Art Basel Miami Beach 2017 March 20 2018

In it's 16th edition, Art Basel Miami Beach concluded it's show with 'strong sales and praise for the new floor plan and show design' according to the show's press release. This year there were 268 galleries from 32 countries who presented works ranging from Modern masterpieces to contemporary painting, sculpture, performance, photography, works on paper and film – some of which were created specifically for the fair. Attendance was robust, over 82,000 across the five days of the show.

The layout of the show had to be re-designed due to renovations on the venue (Miami Beach Convention Center). As a result the aisles were wider, there was a broader range of booth sizes and larger lounge areas.

Satellite fairs numerous and varies (over 20)! The good news is also that the Bass museum re-opened after being closed for renovations for 2 years. And The Institute of Contemporary Art, Miami opened the doors of it's new building, solidifying Miami as culture destination.

By: Carmen Ferreira & Kanae Maeda | Photos: Esteban Terenzio

Main Show, Art Basel Miami Beach, at the Convention Center

Mimetica, by Elisabetta Benassi at Magazzino (Italy)
A large-scale sculpture realized using an artificial palm tree, like those commonly employed to camouflage mobile phone masts with urban and natural landscapes.



 Untitled, by Warlimpirmga Tjapaltjarri, at Salon 94 (USA)



Metachrome, (Cut-outs, after Henri Matisse), by Vik Muniz at Sikkema Jenkins (USA)



100 Cubes, by Sol Lewitt

Words Mean Nothing at All, by Yoshitomo Nara at Pace Prints (USA)



Blood and Oil Mandala
, by Shepard Fairey at Pace Prints (USA)

The Way to Success, by Anne Auerbach, at Gavlak


Floorplan Desire Painting (Swim of Sculpture)
, by David Renggli at Wentrup (Germany) 



Untitled, by Damian Ortega at Kurimanzutto (Mexico)

 My Room is Another Fish Bowl, by Philippe Parreno at Pilar Corrias


Untitled, by Cícero Dias at Simões de Assis (Brazil)


Composition
, by Cícero Dias at Simões de Assis (Brazil)


Artist Talk: Charles Gaines, Artist, Los Angeles in conversation with Bryan Stevenson, Executive Director, Equal Justice Initiative, Montgomery, moderated by Nalma Keith, Deputy Director, Exhibitions and Programs, California African American Museum, Los Angeles.
Since the 1970's, conceptual artist Charles Gaines has used philosophy, abstraction, and mathematics to address politics and race. Through music and his use of systems, grids, photography, and perceptual experiences, his work addresses 'self-examination of our beliefs and ideologies.' He has a site-specific commission at the ICA Miami.


Art in Public Spaces

Naval of the World, by Daniel Knorr. The Navel of the World is a popular term for the center of the earth. In many cultures, this point is set at the intersection of mystical coordinates. The act of piercing also has a complex history and appeared as early as 7000 B.C. It was used to distinguish between cultural backgrounds or class status. Piercing 'the most important point of the world' is an act of humanizing the earth, shifting its meaning to the level of contemporary body consciousness.

Restructuration Spatiale nº 15, by Noël Dolla, proposes a shared experience, inside the space defined by the artist. The work can be seen as a continuation of Rêve Éveillé (Daydream), a dialogue that began in the enchanting enclosed gardens of the Petit Palais in Paris in 2016.

Domestic Violence: Matriz Nula, by Manuela Viera Gallo fragmented and broken ceramic dishes are lashed together to create an overload sequence or ornaments. The objects look dangerous: sharp, pointed, and capable of harm. Yet they hang inert – as implicit proof, rather, of violent action. They allude to the abuse of women and the comfortably concealed tragedy of domestic violence.

Reflextions on the Horizon, by Frida Baranek proposes an experience of the landscape rooted in the trans-objects legacy of Mario Pedrosa alongside Wittgenstein's conception of knowledge as thread. By observing the horizon, the artist became interested in it's vast intangibility and its timelessness. The line of the horizon consists of movement: it connects and disconnects, it exists and it doesn't exist.

 

Design Miami

Illustrations by Leanne Shapton greeted the visitor at Design Miami's location. The Canadian artist has created an 'alphabet' of iconic designs: from A to Z, each letter represents the title of a pattern, style or printmaker.
West 8 Urban Design & Landscape Architecture created this calm and cooling park by installing trees and benches. This location will be transformed by into a public park, designed by this same landscape architects, and this project serves as a teaser for the exciting changes to come.

 

Designed by Selldorf Architects and set to open 2018, Zambia's Mwabwindo School is the recipient of the 2017 Panerai Design Miami/ Visionary Award. As part of the prize, Design Miami has commissioned Swiss firm Christ & Gantenbein to create children's furniture, prototypes of which were revealed at the fair and which will serve primary school students in rural southern Zambia.

 

Multimo, by Pierre Paulin sofa, at Demisch Danant. These were originally conceived for public spaces in 1969. More than twenty models were designed, including armchairs, easy chairs, and sofas that curve softly in space (below). Artiforti produced a small number of models for a short period of time for public distribution however, because of the low quantity, the series is not very well known and few examples survive.



Arcadia
by Beth Katleman at Todd Merril Studio - "Porcelain suggests luxury, refinement and royal provenance. While one flea market treasure seems a little sad, a florid profusion of them is cause for celebration" says the artist.



Works by Le Corbusier, Pierre Jeanneret, Charlotte Perriand, and Jean Prové at Galerie Patrick Seguin.

 

Welcome Collection by Chiara Andreatti at Fendi, which has an eclectic flurry of styles like the Japanese-inspired pendant lamps and ceramics.

Ronan and Erwan Bouroullec unveiled a permanent addition to Miami's Design District with Nuage, a steel colored glass pergola. Shaped like clouds, the structure provides shade from the tropical sun while creating geometric shadows on the sidewalk. Nuage also creates a dialogue with the surrounding plant life, which will eventually meander up its legs and change its appearance.

 Here the scaled model shown at Design Miami.

 


Fair.

Fair was created and conceived by Zoe Lukov and Anthony Spinello and produced by Spinello Projects, "as an alternative non-commercial art fair; a platform for a diverse and multigenerational group of women artists, it seeks to address gender inequality in the art world and beyond by providing space for radical women artists to create site-specific interventions in a non-traditional venue" as they explain!
The organizers describe Fair.'s three organizing principles as "fair market, fair play and fair trade."
There was no charge to attend and nothing was for sale! So refreshing!


The Bass Museum

After 2 years of renovations the Bass Museum opened this Winter in time for Miami Art Week.

Vocabulary of Solitude, by Ugo Rondinone. The artist made a list of things he does when he is by himself and came up with 45 actions in a 24-hour loop – sleep, wake, stand, walk, shower.

Clockwork for Oracles, by Ugo Rondinone which consists of 52 windows in different sizes on four walls. Instead of having glass windows, there are mirrors in different colors – 52 different colors of the rainbow's spectrum.There's a wall of whitewashed newspapers, which is always the daily newspaper of the region. In this case it's the Miami Herald.

 

ICA MIAMI

The ICA unveiled its new home a week before Miami Art Week. Built by the prestigious Spanish architectural firm Aranguren + Gallegos Arquitectos, the new building was designed to reflect its 'commitment to the contemporary and to serving and engaging with it's community', as well as provide a platform for the exchange of art and ideas, they explain.


A constellation of metal triangles and glass panels, the structure is light and inviting. A generous soggy leads to a sculpture garden at the back, as well as up to the first floor galleries. The shows are spread across three levels, in rooms flexible enough to accommodate different types of exhibits. A glazed wall is strategically placed to bring into the halls plenty of natural northern light. Further space is dedicated to educational and community programming.


It's first show at the new location, The Everywhere Studio, confirms the dedication this institution has had to promoting experimentation in contemporary art. This major group exhibitions brings together more than fifty artists to examine the significance of the artists' studio from the postwar period to the present. Encompassing painting, sculpture, video, and installation works, the exhibition probes art's potential to impact the world at large, while addressing the studio's powerful relationship to economic and technological forces. The studio has long been bound with the artist's identity, often affirming the myth of the isolated genius, but the last half century has seen radical shifts in how we work that have profoundly changed the studio's function. This change in perspective began in the 1960's, a time of great social upheaval and of a sudden rise in the prevalence of mass media. This exhibition explores the feedback loops between the artist's site of production and the restlessly changing world outside and on screen.

Anthropometries by Yves Klein at The Everywhere Studio



Bólides by Helio Oiticica at The Everywhere Studio