“Incubadoras” is an exhibition that connects dissident youths from the Basque Country (queers, punks and skaters) with other young people from Buenos Aires, our city of origin.
“Abanderados” is a performance ( with the participation of El Niño de Elche ) that analyzes the discourses of the military dictatorship in Argentina (1976-1983) and the mechanisms that the LGBT community develops to survive during those years.
Pandillas Palaciegas (Palatial gangs) is the latest project of the Picoletos duo and builds on the research begun in 2017 which emerged as a need to delve further into the culture of different groups of young people within the Basque community.
For this project —which starts from the idea of seeing the relationship of collective identities and spaces as dens, where different young people develop their ideas and ways of manifesting— we start from the investigation of an archive of archetypal images from art history and the crossing of our own experiences of pre-adolescent stages.
Los Picoletos + El Niño de Elche
“Nudillos rotos” (broken knuckles) is a sound, performance and installation project that explores ways to experience dissent in the urban context of flamenco and queer-punk culture. It is an intersection between the musical and performative poetics of El Niño de Elche with our actions and installations.
Last stop of our first research trip to the Basque Country in 2017
Kontuz (be carful in Basque) is a project that we present in San Sebastián. The Basque and Catalan skate environment also meet the landscape of Moralzarzal, a small town where Dante lived his childhood and adolescence.
Navajeros is a photographic-documentary project with which we won the Oxenford Argentine Art Collection travel grant. The proposal was to portray the queer and punk youth culture of Bilbao, following the scenes of the film “El Pico” by Eloy de la Iglesia.
Fatuous fire – known as “the bad light” in the Argentine countryside – is a light phenomenon caused by the release of gases from rotting organic substances (bones, meat) that are commonly seen in fields and cemeteries. These curious inflammations at night, which have fueled terrors and legends, serve as a lens to analyze skateboarding as a form of ritual. The risk, the body, the wound, the cut and he emit his own lights in a skatepark.
We take elements of urban culture and put them in dialogue with the language of comics.
The plaster armor we build — absurd replicas of the risks and adventures of a skatepark — serve in turn to mix all those signs into our grime.
The result is the stamina, breastplate, and exo-skeleton of a teenage-smelling spirit. The ritual place of the skatepark and the intimate place of the teenage room are confused.