Unlike the Pop Art of the 50’s and 60’s, Post-pop aesthetics do not confront the established order of the art scene but, on the contrary, seep into the system diluting, in some cases, the boundaries between high art and popular culture.

In this way, the objective of this experience is to provoke a reflection on the social meaning of the recent and excessive commercial and institutional success of different artists who base their visual aesthetics on the appropriation and resignification of imagery coming from the daily visibility of mass media, the protagonism of the object and the cult of personality. Just as they are linked to the hip-hop culture, they infiltrate decorating luxury objects and propose absolute freedom by reinventing kitsch poetics as we see in the work of Cisco Jiménez.