This past summer, I visited Palma de Mallorca. Interestingly, there weren’t many Americans, though there were lots of Brits and Europeans poking around the cobblestone streets, enjoying their summer holidays.
I found myself wandering between gelato stands, hidden beaches, food markets and cultural institutions. Along the way, I visited Es Baluard, the Museum of Modern Contemporary Art in Palma.
Here are a few snaps of the Implosio Carte Blanche a Comicnostrum exhibit. The works on display ranged from well known Spanish artists to modern up-and-comers and presented a flow that was very engaging. The vast walls in contrast with clustered groupings worked brilliantly – the visual approach complimented the diverse collection.
In between the paintings and mixed media, was a looping video and costume display (artist unknown). It featured two women in transparent bodysuits doing an athletic dance routine. It reminded me a bit of The Class, a yoga-meets-bootcamp full body workout I try to regularly do when I’m in New York.
It was all very captivating in an unfamiliar way, and the accompanying outfits presented a balance of high concept fashion and athletic irony. The graphic shadows and red stitched anatomy completely desexualized the nakedness of the women. It was unexpected and mechanical in a refreshing way.
Then there was Joan Miro in 3D. This was one of the highlights of the exhibit. His works have a playful maturity to them. If you’re a fan of his drawings, the sculptures will make you yearn for animated accompaniments to the art. There’s boundless expressiveness to each colorful mark.
Baltazar Torres also made a big impression – his metallic urban sculptures are an interconnected maze of buildings that any city dweller can appreciate. Stacks of shiny rectangles are adjoined to create geometric landscapes.
And last but not least, this piece (artist unknown) merges two distinct worlds: one filled with a cultural Spanish icon and another with futuristic florescent lights emulating the guts of a bull. It sparks a debate on the graphic nature of death on display.