small format volume 7
an ArtCenter/South Florida publication Spring 2016
João Enxuto and Erica Love: A Collaborative Process Carolina Puente João Enxuto and Erica Love’s latest exhibition Beacons provides a unique user experience and engagement with the role of contemporary art in institutions, cities, and their communities. Collaborators since 2010, Enxuto and Love question the traditions and aesthetics developed by art institutions, using technology to illuminate patterns and trends in the user experience. Through video, performance, and installation they critique the relationship between artist, viewer, and exhibition space by examining the increasing amount of data collected from institutions, the viewing experience, and the art market itself. Digital art databases, like Google Cultural Institute, provide Enxuto and Love a platform to explore the expanding role of technologies that influence cultural institutions and their value systems. The intersection between technology and authorship was evident in their exhibition at Werkhaus in Brooklyn where the ongoing series Anonymous Paintings, initiated in 2011, recreated treasured artworks on inkjet prints stretched on wooden stretcher bars. The images were screen captures taken from Google Cultural Institute (previously Google Art Project), which uses the same technology as “Street View” and offers virtual "walk-throughs" of art museums. Instead of street numbers or an anonymous
passerby, paintings have been blurred due to copyright restrictions. These deceptively simple paintings of notable artworks marked a convergence of the past, present, and future of art institutions, copyright laws, traditional art methods, and emerging technologies. Through this work, Enxuto and Love present Google Cultural Institute as a platform for reconsidering institutional space and fair use. Their performance Talk to Me at Pratt Institute in 2011 investigated and expanded upon the notions of spectatorship and what is now more commonly regarded as user experience. The piece consisted of Enxuto and Love distributing their phone numbers to the audience and reading aloud the provocative texts they received, empowering the audience members while simultaneously placing themselves at their mercy, creating a struggle over authorship and ownership. The project performed real-time crowdsourcing and tested the increasingly popular maxim that "everyone is an artist." A world in which anyone can easily access the world’s greatest museums is a radical idea, one Enxuto and Love explored in the multi-media Art Project 2023 (see Fig. 2), which the artists developed and exhibited as participants in the Whitney Museum's Independent Study Program.
This thought experiment posited a near-distant future in which the iconic museum by Bauhaus architect Marcel Breuer is destroyed and replaced by a 3-D rendering. The virtual museum is now populated by works taken from Google Cultural Institute, existing in the ubiquitous cloud alongside what are now the digital folk art platforms of social media. Art Project 2023 forecasts a future in which anyone can instantly become a spectator, collector, and curator. The following year they organized the Whitney Museum’s symposium Shared Spaces: Social Media and Museum Structures where they performed Art Project 2023. In a more recent project, Enxuto and Love created two videos centering on the Atlanta Public Library, the last building designed by Marcel Breuer. Exploring the reality of socio-economic disenfranchisement, Waiting for the Internet, 2015 (see Fig. 4) is a fixed frame durational video that surveys the computer lab waiting area for as long as it takes to access the library's public computers. The narrated video Institute for Southern Contemporary Art, 2016 (see Fig. 1 & 3) offers a repurposing of the underfunded Breuer building as a space to both support Southern contemporary art, and artists challenging the hegemony of contemporary art. The video features an algorithm which attempts
Fig. 1 (cover): The Institute for Southern Contemporary Art (ISCA) was introduced in 2016 by João Enxuto and Erica Love. A video detailing the project will be on view at the ArtCenter/South Florida, Spring of 2016. Fig. 2 (top): 3D printed model of Marcel Breuer designed Whitney Museum of American Art from Art Project 2023, 2013, gypsum powder, 6.75” x 6.25” x 7.5.” Courtesy of the Artists
to game the contemporary art market by generating a detailed production plan for Southern art that can successfully enter the market flow, advancing the notion that “art is produced as a commodity; it does not become one when it is sold.” Enxuto and Love’s own strand of institutionally focused work forms the basis of Beacons; an exhibition that builds upon their interest in the sharing of power between today's art institutions and their publics. The beacons used in this exhibition—small wireless sensors that can be attached to objects to produce data on their movement—are “smart” technology that allow for user interactivity to be monitored within the gallery space. This technology has recently been employed in commercial venues and museums as a way to monitor interest in products and/or artworks and, like data collected from any system, it retains institutional biases despite their precise recordings. Beyond this use, beacons also act as lighthouses to warn of impending danger and provide guidance. In this environment, Beacons becomes an interactive system that illuminates, tracks, and predicts movement, where the user experience is an interrogation of what contemporary art can provide for cities and their communities. Beacons, curated by Carolina Puente, opens April 13th at ArtCenter’s Project 924. It will be on view through June 19, 2016.
Fig. 3 (top): ISCA Module, 2016, 2 Wassily Chairs, 8 fluorescent bulbs, plywood and drywall, 12” x 12” x 8.” Courtesy of the Artists Fig. 4 (bottom): Atlanta Central Public Library (Interior 2), 2015, archival inkjet print, 16” x 24.” Courtesy of the Artists Fig. 5 (next page): Nervous System Manipulation by Electromagnetic Fields From Monitors, 2001. Diagram provided by João Enxuto & Erica Love."
LIS TEN Audiotheque @ ArtCenter George Fishman Gustavo Matamoros remains a stalwart figure along Lincoln Road, and his mission remains consistent: Support those who create, present and appreciate experimental music. Often considered an elitist genre—cacophonous and inscrutable— Matamoros’ democratic approach is exemplified by his six-year “broadcast” of original compositions programmed by guest sound artists through the “Listening Gallery,” an array of loudspeakers mounted under the awnings at 800-810 Lincoln Road. While millions of passersby remained oblivious, thousands were intrigued by unexpected sounds—often ethereal—that contrasted starkly with the conventional barrage of pop music bouncing between stores and restaurants. This disparity parallels the attractive force of the ArtCenter/South Florida’s galleries and studios, resonating on a different level from the ubiquitous commercial eye candy. The Listening Gallery, commissioned by the ArtCenter in 2009 and supported by a Knight Arts Challenge grant, initiated Matamoros’ relationship with ArtCenter, and Audiotheque began as its production studio in the 924 building. Executive Director María del Valle assumed her position in 2012. “From the start we realized we have a shared goal to become a place for sound art and experimental music,” she said. The 45-seat, acoustically balanced and thoroughly equipped sound art laboratory, hosts intimate presentations, discussion and recording sessions– with webstreaming facilitated by retired WLRN producer Steve Malagodi. “He [Matamoros] is now like a non-profit in residence. He’s doing what he wants, and we give logistical support and promotion,” explained del Valle, “but he’s totally independent.” More tangibly, the ArtCenter provides reduced rent and free Internet service. Volunteer support is vital, as most events are funded by donations.
Coordinated event scheduling and outreach intermingles Audiotheque’s “Listening Club” audiences with those attending a “STUDIOcrawl” or artist talk. Elegantly melding vision, genre and audience, during last year’s Subtropics Festival, internationally recognized composer/visual artist Alba Triana’s exhibition in the Project 924 gallery exemplified the collaborative potential. Matamoros invited her; curator Susan Caraballo and the ArtCenter provided the space, lighting, texts, placement and promotion for her kinetic, interactive works. Del Valle is transitioning the ArtCenter from a low-rent haven for local artists to an increasingly “serious” center of study, experimentation, exhibition and exchange. Until February, Caraballo served as Artistic Director, expanding the visiting artist residency. Now that the ArtCenter has sold its 800-810 building (while retaining 924) and is planning for a new facility, the lease of ArtCenter Downtown (formerly Cannonball) catapults its residency plan forward. Del Valle envisions deepening the relationship with Audiotheque by underwriting sound and interdisciplinary artist residencies to develop artists’ exhibitions, workshops and performance programs. Caracas-born, Matamoros has lived in Miami since 1979, composing and performing his own diverse and frequently collaborative sonic explorations, while providing venues for hundreds of colleagues—whether preeminent or nascent talents. Since 1989 the biennial Subtropics Festival for Experimental Music has presented over 1,000 performances. Matamoros has also developed concerts, workshops and sound installations for Miami-Dade and Broward colleges, the Arsht Center, FIU, museums, parks, gardens and New World Symphony. “All these projects are simply ways of designing community around music, around sound,” he said. “I want him here because we’ve benefited a lot. There’s no other place or organization like it,” said del Valle. “We plan more support for Subtropics next year and the ArtCenter plans to enhance its related programming.”
Audiotheque performance, 2015; Gustavo Matamoros and cornetist Taylor Ho Bynum; photo by Luis Olazabal
During a break in the densely packed six-hour new music Marathon on March 5th, Matamoros noted that the small, but vibrant scene here (which ranges from fresh-faced music school grads to “graybeards”), mirrors New York in the ’70s, when “local artists,” such as Christian Marclay, Meredith Monk, James Staley, Philip Glass and John Zorn gradually became the luminaries of their genre. Matamoros uses any means necessary to encourage “thinking with our ears”—whether a Listening Club presentation/discussion with Armando Rodríguez playing Galician bagpipes, David Dunn’s recording of pine beetles devouring a tree or DJ Le Spam sampling his locally produced gospel and rockabilly collection. The Audiotheque maintains a massive archive of experimental music from the ’70s to this month. While Matamoros brings innovators to town for brief festival appearances, he also offers residencies that enrich both artists and audiences. Chicagobased cellist-composer Fred Lonberg-Holm immersed himself in Miami’s beaches, wetlands and roadway sounds. He left with sonic souvenirs (including recorded bat squeaks), but first guided Audiotheque patrons on a (mostly vinyl) tour of the cello in jazz and experimental music, plied his instrument in concert as a drum, sonic laboratory and electric guitar and guided a pickup orchestra through open form improvisation. “It’s a laboratory where things can get created, get presented, get tested, and then the audience becomes part of the process," said Matamoros. For further information and program schedules visit www.subtropics.org.
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Photo By Felipe Melendrez/Courtesy ArtCenter/South Florida
Becoming Art Smart Gail Gitin During open studio nights about 20 years ago, when I was a resident artist at the ArtCenter, it was brought to my attention that visitors found the opportunity of talking with artists in their studios an exciting experience. Many of the visitors appreciated the time I spent answering questions and explaining my work, my choice of materials, and my technique. Visitors would never have the opportunity to learn about such things by just visiting art galleries and museums and viewing artworks on the walls. During one of those open studio nights, I thought of the idea of ARTsmart—an ArtCenter membership program providing its members with the opportunity to visit two artists each month for a total of six months. The ArtCenter’s diverse pool of resident artists has allowed me to keep the selection of artists new and exciting. I never would have imagined that this program would develop such a loyal following. Today, it is still going strong. ARTsmart exposes its members to a unique art experience, where they have the chance to speak in-depth with each artist, who generously share their stories, life experiences, and creative processes. The artworks they view take on a new meaning after they learn about the artists’ struggles and points of view. The artists also benefit from the experience of talking to groups of people who offer them feedback and may even purchase their artwork. Over the course of a few years, members have the opportunity to revisit artists. This is one of the most rewarding experiences of ARTsmart. We have seen the artistic growth of so many artists who have found that being an ArtCenter resident has given them the opportunity to be challenged, stimulated, and educated. This growth is reflected in their work and helps them evolve and mold their thought processes. Often times, their new body of work moved in unexpected directions after being shaped by their environment. For example, when Hurricane Andrew hit Miami, Jens Dierks, a resident artist working in paint, began to construct sculptures out of debris he found at local gardens devastated by the hurricane. He wanted to salvage what he could and put it to use again. During his ARTsmart presentation, he kept talking about constructing artwork; however, while talking, he realized that what he really wanted to do was to reconstruct it. Jens then began a very successful body of work whereby he destroyed three-dimensional objects, reconstructed them into two-dimensional ones, and used his painting skills to enhance the piece. His successful
Destruction-Constructions included a full-sized piano that he disassembled and reworked to hang on the wall. Nothing was too complicated for him to destruct and then construct—from luggage and chairs to rowboats, all of which became wall pieces. ARTsmart has also provided our members with hands-on experiences which allow them to create their own pieces of art. For instance, at the ArtCenter’s Jewelry Lab, they learned to appreciate the lengthy process and the physical demand required to create a polished and finished jewelry piece. In the PRINTshop, they talked to artist Loren Abbate and watched her ink and pull a print off the printer bed. This experience provided members with an appreciation for the art piece that can never be understood without observing the many steps taken before achieving the final
product. When members enter a studio, a puzzled look often becomes one of admiration after the artist explains his or her background and the thought process behind the choice of materials and subject matter. South Florida is made up of artists from diverse backgrounds, and it is those experiences that are the driving force that compels many artists to create and express their inner struggles through their art. The viewers’ experience is enhanced by sharing this expression of human emotion. Whether the ARTsmart members visit an artist working on painting, sculpture, photography, printmaking, or sound-art, they all leave the studio with a new appreciation for the artists’ individuality and their visions for the future.
Note from the Executive Director We are thrilled to announce a series of new developments starting with the lease of a space located at 1035 N Miami Avenue in Downtown Miami. The space, previously managed by Cannonball, was specifically designed to address artists’ needs for affordable housing and working studios. By incorporating and building upon the successes of Cannonball’s residency and its r.a.d. (research.art.dialogue) program, ArtCenter/South Florida will have the flexibility to expand the Visiting Artist Program and re-imagine the educational programs associated with the residencies. As a result of this development, we are teaming up with neighbor institution, Cisneros Fontanals Art Foundation (CIFO). Though this collaboration, the ArtCenter will welcome artists awarded by CIFO into ArtCenter's Visiting Artist Program enhancing our programs, benefiting our communities, and supporting our shared interest in Latin America and the Caribbean. We are also very happy to announce that Natalia Zuluaga joined ArtCenter’s team as Artistic Director. Zuluaga is a Miami-based curator and researcher with extensive experience in Latin American Art. She obtained a M.A. from the Center for Curatorial Studies at Bard College. Her experience includes curatorial projects and exhibitions for the Judd Foundation (New York), CAM-Raleigh (North Carolina), and the Hessel Museum (New York). In conjunction with the Board of Directors, we will work to develop new programming and strengthen the current residency programs. Last but not least, stay tuned for ArtCenter’s upcoming opportunity for artists, ARTsail, an artist residency aboard a sailboat. This project is made possible thanks to the John S. and James L. Knight Foundation’s Knight Arts Challenge. ARTSail, in partnership with the Patricia and Phillip Frost Museum of Science, is a nomadic, floating art project that seeks to explore and take advantage of the extensive coastlines and waterways that surround Miami. ArtCenter will host one-month residencies aboard a vessel where artists will be commissioned to create work inspired by Miami’s relationship to the water. The open call will be launched this April. These series of new developments come at a very exciting time when we are envisioning and developing new programs which will place us one step closer to achieve our ultimate goal of providing artists with one of the best residency programs in the region. María del Valle
ArtCenter/South Florida
Spring 2016 May 14 - June 25, 2016
Saturday, April 23 | 2pm
CALENDAR Wednesday, April 6 | 7-10pm
STUDIOcrawl
Curator in Residence Talk: Julia Morandeira Arrizabalaga
Fieldwork Workshop
Saturdays 10am – 1pm 924 Lincoln Road #100, Miami Beach
924 Lincoln Road, Miami Beach
ArtCenter Downtown Miami 1035 N. Miami Ave, Miami
Wednesday, April 6 | 7-10pm
April 25 – June 4, 2016
Dona Altemus, Gaston Lachaise, Maritza Molina and Ernesto Oroza Vitrine | 924 Lincoln Road, Miami Beach
Art classes and workshops: painting, drawing, printmaking and more. 924 Lincoln Road, Miami Beach
Wednesday, April 6 | 8pm
Saturday, April 30 | 11:59pm (EST)
Opening Reception: Vizcaya on the Beach
Listening Club: Natural Acoustics & Synthetic Sounds Curated by Russel Frehling Audiotheque @ ArtCenter 924 Lincoln Road #201, Miami Beach Thursday, April 7 | 6-9pm
Opening Reception: Michael Williams
On view through June 5, 2016 O Cinema Wynwood | 90 NW 29 St, Miami Wednesday, April 13 | 7-10pm
Opening Reception: Beacons
On view through June 19, 2016 Project 924 | 924 Lincoln Road, Miami Beach
Sunday, May 15 | 8pm
Listening Club: Eye for Sound (on film)
ARTstudies Spring 2
Curated by Charles Recher Audiotheque @ ArtCenter 924 Lincoln Road #201, Miami Beach Wednesday, June 1 | 7-10pm
STUDIOcrawl
Studio Residency Program Application Deadline
924 Lincoln Road, Miami Beach Wednesday, June 1 | 8pm
Wednesday, May 4 | 7-10pm
Listening Club: The Slippery Sound of Portamento
STUDIOcrawl
924 Lincoln Road, Miami Beach
Curated by l. smith and d. williams Audiotheque @ ArtCenter 924 Lincoln Road #201, Miami Beach
Wednesday, May 4 | 7-9pm
impromptu:
924 Lincoln Road, Miami Beach
June 13 – July 8, 2016
Wednesday, May 4 | 8pm
Listening Club: Exploding Asia
Curated by Joseph Celli Audiotheque @ ArtCenter 924 Lincoln Road #201, Miami Beach
ARTcamp 2016 Summer Camp for 9-14 year olds
Session 1: June 13, 2016 - June 24, 2016 Session 2: June 27, 2016 - July 8, 2016 924 Lincoln Road #100, Miami Beach
To register, to apply and for all ArtCenter programming information call 305.674.8278 or visit www.artcentersf.org MIAMI BEACH
DOWNTOWN MIAMI
924 Lincoln Road Miami Beach, FL 33139 T 305.674.8278 email@artcentersf.org www.artcentersf.org
924 Lincoln Road Miami Beach, FL 33139
1035 N. Miami Avenue Miami, FL 33136
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RESIDENT ARTISTS
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VISITING ARTISTS & CURATORS
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María del Valle, Executive Director Natalia Zuluaga, Artistic Director
Anais Alvarez, Communications & Development Manager Sarah Downing, Administrative Assistant Felipe Melendrez, Exhibitions Assistant Donald Godelia, Facilities
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Vinny Diaz, Facilities
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Editor: Anais Alvarez | Project Manager: Leila A. Leder Kremer | Publication Design: Francesco Casale | 2016 © ArtCenter/South Florida. All rights reserved.
Exhibitions and programs at ArtCenter/South Florida are made possible through grants from the Miami-Dade County Department of Cultural Affairs, the Cultural Affairs Council, the Miami-Dade Mayor and Board of County Commissioners; the City of Miami Beach Cultural Arts Council; the Miami Beach Mayor and City Commissioners; and the State of Florida, Florida Department of State, Division of Cultural Affairs, the Florida Arts Council and the National Endowment for the Arts; and the John S. and James L. Knight Foundation. Additional support provided by Walgreens Company.