Punk fashion a must from Paris to Chicago
Letâ€™s play a game: SCA #Anarchy Themed Benefit or Jean Paul Gaultierâ€™s runway show at Paris Fashion Week?
Letâ€™s play a game: SCA #Anarchy Themed Benefit or Jean Paul Gaultierâ€™s runway show at Paris Fashion Week?
Did some big movie thingy happen last night? Whatever. The real thing weâ€™ve been waiting for is finally here: The Whitney Biennial plus Armory double punch. Chicago is about to be quieter than a John Cage performance and emptier than Detriot as the Midwesterners gear up for their big moment at the WB this week. Nevermind this list of 21 art events in March, the action’s happening in NYC.
In the tradition of William Siertua’s 2012 Whitney Houston Biennial at Murdertown in Logan Square, another posthumous tribute biennial is set to take place at Julius Caesar in Chicago. Painter and pedagog, Molly Zuckerman-Hartung is the only artist to appear in both the 2014 Whitney and 2012 Whitney Houston Biennials, but MZH and co-2014 “participant” Diego Leclery are absent from the 2014 WHB at the space they formerly ran together. Opening March 16th, the Julius Caesar edition of the Whitney Houston Biennial features those artists who assist and collaborate with Whitney Biennial artists.
Not to be one-uped by Chicago, NYC is countering with their own â€œeverywoman” Whitney Houston Biennial in Dumbo, and raises with the last ever Brucennial, which we hear is also a ladies only exhibition. Looks like women, or at least nods to them, are big in the forecast in 2014.
At least those of us back home in Chicago can take some solace in the fact that the VIP opening is shaping up to be the equivalent of a really good Ren opening. No shade though, WTT? couldnâ€™t be more stoked for the 17 or so Chiagoans in the Biennal. Weâ€™re especially curious to see what cool dad Diego Leclery cooks up, and who doesnâ€™t love a good Elijah Burgher occult dropcloth? Oh and did we mention that you should also totes go gawk at B@S’s own Duncan MacKenzie and Richard Holland doing interviews at Volta?
We’ll be here waiting on the couch until y’all get back.
The West Loop felt anything but â€œregionalâ€ at Deanna Lawson’s and Derrick Adamsâ€™ opening at RHG last Friday night. Hour d’erves were passed and the galleries were filled with well suited-up New York banker looking cats. Posh attendees, including artist Mickalene Thomas (both artists first appeared at Hoffman’s in Thomas’ exhibition tÃªte-Ã -tÃªte in 2012) and Bomb Mag editor, Betsy Sussler, (who both flew in for the affair) swirled around the charasmatic and stylish Lawson and Adams, who were just as striking as the work. Blurring the lines between the two, Adams showed up to the exhibition in a herringbone suit and camoflague print button-up that matched the patterns in the trees of his large scale collage works.
The main gallery was devoted to Deanna Lawsonâ€™s nothing if not sumptuous large format photographs. The most arresting piece in the show is arguably Mickey & Friends <3, 2013, a commanding horizontal photograph of unclad women embracing in front of a Mickey Mouse mural. Mickey licentiously glances over at them. The three nude ladies posing in unison in front of a red velvet curtain was a close second. Lawson even manages to make a simple pink blanket on a red bench look steamy.
In the front two rooms of RGH, Derrick Adams’ large collages merged the architectural with the psychological. Adams constructed his own “Borough” of homes from elementary school fence decorations, Restoration Hardware catalog furniture, and camoflague pattern trees. Figures are incorporated into the doll houses through fashion mag cutouts, sewing patterns and art historical fragments. Further underscording the metaphorical dimension of the homes are the miniature versions of portraits from Adams’ Deconstruction Worker series hanging on the walls of his own doll houses. The exhibiton is capped by an actual doll house in the front gallery window construced from silhouettes in Adams’ distinctive style.
Rhona’s been killing it on the freshness tip lately. The Lawson and Adams exhibitions are on view until April 5th.
Rhona Hoffman Gallery is located at 118 N Peoria St #1A.
If you work anywhere near the Cultural Center you owe it to yourself to visit for Wired Fridays. We caught footwork master Deejay Earl two Fridays ago and it was pretty much life changing. The “study room” area on the first floor turns into a club with most eclectic midday crowd you’ve ever seen. Best people watching ever, old ladies, footworkers, tourists, you name it. Earl took the bizarre scene in stride and his set was on point.
Case of the Vase. Art never makes the headlines unless itâ€™s something bogus like that whole Ai Wei Wei fiasco at the Perez Art Museum in Miami. Be still my Facebook stream. At least this one thoughtful meditation by Ben Mauk on the medias overblown reaction to the case almost makes up for it. Maukâ€™s mention of Damien Hirstâ€™s hundred million dollar monstrosity also reminds us of Rachel Cohen’s fascinating piece for Believer Magazine on the relationship between bankers and artists throughout the ages. Overlap much?
Really though? If you do happen to find yourself in big ol’ New York City trying to fit in at Whitney Biennial Fashion Week, you might want to stock up on ADIDAS pants and slip on sandals with socks. Just remember one thing: no one out-normals Chicago. Weâ€™re not even really gonna get into it but this article pretty much sums up our feelings on the norm-non-matter.
[Social] Practice makes perfect at CAA. Obvi must read Jason Foumberg’s Scene + Herd for Artforum. That Dieter Roelstraete photo is beyond.
#Your an idiot. Canâ€™t help it, I really feel that “really annoyingâ€”while at the same time making you kind of half smile every time you read itâ€ thing.
MEXICO, D.F.– Last week art world snowbirds descended upon Mexico City for the biggest Latin American art fair outside of Art Basel Miami Beach. While ZONA Maco, now in it’s 11th year, is obviously the big fish, 2014 also saw the launch of MACO’s first satellite, the ambitious Material Art Fair. We couldn’t stand the idea of missing out, so WTT? headed down to Mexico City to experience the fair scene in DF first hand. Armed with recording equipment and having just watched an Anthony Bourdain program on Mexico City, we were off.
The colonia we stayed in, Condesa, was just west of the center of the city and felt like a way cooler Logan Square. Nice apartments, lots of cute cafes, tons of bars and restaurants. Everyone, including Bourdain, told us that tacos al pastor were the best. We ate like a million immediately at a place closest to our airbnb. We briefly made it to the opening of Material Art Fair and after a comically unsuccessful attempt to go to the after party we ended the night at a dank little bar with heavy red curtains for doors called BÃ³sforo.
First up. MACO, the monolith, was just that. It featured all of the usual bells and whistles: a massive convention center, an artsy partnership, a myriad of sponsors and all of the regulars. MACO also wins the award for worst branding and website possibly ever.
To be fair to the fair, we did discover a couple of sweet Mexican galleries: O.M.R., Kurimanzutto, LABOR and House of Gaga. Apart from the local galleries, Nuevas Propuestas, the smaller single artist booths were the most interesting. Featuring younger artists and more comprehensive views, we spotted work by one of our fav Miamians, Leyden Rodriguez-Casanova, at Alejandra von Hartz’s booth. Rodriguez-Cassanova’s precise assemblages of screens, 2×4’s and vertical blinds felt oddly appropriate in the setting of the hastily constructed booth partitions.
We also loved seeing new work by Leonor Antunes on view in the “curated” section, Zona MACO Sur, with Marc Foxx gallery. Attracting our attention through the labyrinth of drywall, her bronze hanging work based on Anni Albers’ textiles were just the right amounts delicate and gold. Bonus points for having the most impressive rigging in the fair. The scaffolding supporting the works were tied with thick black ropes around the convention center’s ceiling vents.
On the way out we met the charming father and son team at Odabashian, who were only the millionth people that day to advise us to visit the Museo Nacional de AntropologÃa. One of their rugs was even designed by Pedro RamÃrez VÃ¡zquez, the architect of the museum. In retrospect, you can totally see the repetitive polygonal facade of the museum in the gold and silver geometric pattern of the rug.
Before leaving Condesa for downtown on Saturday morning we walked to House of Gaga in Condesa and then O.M.R. in La Roma just to the east. On the way we grabbed the most amazing cornbread I’ve ever eaten from a bakery/cafe called Maque. It was my favorite breakfast in DF and really cemented our love for our temporary home of Condesa. Over at House of Gaga, Emily Sunblad’s en plein air paintings of elephants and jaguars at the Santa Barbara Zoo were just as delightful as the cornbread. Less delightful were the various cuts of meat placed throughout the gallery, but I was really feeling the dresses and the casual floral still lifes in the back. We also heard that musician Matt Sweeney performed with her at the gallery and was spotted at BÃ³sforo during the fair. If you’re interested, the performance audio (which was avaiable on USB’s throughout the gallery) is also on the gallery’s website. The exhibition was House of Gaga’s first in their new space, the paint was still fresh and made our head buzz.
Facing the Plaza de Rio de Janiero and a gigantic bronze David replica, O.M.R. is easily the most grandiose gallery space I’ve ever been inside. Mexico City is terraformed and like many of the old buildings in DF, the luxurious old house is sinking back into the swamp. From the moment you open the iron gate into the ornate white staircase it’s on. I’m convinced that the gigantic marble slabs rigged up by Jose Davila for his exhibition only enhanced the effect of the sloping floors and vise versa. Also on display were some wild old James Turrell work from his Mendota Hotel period in the early 1970s.
The main galleries were impressive but I was most partial to Pia Camill‘s work in the project space adjoining the main gallery. Her bright abstract curtains with sumptuous blues hanging in front of windows and throughout the gallery were complemented by the large shapely ceramic works and painted walls. Despite the massive population of the city, the art world in Mexico DF feels roughly Chicago-sized, so we weren’t too surprised to discover that Francisco Cordero-Oceguera, the artist behind Lodos ContemporÃ¡neo also has a gig as Camill’s assistant. The bookstore downstairs was pretty cute too. We found a kids book designed by Niki de Saint Phalle called Malo Malo that I only wish I had as a toddler.
Our final stop before returning to Material was the oft recommended Museo Nacional de AntropologÃa. Totes worth it. From the VÃ¡zquez building to the Sone of the Sun and the countless artifacts and displays, you could spent an entire vacation in the museum. It was all pretty spectacular, even if we could only decipher about half of the label text. After drooling over the elaborate marble and molar sacrificial jewelry we took a walk through Chapultepec Park where the Museo Rufino Tamayo is also located.
For the slightly more adventurous and internet savvy art enthusiast, Material Fair at the Hilton Reforma in El Centro was the place. The marked difference between the two fairs was palpable as soon as you made it to the entrance on the fourth floor. Far from a chore, Material felt like a hip family reunion with newly discovered extended cousins. Their signage was also way more to my liking. By invitation only, the fair was a tightly curated selection of 40 art galleries and alternative spaces from Mexico, the States and Europe. I like to think that this fair would have been Bourdain’s preference.
While some familiar veterans like Andrew Rafacz (Chicago), Kinman (London), Clifton Benevento (New York), Michael Jon (Miami) and Green Gallery (Milwaukee) were present, the inclusion of project spaces (aka alternative spaces, apartment galleries, pick your favorite) such as Queer Thoughts (Chicago), Regina Rex (Queens) and Important Projects (Oakland) galvanized fairgoers and established fraternal bonds amongst the visiting artists and galleries. The anchors of Material were absolutely the Mexican project spaces (Yautepec, Otras Obras, NO Space, Neter, Lodos ContemporÃ¡neo, and more) who also acted as generous hosts and guides for the artists and gallerists visiting from abroad.
The success was largely due to the personal touch and attention of fair organizers, Daniela Elbahara and Brett W. Schultz, who also run Yautepec in the neighborhood of San Rafael. Drawing on relationships they established through visiting other cities and fairs, and the observation of like-minded spaces on the internet, the fair felt like more of an authentic survey than whatever Hans Ulrich Obrist thought he was doing with 89plus.
The project spaces, many showing outside of their own closet or living room for the first time, responded in a variety of ways. Some spaces, such as Important Projects, who’s own small residential Oakland space usually exhibits single artists, presented a group show which included DF locals and NO Space proprietors Debora Delmar Corp. and Andrew Birk. They also debuted print editions from Leisure Press, a project of Medium Cool’s Ria Roberts. Regina Rex’s booth was dominated by Black Beach, an impressive clay wall by Hugo Montoya, which was created on-site and continued to dry and crack throughout the duration of the fair. It paired particularly nicely with Michael Merck’s plaster casts of limited run fast food items and Alina Tenser’s jiggling vases in her Hip Openers video.
Other’s took a more experimental approach. Yautepec’s booth featuring Debora Delmar Corp. and Natalia IbaÃ±ez-Lario was installed with a mix of curtains, pillows fitted with printed bras, semi-household objects and brightly colored cut out legs that made it feel like the most fucked up living room in the best way. The unofficial faces of the fair, NO Space’s Birk and Delmar decided to show finished garments alongside the raw material of fashion designer Roberto Sanchez. Otras Obra’s use their booth as a studio and filmed many of the artists and attendees over the weekend. The resulting film, Dando y dando: pajarito volando is available to watch here
Header image is the beloved Museo Nacional de AntropologÃa.
We would be remiss if we didn’t mention the closing party for Material, a showcase by Mexican label N.A.A.F.I. It more than made up for our first attempt at a Material Party. People were jammed packed into Bahia Bar, the music was good and loud and there was nothing else to do but dance. As you might expect, we spotted Schultz and Elbahara breaking it down right by the stage. The party was so fun we heard Sayre Gomez changed his flight back to the states just so he could stay at Bahia longer.
The Friday night Lodos opening for an exhibition by Important Projects’ Joel Dean and Jason Benson at their space in San Rafael only reinforced the camaraderie. On the corner across from the gallery I fulfilled my dream to eat blue masa tortillas like Anthony Bourdain did and it was divine. Back to the exhibition, it was based loosely on the last line of an Amiri Baraka poem, “Another Name for Liar,” and was crammed with the fanciful arrangements of the duos “post-studio” practice. Dean’s “Poster Boy,” a double sided takeaway featuring Elroy Jetson and Trayvon Martin on the back was the most singular and powerful work in the exhibition. Other arrangements seemed to rely on an inner narrative and possible a speaker set up that wasn’t audible over the din of the crowd. That night we also got a chance to see the NO Space space, located in the dining room of Delmar and Birk’s super sweet apartment on the top floor of a nearby building.
The point is that Anthony Bordain was right. Going to Material and seeing the impressive programming around the fair was like drinking a refreshing glass bottle of agua mineral. It also doesn’t hurt that Mexico, DF is probably the most captivating city in the Americas. It’s 100% nothing like people described it beforehand, except the water thing– that definitely seems real. Having visited though I’m not surprised to have met so many ex-pat artists living there. People are super nice and interesting, there’s an obscene amount of awesome wrought iron fences, brightly painted buildings, all kinds of old and new stuff smashed together, lots of trees and anything else you could ever want ever, and so much color. We left the way we arrvied, with tacos el pastor. Mexican food in Chicago is never going to be the same again.
So… Next year in Mexico City?
Hey! PS- Watch the podcast for my forthcoming interviews with Daniela Elbahara and Brett W. Schultz, Important Projects and Cristobal Riestra from O.M.R. for more on Material Fair, MACO and why you should move to Mexico City. Hasta luego!
Dedicated fans flocked to Links Hall on Saturday, January 25th, on the closing night of Extinct Entities, to experience Borderless Musical Imaginaries Mixtape: House, Chances and Recuperating Queer Genealogies. Micah Salkind and Latham Zearfoss opened the evening with a back and forth lecture on the history of House music in Chicago and Chances Dances, respectively. A disco light flashed in the corner of the packed house and a projection behind the artists displayed the mix tape info and documentary style footage of the former monuments of the House scene.
The interplay between Salkin’s academic history and Zearfoss’s personal essay on the development of the 8 years running so-much-more-than-a party, Chances Dances, was completely engrossing. Zearfoss behind the scenes on Chances “blissful resistance,” from gender neutral bathrooms to Off Chances and the establishment of the Critical Fierceness and Mark Aguhar Memorial Grants. Salkin elaborated on the movement of the queer Black and Latino avant-garde through legendary clubs like The Warehouse and the Music Box. Not to mention the soundtrack was banging, and the dancing in between sets made giving a lecture look fun for the first time ever. Feeding off the presenters energy a decidedly dance-y vibe infected the entire audience at Links Hall. Lectures will never be the same.
After a short intermission, the second half of the program featured a panel of queer nightlife movers and shakers (pun intended). Drawn from distant corners of the party spectrum, all of the panelist shared fascinating and revealing anecdotes. Praise for Chances was also universal. I was taken by RosÃ© Hernandez’s “pearls of wisdom” on nightlife, commenting that “partying is an art form” and “social sculpture.” I also though Davis’s description of “the jump” from drag queen to trans diva was beyond inspiring. The audience was accordingly interested and asked questions about the ability of the body and dance to communicate some sort of “Utopian rehearsal room” (in Zearfoss’s words).
Rarely do I have that much fun while actually learning about engaging and burning topics. Definitely worth the trek out in the snow. When is the next Chances again?
Jacob Goudreault posted this message in advance of last nights boring as hell game: “Do not support the NFL. Do not watch the Super Bowl! ” an online exhibition brought to you by FACEBOOK. The post, which was deleted late Sunday night for reasons yet unknown, also featured eight images that straightforwardly referenced the transgressions of NFL players and fans. WTT? is so regretting not taking any screenshots sooner!
Itâ€™s been a wild winter break, but Whatâ€™s the T? is back in Chicago in time for dibs season and motivated by the artists brave enough to exhibit in the tundra. For those of you holed up in your apartment licking the radiator for warmth (like I am), hereâ€™s a recap of some shows outside of the snow globe.â€¨
Closing next Sunday, February 2nd (with a performance by Kim Gordon), is the exhibition that’s been blowing up my feed since it opened at PS1 in October of 2013. Mike Kelley’s retrospective is a 40,000 square foot sprawling colossus of an exhibition. Although I could have lived without the seemingly endless rooms of Kandors (a reference to the miniaturized capital city of Superman’s rival Brianiac) on the first floor, the exhibition impressively filled the sprawling school house and gave me a new appreciation for the artist.
Never before in my life have I seen so many swastikas and phallus and felt pretty ok about the whole thing. Arguably the greatest mindfuck in the entire exhibition (taking up an entire floor, the cacophonous a/v installation Day is Done was a close second), Pay for Your Pleasure, a corridor of large portrait paintings and quotations from famous intellectuals effectively complicated the relationship between violence and creativity. By the time I reached the end of the corridor I had completely lost the ability to tell right from wrong.
The oft-posted Deodorized Central Mass With Satellites was among the least interesting rooms (also the one with the longest line). Watching people pose in front of the hulking mass of leftover toys, I wondered how Kelley himself might have felt about powerful installation’s transmutation into a selfie photo-op. I did pop a huge boner for the dysfunctional birdhouses and the artist’s drawings of his own name. Most disappointing though was PS1’s lack of snacks. The M. Wells Dinette conceptual Mike Kelley menu was admirable, but would it kill PS1 to sell a girl a croissant or fruit cup? I traveled all the way to Queens for this.
Thankfully, we missed the Turrell retrospective at the Gug (heard the lines were unbearable even if the hole was amazing) in favor of seeing the exhibition in full splendor at LACMA. Apparently the artist, an LA native, made moves to stem the line issue by limiting the amount of guests allowed through the exhibition each day (and no photos allowed!). By the time my party of 5 arrived at LACMA , the $25 exhibition was completely sold out for the day. It was only through the loophole of student membership and my lovely friend, Conor Fields, that I was even able to see the exhibition. The antidote to the packed Kelley exhibition, my first glimpse of Afrum (White), the exemplary white cube that is the first of many light installations, was as religious an art experience as I’ve ever felt.
Carrie Mae Weems, The Assassination of Medger, Malcom, and Martin, 2008. Archival pigment print, 61 x 51 inches. Courtesy Jack Shainman Gallery, New York.
Other works, such as “Bullwinkle,” a modest projection in the shape of an antique television screen, featured plaques helpfully suggesting minimal viewing times to aid visitors in experiencing the desired effects of Turrell’s complex combinations of light and color. Guests moved leisurely through the exhibition. The immersive installations were smartly punctuated with wall-based work, such as the artistâ€™s delicate aqua-tint etchings and hologram series. Despite the 20 minute wait, the paramount moment of the exhibition was Breathing Light (2013), a absorptive environment that mindfucks you in an entirely angle than Kelley’s Pay for Your Pleasure. Heats of eight are invited to take their shoes off, don booties, and spend five minutes in the space which features rounded walls and a deeply saturated bath of LED light that slowly gradients between red and blue. Shout out to the world’s best docent, Rikki Williams, for doing an impeccable job at keeping the antsy visitors to Breathing Light in check (and for letting me stay an extra minute).
LA’s other most famous dude, Frank Ghery, also deserves a shoutout for the unbelievably well designed Calder exhibition in the same building as Breathing Light and the other (reservation only) large-scale immersive Turrell spaces. Having seen a couple of attempts of shoving a bunch of mobiles and stabiles into a large room (including the MCA’s most recent attempt), I can truthfully say I’ve never seen a better presentation of the artists work. Ghery’s specially built pedestals wind around the gallery and create niches that isolate and accommodate each piece. His specially designed walls and plinths allow the viewer to see the delicate balance present in individual works instead of a mess of primary colored circles and wires hanging everywhere.
Not to be outdone by other major metropolitan areas massive surveys of mostly male work, the Perez Museum of Art Miami (still known to me as the Miami Art Museum) opened it doors in December with an inaugural retrospective by Ai Wei Wei. While the exhibition has a few highlights, I found the smaller retrospective of works by little known Cuban modernist, Amelia PelÃ¡ez, to be a far more compelling and apt exhibition for the brand new bayside contemporary art museum.
I thought the inclusion of the furniture was a little much, but I loved the objects made by PelÃ¡ez herself. Her ceramic work epitomizes the bright colors and modern, bold markings of her still-life paintings on shapely vases and cups. I would take the espresso set. The show was thoughtfully put together and I was delighted to learn of the artistâ€™s life and work. Now I just wish I could go back in time to Cuba and see her Havana Hilton Hotel mural.
Back in Chicago, Iâ€™m waiting on my invite for what will be either the awesomest or worstest retrospective in Chicago history: David Bowie Is. Stay tuned.
Header image features Breathing Light, 2013, by James Turrell at LACMA.
Time for the annual pilgrimage of sun seeking art enthusiasts and their accompanying art advisors, handlers and the like to the city of Miami Beach. The fairs are numerous, spilling over onto the sand and the mainland. This year, my eighth year watching my hometown transform into an art circus, I decided to let the wind blow me where it may. As long as youâ€™re doing something it canâ€™t be that bad. In this special edition of Whatâ€™s the T? weâ€™re serving recap realness and some Miami T for Chicagoâ€™s inquiring minds and wannabe snowbirds alike.
Woke up to the news that Miami B-listers Christian Slater and his girlfriend, Brittany Lopez, tied the knot on Monday. We heard that Slater courted Lopez at her former job at the Museum of Contemporary Art in North Miami. Basel Tov!
Why wait until the weekend to party? Even though the â€œbig fair,â€ at the convention center doesnâ€™t open until Wednesday, there are just not enough party hours in the day. By the time we saw Locust Projectâ€™s exhibition by Nicholas Hlobo in their main space and Frances Trombly in the project room it was time. So we begin. Tuesday night marked the opening of Design Miami, the sister fair to Art Basel in Miami as well as in Switzerland.
Always a classy, champagneâ€™d out affair, this year was no different. It was a pleasure to see Chicago design galleries, Volume (showing Jonathan Munecke) and Casati Gallery (showing David Salkin). Trending this year at DM were lamps that look like floating jars, gigantic sand hills, e-cigs (which appeared to be trending everywhere, I think itâ€™s New Yorkâ€™s fault). In attendance were a number of notables, including 2016 Olympic sailing hopeful, Sarah Newberry and artist, Emmett Moore; another celebrity here; Primary Projectsâ€™ Nick Cindric and Robins Collection Curator and Director of Cultural Programming for the Design District, Tiffany Chestler; Bleeding Palmâ€™s Ronnie Riviera (who made a hilarious Basel Death Clock Site); and Locust Projectâ€™s Amanda Sanfilippo with artist, Justin Long. We even ran into our favorites, LVL3â€™s Vincent Uribe and Anna Mort, dressed impeccably as always.
Itâ€™s imperative at Basel to never to stop moving and as our party guru says, always leave the party before it gets old, so before too long we were off the island and en route to the Rubell Collectionâ€™s annual shindig at their museum caliber space in Wynwood. Unsurprisingly, the Rubellâ€™s used the occasion (as they do every year) to feature their daughter, Jennifer Rubellâ€™s, excessive food â€œinstallations.â€ One year it was a wall of old fashioned doughnuts, then there was the year with the honey falling out of the sky.
This year, Jennifer busted out none other than the tiny-pie seesaw. A monstrously long but narrow white table, completely covered in miniature egg custard pies, slowing moved up and down, while waiters brought around bite sized versions of every other desert option possible on silver platters. There was, of course, a copious amount of alcohol (if youâ€™re paying for drinks during ABMB then something is wrong), Perrier (totes trending and in three flavors), macaroni and cheese in martini glasses (donâ€™t ask me), and fried rice in takeout containers. The party was totally banging, but the tiny custard pies were awful. Among the many illustrious guests were Siebren Versteeg and his new gallerist, Miamiâ€™s Brook Dorsch; artists, Patricia Hernandez and Christina Farah.
On our way out we couldnâ€™t resist stopping at the old Perrotin space down the street from the Rubells, The house/ gallery, now Galerie Eva Presenhuber, is simply gorgâ€”classic design and a super sweet back yard, but the party was lame and we werenâ€™t really feeling it.
Disappointed by the quality of the pie and weary of mixing vodka and sugary deserts, it was time for a cheeseburger interlude before moving onto the last stop of the night, Rat Bastardâ€™s fifth annual Anti-Art Becomes Art Show at the only British pub in all of Little Haiti, Churchillâ€™s. We finally got a chance to see Chris Corsano, the wunderkind solo percussionist hailing from Massachusetts.
In the list of things I wish I made it to but couldnâ€™t was the TM Sisterâ€™s beachside performance at the Untitled fair on Monday and Tuesday night. Also not spotted was Kevin Arrow, though we kept seeing his Kenny Scarf paint-bombed Honda Element driving through Little Haiti.
Another day, another art â€œexperience.â€ We ditched the vernissage (sorry Sly) for the opening of Autumn Caseyâ€™s new curatorial venture, Space Mountain, right next to GucciVitton in North Miami. Being a NMB girl myself, I couldnâ€™t be more excited that great galleries are moving north. Space Mountainâ€™s first show, Big Deal, featured 12 ladies and a drag queen, all born in Miami. Needless to say, it was a big deal. Loved the zebra corner piece by Renata Rojo and the drawn over coasters by Beatriz Monteavaro. We spotted the Hartmannâ€™s; and Miami It-girls, Serena Dominguez and Sarah Attias working it in overalls, side boob and Pikachu really hard. Outside the exhibition there was a serendipitous pop-up bar serving seasonal gourmet cocktails with cider and lattes.
After some chill times and good vibes at Space Mountain it was time to head to Mana Wynwood for the Kendrick Lamar with Miami fave and all around sweetheart DJ, DZA. After much confusion and a bunch of naked ladies painted by Vanessa Beecroft and Kanye West (Iâ€™ll save you the suspense, Yeezus was a no-show), we found ourselves on a couch in the VIP section popping bottles and waiting for Kendrick. Waiting for Lamar took for-ev-er. Though the event started around 9 or 10 PM, Kendrick Lamar didnâ€™t grace the stage until almost two in the morning. The only thing that made the waiting bearable was DZAâ€™s super danceable sets in between each set.
If we did anything after Kendrick Lamar, it probably shouldnâ€™t be repeated here anyway.
Header image is a detail of Vincent Uribe’s Basel Arm.
Thursday already? NADA VIP opening was obvi a must. Itâ€™s the only fair worth going to, in my opinion. The booths were looking fresh as always and the Midwest was repping hard with great booths from Scott Reederâ€™s American Apparel shirts in the lobby to Shane Campbell, our boys at the Green Gallery, and Midway Contemporary Art from Minneapolis. Locust Projects, Miamiâ€™s premiere non-profit gallery space had a booth right next to Midway with items priced to sell, including an edition of hip art historical hats from artist and yacht boy, Justin Long.
Booths with no art were definitely trending at NADA. One booth just featured a copy machine spitting out invitations for another exhibition and we heard gallerist David Lewisâ€™ sickness led to his empty booth, featuring an advertisement and email address. As far as booths that actually had art inside of them go: NYCâ€™s The Hole booth was only half unpacked, with burned work by Kaspar Sonne and gigantic pours by Holton Rower suspended inside of plywood shipping crates. We were also stoked to see those sweet little Alain Biltereyst we loved at Devening on view with Jack Hanley gallery. John Rippenhoff at Green tipped us off to the mini XYZ collective booth, where we about died over the purple eggs and collages by soshiro matsubara.
Anya Kielarâ€™s large scale screen prints at Rachel Uffnerâ€™s booth looked like cyanotypes and were just gorgeous. Could have lived without the gigantic beer cooler piece that everyone seemed to love, but I am still regretting not pouring myself a pina colada at San Juanâ€™s Roberto Paradise Gallery, who were also showing work by Jose Lerma and Tyson Reeder. Lermaâ€™s mirrors were irresistible to Luis Gispert as well, we ran into the artist checking out the booth. Another Miami native, I was also stoked to see his work at Rhonaâ€™s booth in the main fair.
Also spotted! Dan Gunn, but not that Dan Gunn, and a super preggers Lisa Cooley. She was really working that bump!
By the time I mad it outside to the deep bass van outside of the fair I was ready to move on. Though the booths looked awesome, we were disappointed at the lack of chill on-going pool party outside. Just one medianoche from downstairs and we were out.
The official PAMM opening took place to much fanfare and back rubbing from the Miami community. Itâ€™s as if no one even noticed that the museum is still a construction site. Later that night Cop City Chill Pillars, great band and old friends from West Palm, played at Churchills to a small yet enthusiastic crowd.
Friday morning is made for collector brunches. Some pastries at the Craig Robins collection followed by the best coffee at the de la Cruz Collection building. Oh, and I guess the art was OK, too. As per usual, the Miami collectors were ping-ponging off each other, with both collections prominently featuring Sterling Ruby and Wade Guyton. We were also surprised to see some new stuff, like Hugh Scott-Douglas (who at the ripe age of 25 was all over Basel and NADA) and a massive Rob Pruitt installation on the third floor of the de la Cruz.
Rich people and their handlers abounded. Weâ€™re pretty sure we spotted Klaus Biesenbach chatting it up with the fiery Rosa de la Cruz through an impressive Dan Colen basketball backboard sculpture.
After sneaking in a quick lunch at Michaelâ€™s Genuine (where we saw many of the collectors getting turned away by the 2 hr wait), it was back to the beach for some lounging at the Mondrianâ€™s Friends with You pool installation on the bay. By the time we saw the sun setting under FWYâ€™s gigantic inflatables we were ready for what was yet to come.
In a scene out of a sleezy Miami Vice episode, we slinked into the Kettle One/ Gigiâ€™s party in Wynwood using just a name in order to pregrame for the Youth Code show at Gramps. Not only was the LA duo pretty hot, their set was awesome and way under appreciated by the too cool crowd at Gramps. Right after the YC set we bounced back to Churchills just in time to catch Wolf Eyes at Andrew McLeesâ€™ Look Alive two day music fest. The crowd was super NYC and super enthusiastic, though I thought the Wolf Eyes set was incredibly boring. Why are they famous again?
Saturday already!? We were almost at the finish line. Whatâ€™s the T? spent Saturday getting back to our roots at the Bad at Sports bathroom recording booth. We jumped on the mic with Duncan McKenzie, Brian Andrews, Patricia Maloney during their interview of Miamiâ€™s the end/ SPRING BREAKâ€™s Patricia Hernandez and Domingto Castillo. We mostly talked about boats, German cinema and 9/11. If it sounds confusing, thatâ€™s because it was. Without Richard Holland around there was no one to keep the jokes on schedule. Iâ€™m looking forward to hearing the cacophony posted on the podcast.
Otherwise, we thought the Dimensions Variable booth, featuring work by Frances Trombly and Martin Oppel amongst others was maybe the only thing worth seeing at PULSE aside from the chill hammocks outside of the Ice Palace.
After wrapping up the interview, we headed to the #followmeto (have you seen this thing? Itâ€™s ridiculous!) party at The Versace Mansion. Yes, that Versace Mansion. Shout out to our girl Linling at Inside Hook for hooking it up. The party was awesome and someone even jumped in the heavily mosaicked pool before the night was over! It was totally tripped out.
Since we were already on the beach, we decided to hit up Sandbar for the NADA party. Usually a choice against our better judgment, the Fade to Mind takeover was pretty rad. We ran into our Midway Contemporary pal, Nathan Coutts, along with most of the other NADA exhibitors and too many NYC snowbirds to count. More than anywhere else I had been last week, this party was on the internet. Check out born-to-blog Adam Katzmanâ€™s piece in the Miami New Times about the evening.
Loathe to let the evening end before 5AM, we made our way over to a warehouse on 71st street to catch Jelly, a star-studded trio featuring the Kerr brothers and Rainer Davies. As soon as we got there ran into Bhakti Baxter taking a disco nap and as soon as the show was over we had to turn in too.
We survived all the way until Sunday! We took our sweet time waking up and heading down to the convention center in order to say our final goodbyes to ABMB. Not really giving a fuck about the convention center, we checked out a few of the booths that we knew would be sweet (Rhonaâ€™s, Metro Pictures, Two Palms, Hauser & Wirth, Blum & Poe, etc). Mostly, we were there for the NOVA section, featuring galleries like Spinello Projects (which we heard sold out) and 80M2 Livia Benavides from Lima, Peru.
Walking through the fair we saw a bunch of art handlers we knew ready to pounce when the public finally left, but we also ran into old friend and Curious City producer, Logan Jaffe with her sisters, Hunter and Chandler. Hot ladies with dude names? Yes please. We also wanted to check out the â€œpop-upâ€ bar by Jim Drain and Naomi Fisher in between booths N26 and 27. The bar, Paradise Working Title, was staging Club Nutz on Saturday afternoon with Brian Cooper and members of the audience trying to make stiff Basel goers laugh. Artist, Malcom Stuart, was on the mic ripping a few as well. There was also a stripping magician and blood. Thatâ€™s all Iâ€™m gonna say.
After the fair and some sushi on Lincoln Road, we headed over to the misleadingly titled Babes of Bushwick party on Collins Ave. They called it â€œPool Party,â€ yet there was no pool. Very disappointing. I thought the Sandbar party was on the internet, but this party was the internet proper. Still a good time though and we ran into some choice Miamianâ€™s and our generous SF B@S bureau. We also ogled over our new BFF Malcom Stuartâ€™s collection for Joyrich. Seriously, though.
With just a couple of hours of Basel remaining we headed back to the mainland and Gramps for the tail end of the Black Cobra BBQ. Straight from the Gramps to Miami International Airport and back into the tundra. Hello Chicago.
Shout out to Radz for picking out the two biggest trends of Basel: #ecigs and #purses. Thanks Miami!