It´s already a bit chilly, after a couple of original coffee zips and my mind lost in between “Bulerias” compasses (Paco de Lucia on the guitar and Pedro Iturralde singing) my brain starts shaking its ideas that feed my optimistic illusions as an artist. Thinking. Fencing art colleagues, places where its relevance within alleys and walls free of pedigree where humor and insides are shown.
Remembering the summer. I runaway to the south.
First things coming to my mind is the bustle and warmness from Malaga. Where, the culture has been decided to be active part of the day life of the city. For those ones who did not know Malaga before this transformation, let me just introduce you a brief remark. When going out with friends for a drink, early 80s, it was very usual seeing fights around the dirty streets and squares. Those quick fights that most of the times where solved with a couple of face to face moments and quick a couple of sentences like: “what are you looking at, man?” Most of this moments were featured by men, and some others, by women (screaming bitch and whore one to each other). These moments were not exempt of seeing an empty beer bottle flying around our heads. Sometimes, and always before our first drink, I have already witnessed four fights, because of a parking slot, between drunk people and respective women supporting those moments. I have to say that those moments, where as well part of the landscape in Malaga.

Those mentioned above as well as other gastronomic wonders were part of the idiosyncrasy of what Malaga was showing to the outsiders. Suddenly, a day, the grey atmosphere was extinguished, the 80s were old fashioned and the being itself changed. City planning focused on the public spaces as investment for quality social life. Main objective was to reverse that misery and desertion which many Spanish cities smelt of by that time. As part of the route, some cultural feeding as well as the integration of the culture was built on. Said that, a beauty utopic humanistic sense wanders around the city that provokes a feeling of exuberance. Sometimes, this marked route crumbles when tourism is mixed up with this proposal not as a political consequence and an entity that possess the city. Against, and in line with the cultural proposal, I have percept that there is a line that marks changes in the horizon, not an static behavior. Investment now is found in diffusion and exhibition. Nevertheless, the culture pillar is it creators and the economy that surround them. Apart from a couple of private initiatives in the city, there is no place to create roots for production (artist) and business (art galleries, auctions or publications).

Let me briefly expose a situation. New York post war city was not Paris, for that time, it was the key site and the world reference for art. Americans cannot pretend to be without a cultural historical tradition nor a group of international artists nevertheless, they got it! Any European city aspired to relieve Paris as center of the World Art, but it was done far away from there, USA. Being a unique world reference, means being a unique world reference. It means generate in other, the esthetic vision as well as the philosophy point of view. To build that Historic patrimony and cultural (although built in the 30´s) is done with the balance provoked by the war that brings it to North America. L´merica! It is indeed in the 50´s when next to the museums, collectors or millionaires an investment was done to generate a group of artists that created an international relevance. This even created new artistic movement. Same situation in Malaga, it needs this investment to materialize its objective.

When I mention the grow up American artists: Pollock, Rothko, De Kooning, Kline, Tmbly, Motherwell, Still, and later Warhol and Basquiat, et cetera. I cannot avoid the pleasure of the fact that most of their influences were surrealism from Miró, Matta, Kandinsky, and for all of them, the greatest Picasso. For that time, it seems that Picasso had screwed everyone up and did not leave anything for the rest.

Let me recall to the initial objective of the reflection: The Artist. Without him, the support for the megastructure that is hold by the governments and what a few goes back to the Artist. In this city that we are talking about, we can find it all around it in walls and streets. The Artist is optimistic and give fun to his mind feeding by what it surrounds him/her: friends, art colleagues, other movements, literature drugs, alcohol and humor. In addition to this, we need to add the communication with other great international artists. It is indeed when there is a quiet conversation between artists and their “ego” through their works. Usually, we talk about complex, fine and well processed works. It is not easy and usually requires change of space to establish this “kunstler Superstar” conversation since it is more usual that this events happen in big cities. Nevertheless, in our context, we find the CAC (Centro de Arte Contemporaneo, Malaga). A space that although it is not an opportunity for all artists it may be seeing as an inspiration and motivation place for the contemporaneous art.

The different exhibitions that CAC offers to the public are a good variety of contemporaneous art difficult to be found in Spain. Foreign artist as well as its art, known or unknown, great content exhibitions and all together with a great museology experience.
It is great to know the concern from the CAC responsible to spread the word to a reduce public, enriching locals and visitors. In the next entry of this blog, “Arte Urbano en CAC Malaga II” we will talk about D*face and Shepard Fairey (Obey). This will be just before going to the Bilbao´s Guggenheim and probably, later, to a place I feel like: Istanbul.

BRB, no more coffee

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