In the 1960s, the world had already rebuilt itself after the 2nd World War. The first generation born afterwards, started to be introduced to the public life and everything linked to the social-democracy seemed to no longer be enough to maintain a cohesive society. The confrontation with the communist system of the so-called Eastern Bloc; the fear of a nuclear holocaust; the anachronistic survival of European colonialism, especially in Africa; the pressing conflicts socially, racially and culturally rooted, devastating everything, especially America; an economy that is, paradoxically, expanding globally, and has an odd even combination of faith and mistrust when it comes to technological progress, outlining a world that seems to be on the verge of total destruction
In the 1960s, the world had already rebuilt itself after the 2nd World War. The first generation born afterwards, started to be introduced to the public life and everything linked to the social-democracy seemed to no longer be enough to maintain a cohesive society. The confrontation with the communist system of the so-called Eastern Bloc; the fear of a nuclear holocaust; the anachronistic survival of European colonialism, especially in Africa; the pressing conflicts socially, racially and culturally rooted, devastating everything, especially America; an economy that is, paradoxically, expanding globally, and has an odd even combination of faith and mistrust when it comes to technological progress, outlining a world that seems to be on the verge of total destruction for the very first time.
In the midst of that situation, or perhaps precisely because of it, tourism emerged as an industrial phenomenon, because nothing can be any longer understood outside that productive cycle, but there is also the need to soften the blow of such frenzied and avid existence, of non-ideologies. Tourism became then a space of deferment for awareness, requiring a design that fits that experience. The International Style is likely to be the perfect ally. Following the Bauhaus, it takes on the need to transcend what is vernacular, as it is clean enough to come up with efficient solutions that go with the dream of modernity. However, the need to move pushes for a further change, to create window spaces that show the landscape but are not intrusive for reality, just enough for viewers to clearly see that not all places are the same.
‘All tomorrow´s parties’ is not so much the second half of ‘Historia de un incidente’, the exhibition MIAC inaugurated in July 2017, but it’s perhaps more like the root of it, although inopportunely. If back then what was explored was the friction between the discomfort and adjustment of the cultural tissue to a new political situation from the 1970s onwards, here we focus on the prior impact of the 1960s, which to a certain extent explains what ended up happening. Likewise, this exhibition reflects on a new sign of the times when the audience becomes part of the show. This idea is comparable to art and everything that in the 1960s broke with the divide between audience and performance, setting up an enveloping situation where everything became part of the experience. This transformation took place in a neo-avant-garde political scene, although the cynicism of pop art is particularly significant, merging a space of leisure and chain production. Having its ultimate expression at the disco, the artistic experience is celebrated with a party that disguises the cancellation of a future. Among these walls, you can still hear the voice of model and singer Nico, and the chorus she repeated“What dress will the poor girl wear at all the parties in the future?”
MEETING OF FINAL PARTY
Along with the exposition “All Tomorrow’s Parties” will be held two conferences:
Day & Time: 4 october| h. 20:00
Place: Sala Colección | MIAC- Museo Internacional de Arte Contemporáneo
Info: Speakers Pablo León de la Barra and Ángela Ruíz
Day & Time: 25 ottobre | ore 20:00
Place: Sala Colección| MIAC- Museo Internacional de Arte Contemporáneo
Info: Speakers Irene de Andrés and Cristina Maya
