Art Public 2012
Art Public Opening Night | Wednesday, December 5 | 8.30pm – 10pm
Art Public presents outdoor sculptures, interactive performances, site specific installations, and public artworks within an open and public exhibition format, curated by Christine Y. Kim, Associate Curator of Contemporary Art at LACMA (The Los Angeles County Museum of Ar t) and Co-Founder of LAND (Los Angeles Nomadic Division).
Art Public Opening Night features special performances by Jason and Alicia Hall Moran, My Barbarian and Alex Israel. Free public access. Bar and local food trucks onsite.
Curatorial Statement | The 2012 edition of Art Public marks my second year
Daily | Thursday – Sunday | 11.45am Dave McKenzie | Perf ormance in the sky over Collins Park
8.30pm | Jason and Alicia Hall Moran | AiR, 2012 9.00pm | My Barbarian | Broke People’s Baroque Peoples’ Theater, 9.30pm | Alex Israel | Miami, 2012
of collaboration with Art Basel in Miami Beach and the Bass Museum. The site-specific projects and outdoor works in sculpture, installation, video and perfor mance span from the 1938 keystone façade of the Bass Museum in Miami Beach to Collins Avenue. Last year’s installation exposed a concentration of critical and demonstrative gestures evoked perhaps most memorably by Andrea Bowers’s and Olga Koumoundouros’s Transformer Display of Community Information and Activation (2011), Bruce Conner’s LOOKING FOR MUSHROOMS (1959 – 65), Theaster Gates’s Stand-Ins for a Period of Wreckage (2011) and Glenn Kaino’s Levitating the Fair (2011). They reflected ideas surrounding collective effor ts and belief systems rooted in the Occupy moment and spirit, while this year’s Art Public is more nuanced in its separation of parts as opposed to collaborative considerations of systems.
2010 –2012
General Information Opening Hours | Art Public is open to the public all day fr om Dec 6 to Dec 9.
Free public access Art Public Guided Tours | The Bass Museum of Art offers private and school
groups tours of Ar t Public combined with a visit of their current exhibition: ‘The Endless Renaissance – Six Solo Artist Projects: Eija-Liisa Ahtila, Barr y X Ball, Walead Beshty, Hans-Peter Feldmann, Ged Quinn, Araya Rasdjarmrearnsook’ Guided Tours | Wednesday Dec 5 to Sunday Dec 9 School groups | Wednesday Dec 5 to Friday Dec 7 Tours must be booked in advance |
[email protected]
Art P ublic 2012 recalls Barthes’s distinction between ’speech’ (parole) and ’language’ (langue). Taking on the notion of speech as an essentially ’individual act of selection and actualization,’ and as a ’combinative activity that corresponds to an individual act and not to a pure creation,’ the selection of works reflect altered content within language: the less malleable counterpart from which it emerges but with which it co-exists in reciprocal comprehensiveness. In other words, the works of ar t take cues and apply or imply meanings that derive from a common tongue, but they reorder and reintroduce curious utterances and phrases that connect to references outside of, but inevitably intertwined with, a specific lineage of modern and contemporary art. In essence, the speech acts represented by these disparate and variable works spring from, enable, converse with, and challenge systems or discourses such as: modern art and architecture; urban myth, monument and archive; and the language of banners, flags and signage, among others. Many of these works are unexpected in scale and delivery but grounded in their connection to – and the dialectics of – language and speech, interdependent, where ’real linguistic praxis is situated,’ according to Merleau-Ponty. Instead of the effort to ’weave more texture and openness into more conventional approaches to what is perceived as public art,’ as I wrote about Art P ublic 2011, Art Public 2012 understands and underscores langue and takes on parole through images, manipulations, forms and phrases.
Walk-In Tours | Thursday Dec 6 to Sunday Dec 9 at
10.30am, 11.30am and 12.30am Free with museum admission: no reservations Duration | 45min Price | US $8 for adults, $6 for students. Groups of 15 or more US $5 for adults, $4 for students Tours start at the Bass Museum of Ar t. Further information is available | MBCC, Info Zones B + D,
Art Public Information Center and at the Bass Museum of Art. Information Center | Corner of Collins Avenue and 21st Street
Open daily 11am to 7pm. Collins Park Café | by Atelier Monnier
Enjoy a coffee with French pastries and sandwiches. Collins Park, between 21st and 22nd Street Open daily from 11am to 5pm.
Jason and Alicia Hall Moran’s perfor mance inside José Davila’s Untitled (The Space Beneath Us) (2012), for example, situates poolside serenading, the rhetoric of leisure and aspects of film noir within the planar architecture of Davila’s reconsideration of landscape, modernism, color and abstraction. Teresa Margolles engraved concrete benches, inscribed with a narrative fragment of their material origins, and Miguel Andrade Valdez’s Monumento Lima, projecting documents of monuments of various types and conditions, consider the language of outdoor fur niture and public monuments, and question their purpose and relationships to the viewer. Lastly, the function of messaging, signs and signage, in the forms of billboards, banners and flags, is reinterpreted throughout Collins Park by Dave McKenzie, Adam Pendleton, Ry Rocklen a nd Gar y Simmons in text and in graphic languages. These examples and many others that make up this installation will be on view throughout the weekend.
Art P ublic is ADA accessible.
Physically more concentrated on the site, but dialectically more divergent, Art P ublic 2012 attempts to introduce elusive nuances and unexpected gestures to Miami Beach as part of Ar t Basel Miami Beach through twentytwo works of art.
W South Beach
22 Street
14 18
14 Oceanfront
16 19 8 e u n e v A k r a P
17 Collins Park
Bass Museum of Art
5
A B C
4
12
10
15 11
'Güiro' by Los Carpinteros and ABSOLUT
18
6
11
1
Oceanfront 3
7 2
r e t n e C h c n a o e i t B i n e v m a n i o M C
21 Street e u n e v A y t r e b i L
Art Public | Artists | 1 | 2| 3| 4| 5| 6| 7| 8| 9|
Pierre Ardouvin Alice Aycock Lourival Cuquinha José Davila Mark Hagen David Keating Juliana Cerqueira Leite Teresa Margolles Dave McKenzie | Thursday – Sunday | 11.45am Performance in the sky over Collins Park 10 | Raul Mourão 11 | Iván Navarro and Courtney Smith 12 | Ruben Ochoa 13 | | Adam Pendleton 14 | Jaume Plensa 15 | Randy Polumbo 16 | Ry Rocklen 17 | Ugo Rondinone 18 | Gary Simmons 19 | Miguel Andrade Valdez
Performances | Wednesday | December 5 A | Jason and Alicia Hall Moran | 8.30pm B | My Barbarian | 9pm C | Alex Israel | 9.30pm
e u n e v A s n i l l o C
k l a w h c a e B
W South Beach
22 Street
14 18
14 Oceanfront
16 19 8 e u n e v A k r a P
17 Collins Park
Bass Museum of Art
5
A B C
4
12
10
15 11
'Güiro' by Los Carpinteros and ABSOLUT
18
6
11
1
Oceanfront 3
7 2
r e t n e C h c n a o e i t B i n e v m a n i o M C
21 Street e u n e v A y t r e b i L
e u n e v A s n i l l o C
k l a w h c a e B
Art Public | Artists | 1 | 2| 3| 4| 5| 6| 7| 8| 9|
Pierre Ardouvin Alice Aycock Lourival Cuquinha José Davila Mark Hagen David Keating Juliana Cerqueira Leite Teresa Margolles Dave McKenzie | Thursday – Sunday | 11.45am Performance in the sky over Collins Park 10 | Raul Mourão 11 | Iván Navarro and Courtney Smith 12 | Ruben Ochoa 13 | | Adam Pendleton 14 | Jaume Plensa 15 | Randy Polumbo 16 | Ry Rocklen 17 | Ugo Rondinone 18 | Gary Simmons 19 | Miguel Andrade Valdez
Performances | Wednesday | December 5 A | Jason and Alicia Hall Moran | 8.30pm B | My Barbarian | 9pm C | Alex Israel | 9.30pm
1 | Pierre Ardouvin | *1955 in Crest, France | Lives and works in Paris Bonhomme de neige, 2007 Valentin | N38
Pierre Ardouvin’s work is often presented as a journey into the hazardous byways of consciousness. His installations, sculptures, photographs and drawings are irrigated by memories and humor, both personal and collective. The works question the fetishism of consumer goods and excess, using humor, irony and cliché. Although the scenes or objects that make up his work are r esolutely familiar, they become distorted to the senses. Here, the figure of the snowman ser ves as a symbol of the disappearance of childhood and other utopias, creating a link between social space and naiveté. This presentation in Art Public embraces the absurdity furthered by its beachfront site.
Resin, 160 x 167 x 177 cm Courtesy of the artist and Valentin Photo by Benoit Cattiaux
2 | Alice Aycock | *1946 in Harrisburg, USA |
Lives and works in New York
3 | Lourival Cuquinha | *1975 in Olinda, Brazil | Lives and works between
Olinda, Sao Paulo and London Varal, 2012 A Gentil Carioca | J12
Stretching across an arc of political inflection and poetic gesture, Lourival Cuquinha’s work emerges as a site of challenge that invites the viewer to question the position of ar t in the negotiations around freedom. The ar tist explains: ’The idea of hanging clothes in huge shafts, both inside cities and outside them, occurred to me after observing a habit of the people who live in the Santo Amaro community (favela) in Recife, in the nor theast of Brazil. A varal or clothes line is a natural urban intervention for those people who don’t have enough space to dr y their clothes. They modify the landscape for a very functional reason. Re-using this action and giving it gigantic dimensions is the main idea of the work. This increased my interest in social habits and their representations. I collect the clothes locally, asking for donations. The donors become the authors of the piece, and their clothes carr y their customs and memories. The work represents a micro-social geographic empowerment of the favela’s residents, who turned the public space into something useful, without aesthetic intentions. They created their own means of access to what the Brazilian government doesn’t provide. Varal is a metaphor for this social situation.’
Varal Variable dimensions Porquerolles Island, Toulon, France, 2005
4 | José Davila | *1974 in Guadalajara, Mexico |
Lives and works in Guadalajara
Twin Vortexes, 2012 Galerie Thomas Schulte | C18 | Fredric Snitzer Gallery | B16
Untitled (The Space Beneath Us), 2012 Galería OMR B19 | Travesía Cuatro | N22
Twin Vortexes is the first of six large sculptures by Alice Aycock to be
Untitled (The Space Beneath Us) represents a spatial and architectural
realized for her project ’Park Avenue Paper Chase,’ which will open in spring 2014 on Park Avenue, New York, in six locations between 52nd and 57th Street. The presentation at Ar t Public is the world premier of a full scale work from this series. In her own words the artist describes the project as follows: ’Much of my work in both the public and private spheres has been a meditation on the philosophical ramifications of technology from the simplest tool (the arrowhead and the plow) to the computer. Many of these works have incorporated images of wheels and turbines and references to energy in the form of spirals, whirlwinds, whirlpools, spinning tops, whirly-gigs, and so on. For the ’Park Avenue Paper Chase’ project I tried to visualize the movement of wind energy as it flowed up and down the Avenue creating random whirlpools, touching down here and there and sometimes forming dynamic three-dimensional massing of forms. The sculptural assemblages suggest waves, wind turbulence, turbines, and vortexes of ener gy (…). Much of the energy of the city is invisible. It is the energy of thought and ideas colliding and being transmitted outward. The works are the metaphorical visual residue of the energy of New York City.’
reinterpretation of the ’Homage to the Square’ series of paintings by Joseph Albers. Davila inserts three-dimensional planes into the landscape, thereby subverting painting into sculpture, and observation into activity. The flooring is composed of traditional handmade Mexican Tlaquepaque ceramic tiles, which relates to the various materials – glass, vinyl, metal -- that Davila has implemented in other re-appropriations of Albers’ color schematics, in cases situating his practice under the term of ’Neo-povera.’ Davila has used elemental forms and materials to refer to the works of artists and architects throughout the history of art. Albers’ study of space, color, repetition and purity of form, through mathematically precise representations, have challenged and engaged Davila's practice whose reinterpretation in the form o f handmade and imperfect ceramics, breaking from Albers original precision and leaving certain formal aspects to uncertainty (the kiln deforms the square and manipulates the color of the ceramic pieces), reflect the character of conceptual art and its statement that it is the content and not the form.
Twin Vortexes, 2012 Painted aluminum Approx. 9 ½ x 12 x 18 feet Aluminum for this project generously provided by ALCOA.
Handmade ceramic 10 x 10 x 1 m Courtesy of the artist
1 | Pierre Ardouvin | *1955 in Crest, France | Lives and works in Paris Bonhomme de neige, 2007 Valentin | N38
Pierre Ardouvin’s work is often presented as a journey into the hazardous byways of consciousness. His installations, sculptures, photographs and drawings are irrigated by memories and humor, both personal and collective. The works question the fetishism of consumer goods and excess, using humor, irony and cliché. Although the scenes or objects that make up his work are r esolutely familiar, they become distorted to the senses. Here, the figure of the snowman ser ves as a symbol of the disappearance of childhood and other utopias, creating a link between social space and naiveté. This presentation in Art Public embraces the absurdity furthered by its beachfront site.
3 | Lourival Cuquinha | *1975 in Olinda, Brazil | Lives and works between
Olinda, Sao Paulo and London Varal, 2012 A Gentil Carioca | J12
Stretching across an arc of political inflection and poetic gesture, Lourival Cuquinha’s work emerges as a site of challenge that invites the viewer to question the position of ar t in the negotiations around freedom. The ar tist explains: ’The idea of hanging clothes in huge shafts, both inside cities and outside them, occurred to me after observing a habit of the people who live in the Santo Amaro community (favela) in Recife, in the nor theast of Brazil. A varal or clothes line is a natural urban intervention for those people who don’t have enough space to dr y their clothes. They modify the landscape for a very functional reason. Re-using this action and giving it gigantic dimensions is the main idea of the work. This increased my interest in social habits and their representations. I collect the clothes locally, asking for donations. The donors become the authors of the piece, and their clothes carr y their customs and memories. The work represents a micro-social geographic empowerment of the favela’s residents, who turned the public space into something useful, without aesthetic intentions. They created their own means of access to what the Brazilian government doesn’t provide. Varal is a metaphor for this social situation.’
Resin, 160 x 167 x 177 cm Courtesy of the artist and Valentin Photo by Benoit Cattiaux
2 | Alice Aycock | *1946 in Harrisburg, USA |
Varal Variable dimensions Porquerolles Island, Toulon, France, 2005
4 | José Davila | *1974 in Guadalajara, Mexico |
Lives and works in New York
Lives and works in Guadalajara
Twin Vortexes, 2012 Galerie Thomas Schulte | C18 | Fredric Snitzer Gallery | B16
Untitled (The Space Beneath Us), 2012 Galería OMR B19 | Travesía Cuatro | N22
Twin Vortexes is the first of six large sculptures by Alice Aycock to be
Untitled (The Space Beneath Us) represents a spatial and architectural
realized for her project ’Park Avenue Paper Chase,’ which will open in spring 2014 on Park Avenue, New York, in six locations between 52nd and 57th Street. The presentation at Ar t Public is the world premier of a full scale work from this series. In her own words the artist describes the project as follows: ’Much of my work in both the public and private spheres has been a meditation on the philosophical ramifications of technology from the simplest tool (the arrowhead and the plow) to the computer. Many of these works have incorporated images of wheels and turbines and references to energy in the form of spirals, whirlwinds, whirlpools, spinning tops, whirly-gigs, and so on. For the ’Park Avenue Paper Chase’ project I tried to visualize the movement of wind energy as it flowed up and down the Avenue creating random whirlpools, touching down here and there and sometimes forming dynamic three-dimensional massing of forms. The sculptural assemblages suggest waves, wind turbulence, turbines, and vortexes of ener gy (…). Much of the energy of the city is invisible. It is the energy of thought and ideas colliding and being transmitted outward. The works are the metaphorical visual residue of the energy of New York City.’
reinterpretation of the ’Homage to the Square’ series of paintings by Joseph Albers. Davila inserts three-dimensional planes into the landscape, thereby subverting painting into sculpture, and observation into activity. The flooring is composed of traditional handmade Mexican Tlaquepaque ceramic tiles, which relates to the various materials – glass, vinyl, metal -- that Davila has implemented in other re-appropriations of Albers’ color schematics, in cases situating his practice under the term of ’Neo-povera.’ Davila has used elemental forms and materials to refer to the works of artists and architects throughout the history of art. Albers’ study of space, color, repetition and purity of form, through mathematically precise representations, have challenged and engaged Davila's practice whose reinterpretation in the form o f handmade and imperfect ceramics, breaking from Albers original precision and leaving certain formal aspects to uncertainty (the kiln deforms the square and manipulates the color of the ceramic pieces), reflect the character of conceptual art and its statement that it is the content and not the form.
Twin Vortexes, 2012 Painted aluminum Approx. 9 ½ x 12 x 18 feet Aluminum for this project generously provided by ALCOA.
5 | Mark Hagen | *1972 in Black Swamp, VA, USA |
Lives and works in Los Angeles To be Titled (Additive Sculpture, Miami Screen), Almine Rech Gallery | C12
Handmade ceramic 10 x 10 x 1 m Courtesy of the artist
7 | Juliana Cerqueira Leite | *1981 in Chicago, USA |
Lives and works in New York 2012
This sculpture is constructed out of cast cement units in various geometric shapes, with textures from found consumer packaging, recycled cardboard, packing tape and molds that Mark Hagen made from 47-year-old graffiti from a cement and coral stone wall at the edge of the Bass Museum property. Although the vertical stacking in this sculpture suggests temporal layering, or possibly even a qualitative hierarchy, its modularity and reconfigurable nature contradict this interpretation and create a sculpture that is unfixed, nomadic, and yet a permanent record. ’This piece,’ explains Hagen, ’like much of my work, finds inspiration in the breakdown and complication of hierarchies, histor y, and vision. My work has been described as ’disorienting as it is ordered’ and ’synthesizing the often-contradictory movements of process art, finish fetish, minimalism, modernist architecture, craft, and DIY construction.’ Modularity and the reconfigurable as seen in this sculpture are among my means but also my subjects. Both have a relationship to time, in that they imply the incomplete, the continuous or the cyclic, in opposition to the finished, the completed or linear work.’
Climb, 2012 Casa Triângulo | E12
Juliana Cerqueira Leite makes use of traditional sculptural processes and materials while breaking away from the historical visual syntax of figurative representation. Producing objects through physically demanding activities such as digging, rolling, climbing and falling in order to resolve sculptural concerns, her practice unites performance and sculpture. Climb is a new sculpture from a NYFA- and NYSCA-sponsored residency at Sculpture Space, Utica, New York. The sculpture is the direct cast of a hole excavated inside a similarly-propor tioned column of clay. Cerqueira Leite dug upwards through the center of the material, climbing vertically through the clay to the top of the column. The walls of the hollow space became a temporary and unique climbing wall. The surf ace of the sculpture is marked with direct impressions of knees, elbows, feet and hands. The cast makes visible the traces of the combined actions that led to its production. The work, like a long-exposure photograph, is at once the document of a performance and a direct cast of the space occupied by the body in motion.
Cement and stainless steel 108 inches x variable dimensions Courtesy of the artist and Almine Rech Gallery
6 | David Keating | *1977 in Melbourne, Australia |
Forton modied gypsum, polyurethane rigid foam, steel 150 x 28 inches
8 | Teresa Margolles | *1963 in Culiacán, Mexico |
Lives and works in Berlin
Lives and works in Mexico City
Riser, 2012 RaebervonStenglin | P6
Untitled, 2010 LABOR | P13
David Keating’s work sets up a number of tests, as he puts it, of ’degrees of interdependence.’ His sculptures explore connections between material and form, inter fering with the natural behavior of materials. Rooted in an artistic linage encompassing the economy of minimalism, the chance operations of process art and organic abstraction, his works often involve recognizable, prosaic materials. In his recent works, gravity, tension and chance are integral to the composition. These become assertive combined elements, which also carr y the latent threat that the artistic gesture could become undone. In these pieces, Keating seems to be acknowledging the physical and contextual fragility of an ar twork, as well as questioning its cultural framing, the spaces in which it is displayed and its relationship to our bodies. Ar t Public features a work that combines a steel frame reminiscent of a vitrine or fragment of architecture holding a tangled rope that is frozen in paint. Concerned with the relationship between the formal support str ucture and chance, the work references the proximity of the ocean and shore to the venue, and investigates the relationship between order and anarchy, the built and the uncontainable, and the controlled mark of man in the formalization of nature as it is found in a park.
Six custom-made concrete benches by Teresa Margolles will be presented in Ar t Public. They were originally commissioned by and exhibited near the North Piazza of the BP Grand Entrance at LACMA for LAND's exhibition VIA/Stage 2. Made of cement mixed with liquid that had been used to wash corpses in an autopsy room in Mexico, they invoke four gruesome fatalities, all resulting from drug- and gang-related violence. These functional benches, intended for use by visitors, take the form of an abstracted human body lying prone on the ground. Margolles – who trained as an ar tist and a forensic scientist – has used this format previously, presenting a set of six benches at Jardin Botánico de Culiacán in her home town of Culiacán, Mexico. The benches are intended as monuments to the dead, through which spectators might find pea ce in the tragedies. The elegant, minimal aesthetic of the works, their placement in a beautiful outdoor space, and their value as a place of rest and contemplation for a passing viewer, all suggest the possibility that brutality and poetry may coexist.
Steel, rope and paint 126 x 187 x 135½ inches View of the model Courtesy of RaebervonStenglin
Six cement benches cast with water used in the washing of bodies of murdered people in the Guadalajara morgue. 20½ x 78¾ x 31½ inches
5 | Mark Hagen | *1972 in Black Swamp, VA, USA |
Lives and works in Los Angeles To be Titled (Additive Sculpture, Miami Screen), Almine Rech Gallery | C12
7 | Juliana Cerqueira Leite | *1981 in Chicago, USA |
Lives and works in New York 2012
This sculpture is constructed out of cast cement units in various geometric shapes, with textures from found consumer packaging, recycled cardboard, packing tape and molds that Mark Hagen made from 47-year-old graffiti from a cement and coral stone wall at the edge of the Bass Museum property. Although the vertical stacking in this sculpture suggests temporal layering, or possibly even a qualitative hierarchy, its modularity and reconfigurable nature contradict this interpretation and create a sculpture that is unfixed, nomadic, and yet a permanent record. ’This piece,’ explains Hagen, ’like much of my work, finds inspiration in the breakdown and complication of hierarchies, histor y, and vision. My work has been described as ’disorienting as it is ordered’ and ’synthesizing the often-contradictory movements of process art, finish fetish, minimalism, modernist architecture, craft, and DIY construction.’ Modularity and the reconfigurable as seen in this sculpture are among my means but also my subjects. Both have a relationship to time, in that they imply the incomplete, the continuous or the cyclic, in opposition to the finished, the completed or linear work.’
Climb, 2012 Casa Triângulo | E12
Juliana Cerqueira Leite makes use of traditional sculptural processes and materials while breaking away from the historical visual syntax of figurative representation. Producing objects through physically demanding activities such as digging, rolling, climbing and falling in order to resolve sculptural concerns, her practice unites performance and sculpture. Climb is a new sculpture from a NYFA- and NYSCA-sponsored residency at Sculpture Space, Utica, New York. The sculpture is the direct cast of a hole excavated inside a similarly-propor tioned column of clay. Cerqueira Leite dug upwards through the center of the material, climbing vertically through the clay to the top of the column. The walls of the hollow space became a temporary and unique climbing wall. The surf ace of the sculpture is marked with direct impressions of knees, elbows, feet and hands. The cast makes visible the traces of the combined actions that led to its production. The work, like a long-exposure photograph, is at once the document of a performance and a direct cast of the space occupied by the body in motion.
Cement and stainless steel 108 inches x variable dimensions Courtesy of the artist and Almine Rech Gallery
6 | David Keating | *1977 in Melbourne, Australia |
Forton modied gypsum, polyurethane rigid foam, steel 150 x 28 inches
8 | Teresa Margolles | *1963 in Culiacán, Mexico |
Lives and works in Berlin
Lives and works in Mexico City
Riser, 2012 RaebervonStenglin | P6
Untitled, 2010 LABOR | P13
David Keating’s work sets up a number of tests, as he puts it, of ’degrees of interdependence.’ His sculptures explore connections between material and form, inter fering with the natural behavior of materials. Rooted in an artistic linage encompassing the economy of minimalism, the chance operations of process art and organic abstraction, his works often involve recognizable, prosaic materials. In his recent works, gravity, tension and chance are integral to the composition. These become assertive combined elements, which also carr y the latent threat that the artistic gesture could become undone. In these pieces, Keating seems to be acknowledging the physical and contextual fragility of an ar twork, as well as questioning its cultural framing, the spaces in which it is displayed and its relationship to our bodies. Ar t Public features a work that combines a steel frame reminiscent of a vitrine or fragment of architecture holding a tangled rope that is frozen in paint. Concerned with the relationship between the formal support str ucture and chance, the work references the proximity of the ocean and shore to the venue, and investigates the relationship between order and anarchy, the built and the uncontainable, and the controlled mark of man in the formalization of nature as it is found in a park.
Six custom-made concrete benches by Teresa Margolles will be presented in Ar t Public. They were originally commissioned by and exhibited near the North Piazza of the BP Grand Entrance at LACMA for LAND's exhibition VIA/Stage 2. Made of cement mixed with liquid that had been used to wash corpses in an autopsy room in Mexico, they invoke four gruesome fatalities, all resulting from drug- and gang-related violence. These functional benches, intended for use by visitors, take the form of an abstracted human body lying prone on the ground. Margolles – who trained as an ar tist and a forensic scientist – has used this format previously, presenting a set of six benches at Jardin Botánico de Culiacán in her home town of Culiacán, Mexico. The benches are intended as monuments to the dead, through which spectators might find pea ce in the tragedies. The elegant, minimal aesthetic of the works, their placement in a beautiful outdoor space, and their value as a place of rest and contemplation for a passing viewer, all suggest the possibility that brutality and poetry may coexist.
Steel, rope and paint 126 x 187 x 135½ inches View of the model Courtesy of RaebervonStenglin
9 | Dave McKenzie | *1977 in Kingston, Jamaica |
Lives and works in Brooklyn, New York Declaration, 2012 Susanne Vielmetter Los Angeles Projects | C22
At the core of Dave McKenzie’s work is an interest in exploring the complex and oftentimes complicated connections between public space and the private self. His diverse practice seeks engagement in the form of a poetic quest for the types of interactions that lay bare the complications of social rules and obligations with which we navigate personal relationships. For his new work Declaration, McKenzie will hire an airplane banner ser vice to f ly over Collins Park each day of Art Basel Miami Beach. On the first day the banner will read, ’Logan, Will You Marry Me? xox Morgan. ’ For each subsequent day of the fair, McKenzie will replace the names on the banner with two new gender-neutral names, while keeping the same proposal of marriage. The unisex names shift gender to the imaginary while allowing the general public to par ticipate in a common spectacle: a private love affair made public through the ostentatious announcement of intentions. Through this perfor mance, McKenzie points out the social acceptability of certain private lives and desires to enter into the public sphere while others are denied entry. McKenzie’s performance effectively transforms the questions of ’Will you marry me?’ into ’Can you marry me?’
Courtesy of Susanne Vielmetter Los Angeles Projects
10 | Raul Mourão | *1967 in Rio de Janeiro, Brasil |
Six cement benches cast with water used in the washing of bodies of murdered people in the Guadalajara morgue. 20½ x 78¾ x 31½ inches
11 | Iván Navarro | *1972 in Santiago, Chile | Lives and works in New York Courtney Smith | *1966 in Paris, France | Lives and works in New York Street Lamp, 2012 Paul Kasmin Gallery | A7
Iván Navarro and Cour tney Smith have collaborated on videos, audio tracks and sculptures. Smith is known for her furniture-based sculpture and investigations into the physical and psychological construction of interior spaces through the deconstruction of the elements that inhabit them. Navarro is widely recognized for his innovative use of light, addressing the complex implications of the transformation and transference of electrical ener gy. Mixing two materially-contrasting elements, one solid and dense (cast ir on) and the other extremely light and fragile (neon tubes), these objects of familiar forms of outdoor furniture infiltrate the urban landscape. Just as an automatic association occurs between the form and the context – the park bench – there is also a simultaneous dissociation between the form and the material. Each element usurps the other’s function, so that as the light mimics the bench, the bench itself becomes a light. The result is a confrontation between the object and the public, as these chairs and benches are presented but unusable.
Neon, metal and electric energy 45 x 44½ x 31½ inches
12 | Ruben Ochoa | *1974 in Oceanside, CA |
Lives and works in Rio de Janeiro Balanço Maré I (Para Bela e Lia), 2011 Galeria Nara Roesler | N19
Lock, Stock, Barrel, 2012 Susanne Vielmetter Los Angeles Projects | C22
Originally created for the Travessias contemporary art exhibition at Galpão Bela, located in the Maré favela in Rio de Janeiro, Balanço Maré I & II (para Bela e Lia) derive from a series of kinetic sculptures that Mourão initiated in 2009 from an artistic par tnership with an acrobatics, dance, and theater company named Intrepida Trupe. ’This series of kinetic sculptures,’ explains Mourão, ’inhabits two opposite and complementary places’: stasis and motion, both sharing the same value, determined by the viewer. The moving sculptures transform into other forms, volumes and rhythms. ’This group of kinetic sculptures represents objects in themselves, not commenting on the world but forming a world of their own, a dialogue with the inside of the work. It is devoid of any exterior concept, a pure play of forms, a geometric dance. I used to say jokingly that it was anti-conceptual art. But that's what I think it actually is.’
Ruben Ochoa’s work explores banal architectural boundaries and delimitations that we experience, an investigation that has been cr ucial to his practice over the last few years. Dealing with social and political dimensions of urban development, Ochoa deconstructs and r econtextualizes industrial materials to create a new sculptural language. His large-scale sculptures and installations are often negotiating the space between a formally minimal aesthetic and the expression of powerful issues of class, culture, and labor through the chosen materials. In his recent work, Ochoa manipulates concrete, rebar, wooden pallets and fence posts to create playful for ms that transcend the physicality of their material values. Ochoa’s three new sculptures presented at Art Public are constructed of galvanized fence posts and concrete footings congregated in delirious clusters and twisting configurations as they rebel against their purposeful function.
Steel tubes and clamps 710 x 500 x 400 cm
Lives and works in Los Angeles
’...that's what she said’, 2010 Galvanized pole and concrete footing 8' x 31' x 18'' Courtesy of Susanne Vielmetter Los Angeles Projects Photo by Robert Wedemeyer
9 | Dave McKenzie | *1977 in Kingston, Jamaica |
Lives and works in Brooklyn, New York Declaration, 2012 Susanne Vielmetter Los Angeles Projects | C22
At the core of Dave McKenzie’s work is an interest in exploring the complex and oftentimes complicated connections between public space and the private self. His diverse practice seeks engagement in the form of a poetic quest for the types of interactions that lay bare the complications of social rules and obligations with which we navigate personal relationships. For his new work Declaration, McKenzie will hire an airplane banner ser vice to f ly over Collins Park each day of Art Basel Miami Beach. On the first day the banner will read, ’Logan, Will You Marry Me? xox Morgan. ’ For each subsequent day of the fair, McKenzie will replace the names on the banner with two new gender-neutral names, while keeping the same proposal of marriage. The unisex names shift gender to the imaginary while allowing the general public to par ticipate in a common spectacle: a private love affair made public through the ostentatious announcement of intentions. Through this perfor mance, McKenzie points out the social acceptability of certain private lives and desires to enter into the public sphere while others are denied entry. McKenzie’s performance effectively transforms the questions of ’Will you marry me?’ into ’Can you marry me?’
Courtesy of Susanne Vielmetter Los Angeles Projects
10 | Raul Mourão | *1967 in Rio de Janeiro, Brasil |
11 | Iván Navarro | *1972 in Santiago, Chile | Lives and works in New York Courtney Smith | *1966 in Paris, France | Lives and works in New York Street Lamp, 2012 Paul Kasmin Gallery | A7
Iván Navarro and Cour tney Smith have collaborated on videos, audio tracks and sculptures. Smith is known for her furniture-based sculpture and investigations into the physical and psychological construction of interior spaces through the deconstruction of the elements that inhabit them. Navarro is widely recognized for his innovative use of light, addressing the complex implications of the transformation and transference of electrical ener gy. Mixing two materially-contrasting elements, one solid and dense (cast ir on) and the other extremely light and fragile (neon tubes), these objects of familiar forms of outdoor furniture infiltrate the urban landscape. Just as an automatic association occurs between the form and the context – the park bench – there is also a simultaneous dissociation between the form and the material. Each element usurps the other’s function, so that as the light mimics the bench, the bench itself becomes a light. The result is a confrontation between the object and the public, as these chairs and benches are presented but unusable.
Neon, metal and electric energy 45 x 44½ x 31½ inches
12 | Ruben Ochoa | *1974 in Oceanside, CA |
Lives and works in Rio de Janeiro Balanço Maré I (Para Bela e Lia), 2011 Galeria Nara Roesler | N19
Lock, Stock, Barrel, 2012 Susanne Vielmetter Los Angeles Projects | C22
Originally created for the Travessias contemporary art exhibition at Galpão Bela, located in the Maré favela in Rio de Janeiro, Balanço Maré I & II (para Bela e Lia) derive from a series of kinetic sculptures that Mourão initiated in 2009 from an artistic par tnership with an acrobatics, dance, and theater company named Intrepida Trupe. ’This series of kinetic sculptures,’ explains Mourão, ’inhabits two opposite and complementary places’: stasis and motion, both sharing the same value, determined by the viewer. The moving sculptures transform into other forms, volumes and rhythms. ’This group of kinetic sculptures represents objects in themselves, not commenting on the world but forming a world of their own, a dialogue with the inside of the work. It is devoid of any exterior concept, a pure play of forms, a geometric dance. I used to say jokingly that it was anti-conceptual art. But that's what I think it actually is.’
Ruben Ochoa’s work explores banal architectural boundaries and delimitations that we experience, an investigation that has been cr ucial to his practice over the last few years. Dealing with social and political dimensions of urban development, Ochoa deconstructs and r econtextualizes industrial materials to create a new sculptural language. His large-scale sculptures and installations are often negotiating the space between a formally minimal aesthetic and the expression of powerful issues of class, culture, and labor through the chosen materials. In his recent work, Ochoa manipulates concrete, rebar, wooden pallets and fence posts to create playful for ms that transcend the physicality of their material values. Ochoa’s three new sculptures presented at Art Public are constructed of galvanized fence posts and concrete footings congregated in delirious clusters and twisting configurations as they rebel against their purposeful function.
Steel tubes and clamps 710 x 500 x 400 cm
13 | Adam Pendleton | *1984 in Richmond, USA | Lives and works
in New York City and upstate New York Black Dada Flags, Pace | C10
2012
Lives and works in Los Angeles
’...that's what she said’, 2010 Galvanized pole and concrete footing 8' x 31' x 18'' Courtesy of Susanne Vielmetter Los Angeles Projects Photo by Robert Wedemeyer
15 | Randy Polumbo | *1964 in Dayton, USA | Lives and works in New York Love Stream #2, 2012 Paul Kasmin Gallery | A7 Love Stream, Randy Polumbo’s most ambitious and monumental work to
Adam Pendleton moves fluidly between painting, publishing, photographic collage, video, and performance to create structures that engage with language on a literal and figurative level to yield new meanings. Using appropriated images and text, he recontextualizes history to establish alternative interpretations of the present and a future dynamic where new historical narratives and meanings can exist. Pendleton’s Black Dada Flags are large-scale silver, black, and white flags that further his ’Black Dada’ project, a long-term exploration pairing two previously unrelated concepts: Dada, the early twentieth-century absurdist cultural movement, and the notion of ’black’ as an open-ended signifier. Encircling Collins Park, each flag features a unique composition derived from the visual language of ’Black Dada,’ in this case pairing cropped images of Sol LeWitt’s ’Incomplete Open Cube’ sculptures with letters from the words ’Black Dada.’ Inspired by a 1960s perfor mance in Central Park by the language-poet Hannah Weiner that was said to incorporate flags, the Black Dada Flags challenge the traditional function of the flag as a recognizable and authoritative symbol.
Black Dada Flags, 2011 Photo by James Ewing
14 | Jaume Plensa | *1955 in Barcelona | Lives and works in Barcelona Poets in Miami, 2012 Galerie Lelong | G1 | Richard Gray Gallery | C3
’Two silent figures are dreaming and talking with colors. They are sharing a silent conversation in the sky of Miami – a conversation from their hearts,’ explains Jaume Plensa about his new, site-specific installation Poets in Miami in Collins Park. Two identical, internally-lit, resin figures symbolically converse by constantly changing colors – green, blue, yellow, purple – twenty feet above the busy traf fic and noise of South Beach. Similar to Plensa’s family of totem works, the forms were inspired by holy ascetics and philosophers who contemplated humanity and preached to crowds seated atop pillars during the Byzantine Empire. Spirituality and the soul have long been areas of exploration in Plensa’s artwork. Poets in Miami presents a modern-day space for meditation to the South Beach community, and invites visitors to look inward to find a common universal truth: an idea at the core of Plensa’s practice.
Eight Poets in Bamberg Installation View: Bamberg, GermanyPolyester resin, berglass, stainless steel, and light 315 x 60¼ x 51½ inches
date, transforms a vintage Airstream aluminum trailer into a stimulating experiential wonderland, part amusement-park attraction and part psychoanalytic intervention. Polumbo combines glass and innovative lighting to create environments that speak to our world of pleasure and sensuality. He invites viewers to immerse themselves in an exotic and lurid Garden of Eden blooming with voluptuous hand-blown glass flora sprouting from every surface. Evoking images and objects from floral forms to children’s toys, ’they become emissaries of love in all its forms, par t Dr. Frankenstein and par t Dr. Freud.’ Polumbo infuses troubling topics with alchemical salvation, rendering the truth and beauty ’at the hear t of dark matters, colonizing the unconscious with colorful seeds.’ Polumbo’s interest in alteration and transformation range from early mad science projects with medical supplies, spor ting goods, and sex toys, to monumental, hand-blown glass and crystal proliferations of blossoms. Symbolic colonization, pollination, and retooling of libidinal and biological systems are part of his practice.
Airstream aluminum trailer, glass, aluminum, and LEDs 9 x 18 x 7¼ inches Commissioned by Beth Rudin DeWoody
16 | Ry Rocklen | *1978 in Los Angeles, USA |
Lives and works in Los Angeles A Touch of Grace II, 2012 UNTITLED | N4 | Thomas Solomon Gallery | N37
Working as an alchemist transforming cultural debris, Ry Rocklen’s sculptures attempt to exhibit the complexities of existence. Banal and ordinary found materials are combined with others and arranged in a manner that reveals them to be both profoundly singular and homogenous. ’Through careful configuration and slight alteration,’ explains Rocklen, ’these castaways are allowed to speak the languages of their materiality and culture, evoking empathy, understanding and wonder… In the wake of 9/11, the American flag bled into the fabric of our everyday lives, its colors and design found in a host of objects important to us as Americans and as people. Through pens, pillows, towels, bandanas, clothing and flags we celebrate our great nation and r emember the tremendous loss brought about on that day. I am excited by all these per mutations and the liberties taken with the flag’s design in fitting whatever object it is adorning. With A Touch of Grace I was intrigued by the idea and form of a flag that hangs the length of the pole and comes as perilously close to the ground as possible.’
A Touch of Grace I , 2011 Flag pole, ag height 204 inches Courtesy of the artist and UNTITLED Photo by Adam Reich
13 | Adam Pendleton | *1984 in Richmond, USA | Lives and works
in New York City and upstate New York Black Dada Flags, Pace | C10
2012
15 | Randy Polumbo | *1964 in Dayton, USA | Lives and works in New York Love Stream #2, 2012 Paul Kasmin Gallery | A7 Love Stream, Randy Polumbo’s most ambitious and monumental work to
Adam Pendleton moves fluidly between painting, publishing, photographic collage, video, and performance to create structures that engage with language on a literal and figurative level to yield new meanings. Using appropriated images and text, he recontextualizes history to establish alternative interpretations of the present and a future dynamic where new historical narratives and meanings can exist. Pendleton’s Black Dada Flags are large-scale silver, black, and white flags that further his ’Black Dada’ project, a long-term exploration pairing two previously unrelated concepts: Dada, the early twentieth-century absurdist cultural movement, and the notion of ’black’ as an open-ended signifier. Encircling Collins Park, each flag features a unique composition derived from the visual language of ’Black Dada,’ in this case pairing cropped images of Sol LeWitt’s ’Incomplete Open Cube’ sculptures with letters from the words ’Black Dada.’ Inspired by a 1960s perfor mance in Central Park by the language-poet Hannah Weiner that was said to incorporate flags, the Black Dada Flags challenge the traditional function of the flag as a recognizable and authoritative symbol.
date, transforms a vintage Airstream aluminum trailer into a stimulating experiential wonderland, part amusement-park attraction and part psychoanalytic intervention. Polumbo combines glass and innovative lighting to create environments that speak to our world of pleasure and sensuality. He invites viewers to immerse themselves in an exotic and lurid Garden of Eden blooming with voluptuous hand-blown glass flora sprouting from every surface. Evoking images and objects from floral forms to children’s toys, ’they become emissaries of love in all its forms, par t Dr. Frankenstein and par t Dr. Freud.’ Polumbo infuses troubling topics with alchemical salvation, rendering the truth and beauty ’at the hear t of dark matters, colonizing the unconscious with colorful seeds.’ Polumbo’s interest in alteration and transformation range from early mad science projects with medical supplies, spor ting goods, and sex toys, to monumental, hand-blown glass and crystal proliferations of blossoms. Symbolic colonization, pollination, and retooling of libidinal and biological systems are part of his practice.
Airstream aluminum trailer, glass, aluminum, and LEDs 9 x 18 x 7¼ inches Commissioned by Beth Rudin DeWoody
Black Dada Flags, 2011 Photo by James Ewing
14 | Jaume Plensa | *1955 in Barcelona | Lives and works in Barcelona Poets in Miami, 2012 Galerie Lelong | G1 | Richard Gray Gallery | C3
’Two silent figures are dreaming and talking with colors. They are sharing a silent conversation in the sky of Miami – a conversation from their hearts,’ explains Jaume Plensa about his new, site-specific installation Poets in Miami in Collins Park. Two identical, internally-lit, resin figures symbolically converse by constantly changing colors – green, blue, yellow, purple – twenty feet above the busy traf fic and noise of South Beach. Similar to Plensa’s family of totem works, the forms were inspired by holy ascetics and philosophers who contemplated humanity and preached to crowds seated atop pillars during the Byzantine Empire. Spirituality and the soul have long been areas of exploration in Plensa’s artwork. Poets in Miami presents a modern-day space for meditation to the South Beach community, and invites visitors to look inward to find a common universal truth: an idea at the core of Plensa’s practice.
Eight Poets in Bamberg Installation View: Bamberg, GermanyPolyester resin, berglass, stainless steel, and light 315 x 60¼ x 51½ inches
17 | Ugo Rondinone | *1964 in Brunnen, Switzerland |
16 | Ry Rocklen | *1978 in Los Angeles, USA |
Lives and works in Los Angeles A Touch of Grace II, 2012 UNTITLED | N4 | Thomas Solomon Gallery | N37
Working as an alchemist transforming cultural debris, Ry Rocklen’s sculptures attempt to exhibit the complexities of existence. Banal and ordinary found materials are combined with others and arranged in a manner that reveals them to be both profoundly singular and homogenous. ’Through careful configuration and slight alteration,’ explains Rocklen, ’these castaways are allowed to speak the languages of their materiality and culture, evoking empathy, understanding and wonder… In the wake of 9/11, the American flag bled into the fabric of our everyday lives, its colors and design found in a host of objects important to us as Americans and as people. Through pens, pillows, towels, bandanas, clothing and flags we celebrate our great nation and r emember the tremendous loss brought about on that day. I am excited by all these per mutations and the liberties taken with the flag’s design in fitting whatever object it is adorning. With A Touch of Grace I was intrigued by the idea and form of a flag that hangs the length of the pole and comes as perilously close to the ground as possible.’
A Touch of Grace I , 2011 Flag pole, ag height 204 inches Courtesy of the artist and UNTITLED Photo by Adam Reich
19 | Miguel Andrade Valdez | *1979 in Lima, Peru | Lives and works
Lives and works in New York I feel, you feel, we feel through each other into our selves, Gladstone Gallery | H12
between Lima and Mexico City 2012
Ugo Rondinone is known for his widely discursive practice through which he meditates on the experiential qualities of the everyday. Skillfully traversing the boundaries between public and private, exterior and inte rior, he reveals and displaces the processes of how cultural meaning is produced and distributed. At Art Public, Rondinone presents a new 16-foot-tall sculpture cast from a 2000-year-old olive tree. Fabricated in aluminum and coated in white enamel, the sculpture is cast from a tree found in the countryside outside of Naples. This new work furthers the artist’s investigation of themes of time and displacement, and the relationship between natural and ar tificial environments. ’What interests me about the 2000 year-old trees,’ explains Rondinone, 'is the fact that once they are cast bare naked they become a memoriam of condensed time. Through a cast olive tree you can not on ly experience the lapse of real time, that is lived time, frozen in its given form, but through this transformation also a dif ferent calibrated temporality. If my work in general has a nonlinear approach to the world, then the system and concept of time, which has occupied my work since the beginning, gives me a certain sense of grounding.' Cast aluminum, white enamel 486 x 490 x 470 cm Copyright Ugo Rondinone Courtesy of the artist and Gladstone Gallery
18 | Gary Simmons | *1964 in New York | Lives and works in New York I wish it could be morning all day long, 2012 Metro Pictures | E01 | Simon Lee Gallery | H11 | Regen Projects | C14 | Anthony Meier Fine Arts | D11
After graduating from Cal Arts in 1990, Gar y Simmons returned to New York and set up his studio in a former school building where he found himself clearing away blackboards to make space for his sculptures, and soon thereafter, he did his first chalk drawings on blackboards. It was this work, focusing on the development of racial identity through cartoon imagery, that led to his signature 'erasure' techniques. While Simmons is known for his wall drawings, he has consistently worked across media to mine the signs and symbols of race and class in American culture through his object-sculptures, photographs and paintings that incorporate both text and images. For Ar t Public Simmons has devised a pair of billboards that together present the wistful statement, I wish it could be morning all day long superimposed onto an image of a lonely section of Route 66. The signs divide the statement into two elusive, evocative fragments: 'I wish it could be' and 'morning all day long.' The two billboards, which are not visible at the same time, are installed in separate locations in the proximity of the fair.
Wheat paste on billboard 12 x 130 feet Courtesy of the artist, Metro Pictures, Regen Projects, Simon Lee Gallery and Anthony Meier Fine Arts
Monumento Lima translation – Collins Park, REVOLVER Galeria | N31
2012
Building upon an extensive archive of images, Monumento Lima documents a set of sculptures distributed through various ar eas of Lima, Peru. The video functions as a detailed record por traying the city from a particular perspective. The forms presented create a vibrant visual language that builds upon the repetition of certain shapes and reflect the use of wooden casts in the construction of the infrastructure of Lima. These photographic images rotate on their axis in stop-motion that accelerates and slows down in the course of a 6-minute loop. The Story of Man, a relief sculpture wrapping around the entire sur face of the Rotonda standing at Collins Park – itself a circular monument – works as the screen for the video projection. The audio track contains a compilation of sounds corresponding to distinct musical genres that have recently emerged in Lima, as well the cacophony of traffic noise, honking, cellphones ringing. Monumento Lima is the starting point of a larger project that focuses on urban and public forms that ’impregnate the city of Lima with a particular visual character… There is a process in which signs are easily displaced by the sensual paradox of pure abstraction.’
Monumento Lima Video installation
Bass Museum of Art launches 'TC: Temporary Contemporary' upon receiving
ArtPlace Grant funding the arts. 'TC: Temporary Contemporary' is a temporary, public art program initiated by the Bass Museum of Art in par tnership with the City of Miami Beach. This year some of Art Public projects will be on view longer after the Show as part of Bass Museum TC program until Feb 3, 2013. For more information on selected projects please see Bass Museum website: www.bassmuseum.org
17 | Ugo Rondinone | *1964 in Brunnen, Switzerland |
19 | Miguel Andrade Valdez | *1979 in Lima, Peru | Lives and works
Lives and works in New York I feel, you feel, we feel through each other into our selves, Gladstone Gallery | H12
between Lima and Mexico City 2012
Ugo Rondinone is known for his widely discursive practice through which he meditates on the experiential qualities of the everyday. Skillfully traversing the boundaries between public and private, exterior and inte rior, he reveals and displaces the processes of how cultural meaning is produced and distributed. At Art Public, Rondinone presents a new 16-foot-tall sculpture cast from a 2000-year-old olive tree. Fabricated in aluminum and coated in white enamel, the sculpture is cast from a tree found in the countryside outside of Naples. This new work furthers the artist’s investigation of themes of time and displacement, and the relationship between natural and ar tificial environments. ’What interests me about the 2000 year-old trees,’ explains Rondinone, 'is the fact that once they are cast bare naked they become a memoriam of condensed time. Through a cast olive tree you can not on ly experience the lapse of real time, that is lived time, frozen in its given form, but through this transformation also a dif ferent calibrated temporality. If my work in general has a nonlinear approach to the world, then the system and concept of time, which has occupied my work since the beginning, gives me a certain sense of grounding.' Cast aluminum, white enamel 486 x 490 x 470 cm Copyright Ugo Rondinone Courtesy of the artist and Gladstone Gallery
18 | Gary Simmons | *1964 in New York | Lives and works in New York I wish it could be morning all day long, 2012 Metro Pictures | E01 | Simon Lee Gallery | H11 | Regen Projects | C14 | Anthony Meier Fine Arts | D11
After graduating from Cal Arts in 1990, Gar y Simmons returned to New York and set up his studio in a former school building where he found himself clearing away blackboards to make space for his sculptures, and soon thereafter, he did his first chalk drawings on blackboards. It was this work, focusing on the development of racial identity through cartoon imagery, that led to his signature 'erasure' techniques. While Simmons is known for his wall drawings, he has consistently worked across media to mine the signs and symbols of race and class in American culture through his object-sculptures, photographs and paintings that incorporate both text and images. For Ar t Public Simmons has devised a pair of billboards that together present the wistful statement, I wish it could be morning all day long superimposed onto an image of a lonely section of Route 66. The signs divide the statement into two elusive, evocative fragments: 'I wish it could be' and 'morning all day long.' The two billboards, which are not visible at the same time, are installed in separate locations in the proximity of the fair.
Monumento Lima translation – Collins Park, REVOLVER Galeria | N31
2012
Building upon an extensive archive of images, Monumento Lima documents a set of sculptures distributed through various ar eas of Lima, Peru. The video functions as a detailed record por traying the city from a particular perspective. The forms presented create a vibrant visual language that builds upon the repetition of certain shapes and reflect the use of wooden casts in the construction of the infrastructure of Lima. These photographic images rotate on their axis in stop-motion that accelerates and slows down in the course of a 6-minute loop. The Story of Man, a relief sculpture wrapping around the entire sur face of the Rotonda standing at Collins Park – itself a circular monument – works as the screen for the video projection. The audio track contains a compilation of sounds corresponding to distinct musical genres that have recently emerged in Lima, as well the cacophony of traffic noise, honking, cellphones ringing. Monumento Lima is the starting point of a larger project that focuses on urban and public forms that ’impregnate the city of Lima with a particular visual character… There is a process in which signs are easily displaced by the sensual paradox of pure abstraction.’
Monumento Lima Video installation
Bass Museum of Art launches 'TC: Temporary Contemporary' upon receiving
ArtPlace Grant funding the arts. 'TC: Temporary Contemporary' is a temporary, public art program initiated by the Bass Museum of Art in par tnership with the City of Miami Beach. This year some of Art Public projects will be on view longer after the Show as part of Bass Museum TC program until Feb 3, 2013. For more information on selected projects please see Bass Museum website: www.bassmuseum.org
Wheat paste on billboard 12 x 130 feet Courtesy of the artist, Metro Pictures, Regen Projects, Simon Lee Gallery and Anthony Meier Fine Arts
Performances | Art Public Opening Night | Wednesday, December 5 A | Jason and Alicia Hall Moran | AiR, 2012
Jason Moran | *1975 in Houston | Lives and works in New York Alicia Hall Moran | *1973 in Redwood City | Lives and works in New York The Morans’ decade-long artistic partnership reflects a unique and poetic 'sound bleed.' Alicia Hall Moran is a Broadway musical actress and classically trained mezzo-soprano who integrate diverse influences, styles and concepts. Her singing and theatrical sensibilities reflect a sensual, musical world where the lyricism of Marvin Gaye and the high drama of Puccini collide. Jason Moran, a MacArthur Fellow and the ar tistic adviser for jazz at the Kennedy Center, is an acclaimed pianist-composer whose innovative style provides an influential vision of twenty-first century jazz. The blue note recording ar tist has established himself as a risk-taker and innovator of new directions for jazz as a whole. His ongoing visionary collaborations in the art world have brought him additional fans and respect. As part of Art Public in Miami Beach they present AiR , an emotional and technique-based performance containing both jazz and operatic elements. The recently named Whitney Biennial 2012 artists's performance will interact with Untitled (The Space Beneath Us) by José Davila.
Photo by Mark Squires
B | My Barbarian | Broke People's Bar oque Peoples' Theater, 2012
Malik Gaines | *1973, Visalia, CA | Lives and works in Brooklyn Alexandro Segade | *1973, San Diego | Lives and works in Brooklyn My Barbarian is a Los Angeles-based perfor mance collective founded in 2000 by Malik Gaines, Jade Gordon, and Alexandro Segade whose kitsch-tinged site-specific plays, concerts, theatrical situations and video installations have toured museums, galleries and festivals internationally. Their eclectic backgrounds in theater, theory, and contemporary art create incisively intelligent works in a variety of media that integrate references to mythology, social and political issues, and popular culture with a sense of humor that is as biting as it is playful. The per formance in Miami is taken from their piece Broke People's Baroque Peoples' Theater which playfully engages questions of economic inequity, artistic patronage, and a culture of excess (or excess of culture) through a fake theater company obsessed with classical allusion, camp, costume, masquerade and sculpture. With a queer attitude toward cheap materials, the Broke People's Baroque Peoples' Theater decorates itself in a hyper-feminine aestheticism to undermine class(y) distinctions of taste. A wealth of poverty, the chintzy is rich.
Courtesy of My Barbarian
C | Alex Israel | *1982 Los Angeles | Lives and works in Los Angeles Miami, 2012
Alex Israel's work takes form across a multitude of platforms such as the gallery, the Internet, television and retail boutiques, which have served as sites for experiencing Israel's Flats, prop sculptures, webseries, murals, live perfor mances and Freeway Eyewear sunglasses. Linking the various elements in the multidisciplinary practice is an unending exploration of Los Angeles: its myths, vernaculars, and heroes, all born out of Southern California's climate, geography, a vanguard regional ar t system and Hollywood Babylon itself. For Miami, 2012, Israel will draw from contemporary enter tainment culture, adopting a popular format to produce a surprise performance on the occasion of the fair's opening night, testing the tensions between spontaneity, community and performance.
Easter Island Venice Beach, 2012 Installation view, Venice Beach Biennial Photo by Joshua White
Performances | Art Public Opening Night | Wednesday, December 5 A | Jason and Alicia Hall Moran | AiR, 2012
Jason Moran | *1975 in Houston | Lives and works in New York Alicia Hall Moran | *1973 in Redwood City | Lives and works in New York The Morans’ decade-long artistic partnership reflects a unique and poetic 'sound bleed.' Alicia Hall Moran is a Broadway musical actress and classically trained mezzo-soprano who integrate diverse influences, styles and concepts. Her singing and theatrical sensibilities reflect a sensual, musical world where the lyricism of Marvin Gaye and the high drama of Puccini collide. Jason Moran, a MacArthur Fellow and the ar tistic adviser for jazz at the Kennedy Center, is an acclaimed pianist-composer whose innovative style provides an influential vision of twenty-first century jazz. The blue note recording ar tist has established himself as a risk-taker and innovator of new directions for jazz as a whole. His ongoing visionary collaborations in the art world have brought him additional fans and respect. As part of Art Public in Miami Beach they present AiR , an emotional and technique-based performance containing both jazz and operatic elements. The recently named Whitney Biennial 2012 artists's performance will interact with Untitled (The Space Beneath Us) by José Davila.
Photo by Mark Squires
B | My Barbarian | Broke People's Bar oque Peoples' Theater, 2012
Malik Gaines | *1973, Visalia, CA | Lives and works in Brooklyn Alexandro Segade | *1973, San Diego | Lives and works in Brooklyn My Barbarian is a Los Angeles-based perfor mance collective founded in 2000 by Malik Gaines, Jade Gordon, and Alexandro Segade whose kitsch-tinged site-specific plays, concerts, theatrical situations and video installations have toured museums, galleries and festivals internationally. Their eclectic backgrounds in theater, theory, and contemporary art create incisively intelligent works in a variety of media that integrate references to mythology, social and political issues, and popular culture with a sense of humor that is as biting as it is playful. The per formance in Miami is taken from their piece Broke People's Baroque Peoples' Theater which playfully engages questions of economic inequity, artistic patronage, and a culture of excess (or excess of culture) through a fake theater company obsessed with classical allusion, camp, costume, masquerade and sculpture. With a queer attitude toward cheap materials, the Broke People's Baroque Peoples' Theater decorates itself in a hyper-feminine aestheticism to undermine class(y) distinctions of taste. A wealth of poverty, the chintzy is rich.
Courtesy of My Barbarian
C | Alex Israel | *1982 Los Angeles | Lives and works in Los Angeles Miami, 2012
Alex Israel's work takes form across a multitude of platforms such as the gallery, the Internet, television and retail boutiques, which have served as sites for experiencing Israel's Flats, prop sculptures, webseries, murals, live perfor mances and Freeway Eyewear sunglasses. Linking the various elements in the multidisciplinary practice is an unending exploration of Los Angeles: its myths, vernaculars, and heroes, all born out of Southern California's climate, geography, a vanguard regional ar t system and Hollywood Babylon itself. For Miami, 2012, Israel will draw from contemporary enter tainment culture, adopting a popular format to produce a surprise performance on the occasion of the fair's opening night, testing the tensions between spontaneity, community and performance.
Easter Island Venice Beach, 2012 Installation view, Venice Beach Biennial Photo by Joshua White
Art|Basel|Miami Beach|6–9|Dec|12 www.artbasel.com
