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THE ART NEWSPAPER
Art Basel in Miami Beach: 1 December 2016
○ Public sculpture
It’s not just the Whitney—
why three new biennials are
launching in the US next year
Curator Nicholas Baume bows out
with his fourth and final edition
of Public in Collins Park
Pages 9-10 >>
Art Basel has a grittier feel this
year, and not just because construction crews are renovating the
Miami Beach Convention Center.
As a survey of work by the US
artist Robert Rauschenberg opens
at Tate Modern in London today,
galleries are presenting a rejoinder
to the candy-coloured, shiny and
bejewelled works for which the
fair is best known. Amid the glitz,
there is an array of assemblages by
artists from across the generations
who take a cue from Rauschenberg by transforming junk destined for the dump into art.
Rauschenberg began scavenging
as a student at Black Mountain
College in North Carolina, and
did not stop until his death in
2008. His assemblages of cast-off
materials perplexed critics and
found few buyers when they hit
the market in the 1950s, but times
have changed. Quartermoon Snare
(Spread) (1979), a large, late collage,
is on hold for $1.55m at Galerie
Thaddaeus Ropac.
The work, which comes directly
from Rauschenberg’s foundation,
incorporates a shirt off the artist’s
back. Part of his Spreads series, it
recalls the artist’s early Combines, says the gallery’s director
Polly Robinson Gaer. Works by
Pages 12-13 >>
○ High design
○ This week in Miami
SHoP Architects’ high-tech
pavilion at Design Miami takes
3D printing into new territory
The Wolfsonian celebrates
Dutch design, plus our pick
of the other must-see shows,
satellite fairs and key events
Pages 16-17 >>
Pages 21-26 >>
Art Basel gets real
Rauschenberg’s spirit lives on in art made from junk at the fair
RAUSCHENBERG, BERGMAN, LOU, BOETTI AND ERIC BAUDART’S ATMOSPHÈRE (2016, DETAIL): © VANESSA RUIZ
Robert Rauschenberg’s 1979 collage
(£1.55m) incorporating the artist’s old shirt
is at Galerie Thaddaeus Ropac
Continued on p4
Price points: a work
for every budget
MEDIUM
HIGH
• Portrait (2013) $8,000
Corbett vs Dempsey
One of a number of strong
figurative painters whose
work is on show at the
fair, Margot Bergman
repurposes portraits found
in flea markets and thrift
shops, transforming the
subjects into something
deeply uncanny.
U . A L L E M A N D I & C O . P U B L I S H I N G LT D
Shirazeh Houshiary
Booth J1
Art Basel Miami Beach
Only a Flicker, 2016 (detail), 74 7/8 x 74 7/8 in
Talking point
Artist corrupts
visitors with candy
Margot Bergman
LOW
Rauschenberg are also on offer at
Waddington Custot, Galeria Luisa
Strina and Acquavella, including
Mainspring (1965), a large-scale
transfer drawing priced at $2.5m.
“He opened up so many paths
for artists,” says the curator Leah
Dickerman, who co-organised the
Rauschenberg survey, which is due
to travel to New York’s Museum of
Modern Art (MoMA) in May. “Rauschenberg was radically egalitarian
about what art could be: a sock, a
brush-stroke of paint.”
Works at the fair that owe a debt
to the US artist include the towering assemblage Savior (1996) by
Nari Ward, who participated in the
Robert Rauschenberg Foundation’s
residency programme at his former
compound in Captiva, Florida.
The work, on Lehmann Maupin’s
stand (priced at $150,000-$175,000),
incorporates a shopping trolley and
bin bags topped by a wooden chair.
It was seen in the artist’s solo show
at the Pérez Art Museum Miami
last year. “It is a throne for homeless African-Americans,” says the
gallery’s co-founder David Maupin.
Meanwhile, Blum & Poe has
literally brought a piece of the
street into the fair: the gallery is
presenting a graffiti-covered wall
that the artist Henry Taylor appropriated from Los Angeles’s Skid
Row. The street vibe continues at
○
○ Coming soon
Liza Lou
• Untitled #9 (2011-12)
$120,000 Lehmann Maupin
The South African artist, known
for her use of craft materials, wove
together glass beads to create
this 50-inch wall piece. Her first
exhibition with Lehmann Maupin
Hong Kong is due to open in
January 2017.
Alighiero Boetti
• Mappa (1989-94) More than €15m
Tornabuoni Art
This monumental embroidered map, which took five years
to complete, is the last work the Italian artist made—and
the only one with a pearl woven into the fabric. The buyer
must agree to lend it to a show at the Cini Foundation
during the Venice Biennale next year. S.P.H. and A.S.
Got a sweet tooth? Head to Kavi
Gupta, where the artist Irena
Haiduk has built a candy shop
designed to “rot your teeth and
corrupt your mind”, according to
the dealer. Models are distributing
bags filled with vintage Balkan
candies produced at various
points in the region’s history,
along with one of three political
manifestos. We recommend eating
the sweets first. G.Ai.
T U R I N / L O N D O N / N E W Y O R K / PA R I S / AT H E N S / M O S C O W / B E I J I N G
2
THE ART NEWSPAPER ART BASEL IN MIAMI BEACH DAILY EDITION 1 DECEMBER 2016
NEWS
In brief
1 December 2016
The world’s newest
UN ambassador?
Design Miami is joining forces with
an unlikely partner—the United
Nations (UN)—to promote green
initiatives in design and architecture.
The programme brings together
designers, architects, educators and
policymakers to discuss eco-friendly
building solutions. Rodman Primack,
Design Miami’s chief creative officer,
says that the partnership will enable
the UN to connect with an audience
that it has had difficulty reaching on
its own. “We can get our community
to understand that cities have to
become more efficient and buildings
need to be multifunctional,” he
says. The initiative, called Building
Legacy: Designing for Sustainability,
launches this week with a series of
talks at the fair. E.S.
The 3D-printed pavilion by SHoP Architects outside this year’s Design Miami (until 4
December) may be catching the most eyeballs on Instagram, but inside the fair, collectors will find a wide range of classic design and contemporary crafts that are worthy of
their attention. Helen Stoilas
Jason Jacques
Gallery
Kim Simonsson’s
Mossboys and girls
series (2016),
$15,000-$25,000
The New York-based
dealer Jason Jacques
has collaborated with
Digifabshop to create a
treehouse-like display for
contemporary ceramics by
international artists including
Beate Kuhn, Gareth Mason
and Eric Serritella. Most at
home are the Finnish artist
Kim Simonsson’s mossy
ceramic sculptures of
children wearing feathered
headdresses. They peer
down eerily from their
shelves “like little wood
sprites”, Jacques says.
Laffanour—Galerie
Downtown
Jean Lurçat’s Claire’s tapestry
(1965), €180,000
Although most of the Paris gallery’s
stand is devoted to furniture
by classic names such as Pierre
Jeanneret, Le Corbusier, Charlotte
Perriand and Jean Prouvé, a massive
tapestry by the French artist Jean
Lurçat dominates one wall. He
started out as a painter and an
engraver, but Lurçat embraced
textiles in the 1920s and 1930s,
creating costumes and decorations
for ballets as well as tapestries. A
second version of the piece on
Laffanour’s stand is in the collection
of France’s Cité International de la
Tapisserie d’Aubusson museum.
Plusdesign
Gallery
Hostler Burrows
Frida Fjellman’s
Lustre series (2016),
$26,000-$58,000
The New York gallery
started out in 1998
with a strong focus on
classic 20th-century
Nordic design but
has expanded its
programme to include
more contemporary
work, especially by
female artists. Dangling
in a velvet-lined corner
of the stand, as if in
an oversized jewel
box, is a series of
pendant sculptures
by the Swedish artist
Frida Fjellman. Handblown into moulds
to resemble faceted
gemstones and
strung up by delicate
gold chains, the
clusters can be lit from
within to serve as a
luxe chandelier.
Colombian picos:
Lo Maximo (2015),
€19,000, and
Garnacha (2015),
€9,000
The sounds of
Colombia’s street
carnivals can be
heard on the stand
of Milan’s Plusdesign
Gallery, which has two
examples of picos:
highly personalised,
dayglo portable speaker
cabinets. Families
across the Caribbean
coast, from Barranquilla
to Cartagena, have
their own versions.
“You can wheel it into
the back of a truck and
have a pop-up dance
party,” says the fair’s
exhibitions director,
Brandon Grom. The
Salon 94
Gaetano Pesce’s Cabinets
(2006-16), $85,000-$125,000,
and Tree Vases (2016),
$5,000-$20,000
gallery also invited
the contemporary
designers Jonathan
Nesci and Nathalie
du Pasquier to create
new interpretations of
the objects.
The New York gallery is showing at
Design Miami for the first time, with
a stand dedicated to the 76-year-old
Italian artist and designer Gaetano
Pesce. Examples of his vibrant works
made from resin include Do
You Still Love Me? Cabinet
(2007), a cabinet shaped
like two faces in profile.
The gallery has also installed
a miniature forest of his
most recent sculptural
series of Tree Vases.
“Abstraction is over,” Pesce
says. “These objects tell you
what they are.”
Hirshhorn hires
Performa alumnus
The Hirshhorn Museum and
Sculpture Garden in Washington,
DC, is making a major investment in
performance. The museum has hired
Mark Beasley, a former curator of
New York’s Performa festival, as its
first curator of media and performance art. Beasley—now one of five
full-time curators at the museum—
will be tasked with planning one-off
events, exhibitions and acquisitions
of live art. The appointment was fasttracked by a gift from the philanthropists Robert and Arlene Kogod, who
are supporting a Smithsonian-wide
initiative to fund new positions for
scholars. “We want performance and
media works to be fully integrated,”
says the museum’s director, Melissa
Chiu. The Hirshhorn is hosting its first
durational performance—in which a
female guitarist endlessly strums an
E chord—as part of an exhibition of
work by the Icelandic artist Ragnar
Kjartansson (until 8 January). J.H.
Public sector gets
a new face
There’s a new public art curator in
town. Philipp Kaiser will take over
as the curator of Art Basel in Miami
Beach’s Public sector from 2017. The
Swiss-born, Los Angeles-based curator and critic served most recently
as director of the Museum Ludwig
in Cologne and as senior curator of
the Museum of Contemporary Art,
Los Angeles. He succeeds Nicholas
Baume, the director of the Public
Art Fund in New York, who has
organised the display of outdoor
sculpture on Collins Avenue for the
past four years. J.H.
• For Nicholas Baume’s highlights of this
year’s Public, see pp12-13
OPENS TODAY
Robert Rauschenberg
Tate Modern, London
Through April 2, 2017
BOOTH B5
DECEMBER 1 – 4, 2016
Robert Rauschenberg detail of Twirling Gig (Runts) 2007
pigment transfer on polylaminate 59 ½ x 72"
© Robert Rauschenberg / Licensed by VAGA, New York, NY
SIMONSSON, LURÇAT, FJELLMAN, PICOS AND PESCE: © VANESSA RUIZ
Speakers, ceramics and a
miniature forest: Design
Miami’s eclectic spread
AUDEMARS PIGUET ART COMMISSION PRESENTS
IN PARTNERSHIP WITH
SEAN KELLY GALLERY
EDOUARD MALINGUE GALLERY
& SHANGHART GALLERY
OCEANFRONT MIAMI BEACH
B E T W E E N 2 1 ST & 2 2 ND S T R E E T S , M I A M I B E A C H
PROUD PARTNER OF
THE ART NEWSPAPER ART BASEL IN MIAMI BEACH DAILY EDITION 1 DECEMBER 2016
○ Continued from p1
NEWS
International
Testing times for Turkey’s
international art market
Galleries are under pressure as political uncertainty deters foreign visitors
Key figures in the Istanbul art
world are concerned about
a market slump following
the failed coup in Turkey in
July. Some local dealers fear
that international collectors
are turning their backs on
the country amid the current
climate of political and
economic instability.
The number of galleries
participating in last month’s
Contemporary Istanbul fair
dropped from 94 in 2015 to 70,
while the percentage of foreign
A protest in Istanbul against the failed coup
galleries fell by 19% compared
with 2015. Yet the fair still drew
a record 90,000 visitors and the
proportion of works sold was
much the same as last year—
roughly 60%, according to the
organisers. The city’s other fair,
Art International, was cancelled
this year amid safety concerns.
Both will return next September
to coincide with the 15th
Istanbul Biennial. Contemporary
Istanbul will also have a new
director, Kamiar Maleki.
Emre Kurttepeli, the director
of the gallery C24 in New York,
says visitors to Contemporary
Istanbul were buying, but were
more hesitant than usual. “Our
concerns were that highly
priced works would not sell as
easily… so we brought more
‘economically friendly’ [cheaper]
works,” he says.
Many local dealers have seen
a fall in foreign visitors since
the failed coup. “More and more
there is this sense of isolation,
which can be demoralising,” says
Nicole O’Rourke, an associate at
Rampa Istanbul, which chose not
to take part in the fair this year.
The Istanbul-based collector
Ari Mesulam has mixed feelings
about how the commercial sector
is faring. “The gallery scene is
small in Istanbul, and if one
gallery closes, there is a ripple
effect. It is a challenging time, but
there is optimism,” he says.
Gareth Harris and Anny Shaw
Hollande’s hopes of inaugurating Louvre Abu Dhabi are dashed
Another deadline missed for
Emirati museum opening
The long-awaited opening of
the Louvre Abu Dhabi has been
delayed yet again. François
Hollande, the French president,
will no longer inaugurate the
site. The Jean Nouvel-designed
building, expected to open this
CHEIM
& READ
month, is unlikely to welcome
visitors before December 2017.
Hollande is due to visit Abu
Dhabi this week to attend an
international conference (1-3
December) on the protection
of cultural heritage during
conflict. The French president
had hoped to take part in a
symbolic inauguration ceremony
for the museum during the
visit. A spokeswoman for the
Emirati institution declined to
give a reason for the event’s
cancellation, but construction on
the building is not due to finish
until 31 May 2017. The museum
will then need at least six months
to stabilise the air-conditioning
and complete the hang.
The $1bn project was the
product of an intergovernmental
Art Basel Miami Beach 2016
Booth L08
December 1 – 4
Louise Bourgeois Untitled 2004 watercolor, gouache and pencil on paper 30 1/4 x 41 in
© The Easton Foundation / Licensed by VAGA, NY
deal between France and Abu
Dhabi in 2007, and the building
was originally due to open in 2012.
At the conference, which has
been co-organised by France
and the UAE, Hollande and the
crown prince of Abu Dhabi
plan to launch an international
partnership and fund with
Unesco to protect cultural heritage
in war zones. V.N.
Galleri Nicolai Wallner, where
a salvaged Danish lamppost
hangs upside down, courtesy of
the collective A Kassen.
There is also no shortage
of work by Rauschenberg’s
contemporaries. A solo
presentation of Betye Saar at
Roberts & Tilton includes Mti
(1973), an altar-like assemblage
($350,000) that is on hold for a
museum and is due to travel
to Tate Modern next year. “I’m
interested in accumulation, of
taking something else to make
something new,” Saar says.
Some of the artists knew
Rauschenberg personally. New
York’s P.P.O.W. gallery has
a painted collage from 1961
(around $300,000) by Carolee
Schneemann, who attended his
happenings in the 1960s. John
Outterbridge, whose collage
Dreads (2011) is at New York’s
Tilton Gallery ($40,000), was
working at the Pasadena Art
Museum when Rauschenberg
had a solo show there in 1970.
Outterbridge was one of
a number of artists, including George Herms and Noah
Purifoy, who were making assemblages out of discarded materials on the West Coast while
Rauschenberg was doing the
same on the East. Tilton Gallery
is presenting a 1966 assemblage
by Purifoy ($140,000), created
from detritus he collected in
the wake of the Watts riots.
These artists are well aware
of their alchemical powers. As
George Herms—whose Matisse
L’assemblage (1963), complete
with fungus and items found in
flea markets, is at New York’s
Franklin Parrasch Gallery—told
the luxury magazine W in 2013:
“I turn shit into gold.”
Javier Pes
PROTEST: AP PHOTO/PETROS GIANNAKOURIS
4
6
THE ART NEWSPAPER ART BASEL IN MIAMI BEACH DAILY EDITION 1 DECEMBER 2016
DIARY
1 December 2016
If you can’t make it to Miami this week,
don’t despair. An online event called
Dream Miami is filling the gap, with 12
international dealers offering their
wares on the web (until 4 December).
A spokesman for London’s Limoncello
Gallery, which is behind the digital project,
explains how the quirky commercial platform came about. “We were so downbeat
at a certain art fair in 2015 that we decided
we’d send a fake preview to our clients
for our fake booth at the next ‘certain’
art fair the following week. The idea was
that if sales came from a project with zero
financial output, we’d be quids in profit.”
There are no fair fees for galleries that
take virtual stands at Dream Miami. But
isn’t this just a case of FOMO? “We borrow
the model of the satellite fair for the obvious reason that we can piggyback on the
hype of more established fairs. Perhaps
it’s more a case of NoFOMO—creating our
own opportunities,” he adds. Touché.
I’m every art star
Steven Mnuchin has joined Trump’s team
Mnuchin’s
Trump card
The annual star-studded party held by White Cube at Soho Beach House always attracts the crème de la crème of the
Florida art crowd, and this year’s shindig, held in a purpose-built marquee on the beach, was no exception. The bash,
which honoured the artist Anselm Kiefer, proved difficult to access (security checked a special infrared mark stamped
on partygoers’ wrists no fewer than six times), but once guests were inside, they chowed down on mini grilled-cheese
sandwiches and mountains of seafood. A 360-degree photo booth proved popular with revellers, including Theaster
Gates and Tracey Emin. But the real highlight of the night was an appearance by the soul diva Chaka Khan, who rocked
the tent with hits such as Sweet Thing and karaoke favourite I’m Every Woman, prompting art-world luminaries to
loosen up and get on down ’til dawn.
One of Limoncello’s artists, Gabriele de
Santis, gets in the festive spirit to promote
the Dream Miami online fair
No reservations
When you’re a collector, there’s nothing
more frustrating than being told that a
piece is on reserve. How can it be both
unavailable and unsold at the same time?
And even if you are able to buy it, you
feel like Gabriel Conroy in James Joyce’s
short story The Dead—that existential
dread of being a second choice. This year
at Untitled, Magdalena Sawon of Postmasters Gallery has a solution: a stylish
“reserve timer” that ensures decisions are
made quickly. “It is my little joke, which,
like many jokes, carries some truth,”
Sawon says. It will surely come in handy
for placing perhaps the hottest item on
the gallery’s stand: a work by William
Powhida that has been crumpled up and
named Things Are Awful.
Artoon by Pablo Helguera
Model collector
It turns out that the Australian supermodel Elle Macpherson is more than
just a gracefully aging face. “The Koons
is great,” she said at the opening of
Larry Gagosian and Jeffrey Deitch’s
desire-themed show at the Moore
Building. “And I really like the John
Wesley because not a lot of people
know him.” Is she a big art collector?
“Big art collector is a strong word. Do
I collect art? Yes. I started collecting
in 1982, so I was buying Basquiat and
Warhol in that period. From there it’s
been Keith Haring, Damien Hirst, Lucian Freud, Tracey Emin—the British,
I love,” she said. Later, around the
corner at the Rubell Family Collection,
lifestyle guru Martha Stewart
bemoaned her own dearth of art. “I
wish I had [collected] back then,” she
said of all her friends getting rich off
their collections. “I made a mistake.”
The New York-based dealer Robert
Mnuchin declined to speak at length yesterday about his son Steven’s nomination
by Donald Trump for secretary of the
treasury, as the VIP preview of Art Basel
in Miami Beach opened and news of the
president-elect’s latest cabinet pick ran on
the front page of the New York Times. He
said only: “I’m proud of my son.” On Monday, a group of artists and curators—including Cecily Brown, Rob Pruitt, Marilyn
Minter and Dan Colen—held an anti-Trump
rally in front of the New York home of
the president-elect’s daughter Ivanka.
But Mnuchin demurred when asked if
he feared that his son’s association with
Trump would cost him any artists. “We
don’t have anything to discuss,” he said.
The pieces on Mnuchin’s stand include a
selection of works made by David Hammons over the past 30 years, including a
2015 sculpture painted in prison-jumpsuit
orange from a series called, pointedly,
Orange Is the New Black.
Elle Macpherson (left) and Diana
Widmaier-Picasso
March 30–April 2, 2017
March 29: Vernissage
Pier 94
New York City
Premier Corporate Partner of AIPAD
KHAN: NICHOLAS HUNT/GETTY IMAGES FOR SOHO BEACH HOUSE. DREAM MIAMI: COURTESY OF GABRIELE DE SANTIS AND LIMONCELLO. MNUCHIN: DON EMMERT/AFP/GETTY IMAGES. MACPHERSON: MATTEO PRANDONI/BFA.COM; © BFA
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THE ART NEWSPAPER ART BASEL IN MIAMI BEACH DAILY EDITION 1 DECEMBER 2016
FEATURES
Biennials
What is the role of the
in a conservative world?
Curators meet in Miami to consider why America
needs more of these sprawling exhibitions. By Pac Pobric
T
he first Whitney Biennial
opened in New York on
22 November 1932 in a
climate of healthy liberal
optimism. Two weeks
earlier, the Democratic
nominee for president,
Franklin Delano Roosevelt,
had defeated the incumbent Republican
Herbert Hoover in a landslide. In a radio
message just after his victory, Roosevelt
heralded a “national victory for liberal
thought” and promised an “orderly
recovery” to a nation still deeply mired in
the Great Depression.
The director of the Whitney Museum of
American Art at the time, Juliana Force,
echoed Roosevelt’s enthusiasm on the
occasion of the institution’s inaugural
survey of American art. “An increasingly
liberal spirit has broadened the scope of
these exhibitions,” she told the New York
Times, “so that in recent years they have
assumed greater importance to both artist
and public.”
Model under stress
Such idealism is difficult to imagine
today, as right-wing politicians gain
influence around the world. The election
of Donald Trump, the unfolding of Brexit
and forthcoming presidential elections
in Austria (4 December) and France (23
April 2017) put stress on liberalism and,
by extension, on the modern biennial
model, which values a broad and diverse
presentation of ideas. In an increasingly
illiberal world, what use is a biennial?
According to Fred Bidwell, the chief
executive of the forthcoming Front
International in Cleveland, there has never
been a better time to organise such shows.
Front is one of three new biennials due to
Clockwise from top: Tavares Strachan’s You
belong here (2014), part of Prospect in New
Orleans; the 1961 Carnegie International
exhibition; Hitler and Benito Mussolini, who
visited the Venice Biennale together, at the
Piazza San Marco in 1934
launch in the US over the next few years.
The trend is the subject of a talk today at
Art Basel in Miami Beach. “Two days after
the US election, I met Jens Hoff mann, one
of our artistic directors,” Bidwell says. “And
the first thing out of his mouth was, ‘we
need to do this now more than ever.’”
Continued on p10
○
STRACHAN: COURTESY OF TAVARES STRACHAN; PHOTO: © JOSEPH V. GREY. CARNEGIE: COURTESY OF THE CARNEGIE MUSEUM OF ART, PITTSBURGH. HITLER: HEINRICH HOFFMANN/ULLSTEIN BILD VIA GETTY IMAGES
LIBERAL BIENNIAL
10
THE ART NEWSPAPER ART BASEL IN MIAMI BEACH DAILY EDITION 1 DECEMBER 2016
FEATURES
Where it all began: two landmark US biennials
Biennials
Continued from p9
But biennials are not inherently tied
to liberalism. The first such show, which
opened in Venice in 1895, was organised to
commemorate the wedding anniversary of
King Umberto I and Queen Margherita of
Savoy. The king, far from being progressive,
was a right-wing nationalist and imperialist.
Three years after the show, he decorated one
of his generals for massacring 80 striking
workers in Milan who were protesting the
escalating cost of bread.
In 1930, Benito Mussolini transferred
directorship of the biennale from local
authorities to his central government.
For the next several editions, the show
became an explicit celebration of Fascist
populist values and was integrated into
what Mussolini called a “move toward the
people”. Film, music and decorative arts
were given pride of place as a way to appeal
to the common man rather than the elite.
Only after the end of the Second World
War, with Fascism in defeat and liberalism
in assent, did biennials change tack. In
Germany in 1955, Arnold Bode founded
Documenta as an explicit critique of German
political history. The inaugural show focused
on the many forms of Modernism that
Hitler had labelled degenerate. Around 570
Fauvist, Cubist and Expressionist paintings
and sculptures by nearly 150 artists were
installed with little regard to a work’s
national origin, thereby underscoring the
universal sweep of Modernism.
This global liberalism, however, is not the
model for most American biennials. “There
never was a particularly internationalist
perspective in the US in terms of largescale exhibitions,” says Carolyn ChristovBakargiev, who organised Documenta in
2012 and the Istanbul Biennial in 2015. This
is partly a product of the country’s size. In
the US, cultures and traditions are dispersed
across 3.8 million square miles of land. For
many, it makes sense to start at home.
Pride of place
This is the case for the country’s newest
biennials, which often grow from and focus
on local communities. The idea behind
the Honolulu Biennial, which has its first
edition next year, is to focus on how the
Hawaiian landscape generates regional
Works should be generated
out of the conditions of the
place, as opposed to some
cut-and-paste versions we
know of public sculpture
culture. “We’re looking at this place and
trying to understand how it shapes who
we are,” says the show’s curator, Ngahiraka
Mason. “Creative practice comes out of the
influence of geography. That’s the thing that
shapes you.”
But culture also shapes its surroundings.
In the 1960s, American artists took to
working on a massive environmental scale.
Projects like Robert Smithson’s Spiral
Jetty (1970) and Michael Heizer’s Double
Negative (1969) brought art to desolate
places—an approach that Neville Wakefield,
the artistic director of Desert X in Palm
Springs, hopes to reawaken with a series of
commissions. “The works should be in some
way generated out of the conditions of the
place, as opposed to some of the cut-andpaste versions we know of public sculpture,”
he says.
The first periodic contemporary art show in the US opened in Pittsburgh in 1895. The Annual Exhibition, as
it was then known, was founded by the industrialist Andrew Carnegie as a way to make the Steel City into
an art centre. His intention was to exhibit what he called “the Old Masters of tomorrow”, and early iterations
of the show included works by then-radical artists like Henri Matisse, who won the exhibition’s top prize in
1927. Now known as the Carnegie International, the show opens its 57th edition in 2018 under the artistic
directorship of Ingrid Schaffner.
THEN
NOW
What can a biennial really do?
How artists work is one thing, but the real
political question for any biennial is its
organisational model. Prospect New Orleans,
which opens its fourth edition next year,
takes place across various existing sites in
the city. This kind of multi-institutional
show is more complex than even the most
ambitious single-venue exhibition, and the
approach says much about its aims.
“Everything we do relies on deep and
trusting relationships,” says Brooke Davis
Anderson, the show’s executive director.
“We delve deeply into every neighbourhood
New US biennials and triennials
Front International, Cleveland,
JULY-SEPTEMBER 2018
Desert X, Palm Springs,
25 FEBRUARY-20 APRIL 2017
Honolulu Biennial: Middle of Now | Here,
8 MARCH-8 MAY 2017
The Whitney Museum’s show, which launched as an annual event in 1932, focused more specifically on
American artists. Significantly, organisers jettisoned the jury system and instead invited a group of artists to
self-select what paintings (the only medium included in the inaugural show) they wanted to include. “Each
artist is his own jury,” the New York Times reported at the time. The focus on American artists, like the focus
on paintings, has since relaxed: Kuwait, Iran and Vietnam are among the countries of origin of artists included in the next edition, which opens in May 2017.
and by default rely on our partnerships.”
The last edition, which opened in 2014, took
place in 18 venues and included 58 artists.
There is a pluralist liberal model at work
here: although the exhibition had a single
artistic director—Franklin Sirmans, now the
director of the Pérez Art Museum Miami—it
was, like all biennials, too large to fit a
single vision.
This model also carries risks. Sprawling
biennials often struggle to find clear
curatorial footing. Any show that includes
both the Minimalist sculptor Larry Bell
and the political group Occupy Museums
(as the forthcoming 2017 Whitney Biennial
does) will find it practically impossible to
maintain a clear position. With liberalism
now under assault, big, bold, clear ideas
are more necessary than ever. This is not
a curatorial responsibility per se, but it
is a responsibility of citizenship in an
increasingly illiberal world.
• Talk on new biennials in the US, Art Basel in
Miami Beach, Miami Beach Convention Center,
1 December, 6pm
Jean-Michel Basquiat, Thomas Houseago,
Jeff Koons, Takashi Murakami, Cindy Sherman,
Kiki Smith, Andy Warhol
Works by
and more from the Broad collection.
Free general admission tickets at thebroad.org
Downtown Los Angeles
© Thomas Houseago. Courtesy of the artist and Gagosian.
CARNEGIE 1896, 2013 (PHOTO: BRYAN CONLEY): COURTESY OF THE CARNEGIE MUSEUM OF ART. WHITNEY 1932, 2014 (PHOTO: SHELDAN C. COLLINS): COURTESY OF THE WHITNEY MUSEUM OF AMERICAN ART
○
NOW
THEN
TEFAF
WILL
RETURN
MARCH 10-19, 2017
MECC MAASTRICHT
MAY 4–8, 2017
PARK AVENUE ARMORY
7,000 YEARS OF
ART HISTORY
MODERN AND CONTEMPORARY
ART AND DESIGN
www.tefaf.com
+1 212 202 5950
Sponsored by
Marquee Sponsor
12
THE ART NEWSPAPER ART BASEL IN MIAMI BEACH DAILY EDITION 1 DECEMBER 2016
IN PICTURES
Public art
1
SPACE
ODDITY
on Collins Avenue
1
Ugo Rondinone
3
Tony Matelli
MIAMI MOUNTAIN (2016)
The Bass
JESUS (2016)
Marlborough
“I feel very connected to Ugo’s
piece, which relates to Human
Nature, his 2013 Public Art Fund
commission for Rockefeller Center.
That’s when he first started using
colossal blocks of stone. But here
the rocks are intensely coloured,
which he began to do for Seven
Magic Mountains in Nevada [an
installation in the desert that was
organised by the Public Art Fund
earlier this year]. It is an amazing
translation to see the largest one yet
in a subtropical setting.”
“The Christ figure has the most
wonderful texture and surface—
a beautiful contrast to the trompel’oeil avocado. There is something
wonderfully Miami about having
this piece in Collins Park, where
you wouldn’t be surprised to see
avocado trees growing.”
2
Glenn Kaino
INVISIBLE MAN (2016)
Kavi Gupta
“If you approach Invisible Man from
Collins Avenue, you see this figure
standing with his hands up: the
traditional gesture of submission.
Post-Ferguson, that gesture has
become a potent protest. The figure
Glenn used [as a model] is Charles
Gaines, a senior African-American
artist. You suddenly see that the
three-dimensional figure has been
sheared and the other side is
mirrored, so instead of a face and
figure, you see the sky and trees
reflected. It is [installed] right next
to the works by Sol LeWitt, whom
Charles knew—that’s a little arthistory back story.”
4
Huma Bhabha
FRIEND (2015)
Salon 94
“This ghoulish sculpture is a bronze
cast from Styrofoam with a skulllike head that is a wonderfully
painterly gesture. It is so simple and
so powerful.”
5
Sol LeWitt
INCOMPLETE OPEN CUBES
5/1; 8/9; 8/25 (1974)
Paula Cooper Gallery
“I am thrilled to have three works
from LeWitt’s series of Incomplete
Open Cubes. It is such an iconic
example of his practice in the
early 1970s. There is a thread of
geometric abstraction and gridbased works in the exhibition, with
Claudia Comte’s wall, and also the
idea of seriality in Tony Tasset,
David Adamo and Magdalena
Abakanowicz’s pieces.”
6
Eric Baudart
ATMOSPHÈRE (2016)
Edouard Malingue Gallery
“The oscillating fan is encased in
a canola oil-filled vitrine. It is a
familiar object, meant to circulate
air, but defamiliarised—it moves
very slowly because of the heaviness
of the oil.”
BAUME: RON ESHEL; COURTESY OF THE PUBLIC ART FUND, NEW YORK. ALL WORKS: © VANESSA RUIZ
T
his year’s Public is a study in contrasts. For his fourth and
final year as the curator of Art Basel in Miami Beach’s public
art display, Nicholas Baume says he has put together his most
classical presentation yet. But in addition to Ugo Rondinone’s
riff on an ancient totem—a new permanent installation—
and Sol LeWitt’s Modernist grids, there are “moments of
provocation”, he says. Baume, the director of the New
York-based Public Art Fund, points to the Cuban
artist Yoan Capote’s Naturaleza Urbana (2012), an
oversized pair of handcuffs that shackle a mature
tree and a sapling. “Castro’s death this week has
given it an added potency,” he says. In a nod to
David Bowie, who also died this year, Baume has
called this year’s presentation Ground Control.
The DJ and New York-based drag queen Lady
Bunny channelled the spirit of Ziggy Stardust by
organising a disco as part of Public’s
live performance programme.
Revellers refuelled at Rob Pruitt’s
mobile BBQ, a somewhat worsefor-wear white stretch limo with
a grill beneath the hood and an
ice cooler in the trunk. Public
is produced in collaboration
with the Bass Museum and
supported by MGM Resorts
Art and Culture.
Javier Pes
THE ART NEWSPAPER ART BASEL IN MIAMI BEACH DAILY EDITION 1 DECEMBER 2016
2
3
4
6
5
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THE ART NEWSPAPER ART BASEL IN MIAMI BEACH DAILY EDITION 1 DECEMBER 2016
INTERVIEW
“We had to size the bar to make sure
it could support 1,000 champagne glasses”
Architects
The 2016 winner of Design Miami’s
Visionary Award combines 3D
technology with nature. By Gabriella Angeleti
XL to 3D:
an audience with
SHoP Architects
New York-based
SHoP Architects
currently have 22
projects under
construction around
the world
The Art Newspaper: You won the MoMA
PS1 Young Architects Program competition
in 2000, and constructed the Dunescape
pavilion at the museum. Did that
experience influence this commission?
Gregg Pasquarelli: That was the first project
that put us on the map. There’s an incredible amount of things that we learned from
building that pavilion—rethinking drawing
as architects, using materials, connection
joints, the notion of thickness and so on.
There’s a direct lineage from that pavilion
to a project like the Barclays Center [a sports
and entertainment stadium in Brooklyn], ten
years later. We learned so much in that little,
tiny $50,000 pavilion that ended up being the
driving force behind a $1bn arena as well as
the Flotsam & Jetsam project. We were interested in thinking—well, it’s 15 years later,
how would we create a pavilion now?
Most of your current and recent projects
are large-scale residential and mixed-use
buildings. How does that intersect with a
small-scale project like this?
Pavilions are an interesting kind of typology
for architects because buildings take a long
time, right? So you might have an idea and
you might even go through a couple of
years of design and time to get it approved,
financed, constructed and built. Your typical
project can take anywhere from five to ten
years. We have 22 projects under construction right now around the world. So the idea
that we could design something over a summer and it would be built by Thanksgiving
was kind of fun.
What inspired the design?
There was a clear idea about designing something iconic but functional, as well as designing a pavilion in Miami that will front a New
York art show. There are the obvious visual
cues but also an entryway, seating area and
a bar in the middle; that’s our favourite part.
We were thinking about Miami: the ocean,
sand dunes and sea creatures like jellyfish.
Those very organic forms became things that
we were interested in playing with, but we
wondered how to produce it and what kind
of research we could do to make this organic
form into a structure.
How did you realise the project?
We worked with two companies: Branch
THE INVITATIONAL SOLO MARCH 1 – 5, 2017
PROJECT FAIR FOR
PIER 90, NEW YORK
CONTEMPORARY ART
#VOLTANY2017
THE
BASS
MIAMI
BEACH’S
CONTEMPORARY
ART
MUSEUM
TEN YEARS OF SOLO FOCUS
WWW.VOLTASHOW.COM
BASEL’S ART FAIR FOR
JUNE 12 – 17, 2017
NEW INTERNATIONAL
MARKTHALLE BASEL
POSITIONS
#VOLTA13 BASEL
OPENS
SPRING
2017
THE BASS MUSEUM OF ART
2100 Collins Avenue
Miami Beach, FL 33139
www.thebass.org
@TheBassMoA
#TheBass#MiamiMountain
Ugo Rondinone
Miami Mountain, 2016.
Stone, paint, steel.
Collection of The Bass,
purchased with the
John and Johanna Bass
Acquisition Fund.
SHOP ARCHITECTS: COURTESY OF SHOP ARCHITECTS
V
isitors to this year’s
Design Miami fair
(until 4 December) are
due to be welcomed
by the world’s largest
3D-printed object: a
lattice-like pavilion
made from biodegradable bamboo filament, designed by
the New York-based firm SHoP Architects.
The commission, called Flotsam & Jetsam
(2016), comes as part of the fair’s third annual
Visionary Award, presented in cooperation
with the Italian watchmakers Officine
Panerai, recognising SHoP for its “evocative architecture, philanthropic initiatives,
sustainable development and innovative
practices”, according to a press release. After
its unveiling at Design Miami, the pavilion—
which resembles scaffolding and honeycomb structures built by tiny, industrious
creatures—is due to be reinstalled next year
at the Jungle Plaza in the Design District by
the Institute of Contemporary Art, Miami,
where it will host educational programmes
and performances. Gregg Pasquarelli, one of
the five principals of SHoP Architects, spoke
to us about the project.
THE ART NEWSPAPER ART BASEL IN MIAMI BEACH DAILY EDITION 1 DECEMBER 2016
17
From courtyard to arena
Dunescape at MoMA PS1 (2000)
In 2000, SHoP was
selected as the winner
of the Young Architects
Program, an annual
competition organised
by the Museum of
Modern Art and the PS1
contemporary art centre that gives emerging architects the
opportunity to build projects in the MoMA PS1 courtyard
in Long Island City. Built in time for the museum’s Warm Up
summer series of concerts and events, ShOP’s 12,000 sq. ft
pavilion included a functional pool, water mists, and lounging
and sunbathing areas.
Barclays Center (2012)
The 18,000-seat sports
and music arena,
home of the Brooklyn
Nets basketball team,
faced significant
delays, resistance from
neighbours and financial
hurdles throughout its planning, including an ambitious early
design by the starchitect Frank Gehry that was almost entirely
scrapped as the budget soared, to be replaced by a more
functional plan by the architects Ellerbe Becket/Aecom. SHoP
was hired by the developer Bruce Ratner to finish the project,
and they created an open, rust-coloured pre-weathered steel
exoskeleton that wraps around the building, including new
concourses and seating.
How does the 3D printing process work?
Three robots work to print it in sections that
are almost 50lb each, with around a 5/8-inch
thickness—fairly lightweight but strong.
The printing process is like squeezing a tube
of toothpaste. The bamboo carbon fibre
squirts out, but in less than a second it goes
from a liquid to a solid; it literally prints in
the air. The fibre comes out white but you
can paint it any colour. We’ve painted it a
beautiful metallic copper colour, which will
be fantastic in the Miami sunlight.
SITE Santa Fe (in progress)
Flotsam & Jetsam (2016) was
created using 3D-printing
technology and made from
biodegradable bamboo
filament. Inspired by Miami’s
aquatic surroundings, it will
be reinstalled in the Design
District in 2017
How large is the structure?
The entire pavilion is basically the size of a
New York City block—200ft by 100ft. I think
no one realises how big that actually is.
People will be able to occupy it.
What were the challenges?
We had to size the bar to make sure it could
support 1,000 champagne glasses.
SHoP was contracted
to renovate and expand
the biennial’s permanent
home in New Mexico by
15,000 sq. ft. Some of the
key features of the design
include the SITElab
exhibition space—a dedicated gallery for large-scale and sitespecific works—a new lecture and events space, a sculpture
court and a 1,825 sq ft. sky mezzanine that will include a dining
area with views of the city. The project broke ground in August
and is due to be completed next summer. G.Ai.
ART MIAMI
MIDTOWN MIAMI - WYNWOOD
3101 NE 1ST AVENUE
Günther Uecker, Raumkäfig, 1972
Josef Albers, Study for Homage to the Square,
1961, Oil on masonite
NOV 29 - DEC 4 2016
Willem de Kooning, Untitled, 1972,
Oil on a newspaper, mounted on cardboard
SCAD PRESENTS
Jean Dubuffet, Le Chien Rôdeur,
1955, Oil on canvas
3D TECHNOLOGY AND FLOTSAM & JETSAM: COURTESY OF SHOP ARCHITECTS
Technology based in Chattanooga, Tennessee
and Oak Ridge National Laboratory (ORNL),
which produced three-dimensionally printed
bamboo. We thought that could be an nice
intersection between furniture and art. ORNL
actually broke the Guinness World Record for
the largest solid 3D-printed structure earlier
this year [when it created a tool to be used
for building Boeing jets], so they are breaking
their own record with this pavilion.
Galerie von Vertes · Bahnhofstrasse 3 · 8001 Zurich · Switzerland
T +41 (0)44 211 12 13 · [email protected] · www.vonvertes.com
A N E X P LO R AT I O N O F I D E N T I T Y
F E AT U RING WO R KS BY DA N I E L LI S M O R E A N D B I N FE N G
DEC. 1–13, 2016
SCAD AT MIAMI | 1601 N. MIAMI AVE. | MIAMI, FLORIDA
# S C ADAT MIAMI
S C ADAT MIAMI.COM
Jeff Koons, Balloon Dog (Yellow), 2015, porcelain, 10 ½ x 10 ½ x 5 inches, 26.7 x 26.7 x 12.7 cm, © Jeff Koons. Jeff Koons, Balloon Dog (Magenta), 2015, porcelain, 10 ½ x 10 ½ x 5 inches, 26.7 x 26.7 x 12.7 cm, © Jeff Koons
THE MUSEUM OF CONTEMPORARY ART, LOS ANGELES IS PLEASED
TO OFFER BALLOON DOG (YELLOW) AND BALLOON DOG (MAGENTA) BY
JEFF KOONS PRODUCED BY BERNARDAUD TO BENEFIT MOCA.
PLEASE VISIT THE MOCA STORE AT DESIGN MIAMI TO RESERVE.
213/621-1710 | [email protected]
T H E E P I C E N T E R O F C U LT U R E .
M I A M I D E S I G N D I S T R I C T. N E T
THE ART NEWSPAPER ART BASEL IN MIAMI BEACH DAILY EDITION 1 DECEMBER 2016
21
CALENDAR
Art Basel in Miami Beach: 30 Nov-4 Dec
Double Dutch: Wolfsonian pairs
Modern design with contemporary art
VAN DER HAAK: PHOTO: LYNTON GARDINER; COURTESY OF THE WOLFSONIAN-FIU. POSTER: COURTESY OF THE WOLFSONIAN-FIU
Modern Dutch Design
More is More
UNTIL 11 JUNE 2017
Wolfsonian-FIU
www.wolfsonian.org
Miami Beach is home to the largest
collection of pre-war Dutch design
and decorative art outside The
Netherlands, at the WolfsonianFIU museum. The institution has
highlighted this strength with an
exhibition featuring around 200
pieces from its holdings, including
furniture, posters and decorative
objects, plus a handful of loans.
The show looks at major Dutch
design groups including the Nieuwe
Kunst, which was similar to Art
Nouveau; the Amsterdam School,
more of a homegrown movement;
and the minimalist, primary-
Institution presents parallel exhibitions of Modern Dutch design
and site-specific works by the artist Christie van der Haak
coloured work of De Stijl—probably
the best-known of the three, due
to its links with abstract art and
Bauhaus, says the show’s curator,
Silvia Barisione.
Although Barisione wants to
emphasise the geometric style of
Dutch design, she also points to the
social engagement of the artists and
architects. Members of the Nieuwe
Kunst and Amsterdam School were
“essentially socialists, but [working]
for a rich clientele”, she says,
although they also contributed to
low-income housing and other civic
projects. Modern graphic design
was also a way to promote social
change, such as a poster designed
by Jan Toorop for the proto-feminist
National Exhibition of Women’s
Labour in 1898, or to present a
progressive image for businesses,
such as an advertisement for the
Van Nelle factory in Rotterdam for
colonial imports of coffee, tea and
tobacco (1930).
The country’s colonial ambitions
further influenced the iconography,
styles and techniques of Dutch
Modern designers and artisans,
including the Batik wax-resist dyeing
method frequently used by Nieuwe
Kunst artists, or references to
Indonesian architecture in furniture
Part of Van der Haak’s
installation in the museum’s
lobby, and a 1930 poster by
Henri Christiaan Peck
○
See pages
22-24 for full
exhibition
listings
by the architect and designer Michel
de Klerk. A limited-edition living
room set by him is a centrepiece
of the show. Among the more
whimsical objects on display is
a miniature mosque that was an
advertising display from around 1893
for J.W. Smitt Tea and Coffee, which
imported goods from the East Indies.
The Dutch colonial government
built mosques in Indonesia as a sign
of tolerance, though in the Moorish
rather than the local style.
Concurrently, the museum has
brought its exploration of Dutch
design up to the present with More
Is More, a series of site-specific
installations by the Hague-based
artist Christie van der Haak.
Her work has “the natural and
geometric principles that were used
by members of the Niewe Kunst as
well as the much more colourful
and exuberant lines from the
Amsterdam School”, says Sharon
Aponte Misdea, the museum’s
deputy director of collections and
curatorial affairs.
Van der Haak’s highly elaborate
work involves motifs, hand-drawn
and coloured with gouache, then
digitised and enlarged onto vinyl.
She has taken over the museum’s
lobby—“one big feast” of patterns,
the artist says—with intricate
designs fixed to the floor, ceiling
and the full height of the walls. Van
der Haak has also covered part of
the exterior of the museum’s 1926
fortress-like Mediterranean-revival
building (originally constructed as a
storage facility for wealthy seasonal
residents) “asking you to come
inside and take a look”, she says. At
night, the museum is projecting an
animated video that layers Van Der
Haak’s patterns on the north facade.
Van der Haak’s work “is
consumed with this intersection
between continuity and invention,
or reinvention of the past and the
present”, says Misdea, adding that
this is an aim the Wolfsonian shares.
“I’m hoping that we can, through
both the contemporary work and
the [Modern design] exhibition,
help our visitors think about that
intersection—so that we’re not a
museum full of static objects, but
things that are part of a longer
trajectory of changing narrative.”
Victoria Stapley-Brown
22
THE ART NEWSPAPER ART BASEL IN MIAMI BEACH DAILY EDITION 1 DECEMBER 2016
CALENDAR
Art Basel in Miami Beach: 30 Nov-4 Dec
Rubells reveal latest additions to their collection
Frank Benson’s Juliana
(Prototype) (2014-15)
○ Non-
commercial
Three to see
1
The Bass
UGO RONDINONE: MIAMI
MOUNTAIN AT COLLINS PARK
The 41ft-tall fluorescent
rock sculpture is inspired
by desert rock formations
called hoodoos and by
the age-old tradition
of stacking stones to
create cairns. The work
comprises five limestone
boulders sourced from
Nevada, where the artist
has installed similar “magic
mountain” sculptures.
2
Pérez Art Museum
Miami (PAMM)
PROJECT GALLERY: SUPERFLEX
(UNTIL 23 APRIL 2017)
The Danish artist
collective floats into
Miami Beach with the film
Kwassa Kwassa (2015). The
work—whose title means
“unstable boat”—is set in
the Comoro Islands, off
the coast of east Africa,
and addresses issues
including colonisation,
migration, citizenship and
social inequality.
High Anxiety: New Acquisitions
UNTIL 25 AUGUST 2017
Rubell Family Collection
www.rfc.museum
Rubell Family Collection has
○ The
a unique place in the landscape
of the art world. Although it remains
a strong Miami institution in its own
right, market-makers and hangers-on, as
well as intellectuals, follow the family’s
movements. Just about everyone wants
to know what the Rubells have been up
to, and this week they’ll find out.
The main show this season, High
Anxiety, features works from Don and
Mira Rubell’s recent, prolific art buying.
“We’ve actually never done a recent
acquisitions show,” the collection’s
director, Juan Roselione-Valadez, says,
“and we’re very much in the acquisition
business here, so we wanted to take a
cross-section and look at the highlights.”
The Rubells have acquired 407 works
Art and Culture Center/
Hollywood
Cisneros Fontanals
Art Foundation
1650 Harrison Street, Hollywood
• Vanessa Diaz: to Receive an
Intrusion by Observing What We Have
• Rafael Domenech: Pleiades
UNTIL 8 JANUARY 2017
1018 North Miami Avenue, Miami
• Toda Percepción es una
Interpretación: YOU ARE PART OF IT
UNTIL 12 MARCH 2017
De la Cruz Collection
3
National YoungArts
Foundation
JOSÉ PARLÁ: ROOTS
(UNTIL 15 DECEMBER)
The Miami-born artist
explores his joint Cuban
and American heritage
in paintings, sculptures
and a site-specific
installation at the Jewel
Box, a remarkable
stained-glass building. The
work was commissioned
by the Rolls-Royce Art
Programme in partnership
with the Savannah College
of Art and Design.
ArtCenter/South Florida
924 Lincoln Road, Miami Beach
• An Image
UNTIL 18 DECEMBER
Faena Forum
Audemars Piguet
Art Commission
Oceanfront Miami Beach
Drive, between 21st and 22nd
Streets, Miami Beach
• Reconstruction of the
Universe by Sun Xun
UNTIL 3 DECEMBER
Bakehouse Art Complex
561 NW 32nd Street, Miami
• Audrey Love Gallery: Autopia,
Road Trip to Cold War
• Swenson Gallery: Aparna
Jayakumar, Goodbye Padmini
UNTIL 13 JANUARY 2017
1200 Coral Way, Miami
• Luis Cruz Azaceta: Dictators,
Terrorism, War and Exiles
UNTIL 26 MARCH 2017
Art Basel in Miami
Beach: Public Sector
Collins Park, between 21st and
22nd Streets, Miami Beach
• Ground Control
UNTIL 4 DECEMBER
Flagler Museum
One Whitehall Way, Palm Beach
• Edward S. Curtis: One
Hundred Masterworks
UNTIL 31 DECEMBER
Girls’ Club
117 NE 2nd Street, Fort Lauderdale
• Pink Noise: Flexting the Frequency
UNTIL 25 FEBRUARY 2017
HistoryMiami Museum
Colony Theatre, 1040 Lincoln
Road, Miami Beach
• Jorge Elbrecht, Max Hooper
Schneider and Coral Cross
3 DECEMBER
101 West Flagler Street, Miami
• Miami Street Photography Festival
UNTIL 4 DECEMBER
• Beyond the Game: Sports & the
Revolution of South Florida
UNTIL 15 JANUARY 2017
• The Discipline of Nature: Architect
Alfred Browning Parker in Florida
UNTIL 12 FEBRUARY 2017
2100 Collins Avenue, Miami Beach
• Ugo Rondinone: Miami
Mountain at Collins Park
PERMANENT COLLECTION
CalArts
American Museum
of the Cuban Diaspora
3300 Collins Avenue, Miami Beach
• Graciela Hasper mural
ONGOING
• Juan Gatti: Time Capsule
UNTIL 4 DECEMBER
Bas Fisher Invitational
The Bass
Udo Rondinone’s sculpture
Miami Mountain (2016)
23 NE 41st Street, Miami
• Progressive Praxis
UNTIL 28 NOVEMBER 2017
Centro Cultural Español,
1490 Biscayne Blvd, Miami
• El Acercamiento/The Approach
1 DECEMBER
Canvas Outdoor Museum
North Flagler Drive,
between 2nd and 5th Streets,
West Palm Beach
• Case Maclaim, Laura Kimpton,
Griffin Loop, Amanda
Valdes and others
ONGOING
Institute of Contemporary
Art (ICA), Miami
4040 NE 2nd Avenue, Miami
• Thomas Bayrle: One Day
on Success Street
UNTIL 26 MARCH 2017
The Kampong, National
Tropical Botanical Garden
4013 Douglas Rd, Miami
• Mark Dion: David Fairchild,
Laboratory at the Kampong
1-4 DECEMBER
Locust Projects
3852 North Miami Avenue, Miami
since 2014; the pieces
on display are all
drawn from that
period. The show aims
to mix generations,
with works by
established artists
such as Isa Genzken
and Hito Steyerl and
next-generation voices
like Ryan Trecartin. It
includes buzzy up-andcomers like Anne
Imhof (the subject of
a trilogy of shows this
year in Basel, Berlin
and Montreal) and
Frank Benson, whose
3D-printed sculpture of
the transgender artist Juliana Huxtable,
Juliana (2014-15), was the face of the New
Museum’s 2015 triennial.
The show was named before the
outcome of the US presidential election
and refers to a more generalised state
of unease, with artists drawing on
gender politics, colonialist heritage,
war in the Middle East and a threatened
pandemic. “Zika is in the background
here,” Roselione-Valadez adds.
Dan Duray
• Alexis Gideon: the Comet
and the Glacier
• Huffer Collective: Save Your Selves
• Katie Bell: Backsplash II
UNTIL 21 JANUARY 2017
Rubin Private Collection
UNTIL 7 MAY 2017
• Sean Cavanaugh: Under
the Elders’ Gaze
UNTIL 25 JUNE 2017
Lowe Art Museum
Mana Wynwood
University of Miami, 1301
Stanford Drive, Coral Gables
• Titus Kaphar: the Vesper Project
UNTIL 23 DECEMBER
• Donald Sultan: the
Disaster Paintings
UNTIL 23 DECEMBER
• ArtLab @ the Lowe: Blasted
Allegories, Photography
as Experience
UNTIL 2 APRIL 2017
• Unconscious Thoughts Animate
the World: Selections from
the Shelley and Donald
318 NW 23rd Street, Miami
• Mana Seven
• The Global South: Visions and
Revisions from the Brillembourg
Capriles Collection
• Documentos Extraviados:
Niños De Chernóbil En Cuba
(Missing Documents: The
Children Of Chernobyl In Cuba)
• Mana Portraits
UNTIL 4 DECEMBER
Margulies Collection
at the Warehouse
MDC Museum of Art + Design
Freedom Tower at Miami Dade College,
600 Biscayne Boulevard, Miami
• Steven Parker: Traffic Jam
UNTIL 3 DECEMBER
• 2016-2017 CINTAS Foundation
Fellowship Finalist Exhibition
UNTIL 30 DECEMBER
• Q&A Nine Contemporary
Cuban Artists
UNTIL 15 JANUARY 2017
• Sunkoo Yuh, Grafted Stories
UNTIL 15 JANUARY 2017
• The Exile Experience: a
Journey to Freedom
UNTIL 30 APRIL 2017
Museum of Contemporary
Art North Miami
Joan Lehman Building, 770
NE 125th Street, Miami
• The Other Dimension:
Contemporary Art Practice
as the Existence of Higher
Dimensions (Antuan Rodriguez)
UNTIL 20 JANUARY 2017
Norton Museum of Art
1451 South Olive Avenue,
West Palm Beach
• Question Bridge: Black Males
UNTIL 18 DECEMBER
• Rudin Prize for Emerging
Photographers
UNTIL 15 JANUARY 2017
NSU Art Museum
Fort Lauderdale
One East Las Olas Boulevard,
Fort Lauderdale
• Belief + Doubt: Selections from
the Francie Bishop Good and
David Horvitz Collection
UNTIL 22 JANUARY 2017
• Francesco Clemente:
Dormiveglia
UNTIL 23 APRIL 2017
• Samson Kambalu: NYAU Cinema
UNTIL 23 APRIL 2017
• Regeneration Series: Anselm
Kiefer from the Hall Collection
UNTIL 13 AUGUST 2017
• Some Aesthetic Decisions:
Centenary Celebration of
Marcel Duchamp’s Fountain
UNTIL 3 SEPTEMBER 2017
Designer
who links
the worlds
of art and
politics
Narciso Rodriguez:
an Exercise in Minimalism
UNTIL 8 JANUARY 2017
Patricia & Phillip Frost
Art Museum
thefrost.fiu.edu
Bright red coats in the show reflect a Latin American influence
Known for his sleek, geometrically inspired fashions and dramatic palette, the Cuban-American
fashion designer Narciso Rodriguez is a favourite of Michelle Obama, as well as of the creatively
clad denizens of the art world. With this show, conceived with the Frost Museum director Jordana
Pomeroy, Rodriguez returns the love, pairing his fashions with Modern and contemporary works
of art from the Ella Fontanals-Cisneros collection and the Frost’s own holdings.
Taken together, it’s easy to spot Rodriguez’s inspiration in hard-edged, Minimal works by Lygia
Clark, Antonio Llorens, Mira Schendel, Alberto Menocal, Donald Judd and more. His autumn 2016
collection, in particular, owes a strong debt to his countrywoman Carmen Herrera, represented
here by Tondo: Black and White (1959) and the striped print Black and White (2009). The designer
translates her razor-sharp diagonals into flowing silk and wraps them around body-skimming
slips. Colour seems to rub off on Rodriguez, too, with hues related to the scorching red of Maria
Freire’s 21 de Enero (1957) seen across several coats and sheaths. S.P.H.
BENSON: CHI LAM/RUBELL FAMILY COLLECTION. RONDINONE: COURTESY OF THE ARTIST AND THE BASS MUSEUM, MIAMI BEACH; © UGO RONDINONE. RODRIGUEZ: PHOTO: ALEJANDRO CHAVARRIA; COURTESY OF THE FROST MUSEUM OF ART
Listings are arranged
alphabetically by
category
591 NW 27th Street, Miami
• Jannis Kounellis:
Paintings 1983-2012
• New Photography Exhibition
UNTIL 29 APRIL 2017
23
THE ART NEWSPAPER ART BASEL IN MIAMI BEACH DAILY EDITION 1 DECEMBER 2016
10975 SW 17th Street, Miami
• Yuni Kim Lang: Comfort Hair
UNTIL 4 DECEMBER
• Narcisco Rodriguez: an
Exercise in Minimalism
UNTIL 8 JANUARY 2017
• Drawing Line into Form: Works
on Paper by Sculptors from the
Collection of BNY Mellon
UNTIL 15 JANUARY 2017
• Pierce, Mark, Morph
UNTIL 12 FEBRUARY 2017
Pérez Art Museum Miami
Rubell Family Collection
95 NW 29th Street, Miami
• Video Art in Latin America:
Selections from Brazil, curated
by the Getty Research Institute
UNTIL 4 FEBRUARY
• High Anxiety: New Acquisitions
UNTIL 25 AUGUST 2017
• New Shamans/Novos
Xamãs: Brazilian Artists
UNTIL 25 AUGUST 2017
1
Fredric Snitzer Gallery
HERNAN BAS:
TROPICAL DEPRESSION
(UNTIL 6 JANUARY 2017)
Feeling the winter blues?
You’ll find a kindred
spirit in the Miami-born
artist Hernan Bas, whose
paintings and works on
paper depict melancholic
characters, reflecting
emotions such as anxiety
and longing.
2
David Castillo Gallery
TÊTE-À-TÊTE
(UNTIL 31 JANUARY 2017)
The artist and curator
Mickalene Thomas has
assembled photography
and video works by 14
artists, including Xaviera
Simmons, Hank Willis
Thomas, Carrie Mae
Weems and Malick Sidibé,
exploring the social,
political and personal
mythologies of black bodies.
Deitch and
3 Jeffrey
Larry Gagosian,
Moore Building
Wolfsonian-Florida
International University
1001 Washington Avenue, Miami Beach
• The Politics of -Isms
UNTIL 22 JANUARY 2017
• Visionary Metropolis: Tony
Garnier’s Une Cité Industrielle
UNTIL 29 JANUARY 2017
• The Pursuit of Abstraction
UNTIL 16 APRIL 2017
• More is More: an Installation
by Christie van der Haak
UNTIL 11 JUNE 2017
• Modern Dutch Design
UNTIL 11 JUNE 2017
World Erotic Art Museum
1205 Washington Avenue,
Miami Beach
• Protected Beauty
UNTIL 1 MARCH 2017
BAS: COURTESY OF FREDRIC SNITZER
YoungArts Campus
2100 Biscayne Boulevard, Miami
• When We Were Young
• José Parlá: Roots
UNTIL 4 DECEMBER
David Castillo Gallery
420 Lincoln Road, Miami Beach
• Tête-à-tête, curated by
Mickalene Thomas
UNTIL 31 JANUARY 2017
Diana Lowenstein Gallery
2043 North Miami Avenue, Miami
• Graciela Sacco: a Donde va la Furia?
UNTIL 28 JANUARY 2017
Dimensions Variable
300 NE 2nd Avenue, MDC
Building 1, 3rd Floor, Miami
• The Rest is History
UNTIL 2 JANUARY 2017
Dina Mitrani Gallery
2620 NW 2nd Avenue, Miami
• Lillian Bassman: Elegance
UNTIL 30 DECEMBER
Dot Fiftyone Gallery
7275 NE Fourth Avenue, Miami
• Omar Barquet and Jose Vincench
UNTIL JANUARY 2017
DESIRE (UNTIL 4 DECEMBER)
Durban Segnini Gallery
3072 SW 38th Avenue, Miami
• Felguérez
UNTIL MARCH 2017
EAST, Miami
788 Brickell Plaza, Miami
• Ye Hongxing: Prajñāpāramita
UNTIL 5 DECEMBER
Four Seasons Hotel Miami
1435 Brickell Avenue, Miami
• Antonio Dominguez
and Romero Britto
UNTIL JANUARY 2017
t
r
la
Un
r
The
ultimate gift
for art lovers
Fredric Snitzer Gallery
2247 NW 1st Place, Miami
• Hernan Bas: Tropical Depression
UNTIL 6 JANUARY 2017
Gary Nader Fine Art
A Tropical Depression (2016)
by Miami-born Hernan Bas
62 NE 27th Street, Miami
• Rena Effendi: the Crossing Point
UNTIL 15 DECEMBER
• Wifredo Lam: Blurring Boundaries
UNTIL 15 DECEMBER
Alfa Gallery
Henrique Faria
1627 Brickell Avenue, Miami
• White On
UNTIL 17 FEBRUARY 2017
2751 North Miami Avenue, Miami
• Illuminations II
UNTIL 10 FEBRUARY 2017
Avant Gallery
Ideobox Artspace
Epic Hotel, 270 Biscayne
Boulevard Way, Miami
• The Epic Show
4 DECEMBER
2417 North Miami Avenue, Miami
• Magdalena Fernandez: Climas
UNTIL 17 JANUARY 2017
KaBe Contemporary
Beatriz Esguerra Art
Museo Vault Viewing Room,
346 NW 29th Street, Miami
• Resounding Subtleties:
Carol Young, Pablo Posada
Pernikoff, Carlos Alarcón,
Santiago Uribe-Holguín,
Mario Arroyave and
Luis Carlos Tova
1-3 DECEMBER
Wynwood Walls
NW 2nd Avenue between 25th
Street and 26th Street, Miami
• Fear Less
UNTIL 4 DECEMBER
1 Hotel, 2341 Collins
Avenue, Miami Beach
• A Future Made
UNTIL 2 DECEMBER
Eroticism in art is explored
in a show organised in
collaboration with Diana
Widmaier-Picasso, the art
historian and daughter of
the painter. Featured artists
range from Alex Israel and
John Currin, to Modern
masters such as Picasso
and Balthus.
Vizcaya Museum and
Gardens
3251 South Miami Avenue, Miami
• Lost Spaces and Stories of Vizcaya
UNTIL OCTOBER 2017
Crafts Council UK
lled covera
iva
1103 Biscayne Boulevard, Miami
• Matthew Ronay: When
Two Are in One
UNTIL 15 JANUARY 2017
• Carlos Motta: Histories for the Future
UNTIL 15 JANUARY 2017
• David Reed: Vice and Reflection
UNTIL 26 FEBRUARY 2017
• Julio Le Parc: Form-Action
UNTIL 19 MARCH 2017
• Project Gallery: SUPERFLEX
UNTIL 23 APRIL 2017
• Sarah Oppenheimer: S-281913
UNTIL 30 APRIL 2017
• Susan Hiller: Lost and Found
UNTIL 4 JUNE 2017
• Project Gallery: Ulla
von Brandenburg
UNTIL 25 JUNE 2017
• Hew Locke: Hemmed in Two
UNTIL 18 JULY 2017
• Routes of Influence
UNTIL 18 JULY 2017
Three to see
3500 Collins Avenue, Miami Beach
• L’Eden by Perrier-Jouët
UNTIL 4 DECEMBER
n
i
g
lob
s
t
n
a
e
m
Patricia & Phillip Frost
Art Museum
○ Commercial
223 NW 26th Street, Miami
• Untitled booth D5
UNTIL 31 JANUARY 2017
Louis Vuitton Miami
Design District
Miami Design District, 140
NE 39th Street, Miami
• Louis Vuitton:
Objets Nomades
UNTIL JANUARY 2017
Butter Gallery
2930 NW 7 Avenue, Miami
• Dido Fontana:
Cotto Al Dente
UNTIL 31 JANUARY 2017
• Brian Gefen: Star Focus
UNTIL 31 JANUARY 2017
• Jean-Michael Vissepó Ocasio:
¡No Pintes en las Paredes!
UNTIL 31 JANUARY 2017
Macaya Gallery
145 NW 36th Street, Miami
• Knowledge Bennett: Painting
Under The Influence
UNTIL 4 DECEMBER
• Danny Simmons Jr
2 DECEMBER
Continued on p24
○
The ARC, 675 Ali Baba
Avenue, Opa-locka
• Say it Loud
UNTIL 22 JANUARY 2017
Casa Faena
of develop
ge
Opa-locka Community
Development Corporation
Order your gift by 12 December
and treat a client, friend or someone special
Visit us today at Art Basel in Miami Beach, stand Q22,
or order online at subscribe.theartnewspaper.com
24
THE ART NEWSPAPER ART BASEL IN MIAMI BEACH DAILY EDITION 1 DECEMBER 2016
CALENDAR
Art Basel in Miami Beach: 30 Nov-4 Dec
Continued from p23
UNTIL 10 DECEMBER
Miami collectors
look to the future
Sagamore, the Art Hotel
255 NE 69th Street, Miami
• Amanda Ross-Ho
UNTIL 14 JANUARY 2017
Mindy Solomon Gallery
Progressive Praxis
The Screening Room
UNTIL 28 NOVEMBER 2017
2626 NW 2nd Avenue, Miami
• Traveling Lady
UNTIL 26 JANUARY 2017
Michael Jon & Alan Gallery
8397 NE 2nd Avenue, Miami
• Einar and Jamex de la Torre:
The Flaunting of Youth
UNTIL 14 JANUARY 2017
• Generic Art Solutions
(GAS): Raw Horse Power
UNTIL 14 JANUARY 2017
Moore Building
4040 NE 2nd Avenue, Miami
• Jeffrey Deitch and Larry
Gagosian Present Desire
UNTIL 4 DECEMBER
NETZWERRK
313 NE 59 Street, Miami
• Erich Mielke’s Frieden
unserem Erdenrund (Peace
Around Our World)
UNTIL 4 DECEMBER
Nina Johnson
6315 NW 2nd Avenue, Miami
• Awol Erizku: I was Going to Call it
Your Name but You Didn’t Let Me
UNTIL 14 JANUARY 2017
Now Contemporary Art
337 NW 25th Street, Miami
• Magdalena Murua
UNTIL 31 DECEMBER
Pan American Art Projects
1671 Collins Avenue, Miami Beach
• Lingerie Française
UNTIL 6 DECEMBER
de la Cruz Collection
www.delacruzcollection.org
this show, the museum aims to emphasise
○ With
its mission to “always accept new ideas and new
Tresart
2121 NW 2nd Avenue, Unit 2, Miami
• Sandú Darié: Coordinated
Movements
UNTIL 8 JANUARY 2017
forms, and to always extend our collection by looking
toward the future”, says Rosa de la Cruz, the Miami
collector who co-founded the private museum with
her husband Carlos in 2009. “There are people who
only collect a certain artist but, like the title suggests,
we’re always in praxis,” de la Cruz says. “Art is not
about staying stuck in one moment.”
A highlight is Nefertiti Sculpture (2015) by the
German artist Isa Genzken, a plaster bust of the
ancient Egyptian queen wearing glasses. Another
is an installation by the late Cuban-born artist
Félix González-Torres, Untitled (Portrait of Dad)
(1991), one of the artist’s well-known interactive
mint candy piles, which visitors are encouraged to
sample. The show features around 150 paintings,
sculptures, video installations and other works of
art by 47 artists. G.Ai.
6300 NW 2nd Avenue, Miami
• No History is Innocent: Politics
and Porn. Carlos Enriquez
and José Angel Toirac
UNTIL 14 JANUARY 2017
Pan American Art
Projects Annex
○ Outside
Miami
Three to see
1
The Dalí Museum,
St Petersburg
FRIDA KAHLO AT THE DALÍ
(UNTIL 17 APRIL 2017)
The show includes paintings and personal photographs. The museum has
even replanted its garden
to resemble Kahlo’s at the
Casa Azul in Mexico.
Spinello Projects
7221 NW 2nd Avenue, Miami
• Naama Tsabar: Transitions #3
UNTIL 14 JANUARY 2017
Waltman Ortega Fine Art
2233 NW 2nd Avenue, Miami
• Jorge Enrique: Borders
UNTIL 27 DECEMBER
Williams McCall
6699 NE 2nd Ave, Suite 274-A, Miami
• Obsessions: Memory, Ideology
and the Creative Process
UNTIL 14 JANUARY 2017
Infinity, While Hanging Upside
Down. Watching Lovers Fall from
Grace, Underneath the Ground
UNTIL 21 FEBRUARY 2017
Primary Projects
Robert Fontaine Gallery
15 NE 39th Sreet, Miami
• Autumn Casey: Balancing
2121 NW Second Avenue, Miami
• Decadent City
110 Washington Avenue, CU-3,
Miami Beach and 3196 Commodore
Plaza, 2nd Floor, Coconut Grove
• Pop Art Shows featuring Mr.
Brainwash, Banksy, Haring,
Indiana, and Lichtenstein
UNTIL 31 JANUARY 2017
Yeelen Gallery
294 NW 54th Street, Miami
• Woke AF
UNTIL 14 JANUARY 2017
2
Girls’ Club,
Fort Lauderdale
PINK NOISE: FLEXING THE
FREQUENCY (25 FEBRUARY 2017)
Photographs, paintings,
drawings, sculptures, fibre
art and performances
focus on the ambivalent
and limiting associations
of the “girly” colour pink.
3
Norton Museum of
Art, Palm Beach
QUESTION BRIDGE: BLACK
MALES (UNTIL 18 DECEMBER)
Three artists have
expanded Chris Johnson’s
1996 video project exploring black male identity to
include responses from
160 men in nine cities.
GENZKEN: COURTESY OF THE DE LA CRUZ COLLECTION
○
26
THE ART NEWSPAPER ART BASEL IN MIAMI BEACH DAILY EDITION 1 DECEMBER 2016
WEEK AT A GLANCE
Art Basel in Miami Beach: 30 Nov-4 Dec 2016
○ Taking place
around town
As usual, it is a busy week in
Miami. With nearly 20 fairs
orbiting Art Basel in Miami
Beach, there is a lot to see and
do. Here is our breakdown of
some of the more interesting
projects at the satellite events
around town.
X Contemporary
Nobu Hotel Miami Beach, 4525 Collins
Avenue, Miami Beach
UNTIL 4 DECEMBER
○ Events
THURSDAY 1 DECEMBER
10AM
Miami Beach Convention Centre, Hall C
Artist talk: Julio Le Parc
The Argentinian will speak to
patron Estrellita Brodsky about
his show Julio Le Parc: Form
into Action at the Pérez Art
Museum Miami (until 19 March)
Art Miami/Context
3101 NE 1st Avenue and 118 NE 34th
Street, Miami
UNTIL 4 DECEMBER
2PM
Miami Beach Convention Centre, Hall C
Art Miami, which enters its
28th year, includes around 130
exhibitors. At Context, its sister
fair, the South African curator
Claire Breukel has organised a
show titled To Jump Rope that
includes installations by Abigail
Reyes, Póker (Fredy Solano) and
Patricio Marano. For Breukel,
the show has a political edge.
“Politics teeters between the
extremes of welcoming ‘alien’
integration [and] creating
barriers, quite literally, to keep
people out,” she says.
from across her nearly 40-year
career. The artist, who often
confronts feminist themes, says
the work deals in part with “my
own ambivalence: I embrace
being a woman, but also deal
with the various ways in which
women are portrayed and
expected to be”.
playful performance in which
actors luxuriate in the bowl.
“It is important that we are
reminded, in the midst of a
world that is more and more
defined by sales rather than
artistic energy, of what our
ultimate goals as artists are,”
the duo says.
Fridge Art Fair
Design Miami
Pulse Miami Beach
Untitled
Miami Project
Meridian Avenue and 19th Street,
Miami Beach
UNTIL 4 DECEMBER
Indian Beach Park, 4601 Collins Avenue,
Miami Beach
1-4 DECEMBER
Ocean Drive and 12th Street,
Miami Beach
UNTIL 4 DECEMBER
6625 Indian Creek Drive, Miami
UNTIL 4 DECEMBER
This year’s Design Miami/
Visionary Award honoree is the
New York-based architectural
firm SHoP Architects, who
will create a pavilion made in
part of 3D-printed bamboocomposite at the fair’s
entrance. Gregg Pasquarelli, a
founding principal at the firm,
says: “When visitors immerse
themselves and engage with
the Design Miami installation,
and we see how it makes
them feel and what kind of
interactions it provokes, that’s
the most important moment
for us.”
On the emerging art fair’s
opening day, the artist
Erica Prince will be offering
makeovers to attendees in
a work titled Transformed
Makeover Salon. “Whether
they like the makeover or
not is somewhat irrelevant—
the chance to see yourself
differently makes you feel
like anything and everything
is malleable,” Prince says.
Other fair projects include
an installation by Jason
Hackenwerth of 12,000 balloons
made to resemble a pupa. He
says the work “suggests the
potential for transcendence”.
The artists Tomas Vu and Rirkrit
Tiravanija have organised a
project for intrepid fair-goers,
letting them borrow Pussy
Riot-inspired surfboards to test
Miami’s waters. The artists
are also employing Columbia
University MFA students to silkscreen t-shirts with phrases like
“police the police”. “When they
silkscreen on a t-shirt they are
participating in the politically
charged text and imagery,” Vu
and Tiravanija say. P.P.
Miami River Art Fair
New Art Dealers Alliance
(Nada)
Satellite
Deauville Beach Resort, 6701 Collins
Avenue, Miami Beach
1-4 DECEMBER
The Parisian Hotel, 1510 Collins Avenue,
Miami Beach
1-4 DECEMBER
At Nada, the curatorially
minded fair of young art
dealers, the Lord Ludd gallery
from Philadelphia, is showing
an installation of inflatable
works by Nancy Davidson. The
presentation includes examples
Artists Jen Catron and Paul
Outlaw have created the
25-foot tall sculpture F+++ IT,
which greets visitors to the
fair and depicts milk being
poured into a cereal bowl. It
will be the site of a continuing
The Betsy Hotel, 1440 Ocean Drive,
Miami Beach
UNTIL 4 DECEMBER
Ink Miami
Suites of Dorchester, 1850 Collins
Avenue, Miami Beach
UNTIL 4 DECEMBER
James L. Knight Center,
400 SE 2nd Avenue, Miami
UNTIL 4 DECEMBER
Pinta
Mana Wynwood,
2217 NW 5th Avenue,
Miami
UNTIL 4 DECEMBER
Prizm
7230 NW Miami Court, Miami
UNTIL 11 DECEMBER
Red Dot Art Fair
○ Other
1700 NE 2nd Avenue, Miami
UNTIL 4 DECEMBER
satellites
Scope Miami Beach
Aqua Art Miami
Aqua Hotel, 1530 Collins Avenue,
Miami Beach
UNTIL 4 DECEMBER
801 Ocean Drive, Miami Beach
UNTIL 4 DECEMBER
Spectrum Miami
1700 NE 2nd Avenue, Miami
UNTIL 4 DECEMBER
Art Concept
301 Biscayne Boulevard at
Chopin Plaza, Miami
1-4 DECEMBER
Superfine
56 NE 29th Street, Miami
UNTIL 4 DECEMBER
Salon: the Future of Buenos Aires’s
Cultural Landscape
A talk with the city’s mayor
Rodríguez Larreta, Diego
Radivoy, Orly Benzacar, Alec
Oxenford and András Szántó
4PM
Miami Beach Convention Centre, Hall C
Salon: Why is Gender Still an Issue?
The panel discussion includes
Maura Reilly, Joan Snyder and
Paul Schimmel
6PM
SoundScape Park, 500 17th Street,
Miami Beach
Sound Works
Sound works by Ain Bailey, Zoë
Buckman, A.K. Burns, Jonathan
Montague, Molly Palmer and
Susannah Stark
6PM
Miami Beach Convention Centre, Hall C
Salon: New Biennials in the Americas
A talk with Ngahiraka Mason,
Trevor Schoonmaker, Rocío
Aranda-Alvarado and Pablo León
de la Barra
8PM
SoundScape Park, 500 17th Street,
Miami Beach
Short Film Programme:
Best Dressed Chicken in Town
Works by a selection of multigenerational artists who engage
with music, including Ana
Mendieta and Luther Price
10PM
SoundScape Park, 500 17th Street,
Miami Beach
Short Film Programme:
New Parthenon
Works inspired by classical
music and ballet
THE ART NEWSPAPER
Art Basel in Miami Beach
daily editions
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STERN: COURTESY OF RACHEL STERN AND THE ARTISTS
Jen Catron and
Paul Outlaw,
photographed by
Rachel Stern. The
two artists have
created a 25-foot
tall sculpture titled
F+++ IT that greets
visitors to the
Satellite fair
NOV 29 - DEC 4, 2016
VIP PREVIEW NOVEMBER 29
MIAMI’S PREMIER INTERNATIONAL FAIRS FOR MODERN + CONTEMPORARY ART
ART MIAMI PARTICIPATING GALLERIES
Adler & Conkright Fine Art, Miami | Allan Stone Projects, New
York | Alon Zakaim Fine Art, London | Álvaro Alcázar, Madrid
| Amstel Gallery, Amsterdam | Andrea Schwartz Gallery, San
Francisco | Antoine Helwaser Gallery, New York | Arcature Fine
Art, Palm Beach | ARCHEUS/POST-MODERN, London | Arthur
Roger Gallery, New Orleans | Ascaso Gallery, Miami | Benrimon
Projects, New York | Bernarducci Meisel Gallery, New York |
Bernice Steinbaum Gallery, Miami | Berry Campbell Gallery, New
York | Bowman Sculpture, London | C24 Gallery, New York | C.
Grimaldis Gallery, Baltimore | CARL HAMMER GALLERY, Chicago
| Casterline|Goodman Gallery, Aspen | Catherine Edelman
Gallery, Chicago | Cecilia de Torres, Ltd., New York | Cernuda
Arte, Coral Gables | Chowaiki & Co., New York | Christopher Cutts
Gallery, Toronto | CONNERSMITH, Washington | Contessa Gallery,
Cleveland | Cordeiros Galeria, Portugal | Cynthia Corbett Gallery,
London | CYNTHIA-REEVES, New York | David Benrimon Fine
Art, New York | David Klein Gallery, Detroit | Dean Project, Miami
Beach | DE RE GALLERY, Los Angeles | Diana Lowenstein Gallery,
Miami | DIE GALERIE, Frankfurt | Dillon + Lee, New York | Dolby
Chadwick Gallery, San Francisco | Durban Segnini Gallery, Miami
| EDUARDO SECCI CONTEMPORARY, Florence | Ethan Cohen
Gallery, New York | Espace Meyer Zafra, Paris | Fabien Castanier
Gallery, Culver City | Galeria Freites, Caracas | Galería La Cometa,
Bogotá | Galerie Boulakia, Paris | Galerie Dukan, Paris | Galerie
Ernst Hilger, Vienna | Galerie Forsblom, Helsinki | Galerie
Francesco Vangelli de’Cresci, Paris | Galerie Terminus, Munich |
GALLERY ANDREAS BINDER, Munich | Gallery Delaive, Amsterdam
| Gallery Rueb, Amsterdam | Gazelli Art House, London | Goya
Contemporary Gallery, Baltimore | Haines Gallery, San Francisco |
Heller Gallery, New York | HEXTON | modern and contemporary,
Chicago | Hollis Taggart Galleries, New York | HORRACH MOYA,
Palma de Mallorca | Jackson Fine Art, Atlanta | James Barron Art,
Kent | Jaski, Amsterdam | Jenkins Johnson Gallery, San Francisco
| Jerald Melberg Gallery, Charlotte | JEROME ZODO GALLERY,
London | Jonathan Novak Contemporary Art, Los Angeles | Klein
Sun Gallery, New York | KM FINE ARTS, Chicago | Kuckei + Kuckei,
Berlin | Kustera Projects, Brooklyn | Leonard Hutton Galleries,
New York | LESLIE FEELY, New York | Lisa Sette Gallery, Phoenix
| Long-Sharp Gallery, Indianapolis | Louis K. Meisel Gallery,
New York | Lyndsey Ingram, London | Lyons Wier Gallery, New
York | Marina Gisich Gallery, Saint Petersburg | Mario Mauroner
Contemporary Art Salzburg-Vienna | Mark Borghi Fine Art, Palm
Beach | MARK HACHEM GALLERY, Paris | Mayoral, Barcelona
| McCormick Gallery, Chicago | Michael Goedhuis, London |
Michael Schultz Gallery, Berlin | Mimmo Scognamiglio Gallery,
Milan | Mindy Solomon Gallery, Miami Beach | Mixografia,
Los Angeles | Modernism Inc., San Francisco | Nancy Hoffman
Gallery, New York | NanHai Art, San Francisco | Nikola Rukaj
Gallery, Toronto | NOW Contemporary, Miami | Olga Korper
Gallery, Toronto | Omer Tiroche, London | Opera Gallery, Miami
| OSBORNE SAMUEL, London | Other Criteria, New York | Pablo
Goebel Fine Arts, Mexico | Pan American Art Projects, Miami |
Priveekollektie Contemporary Art | Design, Heusden aan de Maas
| Queue Projects, Greenwich | Renate Bender, Munich | RGR+Art,
Valencia | Rosenbaum Contemporary, Miami | Rosenfeld Gallery,
New York | RUDOLF BUDJA GALLERY, Miami Beach | Scott White
Contemporary Art, San Diego | Simon Capstick-Dale, New York
| Sims Reed Gallery, London | SMITH-DAVIDSON GALLERY,
Amsterdam | Sous Les Etoiles Gallery, New York | Sundaram
Tagore Gallery, New York | Tansey Contemporary, Santa Fe |
TAYLOR | GRAHAM, New York | TORCH, Amsterdam | Tresart, Coral
Gables | UNIX Gallery, New York | Vallarino Fine Art, New York |
VERTES, Zurich | von Braunbehrens, Stuttgart | Waltman Ortega
Fine Art, Miami | WANROOIJ GALLERY, Amsterdam | Waterhouse
& Dodd, London | Wellside Gallery, Seoul | WETTERLING GALLERY,
Stockholm | Yares Art Projects, Santa Fe | Yufuku Gallery, Tokyo |
Zemack Contemporary Art, Tel Aviv | Zolla/Lieberman Gallery,
Chicago
CONTEXT HAS MOVED ONE BLOCK NORTH OF
ART MIAMI AT NE 1ST AVE @ NE 34TH STREET
CONTEXT ART MIAMI PARTICIPATING GALLERIES
11.12 Gallery, Moscow | 3 Punts Galeria, Barcelona | 57 Projects,
Los Angeles | 532 Gallery Thomas Jaeckel , New York | Accola
Griefen, New York | Adelson Galleries, New York | Affinity for
ART, Hong Kong | Ai Bo Gallery, Purchase | ALIDA ANDERSON
ART PROJECTS, Washington, DC | ANNA ZORINA GALLERY, New
SPECIAL EXHIBITIONS + HIGHLIGHTS
ART MIAMI LOCATION
The Art Miami Pavilion | NE 1st Ave & NE 31st St | Wynwood
CONTEXT NEW LOCATION ONE BLOCK NORTH OF ART MIAMI
CONTEXT Pavilion | NE 1st Ave & NE 34st St | Wynwood
VIP PREVIEW
Tuesday, November 29 | 5:30 pm – 10 pm
Access for Art Miami | CONTEXT | Aqua VIP Cardholders & Press | Sponsored by
Christie’s International Real Estate and Benefiting the Perez Art Museum Miami
GENERAL ADMISSION
Wednesday, Nov 30
Thursday, Dec 1
Friday, Dec 2
11 am – 8 pm
11 am – 8 pm
11 am – 8 pm
Saturday, Dec 3
Sunday, Dec 4
VIP PREVIEW
BENEFITING:
11 am – 8 pm
11 am – 6 pm
TICKETS
$45
$90
$250
$30
Free
$30
$90+
York | Ansorena Galeria de Arte, Madrid | ARCH GALLERY, Miami
| Art Bastion Gallery, Miami | Art d’Aurelle Gallery, Paris | Artêria,
Bromont | ARTPARK, Seoul | Baik song Gallery, Seoul | BAU-XI
GALLERY, Toronto | Benrimon Projects, New York | Bensignor
Gallery, Buenos Aires | Black Book Gallery, Denver | BLANK
SPACE, New York | Caldwell Snyder Gallery, San Francisco | Cantor
Fine Art, W. Hollywood | Christopher Martin Gallery, Dallas |
CONNECT CONTEMPORARY, Atlanta | Contempop Gallery, New
York | Corey Helford Gallery, Los Angeles | Cube Gallery, London
| Denise Bibro Fine Art, New York | Dialecto Gallery, San Francisco
| Eastern Europe Art Connection, Warsaw | Fabien Castanier
Gallery, Culver City | Fernando Luis Alvarez Gallery, Stamford |
FREDERIC GOT, Paris | Galeria Alfredo Ginocchio, Mexico City
| Galeria Casa Cuadrada, Bogota | Galería Enrique Guerrero,
Mexico City | Galería Gema Llamazares, Gijon | Galeria Juan Silio,
Santander | Galeria LGM, Bogota | Galerie Andres Thalmann,
Zurich | Galerie Barbara von Stechow, Frankfurt | Galerie Bhak,
Seoul | Galerie Friedmann-Hahn, Berlin | Galerie GAIA, Seoul |
Galerie Matthew Namour, Montréal | Galleria Ca’ d’Oro, Miami
| GALLERIA STEFANO FORNI, Bologna | Gallery G-77, Kyoto |
Gallery Henoch, New York | Gallery Jung, Seoul | GALLERY LEE
& BAE, Busan | Gallery Tableau, Seoul | Gibbons & Nicholas,
Dublin | Hazelton Galleries, Toronto | HOHMANN, Palm Desert |
JanKossen Contemporary, Basel | Joerg Heitsch Gallery, Munich
| JUAN SILIÓ GALLERY, Santander | K. Imperial Fine Art, San
Francisco | K+Y Gallery, Paris | KANG CONTEMPORARY, New
York | KEUMSAN GALLERY, Seoul | Kim Foster Gallery, New York
| Knight Webb Gallery, London | Kostuik Gallery, Vancouver
| LaCa Projects, Charlotte | Laura Rathe Fine Art, Houston |
Lawrence Fine Art, East Hampton | LEEHWAIK Gallery, Seoul |
LICHT FELD Gallery, Basel | LIQUID ART SYSTEM, Capri | Lucía
Mendoza, Madrid | Lyle O. Reitzel Gallery, New York | Madelyn
Jordon Fine Art, Scarsdale | METROQUADRO, Torino | Modus Art
Gallery, Paris | Mugello Contemporary, Los Angeles | N2 Galería,
Barcelona | Octavia Art Gallery, New Orleans | Paik Hae Young
Gallery, Seoul | Paul Stolper Gallery, London | Pigment Gallery,
Barcelona | PYO Gallery, Seoul | Ranivilu Art Gallery, Miami |
Robert Fontaine Gallery, Miami | Rofa Projects, Potomac | SASHA
D, Córdoba | SET ESPAI D’ART, Valencia | Shine Artists / Pontone
Gallery, London | Shirin Gallery, New York | Skipwiths, London |
Susan Eley Fine Art, New York | ten|Contemporary, Nevada City |
The Public House of Art, Amsterdam | UBUNTU Art Gallery, Cairo
| UNION Gallery, London | Valli Art Gallery, Miami | Villa del Arte
Galleries, Barcelona | Walker Contemporary, Waitsfield | Woolff
Gallery, London | ZK Gallery, San Francisco
One day fair pass (admission to Art Miami + CONTEXT)
Multi-day fair pass (admission to Art Miami, CONTEXT & Aqua)
VIP Pass (online tickets only until Nov 29)
Seniors 62 years + and Students 12-18 years
Children under 12 years accompanied by adult
Groups 10 or more (online tickets only)
Private & Group Tours at Art Miami by Living International Art
ART BASEL VIP CARDS ACCEPTED FOR ADMISSION
Fairgoers have unlimited access to the daily shuttle buses that connect Art Miami
and CONTEXT with Aqua Art Miami and the Miami Beach Convention Center, as well
as Art Miami’s hospitality partner, the JW Marriott Marquis Miami.
Aqua Art Miami presents its 2016 edition Nov 30-Dec 4 at the Aqua
Hotel. One of the top showcases for emerging art, the boutique fair
supports a wide range of young and established galleries with strong
emerging and mid-career artists. www.aquaartmiami.com
Visual and Recording Artist Al Baseer Holly “ABH” Makes International Debut with “Childhood
Access Memories Exhibition” to Benefit the Perry J. Cohen Foundation. ABH’S Work Has Been
Quietly Collected By Those In The Know. The Break Out Exhibition Will Be Highly Sought After To
Support A Great Cause. The work is being represented by Arcature Fine Art of Palm Beach. Fifty percent
of the proceeds from the exhibition will benefit the Perry J. Cohen Foundation. www.pjcf.org
Christie’s International Real Estate, the world’s leading luxury network will once again be a Main
Sponsor of the Fair and will host an interactive booth at Art Miami showcasing top properties from
around the world in conjunction with 15 of their top affiliates. www.christiesrealestate.com
JW Marriott Marquis Miami and Hotel Beaux Arts Miami, the Official Luxury Hotels of Art Miami
will host a special exhibition in conjunction with the fair of emerging and mid-career international
talents on display in the hotel lobby. www.marriott.com/Miami
Diamonds Unleashed will once again host an interactive booth at Art Miami. Diamonds Unleashed is
a “profits with a purpose” brand founded by world-renowned jewelry designer Kara Ross to promote
and support women’s empowerment. Through its multiple initiatives and philanthropic platforms,
Diamonds Unleashed continues to drive the movement for women’s rights. diamondsunleashed.org.
Artsy.net is the Official Online Partner of Art Miami and CONTEXT. Collectors and art enthusiasts
can use Artsy to browse exhibitor booths, make sales inquires on available art works, and access fair
information online via Artsy.net and the Artsy app for iPhone & iPad. www.artsy.net
Galleries Association of Korea in the CONTEXT Pavilion
Galleries Association of Korea, as a meeting of nationwide galleries, was founded in 1976 with a sense
of duty to the establishment of order in the circulation and to foster a sound art market as well as to
promote the understanding and popularization of art and contribute to the global advancement of
the culture of art.
Sculpture Garden Curated by Claire Breukel at the CONTEXT Pavilion
Sculpture Garden is a curatorial program of site-specific artist’s presentations. The exhibition will
display experimental and innovative developments in contemporary sculpture.
Sound Positions Curated by Christoph Cox in the CONTEXT Pavilion
Curated by Christoph Cox, Sound Positions creates immersive and intimate situations for listening
to work by an international selection of emerging and established sound artists. The exhibition will
feature individual listening stations, each dedicated to the work of one artist.
Fashion-Tech Curated by Valerie Lamontagne in the CONTEXT Pavilion
Fashion-Tech will feature artists working with new technologies. From avant-garde wearables to
interactive art and new media art, the exhibition will explore the relationship between the audience,
technology, performance and art.
Friday Art Talks in the CONTEXT Pavilion (details at contextartmiami.com)
3:00-3:40PM From Object to Idea: New Ways of Collecting Contemporary Art
4:00-4:40PM Korean Pop Arts vs. American Pop Art
5:00-6:30PM Art Connect
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