This paper will look back on the work of Equipo Cronica, who worked between 1964--1980, to reveal a production of art that centered on issues of originality and value that were grounded in attempts at social activism and a redefinition of the role of art vis-a-vis society. To achieve their goals, I will argue and describe how the two man team of artists used serialism, objectivity, hybridity, appropriation of mass media iconography and techniques, and parody to produce something that was neither an art object nor an ordinary object, but an object of criticism. The historical relevancy of such an art lies in its claims of participating in a political critique of the culture industry controlled by the oppressive Franco regime, and its wary outlook on the rapid modernization of Spain into the neo-capitalist state it is today within the multinational world order. / The relevance of such an examination lies in how their intentions to create a new relationship between art and society is still pertinent today in modern Spain. Since the death of Franco in 1975 there has been a feeling in Spain that the eyes of the world have been on its new democracy, leading to a campaign, led until recently by the Socialist government, to prove Spain is a modern state that has recuperated from 40 years of isolation. It has tried to demonstrate that it is progressive, not only economically and technologically, but culturally. Over the last twenty years a veritable culture industry has boomed in Spain which has been generously backed by its federal and regional governments. As Spain zealously and rapidly finds its place in the globalized multinational world order, I will demonstrate that the issues of identity pertinent to Equipo Cronica, and the tactics they used to address it, can still contribute a critical position to present-day discussions.

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[ES] Los objetivos de este estudio son en primer lugar un análisis previo del proceso de introducción y asentamiento del sistema de estampación permeográfico conocido con el nombre de serigrafía como medio de expresión artística. Para identificar cuál fue el momento y las razones de su introducción en España, y más particularmente en Valencia, será necesario llevar a cabo una serie de acciones como son: puntualizar cuáles han sido los diferentes pasos que han marcado el desarrollo y evolución dentro del contexto valenciano, lo que nos conduce necesariamente al estudio de los principales artífices polarizados en tres núcleos: artistas, serígrafos y editores. También señalar cuáles fueron los principales artistas, grupos y tendencias y las causas de que este nuevo sistema fuera utilizado como medio técnico para estampar sus creaciones artísticas, profundizando en las características técnicas y estilísticas de estas obras y su relación tanto con el conjunto nacional como internacional. Se debería analizar, así mismo, la forma en que se produjo la asimilación del nuevo procedimiento por la sociedad española, en relación a otros artistas, estilos, editores, etc.; teniendo en cuenta varios puntos: que su uso artístico es muy reciente, que los primeros en utilizarla fueron grupos y movimientos de vanguardia, y las connotaciones industriales y publicitarias con que este arrancó. Por último se debería analizar la forma en que la estampa serigrafiada se integra en la denominada “obra gráfica original”, y las diversas resultantes de la estampación que no se encuadran dentro de dicho concepto: carteles, portadas de libros y revistas, múltiples, etc. / [EN] The objectives of this study are first of all a preliminary analysis of the process of introduction and establishment of the permeographic printing system known as screen printing as a means of artistic expression. permeographic printing system known as serigraphy as a means of artistic expression. In order to identify the moment and the reasons for its In order to identify the moment and the reasons for its introduction in Spain, and more particularly in Valencia, it will be necessary to carry out a series of actions such as: to point out the different steps that have marked the development and evolution within the Valencian context, which necessarily leads us to the study of the main artists polarised into three nuclei: artists, silkscreen printers and publishers. We will also point out which were the main artists, groups and trends and the reasons why this new system was used as a technical means to print their artistic creations, delving into the technical and stylistic characteristics of these works. technical and stylistic characteristics of these works and their relationship with both the national and international scene. It should also analyse the way in which the new procedure was assimilated by Spanish society, in relation to other artists, styles, publishers, etc., taking into account several points: that its artistic use is very recent, that the first to use it were avant-garde groups and movements, and the industrial and advertising connotations with which it began. Finally, we should analyse the way in which screen-printed prints are integrated into the so-called "original graphic work", and the various results of printing that do not fall within this concept: posters, book and magazine covers, multiple, etc. / Silvestre Visa, M. (1986). La serigrafía artística en Valencia. Evolución histórica y técnica [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/202242