Yet one more contribution to the explosion of art museums in Malaga, the Contemporary Art Museum opened in a spacious former wholesale market house in 2003.
Some of the works pictured are from the permanent collection; others are from a temporary exhibition open while we were there, “Make Something Different.” The show spotlights the resurfacing of Pop Art reinterpreted through the eyes of a new generation merging influences of “cartoons, animation, games, music, underground culture and advertising design.”
Haroshi, recycled skateboards, 2017
and here we are… and are… and are.
“Girl Holding a Doll,” Marion Peck, 2017
Gilbert & George, Deth Kult, 2009
“Au Revoir les Enfants,” Carmen Calvo, 2003
“Mark Ryden. Princess Sputnik,” Julio Anaya, 2019
“Sexy Robot Life,” Majime Sorayama, 2015
“Sexy Robot Life,” Majime Sorayama, 2015
Haroshi, recycled skateboards, 2017
poster promoting exhibits of D’Face and Shepard Fairey
detail of “Au Revoir les Enfants,” Carmen Calvo, 2003
“The Dazzling City,” Kalichi Tanaami, 2016
I had not realized the museum’s proximity to two enormous building-size murals pictured in the prior blog post on street art in Malaga was no mere coincidence. The poster above indicates that works by artists D’Face and Shepard Fairey – “managing quality dissent since 1989” – were featured in a two-person show in 2015. On his website, D’Face describes the luxury of large-scale:
Whoever said that size doesn’t matter? As an artist working in a world of image saturation through mass media, it’s always been important for me to make art that stands out from the crowd – nothing does that quite like a mural. From Los Angeles to Tokyo, every wall I’ve ever encountered presented a unique challenge, its own concrete personality. There’s nothing quite like stepping back from a wall you’ve had to do battle with for a week and seeing your vision come to life. They’re big, they’re bold and they’re downright badass….
Postcards from Barton Springs 