Pietro Spartà藝廊是一個有趣的異類。藝廊的空間位於距離巴黎2小時車程的勃艮第郊野，周圍是葡萄園，被運河一分為二。此外，藝廊空間「極具象徵性地」脫離了藝術版圖，因為他們沒有任何的線上展示形式。同名創始人Spartà並不需要任何的修飾來吸引藝術家和收藏家。 Pietro Spartà是一個任性的實驗家，他了解自己所選擇的價值觀，是基於直覺、激情和社群的。
Also on view during this time, Nina Chanel Abney’s ‘Big Butch Energy’ offers a commentary on gender, sexuality, and racial undercurrents told through the lens of Greek student life. ‘From the beginning of this exhibition’s development, Nina knew that she wanted the work to challenge audiences to think about the ways in which institutions and individuals are complicit in perpetuating ideas of identity and gender,’ says ICA Miami Artistic Director Alex Gartenfeld. ‘We’re honored to present her at a critical moment in her production, as she is evolving her practice into new and exciting territories.’ In support of the museum’s sustainability efforts, ICA Miami will donate funds toward offsetting the carbon footprint of Abney’s exhibition.
Plus, on view from November 29 – April 30, 2023, ‘Hervé Télémaque: 1959–1964’ looks back at the early works of the French artist, whose postwar paintings range from abstract creations and distorted figures to pop art.
Spartà在法國沙尼（Chagny）的工人階級環境中成長，但他發現圍繞他成長的那些典型職業 —— 例如農業和工廠職業 —— 並不適合他。「我希望能有一些改變 —— 徹底的改變。雖然我愛我的家人，但我不想和他們一樣。」他說道。可是他也不想離開這裡。這位藝廊主的家鄉沒有文化氛圍 —— 他坦然承認這一切 —— 除了一家米其林星級餐廳。 Spartà自學成才，他通過書籍發現了藝術，並對彼特蒙德里安（Piet Mondrian）和卡濟米爾馬列維奇（Kazimir Malevich）產生了特別的興趣。在書中，他瞭解到貧窮藝術（Arte Povera）、極簡主義（Minimalism）和觀念藝術家，並希望有朝一日可以與書中所記載的令人讚歎的藝術家們見面。他說：「我一定要在他們離世前見到他們。」他覺得自己的這種迫切期望很好笑。但對此的堅持卻十分真誠。「我想知道他們做了什麼，他們如何生活 —— 作為一名藝術家是什麼樣子。」
Spartà的一位朋友曾借給他一本「藝術日記」，彙集了藝術家們的聯繫方式。Spartà給每一個他希望見到的藝術家都撥通了電話，包括馬里奧梅爾茨（Mario Merz）、吉爾伯托佐里奧（Gilberto Zorio）、尼爾托羅尼（ Niele Toroni ）和丹尼爾布倫（Daniel Buren）。藝術家們都對他的熱情做出了回應，並邀請Spartà去參觀各自的工作室。「我不太知道該對他們說什麼，只是表達了我對他們作品的喜愛。」Spartà承認道。當年的Spartà既不是一個藝廊主，也不是一個收藏家。當時還是冶金學家的他，每個周末都會去巴黎的藝廊，特別是Yvon Lambert藝廊、Liliane et Michel Durand-Dessert藝廊和Lelong & Co. 藝廊。
那些他聯絡過的藝術家都向他保證，如果他專門開設一個空間，他們將為Spartà提供作品。 Spartà將這一切付諸於行動，並在沙尼找到了一個場地。然後，他開玩笑地說：「我做了和很多巴黎藝廊主一樣會做的事。把空間內部全部重新粉刷成白色。」一年之內，他在1982年的7月舉辦了第一個展覽，名為「Le Poids des Mots， Le Choc des Photos 」（文字的力量，影像的震撼）的群展。展覽集合了眾多知名藝術家，包括安奈特梅莎熱（Annette Messager）、漢斯-彼得費爾德曼（Hans-Peter Feldmann）、河原溫（On Kawara），珍妮霍爾澤（Jenny Holzer）、約瑟夫‧科蘇思（Joseph Kosuth）、理查普林斯（Richard Prince）和索菲卡爾（Sophie Calle）。前來參加開幕的芭芭拉克魯格（Barbara Kruger）還帶來了展覽海報，張貼在沙尼的街道上。
The Margulies Collection at The Warehouse
‘The Margulies Collection has always been a place to see current artists from Europe and the United States,’ says Margulies Collection curator Katherine Hinds. ‘This year, we will be presenting the exhibition “New European and American Painters and Sculptors”, which will focus on work new to the collection. This exhibition will present much of what we have been collecting from galleries in Germany, Finland, Great Britain, Italy, France, Austria, and the US over the past two years during the pandemic.’
Another exhibition, ‘The Italians’, captures a glimpse of the art scene in Italy through more than 30 works by Italian artists. And ‘The Bitter Years’ chronicles rural America in the 1930s as it struggled through the detrimental Dust Bowl era and Great Depression. Dorothea Lange, Walker Evans, and others were among the photographers to document this time, and 65 of their vintage photographs will be on view during the exhibit.
Additionally, the Collection has added works to its permanent Anselm Kiefer exhibition – the largest in the country – and will also spotlight sound artist Susan Philipsz’s immersive Part File Score along with permanent large-scale installations by the likes of Olafur Eliasson, Richard Serra, Frank Stella, and Franz West, among others. Stop by as well for cafe con leche during the even Coffee at The Warehouse, to be held each morning throughout the run of Art Basel Miami Beach.
Spartà 並未透露將於藝+巴黎：由巴塞爾藝術展呈獻中展示的藝術品。「我會放置一將椅子，然後我們看看接下來會發生什麼。」
Sarah Moroz為一位駐巴黎的法裔美籍記者及譯者。她曾為《衛報》、《i-D》、《Bookforum》及《Flash Art》等發表文章。
El Espacio 23
Tucked away from the hustle and bustle of Miami Beach and Wynwood, a reimagined 28,000-square-foot warehouse space brings art to Allapattah by way of El Espacio 23, thanks to mega-collector and philanthropist Jorge M. Pérez. Featuring more than 80 Cuban and Cuban-diaspora artists from different generations, ‘You Know Who You Are’ examines Cuban history and culture through themes that run the gamut from representation, race, gender, and human rights to the artists’ connection with the island. Representing works acquired since 2017 by the Jorge M. Pérez Art Collection, the exhibit highlights works by Amelia Pélaez, Loló Soldevilla, Zilia Sánchez, Raúl Cordero, Reynier Leyva Novo, and Belkis Ayón, to name a few. Artist and activist Tania Bruguera, born in Havana, will give a special performance during Miami Art Week as well.
Locust Projects
Ecuadorian-born artist Ronny Quevedo turns the long-running art incubator Locust Projects into a literal playing field as he collaborates with local futsal (a smaller-scale indoor version of soccer) players to examine immigration policies through a lens of sports. Inspired by indoor soccer leagues played among immigrant Latin American and Caribbean communities in the United States, ‘ole ule allez’ uses movement within sports as a metaphor for relocation and displacement, played out in real-time matches at the gallery.
In the Screening Room, Donnamarie Baptiste has guest-curated video works by Mikey Please, Dimitry Saïd Chamy, Duke Riley, and Paul Ward. And the Project Room plays host to an installation titled Room for the living / Room for the dead by Miami artist T. Eliott Mansa, whose work explores religious and vernacular traditions around memorials.
‘The three shows at Locust Projects during Art Basel are brought together around the idea of consciousness and the spaces we navigate and create, whether it’s an artist trying to do good in realizing an idea and failing, or the power of luck, memorializing and manifesting,’ says Executive Director Lorie Mertes. ‘Ronny Quevedo’s work, for example, draws parallels between play and movement in sports and migration over local and international borders and the conscious adaptations and ever-changing rules immigrants face.’
MOCA North Miami
Three artists are joining the Museum of Contemporary Art, North Miami to explore identity and culture as Miami Art Week returns. On view until April 16, 2023 is Didier William’s ‘Nou Kite Tout Sa Dèyè’, an expansive narrative of the artist’s personal experiences growing up in North Miami, Black life in America, and Black queer humanity told through paintings, prints, books, and his first monumental sculpture. Look out for an accompanying documentary created with Emmy Award-winning producer and director Marlon Johnson.
Leah Gordon – a multitalented curator with the Ghetto Biennale in Port-au-Prince, Haiti, and the Haitian Pavilion at the 54th Venice Biennale under her belt – has documented street theater and costume design during carnival time in Haiti over the course of two decades, all in black-and-white photographs. Joined by oral histories and a feature-length documentary, ‘Kanaval’ is on view through April 16, 2023.
Chire ‘VantaBlack’ Regans’s installation To What Lengths will also be on view through January 20, 2023, on the museum’s public plaza, exploring the roots and connectivity of Black culture and other diasporic peoples. Large-scale braids representing the women in Regans’s family symbolize traditions passed down through generations.
The Wolfsonian-Florida International University
Between 1850 to 1950, when the world was broadening its horizons thanks to travel and technology, a new kind of weapon was quietly forming: the modern map. Paintings, prints, and posters that delineate our geography have outlined everything from colonialism to world wars, mapping out not only routes but also harmful agendas, including the conflicts behind today’s Russian invasion of Ukraine. Through April 16, 2023, The Wolfsonian will explore the journey of mapmaking and globes, and their influence, in ‘Plotting Power: Maps of the Modern Age’.
Elsewhere at the institution, ‘Turn the Beat Around’ – on view through April 30, 2023 – follows the creative collaborations between musicians in Cuba and the United States from the 1930s through the 1960s, depicting the new sound fusions that were formed during this time via posters, record covers, sheet music, film clips, and audio.
Also on view during Miami Art Week, ‘Street Shrines’ presents works by ceramicist Roberto Lugo, who sculpts vessels that ponder the intersection of race, politics, and memory, at once serving as commentary and time capsule.
This article was originally commissioned for the Art Basel Miami Beach magazine 2022.
Captions for full-bleed images: Installation view of Vanta Black, To What Lengths, 2022, ICA Miami. Photo by Daniel Bock. A dark filter was applied over this image for readability. 2. Yayoi Kusama, INFINITY MIRRORED ROOM - LET'S SURVIVE FOREVER, 2017. Acquired by the Rubells in 2017. 3. The exterior of El Espacio 23. 4. Installation view of Didier William's exhibition ‘Nou Kite Tout Sa Dèyè’, MOCA North Miami, 2022. Photo by Michael Lopez. 5. From left to right: Roberto Lugo, Gun Teapot: Rosa Park, 2021; Water Tower Pour Over, 2021; Ice Cube Vase, 2022; Cherub, 2022. Courtesy of the artist.