THE LONDON SCHOOL IN MALAGA

Lucian Freud. Leight Bowery, 1991

 

 

Tate London, in collaboration with the Picasso Museum of Malaga and with the sponsorship of Caixabank have created this exhibition to commemorate these ten artists. By the 1950s these ten lives, Francis Bacon, Lucien Freud, Michel Andrews, Frank Auerbach, David Bomberg, William Coldstream, Ronald B.Kitaj, Leon Kossoff, Paula Rego and Euan Uglow, crossed into a city, London. Each one with its characteristics contributed to create the famous School of London (term that neither the historians nor they themselves gave by official).

 

 

View of the exhibition

 

 

Their restlessness and admiration, united them to look for another approach of the materialization and representation of the human body, like setting the beautiful English city that so much inspired them. After II World War, London, was the true moral force of Europe and for that reason all the creative minds were concentrated there. The moods did not play in their favor and the emigration grew, giving shelter to all of them. Figuration took power, faced with a widespread abstraction, the trend had changed.

 

 

 A spectator in front of the work "The Dance", 1988 of Paula Rego

 

 

The protagonists of his works are born of disparate places, photographs, portraits, anonymous people in the street ... this current "dedicated" to the body, soon obtained the recognition of the critic, arriving at its maximum splendor already in the American continent, more concretely in U.S. But they not only represented the body, their eyes also deviated to landscapes or familiar as their studies or newly discovered on travel.

 

 

View of the exhibition

 

 

Its curator, Elena Crippa, considers that over the years the work of these artists has been revalued and has reached the present day as a fully consolidated current. You can visit the exhibition until September 17, at the Picasso Museum in Malaga, also has a large parallel offer such as workshops and talks.
 

 

 

Among the specialised professional profiles that we find in the cultural sector, and more specifically, in the field of visual arts, one of the most recent occupations is that of the curator. The ‘80s put attention on the role of the artist, with its innovative character and the enhancement of its figure as an essential articulator of creative proposals, while the end of the century moved the interest towards the exhibition centres themselves and their work as custodians of current production and as spaces to accommodate all proposals. The change of millennium strongly introduced in this panorama the role of the curator. Perhaps together with a social identity crisis, perhaps with the complexity that contemporary projects are currently acquiring, the need for building, articulating and delving into artistic discourses became evident.

Although the functions entrusted to this profession are not entirely new, since previously they belonged to conservatives, critics or experts according to the themes, the role has gained solidity because it combines all these purposes while allowing the specialisation of other professionals in their fields of competence. Now, as some curators themselves point out, the genuine spirit of this figure, who was born to facilitate the understanding of the discourse, create narratives within a sometimes chaotic and scattered context, mediate between the works and the spectator and create bridges between contemporary art and society.

The art of our day raises a multitude of unknowns for the visitor who must face proposals many times away from the aesthetic standards, which gives way to uncertainty and confusion; but, in turn, these works employ a closer language, materials and even compositions detached from the sophistication and the technical display of yesteryear, something that, far from favouring proximity to the message, generates some distancing. What we have just described is part of the very essence of current art. The questioning of the formalist guidelines and the recourse to tangible elements that are more utilitarian than embellishing are the new criteria of creation, where, above all, the message to be conveyed stands out.

Likewise, another inherent characteristic of the work of our time is the artists' concern for more immediate themes, for social, political and economic issues that seek to create a narrative and conceptual revulsion, leaving behind the aesthetic priority or, rather, making of the message its own aesthetic. In this context, strange as it may seem, contemporary creation encounters a linguistic barrier hindering the viewer's understanding. And to this circumstance, the abundant current production is added, covering a wide range of themes that are nothing more than a transcript of our diverse and globalised society.

The curator helps to facilitate this understanding by articulating a coherent discourse that allows the grouping of related ideas to set up the message. This requires to have an in-depth knowledge of the current state of the art, the lines of work of the creators, the most recent aesthetic proposals and the real demands of society to bridge the dialogue and allow the approach to art. If art deals with the same issues that concern us all, how can we not share its postulates? Cultural mediation requires the work of the curators to open a small window for reflection and to enable a space for exchange and idea generation. We share the thought that José Guirao expressed in a recent interview: "The curator is someone who reveals something new, and it would be a mistake for curators to become managers."

Understood this way curator’s role, many institutions have joined the trend of creating specific calls for new professionals to give light to their proposals. Let us remember, as an example, the call "Unpublished" of La Casa Encendida, or "Curator wanted", of the Community of Madrid or the call of Curating of La Caixa.