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Ulla von Brandenburg | Pérez Art Museum

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Ulla von Brandenburg, It Has a Golden Sun and an Elderly Grey Moon, 2016 (still) Courtesy the artist and Art : Concept, Paris Photo: Martin Argyrogla
Alluding to diverse histories rooted in Western traditions, Ulla von Brandenburg, 1974, born in Germany and lives in Paris, makes films, drawings, performances, wall paintings, and installations to create multilayered narratives. Her work often references late 19th century expressionist theater, magic, occultism, pre-Freudian psychoanalysis, color theory, and early 20th century Hollywood cinema to investigate how these pre-archaic forms relate to modern-day social norms. She creates her own visual vocabulary, combining a range of media to make immersive installations that reconsider contemporary collective experiences. Von Brandenburg often uses the motif of the theater curtain—a threshold between reality and artifice-interpreted as a tool to challenge the relationship between actors, audience, and the stage. She is also interested in the study of European carnival as a legitimate form of social transgression when individuals employ the notion of mask to explore alternative identities. Engaging with popular customs, von Brandenburg’s work takes the viewer to the space that separates reality and imagination, where time is insignificant, prompting new collective associations. At PAMM, the artist will produce a large-scale installation at the museum’s double height project gallery.
Project Gallery: Ulla von Brandenburg is curated by María Elena Ortiz, Assistant Curator, at PAMM
It Has a Golden Sun and an Elderly Grey Moon, 2016
Ulla von Brandenburg
Art Basel Miami  Pérez Art Museum

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Ana Mendieta | Galerie Lelong

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Image and artworks courtesy of the Estate of Ana Mendieta Collection, LLC and Galerie Lelong, New York
Sweating Blood is a 3-minute long silent film created on super-8 color film in November of 1973. Mendieta’s stance and facial expression in Sweating Blood evoke images of self-sacrifice and martyrdom. Her silence adds to the spiritual, ritualistic aura as cow’s blood slowly trickles over her face. The integration of blood, as a primal and primitive element, reduces Mendieta to her essential self. Drawing the viewer into her spiritual space and presenting this reduction of herself, she traces phenomenological terms of identity. In the fall of 1973, Mendieta began teaching art at an Iowa City public school. Eight months after the rape and murder of fellow University of Iowa student Sara Ann Otten, Mendieta was still actively creating response pieces surrounding violence enacted on women and rape. She employed blood as a powerful symbol with strong violent and political connotations. Many of her pieces created around this time, such as Untitled (Rape Performance) and Untitled (Bloody Mattress), involved very literal implications in her usage of blood. She clearly communicated an emotional response to Otten’s death and a call for awareness and action on violence against women.
Sweating Blood, 1973
Ana Mendieta
Art Basel Miami   Galerie Lelong
Uncovering Ana  uncoveringana.wordpress.com

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Frank Benson | The Rubell Family Collection Contemporary Arts Foundation

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Frank Benson, Juliana _ Image courtesy of The Rubell Family Collection
High Anxiety: New Acquisitions presents selections of artworks from 32 artists acquired since 2014, many of whom explore polarizing social and political concerns through a broad spectrum of contemporary artistic practices. In gauging the output and energies of these artists we find creative currents that speak to our shared state of uncertainty, nervousness and pessimism. Frank Benson, one of the artists, gained widespread attention for his piece in the 2015 at the New Museum Triennial  Surround Audience, a realistic sculpture of the transgender artist and poet Juliana Huxtable whose work was also included in the exhibition.
Juliana, 2015
Frank Benson
Art Basel Miami   The Rubell Family Collection

Miami ON

Kate Plays Christine | Robert Greene

Filmmaker Robert Greene cleverly forgoes your standard talking-head-and-sound-bite approach to nonfiction storytelling, instead choosing to employ Kate Lyn Sheil as a conduit to understanding an impossibly complex issue. Committed to doing justice to Christine’s life, Kate not only candidly pulls back the curtain on her acting process, but she also reveals the biases and presumptions even supposed experts can provide in their diagnosis. Kate Plays Christine boldly challenges its subjects and audience alike to accept that answers from the past are never easy.   www.kateplayschristine.com

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Violet Isle a duet of photographs from Cuba | History Miami Museum
CUBA. Havana. 1993.nyc109186
This multi-layered portrait of “the violet isle”––a little-known name for Cuba inspired by the rich color of the soil there––presents a unique, often enigmatic document of a vibrant and vulnerable land. It combines two separate photographic visions: Alex Webb’s exploration of street life in Cuba, and Rebecca Norris Webb’s fascination with the unique, quixotic collections of animals she discovered there, from tiny zoos and pigeon societies to hand-painted natural history displays and quirky personal menageries. The result is a blend of two different aesthetics inspired by Cuba’s existence for decades in an economic, political, cultural and ecological bubble virtually untouched by the rest of the world, and unlikely to remain that way for much longer.  Violet Isle will be on display from Dec. 1 to February 5, 2017.
1 Photo by Alex Webb, distributed by Magnum Photos, CUBA Havana 1993 / 2 Photo by Rebecca Norris Webb/distributed by Magnum    Photos, CUBA Havana 2008 Roosters exercising on rooftop in Old Havana
Alex Webb & Rebecca Norris Webb
Miami Street Photography Festival / Dec 1-4
History Miami Museum 

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Brenda Ann Kenneally | Vintage Miami 1989-1996                                                            
Brenda Ann Kenneally

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