This concept emerged in response to the social and moral crisis in 20th-century Spain. Esperpento challenges political, social, and cultural norms, emphasizing the importance of a distanced perspective and employing aesthetic strategies based on distortion. Unlike other grotesque movements in Europe, where monstrous distortion mirrored the absurdity of life during that period, esperpento introduced an innovative aesthetic focused on social transformation.

Unlike other grotesque movements in Europe, where monstrous distortion mirrored the absurdity of life during that period, esperpento introduced an innovative aesthetic focused on social transformation.

This exhibition, through a broad selection of documents and artworks, explores the main themes and strategies of esperpento, highlighting its enduring relevance and the influence of Valle-Inclán's thought. The exhibition is divided into eight main sections. It begins with "Before esperpento," in the late 19th century, showcasing satirical press pieces, paintings, and optical devices that anticipated techniques of distortion.

The exhibition is divided into eight main sections. It begins with "Before esperpento," in the late 19th century, showcasing satirical press pieces, paintings, and optical devices that anticipated techniques of distortion.

Next is "Midnight Vision," set in the 20th century, which presents artworks relating to the effects of World War I, focusing on spiritualism and altered states of consciousness that reflected the breakdown of reality during this era.

The sections "Puppet Stage" and "The Honor of Don Friolera/Carnival Tuesday" incorporate elements and forms from popular literature to openly criticize Valle-Inclán's opposition to power structures.

"Luces de Bohemia" alludes to social revolt and the decadence of bohemian life, as reflected in the eponymous work, using various media such as photography, collage, social painting, dance, film, and theater.

"Retablos" presents works by artists who engage with the writer’s stories, blending religiosity with popular tradition to depict instincts, sins, and passions. Valle-Inclán's altarpieces emphasize the loss of values and the breakdown of relationships that impacted all layers of society.

The final part of the exhibition focuses on Valle-Inclán's narrative esperpentos. Tirano Banderas embodies the esperpento as the writer portrayed the figure of the tyrant through a grotesque political leader, symbolizing the degradation of a hero consumed by cruelty, arrogance, and fear.

Tirano Banderas embodies the esperpento as the writer portrayed the figure of the tyrant through a grotesque political leader, symbolizing the degradation of a hero consumed by cruelty, arrogance, and fear

Finally, El ruedo ibérico, a title inspired by Valle-Inclán’s unfinished novel project, concludes the exhibition using the metaphor of Spain as a bullring, where violence, politics, and spectacle highlight the underlying tensions that ultimately led to the civil war.

This final chapter presents a sound mosaic by Maricel Álvarez and Marcelo Martínez, EL COSO (2024), inspired by Cartel de ferias (Book V of the second novel of El ruedo ibérico). It captures a fusion of festivity and violence, synthesizing the various dimensions of esperpéntica narratives and the exhibition.