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Miami International Art Fair: The Next Wave

[CONT FROM PAGE 1] In addition MIA will present Sculpture Miami, a waterside installation and sculpture exhibition in Bayfront Park. Over thirty large scale sculptures by major international sculptors will be on public display beginning Dec. 4 through March 12. The Fair will commence with a private preview, January 17th from 6:308:30pm. The preview evening will continue with a Collectors' Invitational from 8:30-10pm for additional distinguished collectors and VIP guests. The contemporary fair will gather a carefully selected array of 30 international dealers presenting both estab-

lished contemporary and emerging artists. Works will be composed of contemporary, cutting-edge art of all media including photography, painting, mixed-media, sculpture, installation and video. The mission of the fair is to showcase galleries representing the most talented and visionary artists of the 21st century. MIA 2013 will commence aboard the luxurious SeaFair. Docked at the Intercontinental Hotel Dock, this visionary vessel is where business and pleasure converge. It is the ultimate venue for distinguished international dealers to meet new collectors. *

Miami Basel 2012: Heating Up Winter

Every year artists, collectors and everyone in between turn out in December for Miami Basel. This time it's getting a run for its money from Pulse, Verge, Nada, Fountain, Scope, Context, Miami Project, Red Dot, Miami River Art, Miami Photo Fair and Select Art Fair. The success of Miami Basel has sparked out fairs in droves. The new art hub also recently started the Miami Rail, the city's version of the Brooklyn Rail. And with gallery spaces along both sides of the Las Cienega corridor in LA and the new super-sized galleries in Hollywood, CA, and the explosion of galleries in New York, indicates the market is expanding farther still. So far there are two new satellite fairs for Art Basel Miami Beach 2012: Miami Project (part of a large expansion into the art fair world by a company based 12

in Williamsburg, Brooklyn), and Context, a new fair from Art Miami, which itself has expanded its fair base into new markets. Brand new are the Select Art Fair and Miami Photo Fair that have been announced for 2012 Art Basel Miami Beach as a satellite fair on Miami Beach. Miami River Art fair will be held at the Miami Convention Center. And fresh out of the box this summer is Untitled Art Fair. Art people love music too. So, VH1 will sponsor Scope Miami 2012. The first UR1 music festival is announced – on Biscayne boulevard in Miami during the festival. And Red Dot Art Fair Miami announces that it will have 75 Solo artists booths along with 70 galleries in a 60,000 sq. ft. showcase! Check out our highlights and the preview of what's to come in January. *

Brother's Game By Maria Anderson

Fraternal twins Alan and Michael Fleming have been living together since childhood, and collaborating in their shared space since 2005. That is, until Alan moved from Chicago to New York. With time apart, their dynamic evolved. “This exhibition marks a temporary hiatus in our collaboration. Not that we stopped making work, but that after many years of collaborating, we were suddenly forced to make our work in a new way since we were now living in two different cities,” says Michael. For “GAME ON,” the Fleming brothers created two distinct bodies of work: one from the year they were separate, and the other from after they reunited. Their collaborations take various forms, including performance, video, drawing, and sculpture. “We are both interested in the shift toward sculpture in our practice, but we wanted to maintain the physicality of our prior performance and video work. I think we achieved that through pieces like Rock Paper Scissors,” says Alan. No matter the form, play and physicality are deeply involved, and their surroundings are treated as locations for experimentation, escape, and play. While separated, the two attempted to continue their collaborative artmaking through objects such as postcards and Polaroids, calendars and clairvoyance games. These served as records of communication, and provided fodder for “GAME ON.” They even mailed an empty box back and forth, titled A Sea Shanty, which accumulated an array of barnacle-like postage over the year. Rock Paper Scissors (2011) took form as hand sculptures embodying three games Alan and Michael played in which neither knew the result until they installed the Chicago iteration of “GAME ON.” In an interview for Threewalls Gallery, Michael explains why they chose to portray the game “Rock, Paper, Scissors.” “We were really interested in this idea of a really ephemeral game that we had played when we were younger that was kind of a low-stakes game. But, that if we stretch it out over time and distance, and we embody it in this classical medium, it becomes something larger than itself, or something larger than a game between us. It becomes this metaphorical, conceptual object.” For Psychic Color Calendars (2011), they focused on the same color every day for thirty days, and recorded the results on the calendars. These exercises and games were a way to stay connected despite the separate stu-

dios and thinking environments, and reflect an effort at examining each side of communication, its antecedents, pauses, and erasures. French sociologist Roger Caillois believed games must contain the following traits: fun, separate, uncertain, non-productive, governed by rules, and accompanied by the awareness of a different reality. Though the Flemings’ play does not adhere to all of these, it is interesting to note that many of these qualities are key elements in their games as well as in their collaborations. In the second body of work, the Flemings examined the mechanics of a mental reunion and resumed play. One of the pieces, Who’s Bad? (2012), is a singlechannel video of Alan teaching Michael to dance. The backdrop is the Brooklyn subway stop Hoyt-Schermerhorn, where Martin Scorsese filmed Michael Jackson’s music video, “Bad.” According to critics, the video helped Jackson’s image become edgier, and the video has over 53 million views on Youtube. Alan describes how they decided to create a rawer, unrehearsed video. “After I had been teaching Mike the moves, we were becoming precise, performing the whole combination. But when we started to look at the footage, we were struck by the moment of learning. So, I told Mike, 'Don’t learn any choreography before you get to the subway.' The only times he would learn were in front of the camera. So, I would introduce new material to him, explain it, and he would have to learn it on the spot, on site, with people looking.” As a result, the unedited video shows a learning experience rather than a final product. The Fleming brothers received their MFA from the Performance Department at the School of the Art Institute of Chicago, which they attended as a collaborative. This is the second iteration of GAME ON—the first took place in Chicago—and the brothers' first solo exhibition in New York. The two are currently based out of Brooklyn. Alan and Michael Fleming have shown their collaborative works throughout the US as well as abroad. Their videos have been screened in Copenhagen, Lviv, Ukraine, Rio de Janeiro, and Berlin. They are current fellows in the AIM (Artist in the Marketplace) Program at the Bronx Museum of the Arts and International Artists in Residence at the NARS (New York Art Residency & Studio) Foundation. They have performed at the Museum of Contemporary Art Chicago, the Chicago Cultural Center, the Centre for Contemporary Arts in Glasgow, and the Factory for Art and Design in Copenhagen. *

Frieze London 2012: How Many Fairs in One [CONT FROM PAGE 1 ]

whose reactions to the big news of the year are quite ambivalent. Belgian collector Mimi Dusseldorf said about Frieze Masters: “It was like looking at museum pieces. It’s better for me here as I am looking for contemporary art. But it was worth seeing than buying.” Alongside, British collector David Roberts admitted: “There are great things at Frieze Master, but I am not so sure the crossover buying concept will work. I can see that someone who buys contemporary art would buy a 1960 Yves Klein, but I am not so sure they will buy a 16th century work”. In addition, visitors had extra subsections in each fair to wrap their heads around. Frieze Master contained Spotlight, a section of solo shows of artists from the 20th century. Frieze London included Frame, solo-artists projects at galleries under six-years old, and Focus, an export from Frieze New York’s first edition dedicated to galleries that have been around since 2001. The distinctiveness of the sections, one located at the north of the main structure and the other at the south, was also the result of a different curatorial advise- the other big news of this tenth edition. While Slotover and Sharp co-directed the glorious whole of the main fair, which counts 175 participating galleries, Jo Stella Sawicka had been called to organize the 20 galleries at Focus and the 21 galleries at Frame separately. To tell the truth, architectural accuracy enjoyed in New York last May was missed, where the snake-shaped tent designed by the Solid Objectives – Idenburg Liu (SO-IL)- ensured a proper space for so many galleries and such an attendance, with much more breath for the art itself. The temporary structure designed by architects Carmody Groarke was maybe too basic to house with the monumentality of the new apparatus the fair had this year, with this monumentality being not only in the numbers of the galleries and projects, but in the artworks themselves. Galleries report strong sales and high levels of energy in the contemporary market. Even with doubling the fair size, Frieze Master has made London an international melting point for the widest of art audiences. Hauser and Wirth sold Paul McCarthy’s White Snow Haed (2012) for $1.3 million, whereas its booth at Frieze Master was placing works on paper by Eva Hesse priced from $320,000 to $2 million. Not as expected for White Cube, the sale of Damien Hirst’s Destruction Dreamscape (2012) sold for $500,000, while Victoria Miro had similar success with Yayoi Kusama’s Universe RYKP (2012) for the same amount. 2012 was a very good year for New York-based galleries such as Andrew Kreps, who sold a multipaneled installation by Ricci Albenda for $200,000, Lehamann Maupin, who sold five editions of Teresita Fernandez’s Golden (2012) for $75,000 each, and Tracey Emin’s Legs moving (2012) that sold for $120,000. This year proved staggering figures, especially in the time of a worldwide economic crisis- a fact similarly confusing to this year's Frieze London itself. *

Arts Fairs Newspaper Winter 2012  

Art Fairs Newspaper is a publication brought to you byArt Fairs International.

Arts Fairs Newspaper Winter 2012  

Art Fairs Newspaper is a publication brought to you byArt Fairs International.

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