ISSUE 2, 30 NOVEMBER 2022 The Art Newspaper

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20 YEARS OF ART BASEL IN MIAMI BEACH

Art Basel in Miami Beach: 30 November 2022

The next chapter for Art Basel in Miami Beach Noah Horowitz and Vincenzo de Bellis discuss their visions for the global fair brand and its flagship US fair

DE BELLIS, WILLIAMS: ERIC THAYER. RANDOM INTERNATIONAL: © ORIOL TARRIDAS PHOTOGRAPHY

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rt Basel in Miami 2012 to 2016, before working at the Beach has come Walker Art Center in Minneapolis a long way. The as curator and associate director of fair celebrates its programmes for the past six years. 20th anniversary The pair’s appointments mark this year with its the next chapter for one of the largest edition to date, featuring contemporary art world’s biggest more than 280 exhibitors. It also commercial enterprises, and their welcomes a new leadership team, vision will set the tone for the brand with Noah Horowitz taking on moving forward. the newly created chief executive role at Art Basel (succeeding Marc New era of super-collectors Spiegler, the brand’s former global Art Basel’s development spans director), and Vincenzo de the past 50 years of economic Bellis taking over as variation, political director of its four paradigm shifts and fairs, in Basel, aesthetic evolution, Miami Beach, redefining the role Hong Kong and of the collector as Paris. a globetrotting Horowitz, arbiter of all an art historian things luxe. Art and former Basel’s current worldwide identity was head of gallery minted in the and private early 1990s by then dealer services at director Sam Keller, Sotheby’s, is returning who “fine-tuned the to the fold, having idea of contemporary served as Art Basel’s art as a lifestyle Vincenzo de Bellis is director of Americas choice”, according taking charge of Art from 2015 to 2021. De to his predecessor Basel’s four fairs Bellis is also returning Lorenzo Rudolf, who to the commercial sector, having first brought the fair to the US. been the artistic director of Milan’s The posh parties and emphasis on contemporary art fair Miart from VIP experiences in Miami Beach ushered in a new era of supercollectors, quickly elevating Basel’s younger American cousin to A-list event status. As Horowitz begins his tenure, his intention for the future of Art Basel is starting to form. “We’re ensuring that all four fairs that fall under the Art Basel umbrella are, and remain, best in class and absolutely aspirational,” Horowitz tells The Art Newspaper. “The best art, the most ambitious

In the 1990s, Sam Keller “finetuned the idea of contemporary art as a lifestyle choice” Lorenzo Rudolf, former Art Basel director

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Living Room by art collective Random international allows visitors to “co-create a unique NFT” of their experience

Immersive art lights up Miami Beach VIP visitors to a new, large-scale installation by the art collective Random International—known for their ubiquitous Rain Room (2012) downpour interactive piece—will receive their own NFT (non-fungible token) as part of their $200 entry fee. The new work, known as Living Room, was unveiled this week in a purpose-built pavilion at Faena Beach (until 4 December) and will tour post-Miami Art Week (locations to be confirmed). Aorist, the art and technology platform, commissioned the work, while Faena Art, the non-profit organisation founded by the real estate developer Alan Faena, is a project partner. General entry tickets to the timed installation cost $25.

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of work sets a new precedent in how the digital and the physical can come together to redefine how visitors experience and collect art.” Random International’s new piece is part of a wave of interactive art in Miami this week. Amsterdam-based Studio Drift’s “drone sculpture” Franchise Freedom, first seen in Miami Beach in 2017, returns for a special performance over the roof of the Miami Beach Convention Center (1 December, 7pm). Meanwhile, the Mexican-Canadian artist Rafael Lozano-Hemmer presents Pulse Topology at Superblue (until August 2023), comprising 3,000 light-bulbs that glimmer and flicker according to participants’ heartbeats. Gareth Harris

Sports stars spotted at Art Basel in Miami Beach VIP preview TOP SPORTING CELEBRITIES VENUS WILLIAMS AND AMAR’E STOUDEMIRE attended the VIP preview of Art Basel in Miami Beach yesterday. Williams was seen browsing works at the White Cube stand and also mulled over a new Glenn Ligon neon piece Untitled (America/Me) at Hauser & Wirth. An anonymous US dealer says the tennis superstar is “building up knowledge” about collecting art. Former professional basketball

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The piece bridges immersive art and the blockchain, claim the project organisers. Each visitor’s movements around the darkened Living Room installation—where shifting lights and sounds respond to each person’s movements—are tracked by motion sensors, drawing on Web3 technology. “This data allows you to co-create a unique NFT of your experience, as seen through the machine’s eyes,” says an Aorist statement. “We became interested in NFTs when we discovered we could mint behaviour. It is making us [people] the interface,” says Hannes Koch, co-founder of Random International. Pablo Rodriguez-Fraile, the founder of Aorist, adds in a statement: “This body

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star Stoudemire, meanwhile, posted works on Instagram he perused at the fair by artists such as Jean-Michel Basquiat and Pablo Picasso. Other stars putting in appearances at the fair included the lifestyle mogul Martha Stewart and the musicians Jon Bon Jovi and Pharrell Williams. G.H.  On the ball: Champion tennis player Venus Williams is said to be learning about how to build an art collection

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THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH FAIR EDITION 30 NOVEMBER 2022

NEWS Miami

Art world’s divided responses to crypto crisis and shrinking NFT market

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ast year, Galerie Nagel Draxler added a kiosk of NFTs (non-fungible tokens) to its stand of more traditional art at Art Basel in Miami Beach. This year, however, the Berlin-based gallery will forego the special kiosk. “Last year was the height of cryptomania,” says Nagel Draxler’s co-founder Saskia Draxler. This is not to say the gallery is done with NFTs, just that “98% of our business is non-digital art”. She adds: “We’re an art gallery, not a tech business.” Marc Spiegler, the outgoing global director of Art Basel, points out that “last year, during the height of crypto, our post-fair research showed that around a dozen of our galleries participating in Art Basel Miami Beach accepted cryptocurrencies as payment. Given the recent volatility, one might assume that numbers haven’t risen or might even drop.” Other galleries showing during Miami Art Week may have reached the same conclusion, which will be a disappointment to Miami mayor Francis Suarez, who in 2021 actively courted crypto investors and companies, as well as NFT artists, but has made no similar effort this year. “There is no loss of confidence in NFTs and crypto in the long-term,” says Erick Gavin, the executive director of Venture Miami, an economic development programme of the mayor’s office that focuses on technology to spur economic opportunities, “but

Last year, Miami’s NBA franchise sold naming rights for its arena to crypto exchange FTX as part of a $135m, 20-year deal. The team is now seeking a new partner there have been changes in the conversation”. The reason for this changing conversation is that it has been a bad year for the cryptocurrency Bitcoin (worth $50,848 in December 2021; currently around $16,400) and for the NFT market, which dropped 97% from its peak of $17bn in early 2022 to $470m in September 2022. The bankruptcy filing of Bahamas-based crypto exchange FTX on 10 November was especially painful for Miami, in part because of Suarez’s promotion of the city as a crypto hub and FTX’s pledge to relocate its headquarters from Chicago to Miami. After the company’s bankruptcy announcement, the Miami Heat,

the city’s professional basketball franchise, which plays at FTX Arena, began a search for a new naming rights partner for the stadium. Beyond high-profile bankruptcy scandals, the crypto and NFT industries face regulatory issues, too. Cryptocurrencies such as Bitcoin, for instance, cannot be used to pay city real estate taxes. A few prospective buyers at last year’s Art Basel in Miami Beach sought to purchase physical works from Galerie Nagel Draxler’s stand with crypto, but Saskia Draxler refused for the same reason. “It isn’t a currency, and we cannot issue invoices in crypto,” she says. As for the crypto investors who attended the fair, Draxler’s

From upstart to stalwart: Nada Miami turns 20 THE NEW ART DEALERS ALLIANCE (NADA) is marking the 20th edition of its Miami fair with one of its largest iterations to date, featuring nearly 150 exhibitors from more than 40 cities taking over Ice Palace Studios (until 3 December). A soirée tomorrow will celebrate a remarkable first two decades for the non-profit, which launched in 2002 as the brainchild of four New York gallerists seeking connection

in a notoriously cut-throat sector. In the years since, the organisation has honed its collaborative framework and vastly expanded its reach. “It was not about art fairs at the beginning,” says Nada director Heather Hubbs, who joined in 2004. “It was very much focused on the emerging gallery scene coming up in New York and elsewhere, trying to find a way to work together and support each

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other.” But as the organisation quickly grew in its first year, so too did member demand for a fair. Nada launched its Miami fair in 2003 to capitalise on that demand and provide an affordable alternative to more expensive expos such as Art Basel in Miami Beach. Those early fairs, Hubbs says, were resolutely egalitarian events, featuring identical stand sizes for all participants and free

News in brief

After the boom, a correction

Ric Edelman, the founder of the Virginia-based Digital Assets Council of Financial Professionals and author of the book The Truth About Crypto (2022), notes that there has been a year-long “crypto winter”, with FTX being but the largest and most recent entity to lose massive value or implode. “This is unfortunate timing for Art Basel,” Edelman says, “not an ideal moment for crypto proponents to show their wares.” The link between diminishing values of digital assets and NFTs, both of which involve blockchain transactions, has been part of the reason for the market’s downturn, as well as “unsustainable” growth, he says. “Prices declined such a great deal because they rose such a great deal. People got ahead of their skis.” Still, he adds, “the fundamental concept of digital art is growing at an exponential rate”. The decline in cryptocurrency values and NFT sales has not deterred Pace Gallery. It launched Pace Verso in 2021, which works with artists—some, like Loie Hollowell and Tara Donovan, represented by the gallery, others not—to create NFTs. A spokesperson for Pace Verso says that the gallery has “used the downtime of the bear market” to work with Pace’s “traditional gallery artists to create generative NFTs that are an extension of their practices to reach new audiences”. Pace Verso will showcase some of its projects at “The Gateway: A Web3 Metropolis”, an NFT and crypto conference in downtown Miami this week, as will Christie’s. Daniel Grant

admission for visitors. But that youthful utopianism was shortlived. As Nada members’ numbers grew, so did the need for financial and organisational stability. “One thing that is challenging is always being seen as the young emerging organisation,” Hubbs says. “We are pretty established at this point, and it’s been a challenge to make sure that people don’t lose sight of that— that we’re not seen as this feeder to the future.” Justin Kamp

Pet project: a great dane statue in the new dogs and cats sculpture garden

CONTROVERSIAL DOG AND CAT SCULPTURE PARK UNLEASHED A dog and cat sculpture garden that provoked debate—and the scorn of Franklin Sirmans, the director of Pérez Art Museum Miami, which neighbours the garden—when it was announced earlier this year, will open during Miami Art Week. Officially known as the Dogs and Cats Walkway Sculpture Garden, the project will be unveiled on 3 December in Maurice A. Ferré Park. The sculpture garden will feature 52 statues of dogs and cats (26 of each) of different breeds by 50 local artists. The project is a partnership with local fabricator Art and Sculpture Unlimited, which was awarded the $896,000 contract for the project with little debate or discussion last March by the Bayfront Park Management Trust, leading to board member Cristina Palomo’s resignation and a strongly worded editorial in the Miami Herald. After the contributing artists were chosen, a series of workshops was organised for the artists to familiarise themselves with some of the weatherproof materials required for the job. One unexpected benefit of the workshops was the sense of community they fostered among the artists, some of whom subsequently showed together in an exhibition in Atlanta. In the sculpture garden, each statue is accompanied by a QR code that directs visitors to a brief clip about the animal breed depicted, and a short feature on the artist who created the sculpture. Samuel Loetscher

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After 2021’s ‘cryptomania’, a ‘crypto winter’ looms

experience last year also was not wholly positive. “They didn’t come as clients; they wanted to promote their own businesses, having us get on to their platforms,” she says.

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THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH FAIR EDITION 30 NOVEMBER 2022

NEWS Art Basel

 CONTINUED FROM PAGE 1 projects, programming, galleries, curators, etc. For the next five to ten years, that is the North Star priority for us.” De Bellis concurs. “It’s very important that an organisation like Art Basel further expand what the notion of an art fair might be,” he says. “Having a new leadership in place with Noah, myself and other colleagues gives us the opportunity to expand even further what the brand can do.”

Hands-on attitude

Local Miami art dealer David Castillo praised Horowitz’s fresh perspective as chief executive, citing his academic background and hands-on attitude as boons to the fair’s future. “To have somebody that knows quite a bit about art, and is interested in seeing what the galleries are doing, physically in real life; I was always impressed by that,” Castillo says. “I think he’s going to really want to take [the fair brand] into new and perhaps even unexpected directions that could grow the format of what a fair or a fair at that level can be, and what people can expect from it.” For his debut at the helm of the Art Basel machine, Horowitz says he is focused on maintaining the level of excellence that has

become synonymous with Art Basel’s brand. “I think the best way to commemorate 20 years is to deliver a resoundingly awesome show,” he says, pointing to the specific programme shifts he has spearheaded. “[The] Meridians [sector], which was a centre for large-scale sculpture and installation, was a project that I launched previously, and it finds itself now not in the Grand Ballroom, which is a 60,000 sq. ft add-on to the facility that we gained when the renovation was undertaken, but it’s actually going

“This is our most global, strongest edition to date” Marc Spiegler, outgoing Art Basel director to be fully enmeshed and integrated in the show floor.” At the Art Basel in Miami Beach press conference on Tuesday, Spiegler cited the fair’s investment in diversity and inclusion. “We worked with the selection committee this year to create a fair that better represented our society,” he said. “More galleries from Asia, more galleries from Africa, more Black-owned galleries. This is our most global, strongest edition to date.” At the conference, Horowitz also described this year’s fair as a “sea change in the mindset

Noah Horowitz’s recent appointment as chief executive marks his return to Art Basel, having served as the organisation’s directors of Americas from 2015 to 2021. The art historian joins Art Basel from a role at auction house Sotheby’s of Miami Beach”, praising the “extraordinary untapped potential” in the Basel brand.  Perhaps the most significant change at this early stage under Horowitz’s tenure is a philanthropic one. This year, the fair will be debuting a fundraising campaign on behalf of the STEAM+ programme, an initiative by Miami’s Bass Museum to integrate visual and performing arts into Stem (science, technology, engineering and maths) curricula by funding artists-inresidence programmes at Miami

Beach’s seven public schools. Art Basel has already contributed a lead donation, but it plans to expand its partnership network during the fair. “We felt that instead of adding one more thing in the pile of amazing parties that are happening—but that also take a toll on the city— that giving back to the community was the best approach to celebrate not just the show, but the city of Miami Beach,” De Bellis says. “If we have something more to give back, then why not?” “As our organisation grows

and as our roots get embedded ever more deeply in these various communities, I do think that there are ways that we can leverage all that Art Basel has as an organisation,” Horowitz says. As he gets his sea legs, the pressure is on to keep up with the rapid pace of the art world. “Art Basel has to keep changing”, Castillo adds. “[Art Basel has] to be of this moment, because that’s the art that they’re showing. The format itself also has to keep up.” Torey Akers and Helen Stoilas

HOROWITZ: ERIC THAYER

The next chapter for Art Basel in Miami Beach

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THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH FAIR EDITION 30 NOVEMBER 2022

DIARY

OVERHEARD IN MIAMI

“It evokes the whistle that wind makes through a door lock on a cold autumn afternoon” 

30 November 2022

Description of a tart that is on the menu for Mattia Caselegno’s Futuristinspired, “mixed-reality” food experience at Superblue Miami this week

Kelis serves Milkshake and more

Sex on the beach Miami, get ready for a very racy Madonna exhibition. The music megastar is rereleasing her 1992 coffeetable book Sex, which raised many an eyebrow with its titillating images of sexual escapades and larks. Thirty years later an exhibition marking the relaunch of the spicy book by Saint Laurent Rive Droite is taking place in a temporary beachside venue off Collins Avenue (until 4 December). Madge fans can savour a series of large-format prints from Sex, curated by the Material Girl herself and Anthony Vaccarello, the creative director of Saint Laurent. Snaps capture the songstress dressed in bondage gear, touching herself seductively, biting men’s bodies and more. Our sources also tell us that the Vogue star is in town and will likely make an appearance at the seaside Sex show. Take note, though: organisers say you must be over 18 to visit. (The Art Newspaper stumbled across the risqué Madonna display preopening and was denied entry—we’ll get our kicks elsewhere, thanks.) 

US singer Kelis kicked off Miami Art Week with a performance at White Cube’s annual party at Soho Beach House. Celebrities including singer and actor Joe Jonas were among the crowd waiting in anticipation for her beloved earlyaughts songs. Wearing a shimmery pink two-piece, gold hoop earrings and chains, the singer enraptured the room with her famous anthem: “My milkshake brings all the boys to the yard, and damn right, it’s better than yours.” It’s not the first time that Kelis has treated the art world to a dose of sugary nostalgia; earlier this year, she performed at the Southampton Arts Center’s buzzy summer fundraiser, where whipped-cream shots were appropriately served to party-goers during her set.

Cubana de Aviación Local billionaire Jorge Pérez pulled out all the stops at the launch party for the show of his recent acquisitions of Cuban art at El Espacio 23 in Allapattah. Guests were treated to top-notch canapés and Cuban beats. A talking point at the bash turned out to be a winged vintage car, Hybrid of a Chrysler (2016) by Esterio Segura, on show outside Pérez’s swanky museum. The artist describes the car assemblage as “a provocation to fly, an invitation [for Cubans] to the magic of moving beyond the limit of the waters of the island, to realise their own dreams in a symbol of success”. One party-goer quipped though that it looked like an “automobile adapted by American Airlines”.

Repeat (sex) offender: Madonna in a saucy pose for her notorious book Sex, which is being relaunched in Miami this week to mark 30 years since it first appeared

Flight of fancy: Esterio Segura’s Hybrid of a Chrysler at El Espacio 23

Artoon by Pablo Helguera

Gymnast presents new angle on art Briana Fitzpatrick is a very flexible artist—literally: the multi-talented gymnast and martial arts expert puts brush to canvas while in mid-air, creating works in contorted poses. “I was watching an online tutorial of how to paint portraits and the instructor said [that] if you struggle with seeing proportions correctly, then flip the painting upside down, and I thought to myself, ‘huh, why don’t I just flip myself upside down instead?’” she explains. Fitzpatrick will be doing demonstrations at the Spectrum Miami fair (1-4 December). Gives a whole new meaning to the art world term of Head over heels: Briana Fitzpatrick demonstrates her unusual painting style

Violinist puts on abs-olutely thrilling show The crème de la crème of Miami’s art world descended on the Wynwood district on Monday for the Museum of Graffiti’s bash, which included DJ sets, artist demonstrations and exhibitions. The real star attraction was the ripped performer Kostia, who describes himself as a “violin rebel”

on his Instagram page. The musician wowed party crowds with his bare-chested dancing and frenzied fiddling. “It was an amazing night! The art spirit is in the air and that is why I was so inspired and gave the audience all of me,” he tells The Art Newspaper. You certainly did, Kostia.

“My advice was for you to invest in crypto, not to invest in a bunch of cryptic works.”

Fit as a fiddle: Kostia whips the audience into a frenzy at the Museum of Graffiti party

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THE EGG IN ART Women artists

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Fertile

LUCAS: COURTESY OF SARAH LUCAS AND SADIE COLES HQ. MINTER: © MARILYN MINTER. COURTESY LGDR

Above: Sarah Lucas’s Self Portrait with Fried Eggs (1996), left, and Marilyn Minter’s Quail’s Egg (2004)

n Vanessa Engle’s 1996 documentary, Two Melons and a Stinking Fish, the UK artist Sarah Lucas buys half-a-dozen organic eggs from a butcher’s shop in Highbury, north London, for £1.24. She later fries up two, and places them onto a varnished wooden table alongside a doner kebab—a pitta bulging with strips of rotisserie meat. The foodstuffs were arranged by the artist to evoke the shape of a woman’s breasts and genitals. Written on the table in black pen are the credits for the work: “Two fried eggs and a kebab, 1992, Sarah Lucas”. The title echoes the kind of vulgar banter about women’s bodies the artist remembers hearing while growing up in London, and she once referred to the work as a “defence mechanism”, saying she had “live[d] with remarks like that all my life”. Lucas has spent a lot of time with eggs in her work. Perhaps the most famous is her Self Portrait with Fried Eggs (1996). This photo shows the artist sitting deep in a chair, her back

inspiration From Judy Chicago to Sarah Lucas, the humble egg has played an enduring role in women’s art. By Jennifer Higgie and Ruth Reichl

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THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH FAIR EDITION 30 NOVEMBER 2022

THE EGG IN ART Women artists

“New iterations increasingly resembled breasts, the yolks eventually morphing into nipples”

 CONTINUED FROM PAGE 9 straight, her denim-clad legs open at an acute angle and her gaze direct and unflinching. Two fried eggs have been gingerly placed on her khaki green T-shirt over her breasts, the yolks pointing in different directions. Of her ability to serve up provocation and humour at once, the art critic Roberta Smith once wrote, “Over the years, I don’t think any artist’s work has shocked me—mostly in good ways—as often as Ms Lucas’s.”

the piece came to her after hearing about “militant feminists who wanted to cut off [men’s] balls”. Instead, she chose to present the male as an object of “sexual disrobement and denudation”. This approach seems to have been effective. One gallerist refused to include the work in a show because it made him feel like he was “exposing himself”.

RIGID PARAMETERS

“The indoors—the home in particular— is a recurring theme in feminist art featuring eggs”

UNAPOLOGETIC CARNALITY

Which came first? Marius W. Hansen’s Chicken (2021) , left, or Bobby Doherty cover image for The Gourmand’s Egg The feminist pioneer and consummate collaborator Judy Chicago also explores domestic themes. In 1971, she and Miriam Schapiro co-founded the Feminist Art Program at the California Institute of the Arts, and started work on what would become 1972’s groundbreaking Womanhouse, a multiparticipant, multimedia installation set in a run-down Hollywood mansion. One of the big attractions was the walk-in installation by Susan Frazier, Vicki Hodgetts and Robin Weltsch, designed to mimic a carefully organised, modern Western kitchen. All the items and surfaces in Nurturant Kitchen were sickly Pepto Bismol pink, from the space-age gadgets to the stove and pantry items. Foam fried-egg formations covered the ceiling and crept down the walls, growing pinker and pinker as they sunk; new iterations increasingly resembled breasts, the yolks eventually morphing into nipples. Camp and surreal, the installation hinted at the pressures put on women to be human dolls: to play house (cook eggs) and be sexually available on demand (show breasts). Ablutions (1972) was a much more difficult work by Chicago and her collaborators, in this instance Suzanne Lacy, Sandra Orgel and Aviva Rahmani. The performance was about

rape, and featured two women sitting in metal wash tubs filled with eggs, blood and clay. Another woman is bound from head to toe with gauze bandages. Scattered around the performers are broken eggshells, ropes, chains and animal kidneys. A pre-recorded soundtrack played in the room, testimonials spoken by women about their experiences of sexual violence. Chicago then returned to the symbolic power of eggs in the 1980s with her Birth Project, a collaborative series of multimedia works, including the embroidery Hatching the Universal Egg E3 (1984). Done with the needleworker Kris Wetterlund, the expressive piece features a symbolic figure holding a giant cracking egg; she is both the universal mother and an individual woman giving birth. Flipping expectations about what type of anatomy an egg could embody, the Austrian avant-gardist Renate Bertlmann’s Exhibitionism (1973) was an elegant but still bawdy sculptural optical illusion about masculinity. Comprising three abstract mixed-media assemblages, it featured delicate lines, careful shading and two egg-shaped Styrofoam objects. A closer look reveals the outline of legs, bums and testicles seen from various angles. Bertlmann says the idea for

Marilyn Minter offered a similarly zoomed anatomical view when she cast her critical eye on the world of commercial image production for Quail’s Egg (2004). One of the US artist’s hyperreal enamel-on-metal paintings, it shows a close-up of a woman’s glossy red, slightly parted lips. She is crushing a small, brown-spotted quail’s egg with her perfectly white teeth, while golden yolk dribbles down the side of her mouth. Intended as a provocation about the male gaze, it is also a presentation of unapologetic female carnality. What at first might seem like the usual type of objectified body-part imagery used to sell goods quickly shifts into the beautiful and the grotesque, and back again. Recent feminist art continues to harness the symbolic power of the egg. In 2018, the British artist Heather Phillipson’s cartoonish my name is lettie eggsyrub was installed at London’s Gloucester Road Tube station to mark 100 years of women’s suffrage in the UK. The installation included screens showing eggs being cracked, whipped and spread across sandwiches. It was reported that this stirred the hunger of some commuters, a fact that surprised Phillipson, who is vegan. Not only do the eggs represent fertility, strength, birth and futurity, she said, but also the other side of the coin: “(over)production, consumption, exploitation and fragility.” • This is an excerpt from The Gourmand’s Egg: A Collection of Stories and Recipes (2022), published by Taschen

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Since a significant number of women’s bodies produce eggs on a regular basis, it’s not surprising to see them show up in feminist art, often as a visual eponym for the female body itself, and to explore everything from sexism and eroticism to themes of oppression and liberation. In 1967, the Brazilian artist Lygia Pape hatched out of a white box onto a beach in her video, O Ovo (the egg). Readable as a comment on the rigid parameters of the art world, this escape from inside a white, oppressive cube into an organic natural scene was a prescient comment on the types of gallery spaces that would grow to ubiquity in the Western world—spaces in which women artists would be regularly under-represented. The indoors—the home in particular—is a recurring theme in feminist art featuring eggs, including the work of the British artist Su Richardson. Her textile piece, Burnt Breakfast (1975–77), a crocheted plate of egg, sausage, bacon and tomato, was done as part of the Postal Art Event, a project intended to connect women artists across the UK through the sharing of mail art. Alongside postcards and other items, this full English breakfast eventually found its way through the letterbox of one of Richardson’s contemporaries, and hints at the fact that a lot of the women artists that she knew, especially mothers with young children, worked from home rather than at a studio.

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THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH FAIR EDITION 30 NOVEMBER 2022

IN PICTURES Meridians

Big-scale body politics The third iteration of the Meridians section of Art Basel in Miami Beach explores representations of the body and concepts of beauty. “Various works in the section challenge the colonial representation of Brown and Black bodies, echoing the new chapter of art activism around race and gender,” says the section’s curator Magalí Arriola, the director of the Museo Tamayo in Mexico City. The platform launched in 2019 to showcase works that would be challenging to present on a traditional art fair stand, such as performances and immersive pieces. “The idea is to show expansive works, not only in terms of space but also in terms of time, and go beyond the notion of scale,” Arriola says. Interview by Gabriella Angeleti Photographs by Eric Thayer

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Hock E Aye VI Edgar Heap of Birds

COLUMBUS DAY (2019-20) K ART

“Edgar Heap of Birds (Cheyenne and Arapaho) addresses Indigenous culture and colonial history in his work, with this work made from 24 primary ink monoprints and 24 secondary or ‘ghost prints’ that mirror the first series. His works reflect his lifelong empathy toward the Indigenous people that have suffered from destructive foreign powers, criticising how Indigenous people have been historically treated as property.”

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Zanele Muholi

MUHOLI V (2022) STEVENSON, YANCEY RICHARDSON

“Zanele Muholi, what I would describe as a visual activist, started out as a photographer capturing these intimate, seductive self-portraits. Sculpture, like this new bronze work, can similarly convey notions of power, value and status, and marks a new medium for the artist.”

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Jonathas de Andrade

ACHADOS E PERDIDOS (LOST AND FOUND) (2012-ONGOING) NARA ROESLER, GALLERIA CONTINUA

“Jonathas de Andrade, a Brazilian artist, explores different cultural contexts in Brazil and more specifically how masculinity is represented. These sculptures are from a collection he has built over the last ten years of found swimsuits that he collected in Recife, a city known for its artisanal pottery.”

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Christopher Myers

LET THE MERMAIDS FLIRT WITH ME (2022) JAMES COHAN GALLERY

“This is work produced specifically for the sector that references transcultural narratives and the relationship between Black bodies and the ocean. Five stained-glass paintings in light boxes within a chapel-like structure invoke mermaids and other mythological creatures associated with African and African-American communities and cultures.”

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Judy Chicago

BIRTH (1984) JESSICA SILVERMAN

“Of course, Judy Chicago’s work is very topical for this year in its social and political context. But it’s also exciting to show such a historical work in an exhibition of younger artists and create a diverse and intergenerational dialogue between them. She made this piece in a collaboration with various women during a time when images of birth were not common.”

6

Cauleen Smith

SOJOURNER (2018) AND SPACE STATION: A ROCK IN A RIVER (2022) MORÁN MORÁN, CORBETT VS. DEMPSEY

“Within Cauleen Smith’s practice is discourse around Afrofuturism and science fiction. These two films address transcendence and solidarity amongst women: one about the Black feminist and abolitionist Sojourner Truth and the other about Rebecca Cox Jackson, a spiritual leader. The pieces are about collective practice, a social utopia and divine inspiration.”

THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH FAIR EDITION 30 NOVEMBER 2022

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THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH FAIR EDITION 30 NOVEMBER 2022

INTERVIEW Artists

Didier William:

‘Home is never a fixed institution’ Didier William’s exhibition includes paintings of two of his childhood homes in Miami after his family emigrated from Haiti

D

idier William’s current retrospective is, more so than most, an origin story. The artist’s family emigrated from Port-au-Prince in Haiti to North Miami when he was a child, and he grew up in two houses near the present site of the Museum of Contemporary Art (MOCA) North Miami, which is hosting the show curated by Erica Moiah James (until 16 April 2023). Two of the most recent works on view are paintings of those childhood homes, each floating uneasily on a conglomeration of limbs rendered in William’s distinctive, densely rendered brushstrokes. In another real sense, the exhibition— and William’s work more broadly—is about

the fluidity and hybridity of identity and experiences of dislocation, as intimated by its title, Nou Kite Tout Sa Dèyè, Haitian Creole for “We’ve Left That All Behind”. William discusses the experience of returning to the neighbourhood of his youth, taking stock of his oeuvre up to this point and his first foray into large-scale sculpture. THE ART NEWSPAPER: Can you tell me how the large sculpture you’re debuting in North Miami came about? DIDIER WILLIAM: Last year I did a site-specific installation for Facebook in New York and that was the first time I had done anything 3D. It was a 72ft by 15ft wall, with six of my figures floating in front of it, and the figures

November 30– December 4, 2022 Convention Center Drive & 19th Street Miami Beach, USA

THE GLOBAL FORUM FOR DESIGN/ THE GOLDEN AGE/ CURATED BY MARIA CRISTINA DIDERO

COLLECTIBLE DESIGN/ FURNITURE/ LIGHTING/ OBJETS D’ART/

EXPERIENCE AND SHOP THE FAIR IN-PERSON AND ONLINE AT DESIGNMIAMI.COM @designmiami

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Dining Table - The Lotus Series/ Khaled El Mays, 2022/ Courtesy of Khaled El Mays and Nilufar Gallery

PHOTO: RYAN COLLERD, COURTESY OF THE PEW CENTER FOR ARTS AND HERITAGE

The Haitian-American artist’s largest retrospective to date, staged at MOCA North Miami, is in the very neighbourhood where he grew up. By Benjamin Sutton

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THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH FAIR EDITION 30 NOVEMBER 2022

“The Miami that I grew up in is very different from the Miami that exists today”

COURTESY OF THE COLLECTION OF REGINALD AND ALIYA BROWNE; PHOTO: CONSTANCE MENSH

Didier William, artist had been cut out—so imagine if the figures in my paintings had stepped out of the paintings. On the wall was a custom-printed wallpaper with patterns that had been pulled from the paintings, and then I collaborated with a lighting manufacturer who made LEDs to light the backs of the figures so that instead of casting a shadow, they emitted light from behind them. Erica Moiah James saw that piece at Facebook, really loved it and asked me to consider sculpture for Miami. So the show in Miami has a 13ft-tall stack of bodies that hovers in the middle of the room. Its title is Potomitan, which means the pole in the middle of a structure, which is borrowed from Haitian Vodou. In Haitian Vodou, you would pray and have ceremonies around the potomitan, which would sometimes be an actual living tree. Sometimes it’s a wooden structure that you would build and put different worship objects around. That pole is where the gods travel from the other world into this world. But in my piece that pole, that structure, is made up of bodies, a towering stack of bodies, the bodies themselves being the throughway or transitory material through which we access life in this world and life in the next world.

Didier William’s Mosaic Pool, Miami (2021) is on show at MOCA North Miami in an exhibition of more than 40 works by the Haitian-American artist, including some of his most recent paintings. The show also includes a large-scale sculpture of William’s, ‘a 13ft-tall stack of bodies that hovers in the middle of the room’ schools for us. I take a lot of that anecdotal material that comes from those moments and find the slice in there that I think can become a painting. But the container for all that stuff was these two houses, all of that activity was happening in these two-bedroom, onebathroom houses where my brothers and my parents were desperately trying to start a life in the United States.

The first works visitors to the exhibition see are two paintings of your childhood homes in North Miami; why did you choose to represent such tangible, realworld places? They are containers. When we first moved to this country, we weren’t documented, so we had a long, several-years process of going to immigration and naturalisation services, setting up appointments, getting job permits, getting a green card, becoming American citizens, my brothers and I learning English. My parents tried to find jobs, and tried to find

More broadly, what has the experience of reinvesting in this place where you spent such important years of your life brought up for you? I like how you describe it as a kind of reinvestment. The museum likes to use the word “homecoming” and I don’t because I think homecoming implies some kind of

resolution or catharsis, and I’m not crazy about that implication. I think of it more as an introduction or a reintroduction. The Miami that I grew up in is very different from the Miami that exists today. And the 16-yearold kid who worked at the dollar store on 125th Street, which is right next door to the museum, is not the same person as the 39-year-old, out, queer dad who’s returning to Miami to show this work. I want to give those two parts of self their deserved integrity, and not assume that we’re “closing the circle” and “bringing the work back home”. Because that image also implies that somehow the conception of home is fixed and, again, within the context of an immigrant narrative, home is never a fixed institution—it’s a kind of organic, shifting, multivalent thing

that you can never really quite latch onto. That’s how I’ve always experienced it as a person in the world, but also how I’ve always constructed it in the narratives of the paintings. So one of the things I think about a lot with bringing the work back to Miami is language, the power of language and how the language that I use to describe the paintings—the art historical language, the Creole language, the material language— is gonna be very different in Miami, in a community that has a large immigrant population and a large Haitian population. The symbolism and the storytelling will play out very differently and I’m excited to see what happens. • Didier William: Nou Kite Tout Sa Dèyè, Museum of Contemporary Art North Miami, until 16 April 2023

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A FINE LINE

Highlights from the Berkowitz Contemporary Foundation November 18, 2022 - February 26, 2023

Do Ho Suh, Toilet, Apartment A, 348 West 22nd Street, New York, NY 10011, USA, 2011. Polyester fabric and stainless steel. Collection of the Berkowitz Contemporary Foundation. © Do Ho Suh. Courtesy the artist and Lehmann Maupin, New York, Hong Kong, Seoul, and London Photo by Taegsu Jeon.

 

B C F

A Fine Line: Highlights from the Berkowitz Contemporary Foundation was made possible by the Berkowitz Contemporary Foundation. Additional funding was provided by the State of Florida, Department of State, Division of Arts and Culture, the Florida Council on Arts and Culture, and the National Endowment for the Arts; the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, Miami-Dade Mayor, and Board of County Commissioners; the City of Coral Gables; Beaux Arts Miami; and Lowe members.

THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH FAIR EDITION 30 NOVEMBER 2022

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WHAT’S ON

Art Basel in Miami Beach week

Listings are arranged alphabetically by category

 Museums &

institutions

Adrienne Arsht Center Ziff Ballet Opera House 1300 Biscayne Boulevard, Miami • William Kentridge 1-3 DECEMBER

Art and Culture Center/ Hollywood 1650 Harrison Street, Hollywood • 2022 Florida Biennial UNTIL 5 FEBRUARY 2023 • Carolina Cueva UNTIL 5 FEBRUARY 2023

Art in Common 50 NE 40th Street, Miami • Boil, Toil + Trouble UNTIL 4 DECEMBER

Bakehouse Art Complex 561 NW 32nd Street, Miami • Philip Lique and Najja Moon UNTIL 26 MARCH 2023 • Pedro Wazzan: In the Studio UNTIL 26 MARCH 2023 • Chire “VantaBlack” Regans: Say Their Names—A Public Art Memorial Project UNTIL 26 MARCH 2023 • Chris Dougnac: Temple, Rock, Cloud UNTIL 19 MARCH 2023

The Bass 2100 Collins Avenue, Miami Beach • Adrián Villar Rojas UNTIL 14 MAY 2023 • Devora Perez: Chroma in Situ (Wall-hung Series) UNTIL 5 MARCH 2023 • Jamilah Sabur: The Harvesters UNTIL 30 APRIL 2023

Boca Raton Museum of Art 501 Plaza Real, Boca Raton • Art of the Hollywood Backdrop UNTIL 22 JANUARY 2023 • Reginald Cunningham: Black Pearls UNTIL 29 JANUARY 2023

Coral Gables Museum 285 Aragon Avenue, Coral Gables • Painting in Excess: Kyiv’s Art Revival, 1985-1993 UNTIL 4 DECEMBER • The World As I Know It: Recent Works by Edouard Duval Carrie UNTIL 29 JANUARY 2023

Coral Springs Museum of Art 2855 Coral Springs Drive, Coral Springs • Christina Nicola UNTIL 3 DECEMBER

DACRA Headquarters

ERLICH: COURTESY MORI ART MUSEUM. PHOTO: HASEGAWA KENTA

3841 NE 2nd Avenue, Miami • Craig Robins Collection UNTIL 4 DECEMBER

Argentine artist Leandro Erlich’s installation The Room (2006-18), on view at the Pérez Art Museum Miami, is a critique of government surveillance

The artist as activist—and illusionist

Leandro Erlich: Liminal Pérez Art Museum Miami UNTIL 4 SEPTEMBER 2023

Pérez Art Museum Miami (PAMM) is hosting the first stateside survey devoted to the conceptual artist Leandro Erlich. The artist, who represented Argentina at the 2001 Venice Biennale, is best-known for his immersive installations that create optical illusions, such as Swimming Pool (1999)—in which viewers can see and photograph others submerged “underwater” via a transparent glass pane. The show spans three decades of Erlich’s career, featuring 16 works that transform the galleries into various familiar but surreal environments, from a classroom and laundromat to windows that offer • Quayola UNTIL 4 DECEMBER • Petroc Sesti UNTIL 4 DECEMBER • Antonia Wright and Ruben Millares UNTIL 4 DECEMBER

voyeuristic views into other worlds. The Room (200618) shows the same room filmed from 25 different angles, critiquing government surveillance. Several other works also have an activist bend. “Philosophy, architecture and cinema have played an important role in my work, which in many cases is activated as a stage would be, with visitors becoming actors who are led by their own intuition to make discoveries within the space,” Erlich says. “What I’m interested in is the state of awareness that we all have in relation to reality and what reality ultimately means; it’s a mutable thing that requires continuous interpretation.” Erlich made a splash during Art Basel Miami Beach three years ago with his work Order of Importance (2019), which consisted of nearly 70 sand sculptures of cars on the beach. The sculptures naturally degraded during the twoweek installation, becoming engulfed by their own material. An underwater incarnation of the same project, titled Concrete Coral (2019), will be part of the monumental ReefLine project, a seven-mile underwater sculpture garden off Miami Beach’s shoreline, conceived by the artist and collector Ximena Caminos and designed by the architecture firm OMA in collaboration with marine biologists and coastal engineers. The project is billed as an artificial reef that would connect art and climate

• Capture: A Portrait of the Pandemic UNTIL 8 JANUARY 2023 • Black Citizenship in the Age of Jim Crow UNTIL 12 FEBRUARY 2023

Institute of Contemporary Art, Miami

De la Cruz Collection

Fairchild Tropical Botanic Garden

23 NE 41st Street, Miami • Together, at the Same Time UNTIL 31 DECEMBER

10901 Old Cutler Road, Coral Gables • NightGarden UNTIL JANUARY 2023

El Espacio 23

Girls’ Club by the River

2270 NW 23rd Street, Miami • You Know Who You Are UNTIL 31 DECEMBER

330 SW 2nd Street, Fort Lauderdale • Rinse & Repeat UNTIL 31 MARCH 2023

Faena Art

History Fort Lauderdale

Faena Forum, 3300 Collins Avenue, Miami Beach • Faena Prize for the Arts UNTIL 4 DECEMBER • Random International UNTIL 4 DECEMBER

231 SW 2nd Avenue, Fort Lauderdale • Chono Thlee UNTIL 10 JANUARY 2023

301 Washington Avenue, Miami Beach • Environmental Art: Fragile Beauty UNTIL APRIL 2023 • Bonnie Lautenberg Retrospective UNTIL 2 APRIL 2023

HistoryMiami

Locust Projects

101 W Flagler Street, Miami

3852 North Miami Avenue, Miami

61 NE 41st Street, Miami • Michel Majerus UNTIL 12 MARCH 2023 • Hervé Télémaque: 1959–1964 UNTIL 30 APRIL 2023 • Nina Chanel Abney UNTIL 12 MARCH 2023

Jewish Museum of Florida-FIU

• Ivan Toth Depeña UNTIL 7 JUNE 2025 • Ronny Quevedo: ule ole allez UNTIL 4 FEBRUARY 2023 • T. Eliott Mansa UNTIL 4 FEBRUARY 2023 • Portals of Introspection UNTIL 4 FEBRUARY 2023

Lowe Art Museum University of Miami, 1301 Stanford Drive, Coral Gables • Alex Trimino: Stitching the Gap UNTIL 29 JANUARY 2023 • Charles White: A Little Higher UNTIL 26 FEBRUARY 2023 • Jacob Lawrence: The Legend of John Brown UNTIL 26 FEBRUARY 2023

Margulies Collection at the Warehouse 591 NW 27th Street, Miami • The Italians UNTIL 29 APRIL 2023

activism, though it has been met with a backlash based on ecological concerns and speculation about how it would impact the wave break in Miami’s South Beach. It is envisioned that Erlich’s work and the larger sculpture park will encourage the natural formation of new coral reefs, with construction due to begin in early 2023.

Inspiring participation “We must engage ourselves with the fights that we believe in, but we must do it creatively,” Erlich says. “Artists and scientists must inspire and use creativity to find positive solutions, because art can play a role in not just bringing attention to the subject but inspiring people to participate.” Erlich’s exhibition at PAMM has been organised by the museum’s director, Franklin Sirmans, the assistant curator Maritza Lacayo and the New York-based guest curator Dan Cameron, the founder of the triennial Prospect New Orleans. Cameron commissioned Erlich’s installation Window and Ladder—Too Late for Help (2008) for the inaugural edition of Prospect New Orleans in 2008. The work, on view in Miami, comprises a ladder leaning against a fragment of a brick house, evoking the still-dilapidated areas of New Orleans that were struck by Hurricane Katrina—a timely image in hurricane- and flood-prone Miami. Gabriella Angeleti

• Dorothea Lange and Walker Evans UNTIL 29 APRIL 2023 • New European and American Painters and Sculptors UNTIL 29 APRIL 2023

Miami Beach Arts & Culture Various hotels around Miami Beach • No Vacancy: Temporary Public Art Projects UNTIL 8 DECEMBER

Museum of Art and Design Miami Dade College Various locations • Photographs from the EFE Archive UNTIL 15 MARCH 2023 • Remaking Miami: Josefina Tarafa’s Photographs of the 1970s UNTIL 17 MARCH 2023 • Rafael Domenech UNTIL JANUARY 2023

Miami Design District 140 NE 39th Street, Miami

• Germane Barnes: Rock | Roll ONGOING

Museum of Contemporary Art North Miami 770 NE 125th Street, North Miami • Art on the Plaza: “To What Lengths” UNTIL 20 JANUARY 2023 • Didier William UNTIL 16 APRIL 2023 • Jack Pierson: Paradise ONGOING

Museum of Graffiti 276 NW 26th Street, Miami • The Wide World Of Graffiti ONGOING • Ledania: Private Spaces ONGOING • The Roadmap Tour ONGOING

Norton Museum of Art  CONTINUED ON PAGE 20

THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH FAIR EDITION 30 NOVEMBER 2022

WHAT’S ON

Saatchi Yates Miami 35 NE 40 Street, Miami • Tesfaye Urgessa UNTIL 21 DECEMBER

Art Basel in Miami Beach week

Sagamore South Beach 1671 Collins Ave, Miami Beach • Into the Wild (Future) UNTIL 4 DECEMBER

Shelborne South Beach

 CONTINUED FROM PAGE 19 1450 S Dixie Highway, West Palm Beach • Photographs from the Nicola Erni Collection, 1930s to Now UNTIL 12 FEBRUARY 2023 • Joseph Stella: Visionary Nature UNTIL 15 JANUARY 2023 • Henry Ossawa Tanner UNTIL 12 MARCH 2023

• ChromaTone: Voices from Miami UNTIL 14 JANUARY 2023

NSU Art Museum Fort Lauderdale

Slat House, The Royal Poinciana Plaza, Cocoanut Row, Palm Beach • Alex Prager, Part Two: Run UNTIL 11 DECEMBER

Jeffrey Deitch and Gagosian Buick Building, NE 2nd Avenue, Miami • 100 Years UNTIL 4 DECEMBER

Lehmann Maupin Palm Beach

1 East Las Olas Boulevard, Fort Lauderdale • Scott Covert: I Had a Wonderful Life UNTIL 23 APRIL 2023 • Kathia St Hilaire: Immaterial Being UNTIL 23 APRIL 2023 • William Kentridge: Ursonate UNTIL 16 APRIL 2023

924 Lincoln Road, Miami Beach • Miami is Not the Caribbean. Yet it Feels Like it. UNTIL 11 DECEMBER 928 Lincoln Road, Miami Beach • Rosie’s Fare: Germane Barnes UNTIL 11 DECEMBER Walgreens, 6700 Collins Avenue, Miami Beach • Life Passing By, High Session Miami Beach: Michael Loveland 30 NOVEMBER-19 FEBRUARY 2023 Walgreens, 7340 Collins Avenue, Miami Beach • Verso: Tom Scicluna 30 NOVEMBER-19 FEBRUARY 2023 Skolnick Surgical Tower, Mount Sinai Medical Center, 4300 Alton Road, Miami Beach • Jennifer Printz UNTIL 14 DECEMBER

Patricia & Phillip Frost Art Museum

UNTIL 16 DECEMBER

Swampspace 3940 N Miami Avenue, Miami • Archipelago of Dreams: Meme Ferré UNTIL 17 DECEMBER

The Underline Brickell Backyard, Miami • Public art for all ONGOING

Vero Beach Museum of Art

Modesto Maidique Campus 10975 SW 17th Street, Miami • In the Mind’s Eye: Landscapes of Cuba UNTIL 15 JANUARY 2023 • Rafael Soldi: A body in transit UNTIL 4 DECEMBER • Rembrandt Reframed UNTIL 8 JANUARY 2023

3001 Riverside Park Drive, Vero Beach • Picasso, Matisse & Friends: Drawings from a Private Collection UNTIL 8 JANUARY 2023 • Changing Nature: A New Vision, Photographs by James Balog UNTIL 31 DECEMBER

Pérez Art Museum Miami

3251 South Miami Avenue, Miami • Jaime and Javier Suárez Berrocal UNTIL 17 APRIL 2023

1103 Biscayne Boulevard, Miami • Mariano: Variations on a Theme UNTIL 22 JANUARY 2023 • Simone Leigh: Trophallaxis UNTIL 12 FEBRUARY 2023 • George Segal UNTIL 16 APRIL 2023 • Christo Drawings UNTIL 11 JUNE 2023 • Leandro Erlich: Liminal UNTIL 4 SEPTEMBER 2023

Vizcaya—Museum and Gardens

WEAM—Naomi Wilzig Erotic Art Museum 1205 Washington Avenue, Miami Beach • Quarantine Nudes by Kevin Berlin UNTIL 13 FEBRUARY 2023 • The Great Wall of Vagina by Jamie McCartney UNTIL 13 FEBRUARY 2023

Rubell Museum

The Wolfsonian—FIU

1100 NW 23rd Street, Miami • Alexandre Diop UNTIL 6 NOVEMBER 2023 • Yayoi Kusama: Infinity Room ONGOING • Yoshitomo Nara ONGOING

1001 Washington Avenue, Miami Beach • Plotting Power: Maps and the Modern Age UNTIL 16 APRIL 2023 • Turn the Beat Around UNTIL 30 APRIL 2023 • Street Shrines UNTIL 28 MAY 2023

Schmidt Center Gallery, Florida Atlantic University 777 Glades Road, Boca Raton • Porous Boundaries: Carol Prusa UNTIL 16 DECEMBER • To Be Continued: Tammy Knipp

YoungArts Gallery 2100 Biscayne Boulevard, Miami • Sunshine featuring works by Mark Fleuridor UNTIL 10 DECEMBER

 Other shows Arlo Wynwood 2217 NW Miami Court, Miami • Brooke Einbender ONGOING

Belmond Hotel Apollo 40 NE 40th Street, Miami • Javier Hinojosa, Patricia Lagarde, Ilán Rabchinskey and Margot Kalach 1 DECEMBER-ONGOING

Dot Fiftyone Gallery 7275 NE 4th Avenue, Miami • Gonzalo Fuenmayor + Marcos Castro UNTIL 20 JANUARY 2023 • Anastasia Samoylova: Floridas UNTIL 20 JANUARY 2023

The Elser Hotel & Residences 398 NE 5th Street, Miami • Diego Olivero: Lluvia de Lana ONGOING

Etra Fine Art 6942 NE 4th Avenue Miami • Biosphere—Noosphere UNTIL JANUARY 2023

Galerie Lelong & Co. Suite 121, Paradise Plaza, 151 NE 41st Street, Miami • Ursula von Rydingsvard: Luba UNTIL 17 DECEMBER

Gavlak Suite M334, 340 Royal Poinciana Way, Palm Beach • Jose Alvarez (D.O.P.A.): Songs Of Freedom, An Elegy To A Venezuelan Dream UNTIL 12 DECEMBER

Green Space Miami—Green Family Foundation

The Slat House at The Royal Poinciana Plaza, Suite 101, 50 Cocoanut Row, Palm Beach • Condo x Haring: Expressions of the Imagination UNTIL 31 DECEMBER

Superblue Miami

Esquina de Abuela, 2705 NW 22nd Avenue, Miami UNTIL 3 DECEMBER

INK Miami Suites of Dorchester, 1850 Collins Avenue, Miami Beach UNTIL 4 DECEMBER

Miami River Art Fair The Penthouse Riverside Wharf, Miami UNTIL 1 DECEMBER

Nada Miami Ice Palace Studios, 1400 N Miami Avenue, Miami UNTIL 3 DECEMBER

Pinta Miami The Hangar in Coconut Grove, 3385 Pan American Drive, Miami UNTIL 4 DECEMBER

848 NW 22nd Street • Cleon Peterson UNTIL 2 JANUARY 2023

Nina Johnson

Villa Azur Miami Beach

Red Dot Miami

6315 NW 2nd Avenue, Miami • Nadia Ayari: Eyelash in the Unknown UNTIL 7 JANUARY 2023 • Minjae Kim: IYKYK UNTIL 7 JANUARY 2023

309 23rd Street, Miami Beach • Diogo “D-Snow” Neves and Max Jamal UNTIL 3 DECEMBER

Mana Wynwood, 2217 NW 5th Avenue, Miami UNTIL 4 DECEMBER

THE OFFICE Gallery and F2T Gallery Bony Ramirez, Maria (2022) is on view at Oolite Arts in the group show Miami is Not the Caribbean. Yet it Feels Like it

Sotheby’s Palm Beach

Fridge Art Fair

1101 NW 23rd Street, Miami • Rafael Lozano-Hemmer UNTIL AUGUST 2023 • Mattia Casalegno UNTIL 4 DECEMBER

Mindy Solomon Gallery

Oolite Arts

1801 Collins Avenue, Miami Beach • Rosanna Kalis installation in the Oasis Garden 1 DECEMBER-ONGOING

and 19th Street, Miami Beach UNTIL 4 DECEMBER

3930 NE 2nd Avenue, Suite 202, Miami • I DON’T NEED IT, BUT I WANT IT UNTIL 29 JANUARY 2023

Pan American Art Projects 274 NE 67th Street, Miami • The Life of Meanings: Carlos Estevez UNTIL 3 DECEMBER

The Ritz-Carlton South Beach 1 Lincoln Road, Miami Beach • An Exhibit for Peace UNTIL 30 NOVEMBER

Prizm Art Fair 4220 N Miami Avenue, Miami UNTIL 11 DECEMBER

Satellite Art Fair

 Satellite fairs

Indian Beach Park, 4601 Collins Avenue, Miami Beach UNTIL 4 DECEMBER

Aqua Art Miami

Scope Art Show

Aqua Hotel, 1530 Collins Avenue, Miami Beach UNTIL 4 DECEMBER

801 Ocean Drive, Miami Beach UNTIL 4 DECEMBER

Art Miami and Context Art Miami

Mana Wynwood, 2217 NW 5th Avenue, Miami UNTIL 4 DECEMBER

One Herald Plaza @ NE 14th Street, Miami UNTIL 4 DECEMBER

Design Miami/ Convention Center Drive

Spectrum Miami

Untitled Ocean Drive and 12th Street, Miami Beach UNTIL 3 DECEMBER

A Haitian modernist’s figurative epiphany Hervé Télémaque: 1959-1964 Institute of Contemporary Art, Miami UNTIL 30 APRIL 2023

This exhibition contains more than a dozen early works by the late Haitian-born, Paris-based painter Hervé Télémaque. The show includes paintings from the artist’s brief stint living in New York City, where he moved in 1957 from his native Port-au-Prince before becoming so disenchanted by racial segregation in the US that he relocated to Paris in 1961. In early works like No Title (The Ugly American) (1962-64), painted shortly after Télémaque’s move to Paris, you can see the artist begin to step away from abstraction and develop his figurative style while simultaneously wrestling with the violent legacy of colonialism. An image of an ancient Venus floats beside the likenesses of Fidel Castro and the Haitian revolutionary Toussaint Louverture. Other figures arise in the picture plane, some with blonde hair and the word “STOP”

Hervé Télémaque’s L’annonce faite à Marie (1959), on show in Miami, was painted during the Haitian artist’s brief tenure in New York coming from their mouths. For Télémaque, these works represent a juncture in which “his desire to be an abstract painter is interrupted by a need to register the textures and realities of everyday life that are so deeply affecting him”, says Gean Moreno, the exhibition’s curator. “These figurative paintings, full of headless bodies and levitating mouths, savagely address his New York experience, while also opening up to the histories of the African diaspora more generally and to larger geopolitical themes.” Wallace Ludel

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Courtesy of Geoffrey Parton, London and Luhring Augustine, New York. Photo: Mark Dalton

FRANK AUERBACH

Art Basel Miami Beach December 1–3 Booth E11

LUHRING AUGUSTINE

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THEARTNEWSPAPER.COM ART BASEL IN MIAMI BEACH FAIR EDITION 30 NOVEMBER 2022

COLLECTOR’S EYE

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P

lace is a guiding factor for the Miamibased collector Mario Cader-Frech. His Salvadoran origins led him to become a champion of contemporary artists from El Salvador—and an honorary consul for the country in the US—while his time in Miami has nurtured an interest in Latin American art and, more recently, spending time in Madrid has fuelled a curiosity about Spanish art. In addition to collecting, CaderFrech’s commitment to supporting artists from his home country led him to co-found Y.ES Contemporary, a non-profit that supports Salvadoran contemporary artists, and serve as chair emeritus of the contemporary art programme at the Museo de Arte de El Salvador This year, his expertise is informing one of Miami Art Week’s satellite fairs: he is serving alongside other influential figures such as advisor Lisa Schiff, artist Hank Willis Thomas, philanthropist Sarah Arison and ICA Miami director Alex Gartenfeld on the inaugural ambassadors committee of Untitled Art (until 3 December).

THE ART NEWSPAPER: What was the first work you bought?  MARIO CADER-FRECH: A small painting by Keith Haring from a gallery in New York City. Alfredo Henares, a friend and mentor responsible for the art collection at the Inter-American Development Bank, suggested I start my collection with Pop art. Soon after, I met art curator Janet Phelps, then responsible for the art collection at Amfar (the Foundation for Aids Research), who influenced me to evolve my collection to encompass works of art by artists living and/or working in Manhattan.  What was your most recent purchase? Last month, I purchased a work by Angela de la Cruz, one of the most important living artists from Spain, from Galería Memoria in Madrid. The work is one of her iconic monochromatic “folded” paintings in dark purple and blue. I am starting to collect Spanish artists because I now have a place in Madrid—similar to when I started to add works by Latin American artists to my collection when I first moved to Miami. The environment I live in

has always influenced the direction of my collecting.  If your house was on fire, which work would you save? A mummified Barbie by E.V. Day because it succinctly sums up the impact art has had on me.  If money were no object, what would be your dream purchase? The Rubell Collection—including the building. Which work do you regret not buying when you had the chance? Any of Kehinde Wiley’s selfportraits. He was having one of his first solo shows at Conner Contemporary Gallery in Washington, DC in the 1990s.  What is the most surprising place you have displayed a work? I have a tiny graffiti work by assume vivid astro focus on the ceiling of my living room in Spain.  Which artists, dead or alive, would you invite to your dream dinner party? Salvador Dalí. I find Dalí to

“If my house was on fire I would save a mummified Barbie by E.V. Day because it succinctly sums up the impact art has had on me” be one of the most intriguing personalities and artists of all times. He led the Surrealist movement, which fascinates me, both in art and literature. He was friends with a Salvadoran woman, Consuelo de Saint-Exupery, who was married to Antoine de Saint-Exupery—both authors I admire. I would have loved to hear Dalí tell me stories about their lives, as well as stories of his contemporaries in art and literature. What’s the best collecting advice you’ve been given? Back in the early 1990s, the best advice I’ve received was from Amy Cappellazzo: to collect and donate works by artists from El Salvador. This advice, and the

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support of Patricia Phelps de Cisneros, ultimately became Y.ES Contemporary Art—a private foundation creating opportunities for Salvadoran contemporary artists. This year, the foundation is presenting a solo show by Londonbased Salvadoran artist Studio Lenca (Jose Campos) in the special projects section at Untitled Art, where I have the honour to serve as one of the members of the inaugural Ambassadors Committee this year. Have you bought an NFT? I have commissioned five NFTs through Y.ES, including pieces by Beatriz Cortez, Antonio Romero, Orlando Villatoro, Ricardo Flores, Natalia Domínguez and Lucy Tomasino. The works were commissioned in 2020 during lockdown in collaboration with UXart, which has the platform to host augmented reality works and convert them to NFTs. Interview by Benjamin Sutton

MARION CADER-FRECH: CARLOS CADER

Mario Cader-Frech

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