Can the next generation pick up the pieces of our broken world and work together to repair it? There are grounds for optimism with the disappearance of the Brexit majority as the predominantly anti-European elderly demographic shuffle off this mortal coil. Their replacement by optimistic and idealistic young voters could mean an inexorable growth in pro-Europe sentiment, assuming that a corrosive nationalism is not a default mechanism that comes with living through the inevitable instabilties of adulthood. This could not be better represented than in Ulla von Brandenburg’s Sweet Feast currently showing at the Whitechapel Gallery until the end of the month.
The centrepiece of this magnificent installation is her moving and hilarious film featuring children from a local primary school who reenact the bizarre events inspired by the exhibition held at the Whitechapel in January 1973. Its purpose was to celebrate the diversity of the confectionary cultures of the European countries we were about to join hands with by displaying a vast collection of exotic sweets on nationally badged stands. There was a party atmosphere heralding our new future in the Common Market and a jumbled message from the Whitechapel Gallery PR led to a rumour that on the exhibition’s closing day all sweets would be given away to local children. Five hundred of them turned up and stormed the exhibits in a frenzy of sugar intoxication.
Extensive press coverage from the archives including a cutting headlined EXHIBITION EATEN AS KIDS RUN AMOK is reproduced in the evocative broadsheet newspaper issued to gallery visitors. The prevailing positive attitudes to our new partners are revealed in all the coverage with one exception. Redolent with Farage and Rees-Mogg bigotry is a condescending and bitter article printed in the January 1973 edition of Arts Review. It is worth going just to get hold of this!