Los paralelismos son fáciles: la década de 1920 marcó un muy breve respiro entre dos guerras mundiales, dominado por los anhelos y el deseo de un nuevo tiempo, y la nuestra de los 2020, por lo pronto, ha comenzado determinada por una grave crisis sanitaria y por la necesidad, emocional y elemental, de pasar página. Por esa oportunidad para bucear en nuestros traumas y querencias, en los puntos en común entre nuestra cultura y la de hace un siglo, resulta más que oportuna la apertura en el Museo Guggenheim Bilbao de la muestra "The crazy years": bajo el comisariado de Cathérine Hug y Petra Joos, analiza como en aquella época nació el ocio concebido para mayorías, ganaron peso y visibilidad ciertas minorías, tuvieron lugar avances científicos como los traídos por la mecánica cuántica y se inició una cierta emancipación de la mujer; pero, sobre todo, recuerda cómo la exhibición ese periodo breve de paz trajo ansias de libertad, creatividad y alegría de vivir.

The development of the media grew, such as the telephone, the radio and a newborn television, and, accompanied by these obvious social transformations, art lived a stage of intense experimentation: the Bilbao exhibition is nourished by works of that time, objects, objects objectsand documentation and testimonies of fashion, furniture and architecture of that decade, and cinema, photography, dance and music, disciplines that also knew a golden age in the twenties.

Precisely, and for the first time on a montage of Guggenheim, a playwright and operatic director, Calixto Bieito, has been in charge of the scenography present in the rooms in order to encourage the possible dialogue between the plastic arts and the performing articles.The tour leads us, through three hundred pieces, to the atmosphere that in the twenties could soak those who lived in Berlin, Paris, Vienna and Zurich, cities that were the scene of great changes, many with consequences even today.

Structured in seven chapters, the exhibition remembers the confluence in a short time of renovating movements such as Bauhaus, Dadaism or the new objectivity (the validity today of some of its principles cannot be discussed, hence they have incorporated into their speech work ofContemporary artists who intentionally have resorted to themes and formal languages of the twenties).The ultimate purpose of this project is, therefore, evocation from nostalgia but the memory of our cultural origins and the expression of the evidence of the ties that unite them and from the differences that separate us.

According to Petra Joos, the twenties of the last century were an explosion of creativity, erotic liberation, sexual drive and feminism, but also of trauma, struggle and wild and ruthless economy.That decade progress and difficulties, the cities grew, the disadvantaged groups gained social and cultural weight, gradually improved the conditions of the workers and also, in that line, the leisure industry settled.

Guggenheim begins by reviewing the echoes of the trauma of war and the Spanish flu.Léger expressed it well in 1924: there was never a time as an avid show as ours.[…] This fanaticism, this need for distraction at any price, are the necessary reaction against this life that we lead, hard and full of deprivations.If before the Great War it was discussed long and lying on identity, causality and objectivity, the twenties, born quantum mechanics, came marked by ambivalence, uncertainty and constant movement.

It is also known that the questioning of gender roles in both.Fashion did not remain impassively to the changes and the sample of Guggenheim explores how: among men, the beard gave way to the shaving and the hung -up hair, the hype replaced the cup hat and the most informal suit and the tie replaced theLevite.Regarding the woman, the short hair furious, the knee dresses stned and without waist (and the tobacco elegantly smoked);These changes had to do with the renewed self -perception of each other.Literature also talked about the new sexual uses, as we appreciate in the Garçonne de Victor Margueritte and Wege der Liebe by Alexandra Kollontai.

Another section of the sample is dedicated to the new ways of seeing, related to the use of the car, the reign of the assembly chain as a production method, the radio and the new means of transmission of information and also the cinema and the photography, who began to have their echo in the artistic sphere, for example in the production of Hans Richter or the aforementioned Léger.Abstraction and figuration began not to be understood as dichotomics to gain prominence the representation of time and speed, curve included.In the field of photography, the boldest experiments arrived from Man Ray and László Moholy-Nagy.

"The crazy twenties" understands the transformation of fashion then also as a revolution: it was in 1927 when Coco Chanel enlightened his Little Black Dress, which would remain as an almost timeless expression of female independence;The clothes won, in general, functionality and the silhouette prominence.Switzerland also took off, as a power in the silk business;The cosmetic industry and even aesthetic surgery, following the physical damage brought by the great war.

Lucien Lelong captured and described the meaning of these changes: diet, exercise, reducing devices and treatments, the extension of outdoor sports - or that says generalized opinion - they have achieved it.The modern woman has become an architect of her own figure.He has managed to remake herself according to her own ideal (...).Today women are still young at forty.

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Of the twenty datan icons of design and architecture and that possibility of leading a distinguished life has to do with the changes in the labor market: the mass production of consumer goods, the reduction of the schedule of the workers and the flourishing industryof leisure.

Bauhaus's purposes were more than creative in that context: contributing to the construction of a better society.Le Corbusier, Gropius and Gerrit T.Rietveld came to proclaim that a socially responsible architecture had to represent the spirit of the time.The same happened in the design field.

Changes in the way of working and resting involved changes in the gaze and in the ways of dance: Suzanne Perrottet, Rudolf von Laban, Valeska Gert, Mary Wigman, Anita Berber or Gret Palucca contributed to their transformation while jazz landed inEurope from America.The exhibition links here again those changes with the current debates about the balance between the body, the mind and society and the new speeches around our physicalness;Rashid Johnson and Shirana Shahbaz embody the survival of these issues in the 21st century.

Finally, the Guggenheim tells us about desire and what for many constitutes the quintessence of the twenties: the night and sensual dances in Montmartre and Montparnasse (Paris) or Moka Ephti (Berlin), the emancipation and sensuality that Josephine Baker symbolized, first black woman to become an international show of the show;Literary cabarets and chansons.

"The crazy years"

Guggenheim Museum Bilbao

Avenida ABANDOBARRA, 2

Bilbao

From May 7 to September 19, 2021