Miami Art Basel 2015 – Must See Exhibitions, Best Parties and Events – Updated Dec. 2, 2015

Changes abound for the upcoming Miami Art Basel week 2015. The NADA Art Fair has a new home – the spectacular billion dollar upgraded historic Fontainbleau Hotel. In all previous locations the fair was free to enter – no more; it now $20 a head. The Rubell Family Collection stays in the forefront of the pulse of the artworld with an all woman artists exhibition that will rotate works over the duration of the show. The Marguiles Warehouse will feature a massive four custom built room exhibition of the work of Anselm Kiefer, whose retrospective I saw at the Royal Academy in London in the fall of 2014. The ICA Miami will be getting its new building in 2017 – meanwhile it will have a show of the NYC video artist Alex Bag. The de la Cruz Collection is doing a survey show loaded with art stars working in abstraction. With NADA, Scope, Pulse all having returned to Miami Beach, the major art fair action on the Miami side is now Art Miami and its Context Art Fair. Miami Projects has also moved to Miami Beach into the Deauville Hotel, which NADA just left after last year. Also up will be three stellar shows at Mana Contemporary – including the Frederick Weisman art foundation in Los Angeles, a selection of the Jorge Perez collection, and a selection of Latin America art. There will also be work from artists working in Bushwick. The other major offering will be the exhibition of representational and realist art curated by Jeffrey Deitch and Larry Gagosian that will be in the Moore Building in Miami’s white-hot Design District, and the Nari Ward retrospective at the Perez Art Museum, now under the direction of Franklin Sirmans. Isaac Julien’s 15 screen video project commission for Rolls Royce makes its North American debut at Young Arts in Wynnwood.
Miami has a couple of new gallery districts – Little River and Little Haiti, that offer warehouse sized exhibition spaces.
Up the road we can look forward to the opening of the Faena Arts Center in Miami Beach, the new ICA Miami building, and the Museum of Latin American art by Miami gallerist Gary Nader.
Vincent Johnson is an artist and writer in Los Angeles. he recently interviewed William Pope L. at MoCA in Los Angeles for the November 2015, 15th Anniversary issue of FROG magazine.
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Art Basel 2015 Sketch Book: 8 Artists to Watch

Mega Guide To Art Basel Miami Beach 2015: Tuesday

Gary Pini

Yves Behar is the recipient of the 2015 Design Miami “Design Visionary Award” and he’ll be honored with a special exhibit in the D/M venue behind the convention center through December 6. The VIP preview is today, December 1st. A student team from Harvard was chosen to design the fair’s entrance for their submission, “UNBUILT,” a collection of foam models of unrealized design projects. Expect thirty five exhibitors inside including Firma Casa from Brazil, showing new works by the Campana Brothers, and Italian gallery Secondome, with hand-crafted limited editions.

The Miami Project is also launching a new spin-off this year called SATELLITE that will show various “experimental” projects in unoccupied properties up near their 73rd Street base. One of those, “Artist-Run,” will fill the rooms in the Ocean Terrace Hotel (7410 Ocean Terrace, Miami Beach) with different installations from 40 artist-run spaces, curated by Tiger Strikes Asteroid. It’s open from December 2nd to 6th, with a VIP/media event today, December 1st, from noon to 10 p.m. ALSO: Trans-Pecos, the music venue out in Queens, New York, and Sam Hillmer from the band Zs, are putting together a 5-day music program in the North Beach Amphitheater, emphasizing “musical practitioners with some form of art practice.”

X Contemporary launches their inaugural fair in Wynwood running from December 2nd through Sunday, and a VIP opening on December 1st from 5 to 10 p.m. Twenty eight exhibitiors will be on hand, plus special projects including “Grace Hartigan: 1960 – 1965” presented by Michael Klein Arts; a look at the “genesis of street art” curated by Pamela Willoughby; and “Colombia N.O.W.” presented by TIMEBAG.

Target Too InstallationPULSE Miami Beach returns to Indian Beach Park (4601 Collins Avenue, Miami Beach) starting with a big “Opening Celebration” at 4 p.m. today, December 1st, featuring a panel discussion put together by Hyperallergic; an interactive piece by Kate Durbin called “Hello, Selfie!” and a live performance by Kalup Linzy. On December 5th, PULSE celebrates the City of Miami via a talk at 5 p.m. on “Future Visions of Miami” and a “Sunset Celebration” from 5 to 7 p.m. Fair visitors can check out “TARGET TOO,” an installation referencing items sold at the stores, originally on view in NYC last March. There’s a complimentary shuttle from the convention center, and the fair is open daily from 10 a.m. to 7 p.m. through Saturday.

Wynwood Walls (2520 NW 2nd Avenue, Miami) has a lot planned this year including “Walls of Change” with 14 new murals and installations and the debut of a new adjacent space called “The Wynwood Walls Garden.” The walls are by Case, Crash, Cryptik, el Seed, Erenest Zacharevic, Fafi, Hueman, INTI, The London Police, Logan Hicks and Ryan McGinness. Over in the “garden,” the Spanish art duo Pichi & Avo are doing a mural on stacked shipping containers and in the events space, Magnus Sodamin will be painting the floors and walls. The VIP opening is on December 1st in the early evening, but then it’s open to the public from 11 p.m. to 2 a.m. Goldman Properties’ CEO Jessica Goldman Srebnick talks about how art transformed the Wynwood neighborhood in THIS Miami New Times piece. We also hear that New York developer (and owner of Moishe’s Moving, Mana Contemporary etc.) Moishe Mana is planning a new mixed-use development on his 30 acres of land in the middle of Wynwood.

Jeffrey Deitch and Larry Gagosian are co-presenting an exhibition of figurative painting and sculpture called “UnRealism” at 191 NE 40th Street, Miami. The opening is on Tuesday, December 1st, but it will be on view all week. According to the NYT, artists featured in the group show will include Urs Fischer, Elizabeth Peyton, John Currin and David Salle. In conjunction with the exhibition, the artist Rashaad Newsome will lead an “art parade” starting at 6:30 p.m. today at 23 NE 41st Street, Miami and ending at 4001 NE 41st Street.

CONTEXT Art Miami will feature 95 international galleries this year, along with several artist projects and installations including 12 listening stations dedicated to sound art; areas dedicated to art from Berlin and Korea; solo exhibitions by Jung San, Satoru Tamura, Mr. Herget and four others; and a “fast-track” portrait project of workers at Miami International Airport. Context and Art Miami — celebrating its 26th year — open with a VIP preview benefiting the Perez Art Museum Miami on Tuesday, December 1, 5:30 to 10 p.m., at 2901 NE 1st Avenue in Midtown, Miami. The fair is open to the public from December 2nd through the 6th.

ICA Miami (4040 NE 2nd Avenue, Miami) opens a major survey of works by the video and performance artist Alex Bag — including her interactive installation “The Van” — on December 1st. The museum recently announced the appointment of Ellen Salpeter, Deputy Director of NYC’s Jewish Museum, as its new director and they’ve just broken ground on a new, permanent home in the Design District. The 37,500 -square-foot building was designed by the Spanish firm Aranguren & Gallegos Arquitectos and is scheduled to open in 2017. Shannon Ebner also has a show, “A Public Character,” on view in the museum during AB/MB and up until January 16, 2016. This is the inaugural program in the museum’s new performance series.

The fourth edition of UNTITLED Miami is on the beach at Ocean Drive and 12th Street from December 2 to 6, with a big VIP preview on December 1st from 4 to 8 p.m. They’ve got 119 international galleries along with non-profit orgs from 20 countries. New this year will be an UNTITLED radio station broadcasting via local Wynwood Radio with interviews, performances and playlists by artists, curators etc.

PAPER Magazine is hosting (and participating in) several events during AB/MB. On Tuesday, December 1st, 6 p.m., David Hershkovits will be “in conversation” with Fab 5 Freddy and David Koh on the topic, “Art On Film,” followed by a special screening of Koh’s film “Peggy Guggenheim: Art Addict.” The Tribeca Film Festival Shortlist is presenting the event at The Miami Edition (2901 Collins Avenue, Miami Beach) and SOTO sake sponsors. On Tuesday night (late) and also at the EDITION, PAPER, Silencio, A Hotel Life and One Management host the one year anniversary of the hotel’s BASEMENT nightclub with DJs Seth Troxler, Nicolas Matar and Orazio Rispo.

The Wolfsonsonian FIU Museum (1001 Washington Avenue, South Beach) is open all week with several exhibitions including “An Artist on the Eastern Front: Feliks Topolski 1941,” “Margin of Error,” “Orange Oratory,” “Philodendrum” and “Miami Beach.”

Moishe Mana’s Mana Contemporary (318 NW 23rd Street, Miami) in Wynwood plans several exhibitions during AB/MB including “Made in California,” featuring selections from L.A. collector Frederick R. Weisman’s Art Foundation; “A Sense of Place,” with over 60 works from the collection of Jorge M. Perez; and “Everything You Are Not,” key works of Latin American art from the Tiroche DeLeon collection. All are up from December 3rd thru the 6th, with a VIP preview on December 1st. Mana Urban Arts is also doing a collab with The Bushwick Collective at the former RC Cola Plant (550 NW 24th Street, Miami) that includes over 50 artists — so far the list includes Ghost, GIZ, Pixel Pancho, Case Maclaim and Shok-1 — plus skateboarding, DJs, live music etc.

Bortolami Gallery is opening a year-long exhibition called “Miami” by the French conceptual artist Daniel Buren on December 1st in the M Building (194 NW 30th Street, Miami). The show marks the 50th anniversary of his works with fabric and the 8.7 cm stripe. By periodically installing new works, Buren will also alter the exhibition during the year.

Previewing their upcoming South Beach studio, SoulCycle will pop-up poolside at the 1 Hotel (2341 Collins Avenue, South Beach) starting on Tuesday, December 1st. They plan to open permanently in the hotel in January 2016. The 1 Hotel also offers a fitness and wellness line-up for guests and visitors all week.

Miami gallery Locust Projects (3852 N. Miami Avenue, Miami) returns with their “Art on the Move” series of artists’ projects in public spaces around Miami during December. This year’s work, “NITE LIFE,” by LA-based artist Martine Syms, includes a series of prints displayed on the backs of buses and at bus stops, based on “Chitlin’ Circuit” concert posters by Clyde Killens. There’s a reception for the project, curated by PAMM’s director Franklin Sirmans, on December 1st, 7 to 10 p.m. Also check out the gallery’s site-specific installation “PORE” by Martha Friedman and “Beatriz Monteavaro: Nochebuena” in the project room.

Brickell City Centre (750 South Miami Avenue, Miami) is giving a sneak peek at their work-in-progress development in downtown Miami with an invite-only event, “Illuminate the Night,” on December 1st featuring the unveiling of “Dancers,” a sculpture by UK artist Allen Jones; () music from Wooden Wisdom DJs (Elijah Wood and Zach Cowie) and a 150,000 square-foot glass, steel and fabric structure called “Climate Ribbon” by Hugh Dutton.

The Bass Museum (2100 Collins Avenue, South Beach) is closed for renovations until next year, but they’re still hosting “outdoor activations” in the surrounding park including the AB/MB PUBLIC sector and the display of a neon sign, “Eternity Now,” by Swiss artist Sylvie Fleury. They are co-hosting a private dinner with Salon 94 Gallery on Tuesday in the Miami Beach EDITION Hotel.

Zurich’s Galerie Gmurzynska hosts an invite-only cocktail party at The Villa Casa Casuarina (1116 Ocean Drive, Miami Beach) on December 1, with Sylvester Stallone and Germano Celant. The gallery will be showing a retrospective of works by Karl Lagerfield in their stand at AB/MB, curated by Celant.

The DREAM South Beach (1111 Collins Avenue, South Beach) hooked-up with Brooklyn-based artist — and new GQ “style guy” — Mark Anthony Green for an exhibition of, according to Green, “what 2015 meant to me in both a macro and micro sense…wins, losses, heartbreak and promotion.” The hotel will have a pop-up shop curated by the artist, and guests will get a complimentary print. There’s a welcome reception on Tuesday, a private dinner and afterparty with the Green and A$AP Rocky on Friday and a pool party hosted by YESJULZ on Sunday afternoon.

FLAUNT Magazine and Guess host a private dinner at the Nautilus Hotel in December 1 in honor of their latest cover stars Zaha Hadid, Rem Koolhaas and Julie Mehretu. After dinner, there’s a poolside party with a screening of “ME” and music by the Martinez Brothers and Pusha T. Expected guests include “ME” writers Susan Taylor & Jefrey Levy and Gina Gershon.

The 2015 edition of Elle Decor’s Modern Life Concept House premieres with a VIP breakfast on December 1st at 250 Wynwood (250 NW 24th Street, Miami). Visits from December 2 to 4 are open to the public with a $35 donation to pediatric cancer research and a reservation via jacquelyn@zm-pr.com. The 6,000 square-foot home will showcase 4 leading designers selected by ED editor-in-chief Michael Boodro.

An exhibition called “LAX – MIA: Light + Space” opens on Tuesday, December 1st, 5 to 8 p.m., at the Surf Club (9011 Collins Avenue, Miami Beach). The show was curated by Terry Riley, Joachim Pissaro and John Keenan of PARALLEL and is hosted by The Surf Club and Fort Partners. It’s on view until December 12th, 11 a.m. to 5 p.m. daily, closed on Sunday.

Art Basel Basecamp (46 NW 36th Street, Miami), hosted by HGABmag, returns with a space to “re-group, re-fresh and re-energize” featuring charging stations, information booths, giveaways and art installations. Stop in from December 1 to 6, 4 p.m. to midnight daily; and don’t miss their “Alice in Wynwood” closing party on Saturday night.

The first edition of the Curatorial Program for Research Film Festival takes place on December 1, 11 a.m. to 2 p.m. at Cannonball (1035 North Miami Avenue, Suite 300, Miami). The program, “Earthbound,” was curated by Niekolaas Johannes Lekkerkerk in collaboration with Dwelling Projects. There will also be a silent auction.

New York-based developer Robbie Antonio debuts his REVOLUTION collection of pre-crafted structures during Design Miami/2015. The limited edition homes and pavilions have been designed by 30 noted architects and designers including Zaha Hadid, Richard Gluckman and the Campana Brothers. The VIP launch is in the Design Miami tent on Tuesday evening.

NYC club No.8 pops-up in the Rec Room at the Gale Hotel (1690 Collins Avenue, South Beach) with DJs including JusSke, Fly Guy and Ross One; the hotel’s Regent Cocktail Club features live jazz, Cuban cocktails, Samba and soul tunes. They’ve also got a digital art installation by Aerosyn Lex.

White Cube’s kick-off party is tonight at Soho Beach House with Giogio Moroder spinning and lots of Moet.

NYC/LA art collective Collapsing Scenery presents “Metaphysical Cops,” a one-night-only video installation on December 1st, 5 to 10 p.m., in the Surf Med Pharmacy (7430 Collins Avenue, Miami Beach). It’s a part of the new Satellite Art Fair.

Chloe Sevigny by Pamela Hanson“ICONS,” an exhibition of photos by Pamela Hanson opens at the Shore Club.

BOHO Hunter (184 NW 27th Street, Miami) hosts Monica Sordo’s SS 2016 collection with music from Bea Pernia on December 1st, 7 to 10 p.m.

Miami’s Diana Lowenstein Gallery (2043 N Miami Avenue, Miami) is showing new works by Udo Noger in a show called “Geistlos.” On view all week.

Alejandra Von Hartz Gallery (2630 NW 2nd Avenue, Miami) has their second solo show by Marta Chilindron, “Temporal Systems,” on view during AB/MB. The multi-dimensional sculptures “explore basic geometric forms, color, transparency, light, space, time and perspective.”

When you pass through Art Miami, look for copies of Jerry Powers’ new Art Miami Magazine, that fair’s first dedicated publication,

STK Miami (2311 Collins Avenue, South Beach) hosts The Drip Factory pop-up gallery featuring artist Louis Carreon doing live painting and music by DJ What on December 1st, 8 to 11 p.m. Invite only.

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Blog

Must-See New Media at Miami Art Week

Yesterday Kate Durbin’s ‘Hello!Selfie’ performance at PULSE Miami Beach, Photo: Rollin Leonard, 2015

This time of the year, the whole art scene gathers in Miami to—let’s be honest—enjoy the beach, often more than the overwhelming art-filled fairs. Many of our longtime favorite creators converge at this year’s festivities, so to support their efforts, we’ve compiled a coup d’oeil of some quality digital art happenings.

Swapping its successful one-shot hypersalon satellite project for a PULSE Miami Beach booth, TRANSFER gallery offers a more streamlined way to reach a wider audience. “The collaborative experiment that was hypersalon set in motion so many amazing exhibitions and exchanges that unfolded in the past year. But in the end, we managed to create a mostly non-commercial format amidst the biggest feeding frenzy of the commercial art world—not a sustainable project in the ABMB environment,” Kelani Nichole, founder and director of TRANSFER tells The Creators Project.

Transfer gallery’s booth under the massive PULSE Miami Beach tent, 2015

“This year, I went for the exact opposite, securing a white cube in a tent on the beach. TRANSFER is quite fortunate to have the support of PULSE to open their fair to a challenging format of social-media based performance, and their Conversations curated section gave us the perfect opportunity to present two artists working with issues of technology and the body,” Nichole adds. TRANSFER showcases recent works by Faith Holland and Kate Durbin with support from Giovanna Olmos. Both artists will be taking part in panels and screenings.

Faith Holland ‘Sub/emissions’ 2015 40″ x 40″ Digital Painting on Canvas, Edition of 3 + 1AP, Transfer gallery, 2015

Kate Durbin’s Hello!Selfie performance yesterday at PULSE Miami Beach, Photo: Rollin Leonard, 2015

Holland brings her orgasm-inspired and cumshot-generated bodies of works—including her figurative and dynamic Visual Orgasms GIF series and juicy abstract Ookie Canvas paintings, comprising a never-seen-before composition called Peter North. Kate Durbin will present video pieces created from footage of previous iterations of Hello!Selfie, a social media-rooted performance that explores and questions selfie culture in public spaces.

DiMoDa VR installation at Satellite Projects fair, 2015

Alfredo Salazar-Caro and William James Richard Robertson offer Satellite Projects, giving fairgoers the chance to experience DiMoDA, an Oculus Rift-powered VR installation. Filled with delightful digital works by artists Claudia Hart, Tim BerresheimJacolby Satterwhite, as well as Aquanet 2001 by Salvador Loza and Gibran Morgado, the nonlinear virtual exhibition opens new perspectives in terms of curation and museum experiences.

On the other side of the bay, Wynwood-located X-contemporary provides viewers with a bunch of activities ranging from panel discussions, art, and DJ performances, to one-of-a-kind projects in addition to the many artworks showcased by the 30 or so worldwide exhibitors.

Dye sublimation on aluminum, Sara Ludy, Fin (Heat sander), 2015, bitforms gallery

Taking over the beach with its huge tent designed by architects John Keenen and Terence Riley of K/R, the new edition of UNTITLED features many international exhibitors—including the NYC-based bitforms gallery—who explore contemporary curatorial cohesion through today’s wide-ranging art practices.

“bitforms gallery has been a part of the contemporary art world for 14 years,” Steven Sacks, director and owner of bitforms gallery tells us.“We have a very specific focus on new media artists covering a wide range of generations and media types.” His booth brings an impressive roster of artworks by artists such as Manfred Mohr, Daniel Canogar, Jonathan Monaghan, Rafael Lozano-Hemmer, Sara Ludy, and Quayola, artists who all strongly contribute to the solidification of new media art within the ruthless contemporary art landscape.

Inkjet print mounted on Dibond, Jonathan Monaghan, Dorilton, 2015, bitforms gallery

“The art fairs are an amazing place to reach thousands of art-centric people and introduce and educate them about our unique program, which typically does stand out amongst more traditional galleries. UNTITLED art fair is a smaller, curated fair with more experimental artists, compared to the larger Art Basel fair, which has a lot more traditional art,” Sacks concludes.

Computer, Kinect, display, Rafael Lozano-Hemmer, 1984×1984, bitforms gallery, 2014

bitforms gallery’s booth at UNTITLED, 2015

Most of the fairs will run through the December 6, 2015.

Click here for more details about PULSE, and here for more on UNTITLED. Click here to check out TRANSFER booth, and here to check out the bitforms booth.

Related:

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The Definitive Guide to Art Basel Miami 2015, Part One

By  | December 1, 2015

So you’ve made it to MIA for Art Basel 2015, but have you secured a coveted spot on the event’s hautest guest lists? Fear not—we’ve got intel on all the can’t-miss pop-ups, star-studded bashes, and gallery celebrations of the week. Check back for part deux, tomorrow. We hope you remembered to pack your VIP card with your sunnies…

Tuesday, December 1

PAPER Magazine & The Miami Beach Edition Bash
Intel: Celebrate PAPER magazine’s December cover girl Paris Hilton at an intimate, seated dinner.
Location: 2901 Collins Ave., 9:30 p.m. RSVP to johnv@papermag.com

Bello Magazine Kicks Off Art Basel
Intel: The fashion and entertainment mag, with BRAVOTV philanthropist and art gallerist Adriana De Mourainvites Art Basel, invites visitors to join stars from Pretty Little Liars and America’s Next Top Model) for a celebration.
Location: Suitsupply Penthouse, 1000 17th Street., Miami Beach, FL 33139, 6:30 p.m.

W Magazine and Roberto Cavalli Party
Intel: W mag and Roberto Cavalli celebrate the opening of No Man’s Land: Women Artists From the Rubell Family collection.
Location: Rubell Family Collection, 95 NW 29th Street, 7:30-9:30 p.m.

Locust Projects Celebrates “Martha Friedman: Pore”
Intel: The nonprofit space Locust Projects is hosting a cocktail reception celebrating Martha Friedman’s new site-specific installation Pore, which includes four sculptures made from 1,000 pounds of rubber (they’re attached to costumes that will be activated during an experimental performance by dancer Silas Reiner).
Logistics: 3852 North Miami Avenue, 7-10 p.m.

MANA Contemporary VIP Dinner
Intel: MANA Contemporary is hosting an exclusive dinner (Zaha Hadid, Dasha Zhukova, Salman Rushdie, etc.) to preview its new exhibitions. Also on tap is a performance by the Miami Symphony Orchestra.
Location: Mana Wynwood Convention Center, 6-8 p.m. Invitate only.

Galerie Gmurzynska Dinner
Intel: Galerie Gmurzynska hosts a cocktail dinner with Germano Celant and Sylvester Stallone.
Location: 1116 Ocean Drive, 8:30 p.m. Invite only.

Faena Hotel Unveiling Party
Intel: This exclusive unveiling of the hotel owned by art collector, developer, and hotelier Alan Faena promises a start-studded crowd.
Location: Faena Hotel, 10:30 p.m. Invite only.

SLS South Beach Gallery and Pop-Ups
Intel: The building transforms into a mixed-media gallery for hotel guests, collectors, and tastemakers showcasing artists and collaborations. The series of installations will vary from public art displays to pop-up retail shops. Par example: Laura Kimpton Property-Wide Installations, Africa Aycart Portraits at The Bazaar by José Andrés, Never-Before-Seen Andy Warhol Pieces at Sam’s Lounge, J. Open HeART Installation at Katsuya & Hotel Pool Duck, Poolside Retail Pop-Up Shops.
Location: 1701 Collins Ave.

Brickell City Centre Bash
Intel: Brickell City Centre is transforming one block of its three-block construction site into an event space. Wooden Wisdom (Elijah Wood + Zach Cowie) will set the vibe. VIPs and local influencers will join Brickell for a lighting ceremony of its newly completed Climate Ribbon (150,000-square-foot glass, steel and fabric by designer Hugh Dutton).
Location: Brickell City Centre, 67 SW 8th St., 7 p.m. RSVP to Brickellcitycentre@taraink.com

Boho Hunter Basel Kick Off
Intel: Monica Sordo invites those in MIA to visit Boho Hunter for cocktails, music by Bea Pernia, and a selection of her collection with sales to benefit The Duerme Tranquilo Foundation.
Location: Boho Hunter, 184 NW 27th St., 7-10 p.m.

Tribeca Shortlist “Art on Film”
Intel: The movie streaming service from Lionsgate and Tribeca Enterprises hosts “Art on Film” with hip hop pioneer, visual artist and filmmaker Fab 5 Freddy (Fred Brathwaite), independent producer David Koh (Submarine Entertainment) and moderated by PAPER Magazine founder/editor David Hershkovits. Following will be a special screening of the film Peggy Guggenheim: Art Addict.
Location: The Miami Beach EDITION, 2901 Collins Ave., 6 p.m. RSVP to rsvp@tribecashortlist.com

SoulCycle Pop-Up
Intel: Get your fitness fix at the SoulCycle pop-up studio, which features live art by Brooklyn-born, L.A.-based Gregory Siff.
Location: 1 Hotel South Beach (2341 Collins Ave., Miami Beach), December 1-4

Architectural Digest “Refuge” Preview Party
Intel: Margaret Russell, editor in chief of Architectural Digest, is throwing a preview party with 1 Hotel’s founder Barry Sternlicht and CEO of the LeFrak Group Richard LeFrak.
Location: 1 Hotel South Beach, 6-9 p.m. Invite only.

The Surf Lodge x Art Basel Miami Beach
Intel: Hamptonites, find solace in Miami this week—The Surf Lodge pop-up offers artist-hosted dinners, poolside cocktail parties, pop-up shop, and wellness classes from Equinox Wednesday through Friday at 10 a.m. Expected guests include Jeremy Scott, Rocky Barnes, Rosario Dawson, Daniel Arsham, André Saraiva, Shepard Fairey, and Jayma Cardoso. Pop into the Surf Lodge Pop-Up Shop to peruse brands including Studio 189 from Rosario Dawson and Abrima Erwiah, Reds, and Del Toro shoes, each day from 10 a.m. – 9 p.m.
Location: The Hall South Beach (A Joie de Vivre Hotel), December 1-6, 8-10 p.m. Invitation only.

 

Wednesday, December 2

Jeremy Scott Party
Intel: Jeremy Scott hosts his annual exclusive bash.
Location:
Invite only.

W Magazine and Faena Art’s Roller Disco Beach Party
Intel: Stefano Tonchi and Ximena Caminos celebrate the opening ofAngeles Veloces Arcanos Fugaces, an immersive roller-disco installation by Assume Vivid Astro Focus at Faena Beach.
Location: Faena Beach, 36th Street and the Ocean, 7:30-9:30 p.m.

VH1’s The Breaks Lounge
Intel: Join for a private press preview and a VIP performance by Mack Wilds.
Location: The Breaks Lounge, 801 Ocean Drive at 8th Street. Press preview 4-8 p.m., performance 8-9 p.m.

Burberry + Art Hearts Fashion Miami Art Basel Week at Spectrum Opening Night Gala Presented by Planet Fashion TV
Intel: Join for a VIP cocktail reception before a Burberry fashion show, an artistic runway presentation by Art Hearts Fashion featuring designers Amato Haute Couture, House of LiJon Sculpted Couture and Mister Triple X by Erik Rosete. Stick around for a performance by Island Def Jam recording artist Cris Cab.
Location: Spectrum Miami, 1700 NE 2nd Avenue (NE 2nd Ave. at NE 17th St.), 6-9 p.m.

Kim Hastreiter and PAPER Magazine Party
Intel: Grab a drink and crash some cymbals with Kim Hastreiter, Pink Martini’s Thomas Lauderdale and China Forbes, and PAPER’s Mr. Mickey at a singalon featuring accompanying percussion and singing by art and design luminaries.
Location: Meridian Ave. and 19th St., 5-7 p.m. RSVP to mijin.son@civic-us.com

 

Thursday, December 3

PAMM Presents: Dimensions, by Devonté Hynes and Ryan McNamara
Intel: Flock to Pérez Art Museum Miami (PAMM) for a one night only performance by Ryan McNamara and Devonté (“Dev”) Hynes, including an original multi-part composition by Hynes, an internationally-acclaimed musician and producer, and sculptural elements and choreography by McNamara, a celebrated performance artist
Location: 1103 Biscayne Boulevard, 9 p.m. to midnight

Brown Jordan and Sunbrella
Intel: The two join photographer Gray Malin for a celebration of art, design and travel, for a first look at the new Miami Design District flagship, an 8,600 square-foot, three-level store of re-imagined native Florida materials, which officially opens January 2016. The event will serve as a “first look” and the store will officially open in January 2016.
Location: 3650 North Miami Avenue

El Tucán
Intel: EL Tucán hosts an exclusive performance by actress and singer Cucu Diamantes, amid trompe l’oeuil murals designed by artist Happy Menocal.
Location: December 3-5, 8 p.m.

The Four Seasons Hosts Antonio Dominguez de Haro
Intel: A retrospective of 17 paintings by Spanish painter Antonio Dominguez de Haro.
Logistics: Four Seasons Hotel, December 3, 6-9 p.m. rsvp@dkcnews.com

EDITION Gallery Pop Up
Intel: EDITION Hotel hosts a pop-up with Bill Powers’ Half Gallery & Harper’s Books and Louis B James Gallery, including book signings by Justin Adian and Sue Williams. On the second floor, virtual artist Jeremy Couillard offers an otherworldly experience with an interactive exhibition.
Location: Bungalow 252, Miami Beach EDITION, 2901 Collins Ave. December 3-6. By appointment only.

 

Friday, December 4

Wall at the W Hotel: Paris Hilton
Intel:Paris Hilton spins alongside Mr. Mauricio for an evening presented by Belvedere Vodka.
Location: 2201 Collins Ave, 11 p.m. RSVP to Heidi@Taraink.com.

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Partner \
A Guide to Art Basel: The Must-see Shows and Showcases
Now in its 14th year, Art Basel is bigger and swankier than ever before
Presented By //
T.M. Brown // December 1, 2015

Every year around this time, thousands of dealers, buyers, artists, and scenesters descend on South Florida for Art Basel Miami. Now in its 14th year, the stateside spinoff of the Swiss art fair—and let’s be honest, calling Art Basel an art fair is like calling the Pope a priest—is bigger and swankier than ever before, attracting galleries from all over the globe and providing one of the world’s biggest stages for upcoming artists.

Before we get to all the shows you should be heading to while you’re in Miami, we here at SPIN want to hook you up with an exclusive invitation to K-PAX, a launch event to showcase the collaboration between PAX + K-HOLE, on the rooftop of the Gale South Beach this Friday, December 4th at 5:00 PM, brought to you by the folks at PAX vaporizers.

III Points Art Basel Concert Series (Thursday, December 3 — Saturday, December 5 at Mana Wynwood)
ADVERTISING

If SXSW moved to Berlin for a year, started wearing a lot of Acne and Gosha Rubchinskiy, and got really into DJ Rashad and Rødhåd, you’d have III Points. The three-year old art, tech, and music festival is quickly becoming a compulsory event for people who have traditionally flocked to Austin in March, so when they decide to throw a three-night concert series in the middle of Art Basel, you know it’s going to be good.

Life and Death Showcase with Richie Hawtin (Thursday, December 3 at 9:00 PM)

III Points Art Basel’s opening night brings iconic label Life and Death to Miami for the fourth time in as many years and the Italian powerhouse did not disappoint with its lineup. The showcase at Mana Wynwood brings Tale of Us, Mind Against, and Thugfucker to the DJ booth, providing a collection of artists that weave the worlds of pop, house, funk, and disco into a singular soundtrack. Oh, and techno legend Richie Hawtin just announced he’ll be joining the Life and Death crew as a special guest so those tickets are going to be hard to come by.

Jamie XX and Four Tet (Friday, December 4 at 9:00 PM)

Jamie xx and Four Tet combine forces once again to provide the centerpiece of III Points concert series. If you haven’t heard what these boys can do when they’re in the booth together, listen to their exceptional BBC One Essential Mix from March and prepare to be blown away by the effortless combination of everything from jungle to electro pop to soul into one smooth set. Both are finishing years filled with international acclaim so this set will be something of a victory lap and we’re all the richer for it.

A$AP Rocky and Kaytranada (Saturday, December 5 at 9:00 PM)

A$AP Rocky and Kaytranada close out the III Points concert series but this Saturday night set is anything but a come down. Rocky is fresh off a huge year including his sophomore release At. Long. Long. Last. ASAP and rumors that he’s working on a project with Kanye West, while Kaytranada has been pounding the DJ circuit, plying his funky house trade at every club worth its salt the world over. Both should be in rare form at Mana Wynwood.

Fuck Art Let’s Dance (Thursday, December 3 at The Electric Pickle at 10:00 PM)

By far the best name of any party happening in Miami during Art Basel week—or any party in any city during any other week—the yearly shindig is bringing Kim Ann Foxman, Justin Strauss, and Miami Players Club to the Electric Pickle in Wynwood for a suite of DJ sets mixing deep house tracks with just the right amount of tropical groove. To cap the night off, Miami staples Psychic Mirrors will be playing one of their legendary live sets, mixing together soul, funk, and psychedelic sounds into something singularly South Beach.

Superfine! Jet Set Jubilee (Thursday, December 3 at 8300 Northeast 2nd Avenue at 7:00 PM)

Ever wanted to see Shamir perform while surrounded by an “immersive” 3000 square foot chandelier designed by the Miami-born, Brooklyn-based artist Diego Montoya? Yeah, that’s what I thought. The minds at Superfine! have put together another expertly curated series of concerts in tandem with their impeccable for contemporary art and design. This time around they’ve brought in Shamir—fresh off his acclaimed debut album Ratchet—for a performance that is larger than life. Literally. That chandelier is going to be huge.

Green Velvet and Tiga (Friday, December 4th at Trade at 11:00 PM)

Any show featuring Green Velvet promises to be as strange as it is fantastic. Techno’s resident oddball is ready to take on Miami alongside Tiga, a 1-2 punch that will satisfy hardcore techno purists and newcomers alike. This show is flying slightly under the radar but don’t sleep on it, these two are the real deal.

DJ Mustard and Fabolous (Saturday, December 5th at Toejam Backlot at 9:00 PM)

DJ Mustard’s fingerprints have been all over the pop and hip-hop landscape for the last year and change so it makes sense that he’s the headliner at this Saturday night show. He’ll be joined by rap stalwart Fabolous for a night of throwback hits mixed with Mustard’s signature sound. RSVP at CLSoundtrack[at]fresh.guestcode.com.

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Fashion, Featured

The Fabulous 5.5: Art Basel Planning Guide #3

December 1, 2015

Under the Radar 2015

With dozens of places to go, thousands of things to see, and a million elbows, here are a few special spots. For those of you who make a career at this, or a career out of bragging about this, or travel to go where fewer have gone, here are 5.5 selections.

#5: Ai Weiwei pops up at Basel more than a pop-up. Why 2015? Colored vases from the Mary Boone Gallery at Art Basel. Protesters: please leave Mr. Wei’s vases alone.

Colored Vases

#4: Say my name; say my name: Warlimpirrnga Tjapaltjarri. New York’s Salon 94 brings this Aboriginal Australian’s oil paintings to life mirroring textiles and mimicking sand sculpture. If you know about dreamtime, here it is in reality. Also at Art Basel.

 

Warlimpirrnga Tjapaltjarri

 

#3: Joris Van de Moortel: This Belgian artist from Antwerp will present his solo work for the first time in the USA presented by the Denis Gardarin Gallery at UNTITLED. The art teacher’s question, “What is going on in this picture?” earns a lengthy response with works from Rotten Sun, Van de Moortel’s sculpted, painted, musical installation.

 

Jan Van de Moortel image by WeDocumentArt

#2: Larissa Bates at NADA in the Fountainebleau. Out of Vermont, Costa Rica, St. Augustine’s Monya Rowe Gallery and ARTADIA, there is something of Italy 1450, Ubud 1980, and Tokyo 2005 in one painting, then outback, desert, and prep school in the next.

 

Larissa Bates

#1: Jennifer Rubell is always on point. Over the years, she has fed Miami’s Art Basel crowd breakfast a dozen times – things like oatmeal, Sun Maid raisins, yogurt, dripping honey, and massive portions of delicious creativity. This year’s food-based installation: Devotion – bread, butter, and a couple to be married later. 9-11am on December 3 at The Rubell Family Collection 95 NW 29th Street.

Jennifer Rubell

 

.5: The weather forecast is bad, on the radar, not under it.

 


b

The North American Premiere Of Isaac Julien’s Commission For The Rolls-Royce Art Programme To Be Shown During Art Basel In Miami Beach

PHOTO (select to view enlarged photo)

GOODWOOD, England, Nov. 17, 2015 — Rolls-Royce Motor Cars, in partnership with the National YoungArts Foundation, will present the North American debut of Isaac Julien’s work Stones Against Diamonds (Ice Cave) during Art Basel in Miami Beach 2015. The work by the Turner Prize nominated artist, commissioned as part of the Rolls‑Royce Art Programme, will be shown from 1-5 December 2015 at the National YoungArts Foundation ­– located at the nexus of Miami’s Wynwood Arts District, Arts and Entertainment District and Edgewater. The video installation will fill the interior of the magnificent YoungArts Jewel Box across 15 screens, the largest and most impressive presentation of the work to date.

UBS Art Collection Highlights

This year’s annual presentation of work from the UBS Art Collection explores the theme of Inside:Out, complementing and drawing inspiration from the bright, airy and sophisticated redesign of the UBS Lounge and its new hanging garden. The installation features approximately 30 works of art by 15 artists that reflect the notion of bringing the outside in, breaking down barriers between fiction and reality and between public and private space to create images inspired by fantasy, pleasure, sensation, nature and alternative landscapes. A highlight is the newly acquired Native Land (2014), a lightbox by Doug Aitken. Filled with a mosaic of colorful roadside signs, this work highlights the intrusion of advertisements in the American landscape. Additional featured artists include Vija Celmins, Francesco Clemente, Carlos Cruz-Diez, Gilbert & George, Andreas Gursky, Catherine Opie, Marc Quinn, Caio Reisewitz, Gerhard Richter, Pipilotti Rist, David Schnell, Simmons & Burke, Xaviera Simmons, Thomas Struth and Corinne Wasmuht. The works, selected by UBS Art Collection Curator for the Americas Jacqueline Lewis, represent a globally diverse range of artists, themes and media, including installations, kinetic sculpture, painting, drawing and photography.

Miami Herald | MiamiHerald.com

UNREALISM

Unrealism: Exhibition of figurative art organized by mega-dealers Jeffrey Dietch and Larry Gagosian. The Moore Building-Elastica, 191 NE 40th St., Design District. 11 a.m.-8 p.m. Free. bridgehouseevents.com.

LITTLEST SISTER FAIR

Gallerist Anthony Spinello launches his Little River space with the fourth Littlest Sister, a “faux” invitation art fair featuring 10 unrepresented women-identified Miami artists in a presentation curated by Sofia Bastidas. Each artist has a solo booth; the fair also includes a sector on sound and performance presentations and a series of critical panels exploring arts and real estate, writing, design and collecting. 7221 NW Second Ave.; littlestsister.com. 8-11 p.m. Monday; noon-7 p.m. Tuesday-Sunday. Free.

 Sean Kelly X Chrome Hearts: Work by Marina Abramović, Los Carpinteros, Jose Dávila, Robert Mapplethorpe, Mariko Mori, Alec Soth and Kehinde Wiley. Chrome Hearts, 4025 NE Second Ave., Second Floor. Free.

100+ Degrees in the Shade: A Survey of South Florida Art: Work by South Florida artists. 3900 N. Miami Ave., Design District. 11-9 p.m. daily. Free.

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ARTSY

Your All-Encompassing Guide to Miami’s Sprawling Art Scene

By Alexxa Gotthardt

To the contemporary art set, Miami is a place of annual pilgrimage, where productivity and decadence play nice. Each December, gallerists, collectors, artists, and curators make their way to the palm-studded metropolis to sell their wares, mount exhibitions, and party in duds that would make Miami Vice’s Crockett and Tubbs proud. Art Basel in Miami Beach might be considered the nucleus of this activity, but with satellite fairs and ephemeral exhibitions opening in Art Deco monuments and beach bungalows alike, it’s high time to take a comprehensive look at what’s happening across the city’s sprawl, from South Beach to Little Haiti.

Diana Nawi, photo by Mylinh Trieu Nguyen; Emmett Moore, photo by Gesi Schilling; Nina Johnson-Milewski, photo by Gesi Schilling; Jorge Perez.

With guidance from four Miamians—gallerist Nina Johnson-Milewski, artist Emmett Moore, curator Diana Nawi, and collector and philanthropist Jorge Perez—we highlight the art spaces and watering holes of a city where beaches and swamps, American and Latin American traditions, and collections of rare palm trees and blue chip art collide. Our take away: even after the art-crowd’s dust settles, Miami is a mysteriously enchanting place where cultural output of all persuasions churns.

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Miami Beach

Photos by Gesi Schilling.

Edged by sherbet-hued high-rises and beaches dotted with hotel lounge chairs, this skinny strip of land—some call it a sandbar on steroids—is where Miami’s more flamboyant character traits originate. Separated from the mainland by Biscayne Bay, this is the sandy ground on which the holiest Art Deco edifices, flashiest clubs, and the smallest bathing suits consort. It’s also home to sprawling art fairs, beachside pop-up projects, old-school restaurants, and dive bars heralded by glowing neons that look like they were forged in the ’50s.

A. Art Basel in Miami Beach

Miami Beach Convention Center, 1901 Convention Center Drive

After Art Basel expanded to Miami in 2002, settling into the Miami Beach Convention Center (between the beach and the Botanical Garden), the city quickly became an annual stop for collectors and artists. As the parent of an ever-growing brood of art fairs that crop up during the first week of December, this mainstay is the first stop for many people, thanks to its mix of booths from the biggest, bluest-chip galleries and ambitious younger spaces, curated projects, and a constant flow of programming.

B. Design Miami/

Meridian Avenue & 19th Street, adjacent to the Miami Beach Convention Center

Across the street from Art Basel, this sophisticated fair hosts a robust cohort of galleries focused on contemporary and historic design, from immersive architectural environments to jewel-like light fixtures that fit in the palm of your hand, created by the world’s most inspired designers—Giò Ponti, Maria Pergay, and Julie Richoz among them.

Rendering of UNBUILT: Design Miami/ Harvard GSD Pavilion. Courtesy of Harvard Graduate School of Design.

Insider tip: Don’t miss Kengo Kuma’s nomadic tearoom, rendered completely in plastic, at Galerie Philippe Gravier, or Jean Prouvé’s 1939 military hut—the only one of its kind still in existence—at Galerie Patrick Seguin.

C. Bass Museum of Art

2100 COLLINS AVENUE

Though this museum, founded in 1963 and housed in an impeccably preserved Art Deco structure, is currently under renovation, conceptual artist Sylvie Fleury is hanging her site-specific Eternity Now on the building’s facade from December 1st through May 31st, 2016.

The glowing neon sign is a part of Art Basel and the Bass’s five-year-running public art collaboration in Collins Park, which is adjacent to the museum. This installment, curated by Public Art Fund’s Nicholas Baume, brings works by Sam FallsKatharina GrosseJacob Kassay, and Hank Willis Thomas to the lush lawn.

D. Nautilus, a SIXTY Hotel

1825 COLLINS AVENUE

Two blocks away and right off the beach, a shiny renovation of this hotel is accompanied by activations from “Greater New York” breakout artist Mira Dancy (with a sprawling mural), Katherine Bernhardt (with a plucky fresco on the floor of one of the pools), Eddie Peake (with a mirrored rooftop installation), and other works tucked playfully into idiosyncratic spaces throughout the compound. Curated by Artsy’s Elena Soboleva, Artsy Projects: Nautilus is a collaboration between Artsy and the hotel.

E. The Standard Spa Miami Beach

40 ISLAND AVENUE

Swing by the swank Standard hotel, just off Miami Beach on Belle Isle, for a snack on its expansive deck, or pick up one of Miami-based artist Jim Drain’s limited-edition posters, released for fair week.

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South Beach

A. UNTITLED

Ocean Drive and 12th Street

This curatorially driven satellite fair on the beach boasts booths by The Hole, Taymour Grahne, Steve Turner, and even Aperture Foundation. Throughout the week, performances move through the tent and its surrounding landscape. Don’t miss artist and choreographer Madeleine Hollander’s MILE, beginning each day on the east side of the structure at 4 p.m. Also on our radar is UNTITLED Radio, a series of daily radio shows that replace traditional art fair panel discussions.

B. Scope

801 Ocean Drive

This year marks Scope’s 15th anniversary in Miami. They bring 120 exhibitors along with curated sections Juxtapoz Presents, the Breeder Program, and FEATURE, the last featuring 10 booths that highlight new approaches to photography.

C. La Sandwicherie

229 14th Street

For a much needed dose of sustenance after a long day of fair hopping, grab a stool at La Sandwicherie’s counter, where you’ll likely devour one of their signature sandwiches—all available on a croissant in lieu of bread or bun. Wash it down with a smoothie or early evening beer. Or come back late night for a snack and hazy conversation with the post-party art crowd. It’s one of the few places in South Beach that’s open very late—until 5 a.m.

D. Mac’s Club Deuce

222 14th Street

Miami’s oldest bar, Mac’s Club Deuce is also the city’s greatest dive, offering a swirl of whiskey and jukebox tunes to colorful regulars, pool sharks, and wobbling newbies alike. Last year, its Hawaiian shirt-sporting owner, Mac Klein, turned 100.

Exterior of The Wolfsonian-FIU. Courtesy of The Wolfsonian–FIU.

E. Wolfsonian-FIU

1001 Washington Avenue

This museum is one of the crown jewels of Miami curiosities. Founded by Miami philanthropist and passionate collector-wanderer Mitchell Wolfson in 1986 to house his ever-growing collection of decorative art and propaganda—his collecting habits famously began with a stockpile of treasured vintage hotel keys—this wunderkammer is housed in a boxy, stunningly beautiful Mediterranean Revival building. Up now, don’t miss “Margin of Error,” which takes a look at “cultural responses to mechanical mastery and engineered catastrophes of the modern age—the shipwrecks, crashes, explosions, collapses, and novel types of workplace injury that interrupt the path of progress.”

F. Puerto Sagua

700 Collins Avenue

Insider tip: For a quick, low-key, and delicious bite (don’t miss the flan), take a seat at this Cuban diner—and take home one of their fantastic paper placemats, complete with a vintage Miami map. Take note: after a kitchen fire, Puerto Sagua has temporarily closed its doors but is set to reopen on November 30th, just in time for fair week.

G / H / I. Joe’s, Milo’s, and Prime 112

11 Washington Avenue; 730 First Street; 112 Ocean Drive

Insider tip: For a longer, more luxurious meal, try one of Jorge Perez’s favorites: Joe’s for stone crabs, a local delicacy (everyone wears bibs); Milo’s for fresh fish; and Prime 112 for a nice big steak.

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North Beach

A. Faena Hotel

3201 Collins Avenue

Collector and hotelier Alan Faena’s newest complex fuses a freshly minted hotel with an ambitious art space called Faena Forum, designed by Rem Koolhaas’s OMA. While the Forum won’t open until spring 2016, its programming kicks off—and into the streets, during the first week of December, when assume vivid astro focus installs a kaleidoscopic roller-disco on the beach. It’s open to the public, who can take a spin to DJ sets.

Rendering of assume vivid astro focus’s roller rink. Courtesy of FAENA ART.

B. EDITION Hotel

2901 Collins Avenue

While it might be best known for the long lines that amass outside its club (cool-kid magnet BASEMENT), EDITION hosts a set of diamond-in-the-rough projects in its poolside bungalows. If you can find them through the long marble lobby and stand of towering potted banana plants, Louis B. James (Bungalow 262) shows virtual reality-laced works by Jeremy Couillard, and Harper’s Books (Bungalow 252) hosts a signing with artist Sue Williams of her new, gorgeous monograph on December 2nd.

C. NADA

The Fontainebleau Miami Beach, 4441 Collins Avenue

Making a move from the charmingly retro Deauville Beach Resort way uptown to the high-gloss Fontainebleau marks a big shift for the New Art Dealers Alliance (NADA) fair, which is focused on younger galleries. From L.A.’s Anat Ebgi to Berlin’s SANDY BROWN to New York’s Karma, its exhibitors are known for bringing an inspired mix of new work into the fold.

D. PULSE

Indian Beach Park, 4601 Collins Avenue

A couple of blocks north is another fair that’s carved a place for itself on the main drag. From mainstay galleries like Yancey Richardson to groundbreaking nonprofits like Visual AIDS and RxArt, most booths here mount focused presentations of works of two to three artists. Don’t miss the fair’s curated section, PLAY, surfacing innovative video and new media selections from idiosyncratic New York-based curator Stacy Engman.

E. Miami Project and Art on Paper

Deauville Beach Resort, 6701 Collins Avenue

Take a cab a few minutes north, and you’ll find satellite fairs Miami Project and Art on Paper, taking NADA’s place at the Deauville Beach Resort. Also filling this hub is a dynamic selection of performance, installation, and new media interventions from SATELLITE, a multipart curatorial effort. We’re especially excited that Brooklyn bar and concert venue Trans Pecos is setting up shop there with sets by Fade to Mind and Michael Beharie, among others.

F. Sandbar Lounge

6752 Collins Avenue

Insider tip: Across the street, visit Sandbar Lounge, a sand-covered dive bar for a drink and game of pool after a long day trekking up the beach.

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Design District

As you pass across the causeway that traverses Biscayne Bay, Downtown Miami’s skyline comes into focus. Behind it lie some of the city’s most dynamic cultural spaces. You might first land in the city’s Design District, just north of highway 195, where boxy warehouses and parking garages have, in recent years, been converted into sharp design shops, art galleries, and restaurants.

A. ICA Miami

4040 NE 2nd Avenue

While its new Aranguren & Gallegos Arquitectos-designed building begins construction, the one-year-old ICA brings a strong assortment of contemporary exhibitions to its temporary home. This season surfaces a solo exhibition by radical video artist Alex Bag, which Diana Nawi is keenly anticipating. For his part, Emmett Moore is looking forward to future programming: “I’m excited to see the new ICA building. They’ve managed to put on some great shows in their temporary space so I can only imagine what’s in store.”

B. de la Cruz Collection Contemporary Art Space

23 NE 41st Street

Around the corner, visit one of Miami’s acclaimed private art collections, brought into the public sphere by Rosa and Carlos de la Cruz. This year, the group show “You’ve Got to Know the Rules…To Break Them” promises irreverent highlights from the couple’s encyclopedic holdings of today’s most influential work.
Insider tip: “The private collections in Miami are amazing troves of contemporary art,” says Diana Nawi.

Installation view of “Beatriz Monteavaro: Nochebuena.” Courtesy of Locust Projects.

C. Locust Projects

3852 North Miami Avenue

Since its founding in 1998, this artist-run nonprofit space has produced a steady stream of experimental projects. This month, it’s a platform for ambitious work by a bevy of young artists—sculptor Martha Friedman, choreographer Silas Riener, installation artist Beatriz Monteavaro, and conceptual artist Martine Syms.

Insider tip: And as you traverse the city, look out for Syms’s NITE LIFE—graphic prints, emblazoned with phrases like “Darling It Won’t Be The Same Always” plastered on city buses and bus stops. They resemble mid-1900s “Chitlin’ Circuit” posters, which advertised shows at venues where black musicians could perform freely and securely during segregation.

D. Jeffrey Deitch and Larry Gagosian’s “UNREALISM” at the Moore Building

191 NE 40th Street

Sometime rivals Jeffrey Deitch and Larry Gagosian embark on their first collaboration over four floors (about 28,000 square feet) of this Design District architectural gem. Their joint curatorial project, “UNREALISM,” brings together artists—from John Currin to Elizabeth Peyton to Jamian Juliano-Villani—representing a renaissance in figuration.

Larry Bell’s 6 x 6 An Improvisation. Copyright of Larry Bell. Photo by Alex Marks, 2014. Courtesy of Chinati Foundation.

E. Larry Bell’s 6 x 6 An Improvisation at the Melin Building

Suite #200, Melin Building, 3930 NE Second Avenue

White Cube brings Larry Bell’s 6 x 6 An Improvisation—an ethereal installation built from towering, reflective glass panels—to Miami. The Light and Space pioneer’s masterwork promises a quiet, contemplative reprieve from the teeming fairs and sprawling collection shows.

F. Mandolin

4312 NE 2nd Avenue

Insider tip: For lunch or dinner, try one of Nina Johnson-Milewski’s favorites, Mandolin: “It’s such a lovely atmosphere, owned and operated by the nicest people.” It also serves some of the city’s best seafood, on a hidden patio dotted with sky blue chairs and fresh flowers.

G. Michael’s Genuine

130 NE 40th Street

Insider tip: Or for heartier fare in an equally unhurried environment, grab a seat at Michael’s Genuine, opened by James Beard-honored Michael Schwartz. It’s one of Jorge Perez’s favorites. You’ll have no regrets after devouring the Harris Ranch black angus burger (don’t dare skimp on the brioche bun).

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Little Haiti / North Miami

In the 1800s, this area, north of downtown Miami, was covered with lemon groves, from which it drew its first nickname, “Lemon City.” Today, it’s defined by its Haitian immigrant population and burgeoning art scene.

A. Gallery Diet

6315 NW 2nd Avenue

Founded by impresario Nina Johnson-Milewski in 2007, this Miami mainstay recently moved north from Wynwood to a four-building, 15,000 square-foot compound in the heart of Little Haiti. “I’m loving our new home,” says Johnson-Milewski. “For the first time in nearly ten years I have windows and outdoor space. Who knew Vitamin D was so essential?” “Trees in Oolite,” the gallery’s first design exhibition, uses this fresh air to its full advantage. In the complex’s courtyard, brutalist furniture by Emmett Moore, Katie Stout, and Snarkitecture sits among lush mango, avocado, and oak trees. Inside, don’t miss Ann Craven’s solo show of lush skyscapes she painted en plein air in Maine, with the moon and the occasional candle as her only light sources.

B. Spinello Projects

7221 NW 2nd Avenue

This experimental space is up to its old boundary-pushing tricks during fair week with “Littlest Sister,” a conceptual exhibition that calls itself a “faux” art fair, with the tagline “Smallest Art Fair, Biggest Balls.” The project gathers “booths” by 10 women-identified artists, all unrepresented and working in painting, installation, new media, and performance.

C. Michael Jon Gallery

255 NE 69th Street

This gallery’s roster is chock full of up-and-coming artists from across the country—Paul Cowan, Math Bass, and JPW3, to name a few. This month, Sofia Leiby brings bright, active paintings that resemble letters and words breaking out of alphabetic confines and wiggling their way to abstraction.

D. Fiorito

5555 NE 2nd Avenue

Insider tip: Travel south past Little Haiti Park and you’ll find Fiorito, a small Argentinian restaurant that’s “a good local spot for a low key dinner,” says Emmett Moore. “I have dreams about their grilled octopus.”

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Wynwood

Haas & Hahn mural in progress at Wynwood Walls. Courtesy of Wynwood Walls. Photo by Martha Cooper.

Wynwood has become the poster child for the rampant expansion of Miami’s art scene to the mainland, and likewise into the city’s streets. Over the last six years, murals have spread across the concrete walls of the district’s abandoned factories and warehouses. Galleries and private collections have followed suit, marking a cultural renaissance for this formerly industrial neighborhood, nicknamed “Little San Juan” for its still-vibrant Puerto Rican community.

A. Wynwood Walls

2520 NW 2nd Avenue

Pioneered by vociferous street art advocate Jeffrey Deitch, along with late real estate developer Tony Goldman, the murals that make up Wynwood Walls were some of the first carrots to draw the international art set to Wynwood in 2009. Every year, new murals are added to the colorful cohort that includes street art’s most influential names—and some of its undisputed masterworks—from Aiko to Shepard Fairey to Futura to Os Gemeos. This year, 14 new murals and installations (by Fafi, Crash, Logan Hicks, and more) are unveiled.

B. Rubell Family Collection

95 NW 29th Street

Amassed by charismatic patrons Donald and Mera Rubell, this expansive collection is housed in a monumental 45,000-square-foot space that was once owned by the Drug Enforcement Agency. This year, they present “NO MAN’S LAND,” focused on the influential output of female artists ranging from Michele Abeles and Jenny Holzer to Shinique Smith.

Insider tip: Don’t miss Jennifer Rubell’s Devotion, one of the artist’s signature interactive food-based installations that, this year, explores buttering bread as an act of intimacy and interpersonal connection, on December 3rd from 9–11 a.m.

C. The Margulies Collection at the WAREhOUSE

591 NW 27th Street

Housed in a repurposed Wynwood warehouse, this must-see private collection belongs to Miamian Martin Z. Margulies. This year, don’t miss new exhibitions of work by Anselm Kiefer and Susan Philipsz, as well as recent acquisitions of pieces by Mark Handforth, Lawrence Carroll, and more.

D. Spencer Finch’s Ice Cream Truck

3401 NE 1st Avenue

Insider tip: While strolling through the neighborhood, drop by artist Spencer Finch’s ice cream truck. “His solar-powered truck will provide anyone in the area with edible frozen works of art free of charge,” explains Jorge Perez.

Mana Wynwood’s facade. Image courtesy of Mana Contemporary.

E. Mana Wynwood

318 NW 23rd Street

This year, Mana Contemporary unveils a 30-acre campus—every corner devoted to contemporary art and culture—that rivals its much talked-about New Jersey compound. Large-scale exhibitions highlighting three influential private collections (the Frederick R. Weisman Art Foundation, the Jorge M. Pérez Collection, and the Tiroche DeLeon Collection) herald this new mainstay on the Wynwood circuit.

F / G. Art Miami and CONTEXT Art Miami

3101 NE 1st Avenue

These sister art fairs, the 26-year-old Art Miami and the four-year-old Context, are must-see stops in Wynwood.

H / I. Panther Coffee, Gramps

1875 Purdy Avenue; 176 NW 24th Street

Insider tip: For a caffeine boost, pass through a the doors of a Barry McGee mural-swathed building to Panther Coffee. Or for a stiff drink among creative Miamians, try Gramps, “pretty much the only bar I got to,” says Emmett Moore. “It has a lot of the qualities of old Miami dive bars with some silly artsy stuff mixed in.”

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Park West/Downtown

Taking the southern route from Miami Beach to the mainland, across the MacArthur Causeway, you’ll land in Park West, with Downtown Miami just south of you. Here, skyscrapers house big business and club culture alike. In recent years, the adjacent waterfront, formerly monopolized by the run-down Millennium Park, has transformed into Museum Park, an impeccably manicured landscape of gardens and cultural centers.

A. The Perez Art Museum Miami (PAMM)

1103 Biscayne Boulevard

This stunning museum, which opened its Herzog & de Meuron-designed doors in 2013, recently brought star curator Franklin Sirmans on as director to helm its ambitious program. This fall, don’t miss Nari Ward’s mid-career retrospective, “Sun Splashed,” curated by Diana Nawi, and Miami-based artist Nicolas Lobo’s “The Leisure Pit,” which showcases large-scale concrete sculptures, festooned with the occasional flip-flop, that he forged in a swimming pool.

B. Cisneros Fontanals Art Foundation

1018 North Miami Avenue

This stunning building, its facade covered in over one million tiles that together resemble a verdant junglescape, houses patron Ella Fontanals-Cisneros’s comprehensive collection of primarily Latin American art. Up now, don’t miss Cuban artist Gustavo Pérez Monzón’s “Tramas.”

C / D / E. The Corner, NIU Kitchen, and Zuma

1035 N. Miami Avenue; 134 NE 2nd Avenue; 270 Biscayne Boulevard Way

Insider tip: For a cocktail (we recommend their Hurricane, complete with passion fruit shrub and pineapple) pop into The Corner, Diana Nawi’s “go-to bar.” For dinner, head south to NIU Kitchen’s beautiful nook for delicious Catalan fare. Or for a more dramatic dining experience, make a reservation at Zuma for elegant Japanese plates enjoyed from a perch overlooking the water.

Photo by Gesi Schilling.

—Alexxa Gotthardt

A Short List of Miami Art Week Events

Gagosian, Stallone and even Edvard Munch are bringing it this year

Isaac Julien’s Stones Against Diamonds (Ice Cave) at Art Basel in Miami Beach 2015. (Photo: Courtesy of Rolls-Royce Motor Cars)

ven Isaac Julien’s Stones Against Diamonds (Ice Cave) at Art Basel in Miami Beach 2015. (Photo: Courtesy of Rolls-Royce Motor Cars)

Miami Art Week gets a bad rap for being a nonstop rager, what with the Cristal, the caviar and the unicorn rides (trust me, Peter Brant can make that happen). But, in salute to the fact that what’s on view (I’m talking about art, not bikini models) can be just as intoxicating, we picked out just a handful of events that put the emphasis on art.
For a huge and updating list of events, see observer.com/art

MONDAY NOVEMBER 30

Isaac Julien | Commission for Rolls-Royce Art Programme in Miami for Art Basel in Miami Beach
Opening
Jewel Box, National YoungArts Foundation
2100 Biscayne Boulevard
And we’re off! Rolls-Royce, the choice car of haughty old Englishmen and ’90s rappers, has commissioned a new work by influential British artist Isaac Julien titled Stones Against Diamonds (Ice Cave) to be shown at the YoungArts Jewel Box as part of Art Basel Miami Beach 2015. Covering 15 screens, Mr. Julien’s tour-de-force was shot inside isolated glacial ice caves in the Vatnajökull region of Iceland. The artist interpreted this remote landscape as a metaphor for the subconscious, a place of rich beauty that can only be accessed through psychoanalysis and artistic reflection. Damn that’s deep! So if you’re rollin’ through Miami’s Wynwood District this year in your souped up KIA, maybe stop into this exhibit for a much-needed ego (and id) check.

A moon painting by Anne Craven. (Photo: Courtesy of Maccarone, New York)

A moon painting by Anne Craven. (Photo: Courtesy of Maccarone, New York)

Gallery Diet
Ann Craven’s I Like Blue 
Opening reception
6315 NW 2nd Avenue
5-8 p.m.
A teacher’s influence lasts a lifetime. Prime example: One of painter Ann Craven’s former students from a class in 2004 eventually decided to open a gallery in the Basel host-city of Miami. That student was Nina Johnson-Milewski, owner/director of Contemporary art collector favorite, Gallery Diet. Cut to 2015, and that student is about to open a show of her former teacher’s work at her new location in the up-and-coming neighborhood of Little Haiti. Ms. Craven’s painterly goodness is reason enough to see this show—she has serious chops—but this will also be the best place to find crusty die-hard Miami locals, the art lovers who run this city for more than just one week out of the year.

TUESDAY DECEMBER 1

Jarry Deigosian.

Jarry Deigosian.

“Unrealism”
Organized by Gagosian Gallery and Jeffrey Deitch
Moore Building
3841 NE 2nd Avenue, Miami
Opening reception 5-8 p.m.
This is kind of like when the Penguin and the Riddler teamed up for the very first time: it was fearsome yet wildly entertaining. But what has finally brought former art world foes Larry Gagosian and Jeffrey Deitch together under one Design District roof? Figurative painting, of course. You just know it will be a humdinger, too, with works from both the older guard like John Currin, Elizabeth Peyton and David Salle and the very new guard, which includes young hotshots like Jamian Juliano-Vilani and Ella Kruglyanskaya. It’s all part of the evil duo’s diabolical plot to reallocate collector funds to their secret offshore lair, part of a grander scheme to take over the world… Can nothing stop them?

Yo! Adrian, Picasso, et al.

Yo! Adrian, Picasso, et al.

Galerie Gmurzynska ‘dinatoire’ for Germano Celant and Sylvester Stallone
Villa Casa Casuarina
1116 Ocean Drive
8:30 p.m. Private
Guest curator Germano Celant organized the Art Basel Miami booth for this Zurich gallery with some top-notch artists (Picasso, Dubuffet, you know, the usual masterworks) and there’s a party in honor of this fact. It will be held at the sumptuous Villa Casa Casuarina, better known as the former castle-like home of the late fashion designer Gianni Versace, a.k.a. the Versace Mansion. Oh and the star of such mega-hits as Stop or My Mom Will Shoot! and Rhinestone should be making the scene…Mr. Stallone is an accomplished painter himself, f.y.i. Sadly, the event is invite only, but if you Netflix Rocky in your hotel while drinking little bottles of booze from your mini-fridge, you can convince yourself it’s more or less the same thing.

THURSDAY DECEMBER 3

NADA Miami Beach 2012 Photo by Andrew Russeth)

NADA Miami Beach 2012 (Photo: Courtesy of Andrew Russeth)

NADA Miami Beach art fair
Private preview
Fontainebleau Miami Beach 
4441 Collins Avenue
10 a.m.-2 p.m.
The market for emerging art is as dead as Dean Martin, right daddio? Wrong. That’s exactly what these fat cats want you to think so they can get all the primo goodies for themselves. Well, we can’t let that happen, can we? This is what you do: set four alarm clocks the night before. Print out your list of potential emerging art targets. I suggest you wear something that you can move well in (a track suit maybe) and show up to the Fontainbleau a few hours early. You might even want to wear some elbow and kneepads. The Horts are not afraid to throw an elbow or two when jockeying for position in front of the Canada gallery booth, and you shouldn’t be either. Okay, deep breath… Let’s do this.

FRIDAY DECEMBER 4

8d609ec7922ef783ea8a71772a967092 A Short List of Miami Art Week Events

Miami meet Munch.

Edvard Munch Art Award
Shelbourne Hotel South Beach
1801 Collins Avenue
By invitation, or Art Basel First Choice
VIP card
Now this is a big deal. The Edvard Munch Art Award is back after an almost 10-year hiatus, and the winner will be announced in Miami during Basel Week (yes, that thud is the sound of  Munch rolling over in his grave.) The 500,000 NOK award (roughly $58,000) is given to “an emerging visual artist, no older than 40 years of age, who has demonstrated exceptional talent within the last five years.” The award also includes a solo exhibition at the Munch Museum in Oslo, Norway. Not a bad haul. That, plus the fact that the reception should be filthy with good-looking Scandinavian models, has us considering this party a rather hot ticket.

–HAMPTONS MAGAZINE
What to Expect at Art Basel in Miami Beach This YearBy Matt Stewart | November 20, 2015 | Culture
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Art & Culture

The Fabulous 5.5: Art Basel Planning Guide #2

November 17, 2015

Top Art Basel Bar Escapes 2015

Walking around during Art Basel exhausts everyone. Feet hurtin’, eyes burnin’, throat in need. Like a European museum tour, it doesn’t take long for one to burn out. If you are of age, liquid respite beckons.

Who has what it takes near the venues?

Consider these 5 places to escape, and a few semi-non-suggestions.

 

Do Not Sit5. Do Not Sit On the Furniture is not a command, but a location at 423 16th Street and the premier beach club for the subterranean set. It’s dark, tight, and a global DJ hideout/paradise. It’s designed like Europe — unpretentious and built for dance.

Regent4. The Regent Cocktail Club: On the corner of 17th and James right in the thick of all things on the Beach rests the regent in the rear of the Gale. No place on the Beach feels this much like the famous old-time, pricey, classy New York City barrooms like the King Cole in the St. Regis or Bemelman’s at the Carlyle. If Cleaveland Jones and his Trio are playing like they often do on Thursday nights, settle in for a few delightful, stirring Brazilian-tinged sets. They got skills.

Radio Bar3. Radio Bar South Beach: All those burnt sienna, earthy tones minus any vestiges of natural light make for a good post-modern, post-apocalyptic vibe. It’s both contemporary and sci-fi Twilight Zone – if something happens outside, you might drink your way through it. Easter Island mugs, a pool table, and stylish cocktails contribute. 814 1st Street and looking very different outside from inside.

Broken Shaker2. Broken Shaker: The old Indian Creek Hotel became the Freehand Hostel and these Bar Lab dudes, Gabriel Orta and Elad Zvi got semi-famous and started making freaky cocktails and suddenly, yeah like, you know, the place got very hip. Amid the gorgeous patio garden are serious cocktails making waves like this one a while back: Kale and Pineapple Caipirinha. 2727 Indian Creek Drive. You can also chill upstairs at 27.

Repour1. Repour: Established in 2015, Repour has developed serious rapport going as far as the bar in Miami Beach least likely to reveal photos showcasing it. Laid back on the beach, lots of handwritten stuff, rarely overcrowded, and beautiful drinks make this locally popular spot in the lobby of the Albion a champion.

.5 Less than worthy: Take your pick. Cool bad-secret is out backroom Bodega, gorgeous view/too tight dresses at Juvia, UFC/NRA/armed to the teeth/hidden entrance Foxhole, no one can stand it but Anthony Boudain Club Deuce, but none of which could ever be worse than rock-bottom Clevelander (except maybe Mangos).

 

MIAMI NEW TIMES

Art Basel Miami Beach 2015 Party Guide

Art Basel Miami Beach 2015 Party Guide

Photo by Nate “Igor” Smith/drivenbyboredom.com

Spring break forever.

Yes, art world, Art Basel in Miami Beach is almost here. And you can pretend all you want that you’re coming to Miami exclusively for the high-brow art and lectures, but nobody’s going to judge you if you manage to get some serious partying done while you’re in town. This is Miami, and if there’s one thing we’re really good at, it’s partying.

And rest assured, there will be tons of parties during Miami Art Week. From the completely free to invite-only, here is the most complete collection of musically driven, nightlife events — with a dash of art thrown in, because, you know, we aren’t savages. And thanks to a generous 5 a.m. closing time — 24 hours in Miami’s Park West district — there’s plenty of time for you to make an Art Basel mistake. (Good news is that mistake probably has a flight back to New York to catch on Sunday.)

Check back often for updates, because we will continue to update this list as more events get announced. Don’t see your event listed here? Send us an email.

Tuesday, December 1

Slap & Tickle Art Basel with Dave1. 10 p.m. Tuesday, December 1, at Bardot, 3456 N Miami Ave, Miami; 305-576-5570; bardotmiami.com. Tickets cost $15 to $20 plus fees via showclix.com.

Favela Beach with Mr. Brainwash, Jus-Ske, Ruen, and Reid Waters. 11:30 p.m. Tuesday, December 1 at Wall Lounge, 2201 Collins Ave., Miami Beach; 305-938-3130; wallmiami.com. Tickets cost $50 to $70 via wantickets.com.

Wednesday, December 2

Behrouz & Friends Art Basel Edition with Damian Lazarus, Behrouz, and Bedouin, Wall Lounge, 2210 Collins Ave., Miami Beach. Tickets $50 via wantickets.com.

A Very Superfine! Kickoff Party with Baio (of Vampire Weekend) and Lauv, presented by Superfine! House of Art and Design, the Citadel, 8300 NE Second Ave., Miami. Tickets $25 via superfine.design/tickets.

Thursday, December 3

PAMM presents “Dimensions” by Devonté Hynes (Blood Orange) and Ryan McNamara, Pérez Art Museum Miami, 1103 Biscayne Blvd., Miami. Open only PAMM Sustaining and above level members as well as Art Basel Miami Beach, Design Miami, and Art Miami VIP cardholders.

Life and Death Art Basel with Tale Of Us, Mind Against, Thugfucker, and special guest Richie Hawtin, Mana Wynwood, 318 NW 23rd St., Miami. Doors 9 p.m.; tickets $15 to $66 via residentadvisor.net.

Connan Mockasin, Bardot, 3456 N. Miami Ave., Miami. Doors 10 p.m.; tickets $15 to $20 via showclix.com.

A Jetset Jubilee with Aeroplane with a super special guest (TBA), presented by Superfine! House of Art and Design, the Citadel, 8300 NE Second Ave., Miami. Tickets $25 via superfine.design/tickets.

Immortal Technique with Hasan Salaam, DJ Static, and El B. 7 p.m. at Churchill’s Pub, 5501 NE Second Ave., Miami; 305-757-1807; churchillspub.com. Tickets cost $25 plus fees via eventbrite.com. Ages 18 and up.

Friday, December 4

When Pigs Fly presented by Link Miami Rebels with artists TBA, Trade, 1439 Washington Ave., Miami Beach. Tickets $15 to $35 via residentadvisor.net.

tINI and Bill Patrick, Heart Nightclub, 50 NE 11th St., Miami. Tickets $20 to $30 via residentadvisor.net.

Safe Off/Basel 2015 with Martyn, the Black Madonna, and Diego Martinelli, Electric Pickle, 2826 N. Miami Ave., Miami. Tickets $18.35 to $21.15 via residentadvisor.net.

Miami Nice Art Basel, All-White Yacht Party, South Beach Lady, Hyatt Dock, 400 SE Second Ave., Miami. Tickets $60 via wantickets.com.

Jamie xx and Four Tet, presented by III Points and Young Turks, at Mana Wynwood, 318 NW 23rd St., Miami. Doors 9 p.m. Tickets $25 to $400 via showclix.com.

Miami Hearts Design, hosted by Karelle Levy with a KRELwear living installation, with Afrobeta and Millionyoung, presented by Superfine! House of Art and Design, the Citadel, 8300 NE Second Ave., Miami. Tickets $15 via superfine.design/tickets.

Avey Tare (Animal Collective) DJ set with Byrdipop and Uchi (live), Bardot, 3456 N. Miami Ave., Miami. Doors 10 p.m.; tickets $15 to 20 via showclix.com.

Nakid Magazine Issue Release Party celebrating Jen Stark. 10 p.m. Friday, December 4, at Libertine, 40 NE 11th St., Miami; 305-363-2120; libertinemiami.com. Admission is $10.

Saturday, December 5

Danny Howells, Do Not Sit On the Furniture, 423 16th St., Miami Beach. Doors 10 p.m.; tickets $20 via residentadvisor.net.

Crew Love Art Basel with Soul Clap, PillowTalk (live), Nick Monaco, Navid Izadi, Jeremy Ismael, and Miami Players Club, Electric Pickle, 2826 N. Miami Ave., Miami. Tickets $15 to $35 via residentadvisor.net.

Big Times in Little Haiti with Jeffrey Paradise (of Poolside), Gilligan Moss, and Krisp, presented by Superfine! House of Art and Design, the Citadel at 8300 NE Second Ave., Miami. Tickets $25 via superfine.design/tickets.

David Squillace. 11:30 p.m. Saturday, December 5, at Wall Lounge, 2201 Collins Ave., Miami Beach; 305-938-3130; wallmiami.com. Tickets cost $40 to $70 via wantickets.com.

Sunday, December 6

The Visionquest Experience with Visionquest (Lee Curtiss, Ryan Crosson, Shaun Reeves), DJ Three, Behrouz, and more, Electric Pickle, 2826 N. Miami Ave., Miami. Tickets $20 to $30 via residentadvisor.net.

Dark Basel with Necro and Madchild. 7 p.m. at Churchill’s Pub, 5501 NE Second Ave., Miami; 305-757-1807; churchillspub.com. Tickets cost $20 plus fees via eventbrite.com. Ages 18 and up

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Market News

NADA Miami Beach Will Move to the Fontainebleau Hotel

The Fontainebleau lobby.COURTESY FONTAINEBLEAU MIAMI BEACH

The Fontainebleau lobby.

COURTESY FONTAINEBLEAU MIAMI BEACH

NADA Miami, the New Art Dealers Alliance’s fair during Art Basel Miami Beach in December, will be moving to the Fontainebleau Hotel on Collins Avenue for its 2015 edition. NADA opened in Miami in 2003, and in 2009 moved to the Deauville Beach Resort, in North Miami Beach, where the fair remained through last year.The de la Cruz Collection is doing a survey show loaded with art stars working in abstraction.

==
The ICA Miami

ALEX BAG

On view December 1, 2015 – January 31, 2016

ICA Miami will present a solo exhibition dedicated to video and performance artist Alex Bag during Art Basel Miami Beach in 2015. On view in ICA Miami’s Atrium Gallery, The Van (Redux)* centers around one of Bag’s key videos, The Van, 2001, and features a dramatic new site-specific installation. This exhibition marks the first major U.S. presentation of the artist’s work since 2009.

 

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The Rubell Family Collection

Genzken I Schauspieler
Isa Genzken, Schauspieler, 2013

NO MAN’S LAND

Women Artists from the Rubell Family Collection

December 2, 2015, through May 28, 2016

 

The Rubell Family Collection/Contemporary Arts Foundation is pleased to announce its upcoming exhibition, NO MAN’S LAND: Women Artists from the Rubell Family Collection, on view in Miami from December 2nd, 2015 through May 28th, 2016. This exhibition will focus on and celebrate work made by more than a hundred female artists of different generations, cultures and disciplines. These artists will be represented by paintings, photographs, sculptures and video installations that will entirely occupy the Foundation’s 28-gallery, 45,000-square-foot museum. Some galleries will contain individual presentations while others will present thematic groupings of artists. Several installations have been commissioned specifically for this exhibition.

In order to present the exhibition’s scope and diversity the Foundation will rotate artworks on view throughout the course of the exhibition, presenting different artists at different times. All of the artworks in the exhibition are from the Rubells’ permanent collection.

Other exhibitions organized by the Foundation include 30 Americans, which is currently on view at the Detroit Institute of Art through January 18, 2016 and 28 Chinese which is currently on view at the San Antonio Museum of Art through January 3, 2016. 30 Americans has now been presented at 9 institutions and seen by over one million people.

A fully illustrated catalog with essays will accompany the exhibition. A complimentary audio tour will also be available.

To celebrate the opening of NO MAN’S LAND, Jennifer Rubell will be presenting Devotion, her 12th annual large-scale, food-based installation on December 3, 2015 from 9 to 11 a.m. Devotion will explore the everyday gesture as a medium for the expression of love. Using bread, butter, and a couple engaged to be married as her media, Rubell will transform the simple act of cutting and buttering bread into a poetic exploration of repetition as devotion

 

List of artists:

Michele Abeles
Nina Chanel Abney
Njideka Akunyili Crosby
Kathryn Andrews
Janine Antoni
Tauba Auerbach
Alisa Baremboym
Katherine Bernhardt
Amy Bessone
Kerstin Bratsch
Cecily Brown
Iona Rozeal Brown
Miriam Cahn
Patty Chang
Natalie Czech
Mira Dancy
DAS INSTITUT
Karin Davie
Cara Despain
Charlotte Develter
Rineke Dijkstra
Theo Djordjadze
Nathalie Djurberg
Lucy Dodd
Moira Dryer
Marlene Dumas
Ida Ekblad
Loretta Fahrenholz
Naomi Fisher
Dara Friedman
Pia Fries
Katharina Fritsch
Isa Genzken
Sonia Gomes
Hannah Greely
Renée Green
Aneta Grzeszykowska
Jennifer Guidi
Rachel Harrison
Candida Höfer
Jenny Holzer
Cristina Iglesias
Hayv Kahraman
Deborah Kass
Natasja Kensmil
Anya Kielar
Karen Kilimnik
Jutta Koether
Klara Kristalova
Barbara Kruger
Yayoi Kusama
Sigalit Landau
Louise Lawler
Margaret Lee
Annette Lemieux
Sherrie Levine
Li Shurui
Sarah Lucas
Helen Marten
Marlene McCarty
Suzanne McClelland
Josephine Meckseper
Marilyn Minter
Dianna Molzan
Kristen Morgin
Wangechi Mutu
Maria Nepomuceno
Ruby Neri
Cady Noland
Katja Novitskova
Catherine Opie
Silke Otto-Knapp
Laura Owens
Celia Paul
Mai-Thu Perret
Solange Pessoa
Elizabeth Peyton
R.H. Quaytman
Aurie Ramirez
Magali Reus
Marina Rheingantz
Bridget Riley
Cristina Lei Rodriguez
Pamela Rosenkranz
Amanda Ross-Ho
Jennifer Rubell
Analia Saban
Lara Schnitger
Collier Schorr
Dana Schutz
Beverly Semmes
Mindy Shapero
Nancy Shaver
Cindy Sherman
Xaviera Simmons
Lorna Simpson
Shinique Smith
Lucie Stahl
Jessica Stockholder
Sarah Sze
Aya Takano
Fiona Tan
Mickalene Thomas
Rosemarie Trockel
Kaari Upson
Hannah Van Bart
Paloma Varga Weisz
Marianne Vitale
Kara Walker
Mary Weatherford
Meg Webster
Carrie Mae Weems
Jennifer West
Sue Williams
Haegue Yang
Anicka Yi
Lisa Yuskavage

 

EXHIBITION SPONSORS:

2015 16 sponsors 2

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THE MARGULIES
COLLECTION
AT THE WAREHOUSE
OPENS TO THE PUBLIC
WITH NEW EXHIBITIONS
OCTOBER 28, 2015 THROUGH APRIL 30,, 2016

2015-2016

What are the new acquisitions on exhibition this year?
Anselm Kiefer, Susan Philipsz, Meuser, Lawrence Carroll, Mark Handforth, Liat Yossifor

Who are the artists new to the Warehouse collection?
Susan Philipsz, Mark Handforth, Liat Yossifor

What artists have permanent installations at the Warehouse?
Pier Paolo Calzolari, Anthony Caro, Willem de Kooning, Donald Judd, Olafur Eliasson, Peter Fischli and David Weiss, Flavin, Michael Heizer, Donald Judd, Amar Kanwar, Kiefer, Jannis Kounellis, Sol LeWitt, Joan Miró, Isamu Noguchi, Michelangelo Pistoletto, George Segal, Richard Serra, Tony Smith, Franz West

Checklist of Artists in this year’s Exhibitions
Magdelena Abakanowicz, Ronald Bladen, Martin Boyce, Pier Paolo Calzolari, Anthony Caro, John Chamberlain, Willem de Kooning, Willie Doherty, Ursula Schultz Dornburg, Olafur Eliasson, Peter Fischli and David Weiss, Dan Flavin, Kendall Geers, Antony Gormley, Mark Handforth, Michael Heizer, Pieter Hugo, Hans Josephsohn, Amar Kanwar, Anselm Kiefer, Jannis Kounellis, Sol LeWitt, Richard Long, Meuser, Domingo Milella, Jackie Nickerson, Joan Miró, Isamu Noguchi, Michelangelo Pistoletto, George Segal, Richard Serra, Tony Smith, Simcha Shirman, Alec Soth, Michael Spano, Franz West, Pavel Wolberg, Manabu Yamanaka

 ==

NYTimes
Miami’s art museums are grabbing headlines with splashy staff hires and well-heeled additions to their boards. Yet when it comes to actual artwork, the city’s marquee collectors — and their personally run exhibition spaces — continue to steal the show. The latest example of “The Miami Model”? A sprawling retrospective from the German blue-chip artist Anselm Kiefer that fills nearly a quarter of the 45,000-square-foot Margulies Collection at the Warehouse — a garment factory transformed into a showcase for art holdings of the real estate developer Martin Margulies.The exhibit opens Wednesday, but “it will be up forever,” Mr. Margulies said. “If you think I ever want to go through this again … .” he trailed off, motioning to the flurry of activity throughout the Warehouse this week. Mr. Kiefer directed a small army of art handlers whirring about on hydraulic lifts, racing to install an array of 25,000-pound detritus-filled sculptures, 10-feet-high neo-runic paintings, and charcoal wall inscriptions, just hours before a dinner benefiting the Lotus House homeless shelter. The works include the new sculpture, “Ages of the World,” a 17-foot stack of 400 unfinished canvases, lead books, rubble and dried sunflowers.Mr. Margulies played down the show being any kind of aesthetic shot across the bow of the Pérez Art Museum Miami, despite his public feud with that institution over its continuing to receive millions in tax dollars from a struggling community rather than relying solely on private contributors. Instead, Mr. Margulies hoped visiting schoolchildren would learn from Mr. Kiefer’s handiwork: Don’t let meager materials limit your vision. “They should realize this is the creative process of an artist.”Mr. Kiefer, 70, remains a controversial figure within the art world, alternately lionized and denounced for artwork invoking both World War II Germany and the kabbalah. Some see transcendent statements, others a reduction of the Jewish experience to kitsch. Both factions will find plenty of grist at the Warehouse, where Mr. Kiefer’s works refer to everything from the poet and Nazi labor camp survivor Paul Celan to the Old Testament’s Lilith.“Important work always creates polarization,” Mr. Kiefer explained. “The victims understand. Those people who see in me a glorifier of fascism — when you look into them, you find they have something to hide themselves.” As for the distinction between having his work shown in a “private” versus public museum, Mr. Kiefer hoped the former would proliferate. Collectors should be free to bypass museum curators, he said, and lavishly pursue their own tastes. He compared the phenomenon with the early 20th-century construction of public libraries by moguls like Andrew Carnegie: “I think it was J. P. Morgan who said, ‘If you die rich, it’s a mistake.’ ” BRETT SOKOL
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The de la Cruz Collection

The de la Cruz Collection presents their 2016 exhibition “You’ve Got to Know the Rules…to Break Them.” Rosa and Carlos de la Cruz have selected a group of artists from their personal collection who have been associated with defining 21st century practice. Self-aware of the influence that technology and the rise of consumerism has had on their work, artists exhibited follow the cool forms of Minimalism, Conceptualism and Abstract Expressionism, while injecting their works with subtle negations of their own process. Looking at traditional techniques behind painting and sculpture, these works co-exist timelessly as strategies of stylistic appropriation raise questions of subjectivity and originality.

“You’ve Got to Know the Rules…to Break Them” contextualizes New American Abstraction with German Neo-Expressionism, revealing earnest explorations of the artists technical acumen.Through experimentation, they antagonize accepted practices by drawing upon a variety of themes including cultural, historical and sociopolitical modes.

Per contra, the third floor contains a study in portraiture and memory with the works of Félix González-Torres, Ana Mendieta and Rob Pruitt. By transforming everyday objects and using energetic gestures and repetition, González-Torres, Mendieta and Pruitt accept diverse ideologies and reject the notion that art has a single vantage point.

By merging a variety of styles and mediums, the works selected for this year’s exhibition mirror contemporary culture while allowing an open-ended conversation of various interpretations and possibilities. Artist in the exhibition: Allora & Calzadilla, Tauba Auerbach, Walead Beshty, Mark Bradford, Joe Bradley, Dan Colen, Martin Creed, Aaron Curry, Peter Doig, Jim Drain, Isa Genzken, Félix González-Torres, Mark Grotjahn, Wade Guyton, Rachel Harrison, Arturo Herrera, Evan Holloway, Thomas Houseago, Alex Israel, JPW3, Alex Katz, Jacob Kassay, Martin Kippenberger, Glenn Ligon, Michael Linares, Nate Lowman, Adam McEwen, Ana Mendieta, Albert Oehlen, Gabriel Orozco, Jorge Pardo, Manfred Pernice, Sigmar Polke, Seth Price, Rob Pruitt, Sterling Ruby, Analia Saban, Josh Smith, Reena Spaulings, Rudolf Stingel, Cosima von Bonin, Guyton/Walker, Kelley Walker, Christopher Wool.

===

Mana Contemporary Announces Its 2015 Miami Art Week Program

Presenting exhibitions from three of the most prestigious private art collections in the United States.

Nov 03, 2015, 16:01 ET from Mana Contemporary

MIAMI, Nov. 3, 2015 /PRNewswire/ — Mana Contemporary is pleased to announce its second edition of programming during Miami Art Week, taking place from December 3 to 6, 2015. Held at Mana’s 30-acre campus in the Wynwood arts district, this event will inaugurate the central 140,000-square-foot building’s new role as the Mana Wynwood Convention Center.

Mana Contemporary will present a diverse roster of exhibitions and programs, including:

Made in California: Selections from the Frederick R. Weisman Art Foundation
Made in California—a phrase popularized in Ed Ruscha’s groundbreaking text/image works—will be a must-see exhibition during Miami Art Week. Frederick R. Weisman was a pioneering Los Angeles collector of California art as it emerged as a center for contemporary art in the 1960s. He built a collection that includes many of the artists that rose to prominence under the legendary Ferus Gallery, and who went on to define art movements such as Light and Space, Finish Fetish, Postmodernism, and beyond. Under the direction of Mrs. Billie Milam Weisman, the foundation continues to amass a substantial collection of Los Angeles and California art. On view will be works by John Baldessari, Mary Corse, Ron Davis, Sam Francis, Joe Goode, Tim Hawkinson, Robert Irwin, and Ed Ruscha, among many others.

A Sense of Place: Selections from the Jorge M. Pérez Collection
Co-curated by Patricia Hanna and Anelys Alvarez
Including a selection of over 60 works from the collection of Jorge M. Pérez, A Sense of Place is an exhibition that explores cultural identity by way of the collection’s recent acquisitions of works by artists from Latin America. Despite the fact that these artists are working in a globalized world, where technology and communication transcend physical boundaries, many of these artists continue to construct personal and cultural identities by exploring ideas that are specific to their contexts of origin. The show will examine the idea of building cultural identity, and how artists use abstraction, architecture, politics, and memory to carve out a sense of place, and how those concerns are reflected in Pérez as a collector and Miami as a developing city. Pérez, named one of the most influential Hispanics in the U.S. by TIME magazine, is considered a visionary for incorporating the arts into his South Florida real estate developments.

Everything you are I am not: Latin American Art from the Tiroche DeLeon Collection
Curated by Catherine Petitgas
Everything you are I am not presents a selection of key works of Latin American contemporary art from the Tiroche DeLeon Collection. Borrowed from a piece in the collection by Argentine artist Adrian Villar Rojas, the title of the exhibition alludes to the common practice among contemporary artists from the region to subvert the canons of mainstream art to produce thought-provoking, often humorous works. With 55 pieces by 30 artists, the exhibition will explore several different facets of this approach. The Tiroche DeLeon Collection was established in January 2011 by Serge Tiroche and Russ DeLeon with a focus on the up and coming art scenes of Asia, Latin America, Africa, the Middle East, and Eastern Europe. London-based Petitgas is one of the world’s most respected collectors of Latin American art, as well as a writer, lecturer, and art historian.

Mana Urban Arts x Bushwick Collective
Mana Urban Arts Project is collaborating with Bushwick Collective to bring live graffiti painting by 50 influential artists to Mana Wynwood’s RC Cola factory. Renowned artists include: Ghost (New York), GIZ (New York), Pixel Pancho (Italy), Case Maclaim (Germany), and Shok-1 (England). The industrial space adjacent to Interstate 95 will transform into a vibrant scene featuring a skateboarding exhibition, breakdancing, DJ performances, and live music.

ALSO ON VIEW AT MANA WYNWOOD

PINTA Miami
PINTA Miami is the only curated boutique art fair with a specific geographic focus that looks to be an international platform for Ibero-American art identities and issues. The fair will showcase the best of abstract, concrete, neo-concrete, kinetic, and conceptual art movements. PINTA has updated its format to present a fully curated fair, featuring an international team of recognized curators chosen to direct each of the five newly designated sections of the fair.

SPECIAL EVENTS

VIP Preview Reception
An exclusive preview dinner will feature a performance by the Miami Symphony Orchestra.

III Points Music Festival
In partnership with III Points, Mana Contemporary will present a series of after-hours music events in Mana Wynwood’s 36,000-square-foot sound stadium.

SHOW INFORMATION

Mana Contemporary
December 3-6, 2015
Mana Wynwood Convention Center
318 NW 23rd Street
Miami, FL 33127
www.manacontemporary.com

Preview Reception
Tuesday, December 1: 6pm9pm: By invitation only

Public Hours
Thursday, December 3: 11am – 8pm
Friday, December 4: 11am – 8pm
Saturday, December 5: 11am – 8pm
Sunday, December 6: 11am6pm

Admission
Admission to Mana Contemporary’s events at Mana Wynwood is complimentary, unless otherwise noted. For tickets and information regarding PINTA Miami, please visit pintamiami.com.

 

Art Basel is just a month away. Last year the fair attracted 73,000 visitors to the Miami Beach Convention Center and this year’s 14th edition looks to be even bigger and better, with 267 galleries from 32 countries exhibiting from December 3rd to the 6th — plus the former head of NYC’s Armory Show, Noah Horowitz, is now running the fair.

Rendering of the new Miami Beach Convention Center
Work on the $615 million renovation of the convention center is scheduled to begin as soon as AB/MB ends, so look for big changes next year. The $20 million re-do of Lincoln Road is also moving along with NYC’s James Corner Field Operations, the firm that did The High Line, winning the contract to update the original Morris Lapidus design from the 1950s.

All the AB/MB side-sectors return, including SURVEY with 14 booths showing “historically informed” works; NOVA, where you’ll find 34 younger galleries showing new works; and sixteen POSITIONS galleries focusing on emerging artists, including Villa Design Group‘s installation of 10 doorways derived from the scene of the 1997 murder of Gianni Versace on Ocean Drive and, “Polyrhythm Technoir,” a filmed “allegory to contemporary electronic music” by Henning Fehr, Danji Buck-Moore and Phillip Ruhr, presented by Galerie Max Mayer.

UNBUILTYves Behar is the recipient of the 2015 Design Miami “Design Visionary Award” and he’ll be honored with a special exhibit in the D/M venue behind the convention center from December 2 through 6. A student team from Harvard was chosen to design the fair’s entrance pavilion for their submission, “UNBUILT,” a collection of foam models of unrealized design projects. Expect thirty five exhibitors including Firma Casa from Brazil, showing new works by the Campana Brothers, and Italian gallery Secondome,with hand-crafted limited editions.

Several changes and new editions are coming to the numerous — 18 and counting — satellite fairs: Miami Project and Art on Paper move into the Deauville Beach Resort (6701 Collins Avenue, Miami Beach), the former site of the NADA fair; while the 13th edition of NADA heads down the street to the Fontainebleau (4441 Collins Avenue, Miami Beach).

The Miami Project is also launching a new spin-off this year called SATELLITE that will show various “experimental” projects in unoccupied properties up near their 73rd Street base. One of those, “Artist-Run,” will fill the rooms in the Ocean Terrace Hotel (7410 Ocean Terrace, Miami Beach) with different installations from 40 artist-run spaces, curated by Tiger Strikes Asteroid. It’s open from December 2nd to 6th, with a VIP/media event on December 1st from noon to 10 p.m. ALSO: Trans-Pecos, the music venue out in Queens, New York, and Sam Hillmer from the band Zs, are putting together a 5-day music program in the North Beach Amphitheater, emphasizing “musical practitioners with some form of art practice.”

Grace HartiganX Contemporary also joins the crowd with their inaugural edition in Wynwood running from December 2nd through Sunday, and a VIP opening on December 1st from 5 to 10 p.m. Twenty eight exhibitiors will be on hand, plus special projects including “Grace Hartigan: 1960 – 1965” presented by Michael Klein Arts; a look at the “genesis of street art” curated by Pamela Willoughby; and “Colombia N.O.W.” presented by TIMEBAG.

Kate Durbin’s “Hello Selfie” / Courtesy of the Artist/Photographer Jessie AskinazPULSE Miami Beach returns to Indian Beach Park (4601 Collins Avenue, Miami Beach) starting with a big “Opening Celebration” at 4 p.m. on December 1st featuring a panel discussion put together by Hyperallergic, an interactive piece by Kate Durbin called “Hello, Selfie!” and a live performance by Kalup Linzy. On December 5th, PULSE celebrates the City of Miami via a talk at 5 p.m. on “Future Visions of Miami” and a “Sunset Celebration” from 5 to 7 p.m. Fair visitors can check out “TARGET TOO,” an installation referencing items sold at the stores, originally on view in NYC last March. There’s a complimentary shuttle from the convention center, and the fair is open daily from 10 a.m. to 7 p.m. through Saturday.

Wynwood WallsWynwood Walls (2520 NW 2nd Avenue, Miami) has a lot planned this year including “Walls of Change” with 14 new murals and installations and the debut of a new adjacent space called “The Wynwood Walls Garden.” The walls are by Case, Crash, Cryptik, el Seed, Erenest Zacharevic, Fafi, Hueman, INTI, The London Police, Logan Hicks and Ryan McGinness. Over in the “garden,” the Spanish art duo Pichi & Avo are doing a mural on stacked shipping containers and in the events space, Magnus Sodamin will be painting the floors and walls. The VIP opening is on December 1st in the early evening, but then it’s open to the public from 11 p.m. to 2 a.m. Goldman Properties’ CEO Jessica Goldman Srebnick talks about how art transformed the Wynwood neighborhood in THIS Miami New Times piece. We also hear that New York developer (and owner of Moishe’s Moving, Mana Contemporary etc.) Moishe Mana is planning a new mixed-use development on his 30 acres of land in the middle of Wynwood.

The Patricia & Phillip Frost Art Museum at FIU (10975 SW 17th Street. Miami) will have 5 exhibitions featuring 4 Miami-based artists: Carola Braco, Rufina Santana, Carlos Estevez and Ramon Espantaleon. Plus there will be a show called “Walls of Color” with murals by the post-war NY artist Hans Hofmam and, this year, the annual “Breakfast in the Park” on Sunday, December 6th, 9:30 a.m. to noon, honors American sculptor Alice Aycock.

Pauchi Sasaki’s speaker dressThe Mandarin Oriental Miami (500 Brickell Key Drive, Miami) and Peru’s gallery MORBO host an exhibition called “Pure Abstraction” by Peruvian artist Alex Brewer, aka HENSE, in the hotel’s Peruvian restaurant, La Mar by Gaston Acurio. There’s a VIP preview in the restaurant on December 3rd featuring a violin performance by Pauchi Sasaki who’ll be wearing her dress made from speakers.

A previous food installation by Jennifer RubellThe Rubell Family Collection (95 NW 29th Street, Miami) will present a big exhibition called “No Man’s Land” featuring women artists from their extensive collection. It’s up from December 2nd until the end of May and will include paintings, sculptures, photos and videos by over 100 female artists. Because of the large number of works, artworks will be rotated throughout the course of the show. Jennifer Rubell will present her twelfth large-scale, food-based installation,”Devotion,” on December 3rd, 9 to 11 a.m. She’ll be using “bread, butter, and a couple engaged to be married” as her media.

Robert Smithson’s “Spiral Jetty” from the air.

“Our Hidden Futures” is the overall theme for this year’s AB/MB film program. Over 50 films and videos will be screened on the giant projection wall outside of the New World Center (500 17th Street, South Beach), plus over 80 more can be accessed in the convention center film library. The Colony Theater (1040 Lincoln Road, Miami Beach) will be showing director James Crump’s Troublemakers: The Story of Land Art on Friday, December 4, 8:30 p.m., followed by a panel discussion with Crump and Basel film curator Marian Masone. The evening screenings in SoundScape Park include short films with program themes ranging from “Speak Easy” to “Vanishing Point.”

Rachel in the Garden (2003), by John Currin; © John Currin. Photography by Rob McKeever. Courtesy Gagosian Gallery

Jeffrey Deitch and Larry Gagosian are co-presenting an exhibition of figurative painting and sculpture in the Moore Building (3841 NE 2nd Avenue, Miami). The opening is on Tuesday, December 1st, but it will be on view all week. According to the NYT, artists featured in the group show will include Urs Fischer, Elizabeth Peyton, John Currin and David Salle.

Since 2005, the KABINETT sector of AB/MB has invited galleries to display curated installations. This year, there are 27 exhibitions including a new work by L.A. artist Glenn Kaino called “The Internationale” that re-interprets the iconic Pierrot character — and his “only friend,” the moon — interacting with visitors via “seminal texts on post-colonial theory.” Galerie Krinzinger will be showing Chris Burden’s “Deluxe Photo Book 1971 -1973,” documenting the first three years of his performances. And Galerie Lelong will present a selection of shaped, “erotic” canvases by the Puerto Rico-based artist Zilia Sanchez.

CONTEXT Art Miami, the sister fair to Art Miami, will feature 95 international galleries this year, along with several artist projects and installations including 12 listening stations dedicated to sound art; areas dedicated to art from Berlin and Korea; solo exhibitions by Jung San, Satoru Tamura, Mr. Herget and four others; and a “fast-track” portrait project of workers at Miami International Airport. Context and Art Miami — which is celebrating its 26th year — open with a VIP preview benefiting the Perez Art Museum Miami on Tuesday, December 1, 5:30 to 10 p.m., at 2901 NE 1st Avenue in Midtown, Miami. The fair is open to the public from December 2nd through the 6th.

“Coven Services” (2004) by Alex Bag

ICA Miami (4040 NE 2nd Avenue, Miami) presents a new theatrical performance called “Artist Theater Program” by Erika Vogt, Shannon Ebner and Dylan Mira on Thursday, December 3rd at 4 p.m. Ebner also has a concurrent show, “A Public Character,” on view in the museum during AB/MB and up until January 16, 2016. This is the inaugural program in the museum’s new performance series. Also opening on December 1st is a major survey of works by the video and performance artist Alex Bag, including her interactive installation “The Van.” The museum recently announced the appointment of Ellen Salpeter, Deputy Director of NYC’s Jewish Museum, as its new director and they’ve just broken ground on a new, permanent home in the Design District. The 37,500 -square-foot building was designed by the Spanish firm Aranguren & Gallegos Arquitectos and is scheduled to open in 2017.

Installation by Alan SonfistMiami’s “art hotel” The Sagamore (1671 Collins Avenue, South Beach) has a new installation by environmental/landscape sculptor Alan Sonfist on view all week, along with their incredible Cricket Taplin Collection of contemporary art. The hotel’s annual VIP brunch — featuring a new Electronic Arts Intermix installation — is on Saturday, December 5th, 8:30 a.m. to 1 p.m.

“Subway Station” by Louis Lozowick

The INK Miami Art Fair celebrates their 10th anniversary and maintains their exclusive focus on printmaking and works on paper. They’re back in the Suites of Dorchester (1850 Collins Avenue, South Beach) from Wednesday, December 2nd, through Sunday. Highlights include a lithograph by Louis Lozowick called Subway Station, NYC (1936) at Susan Teller Gallery’s booth and A World in a Box (2015) by Mark Dion published by Graphicstudio/U.S.F.

New York-based branding and event collective FAME is popping-up in Miami from December 2 to 6 with their ” Superfine! House of Art & Design” (8300 NE 2nd Avenue, Miami) in Little Haiti. They’re promising “the arty party of the year” with a big opening night December 2nd, 6 to 10 p.m, featuring a gigantic chandelier installation by Diego Montoya and music all week from Gilligan Moss, Lauv and more TBA. Plus, Afrobeta plays on Friday at a party hosted by PAPER fave, textile artist Karelle Levy.

The fourth edition of UNTITLED Miami is on the beach at Ocean Drive and 12th Street from December 2 to 6, with a big VIP preview on December 1st from 4 to 8 p.m. They’ve got 119 international galleries along with non-profit orgs from 20 countries. New this year will be an UNTITLED radio station broadcasting via local Wynwood Radio with interviews, performances and playlists by artists, curators etc.

Mega Guide to Art Basel Miami Beach 2015: Part 3

 

Things are really starting to come together at Argentine developer Alan Faena’s new residential and arts district between 32nd and 36th Streets on Collins Avenue. By the time AB/MB rolls around, the Faena Hotel Miami Beach should be up and running, and construction is now complete on the Foster + Partners residential tower. The Faena Forum (above), designed by OMA Rem Koolhaas, should be open in April 2016. For Basel Miami 2015, they’ve planned a series of cool events including: A roller-disco installation by assume vivid astro focus that will be open to the public daily on the beach and feature local and international DJs; a “theater curtain” installation called “A Site To Behold” by Spanish artist Almudena Lober that lets visitors play alternate roles of “actor” and “performer”; and a site-specific “sand and light” installation by Jim Denevan.

The Perez Art Museum Miami (aka PAMM) — designed by Pritzker Prize-winning architects Herzog & de Meuron — had it’s big debut in 2013 in downtown Miami’s Museum Park. On December 3rd, 2015, 9 p.m. to midnight, they’ll be premiering a collab performance by Devonte Hynes of Blood Orange and Ryan McNamara called “Dimensions” that includes elements of dance, music and sculpture. Also, during this open house for members and VIPs, you can check out their current exhibitions including Nari Ward’s “Sun Splashed,” Firelei Baez’ “Bloodlines,” and a show of Aboriginal Australian abstract painting.

Moishe Mana’s Mana Contemporary (318 NW 23rd Street, Miami) in Wynwood plans several exhibitions during AB/MB including “Made in California,” featuring selections from L.A. collector Frederick R. Weisman’s Art Foundation; “A Sense of Place,” with over 60 works from the collection of Jorge M. Perez; and “Everything You Are Not,” key works of Latin American art from the Tiroche DeLeon collection. All are up from December 3rd thru the 6th, with a VIP preview on December 1st. Mana Urban Arts is also doing a collab with The Bushwick Collective at the former RC Cola Plant (550 NW 24th Street, Miami) that includes over 50 artists — so far the list includes Ghost, GIZ, Pixel Pancho, Case Maclaim and Shok-1 — plus skateboarding, DJs, live music etc.

Lots of music events and parties are starting to come in, including a show with Jamie xx and Four Tet on Friday, December 4th, in the Black Room at Mana Wynwood (318 NW 23rd Street, Miami), presented by III Points and Young Turks. Tickets are available HERE. At the same venue, Life & Death records presents Tale of Us, Mind Against, Thugfucker and “special guest” Richie Hawtin on December 3rd. Tickets are HERE. We also hear that Danny Howells will be spinning at Do Not Sit On The Furniture (423 16th Street, Miami Beach) on Saturday, December 5th; and Marco Carola and Stacey Pullen are at Story (136 Collins Avenue, South Beach) on Saturday, December 5th.

Photo via

Two young London-based artists, Walter & Zoniel, will set up a large, hand-built camera in the Delano Hotel (1685 Collins Avenue, South Beach) from December 2nd to the 5th for a performance piece called “Alpha-Ation.” They’ll be creating exclusive, hand-colored portraits of “high-profile” figures all week and have already shot Lindsay Lohan and Tinie Tempah. The work is presented by the UK gallery Gazelli Art House. There’s also an invite-only reception with the artists at the Delano on Saturday night.

Hans Ulrich Obrist

AB/MB’s Conversations and Salon series brings together artists, curators, gallerists, historians, critics and collectors for 23 talks and panels all week. Jenny Holzer and Trevor Paglen kick things off on December 3rd, 10 to 11 a.m., in the Hall C auditorium. Other “conversations” include London’s Serpentine co-director Hans Ulrich Obrist on Friday morning and Genius Grant winner Nicole Eisenman on Sunday. In the Salon series, Obrist will also moderate a conversation between artist Alex Israel and author Bret Easton Ellis on “the evolution of the L.A. art scene.”

L.A. painter and installation artist Lisa Solberg will preview her latest project, “Mister Lee’s Shangri-La,” at Soho Beach House (4385 Collins Avenue, Miami Beach) on Saturday, December 5th. The work — “an immersive exotic dance club sheltered inside a greenhouse” — will then be on view at MAMA Gallery (1242 Palmetto Street, Los Angeles) in L.A. as of December 19th.

Photo by Julian Mackler/BFA.com

Adrien Brody isn’t just a great actor. He’ll be showing several of his paintings during AB/MB in a show called “Hot Dogs, Hamburgers and Handguns” at Lulu Laboratorium (173 NW 23rd Street, Miami) in Wynwood. The show was curated by Spanish-American artist Domingo Zapata and the big opening party starts at 10p.m. on December 2nd.

Calypso St. Barth Beach Boutique pops-up in the Soho Beach House (4385 Collins Avenue, Miami Beach) all week from 11 a.m. to 6 p.m. daily. They’ll also be hosting VIP events for artists including Jen Stark and Mira Dancy.

The National YoungArts Foundation‘s (2100 Biscayne Blvd., Miami) current show, “The Future Was Written,” features an interactive work by Daniel Arsham that asks visitors to use any of 2,000 chalk objects to draw on the gallery walls. On view until December 11th.

Chrome Hearts celebrates their new collaborators, Laduree and Sean Kelly Gallery, on December 2nd, 8 to 11 p.m., in the Chrome Hearts (4025 NE 2nd Avenue, Miami) shop in the Design District with a private, VIP party featuring works by Sean Kelly artists including Marina Abramovic, Los Carpinteros, Jose Davila, Robert Mapplethorpe and many more. Also there’s a special performance by Abstrakto and DJ set from Atlanta de Cadenet Taylor.

The MoMA Design Store and online skate deck site, The Skateroom, will open a pop-up in the Delano Hotel (1685 Collins Avenue, South Beach) from November 30th to December 6th. The “immersive installation” will sell limited-edition skateboard decks featuring Andy Warhol artworks including his Campbell’s Soup cans, Guns, Car Crash etc. A portion of the proceeds will go to Skateistan, a non-profit org that uses skateboarding to empower youth. The private VIP opening is December 2, 8 to 11 p.m.

Louis Vuitton (140 NE 39th Street, Miami) will be presenting “Objets Nomandes” — a new collection of foldable furniture and travel accessories — in their new store in the Design District during AB/MB, as of December 3rd. The pieces are collabs with international designers including the Campana Brothers, Maarten Baas and Nendo. You can also check out the world-exclusive unveiling of a lounge chair designed by Marcel Wanders.

ArtCenter/South Florida has an “off-site” installation called “D.O.A.” by the Israel-based artist Dina Shenhav over in Miami’s Little River District at 7252 NW Miami Court. Shenav will create a hunter’s cabin filled with “hunter” paraphernalia sculpted from yellow foam. Up from November 29th until the end of January.

Mega Guide to Art Basel Miami Beach 2015: Part 4

Gary Pini

One of our fave AB/MB sectors, PUBLIC, just announced this year’s list of 26 artists who’ll be doing site-specific installations and performances all week in Collins Park. Several caught our eye: a jemstone-encrusted “Healing Pavilion” enhanced with “metaphysical properties” by Sam Falls; a group of tall chairs from the original production Robert Wilson’s “Einstein on the Beach;” a giant set of red lips by Sterling Ruby; and a monumental deer lawn ornament by Tony Tasset. Opening night is Wednesday, December 2nd, 7 to 9 p.m., and it features a female tai chi master, male bodybuilders, men on skateboards, a dandy hobo and an evening performance by Yan Xing.

Tony Tasset, Deer, 2015Photo cred. Kavi GuptaSCOPE returns to South Beach from December 2 to 6 (VIPs get in on the 1st) with 120 exhibitors from 22 countries, plus several special sections including Juxtapoz Presents, the Breeder Program for new galleries and FEATURE, showcasing photography. For a fourth year, the fair collabs with VH1 on a music series featuring up-and-coming artists. There’s also an invite-only party with recording artists Mack Wilds and Lil’ Dicky on Friday night at Nikki Beach, sponsored by SCOPE, VH1 and BMI.

As usual, there are lots of cool things happening at The Standard Miami (40 Island Avenue, South Beach) during the week including: The Standard X The Posters launch of their collab poster by Miami-based artist Jim Drain to celebrate the hotel’s 10th anniversary (available in the hotel’s gift shop), a VIP-only cocktail party hosted by Andre Saraiva, a book signing with Cheryl Dunn for her “Festivals Are Good,” a “chopped art” party with the Bruce High Quality Foundation and, of course, there’s the annual Lazy Sunday BBQ hosted this year by Creative Time on December 6th.

The design team of George Yabu & Glenn Pushelberg return to the BASEMENT nightclub in the Miami Beach EDITION Hotel (2901 Collins Avenue, Miami Beach) for an invite-only party with London’s Horse Meat Disco crew and special guest Giorgio Moroder on Thursday, December 3rd. They’re also hosting a private luncheon in the hotel’s Matador Room on Friday and launching a biannual “bookazine” called YP: Transformation, with the first issue available exclusively in the EDITION Hotel during AB/MB.

The EDITION also hosts pop-up exhibitions by NYC galleries in two of their fab bungalows: Half Gallery and HarperCollins Publishers will feature paintings by Daniel Heidkamp, an installation by Tom Sachs and book signings by Justin Adian, Sylvie Fleury and Sue Williamson; Salon 94 will have an installation by Jeremy Couillard.

JJeremy Couillard, Bowery Video Wall, 2014PULSE Miami Beach (4601 Collins Avenue, Indian Beach Park) just announced their 2015 series of special projects including: a neon installation by Texas artists Alicia Eggert and Mike Fleming, a sculpture called “Trees” by Gordon Holden, a faux apartment building by Chris Jones, “Over and Under” by Francis Trombly and a small architectural piece inspired by Corbusier by New York artist Jim Osman. The fair’s PLAY section for video and new media will be curated by Stacy Engman.

Francis Trombly, Over and Under, 2015Bortolami Gallery is opening a year-long exhibition called “Miami” by the French conceptual artist Daniel Buren on December 1st in the M Building (194 NW 30th Street, Miami). The show marks the 50th anniversary of his works with fabric and the 8.7 cm stripe. By periodically installing new works, Buren will also alter the exhibition during the year.

Daniel BurenSpanish luxury fashion house LOEWE (110 NE 39th Street, Miami) opens a group show called “Close Encounters” on Wednesday, December 2nd, 6:30 to 9 p.m. The artists are Anthea Hamilton, Paul Nash, Lucie Rie and Rose Wylie; and the hosts for the evening are Jonathan Anderson, creative director of Loewe, with Don and Mira Rubell. Invite only.


Anthea Hamilton, Dance, 2012

Previewing their upcoming South Beach studio, SoulCycle will pop-up poolside at the 1 Hotel (2341 Collins Avenue, South Beach) starting on Tuesday, December 1st. They plan to open permanently in the hotel in January 2016.

Absolut Elyx, Sean Kelly Gallery, Paddle8 and Water For People celebrate WATER, “the most important drink in the world,” with a private charity auction and party at the Delano Hotel (1685 Collins Avenue, South Beach) on Thursday, December 3rd, 7 to 10 p.m. Look for a live performance by the Swedish singer Elliphant and a DJ set by Jasmine Solano.

ElliphantPhoto Cred. Corey OlsenRicardo Barroso and Eva Longoria celebrate the launch of “Ricardo Barroso Interiors” at Casa Tua (1700 James Avenue, South Beach) on December 3rd. The book includes 240 color photographs of his past and present work, with an accompanying text by Barroso and Fionn Petch and a foreword by Longoria. Invite only.

Ricardo BarrosoMolteni (4100 NE 2nd Avenue, Miami) celebrates their 80th anniversary on December 3rd, 7 to 10 p.m., with a VIP soiree featuring “Amare Gio Ponti,” the first film about the legendary Italian architect and designer.

https://player.vimeo.com/video/142146817
Libertine, one of the new clubs in downtown Miami’s 24-hour party district, hosts a release party for Nakid Magazine‘s latest issue and their cover artist Jen Stark on Friday night, December 4th. Stark recently collab’ed with Miley Cyrus on MTV’s VMA Awards and has a new installation at Miami International Airport.

Jen StarkCorona brings their “Electric Beach” to the Clevelander Hotel (1020 Ocean Drive, South Beach) on December 5th, 3 to 8 p.m., with a live performance by Chilean artist DASIC, and tons of music from Craze, Astronomar, Ape Drums and TJ Mizell.

DasicBrown Jordan and Sunbrella are getting together to showcase photographs by Gray Malin at a sneak-peek preview of Brown Jordan’s new store in the Design District. The invite-only opening is on Thursday, and the store should be open at the beginning of the new year. Some of the photos from the show will be on view there permanently and others are from Malin’s personal collection.

Gray Milan, A La Plage, 2012The Surf Lodge pops-up all week at The Hall South Beach Hotel (1500 Collins Avenue, South Beach) with a series of invite-only artist dinners, events and performances.

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Johnson Road Projects presents Los Angeles-based artist Vincent Johnson’s dazzling color photographs shot in Los Angeles and Detroit + essay

Johnson Road Projects Summer 2015 Exhibition: A Selection of Vincent Johnson’s Color Photography 2001-2015

Johnson Road Projects presents Los Angeles-based artist Vincent Johnson’s dazzling color photographs shot in Los Angeles and Detroit. The artist has lived in LA for several years and most recently gone to Detroit on three photography trips to capture remarkable and startling images of Detroit in transformation.

 DSC05981 copy 1

Neon Chain
Neon Chain

The Deville

Color TV by RCA - Los Angeles
Color TV by RCA – Los Angeles
Ritz Motel - Air Conditioned Rooms
Ritz Motel – Air Conditioned Rooms

V

Permanently Parked Ford Mercury - Detroit
Permanently Parked Ford Mercury – Detroit
Detroit Tire and Bush House.72dpi
Tire and House – Detroit
Mister Softie Truck Detroit.72dpi
Mister Softee Truck Detroit

Vincent Johnson’s Artist statement from 2005 on Photography:

My artistic practice is currently concerned with the production of an archive of digital photographic images of the remains of Los Angeles’ and Southern California’s vernacular architecture after the inception of the motel in the 1920’s through intriguing phase that delivered the fantasy of neon noir architecture of the 1940’s and 1950’s. Since the majority of this form of architectural history are in forlorn and neglected avenues of Los Angeles and beyond, I do not consider the project to be a form of cultural tourism, but an authentic investigation and concern that gives rise to a cultural document as history. On occasion I will also produce a photograph that documents the relationship between the 1950’s through the 1970’s car culture and California private residences.

I work in Los Angeles, which has an exceptional amount of interesting architectural artifacts from the First World War period onwards. Many portions of the Los Angeles that I depict come into existence when New York was attempting to wrest the thorn crown of painting from Paris and succeeded. In the course of producing my photographic archive, I have employed strategies of production such as those used by the flaneur and the derive, in day and at night, by car and on foot, primarily in a stark and challenging urban territory, the Anti-City that is Los Angeles. Similarly, I have also allowed myself to merely wander through this world as the American artist that I am, and fall into pictures and spaces that call for documentation.

It is my experience that driving a car in Los Angeles and seeing the world through its windows is a complex real-time cinematic event. There is a temporary encounter and an enduring intimacy through memory via the photographed subject – this produces the photograph, as versus a sustained relationship with a single but ever-changing street scene. Through auto travel one is given the privileged observer position of moving through the world as a real-time unedited film, a cinema-state; to take a number of photographs of it afterwards. Often, when I drive I look about and “remember” key images, photographs of urban sites from the mid-century and earlier that I will take pictures of in the future.

Despite the relative youth of Los Angeles cultural architectural properties from the mid-20th century and earlier, they are constantly vanishing from the physical landscape of the state, as the dead architecture and their signs are either demolished or their elegant features are almost erased. Part of my project is documentary in the recognition of this reality. At certain times and places in Southern California, merely by driving about, one can gain a very strong sense of the lifestyles of Los Angeles’ remarkable architectural past, in reinvented forms of openness to new possibilities, without external pressure, to fulfill the promise of the future.

Vincent Johnson

Lake Balboa, California
4.12.05

Camille Henrot’s Mind Altering Visual Poetics: Reviews, Images and Texts

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Camille Henrot: Grosse Fatigue

Versatile, solitary, talented, the French artist brings an encyclopaedic video on the history of the universe to the 55th International Art Exhibition — Venice Biennale, which awarded her a Silver Lion at the event.

Art / Federico Nicolao

Versatile, solitary, talented. Born in 1978. For several years now, French artist Camille Henrot has been exploring the multiplication of the illusion of power versus the actual control that is contained in the way we look at the world. Until now, she has done so from the position that France’s art world reserves for its non-militant female artists, which is to say the most uncomfortable one there is.

 

Women artists receive no forgiveness in this country lying just over the Alps from Italy — nor perhaps do they in most of “Latin” Europe. People smile, often with a bit of arrogance, at their projects, but had they been the work of male artists, they would cry out in marvel. And whenever women artists do finally receive recognition (often from foreign curators from other hemispheres or from northern Europe) people sputter about how their work is becoming weaker — no longer what it used to be when they started out.

 

Luckily, there are women who continue their work without allowing themselves to be pushed to the margins. If anything, they use the borders of where they have been confined to concede themselves total freedom to explore the fields that interest them most, which are often the most topical and least trite. They travel and often work abroad. They read. Their tastes meet those of the common people. They study. Very rarely do they become polemic.

Top and above: Camille Henrot, Grosse Fatigue, installation view at the Arsenale on the occasion of the 55th International Art Exhibition — Venice Biennale

The list would be long. For one thing, it would bring us to think that the fall of French art on the international market is to be attributed exclusively to the unbearable insistence with which no one dares defend and promote women artists in France. So much so that Louise Bourgeois, vernacular and refined at the same time, has been the only great artist in the last decades to be recognised both intellectually and commercially. It’s not as if things are much better in the rest of the world, but it explains why the broad public of art exhibitions does not know much about Camille Henrot, despite that her several projects in recent years.

 

Almost as soon as she started working, Henrot decided to “penetrate” into the atelier of the architect-artist-utopian Yona Friedman, but she did it from the point of view of her dog. Then, when she began sculpting strange tribal forms, she made them from plumbing joints and water pipes or airplane wings. In one film projection, she overlapped the three King Kongs of cinema history — Peter Jackson’s 2005 movie, John Guillermin’s 1975 version and the 1933 original, creating a fascinating hybrid that led to a new film, populated by images that were at once in harmony and continuous contrast. These are simple yet powerful ideas, experiments undertaken in answer to the question: What happens when we experiment? To what degree does our conscience become refined and profound? And contemporaneously, how much are we losing attempting?

Camille Henrot, Grosse fatigue. Photo courtesy of the artist and Kamel Mennour Paris

In recent years, Henrot’s projects have all been courageously diverse, defying the constant obstacle of the marketplace. She makes sculptures, films, installations, drawings, pictorial intentions for the future and, recently, even ikebana. The latter became a surprise hit of the last Paris Triennale at the Palais de Tokyo. A trace of each has remained in her “encyclopaedic” video Grosse Fatigue (2013) — about the history of the universe —, which won this year’s Silver Lion at the Venice Biennale.

 

Grosse Fatigue is a curious hymn to foundation and creation, but above all to death and extinction. The soundtrack was composed by French DJ and composer Joakim Bouaziz — Henrot’s companion — who leads music label Tigersushi, and includes a text that Henrot co-authored with her friend, poet Jakob Bomberg. All combine in what becomes a strange cauldron of myths and thoughts on the state of the world.

Camille Henrot, Grosse fatigue. Photo courtesy of the artist and Kamel Mennour Paris

Like all self-respecting artists, Camille Henrot has two traits that irritate a certain type of art critic and spectator. These traits excite other non-prejudiced people. She has no problem with using popular codes. The use of rap in the prize-winning video at the Biennale receives a mix of enthused and negative reactions. She has no problem with quoting (sometimes explicitly, sometimes cryptically) complex, difficult books that are not read by the broad public but by sophisticated intellectuals. Here, she is demanding (for herself, and thus for artists in general) the right to break open the codes of academic citations in order to allow books to come alive without excessive complications. People have difficulty accepting this from a young woman who is the first to say that she has not yet found what place knowledge and instinct can occupy in the context of art. But that’s a mistake.

Camille Henrot, Grosse fatigue. Photo courtesy of the artist and Kamel Mennour Paris

Grosse Fatigue is a meditation on creation. Who knows if rap aficionados not used to such unusual clips will like it? Thirteen minutes recount the birth of the world and its risk of dying. What does our desire to make a picture of the world bring us to? In a predominantly philosophical manner, Henrot answers this question by overlapping and intersecting different computer pages on one screen. Among other things, she invents a new way of looking at what happens when we navigate different roads on the same desktop.

 

Here, she does not play Jean-Luc Godard’s card of emotive fusion, but that of cataloguing and separation — of splicing. This time, Henrot is influenced as much by Matisse and his papiers découpés as by the Coupé-Décalé dance; by myths and humans’ compulsive obsession to catalogue the world. Jean Starobinski and his lucid, dramatic examination of the encyclopaedia is not so far away from Henrot’s universe with its Dionysian dismembering, the taking to pieces of the world by means of discovery, the interruption and caesura that become the orgasmic (here masturbatory) sexual love of those who are watching and reflecting upon themselves in the world.

Camille Henrot, Grosse fatigue. Photo courtesy of the artist and Kamel Mennour Paris

What collection are we part of and why do we, in turn, collect? What do we accumulate and how long does what we accumulate live? Each of us is a succession of cross-sections of the world. But what happens to our life when we explore it and reveal it, from window to window? Moments of joy, festivity, colour, but also exertion and death. With love and desperation, Henrot filmed the wonderful and sinister embalmed animals of Paris’s Museum of Natural History and the Smithsonian Institute, where she spent broad swaths of time. Camille Henrot will continue to elicit excessive approval and instigate discussion. And that’s a good sign. Federico Nicolao

Camille Henrot at the awards ceremony of the 55th International Art Exhibition — Venice Biennale. Photo by Italo Rondinella

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Camille Henrot: The Pale Fox

28 February — 13 April 2014, Chisenhale Gallery, London

By Louise Darblay

French artist Camille Henrot has received much attention since she won the Silver Lion at the 2013 Venice Biennale for her film Grosse Fatigue (2013). Translated as ‘great exhaustion’, it consists of a 13-minute video in which a rap voice attempts to tell the story of the universe, combining mythical, religious, historic and scientific narratives, while a flow of images flash by simultaneously on a desktop computer.

Taking over the Chisenhale Gallery, Henrot builds on this previous work to create The Pale Fox, in which a similar narrative unfolds, but into space rather than on a computer screen, and that turns the feeling of exhaustion into a meditative and enveloping experience. The walls and carpet are coloured in a deep soothing blue reminding of Yves Klein’s monochromes, while atmospheric, ambient music plays in the background, periodically punctuated by coughing sounds. In this enclosed cosmos, Henrot presents what seems to be her very own universe, including found images, objects such as books, educational CDs, digital tablets, coloured feathers and a snow globe, some of her ink drawings and sculptures, as well as a polymorphous set of undulating aluminium shelves that run across the walls. Creating an uneven visual frieze, the images and objects cover the gallery walls, occasionally overflowing on to the floor, on which a radio-controlled snake slithers around.

Dogon mythology is central for Henrot as, built on the assimilation of different cultural belief systems, it becomes a philosophical model for the construction of her narrative

Behind this apparent chaos lies what Henrot calls a ‘crazy schematic map’ which, drawing on different systems of knowledge, apparently describes the cyclic creation of our universe. The disparate objects are there to represent both a point on the compass and one of the elements, one per wall. This spatial map also corresponds to stages in the development of human life, technological progress or mythological genesis.

The north wall for instance relates to the element water – the artist informs us in the press release – where objects and images are gathered that are associated with creation and fertility such as gourdlike calabashes, an apple, or Gabagunnu, the womb matrix of the world, as featured in Dogon mythology. Frequently referred to throughout the installation, this West-African mythology is central for Henrot as, built on the assimilation of different cultural belief systems, it becomes a philosophical model for the construction of her narrative.

Further on, there is the unfolding and evolution of human life, bringing about technological progress, as symbolised by the tablets and the accumulation of photographic images, and which leads to photographs of sunburnt bodies, a metaphor for man’s overexposure. Elsewhere a newspaper cutting, on the archaeological discovery of a Greek statue, hangs next to biblical crosswords, while a Silver Surfer Marvel comic is placed alongside an image of a Buddhist ritual.

The logic is sometimes hard to follow, and the references not always easy to decode without a press release to guide us through. Although captivating and absorbing as an environmental installation, it is the different layers of meaning and symbolic references interwoven together that make this complex work interesting, even when those references are cryptic and reliant on the viewer having some familiarity with Griaule and Dieterlen’s anthropological study of Dogon mythology, Leibniz’s philosophy or Henrot’s Grosse Fatigue.

That being said, once you have read the artist’s statement, Henrot does manage to make these overlapping narratives work together in one great cycle, without them seeming contradictory. She reminds us that disorder and entropy are the origin and condition of creation and evolution, just like the ambivalent figure of the Pale Fox in Dogon mythology is both destructive and creative. In a world where we are constantly overwhelmed by images and information, Henrot’s installation is an impressive attempt to make this excess and chaos productive again.

7 April 2014

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MOUSSE

ISSUE 35

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Camille Henrot, Est-il possible d’être révolutionnaire et d’aimer les fleurs?, installation view at La Triennale “Intense Proximity”, Palais de Tokyo, Paris, 2012
Courtesy: the artist and kamel mennour, Paris. Photo: Alexandra Serrano

Relations de Traduction

by Cecilia Alemani

Is it possible to be revolutionary and like flowers? This enigmatic question is the title of the latest project by Camille Henrot, and it is the practice of Ikebana that removes any reservations about the floral passion: an entire library is translated in arrangements; the reciprocal positionings, the Latin names of species that speak perceptibly of trade, pharmacological properties and history.
Cecilia Alemani meets with the artist to talk about the translative qualities of her work, ranging through anthropology, archaeology and sociology.


Cecilia Alemani: In the last two years you have been focusing on the practice of Ikebana. How do you relate botany and floral decoration to contemporary sculpture?

Camille Henrot: Flowers belong to a time that is not secular (like history) but seasonal.
They address two major expectations of our time. Creating continuity in an era of ruptured temporality, they act like an antidote to the anxiety of living “in history.” At the same time they represent renewal as we wait for change. That’s why I called the project Est-il possible d’être révolutionnaire et d’aimer les fleurs? (Is it possible to be revolutionary and like flowers?).
My initial attraction to Ikebana had to do with how it corresponds to the idea of a healing object. The practice of Ikebana has the role of creating a ‘privileged space’ just as much for the person who views the arrangements as for the person who composes them.
By translating books into flower arrangements in a single gesture, the aim is to concentrate in one object the entirety of a thought, brining together disparate fragments—reconciling opposites in a whole of global dimensions. The approach finds a cohesion (of sorts) in the presentation of several Ikebana. The aim is to build an ‘environment’ within the image of a library that would be simultaneously out of time and connected to the Western fascination with knowledge and its expectations for a revolutionary change.

CA: Your work is bound up with systems of organization and taxonomy. Your Ikebana sculptures are each visualizations of books in your library and your videos often deal with the construction of racial identity. Can you talk about some of these aspects in your work?

CH: I like the serenity brought about by the image of an organized system, but I don’t like simplification and authority. I’m fascinated by unifying systems because they are fragile and appear like ordered complexity.
Regarding categories and racial identities I am interested in ‘Taboo’ objects, the use of which is coded; these can stir a lot of misunderstanding because they continually defy categorization. The idea of culture as “translation relationships” (relations de traduction) was my starting point. We could see the history of Art as a history of misunderstandings. That history would follow the same schemes and patterns as intimate relationships: desire, possession and miscomprehension.

My practice of Ikebana—even though it belongs to a current that is itself non-traditional (the Sogetsu school)—contains interpretive mistakes and naiveties, as well as irregularities in terms of the fundamentals of this art. The presence of such errors is, however, perfectly integrated into my approach. It is even one of the subjects of this project—and more generally of the whole of my work.

I often think of that quote from Frantz Fanon: “As soon as I desire, I am asking to be considered. I am not merely here-and-now, sealed into thingness. (…) In the world in which I travel, I am endlessly creating myself. And it is by going beyond the historical, instrumental hypothesis that I will initiate my cycle of freedom.”

Camille Henrot, Est-il possible d’être révolutionnaire et d’aimer les fleurs? (L’entretien infini), 2012
Courtesy: the artist and kamel mennour, Paris

CA: Anthropology, archeology, and sociology all seem to play a role in your work. How do you see your role as an artist in relationship to these disciplines?

CH: I am very interested in the ‘status’ of objects and the ideas of people like Viveiros de Castro, Clifford Geertz, James Clifford, Monique Jeudy-Ballini, Pascal Picq, Roger Bastide… I find these writers inspiring and sometimes disruptive.

In the case of anthropology, I am compelled by certain almost incompatible desires and undercurrents within the discipline, which for me are also quite present in the artistic process and experience. In this regard, I am consistently more interested in the errors and unsolved problems of anthropology, being a science that takes we humans as both object and subject and our universe and world as both substance and projected meaning at the same time and, like art, continually critiques, overturns and transforms its own findings.

I do not pretend I am handling concepts from anthropology without bias. Somehow one could say I have developed a ‘cargo cult’ for anthropology. (The ‘cargo cult’ originally described cults in the Pacific that emerged after white people arrived; it then became an expression referring to a human behavior that takes elements of other civilizations and integrates them into its own system of thinking sometimes without understanding or shifting the original meaning.)

I am not equating myself with anthropologist; I do not want to claim that authority. I am more interested in the character of Marcel Appenzzell, the anthropologist in check, mentioned in Georges Perec’s Life: A User’s Manual. I know that when I’m in Vanuatu, for instance, I am a ‘white man’ above all, and I am conscious of what this means: the vanity of my motives, the voyeuristic aspect of my attitude, the guilt, the self-disgust and self-mockery, which are actually all the subject of the “Tropics of Love” drawings I started after that trip.

CA: Rites of passages and initiations have a strong presence in your work, such as in Coupé/Décalé and in The Strife of Love in a Dream. Can you tell us a little more about the background for these two videos, how they were realized, what was the subject?

CH: The Strife Of Love in a Dream was a project commissioned by Centre Pompidou in Paris for an exhibition about India. I was pretty afraid to go to India and tried to understand why.

The film’s title comes from a book written in the Middle Ages, Hypnerotomachia.
One of the stories, named “The Strife of Love in a Dream” tells of a monk who crosses The Dark Forest and finds himself facing a dragon. He is tempted to escape, but were he to turn back, the adventure would be over. This tale emphasizes the film’s central notion: the necessity of facing one’s fears.
I was struck by the paradox of India being often imagined as a cure against the Western world’s feverish agitation and at the same time being the number one manufacturer of psychotropic drugs. I imagined the film like a series of hallucinations that would create physical sensations and psychological imprints while showing very physical aspects of reality (the manufacturing of anxiolytics).

Regarding Coupé/Décalé, the project started after I found images by coincidence on the web of the Naghol ritual or “Land Diving,” and it made me think of Le Saut by Yves Klein. Thirty years ago this ritual had inspired bungee jumping and is now practiced as a “performance” for tourists visiting the island attracted by the similarity they see with a practice they connect to modern way of life (and need for strong emotions). There’s a ‘back and forth’ movement within the gesture of the ritual itself as well as in its history. But how to escape archetypes when you bring images back from the other side of the world?
I wanted to tackle that issue by creating a rough patchwork of deconstructed hybrid images in which the idea of ‘reparation’ is visual. The process implemented here is illustrated by the title Coupé/Décalé (literally “cut/offset”).

Camille Henrot, Coupé/Décalé, 2010
Courtesy: the artist and kamel mennour, Paris

CA: You have just started a fellowship at the Smithsonian that deals with systems of knowledge and organization of information; can you talk about it? Can you explain your approach to the research for new works and in general the importance of research within your practice?

CH: As an artist, I have the freedom to browse through ideas with the curiosity of the amateur. I’m allowed to have an irrational approach to knowledge, which is a privilege I appreciate a lot. I see the world as a fragmented ensemble and that fragmentation is harrowing. Through the research implied by my projects, I can establish some continuity.
The more you progress in research the more categories appear to be arbitrary and oppositions collapse. That’s why Zen irrationalism and thirst for knowledge are not contradictory in the end. I think the starting point of a new research or project should always be too broad. That way the research process is not only about aiming at a goal but also about being open to what you can learn by accident, new opportunities of new findings.
My research will be focused on all-encompassing projects meant to achieve an image and/or a history of the universe compressed into a singular object, a total contraction of knowledge within representation.
To my mind, there is a form of over-communication and over-saturation in our efforts to gather and structure knowledge into a completely globalized worldview, which, by all appearances, as subjectivity inevitably creeps in, seems to finally resemble an artistic goal or artistic project. Even though such processes and intentions might border on the irrational, I do feel that they are necessary for an understanding of what (and who) we are. This global approach and aspiration is to me ultimately parallel to a kind of subjective structuring of knowledge—what John Cowper Powys calls “a personal philosophy of solitude”—where the totalizing or universalizing image perhaps bears more the individual desires and consciousness of the one who attempts to complete it.

(01/09)
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The Wall Street Journal

Life & Culture

Arts & Entertainment
Camille Henrot: An Art World ‘It Girl’
Inspired by eBay, turtles and nail polish, a solo show opens at New York’s New Museum

RESTLESS ART Camille Henrot says she’s inspired by eBay, turtles and nail polish, among other sources, for her videos, like ‘Grosse Fatigue,’ above. © Camille Henrot/ADAGP/Silex Films/kamel mennour, Paris
By Ellen Gamerman
May 1, 2014 11:01 p.m. ET
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Turtles figure prominently in artist Camille Henrot’s ambitious video chronicling the history of the world in 13 minutes. She sees the creatures as symbols of a prehistoric past and a burdened future. “The turtle, she’s slow because she is carrying this massive round thing—it’s like a figure of Atlas,” she says.

Thinking hard about reptiles—and most everything else—is a hallmark of the 35-year-old French intellectual’s work. On the heels of that video, “Grosse Fatigue,” which won her the Silver Lion award for most promising young artist at the recent Venice Biennale, the artist is unveiling her first comprehensive U.S. museum exhibit. “Camille Henrot: The Restless Earth” opens Wednesday at the New Museum in New York.

The show features her abstract video telling the story of humankind through quick cuts of images like turtles and eyeballs, dead birds and oranges, fizzy water and the cosmos. Other pieces on view include her works on paper and a new installation of literature-inspired Japanese ikebana flower arrangements.

This spring, the New Museum is dedicating separate floors to three young artists rather than doing a group show. “It’s a way to give exposure, to show the artists who are changing how art is being made,” says curator Gary Carrion-Murayari. “Camille was a very easy choice for us in that respect.”

Ms. Henrot created “Grosse Fatigue” during an artist fellowship at the Smithsonian Institution in Washington last year. She scoured the collections, filming employees opening drawers of exotic-bird specimens, flipping through files filled with dead bees, and so on. The film advances quickly through time by using overlapping windows on a computer desktop—search results from the Smithsonian’s database. She incorporated her own footage and studio shots of brightly painted fingernails—a nod to her discovery that even the weightiest words in a Google search often seem to match the name of a nail polish.
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It wasn’t a solitary effort: Ms. Henrot worked with a cinematographer and film editor, as well as a makeup designer, models and production assistants. A writer created the text, which is performed like a spoken-word poem, and her partner, a musician named Joakim Bouaziz, created the score.

Ms. Henrot finds inspiration from disparate sources including eBay, where her purchases range from firemen’s boots to nude vintage photographs. Sometimes she buys an item just because she likes the picture of its seller. After moving from Paris to New York in late 2012, she says the cargo container with all her stuff was held up by authorities for months—she suspects because its contents were so weird.

As a child, she wanted one day to have a “real job,” eager to distinguish herself from her mother, an artist. Nevertheless, she attended art school in Paris, studying animated film. She took a job in an advertising agency, where she learned tricks like how to shoot a piece of cake to make it look more delicious (blow it with a hair dryer so it seems fluffy). Along the way, she was making films on her own, including an inventive music video for the band Octet in which the musicians were rendered as half-real, half-animated bodies. The film was shown in a 2005 exhibition at the Fondation Cartier, a contemporary art center in Paris, and her career as an artist was launched.

Ms. Henrot didn’t grow up traveling—she says her mother was afraid of flying—but now her experiences in foreign cultures feed directly into her work. The videos featured at the New Museum include “Coupé/Décalé,” an experimental film illustrating a coming-of-age ritual on Pentecost island in the Vanuatu archipelago where young people jump into a void while being held by liana vines around their ankles.

Sometimes her images can be hard to watch. Those turtles in “Grosse Fatigue” are featured with close-ups of their slick tongues and stony eyes. Ms. Henrot, who as a child had a pet turtle named Zoe that escaped through a window of her Paris home, shot the creatures during a vacation in the Seychelles. She filmed a little girl giving a huge turtle a banana and included the footage in her video. “I was interested in the stupidity of man feeding wild animal,” she says.

Ms. Henrot brought home a souvenir from that trip: A scar on her hand from a turtle that bit her when she too tried to feed it.

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FRIEZE

Issue 161 March 2014 RSS

Known Unknowns

Monograph

Useful mistakes, ikebana and messy cultural assumptions in the work of Camille Henrot

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Sunburns, detail from the exhibition ‘The Pale Fox’, 2014. Previous pages courtesy: © the artist, ADAGP, Paris, kamel mennour, Paris, and Johann König, Berlin

One of the marvels of the universe is that it makes amateurs of us all. Educational qualifications are only a measure of the negative space of how much you don’t know. Expertise is defined by an expert’s limits. Your art history PhD has taken you to a profound level of understanding about abstract expressionism – you can even tell us what bourbon Jackson Pollock liked to drink for breakfast – but you’re a numbskull around runic alphabets. Peter Higgs, of Higgs boson fame, is pretty vague about runes too, but he’s the go-to man for particle physics. Higgs can wax expert about the origins of the cosmos, but can he name the players in the French squad who won the 1998 FIFA World Cup? Neither can I, but one of the team at the Large Hadron Collider at CERN can probably rattle off those names without recourse to Google. Unfortunately that same scientist falls into awkward silence when it comes to cocktail-party conversation about tuning systems in Javanese gamelan music. The composer Steve Reich could tell you a thing or two about gamelan because it’s been a major influence on his work, but he’d be a dead loss in a pub quiz about ikebana, the Japanese art of flower arranging. I have some back-of-an-envelope knowledge about ikebana only because it’s an aspect of the work made by Camille Henrot, who practices Sogetsu school ikebana. The French artist knows little about me, beyond my job, but knows a tonne more than I do about ikebana. However, she does admit that her approach to it ‘contains interpretive mistakes and naïveties, as well as irregularities in terms of the fundamentals of this art. The presence of such errors is, however, perfectly integrated into my approach. It is even one of the subjects of this project – and, more generally, of the whole of my work.’1

The ‘whole’ of Henrot’s work is a project about the impossibility of ever knowing the whole – the whole universe, the whole story, the whole of you, me, us and them. It’s about the impossibility of plugging the hole in the doughnut. Her project is shaped by alterity, entranced by cultural disconnections and a little gleeful about the shortcomings of anthropology. Her films tell us that a mess of cultural assumptions, projections, fears and desires gets churned around in the unlit spaces between anthropologist and subject, producer and audience. The artist knows that we know that she knows this, as she once said in an interview: ‘I am consistently more interested in the errors and unsolved problems of anthropology, being a science that takes we humans as both object and subject and our universe and world as both substance and projected meaning at the same time and, like art, continually critiques, overturns and transforms its own findings.’2

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Coupé/Décalé (Cut/Offset), 2010, 35mm film still. Courtesy: © the artist, ADAGP, Paris, and kamel mennour, Paris

Fig. 1, Coupé/Décalé (2010): 35mm film, duration five minutes 20 seconds. Made in a style that could have been lifted from a 1970s ethnographic documentary – rich colours, a little verité camera shake, a conflicted feeling of voyeuristic fascination and armchair guilt compacted by having little clue about what’s being filmed – Coupé/Décalé is shot on Pentecost Island in the Vanuatu archipelago. It shows young men, their ankles tied by liana vines, jumping from a tall wooden platform. This rite is said to have inspired bungee jumping, and is now performed largely for the benefit of tourists, modified according to Western fantasies of Melanesian culture. The film’s title translates literally as ‘Cut/Offset’, and the image is ‘cut’ into two halves, with the left-hand side of the film running a fraction of a second faster than the right-hand side – the ‘offset’. That slippage is the key to the work: it’s the gap between what we see and what we know – always a step behind the action. Things get even more interesting when you learn that Coupé/Décalé is also the name of a dance originating in the Ivory Coast and imported to Paris by Ivorian immigrants. In Ivorian slang, the title means to cheat someone and run away. Pentecost Island is a long way from the Ivory Coast, even further from Paris. Henrot’s ‘cheat’ is to dress her film in the vestments of anthropological documentary, to ‘run away’ with the aesthetics of the form and repackage them with her own concerns. But it’s more complicated than that. As a white European wielding a camera in the South Pacific, she’s subject to just the same ethical quandaries about the gaze, race and the inscription of identity as the filmmakers that interest her. (Robert J. Flaherty, who bent a few truths in making his beautiful 1934 documentary Man of Aran, is currently a touchstone for Henrot.) It’s less a film ‘about’ anthropology than a film made inside anthropology, operating a couple of clicks out of phase with the discipline itself. And, like the figure of the anthropologist that Henrot tries to emulate, she will never be properly assimilated with the objects of her study.

Is ‘emulation’ the right word? Not quite. Nor is ‘critique’, which affects moral distance. ‘Act’ is better. There is a knowing pretence at play here; acting a part in order to pull focus on a certain aspect of human behaviour. ‘I do not pretend I am handling concepts from anthropology without bias,’ she says. ‘Somehow one could say I have developed a “cargo cult” for anthropology. The “cargo cult” originally described cults in the Pacific that emerged after white people arrived; it then became an expression referring to a human behaviour that takes elements of other civilizations and integrates them into its own system of thinking, sometimes without understanding or shifting the original meaning.’3 Henrot understands the original meaning of her sources perfectly well; she takes them and assigns new roles to suit her own purposes. She uses the symbolism of ikebana arrangements to describe books she’s read (the series ‘Is it possible to be revolutionary and like flowers?’, 2011–ongoing), pulls pictures from eBay to build a delirious essay on the Western imagination’s persistent fascination with ancient Egypt (the silent slideshow Egyptomania, 2009), and fakes anthropology films in order to make a film about anthropology (Coupé/Décalé). For her exhibition ‘The Pale Fox’ (2014), Henrot has used a specific work of anthropology as her starting point: Marcel Griaule and Germaine Dieterlen’s eponymous 1965 book, which explains, in great depth, the cosmological beliefs and creation stories of Mali’s Dogon people. (Controversially, it argues that the Dogon possessed detailed knowledge about the orbital patterns of Sirius before Western astronomers did.) Henrot makes associative leaps of imagination using objects and images of eggs, planets, turtles, foxes and flexing biceps. She turns Griaule and Dieterlen’s book inside out, showing that the work of the artist and the anthropologist are not so different: both are looking to find meaning in the world, whether or not it exists there.

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Femme allongée et dents de requin (Woman Lying Down and Shark Teeth), from ‘Collection préhistorique’ (Prehistoric Collection), 2009, c-type print, 40 × 30 cm. Courtesy: © the artist, ADAGP, Paris, and kamel mennour, Paris

The promiscuous moves that contemporary visual art pulls on other cultural disciplines make it the most syncretic of the arts, and these days we’re all-too-used to hearing artists tell us how they’re ‘interested in’ this, that or the other. With all her talk of ‘cargo cults’, we could dub Henrot’s work a form of syncretism, creating new rituals from discrete belief systems. Syncretic religions can evolve for a number of reasons: the trace memories of long-gone civilizations; a means of forging cultural alliances or attracting a broad base of followers; a tool of assimilation used by an evangelizing or colonizing power. A cynic might accuse Henrot’s ikebana and quasi-ethnographies of dilettantism. I’ve always liked what Brian Eno has to say about dilettantes: ‘For me the great strength of dilettantism is that it tends to come in from another angle […] an intelligent dilettante will not be constrained by the limitations of what’s normally considered possible; he won’t be frightened, he’s got nothing to lose.’4 Everyone is an amateur at something, and the amateur is, in some respects, a far more liberated figure than the professional.

Fig. 2, ‘Is it possible to be revolutionary and like flowers?’: mixed media, dimensions variable. (The title is borrowed from Leninism under Lenin, written by Marcel Liebman in 1973. The Belgian historian went on to answer his own question by arguing that: ‘You start by loving flowers and soon you are seized by the desire to live like a property owner, stretched out lazily and reading French novels in a hammock set amid a magnificent garden while being served by obsequious servants.’ Liebman must’ve been a laugh at parties.) Ikebana is a highly codified art form, based upon the idea of objects consoling the soul. It’s a complex interplay between the shape of container, stem heights, the angles at which flowers or branches stand, and the harmony of lines created by the plant materials and their arrangement. Over the past two years, Henrot has made more than 100 arrangements, some of which she then exhibits and photographs, reassigning traditional ikebana codes in order to make a series of homages to books in her library. (‘To make my formal language I use the Latin and common names of the flowers, the names designed for their commercial exploitation, their pharmacological power and sometimes even the history of their travels.’)5 It is an act of translation, of recoding literature and giving it a form that privileges impermanence, the everyday and the domestic. Her approach to ikebana has been one of mastering codes, then breaking them in order to make the arrangements her own.

Anthropology has been a hotbed of arguments about essentializing difference, about controlling the Other, so isn’t it dangerous to start making the codes of that discipline one’s own? Let’s move to fig. 3, Le Songe de Poliphile/The Strife of Love in a Dream (2011): video, duration 11 minutes 40 seconds. Shot in France and India, the film braids vivid imagery of pilgrimages and ritual theatre with comic books, statues and pharmaceutical laboratories synthesizing anti-anxiety drugs. A work about fear, including Henrot’s own anxieties about visiting India, its soundtrack marries serpentine drones to thunderous kettledrums, evoking atmospheres of dread and climaxing in hedonistic abandon. Throughout, the snake is used as a metaphor to symbolize both fear and healing. We see snakes crawling across rocks, snakes represented in classical sculpture, snakes wriggling through hands, snakes sliding through Tintin books and Fritz Lang’s Indian Tomb (1959).

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Heart of Darkness, 2012, from ‘Is it possible to be revolutionary and like flowers?’, 2011–ongoing, ikebana arrangement, dimensions variable. Courtesy: © the artist, ADAGP, Paris, and kamel mennour, Paris; photograph: Alexandra Serrano

Opening with psychoanalyst Sudhir Kakar’s line that ‘India is the unconsciousness of the West’, Le Songe de Poliphile … at first seems to herald a troubling Orientalism both old and new, as ‘spiritual’ India is juxtaposed with scenes of technological, business-minded India. (The country is one of the major suppliers of psychopharmaceuticals to the West.) In some respects, the film skirts a lyrical universalism that privileges generalized similarities over the specific historical, economic or cultural conditions under which a group of people are acting. Henrot produces an entrancing parade of images, ‘assembled in a network of meanings, somewhat based on the principles in Mnemosyne [1924–29] by Aby Warburg, by merging them into an atlas of images of different cultural and worldly references, all according to the principle of elective affinities’.6 Magnetic as the imagery is, the experience of watching Le Songe de Poliphile … is a dangerous seduction. The audience is never allowed to know what kind of rituals we’re looking at, what pharmaceutical drugs are being made or where the snippets of found source material come from. Only Henrot knows its inner workings. Le Songe de Poliphile … is about privileged knowledge. It moves and feints as if it were documentary, but it conceals risky subjectivity.

But artists who are working with risky subjectivities strike me as far more interesting than those picking over land that has been thoroughly mine-swept by scholars and dealers alike – those who collect the metadata that enables them to predict patterns and relationships. ‘If you like Arte Povera then you’ll love Mono-ha!’ ‘Customers who bought Francis Bacon also bought a large Caribbean island.’ Who knows what, and who you tell it to, is the name of the game in 2014. Measuring, listing, annotating, networking, storing, referencing rather than producing: the quantified world seeks to turn our subjectivities into objectivities of data sets, from which can be extrapolated behaviour patterns. Knowing how to game the knowledge industry and lighting firewalls around personal knowledge – rather than giving up to the world, like spoiled narcissists, information about what’s on our playlists – is a political act. As Morrissey put it in The Smiths’ ‘Cemetery Gates’ (1986): ‘There’s always someone, somewhere, with a big nose, who knows.’

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Grosse Fatigue (Dead Tired), 2013, video still. Courtesy: © the artist, ADAGP, Paris, and kamel mennour, Paris; photograph: Alexandra Serrano

Right now, that big nose is Big Data. With that in mind, there is something poignant about watching fig. 4, Grosse Fatigue (Dead Tired, 2013): video, duration 13 minutes. Set entirely on a computer desktop, Grosse Fatigue begins with a Final Cut Pro file being clicked open against a backdrop photograph of the Milky Way. Two windows pop onto the desktop: each shows a large coffee-table book on a yellow tabletop – one depicts native tribespeople, the other a contemporary art catalogue – being leafed through by a woman’s hands wearing bright green and red nail varnish. The scene cuts to a young woman in a grey institutional corridor opening a locker. The corridor is in the bowels of the Smithsonian Institute in Washington, D.C. In the top right of the screen appears another window showing the phrase ‘the history of the universe’ being typed into Google. A kick-drum punches in groups of three and a voice-over begins: ‘In the beginning there was no earth, no water – nothing. There was a single hill called Nunne Chaha.’

There follows an elegant dance of windows popping in and out, layered and scaling back and forth on top of each other. They open onto a succession of extraordinary images shot in the Smithsonian’s collections: drawers full of neatly arranged toucans and macaws, ancient fertility statues, X-rays of seahorses. We see turtles burrowing into sand, naked bodies showering, ostrich eggs being peeled, a frog sat on an iPhone, a man looking at the inside of a bomb then a telescope photograph of the universe, a glass eye, eyedrops falling onto a real eyeball, a woman masturbating, someone doing calligraphy, an iguana, a man falling over, the back of a bald head, a zebra, a boulder, an angry chicken, paintings of fish, a photo of Lee Harvey Oswald doctored to make it look like he’s in a band with his murderer Jack Ruby, an orange, an inflatable Earth. The voice-over continues over sparse hip-hop rhythms. It synthesizes creation narratives from all over the world, moving chronologically from the beginning of time to the origin of planets and life, through to their death. Each vignette is framed by a computer window. There to be stopped, started, opened or closed, these windows represent knowledge packaged flat – the reference not the thing.

Grosse Fatigue is a powerful work about the vertigo of information, about how too much knowledge turns it weightless, turns it into image and evacuates experience and substance. It is profoundly of the moment, and profoundly sad. But what do I know?

Camille Henrot is a French artist based in New York, USA. In 2013, her work was included in the 55th Venice Biennale, where she was awarded the Silver Lion, and she had solo shows at the New Orleans Museum of Art, USA, and Slought Foundation, Philadelphia, USA. Her solo exhibition, ‘The Pale Fox’, is at Chisenhale Gallery, London, UK, until 13 April. It will then tour to Kunsthal Charlottenborg, Copenhagen, Denmark; Bétonsalon, Paris, France; and Westfälischer Kunstverein, Munster, Germany. Her exhibition ‘The Restless Earth’, is at the New Museum, New York, US, from 7th May to 29th June.

1 Cecilia Alemani, ‘Relations de Traduction’, interview with the artist, Mousse, issue 35, October–November 2012
2 Ibid.
3 Ibid.
4 Brian Eno, ‘Interview’, from the album From Brussels with Love, 1980, Les Disques du Crepescule, Brussels
5 Camille Henrot, talk given at the Department of German and Romance Languages and Literatures, The Johns Hopkins University, Baltimore, 3 December 2012
6 Camille Henrot, Le Songe de Poliphile/The Strife of Love in a Dream, director’s note for 2011 Cannes Film Festival

Dan Fox

is co-editor of frieze and lives in New York, USA.

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-yerba buena san francisco

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APOLLO MAGAZINE

Mar 30, 2014

'The Pale Fox' (2014), Camille Henrot. Installation view, Chisenhale Gallery, London, 2014.

In Pursuit of an Idea: Camille Henrot at Chisenhale Gallery

French artist Camille Henrot’s first solo UK exhibition at Chisenhale Gallery is like asking a question and receiving a million answers. She’s trying to get to the bottom of things – the show is full of references to origins – but this seems at odds with the dizzying array of stuff that fills the gallery space; abstract sculptures, glossy images torn from magazines, second-hand books, tacky postcards, puzzle pens, kitsch mugs, stacks of National Geographic, retro movie posters, a remote controlled snake. A deliberately overwhelming and seemingly random installation, the result is an excessive theatricality. It’s a hoarder’s paradise and a minimalist’s nightmare.

The title of Henrot’s show, The Pale Fox, is borrowed from a 1965 anthropological study of the West African Dogon people, whose complex mythology – incorporating astronomy, mathematics and philosophy – informs Henrot’s own convoluted study. Here the artist is anthropologist, only her subject is the whole of human evolution, the universe, knowledge itself. This whistle-stop tour through the history of the world takes in art and culture, science and myth. Here are books, the internet, babies, eggs, foxes, wolves, cities, global warming. Wikipedia gone mad.

Yet this totalising project and its chaotic barrage of objects and images – made more fractured by the discordant, looped soundtrack – is not without structure. Each wall corresponds to an element and there’s a timeline of sorts that sees objects arranged along a constructed metal grid. So in the midst of chaos is an evolving order, albeit with many knowing narrative asides.

In this way, Henrot looks to the archive and its attempts to categorise and make sense of the world. In Grosse Fatigue (2013), the film that won her the Silver Lion for most promising young artist at the 55th Venice Biennale, Henrot attempts to process the overwhelming collections held in the Smithsonian Institute, Washington DC – one of the largest museums and a vast repository of knowledge. Her almost childish desire to capture it all means bombarding the viewer with a mix of quick-fire spoken word and disparate, disconnected imagery. No wonder it’s titled Grosse Fatigue; it must be a tiring experience trying to tell the story of the world’s creation in just 13 minutes.

Both this and The Pale Fox obsess over how we store information, how we retrieve it, and how we understand the objects around us. And in Henrot’s storytelling there are no hierarchies; she exhaustively admits multiple thought systems and accepts myriad ways of comprehending the world. The archive, it seems, is much more productive in its very falling apart.

So if Grosse Fatigue is the script then The Pale Fox is the performance. In the Chisenhale, the thoroughly immersive experience of seeing Henrot’s work is made more intense by the blue paint that covers the gallery’s walls. Like being underwater or in the sky, it feels endless. And blue is often associated with calm, which is a necessary antidote to the jumble of disparate works assembled here. It’s also impossible not to think of Yves Klein, and in fact Henrot is deliberate in her references to creativity and art history. Her abstract brush drawings conjure Picasso and in the midst of the second-hand images and eBay purchases are Henrot’s own bronze and ceramic sculptures that draw inspiration from both tribal art and 20th-century modernism. If she turns to creation myths she also looks to the act of creation more generally, to that elusive and age-old creative impulse. It reminds me of how it feels to write – to frustratedly attempt to say everything and to capture something totally.

I write down a quote from a page that Henrot has torn out of one of the National Geographic and stuck on the wall: ‘I am in pursuit of an idea, a story, a chimera, perhaps a folly. I am chasing ghosts.’ Written by journalist Paul Salopek, it refers to his journey retracing the route taken by ancestors who discovered the Earth 60,000 years ago. Salopek’s desire to return to the beginning and his compulsion to connect with a world that is now defined by speed, technology and inattentiveness seems also at the heart of Henrot’s project. In attempting to unravel the history of the universe, we are left with just that – an unravelling. A blue room that, in the end, throws up more questions than answers. It’s a lot to take in. But that, it seems, is the point.

‘Camille Henrot: The Pale Fox’ runs at Chisenhale Gallery, London until 13 April 2014.

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The Pale Fox. Camille Henrot

Camille Henrot at Chisenhale Gallery_Andy Keate_09When Heinrich Wölfflin makes concluding observations on the nature of history in Principles of Art History (1932), in spite of himself, he cannot help reaching for images of complexity. How do we account for cessation and recommencement of art historical periods? ‘Only a spiral would meet the facts,’ he writes. How do we speak of the relations between art of different nations? ‘Not the line but the web of lines,’ he admits. ‘Not the established single form but the movement of form.’ There is tension between linear ways of telling and complex, multiple being. The old and the new, the historian tells us, ‘dovetail’.
These are a few of the ‘big questions’ — unfashionable in contemporary art — French, New York-based artist Camille Henrot poses in her exhibition The Pale Fox, installed at Chisenhale in London’s East End. With The Pale Fox, a commission that developed out of her film Grosse Fatigue (2013) (for which she was awarded the Silver Lion at the Venice Biennale for most promising young artist), Henrot poses perhaps the biggest question of all: ‘what is creation?’ From the macro to the micro, the artist’s studio, to the universe, how do things come into being, live, and die away?
The title of Henrot’s exhibition is taken from an influential anthropological study of the Dogon people of Mali, co-authored by Marcel Griaule and Germaine Dieterlen, and published by the latter in 1965. Through his multiple initiations by an elder, Griaule exposed the Dogon’s world view, cosmology, and philosophical system with unparalleled completeness. For the Dogon, he learnt, a creation myth served as a blueprint for all facets of society. Within this myth a fox, borne of thwarted intercourse with the earth, represents disorder and chaos but also creation, bringing about the formation of the sun.
At Chisenhale Henrot has painted the walls a rich blue; these are matched in colour by the carpeted floor. For Henrot the blue references Yves Klein and his eponymous tone of blue, but also, as a ground, enables an ambivalent relation between intimacy and universal distance. Upon entry ambient music envelops the viewer, initiates them into this total environment. (Sinologist François Jullien on blandness comes to mind: blandness is ‘the embodiment of neutrality… at the point of origin of all things possible’.) Following the space’s walls is a band — a more or less continuous structure — that twists, turns and flattens out into shelves. Uneven accumulations of E-bay found objects, loose Chinese ink drawings, ‘primitive’ Surrealist bronze and ceramic sculpture, and digital prints and images, often by Westerners looking at non-Westerners, displayed on tablet devices cluster at the foot of the shelves, or are displayed on its polished surfaces.
The shelf is a timeline, activated to represent periods in cosmic and human history according to Henrot’s alignment of the gallery to points of the compass. Each point is further associated with the four Classical elements of air, water, earth and fire. The West wall Henrot names ‘The principle of being (air): How things start.‘ The North wall, immediately in front as you enter the gallery, ‘The law of continuity (water): How things unfold.’ The East wall is ‘The principle of sufficient reason (earth): Where the limits are.’ And, finally, the South wall is ‘The principle of the indiscernible (fire): How things disappear.’ ‘I decided that there would be a different age of humanity attributed to each of the different walls,’ Henrot explained in the gallery interview. ‘I was already very interested in how the age of humanity can be related to the age of the universe.’
Henrot’s accumulation of objects and images achieves a global image willfully reminiscent of the great museum collections of the world. However, against an accumulation that might dedifferentiate, produce a kind of ambivalence to things, Henrot seeks to particularise, to emphasise unresolved complexity in heterogeneity. There is a will for objects and images to retain their aura, their special powers within a field of others. ‘Synthesis,’ Henrot says, ‘is never really interesting, it’s almost like a bourgeois solution. It’s the dynamic between thesis and antithesis that is interesting.’
For Henrot the French philosopher Gilles Deleuze’s notion of the fold is an ideal image of complexity. Speaking of the fold Deleuze invokes a world of superabundance, with no boundary between the organic and the inorganic. Each folds into the other in a continuos ‘texturology’. Henrot’s assembly of images and objects — her art — is able to evoke a span far exceeding the limits of art history’s knowledge, while, irresistibly, holding a mirror to contemporary Western society.

Jonathan P Watts

The Pale Fox by Camille Henrot
Chisenhale Gallery, London
Through April 13
Camille Henrot at Chisenhale Gallery_Andy Keate_00 Camille Henrot at Chisenhale Gallery_Andy Keate_01 Camille Henrot at Chisenhale Gallery_Andy Keate_02 Camille Henrot at Chisenhale Gallery_Andy Keate_04 Camille Henrot at Chisenhale Gallery_Andy Keate_05 Camille Henrot at Chisenhale Gallery_Andy Keate_07 Camille Henrot at Chisenhale Gallery_Andy Keate_07b Camille Henrot at Chisenhale Gallery_Andy Keate_08 Camille Henrot at Chisenhale Gallery_Andy Keate_10 Camille Henrot at Chisenhale Gallery_Andy Keate_12 Camille Henrot at Chisenhale Gallery_Andy Keate_13 Camille Henrot at Chisenhale Gallery_Andy Keate_14 Camille Henrot at Chisenhale Gallery_Andy Keate_15 Camille Henrot at Chisenhale Gallery_Andy Keate_16 Camille Henrot at Chisenhale Gallery_Andy Keate_17 Camille Henrot at Chisenhale Gallery_Andy Keate_18
Camille Henrot, The Pale Fox, 2014, installation view, Chisenhale Gallery. Commissioned and produced by Chisenhale Gallery in partnership with Kunsthal Charlottenborg, Copenhagen; Bétonsalon – Centre for art and research, Paris and Westfälischer Kunstverein, Münster. Courtesy kamel mennour, Paris and Johann König, Berlin. Photo: Andy Keate. © ADAGP

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A Savage Mind: Camille Henrot’s Primitive Thinking

Camille Henrot, Grosse Fatigue (video still), 2013

By Anna Watkins Fisher, as published in Camille Henrot, éditions kamel mennour, 2013.

There is something ‘out of time’ about the world of Camille Henrot, something the artist readily admits. “My relationship with reference has always been very traditional. I’m sorry!” she says, adding with Latourian irony: “I should be more modern.”

The artist’s œuvre visualizes an acute and resplendently beautiful sense of historical dislocation, her syncopated aesthetic conveyed through a set of representational paradoxes that repeat across her intermedial recombinations of film, sculpture, photography, performance, and drawing. Such work formalizes Henrot’s steadfast embrace of old-world craftsmanship recast with high production value and a cool attention to detail. Its disjunctive effect is also largely the result of her persistent examination of non-Western subject matter through an optic of polished cosmopolitanism.

Her soft spot for expressly utopian projects, like Esperanto or Henri Van Lier’s anthropogénie, is apparent in her recent films (especially Psychopompe and The Strife of Love in a Dream), which were inspired by French experimental filmmakers like Germaine Dulac, Jean Epstein and Abel Gance and the idea of cinema as a ‘total art.’ It should come as no surprise then that Henrot spent her tenure as a Smithsonian Artist Research Fellow in Washington, D.C. working on what she describes as “a project about everything.” The result was Grosse Fatigue, a 13-minute short film the artist made for the 2013 Venice Biennale International Exhibition. A mashup of cross-medial forms — part film, part slideshow, part computer animation — the project draws on her extensive research into the various strategies that African, Western, Melanesian, and Asian cultures have sought to tell nothing less than the history of the universe. Grosse Fatigue visualizes this impossible task in its explicit enactment of screenal psychosis. The film intercuts images of artifacts from the Smithsonian collection and everyday objects (e.g. chromatic scales, early personal computers, sponges, a glass eye) with oversaturated images that highlight procedures of archiving, systematizing, and exhibiting (online databases, screenshots, image searches)1. Unleashing the infinite capaciousness of the historical catalogue, Henrot gives us a taste of the archival sublime in the ecstatic age of digital media.

Her engrossment with the “total work of art,” however, should be read less as an interest in the Wagnerian Gesamtkunstwerk (the comprehensive or all-encompassing capacity of the work), than an imaginative attachment to systematicity as utopian fantasy, as a “timelessness” and “spacelessness” that could accommodate incommensurable orders. One perceives her aesthetic preoccupation with such zones of contact or sites of mutual attachment in works like the Janus-headed Arrivals/Departures or Tevau. Her mischievous testing and breaching of epistemological boundaries may be most apparent in Tropics of Love and Collection préhistorique. In both series, the artist splices up and reassembles images from ethnographic archival imagery and pornography — signifiers of geography, gender, sexuality, ethnicity and special difference — for her drawings, multimedia collages, and photographic still-lives. These works visualize Henrot’s preoccupation with the nature/culture divide, particularly with the increasingly ambivalent status of nature in our hypertechnologized moment as what we mean by ‘natural’ has become ever more uncertain.

Some grappling with her deconstructive approach to totalizing systems is crucial for resolving the postcolonial politics of her work. Her practice explores an aching desire for cross-cultural connection, across geopolitical differences and platitudes, historical epochs and orders. The artist has said that she finds methods of knowledge acquisition that tend toward globalizing or universalizing “both absurd and moving”2. With this in mind, her art practice would seem to be indistinguishable from what she has described as her abiding attachment to objects. Camille Henrot doesn’t like to throw anything in the trash3.

These works are typical of her process: research-intensive and ambitious, yet winning. Henrot — an obsessive researcher, collector, and bibliophile — strikes a balance between the epistemophilia and archivistic inclination that drives her. Approachable and unaffected, her work rests at the interstice of erudition and naïveté. For each new work, she produces copious notes — diagrams of intellectual histories and genealogies of the mythological, historical, literary, and philosophical themes she sets out to explore. These rhizomatic “thought drawings” constitute an important, if undisclosed, archive of her artworks.

Given her inclination toward aesthetics of abundance and forms of seriality, it is fitting that the only stand-alone piece that Henrot, a self-described accumulator, has made is nevertheless a replica. Upon seeing a small anthropomorphic sculpture of Le Balafré in the Louvre, the artist felt a strong urge to possess it. Knowing this was not possible, she decided to make one for herself, only to find that she was disappointed by the result because it looked nothing like the original. Touching it more forcefully, she began making marks with her fingers on his face and torso, only to realize that these imprints captured what the original sculpture was about in the first place: “Balafré means ‘the scarred,’ a person who has a scar on the face… The scar has been made by a very important goddess [who decided] not to kill him but just to make him weaker, to teach him to be less powerful… I kind of like this kind of ‘in-between’ solution,” she says. “I like that it is a small man. It reminds me of a photograph of Matisse in his bed that I love. He is in his bed, and he is making a very small woman.”

Concerned with epistemological practices, Henrot’s works attest to a relationship to knowledge that is characterized by an unquenchable desire for more. Her interest in accumulation is, in many ways, a countervailing force to her fascination with totality. The drive toward a total work is never finished and perhaps more accurately reflects her investment in the work of failure in impossible projects. For the artist, a good work has to be extremely difficult, close to impossible, “or maybe even better if it’s impossible.” “I like approaching anthropology in a critical way precisely because anthropological thinking, in its somewhat tenacious aspiration to connect different cultural spheres or knowledges seems to me to index a ‘pensée sauvage…” she has said4.

The keystone to Henrot’s aesthetic philosophy, the concept of pensée sauvage is one she imports from the writings of Claude Lévi-Strauss, the founder of modern anthropology, who argued, contra progressivist dogma, that “primitive thinking,” rather than a pre-logical stage, is profoundly rationalist5. What is most striking about her yearning for the mythical potentialities of totalizing endeavors — such as those exemplified in postcolonial critiques of the discipline of anthropology — is how the artist seems to have found, in her aestheticization of these, a counterintuitive point of entry into an important conversation about the ambivalent forces of postcolonial fantasy (developed by figures like Frantz Fanon and Édouard Glissant with respect to the French context). Moving between Paris and New York City, Henrot is attuned to the cultural differences that have marked the reception of her work and most significantly, the relatively wider institutionalization of postcolonial critique in the United States.
When I first showed [Coupé/Décalé in France] few people really understood what it was about. People were telling me ‘Oh the music is good,’ ‘Oh the images are beautiful,’ ‘It’s a nice film you shot of Africa.’ The film was not shot in Africa but in Oceania. This idea of the vision from the outside and the construction of the identity of the other… I was thinking it was a little too obvious.

Her practice may thus be described as one of recontextualizing and disseminating Lévi-Strauss’ insights into a contemporary visual vocabulary — coupage et décalage. Her appropriation of pensée sauvage from the anthropological lexicon encapsulates the artist’s conceptual stake in the interdependence between man and things and compulsion to explore the structuring causality that links actions and events in the world6. Anthropology is thus the structuring ethos of her artistic praxis, and “primitive thinking,” or the idea that everything has a meaning, is the ethical imperative of her work (one that remains consonant with her interests in Eastern philosophy and the posthumanist turn).

The French title of Lévi-Strauss’s La Pensée sauvage (1962), which many consider to be his most important work, contains a pun that is untranslatable in English. The Savage Mind fails to capture the polysemy of the French pensée, which means both ‘thought’ and ‘pansy,’ the flower, whereas sauvage translates less equivocally as ‘wild,’ ‘savage’ or ‘primitive.’ The French edition still retains a flower on the cover, and Lévi-Strauss is said to have suggested Pansies for Thought for the English title, a reference to a speech by Ophelia in Hamlet. The problem of failed translation offers an insight into an artist who appears to thrive in the space of the untranslatable. Henrot has said, “I think it is always good not to be understood very well. Especially for people like me who have a tendency to complication, it’s better.”

In 2011, Henrot began Is It Possible to be a Revolutionary and Like Flowers?, a two-year-long intensive period of making ikebana, a virtuosic Japanese practice of meditative and studied floral arrangement. Henrot describes the project as an elegiac ritual that she invented in response to the deaths of several loved ones. The artist, who claims she is a bad cook, was tasked instead with organizing flowers for the bereavement. As a result, she grew to feel revolted by what she calls “the consoling power of flowers.” “They are consoling you,” she explains, “but why should we be consoled? Maybe we should just be angry, you know?” The project’s title — a reference to Marcel Liebman’s book Leninism Under Lenin in which one of Lenin’s lieutenants asks, “Is it possible to be a revolutionary and like flowers?” — alludes to this compensatory promise of flowers.

Around the same time as the funeral, Henrot became interested in ikebana. She had just moved to New York and ikebana seemed a way for her to remain connected to the books from her personal library still in Paris. Over the course of two years, she composed 150 ikebana arrangements, paying tribute to volumes such as Roland Barthes’ Fragments d’un discours amoureux, Gustave Flaubert’s Salammbô, André Gide’s L’immoraliste, and Charles Schultz’s Peanuts. She also made ikebana inspired by books that she hadn’t yet read, such as Louis-Ferdinand Céline’s Voyage au bout de la nuit.

For Henrot, the flower — with its manifold significatory power (as a symbol for vanitas, revolution, beauty, mystery, and so on) — symbolizes the ambiguity of aesthetics, as subversive potential and/or apolitical consolation prize. “I don’t mean I want to do revolution and stop making bouquets,” she explains. “I just want people to be aware also that beauty has this perverse effect. You think it is nice, but maybe it’s not nice. Maybe you should just not look at art or flowers and you should just be acting against something.” For the artist, a good work of art resembles a flower in that it “has to be like a prism, like a fan. It has to be as open as possible.” Is It Possible to be a Revolutionary and Like Flowers? thus maintains the ambivalence that the project explores as an open question: “You can think it is ironical and you can think it’s not and this is good because flowers can be seen as a luxury, a capitalist symbol, but they can also be seen as a symbol of revolution…,” she says alluding to a number of civil resistance movements that have adopted the flower as their symbol (e.g. the Jasmine Revolution, the Carnation Revolution, the Rose Revolution, the Tulip Revolution, etc.).
“One ikebana is consoling (it is the sacred ritual to do one ikebana in the house), but what happens if you have many ikebana in just one single room?” Taking Lévi-Strauss at his word, Henrot literalizes pensée sauvage in her intensification of the elegiac dimension of ikebana, turning it into something else, “something more obsessive.” Not interested in just one ikebana, she creates rooms full of them. Her manic accumulation actualizes the pun of Lévi-Strauss’ title. Bringing together flowers and thoughts (ikebana and her personal library, the intimate ritual of mourning and the public practice of art making, nature and culture, East and West), she engages in primitive thinking as an exquisite work of untranslatability.

1. Camille Henrot, Email to author, 30 April 2013.
2. Camille Henrot, Notes sur mon travail, 30 Mars 2011.
3. Camille Henrot, Interview with author, Skype, 3 April 2013.
4. Ibid.
5. Alan Barnard, Jonathan Spencer, “Claude Lévi-Strauss,” Encyclopedia of Social and Cultural Anthropology. Routledge, p. 335, 1996.
6. Camille Henrot, Notes sur mon travail, 30 March 2011.

Image:
Camille Henrot
Grosse Fatigue, 2013
Vidéo (couleur, sonore) / Video (color, sound)
13 min
Musique originale de / Original music by Joakim
Voix / Voice by Akwetey Orraca-Tetteh
Texte écrit en collaboration avec / Text written in collaboration with Jacob Bromberg
Producteur / Producer : kamel mennour, Paris ; avec le soutien du / with the additional support of : Fonds de dotation Famille Moulin, Paris
Production: Silex Films
Lion d’argent – 55e Biennale de Venise / Silver Lion – 55th Venice Biennale, 2013
Projet développé dans le cadre du / Project conducted as part of the Smithsonian Artist Research Fellowship Program, Washington, D.C.
Remerciements particuliers aux / Special thanks to: the Smithsonian Archives of American Art, the Smithsonian National Museum of Natural History, and the Smithsonian National Air and Space Museum
© ADAGP Camille Henrot
Courtesy the artist, Silex Films and kamel mennour, Paris

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BROOKLYN RAIL

CAMILLE HENROT The Restless Earth

NEW MUSEUM OF CONTEMPORARY ART | MAY 7 –JUNE 29, 2014

Camille Henrot’s solo exhibition The Restless Earth made full use of the New Museum’s second floor, leading viewers through a loop of rooms with diverse characters, plots, and settings. A sharp contrast to the gestalt experiences presented by Ragnar Kjartansson and Roberto Cuoghi on the surrounding floors, Henrot covered broad expanses of time and space in four videos, 46 flower-assemblages, a 135-plate adaptation of a jewelry auction catalogue, numerous mixed media drawings, engravings, and two sculptures. All works were accompanied by extensive wall labels that traced and analyzed each project’s evolution, providing facts and details usually absent from the works themselves that added useful layers to a progressive unfolding of meaning. Without names, dates, and places, our assumptions and associations run wild, as they are wont to do in today’s media landscape where seductive pictures are often detached from, or misaligned with, factual information.  Consider Google image searches, Facebook, Instagram, and even NYTimes.com, where a slow load or a pop-up ad might obscure or stagger our absorption of the most reputable journalism. These questions of how stories are told, how information is gathered and assembled into knowledge, and how rapidly this process is changing, are central to Henrot’s project.

Camille Henrot, “Coupé-Décalé,” 2010. Video (color, sound), 3 min 54 sec, © ADAGP Camille Henrot. Courtesy the artist and Kamel Mennour, Paris.

“Grosse Fatigue” (2013), which earned Henrot the Silver Lion at this year’s Venice Biennial, is an epic film compressed into 13 minutes. Its title, translated as “Dead Tired,” is shared with a 1994 French satire about celebrity identity theft. In Henrot’s opening sequence, the phrase “in the beginning” introduces a torrent of interwoven creation myths presented in response to a Google search: “the history of the universe.” This dream-like composite is accompanied by a succession of images: flowing veils of ink, rushing water, the Milky Way, a “Buddha’s Hand” citrus fruit, all of which send us thinking back eons in pursuit of the ultimate beginning. The familiar Biblical phrase repeats again toward the middle of the film while an image of an early computer lingers on screen. Here, “the beginning” is connected to a cumbersome machine that feels as ancient as an early species. This artifact illustrates the origin of the digital age, which has accelerated in its relatively short history, and will only accelerate more. Even the Energizer batteries neatly lined up by fingers with matching blue-polished nails are like an archival display, once marketed to “keep going and going” on a scale that shrinks in comparison to today’s unbroken connectivity, at least for parts of the world’s population.

Camille Henrot, “Is It Possible to be a Revolutionary and Like Flowers?” 2012. Installation view. Courtesy New Museum, New York, 2014. Photo: Benoit Pailley.

But Henrot is no stranger to other parts of the population. Many of her films are set in locations remote to Western society where rates and patterns of acceleration are different. “Coupé/Décalé” (2010) records a tribal ritual on 35mm film, giving it the appearance of historic footage. While watching N’gol land-diving (a precedent to Western bungee jumping), the viewer is lead to make many half-conscious assumptions about the subjects and the environment, all of which are called into question when a girl in a T-shirt and jeans with a digital camera comes into view. “The Strife of Love in a Dream” (2011) offers a similar moment of surprise, when a bonfire ritual begins and hundreds of glowing screens pop up to document it. Only when assumptions are refuted do we become aware of them: why do Western viewers often confuse distant places and distant times? And what happens when we realize, as we must, that one or the other is not so distant after all? Most of the exotic objects showcased in “Grosse Fatigue” are in fact located right here in our nation’s capital at the Smithsonian Institute, where Henrot held an Artist Research Fellowship last year. The debris shown resting at the bottom of the ocean off the Vanuatu island Espiritu Santo, which couldn’t be farther from our shores, was actually left by American troops during World War II.

Notions of otherness are further complicated in “The Strife of Love in a Dream” as the footage, shot in the southern Indian province of Tamil Nadu in 2011, offers conflicting associations. While crowds climbing a mountain for a ritual seem set back in time, factory workers packaging the anti-anxiety drug Atarax feel flung into a dystopian future. These scenes have the eeriness of a science fiction film: all characters covered entirely in white except for their eyes; gloved fingers operating controls on plastic-wrapped dashboards; larger-than-life machinery; masses of white pills; expressionless faces. The factory, shown in fast-moving, clinically anonymous fragments, recalls the immaculate outer-space interiors of Kubrick’s 2001: A Space Odyssey, where the line between human and machine famously dissolves.

Camille Henrot, “Grosse Fatigue,” 2013. Video, color, sound, 13 min. Original music: Joakim; Voice: Akwetey Orraca-Tetteh; Text: written in collaboration with Jacob Bromberg; Producer: Kamel Mennour, Paris, with the additional support of Fonds de dotation Famille Moulin, Paris; Production: Silex Films. © ADAGP Camille Henrot. Courtesy the artist, Silex Films, and kamel mennour, Paris.

2001 was made in 1968, a prophecy of the future that is now the past. That same year, Leo Steinberg gave a lecture at MoMA introducing the “flatbed picture plane,” a change of “psychic address” in which the painted surface was “no longer the analogue of a visual experience of nature, but of operational processes.”* He cited newspapers, maps, tabletops, and studio floors as models of pictures that collect data instead of representing worlds. This theory may be as easily applied to “Grosse Fatigue” as to Rauschenberg’s work of the early 1950s, only we might now replace the flatbed with the screen, our new interface that addresses the body from any position. By moving between the physical desktop (with drawing tools, rulers, and X-acto knives) and the computer desktop (with icons, folders, and windows, and windows, and windows), Henrot explores this same matter of “psychic address” and its relation to perception. Phones, GPS devices, tablets, and TVs address the body/mind at increasingly close range. With the rise of Google Glass, the “desktop” (or picture plane) merges directly with vision itself. Data-collecting surfaces have evolved and proliferated since Steinberg, and Henrot shows us the results in 2013: somewhere between euphoria and madness, empowerment and exhaustion.

Upon entering The Restless Earth, one is immersed in an installation of flower-assemblages that translate texts from Henrot’s library into the language of Japanese ikebana. It is a poetic play on the shifty relations between text and object; to identify the logic of each match demands close reading and looking, which might be Henrot’s mandate for all forms of interface.

 

Vincent Johnson Los Angeles Photographs

Booker’s Del Hi

Ritz Motel in Living Color

Car and leaves

Hollywood station wagon

Neon Vacancy

Poet’s House

Studio Self Storage

The Five Signs of Deano’s

Circus Liquor Parking Lot

Air-Conditioned Motel

Stein on Vine

Beach City Chevrolet

Southern Gents Club

Furst Motel

Furst Motel

Santa Monica, 2005

This is one of my personal all-time favorite photos, which I took in Santa Monica one morning a while back.

What I love about it is that it captures the concrete reality and the ephemeral at once. It shows an image of California that one can actually experience here when driving, which is that the road in front of you has disappeared or ends abruptly.  It also recalls the theme of solid and air, density and atmospheric. All of the man-made signs, street markings and street signs, street lamps, speak of an effort to create the possibility of order. The rising, undulating street appears to possibly be a bridge rising to allow ships to pass underneath it. Yet the movement is illusory. Life is both real and a dream.

Private home, Pasadena, California, 2005g 

In the year 2001 I returned to my project that began in 1995, of photographing Los Angeles, without concern to subject. I would merely take pictures of any and everything I found visually intriguing. Between 1995 and 2007 I would take over 25,000 photographs in the Los Angeles region. I began to categorize the works over time, and then to focus on particular areas, such as Los Angeles vernacular architecture, and photographing LA at night.

I am currently going through my archive. I’ll post more photographs as time allows.

City park, Santa Monica, California, 2005

Parked Cadillac, Los Angeles, 2005

Under the Hollywood Downtowner neon sign, Hollywood, California, 2005

Adventurer motel, near LAX Airport, Los Angeles, 2005

Royal Roost, named after the legendary jazz club in NYC, South Central Los Angeles, 2005

Bitter Redhead bar, Santa Monica, California, 2005

Liquor store, San Fernando Valley, California, 2005

Valley Ho Liquor store, Van Nuys, California

Strip club billboard sign, Van Nuys

Automotive parts store, Van Nuys

Drapery store, San Fernando Valley

Jolly Jug liquor store, North Hollywood

Roofstack, South Central Los Angeles

Motel Tangiers, San Fernando Valley

Market Sign from 1950’s Los Angeles, San Fernando Valley

Streetlamp, MacArthur Park, Los Angeles

Parked black Two-tone Thunderbird, Van Nuys

Mansfield Motel and Movie Billboard, Los Angeles

 

The Ghosts Houses of Cleveland Ohio

Pastoral Disaster Calmed.FINALartcat Cleveland.OneEyedHouse.FINAL.artcat Detroyed House - Cleveland - Interior Exposed.FINAL.2.artcat

GHOSTS HOUSES OF CLEVELAND DSC_0342 DSC_0348 DSC_0364 DSC_0374 IMG_7172 IMG_7174 IMG_7176 IMG_7684 IMG_9408

PHOTOGRAPHS BY CLEVELAND BORN AND RAISED, LOS ANGELES BASED ARTIST AND WRITER VINCENT JOHNSON.

WHEN I WAS A CHILD IN THE EARLY 1960’S. EVERY DAY ON THE RADIO I WOULD HEAR: THE GREATEST LOCATION IN THE NATION, AS CLEVELAND CALLS ITSELF.

WHAT I DID NOT KNOW WAS THAT CLEVELAND, PITTSBURGH, DETROIT, CHICAGO, WERE LARGELY BUILT TO BE THE AMERICAN EARLY 20TH CENTURY VERSIONS OF INDUSTRIAL REVOLUTION ENGLAND. THE MIDWEST WAS MANCHESTER, BIRMINGHAM AND LIVERPOOL.

PEOPLE USED TO CATCH FISH AT LAKE ERIE AND SELL THEM TO OTHER PEOPLE TO MAKE A FEW DOLLARS. CLEVELAND ACTUALLY HAD A REAL RELATIONSHIP WITH THE GREAT LAKES.  WE SOMETIMES WENT WALKING ON THE FROZEN POND OF THE CLEVELAND MUSEUM OF ART.

AS TEENAGERS, WHEN BORED WE WOULD WALK ALL THE WAY FROM FIVE-POINTS IN COLLINWOOD, TO DOWNTOWN AND LOOK AT THE MILITARY MONUMENTS IN PUBLIC SQUARE. THE CITY WAS NOT LIVELY IN ANY PART OF DOWNTOWN THEN. THERE WAS PROSTITUTION ON PROSPECT AVENUE, NEAR WHERE A GORGEOUS REMNANT OF ROW HOUSES STOOD AND ARE NO MORE.

DURING THE EARLY 1960’S, DOWNTOWN CLEVELAND WAS AMAZING WITH ITS CHRISTMAS LIGHTS AND WINDOW DISPLAYS. ALSO WHAT WAS GREAT FUN WAS WATCHING GHOULARDI AND ALSO HOULIHAN AND BIG CHUCK ON TELEVISION, AND THEIR COMIC ANTICS BEFORE SCREENING BAD HORROR FILMS THAT WERE SO MUCH FUN TO WATCH AS CHILDREN.

THERE USED TO BE THIS AMAZING ARCADE PLACE DOWNTOWN THAT HAD STRANGE AND IMPOSSIBLE TAXIDERMIED ANIMALS. THE CINCINATTI ROYALS BASKETBALL TEAM, FEATURING OSCAR ROBERTSON, PLAYED OCASSIONALLY IN DOWNTOWN CLEVELAND. ANOTHER FOND MEMORY I HAVE OF CLEVELAND IS THAT CONCORD GRAPES GREW ACROSS EVERYONE’S BACKYARD FENCE, AND THERE WERE APPLE AND PEAR TREES, CHERRY AND NUT TREES ALONG LAKEVIEW ROAD ON THE PROPERTY OF THE PRIVATE RESIDENCES.

THE CLEVELAND RIOTS DESTROYED AN ENTIRE AREA OF GLENVILLE. WE WATCHED FROM OUR APARTMENT FRONT WINDOW AS TANKS AND ARMED NATIONAL GUARD TROOPS ENTERED OUR NEIGHBORHOOD. A GAS STATION ACROSS THE STREET EXPLODED. WE HID IN THE BACK ROOM UNTIL MORNING. THERE WERE PEOPLE LOOTING THE STORES. GUNFIRE WAS HEARD. IN THE MORNING PART OF GLENVILLE WAS GONE. YET AS BAD AS IT LOOKED, IT NEVER LOOKED AS DEVASTATED AS CLEVELAND’S EAST SIDE LOOKS TODAY.

YET THERE IS GREAT HOPE BECAUSE OF THE TWO STELLAR HOSPITALS IN CLEVELAND, THAT ARE CAUSING HUGE CHANGES IN THE AREA SURROUNDING CASE WESTERN RESERVE AND UNIVERSITY CIRCLE, CLEVELAND’S STELLAR ARTS DISTRICT.

I TOOK These photographs during the beginning of summer of 2013. It is where I was born, enjoyed so much fun with my family and went to school. It was strange being there this time, as so much of the East Side of Cleveland has been destroyed. Yet there are many signs of new life in the middle of this part of town, as one sees near the hospital district hundreds of brand new homes not far from empty lots. I learned that The Lake Effect did do much greater damage to Cleveland’s East Side while the West Side was protected from the worst of the weather system. Yet still it is strange to see how the West Side is basically intact from the point of its architectural integrity, including apartment buildings and an amazing array of home styles that also can be found on Cleveland’s East Side, but often in a state of complete distress or devastation. My taking these photographs is a way for me to grasp that so many decades have passed since the 1960’s, and the world I knew as a child has nearly vanished.

My fascination with Cleveland’s myriad of vernacular architectural private properties is also a strong element in my wish to document Cleveland. One thing that struck me when taking pictures there in June was how as a car driving adult touring Cleveland, I was seeing so much more of the city than I ever had as a child. I remembered the countless A-frame and Two-flat houses, but had never seen the gigantic boarding houses, and had mostly not seen most of the row house styles. I do distinctly recall there being an awesome row house block on Prospect avenue, which I did not see on my trip but would like to find.

Vincent Johnson

Los Angeles

Cleveland Home - Wrecked.FINAL.artcat Cleveland Home - White Paint - Satellite Dish.FINAL.artcat Cleveland Home with Turret and Blue Car.FINAL.artcat Cleveland.DoorstoHome.FINAL.artcat Cleveland.FrontDoor.14203.FINAL.artcat Cleveland.TwoFlatat4209.FINAL.artcat ClevelandHouseinaField.Closeup.FINAL.artcat ClevelandHouseinaField.FINALartcat Cleveland.GangBlockHouse.FINAL.artcat Cleveland.RomanRevivalHouse.FINAL.artcat ArtistRunSpacesCleveland.FINAL.artcat NewCleveland.TheFlats.FINAL.artcat Cleveland.BrickApartmentBuilding.elevatedporch.FINAL.artcat Cleveland.HouseDestroyed.WallRemains.FINAL.artcat Cleveland.HouseDestoyed.WhitePicketFence.FINAL.artcat Cleveland.NotaryPublic.FINAL.artcat Cleveland.LiveFactory.FINAL.artcat

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photo

http://www.flickr.com/photos/33322111@N00/2341344393/in/faves-cbustapeck/

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There were about 300 mansions built in Cleveland on Euclid Avenue between East 12th and East 55th streets. The photos by Dan Mann are of what remains.

Vincent Johnson


File:Stockbridge Apartment Building.jpg – Wikipedia, the free encyclopedia

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Re: Cleveland – The Vintage Photo Thread (note: lots of images)
« Reply #339 on: January 03, 2012, 02:20:51 AM »
I decided to go into ClevelandMemory.com and get some pictures. I’m focusing on Champlain Avenue, since it completely disappeared as a result of the Terminal development. This is the area of the Terminal development, before it became known, in 1916:But let’s turn to the view that made otherwise-proud Clevelander ashamed of their city in 1922 (think of this view as the same some proud Clevelander not wanting to show Jacobs’ parking lot on Public Square)…..The street directly behind those building is Champlain, a street that went west down the hill from Ontario to Columbus Road. This is at the intersection of Ontario, showing the backside of the buildings that faced Public Square in the shot above….Showing more of the backside of the buildings that faced Public Square…..Just west of those buildings were these, in the 200-block of Champlain, which had outlived their usefulness. Not many people were using horses any more in the 1920s:And stepping farther west down Champlain to the intersection of West 3rd Street, we look east again toward Ontario…..In the shot above, see the man in the foreground? Behind him is what was considered as perhaps the greatest architectural loss from the terminal development. This was the American Telephone & Telegraph exchange/switching building at Champlain and West 3rd, which was replaced by the art deco beauty on Huron which briefly became Cleveland’s tallest scraper before the Terminal Tower was finished, but served as the model for the Daily Planet in the Superman comic strips. So perhaps this building sacrificed itself for pop culture immortality….Another architectural loss was the Central Police Station at Champlain and West 6th. It was replaced by an art deco gem on Payne Avenue, which unfortunately was demolished only a few years ago…..

Some buildings were already demolished by the time this picture was taken, revealing the back sides of buildings in the 700 block fronting Long Avenue, another “lost street” south of and parallel to West Superior….

Making our way farther down the hill in terms of topography and building conditions were these in the 800-900 block of Champlain…

At first glance this probably doesn’t look like a sloped road, but look at the angle of the buildings against the street/sidewalk surfaces. This view is looking east from Canal Road which ended at Champlain Avenue….

And, finally, at the bottom of Champlain hill was this view at Columbus Road, which climbed up the hill to the left to West Superior. This was one of the oldest commercial districts of Cleveland, dating from the heyday of the Ohio Canal…..

And if you’re still having a hard time picturing where Champlain Avenue ran, this picture reveals it because the Public Square buildings shown at the start of this post are gone, revealing Champlain behind. Ontario is at left…..

By the end of 1924, nearly all buildings were gone and the excavation for the Cleveland Union Terminal Group was well underway. The last building to be demolished was the AT&T building (shown earlier and seen at right, below) at Champlain and West 3rd. The cable ducts that ran below Champlain are seen extending west from the old AT&T building, which was kept intact until the new AT&T building (north of Progressive Field today) was operational…..

And that is a tour from the 1920s from the neighborhood that predated the Terminal Group. It truly was a neighborhood left over from the 1800s, its location to the transit hub on Public Square and its accessibility to nearby railroad lines was why this holdover from the canal era was vulnerable. It was ultimately replaced with this……

« Last Edit: January 03, 2012, 02:38:34 AM by KJP »
“There should be no more reason for a motorist who is passing through a city to slow down then there is for an airplane which is passing over it.” Norman Bel Geddes, author of the 1940 book ‘Magic Motorways’ & designer of General Motors’ Futurama exhibit at 1939 New York World’s Fair
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http://www.urbanohio.com/forum2/index.php/topic,766.315.html

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from the peedee archives — smoke’m if ya got’em!  :laugh:  & 1948 world series
 

This section of euclid ave now dead

I
East 55th and Euclid Avenue:

Euclid Ave HIPPODROME!  R.I.P.
« Last Edit: September 19, 2008, 12:17:36 AM by MuRrAy HiLL »

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Cleveland – The Vintage Photo Thread (note: lots of images)
« on: July 27, 2004, 06:48:27 PM »
Case and CSU have a lovely collection of old photographs of Cleveland before its “peak” and during.  Thought id post a few of my favorites:A 1930s view of the city from Detroit-Superior bridge.  I think at this time the subway trollies ran inside the structure
The Academy of Music in the 1880s
1899 Streetcar Strike on Lower Euclid
The Cleveland Ship Building Company in 1890
One of the many mansions on Millionaire’s Row Euclid Avenue 1890
The Blizzard of 1913
Rockefeller himself in, yes, East Cleveland
The Central Market on East 4th Street in 1946
The Cuyahoga Building in 1893
The riverbank “The Flats” back in 1870
Cleveland Municipal Stadium 1931
Millionaire’s Row
Euclid Beach
First Baptist Church on East 9th in 1875
Public Square in 1910
Public Square celebration of Germany’s Victory over France in the Franco Prussian War in 1871
Haymarket on Ontario Rd in 1930
A Lorain-Carnegie Bridge pillar and their craftsmen
Ah streetcar suburb in the 1920s
The May Company Building in 1941
The Feast of the Assumption in Little Italy 1950 (wow its still the same today!)
Public Square facing the terminal in 1929

Artist touching up a mural in 1938 (wow holding a cig and messy hair, again, so little has changed haha)

A Nike Missle in 1958

Wade Lagoon in 1900

Public Square in 1895

The Perry-Payne Building in the 1880s

Constructing Terminal Tower in 1927

What was originally proposed

1970 war protesters at CWRU

Public Square 1943

more pictures here
http://ech.cwru.edu/ech-cgi/gal-frame.pl

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w.flickr.com/photos/danthemann5/sets/72157629251632928/with/6995469593/ – PHOTOS BY DAN THE MANN

H. W. White Mansion - 8937 Euclid Ave.

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From Millionaire’s Row to Riots: A Comprehensive History of Cleveland’s Hough Neighborhood

8 May 2012 No Comment

8000 BCE. Humans and mammoths co-exist in Northeast Ohio until we hunt them into extinction.  Hough probably not settled due to bugs.

1200 AD. Native peoples begin settling into villages in river valleys.

1500 AD. Mound builders start to disappear.

1600s. Iroquois take over Ohio in a bloody war with various tribes.

1700s. Iroquois move east to fight the French and English. Wyandot move into region (most artifacts near Sandusky). They were known for their “rough hair”  (read: mohawks—my husband is a descendant.)

1799. Doan family builds tavern at E. 107th & Euclid Avenue in East Cleveland township.

1854. Area settled as a farm by Oliver and Eliza Hough.

1860s. Oliver and Eliza die, and their land is divided into parcels.

League Park railway car

1872. Hough incorporated into Cleveland, which doubled in size in 10 years.  Millionaire’s Row built on Euclid Avenue.

1890s. Two electric streetcars run down Hough & Euclid Avenues.  League Park built at E. 66th and Lexington as home of the Cleveland Spiders (now the Cleveland Indians). Eliza Bryant built the first “Retirement home for Colored Persons,” later moved into Hough. Area filled with single family homes and exclusive schools like Beaumont School for Girls, University School, Notre Dame Academy, and East High School.  Houses of worship built include St. Agnes Parish and Congregational Church.