Notes related to Miami

Miami Dade College’s (MDC) Cuban Legacy Gallery, in collaboration with the American Museum of the Cuban Diaspora, presents Baruj Salinas: 1972–2022, a thematic survey of the acclaimed Miami-based Cuban American painter’s abstract work. Curated by Adriana Herrera, the show spans a half century of Salinas’ artistic career and features 40 works and includes paintings, works on paper, glazed ceramics, and an artist’s book. The works are borrowed from Miami collections, including that of the Cintas Foundation. The exhibition will be on view until August 14, 2022.

Pepe Mar is a cognoscente of materiality at the forefront of social fluency and personal obsession. Mar excavates the ritual narratives inherent in secondhand stores, science fiction, celebrity, commercial design, and social media to create abstract and anthropomorphic barometers of contemporary culture.  The artist’s work, available at the David Castillo Gallery, is committed to a personal and universal exploration of cultural alienation.

Pérez Art Museum Miami (PAMM) presents Marisol and Warhol Take New York, an exhibition featuring iconic artworks and ephemera by artists Marisol Escobar and Andy Warhol, opening on April 15, 2022. The exhibition not only offers a glimpse into Marisol and Warhol’s close bond as friends and artistic collaborators, but chronicles the development of both artists' careers over an eight-year span from 1960–1968, while highlighting their influence on each other, their parallel rises to success, and their savvy navigation of the highly competitive 1960’s gallery world.

As travelers walk near Miami International Airport's gate D29, Miami-based painter Yolanda Sánchez invites them to also walk through an imaginary garden of Korean-inspired, translucent fiber constructions in luscious, vibrant colors with The Earth Laughs in Flowers, the latest exhibition at MIA's “The Eye Has to Travel” Gallery.

This group show curated by Rhonda Mitrani presents artworks that reflect an ethereal sensibility toward nature. During a time when we were forced to stay home, away from public spaces and other people, the relationship between humans and nature shifted, causing a Natural Transcendence, and a renewed sense of gratitude for the natural elements that surrounds us.

Using socially engaged art, "The Underwater" will work with Miami's marginalized communities to amplify "Underwater Voices" - those who are underrepresented, underserved, and undervalued. Collaborating with local partners, this social practice effort will use art to map the area's vulnerability to rising seas and mobilize residents to demand that government equitably plan for a future impacted by climate change.

“My work attempts to assemble a visual language that reconciles the process in which the history of this information is recorded, stored, and retrieved." Emerson Dorsch presents Alchemic Chants/ Reliquias Fragmentadas, Yanira Collado’s first solo exhibition with the gallery. A platform nearly covers the gallery floor, while objects and paintings punctuate the slim corridor around it. The platform echoes the footprint of a small house, one for living and for working.

Trophallaxis (2008–17) encapsulates Leigh’s emphasis on the female body—particularly the Black female body—as a culturally loaded signifier. The presentation marks the first time this work is shown since it was acquired for the museum in 2018 with funds provided by PAMM’s Collectors Council.

Oolite Arts in Miami exhibits Feels like 97°, a video and photography group exhibition curated by Michelle Lisa Polissaint.

This exhibition features thirteen photographs by Gory from the Moonlight Serenade series (2012-2018). The essay by the curator Julia P. Herzberg discusses the varied contexts of the photographs, which are exhibited and discussed here for the first time.

The Cuban artist was selected for the EFG International acquisition award for his work El Fin (The End) exhibited at PArC with the Piero Atchugarry Gallery. The announcement was made in Pinta Miami together with Diego Costa Peuser, Director of Pinta, Victor Echevarria of EFG Capital and Celia Birbragher, Director and Editor of ArtNexus.

-With an experience of more than fifteen years bringing Latin American art to the world, we unify our art and photography fairs, and our cooperation and integration programs, under the Pinta brand; renewing our purpose of highlighting and enhancing the talent of emerging and established artists linked to the region.

Pinta Miami reaches the end of 2021 and celebrates great sales and a successful blend format. Pinta Concept marked the 15^th year for Pinta and, once again, brought together artists, galleries, curators, collectors and overall art lovers to showcase the best of Latin American art. Almost 300 artworks were exhibited, which represented 11 countries and both emerging and established talents.

Celebrating the occasion of her 90th birthday, the exhibition will be on display until February 13, 2022. The aim is to celebrate the life and work of Cuban-born, Miami-based artist Margarita Cano.

With the curatorship of Félix Suazo, Pinta Miami 2021 becomes a scenario for immersive and thought provoking installations. The aim of Pinta’s section Special Projects is to accentuate the individuality and artistry of contemporary artists who, through their works and installations, bring to life the concerns and possibilities of the near future.

Miami’s leading art fair for Latin American art opens its doors to the public at a new location. Promising exhibitions, emerging and established talents, and exciting announcements will feature in Pinta 2021. Tickets are available here

The EFG Latin America Art Award, in partnership with ArtNexus, announces José Caerols, from OMA Galeria, Santiago de Chile, as the nominated artist for its annual acquisition award. The list of selected artists is now finallyy complete, and the winner will be announced at Pinta Miami this week.

With its new location and wider horizons, Pinta introduces architect and curator Daniel Fischer to its production team.

Dot Fiftyone presents the first solo show of the celebrated Mexican artist Pedro Friedeberg in the gallery. With a career spanning more than six decades, Friedeberg is considered an outstanding and emblematic cultural figure. Born in 1936, he was first recognized as a Surrealist artist alongside Leonora Carrington and Remedios Varo. He originally trained as an architect and rejected modernism, turning to art with his mentor and friend Mathias Goeritz. In the early 1960s he was part of the interdisciplinary group Los Hartos (The Fed-Ups), always opposing the canon as well as visual and conceptual trends. The irony and absurdity that has characterized his broader artistic practice is embodied in the Mano-Silla (Hand Chair), which has elevated him to the global sphere since 1962. He remains prolific and is significant for new generations.

Designed as an immersive dining experiment in Miami, A Fire Offering is curated by Sofia Bastidas. This installation and performative object art is part of the Collective62’s interest in creating a collective space that foments creative reflection among its residents.

This year, in its 15^th anniversary and after highly transformative events, Pinta ventures into a new concept. New formats, new location and many other exciting ingredients will make up Pinta 2021.

In order to promote the commercial and artistic opening of the country at an international level, the Ministry of Foreign Relations, International Trade and Culture of the Argentine Republic, the Consulate General and Promotion Center of Argentina in Miami, together with Arte al Día International and Pinta held an open call for Argentine emerging artists for an international online exhibition. Get to know the ten selected artists:

Titled Mongrel, this site-specific installation transforms MOAD’s largest gallery into a dynamic interior that evokes domestic space and the artist’s early experiences as a Cuban refugee. A series of twenty-five new drawings created expressly for this exhibition meld a wide variety of images into arresting abstractions of pulsing color and form, while still occasionally revealing their representational sources.

Geometries Reimagined, the title of the inaugural exhibition at the Tanya Brillembourg Art space, inquires the way in which the incessant transformation of the abstract forms imagined since cave art, is once again realized in the works of Colombian Juan Raul Hoyos, Guatemalan Tepeu Choc, and Haitian Marcus Blake. By different means, the three of them confront the form that, since the onset of the 20^th century, generated the whole current of geometric abstraction imposing itself, according to Rosalind Krauss, as "the emblematic image of the modernist ambition" [1]: the grid. Its presence, explicit or tacit, continues to be unraveled and remade incessantly in contemporary art, and it is no stranger to that "schizophrenia" which, as Krauss wrote, arises between its concentration on the materiality of the pictorial surface and the undeniable spiritual tension that its mythical geometry contains [2]. No less is the opposition between the "discursive silence" sought in the grid through the "complete liberation from naturist appearances" [3], and the paradoxical conversion of its geometry form ─inexistent in nature─ into the matrix of urban modernity: Mondrian ended up creating Boogie Woogie, 1943, in allusion to the rhythm and pulsating vibration of New York.

The memorial of the Cuban artist Arturo Cuenca Sigarreta (1955-2021), held on the same September 21 as his birth, in the American Museum of the Cuban Diaspora, was a symbolic event, surely the first of many that, after his early death, will finally allow the artistic institutions to recognize the visionary character in the work of this unruly and complex creator, who, like few others, embodied a way of criticizing power, both institutional and political, that did not compromise with convenience.

The exhibition HyperLeak at Diana Lowenstein Gallery brings together two artists, Alex Trimino and Felice Grodin, who, through installation, moving image, and sculpture, collectively engage with material to understand different experiences of time as a poetic proposition towards redefining our relationships with ecosystems.  

The all-female group exhibition examines the mainstream portrayal of women, confronting the stereotypes, violence, limitations, and ideals imposed on the disputed image of the female body. Featuring 23 diverse female artists, the works in the show come together to address contemporary discussions on gender, race, body politics, resilience, and self-representation amid today’s social landscape.

Invisible Threads, Evelyn Politzer’s solo exhibition at the Miami Dade College Hialeah Art Gallery, curated   by Noor Blazekovic of Irreversible Projects.

ArtMedia Gallery, Miami

META Miami and Henrique Faria New York present Selected Works (2003-2019), José Gabriel Fernández’s first solo exhibition at the foundation's Wynwood space. This exhibition features a selection of works in different media (sculpture, reliefs, photography and collage) that spans over 15 years of the artist’s production.