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On the Streets Guide: The Top Street Art Events During Miami Art Week
by Monica Torres

Graffiti was born in protest. Recalling this origin, street, graffiti, and mural artists in Miami are standing up for social justice during this year's Art Basel Miami Beach. Through a series of creative altruistic events some of the city's most prominent artists, curators, and activists will connect with visitors by drawing attention to ways of improving their communities through art. Here's our selection of some of Miami Art Week's best street art projects and events.


Wynwood Walls  

The mammoth Wynwood Walls project aims to bring some of the best-known artists in the field out to paint in Miami's Wynwood district. This year, their primary project is "The Art of Collaboration," a program that pairs artists together to execute new murals, celebrating art and community. This year's confirmed collabs include Faith 47 and Alexis Diaz, Cleon Peterson and Shepard Fairey, and Pose and Revok. Opening night is Tuesday (open to the public from 9–11pm) with a series of special events planned within the unveiling of new walls.  


Wynwood Embassy

Herakut at Wynwood Embassy


At Wynwood Embassy’s Shoot for the Moon sequel, German artistic duo Herakut will co-create an interactive mural with teens from Here’s Help, a local substance abuse agency that provides programs to at-risk youth. Starting November 29, 2014, Wynwood Embassy will host the duo’s solo exhibition with a series of events each night of art week at Mana Wynwood.  


RAW Project

Jose Mertz at Jose de Diego Middle School for #RAW Project, Courtesy Raw Project, Photo:Kerry McLaney (@305creative) 


An army of spray-painting heroes will transform the white-washed walls of Jose de Diego Middle School in Wynwood into colorful representatives of the surrounding graffiti culture. WynwoodMap dot com and the Wynwood Arts District Association present the #RAWProject, which includes a massive fundraiser on December 2, 2014. The money raised will go to an art education program. 


Sketches for Mankind 

Sketches for Mankind is a non-profit organization founded by Evoca1, a well-know local artist. The charity is designed to help feed the homeless with their '3rd Sunday for Hunger' in the downtown Miami area.  Their Basel Miami kicks off with thirteen local artists will create original pieces on uniform wooden panels that will be auctioned off at R House Restaurant in Wynwood on Sunday November 30, 2014, hosted by the Miami community's street art voice, Talking Off the Wall.  


Miami Marine Stadium

  Miami Marine Stadium, Rone - Open Edition; Photo: Logan Hicks


An interactive pop-up exhibition starting December 1, 2014 in Wynwood will raise funds for the restoration of one of Miami’s most iconic buildings, the Miami Marine Stadium. Hosted by the Art |History Mural Project Exhibition, the National Trust for Historic Preservation, and Friends of Miami Marine Stadium, the event is open to all, and children are invited to assist in the creation of large-scale murals. The long list of artists participating includes Evoca1, Jose Mertz, and Reiner Gamboa.


Life Is Art

Spectrum Miami has donated a booth to Life Is Art. They'll use it to explore the role of the arts in community building. Life is Art is a non-profit organization that seeks to improve communities through art and culture. Starting on December 3, 2014 at [mi.ami][], there will be collaborations between artists and the community. On December 4 they will also host Art Lab 02, a live artist match up with Yo Miami


White Porch Gallery at R House Wynwood 

White Porch Gallery  


On December 3 HRC South Florida and the White Porch Gallery at R House Wynwood will host ART for Equality, a unique one-off event (7–9.30pm) benefiting the Human Rights Campaign with a silent auction of 20 different artworks, with a flavor of the mixed cultures in Florida and neighboring regions. Artists include Colombian Manela Holly and Cuba's Yunier Gomez Torres. You can also check out local installation artist Judith Meuller's outdoor mural along the exterior patio walls. 


Miami Beach Regional Library

The walls of the Miami Beach Regional Library auditorium will be transformed into a huge work at I Geek Art: A Community Event. Commencing December 1 at 3pm the two-day event invites artists of all backgrounds to participate in the creation of a large-scale community art project that will be unveiled to the public the following day. Muralist Serge Toussaint (whose artwork adorns the walls of Little Haiti) will lead the project. 


South of the Walls for Urban Blue Project 

Urban Blue Project, Courtesy of Urban Blue Project 


Big name homegrown and internationl artists (among them Atomik, Abstrk, Luis Berros, Rafael Domenech, Antonio de Felipe, Aquarela, Suki) will perform live paintings at South of the Walls, starting on November 30 (at 1731 N. Miami Ave). The event benefits Urban Blue Project, a group that creates art events blurring the lines between various forms of art and allocates resources to stimulate inner city development. 


—Monica Torres 


(Image on top: Miami Marine Stadium, Rone - Open Edition; Photo: Logan Hicks)

Posted by Monica Torres on 11/29 | tags: graffiti/street-art Philanthropy miami Art Basel Miami Beach Wynwood art for justice

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Art Basel Miami Beach: The Essential Guide
by The ArtSlant Team

It's an understatement to call Art Basel Miami Beach an art world event: it's a phenomenon. Organizers reported some 75,000 attendees in 2013—and that's just for the Miami Beach Convention Center main show. In addition to Art Basel's seaside outpost, this year more than 20 art fairs—some brand new, others established in their own right—will take over the Miami beaches and Wynwood Arts District during Miami Art Week. Coordinated with these shining satellites are citywide museum and gallery exhibitions and openings, film screenings, lectures, performances, public art exhibitions, brunches, and of course lots and lots of parties. 

With so much happening, it can be hard to keep track of the what, when, and where of Miami Art Week. We present to you here a list of fairs, openings, parties, and major events taking place this week. We'll be updating all week. Did we miss your favorite party or opening? Be sure to add it in the comments!




Jump to:

Fairs: Miami Beach

Fairs: Midtown / Wynwood Arts District

Fairs: Other Areas

Museum and Private Collections Exhibitions Openings

Other Parties, Concerts, and Public Events

See our top Street Art picks here!




Art Basel | Miami Beach

The fair around which all others orbit

December 4–7

Private view: Wed, December 3, 11am–8pm (invitation only)

Vernissage: Thurs, December 4, 11am–3pm (invitation only)  3–8pm (general admission)

Public days: Thurs 3–8pm, Fri/Sat 12–8pm, Sun 12–6pm

Miami Beach Convention Center, 1901 Convention Center Dr., Miami Beach

$45 one-day pass, $100 multi-day pass


Edra Soto, ArtSlant Prize Presentation, Aqua Art Miami


Aqua Art Miami

Come visit ArtSlant at this unique fair in a classic South Beach hotel—now celebrating its 10th Miami season! We'll be presenting the winners of the 2014 ArtSlant Prize. Find us in Room 124 on the courtyard and join us for Happy Hour on Thurs/Fri 4–6pm—sponsored by ArtSlant and Aqua Art Miami.

December 3–7

VIP preview: Wednesday, December 3, 3–10pm

Public days: Thurs 12–9pm, Fri/Sat 11am–9pm, Sun 11am–6pm

Aqua Hotel, 1530 Collins Ave., Miami Beach

$15 one-day pass, $75 multi-day pass (includes admission for Art Miami, CONTEXT, and Aqua Art Miami)


NADA Art Fair Miami Beach

Run by the non-profit New Art Dealers Alliance, NADA aims to represent contemporary emerging and underexposed art not typical of the "art establishment.” Now in its 12th year.

December 4–7

Preview: Thurs 10am–2pm (invitation only)

Public hours: Thurs 2–8pm, Fri/Sat 11am–8pm, Sun 11am–5pm

The Deauville Beach Resort, 6701 Collins Ave., Miami Beach

Admission is free


PULSE Miami Beach

The middle-market contemporary art fair celebrates its 10th year by moving to a new beachside location

December 4–7

Private preview brunch: Thurs 9am–1pm (invitation only)

Public hours: Thurs 1–7pm, Fri/Sat 10am–7pm, Sun 10am–5pm

Indian Beach Park, 4601 Collins Ave., Miami Beach  

$20 one-day pass, $25 multi-day pass


Scope Miami Beach

December 2–7

VIP preview: Tues 4–8pm

Public hours: Wed–Sun 11am–8pm

Scope Pavilion, 910 Ocean Dr., Miami Beach

$30 general admission


Select Art Fair Miami

Emerging and Mid-Career Contemporary Art

December 2–7

VIP preview: Tues 4–8pm

Public hours: Wed–Sat 11am–8pm, Sun 11am–6pm

7200-7300 Collins Ave., Miami Beach

$15 general admission



Emerging and Mid-Career Contemporary Art

December 3–7

Opening Party: Mon, December 1, 6–9pm (hosted by Ryan McGinley and benefitting non-profit ACRIA for HIV research and education)

VIP preview: Tues, December 2, 3–7pm

Public hours: Wed 3–7 pm, Thurs–Sat 11am–7pm, Sun 11am–4pm

Ocean Drive and 12th Street, Miami Beach

$25 general admission


Design Miami

December 3–7

Vernissage: Tues, December 2, 6–8pm (invitation only)

Public hours: Wed/Thurs 10am–8pm, Fri 11am–8pm, Sat 12–8pm, Sun 12–6pm

Meridian Avenue and 19th Street, Miami Beach Convention Center

$25 one-day pass


Ink Miami Art Fair

Miami's only fair dedicated to modern and contemporary works on paper

December 3–7

Preview breakfast: Wed 9–11am (invitation only)

Wed 12–5pm, Thurs 10am–5pm, Fri/Sat 10am–8pm, Sun 10am–3pm

Dorchester, 1850 Collins Avenue, Miami Beach

Admission is free


Art Miami

Before there was Art Basel Miami Beach, there was Art Miami: Miami's longest-running modern and contemporary art fair celebrates 25 years in 2014! 

December 2-7

VIP preview: Tues 5.30–10pm (invitation only, benefitting PAMM)

Public hours: Wed–Sat 11am–8pm, Sun 11am–6pm

Midtown Miami, 3101 NE First Ave., Miami

$35 one-day pass, $75 multi-day pass (includes admission for Art Miami, CONTEXT, and Aqua Art Miami)



Art Miami's sister fair dedicated to the development and reinforcement of emerging and mid-career artists

December 2–7. 

VIP preview: Tues 5.30–10pm (invitation only, benefitting PAMM)

Public hours: Wed–Sat 11am–8pm, Sun 11am–6pm

Midtown Miami, 2901 NE First Ave., Miami

$35 one-day pass, $75 multi-day pass (includes admission for Art Miami, CONTEXT, and Aqua Art Miami)


Miami Project

December 2–7

VIP preview: Tues 5.30–10pm (invitation only)

Public hours: Wed/Thurs/Sat 10am–7pm, Fri 10am–8pm, Sun 10am–6pm

Midtown Miami, NE 34th Street and NE First Avenue, Miami

$25 one-day pass, $35 multi-day pass


ArtSpot Miami

Modern and Contemporary Latin American Art Fair

December 3–7

Vernissage: Wed 6–10pm

Public hours: Wed 6–10pm, Thurs–Sat 1–9pm, Sun 12–6pm

Midtown Miami
, 3011 NE First Avenue at NE 30th Street, Miami

$5 general admission, $25 preview and weekend pass


Sonia FalconeColor Field, 2013, Mixed media installation, Courtesy Salar Galeria de Arte, Colombia; At Pinta Miami


Pinta Miami

Modern and Contemporary Art from Latin America, Spain, and Portugal

December 3–7

Preview: Tues, December 2, 6–9pm

Vernissage: Wed 5–8pm

Public hours: Wed 5–8pm, Thurs–Sat 11am–8pm, Sun 11am–5pm

3401 NE First Ave., Miami

$20 one-day pass, $45 multi-day pass


Red Dot Miami

December 2–7

Opening: Tues 6–10pm

Public hours: Wed 11am–5pm, Thurs–Sat 11am–8pm, Sun 11am–6pm

Midtown Miami, 3011 NE First Ave., Miami

$15 one-day pass, $25 multi-day pass


Spectrum Miami

December 3–7

VIP Vernissage: Wed 6–10pm (tickets required)

Public hours: Thurs–Sat 12–9pm, Sun 12–6pm

Late night parties nightly 7–9pm

Midtown Miami, 3011 NE First Avenue at NE 30th Street, Miami

$10 general admission, $25 multi-day pass


Sculpt Miami

Contemporary Sculpture Art Fair

December 4–7

VIP party: Sat 7–10pm

Public hours: Wed–Sun 11am–8pm

46 NW 36th St., Miami

Admission is free


Zones Art Fair

“A unique fair with a performance centric mission”

December 2–7

Public hours: Tues–Sun 12–5pm

Edge Zones Project, 8325 NE Second Ave., Miami  

Admission is free


Ai Weiwei and Bert BenallyPull of the Moon, 2014, Film; A collaborative project funded by New Mexico Arts 50’ Digital Dome Experimental Program, Shown daily at Concept between 11am and 9pm; Premiers at VIP Collectors' Invitational, Tues, Dec 2, 7.30–11pm


Concept Art Fair

A new fair, presenting secondary market blue chip artwork aboard the Seafair mega-yacht

December 2–7

VIP Collectors’ Invitational: Tues 7.30–11pm (passes only)

Public hours: Mon–Sat 1–10pm, Sun 1–6pm

SeaFair, 100 Chopin Plaza, Miami

$15 one-day ticket, $25 multi-day pass


Fridge Art Fair

An irreverent young fair founded by New York artist Eric Ginsburg (yes, it's a play on Frieze)

December 4–9

VIP preview: Thurs (ticket required)

Public Hours: Thurs 2–8pm, Fri–Mon 1–9pm, Tues 1–3pm

Third Street Garage, 300 SW 12th Ave., Miami


Miami River Art Fair

December 4–7

Public hours: Thurs–Sun 12–8pm

Miami Convention Center, 400 SE Second Ave., Miami

Free with printed pass


Prizm Art Fair

December 4–7

Thurs 7–10pm, Fri 10am–6pm, Sat/Sun 10am–7pm

Miami Center for Architecture & Design, 100 NE First Ave., Miami

Admission is free


Via Facebook 

ICA Miami

Miami's newest museum!

Museum opening celebration: Tues, December 2, 7–9pm

Opening celebration after-party featuring DJ set by Twin Shadow/ Live performance by PRINCE RAMA: 10pm

Opening Exhibitions: Pedro Reyes, Andra Ursuta, Dec 3, 2014–Mar 15, 2015

4040 NE 2nd Avenue, Miami 33137

Admission is free


Perez Art Museum Miami (PAMM)

Opening: Project Gallery: Mario García Torres – R.R. and the Expansion of the Tropics, Tues, Dec 2

Special Opening Hours during Miami Arts Week: Mon–Sun 10am–6pm, Thurs 10am–5pm

PAMM Presents Future Brown featuring Kelela, a DIS Magazine + THV Entertainment production, Thurs, Dec 4, 8pm–midnight (invitation only: Open to PAMM Sustaining and above level members, and Art Basel Miami Beach, DesignMiami/ and Art Miami VIP cardholders)

1103 Biscayne Blvd, Miami 33132


Margulies Collection at the Warehouse

Extended opening hours: Mon/Tues 9am–5pm, Wed–Sat 9am–6pm, Sun 9am–2pm

Special Breakfast for Art Basel: Wed–Fri 9am–12pm

591 NW 27th Street, Miami 33127

$10 general admission


Rubell Family Collection

Opening: Group Show To Have and to Hold, plus solo commissions by Will Boone, Aaron Curry, Lucy Dodd, Mark Flood, David Ostrowski, and Kaari Upson, Dec 3

Extended opening hours: Dec 3–7, Wed–Sun, 10am–6pm

95 NW 29 Street, Miami 33127


Museum of Contemporary Art North Miami

Shifting the Paradigm: The Art of George Edozie

Opening: Tues, Dec 2, 7pm

770 NE 125th Street, North Miami


de la Cruz Collection

Opening: Group Show Beneath the Surface

Opening hours during Miami Art Week: Dec 2–6, Tues–Sat, 9am–3pm

23 NE 41st Street, Miami 33137

Admission is free



Opening: Impulse, Reason, Sense, Conflict: Abstract art from the Ella Fontanals-Cisneros Collection

Dec 3, 2014–Mar 8, 2015

Hours subject to change during Miami Art Week

1018 North Miami Avenue Miami 33136


Bass Museum of Art

Opening Reception: One Way: Peter Marino Wed, Dec 3, 7–11pm (Open to Bass Museum of Art members, Art Basel Miami Beach/Design Miami VIPs and Exhibitors)

2100 Collins Ave., Miami Beach

$8 general admission





Art Basel Miami Beach’s Public Sector

Dec 3–7

Collins Park (free)

Tip! Walk down to the beach to see Theo Jansen’s Strandbeest performances. Dec 3–7

Oceanfront, Miami Beach Drive between 21st and 22nd Streets


Art Basel Miami Beach's Film Program (our preview here!)

Wed/Thurs 6–11pm, Fri/Sat 6–10pm

Screenings in SoundScape Park, New World Center

500 17th St, Miami Beach 33139

Admission is free

Additionally, Tim Burton's Big Eyes will have a special screening at the Colony Theatre, Lincoln Road, Fri, Dec 5, 8.30pm

Program Calendar



A series of performances organized in collaboration with Common Space

Dec 4–6, from 9.30pm, nightly

Official NADA Miami Beach after-party: Thurs, Dec 4, 9.30pm–late, (9.30pm: Diamond Terrifier with Mbeharie & Trouble VJs; 12am: Jeffrey Deitch, Common Space, and NADApresent: Omar Souleyman, DJ set: Jon Santos)

Sandbar, 6752 Collins Ave, Miami Beach


Ryan McNamara's MEEM 4 MIAMI: Story Ballet about the Internet

A Performa Commission, Presented by Art Basel, and produced by Performa and Art Base

Dec 3 & 4, 8 & 10.30pm

Miami Grand Theater at Castle Beach Resort, 5445 Collins Ave, Miami Beach

Tickets here (now sold out)


Solange Knowles Presents for SELECT Art Fair

Nightly performances Tues–Fri, from 7pm–10p (11pm on weekend)

North Shore Bandshell, 7275 Collins Ave., Miami Beach, FL 33139

Admission is free (capacity limited)


Queer Biennial Miami

December 4, 2014–January 14, 2015

Opening receptions: Dec 4–7

Hotel Gaythering, 1409 Lincoln Rd, Miami Beach



Presents new and site-specific projects from SIGNAL [Brooklyn] metro pcs [LA]

Opening: Wed, December 3, 6–9 PM (cocktails and hors d'oeuvres provided by The Broken Shaker at Freehand Miami)

2727 Indian Creek Drive, Miami Beach



The National YoungArts Foundation has an entire Art Basel line up including exhibitions, tours, and musical performances

Pop-Up Lounge: Stephen Starr Events caters lite bites and craft cocktails each evening; nightly performances by YoungArts alumni including Grace Weber, Kate Davis, Elliott Skinner, Dec 4–6, 7th Floor of YoungArts’ Tower Building

FKA Twigs Performance: Thurs, Dec 4, YoungArts Tent (entrance on 22nd Street); James Blake: Fri, Dec 5 (sold out)

Slow Motion Walk performances partnered with the Marina Abomovich Institute: Dec 4–7, 12–6pm, free, YoungArts Jewel Box

The National YoungArts Campus, 2100 Biscayne Blvd


FIU Breakfast in the Park

The Patricia & Phillip Frost Art Museum Sculpture Garden

Sun, Dec 7, 2014, 9.30am–noon

Guest Speaker: Artist Daniel Arsham

Florida International University, 10975 S.W. 17th Street, Miami 33199

(Daniel Arsham also has a solo exhibition at Locust Projects (3852 North Miami Avenue, Miami)

Posted by The ArtSlant Team on 12/1 | tags: miami museums miami art week 2014 Art Basel Miami Beach miami art fair guide Aqua Art Fair UNTITLED art fair pulse nada

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New World Center
500 17th St, Miami Beach, FL 33139
December 3, 2014 - December 6, 2014

Black Box and White Cube Merge but Audiences Are Slow to Follow
by Edo Dijksterhuis

The current art market status of video art is comparable to that of photography in the early nineties. Back then photography wasn’t considered "real art" requiring hard-won skills going beyond simply pointing a lens and pressing a button. Moreover, prints could be reproduced endlessly rendering the work devoid of true artistic aura, a Benjaminesque nightmare. For video art too, controlling editions and authentication are the biggest obstacles to overcome, even more than trying to convince collectors that buying a certified DVD at a gallery is preferable to watching the same video on YouTube or Vimeo.

While acknowledging these problems, there is no denying that video art—or better said: time based media—is on the rise. For young artists, especially the so-called digital natives, picking up an HD-camera feels just as natural and necessary as sketching was for generations before them. Museums have latched on and transformed white cubes into black boxes in order to facilitate screenings; most newly constructed buildings come outfitted with a film theater. Artists on the other hand, have crossed over into cinema, Oscar-winning director Steve McQueen being the prime example. For years now, the short film program of the International Film Festival Rotterdam has been dominated by artists such as Yael Bartana, Nicolas Provost, Mika Taanila and Johan Grimonprez. And the winner of the world’s first award dedicated to cinema and art, the EYE Prize, is to be announced this January.

The market cannot ignore these developments and art fairs have responded. Events dedicated solely to video art, such as Loop in Barcelona and Moving Image in New York, are still very rare, but an increasing number of fairs are opening up a special section for time based media. Last summer the Melbourne Art Fair launched a program showcasing contemporary Australian video art, and Projections at Art Rotterdam, taking place in February, is already going into its third year. Art Basel, the mother of all art fairs, has been operating a film program for the last 15 years and its Miami Beach incarnation has followed suit.

Rania Bellou, Tight Rope / Prison Privacy, 2008, Animation, 39”; Courtesy the artist and Kalfayan Galleries, Athens (View animation on Vimeo)


The film program in Miami Beach features works presented by 61 international galleries. Veterans like Turner Prize-winner Mark Leckey (Galerie Buchholz) and Scandinavian superstars Elmgreen & Dragset (Galerie Perrotin) are presented next to emerging artists like Bill Balaskas and Rania Bellou (both represented by Athens-based Kalfayan). Catchy titles like "Armchair Surfers" (about "humanity in the 21st century") and "Radio Ga Ga" (about "concepts of radio and waves in a broader sense") adorn the mostly thematic programs.

For the sake of historical context the curators have not limited themselves to recent works only. But instead of screening hardcore Bruce Nauman or Vito Acconci videos, they have chosen the aesthetically easier to grasp Ex-Romance (1986) by Charles Atlas. For this work the American inventor of so-called "media dance"—contemporary dance directly created for the camera—worked with Karole Armitage. Based on her postmodern choreography the film unfolds at such unlikely locations as an airport lounge, a gas station, and a baggage conveyor belt.

Completely of the now and extremely topical is the program "Digital Revolutionaries" (Thursday, December 4, 10–11pm) which was co-curated by rising star Tabor Robak. Unabashedly plundering, transforming, and criticizing the visual language and logic of computer games, websites, and the internet at large, the artists included point the way to tomorrow’s video art. But they’re not doing so without acknowledging their predecessors. "Digital Revolutionaries" caps off with a tribute to Harun Farocki, screening his Parallel II in which the recently deceased multimedia pioneer questions the inherent rules of computer animated worlds.

Ciprian MureşanUn chien andalou, 2004, 51''; Courtesy of the artist and David Nolan Gallery


The program titled "The Night of the Forevermore" (Friday, December 5, 9–10pm) focuses on the link between cinema and video art. It features the 51-minute-long Un Chien Andalou by Ciprian Mureşan, in which the artist mixes the 1929 Buñuel/Dalí classic with the 2001 animation hit Shrek. In Sunday Alex Prager presents a tableau vivant in split screen and retro style, invoking the spirit of Douglas Sirk. And Jose Dávila, known for his photographs with the protagonists cut out, applies his favorite technique to Sergio Leone’s spaghetti western The Good, The Bad and The Ugly.

Tim BurtonBig Eyes, 2014; © 2014 The Weinstein Company. All rights reserved


Ever since the sixties and seventies commenting on film—or tv for that matter—has been one of the dominant themes in video art. In the 21st century, however, the subject has become less urgent, the medium being overtaken by youngsters with a different frame of reference, the type of artists included in "Digital Revolutionaries." The reason why Art Basel Miami Beach is still programming these works is probably because by doing so it hopes to attract a new audience: the cinema going crowd. This hypothesis is backed by the fact that the film program kicks off with Tim Burton’s latest feature film Big Eyes. This biopic about Margaret Keane, 1950s painter of popular doe-eyed children’s portraits who got duped by her husband but got even in the end, is solid mainstream cinema. Fans of Burton and lead actors Amy Adams and Christoph Waltz will no doubt flock to the Colony Theatre—and will probably leave immediately after the screening, not even taking a peek at the rest of the program. The traditional movie audience, the people who consider film entertainment and love it exactly because of that reason, is not easily lured into watching non-narrative, experimental video art. Although the creators of visual art and cinema mix more freely nowadays and happily share a medium, their audiences are still highly segregated. Art Basel Miami Beach has its missionary work cut out for it.


Edo Dijksterhuis


(Image at top: General Impression, Art Basel in Miami Beach 2013 | Film, © Art Basel)

Posted by Edo Dijksterhuis on 12/1 | tags: video-art Art Basel Miami Beach film art market cinema

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The Top 5 Art Basel Tips from Modern Matter's Olu Michael Odukoya
by The ArtSlant Team

Olu Michael Odukoya is an art director, publisher, and curator who has founded two independent art magazines—Kilimanjaro, a large-format magazine which has produced monograph editions with artists like Roni Horn and Hans Josephsohn, and Modern Matter, a contemporary arts and culture biannual whose new issue is covered by Sarah Lucas. Here, Olu chooses his five favorite things at this year’s Art Basel Miami for the discerning ArtSlant reader.


 Via NY Observer, Hans Olbrist in Conversation 


1.  Hans Ulrich Obrist: The Artist As Curator (Art Basel Conversations panel discussion) 

Hans was one of the first people to champion my magazines, and his talks are always fascinating—there’s a reason that he’s done so many interviews! This is the latest installment in a series which looks at the practice of artists who also work as curators, both on their own shows, and on other practitioners’. It's a great idea, because Hans does the opposite, and makes curation and interviewing into an art form. This time around, he’s speaking with Liu DingRirkrit TiravanijaJoseph KosuthMartha Rosler, and Martha Wilson. It’s on the Sunday from 10–11am, but Art Basel are usually excellent at getting it up on their website not long after, if you aren’t attending.


2.  Hauser & Wirth at booth L17 

I’ve worked with Hauser and Wirth many times in the past, and they’re one of my favorite galleries: they’re also showing two of my favorite artists, Roni Horn and Paul McCarthy, at their booth this year. Creating an edition of Kilimanjaro with Roni a couple of years ago has been one of my all-time career highlights, as I’d wanted to work with her forever—I always try to catch her work whenever I can, and the same with Paul. They’re both very, very different artists, but they’re equally iconic.


3.  Glenn O’Brien’s TV Party—mystery location

As well as contemporary art and fashion, I’m also really fascinated with underground culture from the 60s, 70s, and so on: I’m especially interested in Andy Warhol and the Factory. Glenn O’Brien’s a figure who occupies both of those groups, and he’s bringing back his old public access show, TV Party —which used to give airtime to people like Basquiat and Debbie Harry—for this year’s Basel. It’s co-hosted by André, the graffiti artist.


4.  Sports cars in front of the convention center

Not a party or a talk, but maybe an artwork: I’ve included photographs of the incredibly expensive cars which end up parked up outside the Convention Center twice in Modern Matter, once a Lamborghini and once a Ferrari, which appears in the most recent issue. I own a classic car myself—a ’64 Singer Vogue—and I love vehicles with really iconic bodies and paint jobs."

Oscar Murillo  


5.  Oscar Murillo & Ed Fornieles at Carlos/Ishikawa 

Two performance pieces—one in which Oscar Murillo is making sculptures out of cornmeal (they’re not for sale, though the table he makes them on is), and one in which Ed Fornieles offers manicures with his initials on them. I’ve worked a lot with Oscar in the past few years: most recently, we released a book with him in association with David Zwirner, and he appears in the new Modern Matter interviewing Kerry James Marshall. I started working with him not long after his RCA graduation, and it’s been really great to watch him explode in popularity since then. He continues to surprise me.


Modern Matter’s new issue, Postmodern—which features Sarah Lucas, Oscar Murillo, Kerry-James Marshall, Eddie Peake & others—is out now.


The ArtSlant Team


Posted by The ArtSlant Team on 12/3 | tags: Art Basel Miami Beach art fairs art fair guide modern matter Olu Michael Odukoya miami art week 2014

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Curator Charlotte Dutoit on Work, Travel, and How She'll Be Spending Her Time in Miami
by Char Jansen

Parisian-born, Puerto Rico-based Charlotte Dutoit is a jet set curator working with some of the hottest tipped new names in the large outdoor painting game worldwide: Brazil's Bicicleta Sem Freio, Alexis Diaz, and Borondo to name a few. In fact, their eye-catching projects are often the result of Dutoit's organizing. Recent productions have taken her to London, Las Vegas, Hawaii (she is a part of the family of the annual Pow!Wow! graffiti jam), and now she's checking out the action in Miami, which is where we caught up with her about her journey until now, and her plans for the future.  


Who are you, where are you from and where do you live?

I am French, I grew up in Paris, and moved to the US ten years ago. I now live between Puerto Rico, that I love and consider home, and London… but I've mostly lived on a plane for the last 2 years.

What do you do?

So... I curate events, festivals, gallery shows, and I take to the road with artists for the JustKids tours; I also design spaces and connect artists with brands—the ones that allow creative freedom. Basically, I make things with people I like, under different artistic forms and I try to make them socially conscious.

How did you start out doing all this?

In 2008, I started a company in Puerto Rico to design spaces and interiors for hotels, restaurants, stores, always leaving a big space for art within the design and collaborating with artists on murals, installations, or furnitures. It became pretty successful and clients started to take interest in the artworks. At this point, I decided to organize art shows, first in San Juan where the scene was very prolific, and then larger scale events, festivals etc. Shortly after, I got contacted to do projects in others cities and other countries: Los Angeles, Las Vegas, Miami, London, Mexico, Berlin… This led me to create Justkids a platform for artistic projects and since then it didn’t stop.

How did you make contact with the artists—they're all from very different places and backgrounds?

Since I was a teenager I always had my fingers on the pulse of the underground and I was surrounded with an artistic entourage of artists, musicians, skateboarders, directors, photographers. At one point it became like a small family so at first I did shows with them and then the family extended organically. Now I work with artists from all over the world. Of course, a lot are from what is called the "urban" and "street art" scene but not exclusively. It's important for me to blend artists that work on different medias and styles. That's why I like to have D*Face, Bicicleta Sem Freio, Misaki Kawai, or Edoardo Tresoldi under the same hat.

Bicicleta Sem Freio, Los Angeles, 2014, the biggest ever building painting in the city to date


What are your plans at Miami this year?

I will be here for a few days—I really want to meet The Real Swizz to talk about his amazing collection. 

How do you think the Wynwood project has changed the city?

Wynwood is probably the largest open-air gallery in the US, giving an opportunity for artists to be massively seen during the entire Basel week or during the monthly art walk. It's beautiful, evolving, and inspiring. Where else can you see murals of Futura, Os Gemeos, Shepard Fairey, Ryan McGinness, El Mac and Retna, Miss Van, Roa, Vhils… it's insane. Of course we can’t forget that it's also a gentrification process which comes with its good and bad sides.

What are your art tips for Miami? Galleries, projects, murals to look out for this year?

Visit the fairs, Scope, Basel, hang out in Wynwood and try to get a room at South Beach to make sure you are not too far after the Basel parties. This year I would like to see the murals of D*Face, Ana Maria, Alexis Diaz and Faith, Shepard Fairey, Swoon… I will also explore around Little Haiti as I heard about good pop-up show including Jim Drain. I absolutely want to see Misaki Kawai's teepee [at Mondrian South Beach] and also Daniel Arsham's installation.  

Your best/worst Miami experience?

The best was last year when I organized murals for Bicicleta Sem Freio, Sainer, Cyrcle, and Ana Maria. The worst last year too, the lack of sleep when Cyrcle was working until 3am and Sainer starting at 7am everyday. Tough!


Borondo, Life is Beautiful Festival 2014

Misaki Kawai at Life is Beautiful Festival 2014 

The Maser Motel, Life is Beautiful Festival 2014


What do you love most about your work?

My work! To be honest traveling the world to work with amazing artists and interact with creative personalities is quite enjoyable. I don’t see it as work! That doesn’t mean that I am not doing it seriously or that I don’t put all of my energy into it, actually I truly believe that trying and working harder is the only rule, but I have never seen it as a sacrifice for all the time I've been working in this field. I am just exactly where I wanted to be. 

What's after Miami?

A new hair color, Bicicleta Sem Freio's first gallery show in January and then Borondo's solo show in February, both in London. A festival in Mexico in March, another in May in Brazil, and a group show in Berlin, Life is Beautiful Festival 3rd edition… lots of work, fun, and miles!

Edoardo Tresoldi working on his giant wire mesh man, Life is Beautiful Festival 2014



Follow Charlotte's projects and travels on Instagram @justkidsofficial and Twitter @therealjustkids 


—Char Jansen



(Image at top: Charlotte Dutoit)

Posted by Char Jansen on 12/3 | tags: graffiti/street-art Wynwood Walls Wynwood miami tips Art Basel Miami Beach little haiti charlotte dutoit

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Art Basel Miami Beach
Miami Beach Convention Center, 1901 Convention Center Dr, Miami Beach, FL
December 4, 2014 - December 7, 2014

Positions 2014: 7 Solo Project Previews from ABMB
by The ArtSlant Team

Positions, one of Art Basel Miami Beach's nine sectors, was conceived as a platform for established gallerists to present to one major project by a single artist they represent. Visiting curators and collectors meanwhile lick their lips at the presumed cream of the crop, with the new talents of 16 global commercial art venues being introduced to the arena. What is involved in a gallery's decision making process as they select an artist from their roster? How will their artist stand out to the fervent Miami art crowds? We put three simple questions to a selection of the galleries presenting at Positions in 2014 to find out:


Galerie Crèvecoeur on Julien Carreyn

 Julien Carreyn courtesy Galerie Creve Coeur 


Why have you chosen to present this artist?

At a time when new modes of communication impose a system that seems to be constantly redefined, Julien Carreyn's aesthetic environment—where a throwback to a form of putative French prestige meets signs of intractable globalization—reveals the existence of a world that we cannot, or can no longer, or cannot yet define. Shana Moulton (whom we show in the Film sector), through her character Cynthia can be analyzed as a synthesis of American neurosis and obsessions, inside a population caught between two fields of promises: on the one hand, the "paradise" offered by the massive consumption goods, on the other hand, the medical or spiritual therapies orientated towards the so-called well being. 

Tell us something we don't know about them. 

Julien Carreyn used to be a DJ. Shana Moulton was raised in Whispering Pines (California), which is the title of her video series initiated in 2001. 

What can we expect from the booth at Positions? 



Clifton Benevento on Zak Kitnick 

Zak Kitnick, Romovable Plates, 2014, UV cured ink, acrylic, vinyl, powder-coated steel, hardware, 24 1/2 x 23 1/2 x 12 inches; Courtesy the artist and Clifton Benevento, Photo credit: Andres Ramirez


Why have you chosen to present this artist? 

For Art Basel Miami we propose a solo presentation of new sculptures by Zak Kitnick that incorporate industrial and commercial materials to raise issues of production and distribution.

Tell us something we don't know about him. 

Inverting the boundaries between art, interior design and commodity production, Kitnick’s work explores how these parallel worlds borrow from each other, acquiring and defusing each other’s potential.

What can we expect from the booth at Positions? 

For Positions, Kitnick presents a series of printed plexi-glass sculptures atop steel shelving units. Dichotomies erupt across the Hamilton Beach products that inspire the series—haptic/optic, image/object, art/decoration—in infinite regress. Underscoring issues of form while negating issues of function, the sculptures appear utilitarian without being utilitarian. The products are gone but their ghosts linger in a "minimal aesthetic" without being minimal.


Kitnick offers:

I remember growing up in LA in the late 80s/ early 90s, 

all of the sudden it seemed like we had a lot of choices.

Before there had been iceberg lettuce and romaine lettuce.

Now there was radicchio and arugula, endive and things that didn't look like lettuce at all. 


Thinking about food as material, what about process?

Food processors.


I bought a slow cooker, a toaster, and a blender.

Each one labeled "For Household Use Only" 

but with a deceptive commercial grade stainless steel finish.

How could anything be more functional or more modern?

Keeping them around informed other things…

Work would simmer in the studio, in the powder-coating oven it would toast,

and back in the studio it would be disassembled, rearranged up, and reassembled. Blended.


Wagner Lungov of Central Galeria de Arte on Nino Cais 

Nino CaisUntitled, 2014, Inkjet print on cotton paper, 40 x 60 cm; Courtesy Central Galeria de Arte


Why have you chosen to present this artist?

Nino Cais has a consistent body of work and a solid carreer as an emerging artist in Brazil. He is very well articulated conceptually without compromising with a poetic and intuitive vein. The gallery were in a smaller fair in Miami last year and we sold all Nino Cais' works to an important American private collection. We felt like we should come back to US with a strong project of the same artist but now showing to a larger audience.

Tell us something we don't know about him.

We can give you a hint: In the present project Nino combines different realms like classic sculptures, vintage nudes, his own body and fresh vegetables. We invite the visitors to discover how the pairing of one realm to another produces a flowing narrative as one move along them.

What can we expect from the booth at Positions?

Very fresh and vibrant contemporary art. 


RaebervonStenglin on Thomas Julier  

Thomas Julier, Requiem for RGB, BKLN-NY-AUG14, 2014, photograph of a LED display, archival pigment print, artist’s frame, 42 x 29.7 cm, Edition of 5; Courtesy: RaebervonStenglin, Zürich


Why have you chosen to present this artist?

Thomas Julier is a young Swiss artist born in 1983. Positions is the perfect format to introduce his work to a larger, international audience.

Tell us something we don't know about him. 

He loves Thomas Pynchon's book Bleeding Edge and has made works inspired by it.

What can we expect from the booth at Positions?

A curated booth consisting of a mix of photographs, videos, and sculpture.


Honor Fraser on Meleko Mokgosi

Meleko MokgosiIn essence, you can only describe the democratic intuition as other people's children, not just yours., Exordium, 2013-2014. Oil and charcoal on canvas, 4 parts: 94 in. diameter, 36 in. diameter, 96 x 144 in., 96 x 108 in; Photo Farzad Owrang; Courtesy Honor Fraser Gallery, Los Angeles, CA


Why have you chosen to present this artist?

Meleko is a unique voice among his generation of painters, so we are thrilled to present his work at Art Basel Miami Beach. 

Tell us something we don't know about him. 

Meleko will have his first one-person museum exhibition at the Institute of Contemporary Art, Boston in April 2015. 

What can we expect from the booth at Positions?

The new piece that Meleko created for the Honor Fraser Gallery booth at Positions is a major four-panel installation that is the introductory part of what will be a series of works looking at democracy in the southern African region.


SpazioA on Esther Kläs

Esther Kläs, Girare con te, 2014, Exhibition view, Museo Marino Marini, Firenze; Photo: Dario Lasagni; Courtesy SpazioA, Pistoia


Why have you chosen to present this artist?

I really liked the project Esther Kläs worked on, she’s a terrific artist and I’ve believed in her right from the start; she's very talented. We were her first gallery, even before she started receiving the attention she's getting now and so rightfully deserves.

Tell us something we don't know about her. 

The installation in the Positions sector is the second part of a two-part exhibition portraying the moments in time before a performance is about to take place. The setting is to be imagined as a moment of high concentration in which the sculptures stand focused in subliminal communication with one another. The contact continuously ebbs and then re opens, in spite of the actors themselves.

What can we expect from the booth at Positions?

Sincerely I'm really curious to see visitors' reactions to Esther Kläs' project. 


Kalfayan Galleries on Hrair Sarkissian     

Hrair Sarkissian, Homesick, 2014, archival inkjet print, 150 x 182.5 cm; Courtesy Kalfayan Galleries, Athens / Thessaloniki


Why have you chosen to present this artist?

This is the second time we are showing at the Positions section. Last year, we presented the very well received solo exhibition by the artist Stefanos Tsivopoulos, who represented Greece at the 55th La Biennale di Venezia (2013) with his solo show titled History Zero. This year we present the world premiere of Hrair Sarkissian’s project Homesick. The project is being premiered at ABMB and it is more timely than ever. Furthermore it marks the first time that the artist has created a video work indicating a challenging development of his artistic practice.

In Homesick (2014) Hrair Sarkissian recreated and destroyed an architecturally exact scaled model of the apartment building in Damascus where his parents are still living. While taking as a starting point the current socio-political situation in Syria, the artist’s home country, the work examines inter-temporal issues of personal and collective history, memory and displacement.

Tell us something we don't know about him. 

Every artwork of Hrair Sarkissian is a piece of his autobiography which the viewer is being challenged to decipher!

What can we expect from the booth at Positions?

That it will catch your attention! It will make you stop at the booth, it will require thought and will make you eager to learn more about the work and the artist!



—The ArtSlant Team



Posted by The ArtSlant Team on 12/3 | tags: installation art basel miami beach 2014 art basel solo shows positions 2014

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Pedro Reyes
Institute of Contemporary Art, Miami
4040 NE 2nd Avenue, Miami, FL 33137
December 3, 2014 - March 15, 2015

A First Look at Miami's Newest Contemporary Art Museum
by Allyson Parker

The Institute of Contemporary Art hosted its inaugural show last night to a fanfare of eager art world denizens. Following its staff's departure from the now defunct Museum of Contemporary Art, North Miami, the ICA is now open in its temporary home in Design District’s landmark Moore Building. The edifice, built in the 1920s by the Moore Furniture Company, has been operating as a pop-up event space for some time and is for now serving as the location for the city's newest contemporary art museum. Located across the street from DASH High school, Miami’s featured charter school for Arts & Architecture, and just down the block from the newly established headquarters of Louis Vuittons’ Latin American operations, the museum promises to serve a diverse community of museum-goers both, young and old, inside and out of the developing South Florida art and design scene.

During Miami Art Week, the Museum opens to a foyer of commodified creative goodies. Imported from Basel, Switzerland, JUNE Fine Goods & Souvenirs dons shelves with limited edition gold dust sachets and conversation-starting coffee table books to line any art connoisseur's bookshelf. Entering the main hall, one is immediately immersed in a four-story panopticon of artistic endeavour. The first floor features international artist Andra Ursuta’s As I lay Dying installation, a modern-minimalist’s version of the Egyptian sarcophagus. A flattened wax figure is the sole entity inhabiting the first floor exhibition space (besides the paid security guard so perfectly placed the scene teeters on the brink of irony) and establishes the “scene of the crime” as it were. Like a page out of Murder She Wrote, the mummy’s lifeless body invokes a sense of violence as if passively pushed, or maybe an active leap from lethal heights. As you continue to walk around, you notice the ascending shrines of the artist's work, built atop “monuments” of modern construction elements like cracked drywall and exposed nail heads.  

Pedro Reyes, Sanatorium, 2011–present, Installation view at ICA Miami


The exhibition continues on the second floor with Mexican artist Pedro Reyes’s Sanatorium, a multi-room installation series of pseudo-psychological lab experiments and team building workshops. The artist employs “doctors” (museum docents in white lab coats) who lead viewers through the segmented rooms, each featuring a new exercise of personal or shared self-discovery. Guests are invited to participate in activities like attach little trinkets of positive intention to handmade GooDoo dolls (like VooDoo dolls, only for used for positivity), praying upon them with good-willed consciousness. In the adjacent room, self made epithets are physically etched into index cards and put on view for the public, while further down the corridor team building exercises invite guests to hold hands and share gestures in an adult-friendly version of the kid’s summer camp classic Indian Chief.  

For many the evening concluded in an afterparty of audio visual stimulation featuring DJ Twin Shadow and a performance by Prince Rama. The younger generation reveled in the opportunity to let their hair down and move to the beat of the well-choreographed drum. Perhaps in anticipation of a Miami audience during the frenzy of Art Basel Week, the museum segregated its before and after moments, and—at least for one night—kept its Art in one section and everything else in a malleable alternative space.   

Andra Ursuta, Soft Power, 2013, Installation view at ICA Miami

Pedro Reyes, Sanatorium, 2011–present, Installation view at ICA Miami

Pedro Reyes, Sanatorium, 2011–present, Installation view at ICA Miami


Pedro Reyes, Sanatorium, 2011–present, Installation view at ICA Miami


Pedro Reyes, Sanatorium, 2011–present, Installation view at ICA Miami


Allyson Parker


(Image at top: ICA Miami; Via Facebook; All other images: the author)

Posted by Allyson Parker on 12/4 | tags: performance installation ICA Miami Art Basel Miami Beach Miami Art Week miami art museums

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Group Exhibition
Aqua Art Miami
1530 Collins Ave., Miami Beach, FL 33139
December 3, 2014 - December 7, 2014

Edra Soto: Selling a Fantasy
by Stephanie Cristello

Luxury is so often determined by a price tag. But commerce is rarely how we interact with the phenomena of high-end merchandise—its excessiveness, its indulgence; its extravagance is almost always (and exclusively) experienced visually. We feel the texture of opulent velvets and silks first with our eyes, the metallic gleam of a smooth reflection through its cool touch on our sight, in jewels that refract their prismatic color back onto our gaze. There is something intensely tactile in the image of luxury—it is as visual as the eye that perceives it. The aesthetics of lavishness are accessible to all; it is not limited to the ones who can afford it.

Luxury sells you a fantasy. So does the work of Chicago-based artist Edra Soto.

Soto’s recent work elaborates on the false paradises promised to us by the imagery of the tropical vacation—an artificial aesthetic that carries with it the possibilities of warmth, leisure, and relaxation through the vehicle of the art object. These representations often take the shape of familiar domestic objects—plastic lawn chairs, side tables, patriotic flags, etc.—and indeed impersonate their function. We imagine experiencing this work surrounded by palm trees, while a cool breeze that comes of the shore, the faintest echo of the sea as the tide washes closer and farther in the distance. But with every vacation comes discomfort. The sand in between your toes, mosquito bites, sunburnt skin, the unappealing resort food—the dream is broken. The work is exposed as a cover-up.

In Soto’s work, the spectacular and its simulation are presented within a single experience. Fittingly matching its title, Say Everything, the imagery within this series of work hinges on excess. Two pieces within stand out in particular—in one, a bright, striking orange tiger commercially printed on terrycloth envelops a series of chairs, stacked on top one another. In the other, the bright blue eye of a snow leopard pierces the viewer with its gaze, positioned just to the center of the seat back. In both works, the printed image is treated as upholstery. While the fabric perfectly conceals the surface of the chair, neatly sewn and carefully applied, it does not disguise its material. The shape is undoubtedly familiar; you can almost feel the white plastic seat beneath you. While the image exists on top of the entire object, almost flattening the chair through the optical busyness of its overall pattern, the furniture becomes anthropomorphic. That the chair has “legs” takes on a new meaning. There is something humorously futile about the artist’s attempt to hide the cheapness of the material support by superimposing such a painstakingly labored image. A camouflage in plain sight.

Through their treatment, the chairs are transformed into a type of digital backdrop; like a screensaver or desktop wallpaper, the imagery allows viewers to ascribe their different projections on the status of the object—from utilitarian to decorative, useful to purely ornamental. Soto’s silk flags operate in a similar way. Though the works are not quite abstractions—their shape and scale quite obviously betrays the countries they propose to represent—they take full liberty with how they describe intensely familiar patterns. More reminiscent of foliage than governmentally appointed colors, which strips them of their “official” function, the flags are strangely more connected to their originally intended use. Which is, of course, to wave in the air. Here, the flags billow in the breeze more naturally, like leaves.

Just as the image of luxury sells us a fantasy, Soto’s work allows us to experience that more often than not, the dream of paradise is better than the thing itself.


Stephanie Cristello


This essay was first published in the ArtSlant Prize 2014 Catalogue, on the occasion of the ArtSlant Prize 2014 exhibition at Aqua Art Miami, from Thursday, December 4—Sunday, December 7, 2014. Edra Soto was the ArtSlant Prize 2014 Grand Prize winner.

Other ArtSlant Prize catalogue essays: Adam Douglas ThompsonAnastasia Samoylova, Oren Pinhassi


(All images: Edra Soto, The ArtSlant Prize Exhibiton, 2014, Installation views at Aqua Art Miami; Courtesy of Edra Soto and ArtSlant)

Posted by Stephanie Cristello on 12/4 | tags: installation mixed-media art fairs artslant prize 2014 Aqua Art Miami

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On the Fear and Reality of Missing Out: Art Basel Miami Beach, Day 1
by Rob Goyanes

Last night, the poignancy of being a local for Art Basel Miami Beach was acute when talking to Kyle Chapman, an artist who grew up—like many of us—far from the lapping waters of South Beach. He told a story about a time in middle school when he found a baby leopard-patterned Lisa Frank trapper keeper in the bathroom, and you could tell who was just visiting by their gasps at the great reveal of what was inside.

Metaphors for life abounded throughout the evening, which started out with staring at the ceiling of Primary Projects, which Jim Drain had painted with a foreboding message in the bumper sticker font where COEXIST is spelled out with major world religious symbols.

Traffic in the Design District


After missing the de la Cruz opening because of traffic, I attended the opening of #ihaitibasel, located in the Little Haiti Thrift and Gift Store, Inc. On one side: racks and racks of clothes and knick-knacks. On the other side: a darkened hall blasting with music and lasers and art on the wall, with a guy in the back having passion fruit frozen drinks of Haitian moonshine. Mmm.

The bathroom at #ihearhaiti

Impromptu/promptu fashion show at #ihearthaiti; Photo courtesy Sarah Moody


The space erupted with what seemed to be a planned fashion show/dance party. Reluctant fashionistas put on furs from the other side and strutted. Worlds here were colliding in refreshing ways.

On a last-minute whim around midnight, I decided to ride solo to The Raleigh Hotel to try and catch the much-buzzed Miley Cyrus performance presented in some way by Jeffrey Deitch. I parked easily and watched men in suits try to ride their rented beach cruisers. There were people in the park of the New World Symphony, mistaking blue herons for emus. 

Arriving at the front doors, I employed the many methods of getting in. First, the confident stroll past the well-guarded divider: not confident enough, apparently. Next, the old “I write about things like this for a living”: barely a peep, not even a list to check.

Without hope, I went around to the north end of the hotel, seeing if I could muster the pathetic will to scale the wall. I slithered up towards a big steel door lamenting my lack of aplomb—then suddenly, an angel appeared.

A young prep cook or bar back opened the big steel door to leave. I looked at him, and he at me. Without a word, he held the door open, unassumingly, and let me through. I walked through hallways adorned with "Warning: security camera signs," and felt the lump in the throat that comes with the assurance that you’ll soon be dragged out of a place, probably by the lump itself. There but for the grace of God go I, who decided to wear all black.

Past the kitchen, past the liquor storage room, I found myself in the boutiquey lobby, surrounded by people. Then I was outside, surrounded by even more. Through the glitz and glamour glowing red with my pulse—just feet from the pristine sands of South Beach—I saw the pool area. My mind pumped images of Miley and redemptive victory.



#MileyCyrus + #ArtBasel = This

A photo posted by Ricardo Mor (@rmormormor) on Dec 12, 2014 at 9:45pm PST

I made it so close, but had to vicariously experience Miley via Instagram.


Quickly moving past those costumed and dining, I came to a second divider. Squinting, looking harder, I saw the big pieces of a stage being carted away. I wouldn’t have another chance at skirting boundaries. A French man sitting for dinner smirked at me and said, “I am sorry.”

#ihaitibasel parade; Photo courtesy Sarah Moody


Back at a warehouse party in Little Haiti, where #ihaitibasel moved to via parade from the thrift store, I listened to a Sade cover band, as a native Miami man told me about the sublime mix of wonder and terror he felt when he delivered his and his wife’s 6th child, and then the afterbirth.

He cried the wettest tears I’d ever seen.


Rob Goyanes


(Image at top: Afrobeta performing at #ihaitibasel; Photo courtesy Sarah Moody; Unless otherwise noted all images: Rob Goyanes)

Posted by Rob Goyanes on 12/4 | tags: art base miami beach Miami Art Week #ihaitibasel miley cyrus parties art scene

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Anastasia Samoylova: On Facebook Everyone Is on Holiday
by Caroline Picard

Anastasia Samoylova does not go out into summer fields when she begins a new work of landscape photography. She goes online, haunting public domain photosites for images of picturesque landscapes: sunsets, waterfalls, forests, oceans, and flowers. Despite the seductive vistas each calendar image portrays, they are so common they become redundant. “I’m almost monumentalizing them in my installations,” Samoylova said during a recent (Skyped) studio visit, “otherwise they would just be these little orphans of images.”

After printing out her source material at home, Samoylova brings the reproductions to her “studio,” a single table on which she stages her collages and a desk with a cutting board; there the artist begins to cut and reconfigure her images, constructing elaborate three-dimensional arrangements that combine, reflect, and distort fragments of public domain printouts with gels, reflective surfaces, and semi-transparent corrugated sheets. The result is a slick, kaleidoscopic environment that revels in the process of its own staging—to such an extent that Samoylova even makes stop animation films of her process. Finally, she photographs the complete tableau, flattening her installation back into two-dimensions. Like the distorted space within each print, the production process is a constant expansion and contraction during which images slip in and out of three dimensions.

The colors in the final prints are saturated and bright; the patterns she incorporates similarly appear so regular that they read like Photoshop tools. The white backdrop feels too bright—everything feels artificial. And yet her interventions occur entirely in real time and space. Rather it’s the source material that’s digital: images of Nature that are as doctored as the celebrities in magazines. Samoylova, by contrast, insists on working with her hands, even going as far as refusing post-production edits. By printing out the images at home—translating the originally expansive outdoor space from its digital jpg form into a domestically proportioned object—Samoylova brings the images into a material space with practical limitations. Consequently, the final print shows evidence of dust and small imperfections socialized habit would remove. “You start seeing blemishes,” Samoylova said, “The studio shows through.” In that respect, her photographs are particularly honest. Unlike early landscape photographs that presume to give you the “real” Yosemite experience, Samoylova exposes the contrivance implicit in photographic works, and in so doing emphasizes the curious ideologies embedded beneath our generic desire to frame and capture the environment.

Before getting her MFA, the Russian born artist originally studied environmental design with Bauhaus and Dadaist roots—roots that no doubt contribute to her appetite not only for the strangeness of social media (she was one of the first Flickr users in 2004), but also the game of creative constraints. Add to that the two years she spent working as a designer for Armani, and the origins of her aesthetic begin to emerge.  

The nature Samoylova portrays is not natural—it never was natural. Beaches presents a series of boxes and flat planes, hanging together in defiance of gravitational forces. Oceanic tides draw in and pull back from one another, refracting as though in a hall of mirrors. It’s impossible to discern the scale of the composition; skylines appear at cross-purposes. It’s no wonder the experience of space seems so strange when the images themselves are facsimiles of facsimiles of facsimiles.

A pervasive desire haunts Samoylova’s tableaux. “Pictures are a manifestation of our search for the sublime,” she told me through the screen of my laptop. And like its historical precedents, this “sublime” is skewed. Beaches plays with the idea of the beach, how desirous it is because of what it signifies: the luxury of vacation, the implication of success, the appeal of relaxation as an untroubled psychological state. When one gets to the beach it must be photographed and shared, not only to prove that such places exist, but perhaps most of all to prove that one has arrived there.


Caroline Picard


This essay was first published in the ArtSlant Prize 2014 Catalogue, on the occasion of the ArtSlant Prize 2014 exhibition at Aqua Art Miami, from Thursday, December 4—Sunday, December 7, 2014. Anastasia Samoylova is the ArtSlant Prize 2014 3rd Place winner.

Other ArtSlant Prize catalogue essays: Edra SotoAdam Douglas Thompson, Oren Pinhassi


(All images: Anastasia Samoylova, The ArtSlant Prize Exhibiton, 2014; Courtesy of the artist and ArtSlant)

Posted by Caroline Picard on 12/4 | tags: photography ArtSlant Prize catalogue Aqua Art Miami Art Basel Miami Beach artslant prize 2014

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Queer Biennial I Opens During Art Basel Miami Beach
by Eva Recinos

With a flurry of activity already under way in this year’s Miami Beach Art Basel, it’s no surprise that some artist groups are creating their own activities outside of the huge event. Described as “an unabashed exhibition of queerness,” the Queer Biennial I is taking place during Art Basel weekend at the Hôtel Gaythering. The Hotel is known as a meeting place for Miami’s LGBT locals and is the area’s only hotel that caters solely to this community. The space is transformed with more than 100 artworks from 35 artists, curated by "Conceptual Pop" artist Rubén Esparza

Queer Biennial I includes artists from a variety of aesthetic and cultural backgrounds. For example, Gio Black Peter, a New York Cigty-based Guatemalan artist, creates performances and two-dimensional pieces that explore authority, identity, and rebellion. Many of his paintings combine acrylic with portions of the NYC subway map to create complex portaits of confident young men.

Slava Mogutin, Courtesy of Tandy Weems/The Murray Agency


Meanwhile during the exhibition, Los Angeles based artist Ben Cuevas will spend time in the hotel locker room, knitting himself a jockstrap as he sits nude. This “knit performance exploring space and gender,” (as his website describes it) looks to shatter the associations between knitting and gender tropes—or specifically, the definitions of women's work versus men’s work. His performances takes place nightly from December 4—6,  8—10 pm. 

Lili Lakich, an artist working in neon with a number of public art pieces, has also contributed work along with figures like Slava Mogutin—the first Russian man to receive political asylum from the United States for homophobic victimization. Other names includes Alex La Cruz, Amy Von Harrington, Stuart Sandford, and Alonso Tapia. The exhibition first debuted in Los Angeles and this iteration hopes to attract both Miami’s LGBT residents and those visiting from other locations. Beyond Art Basel, Queer Biennial I will stay on display at the Hotel until January 14, 2015.

Mel Odom, Courtesy of Tandy Weems/The Murray Agency


Eva Recinos


(Image on top: Connie Fleming, Courtesy of Tandy Weems/The Murray Agency)

Posted by Eva Recinos on 12/5 | tags: queer biennial I Miami Art Week hotel gathering gay art

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A Play on Material: Oren Pinhassi
by Joel Kuennen

Material can be transcendent.

Postmodernism is failing.

History is a spiral.


These three assumptions underlie Oren Pinhassi’s work. Beginning with the familiar—towels, a backpack, a dwelling—objects are transformed through the addition of another common material, plaster. Through this addition, he transubstantiates the everyday into thematic sculptural and architectural forms, an act that Pinhassi describes as transcendent. There is a key definition being explored through Pinhassi’s work: transformation vs. transcendence. Both connote change, however it is not a change in form that is Pinhassi’s goal, rather an elevation of form into the realm of critique.

Postmodernism promised a revaluation of culture following the deconstruction of Modernism. Pomo was suppose to be a putting back together. Pinhassi rightly accuses postmodernism, however, of focusing on deconstruction and calling it reconstruction. While these two activities are dialectically bound, the object of postmodern art and indeed postmodern society remains an act of deconstruction. Think of the popular memes of our society and the cultural attitudes they address. As a culture, we are still working to deconstruct the infrastructures of racism, sexism and power that predisposes an individual. Postmodernism ultimately promised a freedom of creation, a freedom of potential that is seemingly impossible without the dissolution of existing paradigms of power and privilege. The problem with this is that dissolution itself is an impossible activity, there is no null state of society that can act as a point of departure in reconstructing society. This is why the act of deconstruction and reconstruction are dialectically bound and subvert a linear understanding of history (hence, the spiral), while something is deconstructed, it transforms, it finds new context within the existing paradigm. Through the simultaneous act of reconstruction the object is always transformed but, Pinhassi asserts, it may transcend as well.

In Pinhassi’s 2014 installation, Untitled, he created a domestic space, a safe space, a shelter. The work isn’t actually a shelter, however, through its material form that calls upon the historical and material histories of its components while at the same time being present in a gallery context and through the material alterations of Pinhassi, it transcends what it is and becomes thematic. Behind this shelter is a brick bathtub, really a brick cube that is built around an emergency water reservoir, a 100 gallon plastic bag that consumers can buy to fill with water in emergencies instead of filling their apparently dirty bathtubs. The plastic bag in the shape of a bathtub calls up the theme of safety, security, necessity, while at the same time disrupting the cassual understanding of the object.

Plaster has a long history of being an art material but it is also used to build and parget walls, to set broken bones and was used in the mummification process. Modroc, the form of plaster used for setting bones is actually noted as one of the first invented composite materials. A very basic compound of alkaline lime and sand, plaster itself is transubstantial.

Sometimes these histories are obvious like the material itself, other times, not so much. The sweeping parabolas that constitute the shelter in Untitled are formed by gravity, an idea Pinhassi gleaned from a technique of the Spanish architect Antoni Gaudí. Pinhassi saw this use as bringing an otherwise hidden force to the fore. Gravity is always implicated in a structure as the structure must defy gravity to stand but one doesn’t necessarily think of this every time you step into a building. By submerging burlap in plaster then draping the sheets from two stable points and letting gravity and time shape the plaster arches, Pinhassi uses gravity as a material, the effect of which becomes apparent when the burlap arches are set sideways to form billowing columns that support a much greater arch canopy over the dwelling. The rigidity of the plaster together with the perceived flaccidity of the burlap situates the forms in a contested state. It is in this state of indeterminacy where the objects transcend their form and become contemplative objets d’art.


Joel Kuennen


This essay was first published in the ArtSlant Prize 2014 Catalogue, on the occasion of the ArtSlant Prize 2014 exhibition at Aqua Art Miami, from Thursday, December 4—Sunday, December 7, 2014. Oren Pinhassi is the winner of the ArtSlant Prize Student category.

Other ArtSlant Prize catalogue essays: Edra Soto, Adam Douglas ThompsonAnastasia Samoylova


(All images: Oren Pinhassi, 2014; Courtesy of the artist and ArtSlant) 

Posted by Joel Kuennen on 12/5 | tags: installation sculpture student prize Art Basel Miami Beach Aqua Art Miami artslant prize 2014 plaster ArtSlant Prize catalogue

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Adam Douglas Thompson: Dialogical Particulars
by Joel Kuennen

A word forms a concept of its own object in a dialogic way.

—Mikhail Bakhtin, Discourse in the Novel, 1941


Adam Douglas Thompson’s drawings are words. His installed formations are sentences. His words, however, are not defined. His sentences are not linear. They are dialogic imaginations, each image acts a concept which through their relational grouping gains meaning. The groupings can and should be read multidirectionally. This approach is how Thompson believes thought works, a concept trailed by consciousness that couples with nearby conceptual points, with each move gaining contextual meaning.

“I believe in particulars,” says Thompson, “in a bottom-up emergence of meaning.” Each image that Thompson draws in a characteristic minimal manner draws on the context a viewer brings to the work, however, it is when these particular objects are grouped that the dialogical wonder becomes apparent.

A cursory glance at his work would suggest that he is playing with juxtapositional readings however a closer look reveals that complex stories about the human condition emerge from very particular visual situations. Juxtaposition relies on contrast. Thompson’s drawings rely on relation to gain their meaning. If you take a series of three of his images you can see how his sentences take shape. Each image is related, image one progressing in form to image two and so on. However, If you view image one and three, the shared form will not be present, their only relationship will be one of juxtaposition. This analogy is imperfect since the serial nature of numbers implies a linear progression. Each drawing is made in relation.

The images do rely on known forms—a whale, a boot, etc.—but these known forms are integrated through stark, black lines. There is certainty in the minimalism of the drawings. The visual economy of the drawings find a visual partner in lingual fonts. They are particular, if peculiar. These form mash-ups are often funny or bizarre like the products of an exquisite corpse game. Sometimes they rely on more stylized interpretations, a sharp, angular Whistler’s Mother, for example, elicits the kind of relationship that would prod Whistler to paint his mother in the way he did. No matter the relational technique employed by the drawing, their stylistic character reinforces their use as component parts of a web of meaning.

The installations that Thompson produces are carefully planned to induce a particular tension. Within the nebulous, associative array, specific and tangible concrete objects call out and produce points of departure through which he addresses major themes in human subjectivity and experience in humorous and deft ways. “A friend once told me in regards to writing, ‘all elements of life must be in appropriate proportions,’ I always think about this as I’m making these webs.” A little bit of humor, some regret—out of these associative formations come an existential poetics, unique to this artist but understandable to any viewer.


Joel Kuennen


This essay was first published in the ArtSlant Prize 2014 Catalogue, on the occasion of the ArtSlant Prize 2014 exhibition at Aqua Art Miami, from Thursday, December 4—Sunday, December 7, 2014. Adam Douglas Thompson is the ArtSlant Prize 2014 2nd Place winner.

Other ArtSlant Prize catalogue essays: Edra Soto, Anastasia Samoylova, Oren Pinhassi


(All images: Adam Douglas Thompson, 2014; Courtesy of the artist and ArtSlant) 

Posted by Joel Kuennen on 12/5 | tags: drawing Art Basel Miami Beach Aqua Art Miami artslant prize 2014

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Collective Delusions Bad and Good: Art Basel Day 2
by Rob Goyanes

The increase in events, exhibitions, one-offs, happenings, parties, cultural gatherings, informal mixers, themed bashes and networking raves is about 1,000% compared to non-Art Basel time in Miami (which is what we call it. Not “Art Basel Miami Beach,” or “Art Basel Miami”—just “Art Basel,” or even more often, and funnily enough, most everyone truncates it to just “Basel,” har har), scientifically speaking, so right around now everyone involved in the whole thing seems to be phasing through rapid cycles of tiredness and frenzy.

Yesterday was spent on North Beach at the New Art Dealers Alliance fair, housed in the mid-century Deauville: truly a beach resort, designed by Morris Lapidus in the depression moderne aesthetic, thusly cheesy and kinda skeevy but also classy in a dated way. A monument to Too Much is Never Enough, Lapidus’ book and maxim, it’s where The Beatles had their second U.S. performance.

Will art fairs someday have to not look like art fairs in order to sell art? Looking at art and trying to tease meaning or pleasure out of it is hard when there’s so much of it around you. Luckily, the fair format is one for buying and selling. The upside down painting of a parrot by Sean Bluechel at the Tang Gallery booth really, really, spoke to me.

I had a pleasant time. Out front I ate a ropa vieja sandwich, some Lay’s Potato Chips, and a Coca Cola. The sandwich was tasty and lukewarm, and I was taken aback by the crunch of the lettuce, the freshness of the tomato. The Lay’s Potato Chips were archetypal. The cola was, well, you know.

I overheard in the long line, “There’s art in money!” as the Cuban ladies yelled and yelled and laughed and sang. Also in line, some guy in a Dash Snow shirt. If not already, read about him, and form an opinion about the dead—and yourself in the process. Some friends joined me at the table and we cheers-ed our tiny colada cups, then lay by the pool. Thick storm clouds gathered just east.

After gathering ourselves we headed to PAMM for the Future Brown and Kelela performance. Rain in the early evening oscillated from drizzle to downpour, and the embracing porous architecture of the museum meant wet bars and some grumbling patrons. Of course, the rain subsided. The waters of Government Cut twinkled with the lights of the Port of Miami reflected. The bay, for now, remains at bay, and it is beautiful.

It was a surprise to see the PAMM so so full of people. The function of the museum as a high-end/high-volume gala venue was on display, but it felt more democratic than a nightclub. Great big crowds stood outside to watch the performances, blossoming the Herzog & de Meuron-designed building into a Roman coliseum of sorts, the mass assembled for everything but the lions. A sense of civic pride mixed with other feelings.

One of the best art experiences of the entire week was an exhibition at the PAMM by Geoffrey Farmer, a native of Vancouver. Let’s Make the Water Turn Black is a netherwordly room installation of playful, deep-psyche sculptures that referenced things like Duchamp, Nazis, and artifice.

The lighting changed from fluorescent blues to pinks, creating a sensate mood far beyond the abilities of the white cubed booth. Sound effects from different sources and silly, unexpected kinetics from several sculptures were joys in strangeness.

The next peg on the marathon was FKA Twigs at the YoungArts Foundation national headquarters. I mistakenly assumed it would be held in the courtyard of the historic Bacardi building, which YoungArts acquired in 2012 and is a gem of this end of Biscayne Boulevard, but it was instead inside a large tent adjacent.

Courtesy Brad Lovett

A spectacle of fog and lights, FKA Twigs and her band emerged bathed in white, with Tahliah Bernett (Twigs) delivering her signature sweet-nothings in higher octaves. Live electronic drums and instrumentation backed up a straight forwardly great pop performance by the R&B artist. Something was sad in the tent though, collectively: not many danced even as Twigs worked it right through, though clearly everyone was entranced, their phones creating a multiplicity of the scene within itself. The room would light up, then fade away and wilt.

After all, these are dark times for a place such as ours, as usual.

Blurry stalker photos: Jeffrey Deitch (left) and Domingo Castillo, local gallerist and Deitch impersonator motions across the bar (right)

After the show, we crossed back over to North Beach, NADA ensconced in neon glow. We arrived at the NADAWAVE party fretting the fact that we were missing Syrian artist Omar Souleyman. We stood in line near the front as Jeffrey Deitch—who was responsible for this party as well as the Miley “Mike Kelley” Cyrus show—stood on the other side, inside, on the sand-covered floor. We did not catch Souleyman.

We left shortly after getting in because we got sleepy.


Rob Goyanes


(Unless otherwise noted all images: Rob Goyanes)

Posted by Rob Goyanes on 12/5 | tags: PAMM Art Basel Miami Beach FKA Twigs Jeffrey Deitch nada NADA Miami Art Basel parties performance

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The Artful Mechanic at Buwalda’s Body Shop
by Rob Goyanes

People wearily bemoan the untrustworthiness of auto mechanics. Often, this labor force is assumed to be full of dupers, exaggerators, and flat-out liars.

It’s cliché to think this: that they’ll take advantage in ways from small to horror-story large, since their customers don’t have the knowledge, tools, or will to address the problems plaguing their conveyance. And it’s cliché for a reason—especially in Miami—where personal transport is tantamount to both one’s freedom and burden.

But when someone knows a good mechanic, it’s as if they’re in with a certain class of artisan-saints, those who are equipped with a nearly prophetic intelligence, effective instruments, and still-beating hearts.

Tim Buwalda is a Miami painter known for his photorealistic renditions of automobiles of various types, in various states: Romantic scenes of Cadillac doors ajar next to a lake; monster trucks plowing gloriously through sand dunes; the twisted wreckage of vehicles at the end of their lives, supremely rendered in oil (as in the paint, though the poetry of this should not be dismissed), crumpled in junkyards and awaiting the vulturine to pick them of valuable parts, then recycle the rest.

Amidst the glitz of Art Basel earlier this month, Buwalda opened The Body Shop, an installation of his paintings in a former auto shop in Little Haiti, wedged between enclaves of warehouses and housing projects. Walking through the glass-sprinkled parking lot, you can tell it’s legit by the scuffed aqua colored walls, the old hand-painted signage next to the “Buwalda’s Auto Body” neon, and the security bars on the windows.

Going in, you enter a reception room where Buwalda’s wife Charity will, from time to time, take appointments from a desk. The walls have hot wheels figurines, an informational Florida labor law poster, and painted cursive that says “We Fix Everything!”

His paintings hang on grease-smudged walls, bathed in fluorescent light in fact very well suited for seeing the virtuosity of the work. As you walk around, it’s clear that the show is about context, the different impacts of environments that help to constitute culture and ideas, and vice versa, and there are cheesy 80s-style posters of women standing suggestively in front of cars, which makes you think a variety of things, depending on who you are.

You learn from a friend of the artist that Buwalda is actually a mechanic himself, and that the tools and manuals that are there are actually his own—he installed them—and that his dad was able to fix almost everything, and that he (Tim) is most certainly his dad’s son, in that he does the same work now. You learn how that work is a wellspring for his other passion, painting, the more commonly defined “fine art” of the two, and suddenly it clicks how the painting is made inextricable from the mechanical labor of diagnosing functional problems and providing reasonable solutions. You wonder how different they are, but also, that this is a moot point.

Out back, two floodlights shine on a 1965 Ford F100. The hood is a strikingly similarly color to the façade of the shop. Buwalda will be working on it throughout the duration of the show, he tells you, as he opens the big old refrigerator sitting next to it, pulling out a chilly Coors for you to swill as the sun drops in the sky.


Rob Goyanes


Timothy Buwalda's The Body Shop, 7220 N. Miami Ave, 33150, Open from December 18, 2014,


(All images: Courtesy of Tim Buwalda)

Posted by Rob Goyanes on 12/23 | tags: realism installation painting trucks miami cars auto body shop mechanics

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