Tag Archives: art basel miami beach

david casavant

POINT OF VIEW: DAVID CASAVANT’S RAF SIMONS AND HELMUT LANG ARCHIVE

How wouldn’t you like to wake up every morning and walk into a closet filled with the rarest Raf Simons and Helmut Lang items? Welcome to the reality of fashion archivist David Casavant. He began collecting the legendary designers while still living at home and eBay was still cheap. We strapped a GoPro to the 20-something-year-old while he was setting up a 2 day exhibition of his archive at Art Basel Miami Beach. Watch and discover designer items you probably didn’t even know existed!

shade

ART BASEL MIAMI BEACH GOT REALLY SHADY

By now, most people should be familiar with the term shade (especially if you have watched even one episode of RuPaul’s Drag Race where challenges are held in the best shade throwing). Urban dictionary has this definition: “A light comment with slight disrespect towards an individual. ‘Rose threw shade at Mona when she said there isn’t a guy in her degree program Mona hadn’t kissed’.” At Pulse Art Fair during Art Basel Miami Beach, New York-based artist Rashaad Newsome held screen tests for upcoming stars of his Shade Compositions.

Newsome here debuts the tests as an intimate incarnation of his prolific performance series Shade Compositions. From its inception, Shade Compositions was an elevation of black womanhood that transformed stereotypical gestures associated with that community into a sonic celebration of culture and vernacular. Shade Screen Tests presents a deeper, more personal look at this concept through individual portraits of women meant to be cast in Shade Compositions. Each woman, cis and trans, has been styled under the #NoStereotypes Movement initiated by the black hair care product Olive Oil.

Patrick Demarchelier

PATRICK DEMARCHELIER’S CHRISTIE’S RETROSPECTIVE INCLUDES PETS

Patrick Demarchelier’s New Christie’s Retrospective Comes With Pet Portraits—And No Nostalgia. [Vogue.com]

Madonna Rebel Heart Tour Costume Sketches Revealed. [WWD]

Opening Ceremony Teams With the Frank Lloyd Wright Foundation for Spring 2016. [Vogue.com]

Super New Stonehenge Discovered: Immense 4,500-Year-Old Monument Found Buried Next To Stonehenge. [Artnet]

Istanbul Biennial Commemorates Armenian Genocide. [The Art Newspaper]

Aretha Franklin Documentary Pulled From Toronto Film Festival. [Artforum]

Dover Street Market New York Holds Artsy Open House for NYFW. [Artinfo]

Here Are All the Galleries Coming to Art Basel Miami Beach 2015. [Observer]

CNN Live From Apple’s Press Event. [CNN]

BBC Researches How Smart the Gadgets Actually Are at the IFA Technology Show. [BBC]

Millie Brown, 2015

MILLIE BROWN’S RAINBOW BODY

Do you remember the performance artist who covered Lady Gaga’s chest in acid green vomit at last year’s SXSW? Or maybe you remember someone who spent 168 consecutive hours on a bed of flowers in NYC? Or, the girl levitating from four massive, white balloons at Art Basel Miami Beach? Of course we’re talking about performance artist Millie Brown, who has stunned the world several times with her beautifully strenuous work. On April 10, the British-born artist is back with a solo show of (vomit) paintings named Rainbow Body.

“I always strive to push through my own physical and mental barriers. I think it’s important to experience everything you can, on every end of the spectrum. I believe it’s important to make yourself uncomfortable and learn to separate mind and body in order to reach a raw, primal state of being. I’ve used my body to paint from the inside out by vomiting rainbows; this performance involves a two-day fast prior, in order to cleanse the stomach of any food so that all that comes out is pure color,” Brown told us last year prior to her Wilting Point performance.

Showcasing an evolution of Brown’s original and most recognized performance work, Rainbow Body presents a survey of the artist’s new home in Los Angeles. Developed from the artist’s iconic yet non-traditional methods of painting from the inside-out, the exhibition features a post-contemporary study on abstract expressionism within a California palette. Using almond milk, food coloring, stomach and hands, Brown creates aestheti- cally whimsical paintings with a deep underlining of raw human emotion. Each piece tells the story of the Los Angeles sky, its past and its present, its light and its dark.

Rainbow Body opens April 10, at 8473 Melrose Place, Los Angeles, CA.

Screen Shot 2015-02-23 at 3.25.16 PM

PROCESS: RYAN MCNAMARA’S ME3M

Last December artist Ryan McNamara brought to Miami Basel his hyper kaleidoscopic show ME3M: A Story Ballet About The Internet. The show is comprised of a multitude of original dance pieces (of various size and formation) happening simultaneously in different areas of a single venue – for this occasion the former Playboy Theatre at the old Castle Beach Resort.

An army of attendants equipped with dollies – which slide forklift-like into and out the house seats – take audience members from one performance to another, at any given point of its duration. The choice of which of the dance pieces one sees, and for how long, is up to the carefully orchestrated pattern of constant chair movement, a ballet all of its own. Performa, which presented the piece in New York in 2013, describes it as “an interpretation of the layered architecture of the internet and the infinite streams of information that pour through its portals onto our laptops and smart phones”.

Ryan allowed Plamen Petkov and I to shoot some of the rehearsals, prep meetings, and pre-show, as well as the actual show. We took some of our favorite moments and crammed them in a three-and-half minutes video ballet of our own.

Here is a brief interview I did with him this week.

Alessandro Magania: When did you first come up with the idea for ME3M? What element was most important to you when you started, and has that shifted since?

Ryan McNamara: I’ve been working with dancers for many years now, but I had never actually choreographed a piece. I saw ME3M as an opportunity to delve in and actually create the movement myself. I was scared at the prospect as my visual art history knowledge is much more developed than my dance history, but I was also excited to bring this visual art background to the form. Creating this movement was definitely the most important element to me. I knew that the unusual structure of the piece would have to be supported by strong choreography.

AM: Watching the rehearsals it seemed like each individual dance was different not just in style but also the way you tackled the work with the dancers. Did you cast it according to styles and choreography you had already devised? To which degree specific dancers informed the choreography?

RM: I am a big dance fan so I have seen the dancers I work with in many other pieces. I have a tendency to gravitate toward a singular dancer in a work. Thankfully these standout dancers usually happen to be my friends, which makes auditions unnecessary. These dancers have a strong sense of self and I need to make sure that the choreography allows that to shine through to the audience.

AM: What performances that you saw live had the strongest effect on you? What about on the web – which performance that you were only able to see on the Internet touched you the most?

RM: Merce Cunningham’s events at Dia Beacon changed the way I see dance. As for performances on the Internet, I am in awe by the vastly variant displays of virtuosity that are uploaded constantly. Huge chunks of my life are taken up by watching people from around the globe performing for the camera.

AM: ME3M at Miami Basel was drastically bigger in scale than its previous incarnations – size of the venue, cast, audience. Were there any elements from presenting it in a smaller scale that you missed on this one? Would you wish for a even bigger version?

RM: I missed the amount of time I got to spend with each individual dancer in New York. On the other hand, I basically brought my own party to Miami, so that made for some good post-performance times.

AM: Does the knowledge of how fleeting web browsing can be, and the fact that so much art is seen nowadays through the internet, influence artists in the way they make work now, in your opinion?

RM: I receive information (be it art, dance, animated gifs, cat videos, etc) much more than I transmit information. I bring my experience as an audience member to my work and am constantly thinking about how the audience will experience something. That’s the constant for me, this ever-changing relationship with audience.

Theo Jansen, Strandbeest the Dream Machines

VISIONAIRE RECOMMENDS

1. Strandbeest the Dream Machines of Theo Jansen is on view until December 7th at Miami Beach.

Would you be scared if you encountered a 42-foot-long heartless creature while wandering the beaches of Miami? Despite your answer,
next week you can and you will as Dutch artist Theo Jansen is bringing his beautifully constructed and unliving Strandbeests to the sunny art fair. While moving with the wind, the technical structures resembles animals of the past. Jansen’s alternative life forms, with their complex mechanical motions, mirror the precision and technological mastery at the heart of sponsors Audemars Piguet’s tradition of watchmaking. They will be on view every day from 1pm until 8pm. Location: Oceanfront, Miami Beach Drive, between 21st & 22nd Streets, Miami Beach.

2. Ryan McNamara’s MEƎM 4 Miami: A Story Ballet about the Internet plays 8pm and 10.30pm, December 3 and 4 at Miami Grand Theater.

Previously awarded the second Malcolm McLaren Award as the most innovative and thought-provoking performance of Performa 13, Ryan McNamara’s MEƎM has already gained recognition in the industry. The performance presents an interpretation of the layered architecture of the internet and the infinite streams of information that pour through its portals onto our laptops and smart phones. Exploring how we share content and process information, McNamara samples and remixes music and movement within an inventively staged environment that reflects the dense layers of our digital landscape. The ballet engages multiple narratives – the internet as a utopic space of unfettered and open global communication and self-creation, as sinister military infrastructure, and as motor for a round-the-clock infotainment culture.

3. Queen of the Night takes place December 3rd at Up&Down Pop-Up.

For the first time, Queen of the Night, one of the biggest entertainment spectacles in performance art, will make its debut outside of their extravagant New York City venue at the Paramount Hotel for Celebrating Women In Art: CREATIVE ROYALTY during Art Basel Miami Beach. The 2014 Celebration of Women in Art event brings together top names in music, art, fashion, and film to benefit the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art and School of Doodle. Artists like Millie Brown, Brooke Candy, Florence and The Machine’s Isabella Summers and many more will be performing.

4. Digital Talk: Instagram as an Artistic Medium featuring Simon de Pury, Hans Ulrich Obrist and Klaus Bisenbach takes place at 5pm, December 4th at Art Basel.

With Instagram artists such as Doug Abraham quickly gaining grounds—his 552 posts mixing fashion with bondage, porn, and horror movies have earned him 58k followers—on the Facebook owned social media site, it’s time that it’s discussed if social media can be used as a real platform for art. Thanks to the three heavy-hitters Klaus Biesenbach (MoMA PS1), Hans Ulrich Obrist (Serpentine Gallery), and Simon de Pury this is now happening. On December 4th the three sit down with Instagram co-founder and CEO Kevin Systrom to discuss Instagram as an Artistic Medium. With a combined following of well over 300k, the three should have some interesting inputs.

5. Jennifer Rubell’s breakfast installation takes place from 9am to 12pm, December 4 at Rubell Family Collection.

Last month, Jennifer Rubell created the entire menu for Performa’s 10 year anniversary in NYC. The lucky invited could enjoy penis-shaped buckets of brussels sprouts cut directly off the ass-baring waiters walking around the historic Weylin B. Seymour venue in Williamsburg topless. At the end of the dinner, guests were encouraged to smash the tables with hammers to uncover hidden chocolate desserts. Needless to say that Rubell’s installations are fun to experience for anybody and wouldn’t it be amazing to recover from the previous night’s extravagance with a fun food installation?!