巴塞爾藝術展邁阿密海灘展會中六個焦點作品包括大型安裝藝術、油畫及表演

Elliat Albrecht

由偷回來的Speedo游衣到尼日利亞紡織品：於「藝匯經線」展區中探索這些藝術品

Báez is Haitian-Dominican and her work explores the way the Caribbean manages to mingle the biological, sociological, and mythological. The painting of Báez’s that graces the two-story atrium of the MCA Chicago, Drexciya (2020) is a perfect introduction to her work. The title nods to the Detroit techno band of the same name, and the related lore of an Afrofuturist version of Atlantis populated by the descendants of pregnant African women who were thrown overboard from slave ships when they entered labor. She has said that there is something in this of Édouard Glissant’s theory of the ocean as ‘a repository of physical memory’. But you need to know none of this to enjoy the painting. It is possible to stand before it and just admire the brushwork, drinking in the life-affirming colors of its otherworldly psychedelia.

For the 2018 Berlin Biennale she recreated the crumbling arches of Sans-Souci, a castle in Milot, Haiti, which looks familiar to anyone who’s ever visited Old Havana but feels quite out of place in tidy Berlin. Older projects have included Can I Pass? Introducing the Brown Paper Bag to the Fan Test for the Month of June (2011), which included in her show at Pérez Art Museum Miami and is based on a real 19th century test to determine whiteness. These small paintings reflect Báez’s skin tone, and there is something in these works about her moving to Miami at age 10.&nbsp;‘There’s a fluidity of color, of race, in the Caribbean,’ she told the Miami New Times. ‘In America, you’re [just B]lack.’

As a New Yorker, my favorite piece of hers is Ciguapa Antellana, me llamo sueño de la madrugada (who more sci-fi than us) (2018) at the subway station in the traditionally Dominican Washington Heights. Ciguapas are a kind of Dominican mythical creatures, beautiful and dangerous. Yet, on the walls of the station, Antellana explodes into flowers collapsing the growth from the solid trunk of a curvy thigh. Has anyone created a better image of what it’s like to come home from work? ‘In most power relationships, you have the victim trying to solve the situation and I don’t want to create narratives of victimhood,’ Báez recently told Art21. ‘I want to flip it.’This article was originally commissioned for the Art Basel Miami Beach magazine 2022.<a href="https://www.artbasel.com/catalog/artist/31226/Firelei-B%C3%A1ez" target="_blank">Firelei Báez</a> is represented by&nbsp;<a href="https://www.artbasel.com/catalog/gallery/1163/James-Cohan-Gallery" target="_blank">James Cohan</a>, New York City, and&nbsp;<a href="https://www.artbasel.com/catalog/gallery/1387/Kavi-Gupta" target="_blank">Kavi Gupta</a>, Chicago.

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