There has been an invasion of sheep at the Pompidou Centre in Malaga. I guess they must be artistic sheep as they seem to enjoy looking at the artworks around them by various artists including Joan Miro and Peter Doig.
In some ways, it must be easier curating a relatively small space when you can pick from an immense collection the Pompidou Centre in Paris, in comparison to curating the mothership itself. The Pompidou Centre in Malaga continues to do this very well, using its double-height central space to orientate both a general exhibition “Modern Utopias – A Journey Through the Art of the 20th and 21st Centuries’ – which is a difficult and challenging task to curate, especially as it links the artworks shown to historical and societal events such as the Russian Revolution, the two World Wars, new freedoms and optimisms in the late 20th century, including new ideas for futuristic architecture – some built; some not; (and exemplified in some ways by the mothership in Paris, designed by Richard Rogers) to the realism of the 21st century with many artists looking back in time (a reflection on society as the UK struggles with Brexit, thinking back to the glorious times of its past, but the lack of any idea for a role in the future). In this context Malaga itself could act as a useful role model for successfully and consistently going after a determined view of the future, as indeed, not far away in Africa, could Tangiers.
Also on show is a fascinating exhibition linking photography, sculpture and videos of Constantin Brancusi who in some ways represents the European ambition – born in Romania and spending his life in Paris, where eventually he gained French citizenship, while Matali Crasset creates an ecological installation for young people to play in and have fun with both design and ecology in her Blobterre.
It is still a disappointment that the bottom of the cube remains closed off – there must be imaginative ways to use this space, perhaps as a study/relaxation area or showing other art?
Though probably not intended by the curators, you do wonder as you leave whether, with Brexit, the UK will just follow the sheep, created by Francois-Xavier Lallane, or whether we will be innovative and support a new way of life in the world, such as Matali Crasset’s Blobterre.