…a cultural commodity @ The Postmodernism Style And Subversion 1970-1990 exhibition at the V&A museum

The Postmodernism exhibition at the V&A museum covers a wide range of cultural milieux: art, architecture, product design, fashion, music, cinema. Every event with such vague focus risks falling into clichés and generalisations and this exhibition is no exception.

Anyone who studied architecture in the 90’s and early 00’s and attempted to establish a contemporary architectural idiom, was advised to look into postmodernism as a negative object-lesson. Possibly because emerging as an antipode to modernism’s austerity, postmodernism reached great heights in aesthetic flamboyancy. However architecture  -and all other arts- tend to see the preceding era’s style as dated in order to move forward. Only for the same style to come back with a vengeance when fashion demands it. And the 80’s in particular are very much in fashion nowadays. Colours, forms, music and clothing styles of the 80’s are back and that could be a very plausible -and profitable- reason for the V&A  to choose this subject now.

Gaetano Pesce-Church of Solitude/Alexander Brodsy and Ilya Utkin’s Museum of Disappearing Buildings

Nevertheless, the main exhibit here is not architecture and one has to go past too many bright coloured tea-sets and funny looking furniture to enjoy unique architectural drawings of that time like Gaetano Pesce’s Church of Solitude or Alexander Brodsy and Ilya Utkin’s Museum of Disappearing Buildings. Not to mention that Robert Venturi’s Learning from Las Vegas, theoretical milestone as it is for post-modernism, does not exactly get the place it deserves.

Bill Woodrow’s Twin tub with Guitar / Robert Venturi’s Learning from Las Vegas / Ron Arad’s Concrete stereo / Grace Jones in a maternity dress by Jean-Paul Goude and Antonio Lopez

This exhibition undoubtedly focuses on commodities more than anything else. It also makes clear that since postmodernism emerged as the new -ism,  commodities have become “interchangeable but also include a violent energy that is akin to punk music and fashion” *. This is why postmodern aesthetics are cool and that coolness seems important enough to outshine the fact that there is nothing separating  the ‘avant-garde’ from the ‘commercial’ any longer. In that and in many other unfortunate ways, we are all most definitely  postmodern.

* quoted from the exhibition’s tag for Bill Woodrow’s Twin tub with Guitar
  1. Laura said:

    I enjoyed the tea-sets and funny furniture – more than the Venturi I think. The MTV room gave me the fear, which is good, as revived my faith in the avant garde, and that there is still a small corner that is not commercial? Liked the post, got me thinking.

  2. mania said:

    🙂 different strokes for different folks…I liked the MTV room and its spooky atmosphere. The Laurie Anderson video was wonderfully haunting!! I guess I am a bit of a victim of the 80’s revival trend in music. I really do want to believe that there is a part of avant-garde that is not commercial..but I’m afraid it’s rather small….

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