Bibliographic citations
Salguero, F., (2024). Color y composición en carátulas punk rock subterráneo limeño entre 1980 y 1990 y su crítica a la violencia peruana [Trabajo de investigación, Universidad Peruana de Ciencias Aplicadas (UPC)]. http://hdl.handle.net/10757/673782
Salguero, F., Color y composición en carátulas punk rock subterráneo limeño entre 1980 y 1990 y su crítica a la violencia peruana [Trabajo de investigación]. PE: Universidad Peruana de Ciencias Aplicadas (UPC); 2024. http://hdl.handle.net/10757/673782
@misc{renati/417339,
title = "Color y composición en carátulas punk rock subterráneo limeño entre 1980 y 1990 y su crítica a la violencia peruana",
author = "Salguero Peralta, Fiorella Nicole",
publisher = "Universidad Peruana de Ciencias Aplicadas (UPC)",
year = "2024"
}
In the 1980s, in a context of economic crisis and armed conflict, punk rock emerged in Lima, called “underground rock“, made up of young people who sought to express their criticism of the social system they lived in, through music and the art. From graphic design, this research addresses the study of underground punk rock covers from Lima between 1980 and 1990 and their criticism of Peruvian violence, specifically the use of color and composition. This study presents a general analysis of Lima's underground graphics, focusing on the discography of its bands, posters and fanzines; and its use as a protest against Peruvian violence in the 1980s. Furthermore, this research interprets art as social criticism, highlighting graphic design as a tool in social expression of that period. The methodology is based on the visual analysis of four underground punk rock covers from Lima and a small field study, in which four interviews with specialists on the subject are carried out. As a result, it is seen that the covers and underground graphics served as a means to communicate a critique of Lima society, as well as a support for its visual identity characterized by being rebellious and countercultural, using in its composition elements referring to anarchy and violence. Likewise, it is concluded that the present work provides a basis for the study of the image of the Lima underground covers, as well as the graphic pieces developed during the internal armed conflict.
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