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Our selection of exhibitions to see during Art Basel in Miami Beach

My name is maryan
Until March 20, 2022 at the Museum of Contemporary Art North Miami

Polish-born Jewish artist Maryan was a child when he arrived at the Auschwitz concentration camp and left Auschwitz in 1945 as the only survivor of his lineage. His life from there was a highly prolific and progressive artist’s life, encompassing the very beginnings of Israel, the avant-garde art schools of Paris and the bohemian subcultures of New York, but his work has gone largely unrecorded and gone unnoticed in the canons of art history. Maryan’s name remains obscure even to many art students. But now, thanks to further extensive study and research, as well as the discovery of a huge treasure trove of unpublished works, Maryan’s name can establish itself as one of the most important and most important figures. most resonant in the history of post-war art. Maryan is now considered one of the few major artists to have witnessed firsthand the most extreme and traumatic manifestations of the Holocaust. Yet he didn’t want to be defined as a Holocaust artist; he strove to make his life and work more than the unthinkable and utter horror he was subjected to as a child.

Carlos Maritel, Mediterráneo (Mediterranean) (2017). Courtesy of Espace 23.

Witness: Afro Perspectives from the Jorge M. Pérez Collection
Until February 1, 2022 at El Espacio 23

Witness is the second exhibition at El Espacio 23, a contemporary art space founded in 2019 in Miami’s trendy Allapattah neighborhood by real estate mogul and local collector Jorge Pérez. Showcasing 100 works by artists from Africa and the African Diaspora, the exhibition pursues the centre’s goal of presenting “a new side to the South Florida community and exploring how seemingly distant cultures influence our own.” daily life ”, according to the curator of the Pérez Collection, Patricia M. Hannah. Addressing themes such as identity and oppression, the show invites visitors to witness the challenges passed down from generation to generation. Organized by Tandazani Dhlakama of the Zeitz MoCAA of Cape Town in collaboration with Hannah and her colleague Anelys Alvarez, the exhibition is drawn from works from Perez’s collection and includes pieces by 75 established and emerging artists such as Mikhael Subotzky of Johannesburg and the late apartheid artist and writer David Koloane, whose work has explored issues of human rights and political injustice.

Installation view: “Betye Saar: Resurrection: Site Installations, 1977 to 1987”, Main Art Gallery, Visual Arts Center, California State University, Fullerton, 1988. Image courtesy of the artist and Roberts Projects, Los Angeles.

Betye Saar: serious moonlight
Until April 17, 2022 at the Institute of Contemporary Art, Miami

Renowned artist Betye Saar – who is best known for her sculptural assemblages centered on themes of spirituality, cosmology and the African diaspora – performed a series of installations in the 1980s and 1990s that expanded dimensionally and philosophically about the “altars” that she began to create. in the 1970s. This little-studied period of his career was inspired by his research into animist religious practices during trips to Nigeria, Haiti and Mexico. The intricate, room-sized works immerse viewers in the esoteric world of the Saar and are “beautiful, strong, and offer new perspectives on Saar practice, but have received little institutional attention,” says Stephanie Seidel, associate curator of the museum. The 90-year-old Los Angeles-based artist has written extensively about her influences, which can be seen throughout the show. Among the highlights, The crook (1994) contains a quote from American voodoo author and researcher Zora Neale Hurston, who wrote: “Voodoo is a blade that cuts back and forth.

Diego Rivera, Sunflowers (1943). © 2021 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, DF / Artists Rights Society (ARS), New York.

Frida Kahlo, Diego Rivera and Mexican Modernism from the Jacques and Natasha Gelman Collection
Until February 6, 2022 at the Norton Museum of Art, West Palm Beach
The exhibition features over 150 Mexican Modernist works of art, including important pieces by Frida Kahlo and Diego Rivera, assembled by Jacques Gelman and Natasha Gelman, immigrants from Eastern Europe who moved to Mexico in the years 1940, where they became passionate collectors of Mexican art. To situate Kahlo and Rivera’s work within the larger narrative of Mexican modernism, iconic pieces from other Mexican artists such as Bjourney from Papantla (Portrait of Rosalba Portes Gil) (1944) by María Izquierdo are also on display. “The scope of [the exhibition] returns major works of Mexican Modernism to the context in which they were produced, within a collaborative artistic community seeking to create authentically Mexican modern art by exploring and embracing common folk roots and traditions, ”said Ellen E Roberts, Norton’s American Art Curator. .

Bob Dylan, Emmet Street (2020). Courtesy of the artist.

Bob Dylan: Retrospectre
Until April 17, 2022 at the Frost Art Museum at Florida International University (FIU)

Ten-time Nobel Prize-winning singer, songwriter, poet and visual artist Bob Dylan took to filmmaking for his latest series of paintings, titled Deep focus. “All of these images are from movies,” he says. “They’re trying to highlight the different difficult situations people find themselves in. Whether it’s James Cagney or Margaret Rutherford, dreams and patterns are the same – life as it comes in all its forms.” Approximately 40 new paintings debut in this exhibition, marking the most comprehensive exhibition of Dylan’s art ever held in the United States. These new works are accompanied by around 160 paintings, drawings and sculptures spanning six decades. “Seeing many of my works years after I have completed them is a fascinating experience,” says Dylan of the exhibition. “I don’t really associate them with a particular time, place or state of mind, but I see them as part of a long arc; a continuation of how we move about the world and how our perceptions are shaped and changed by life.

George Clinton, unleashed! (2020) Courtesy of the artist.

George Clinton: Funkbasel
Until January 31 at Soho Beach House, with an artist talk on December 4

Throughout his career, George Clinton of Parliament-Funkadelic has worked hard to get people to relax, feel the flow, and embrace the funk. His mission has not changed, only his medium. The music he made with the band changed minds, opened eyes and made people sweat in the best possible way. But music has always been inseparable from aesthetics. Few can claim to have influenced art so much, both sound and visual. And with the possible exception of jazz musician Sun-Ra, no one has done more than Clinton and Parliament-Funkadelic to proliferate Afrofuturism as a concept, aesthetic, and way of life. Clinton’s approach to painting is no different from his approach to music. Speed ​​is important, as is knowing your limits. “Once I realized that I could use the same theory that I use to make music, that I could go against the grain, it all made sense,” he says. “I’m color blind, so I had to learn to read tones and values. How to gradually change colors and mix things up. It’s all about this feeling that I get doing what I’m doing, in my own way. When I get a beat like this, I can actually trust my feelings regardless of this new logic. Because right now everything is up for grabs. All reality is up for grabs.

View of Jorge Pardo’s installation: Mongrel at the MDC Museum of Art and Design. Photo: Karli Evans. Courtesy of the Museum of Art and Design, Miami Dade College.

Jorge Pardo: Bastard
Until May 1, 2022 at the Museum of Art and Design at Miami Dade College

Cuban-American artist Jorge Pardo is constantly engaged in a dialogue – within his work, with his surroundings, his past and his influences, which range from his family’s flight to the United States after the Castro regime took over. control of Cuba, to the Abstract Expressionist painters who first caught his attention when he began to study art. But it is far from being frozen in the past. His work, which inhabits a space between art, design and architecture, is very present. His techniques are so modern that they rely almost entirely on technology, but the work itself doesn’t feel futuristic. Its current exhibition includes 25 new designs, modernist chairs and exquisitely intricate chandeliers that prompts visitors to reflect on how shapes and hues imbued with a hidden narrative influence each other.

Alex Israel x Snapchat, Self-portrait (Palm) (2019). Courtesy of the Bass Museum.

Alex Israel x Snapchat
Until May 1, 2022 at the Bass Museum of Art

Artist Alex Israel, who is known for his embrace and infiltration of pop culture, has teamed up with social media giant Snapchat to give his artwork a boost in augmented reality. Five of Israel’s Alfred Hitchock-inspired self-portrait silhouettes – a long-standing series for the artist – are on display at the Bass, and when viewed through the Snapchat app, each creates an augmented reality experience ( Dynamic RA) that Israel designed in collaboration with the AR team at Snap Inc. Kitsch and maximalist effects vary from painting to painting: one self-portrait causes a psychedelic stroll through Los Angeles, others have a palm tree or a pelican protruding from them, while another portrays the artist as if he were trapped in his own self-portrait. And while such iconography is distinctly LA, where the artist and the social media company are based, it translates seamlessly into the Miami landscape.


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