, drawings and dresses at the El Cantil Gallery (Santander, 2001). And one of his last works was “Voluntariado, Exclusión y Orden Social” presented at Sala Universidad de la Marina Civil (Santander, 2001).
As a curator, the following stand out: “Marilyn Monroe portrayed by Arnold Newman” in El Cantil Gallery (Santander, 2002) “Guevara en España” photographed by Cesar Lucas in El Cantil Gallery (Santander, 2003). At Hartmann Gallery, he curated an exhibition portraying the complete session of photographs that Arnold Newman did of Marilyn Monroe in 1962 (Barcelona, 2005). Back in Hartmann Gallery, he curated “Rommy Schneider by Cesar Lucas” (2006) and North Ocaña in Zoom Gallery (Santander 2010). As a lecturer, he was in charge of “Arqueología y felicidad. La moda de los años 60” in the Museo del Traje (Madrid, 2006), “Mafor” in the Fundación Marcelino Botin, addressing Anglomania in northern Spain (Santander, 2008), and finally a conference on the work “La Comulgante” by María Blanchard, in the Museo de Bellas Artes, within the Ciclo Alucinación (Santander, 2010).