The Institute of Contemporary Art, Miami (ICA Miami) opens to the public on December 3, with two major exhibitions dedicated to the work of contemporary artists Pedro Reyes and Andra Ursuta. On view through March 2015, and curated by Deputy Director and Chief Curator Alex Gartenfeld, the exhibitions reflect ICA Miami's mission of presenting boundary-pushing experimental contemporary art for audiences throughout the Miami region, across the country, and internationally. Located in the Miami Design District's landmark Moore Building, the museum will be free to the public, supporting its goal of expanding educational resources and providing the widest possible access to contemporary art.
In honor of the exhibitions and the inauguration of its new museum galleries, ICA Miami will host an opening celebration on Tuesday, December 2, from 7 to 9pm. Hosted by Interview magazine, and presented by Forevermark, ICA Miami's opening celebration is the official museum kick-off event for Miami Art Week during Art Basel Miami Beach. The event will be open to all ICA members.
Andra Ursuta: As I Lay Dryingpresents new and recent works by the New York-based artist, whose sculpture and installation engages with the psychology of power and modernism and is rooted deeply in personal history. Amidst the gridded architecture of ICA Miami's Atrium Gallery, the artist has created a dramatic site-specific installation, involving platforms that elevate the works above the ground floor, reconfiguring the viewing experience. Among the works on view in ICA Miami's Atrium Gallery are Soft Power1 and 2 (2013), monumental inflatable fists made of patchwork-quilted comforters, whose fabrication and motion reflect upon the complex histories of patriotism and protest. Ursuta's work was recently featured in The Encyclopedic Palace at the 55th Venice Biennale, and in solo exhibitions at Milan's Peep-Hole (2014) and at Los Angeles's Hammer Museum (2014). Andra Ursuta: As I Lay Drying is accompanied by a catalogue published by Walther Koenig in collaboration with ICA Miami and the Kölnischer Kunstverein. The exhibition in Miami is curated by Alex Gartenfeld and organized by ICA Miami in collaboration with the Kölnischer Kunstverein, Germany.
On view concurrently in ICA Miami's second floor galleries is Pedro Reyes's installation Sanatorium, an ongoing performative project that mixes art and psychology. The installation takes the form of a transient clinic, in which receptionists and "therapists" trained by the artist, help visitors with their individual needs. Reyes's therapies leverage a range of methods—from Gestalt psychology, psychodrama, and hypnosis, to theater warm-up exercises, conflict-resolution techniques, and trust-building games. First presented at the Solomon R. Guggenheim Museum in 2011, and radically adapted with each subsequent iteration, Sanatorium at ICA Miami reflects the region's dynamic landscape and community. Trained as an architect, born and based in Mexico, Reyes is known for his structures, relational installations, and his performance and video work, which have been presented internationally including at the Walker Art Center, Documenta, and the Carnegie International, among many others.
About the Institute of Contemporary Art, Miami The Institute of Contemporary Art, Miami (ICA Miami), is dedicated to promoting continuous experimentation in contemporary art, and to the exchange of art and ideas throughout the Miami region and internationally. Through an energetic calendar of exhibitions and programs, and its collections, the ICA Miami provides an important international platform for the work of local, emerging, and under-recognized artists, and advances the public appreciation and understanding of the most innovative art of our time.
Established by the Board of Trustees and former staff from the Museum of Contemporary Art, North Miami, ICA Miami is currently located in the landmark Moore Building, which has been provided rent-free by Miami Design District Associates as the Board continues to plan for the establishment of a new, permanent location. The museum will open to the public with free admission in December.
“Hi, do you know what day it is today?“ “Friday.“ “Yes, Friday, that’s my name. Today is my name.“ A broad grin spread across his face. “Can I take your picture?“ I laughed and was amused that he would want to take my picture. When he showed me the picture I couldn’t really see anything, the mobile phone was small and old and the sun stood low on the horizon. “You like it?” “Yes, I like it.” I wanted to be polite and was rela- tively certain that it would be a good photo. Friday laughed at this loudly . “Look, look. There’s no picture. My phone has no camera!” In the place where only seconds ago I thought I had seen the contours of my face there was nothing but the crude drawing of a stick figure. After that, both of us were laughing.
The point of origin for Max Schaffer’s solo exhibition The Tourists consists of cursory sketches in- tended as drafts for potential paintings. The scanned digital versions of these drafts were sent to vari- ous online photo printing providers and subjected to the algorithmic contingencies of their software. The manual drawings were then destroyed and the resulting canvases sent to the exhibition space via parcel service. They are confronted with sample mattress pieces functioning as displays for Polaroid test images. The photographs originate from a defunct photo studio, whose inventory the artist has bought out. They demonstrate, not unlike the formulaically cropped printed canvasses, cutouts and views of several art works in varying sharpness and tonal values and document the technical approach of the photographer toward the particular reproduced object.
Max Schaffer’s artistic practice is concentrated primarily on questions revolving around appropriation and translation. His exhibition-situations, often incorporating site-specific interventions, objects, drawings and text pieces, generate complex systems of reference between the exhibited work, the method of their production and the specific characteristics of the exhibition space. The reflection of cultural conventions as well as art historical associations is an integral component to the artistic articulation of a vocabulary that is committed to a questioning of image-theory and social and economic frames of reference.
Aanant & Zoo is delighted to welcome Max Schaffer (*1985 in Santiago de Chile) as a new artist in the gallery’s program.
Though it’s tempting to dismiss New-York based artist Gedi Sibony’s new works – rectangles cut from aluminum semi-trailers – as gimmicky abstraction, scrapes, dents and gashes lend each a certain authenticity. Redacted text, as in the covered up letters ‘ALL,’ suggest a hasty attempt at erasing the past. (At Greene Naftali Gallery through Nov 8th).
Gedi Sibony, All, aluminum semi-trailer, 101 ¾ x 104 ¾ inches, 2014.
Full gallery of videos, images, press release and link available after the jump.
Greene Naftali is pleased to present a solo exhibition of new and historical work by Dan Graham. This is the gallery’s first show with the artist and the inaugural exhibition in its ground floor space, which was designed by Rexrode Chirigos Architects.
Design for Showing Rock Videos (2014) is an architecturally scaled optical device made of reflective glass and stainless steel. It contains a selection of rock videos from acts associated with the 1970s and ‘80s counterculture in New York and Europe. Hardcore, post-punk, and No Wave bands like The Fall, Minor Threat, UT, and Theoretical Girls were part of underground music’s turn toward radical experimentation and are crucial for Graham who has written extensively about rock music throughout his career. Videos on view here are Ericka Beckman’s135 Grand Street New York, 1979; Rodney Graham’s Angel in the Morning; The Fall: Perverted by Language; Punk Cocktail; and Minor Threat.
The structure, itself a meeting place for visual and auditory saturation, also creates a series of unexpected optical and physical experiences. The porousness of the piece’s zig-zagging metal form and the semi-reflective surface of the opposing glass curve create a constantly shifting landscape that refracts its changing environment as passersby come and go. This emphasis on the situation of the spectator is central to the artist’s practice. Since the 1980s Graham has created many pavilion designs, some which have never been realized. Among these are two featured here: Graham’s Children’s Pavilion, a playful schematic that takes the dynamic between children and adults as its primary subject; and the Liza Bruce Boutique Design, an unrealized project whose aim was to heighten the bodily experience of shop goers through shape shifting mirrors and foam flooring.
Proceeding from the legacies of Minimalism and Pop Graham’s investigations have drawn on the fields of architecture, rock music, film, photography, and performance—engaged always with the psychological life of objects, and the reciprocal relationship between subject and viewer, interiority and exteriority. Also on view is a group of key Dan Graham publications, architectural models, and a selection of photographs, drawings, and other works from 1966 onwards.