Art Basel
Art Basel Miami Beach Miami Beach Convention Center Dec 6 - 9
Art Video Nights New World Center, 500 17th Street Dec 5-8
Art Film: Painters Painting by Emile de Antonio
Colony Theatre, 1040 Lincoln Road Dec 7, 8 pm
Art Basel Conversations (10 - 11.30 am)
Dec 6:
Richard Tuttle and Chris Dercon
Dec 7:
Rethinking the Encyclopedic Museum (Thomas P. Campbell,Michael Govan, András Szántó)
Dec 8:
Asia Focus | Why Japanese Post-War Art Matters Now (Doryun Chong, Allan Schwartzman, Minas Gerais, Mika Yoshitake, Alexandra Munroe)
Dec 9:
Artistic Practice | The Artist as Musician (Angela Bulloch, Rodney Graham, Ragnar Kjartansson, Ari Benjamin Meyers, Jim Shaw, Hans Ulrich Obrist)
Art Salon
Dec 6:
1 pm - Art Market Talk | The Age of Empires
2 pm - Talk: Curating in Context
3 pm - Artist Talk: Walead Beshty
4 pm - Artist Talk: The Poetics of Enchantment
5 pm - The Global Artworld | Focus on Biennial of the Americas
6 pm - Artist Talk: Black Dada: How does it feel to be a problem?
Dec 7:
1 pm - Artistic Practice: Street Art in the Middle East: Alternative Forms of Political Expression
2 pm - Book Launch: Commissioning Contemporary Art: A Handbook for Curators, Collectors and Artists
3 pm - Art Law Talk | How to Buy Art – And How to Handle it
4 pm - Lunch Bytes | New Media, New Markets: Buying, Selling and Collecting Digital Art
5 pm - Artist Talk: Bill Viola: Liber Insularum
6 pm - Latin Art Market Challenges a. Opportunities in Brazil/ Mexico
Dec 8:
3 pm - Artist Talk: Plane Text: Language in Art
4 pm - Art and Architecture | Lincoln Center Inside Out: An Architectural Account
5 pm - Artist Talk: Painting Forever
6 pm - Artist Talk: Hollywood is a Verb
Dec 9:
1 pm - Lecture: Word and Image in Art
2 pm - Artist Talk: Hernan Bas
Satellite Fairs
Scope Miami NE 36th St and Midtown Blvd. Dec 6- 9
Art Miami/ Context 3101 NE 1st Ave Dec 4 -9
Art Asia Miami Lot E, 36th Street N. Miami Avenue Dec 4-9
Miami Project NE 1st Ave/ NE 30th Street Dec 4-9
NADA Deauville Beach Resort, 6701 Collins Ave Dec 6 - 9
Pulse Miami Ice Palace Studios, 1400 N Miami Ave Dec 6-9
Design Miami Meridian Ave/ 19th St, adjacent to Art Basel Dec 5-9
Untitled 12th Street and Ocean Drive Dec 5-9
Red Dot 3011 NE 1st Avenue Dec 5-9
Independent Thinkers The Armory Studios, 572 NW 23rd St Dec 5-9
OHWOW's It Ain't Fair 743 Washington Avenue Dec 7-9
Galleries
Primary Projects Raneytown/ Rebeca Raney 4141 NE 2nd Ave, Suite 104 Dec 6 -9
Primary Projects Asif’s Guns Pop Up Store 167 NW 25th Street Dec 6-9
Primary Projects Parker Soho by Kenton Parker Soho Beach House by app.
Primary Projects Cicada by Autumn Casey locations vary Dec 5-9
Spinello Projects “Closer” Group Exhibition 2930 NW 7th Ave Dec 4 - Jan 5
Product 81 Farley Aguilar solo show 2930 NW 7th Ave Dec 4 - 18
Locust Project Theaster Gates, Jacin Giordano, Nicole Eisenman 3852 N Miami Ave Dec 6- 9
Gallery Diet Ohad Meromi: The Working Day 174 NW 23rd Street Nov 30- Dec 31
B M de Varona Art Space “I Am Wynwood” 2301 NW 2 Ave. Studio B Dec 6 - 9
Kavachnina Contemporary Salustiano 46 NW 36th Street Dec 8-Jan 10
MUSEUMS
Bass Museum The Endless Renaissance - Six Solo Artist Projects: Eija-Liisa Ahtila, Barry X Ball, Walead Beshty, Hans- Peter Feldmann, Ged Quinn and Araya Rasdjarmrearnsook
Museum of Contemporary Art Bill Viola
Miami Art Museum New Work Miami 2013
PARTIES
Party on the Plaza Miami Art Museum Dec 6 purchase advance tickets
MAM Ball Miami Art Museum Dec 8 purcgase advance tickets
Crash the Ball After Party Miami Art Museum Dec 8 purchase advance tickets
MOCA & Vanity Fair Party Museum of Contemporary Art Dec 4 by invitation
Gentleman Jack's Art, Beats + Lyrics LMNT Dec 5
Young Guru Vs Just Blaze Bardot Dec 4 cover charge
Nicholas Jaar Bardot Dec 6 cover charge
David Lynch Silencio Pop Up Club FDR at the Delano Dec 4-8
Forevermark Diamonds Music at MOCA Mondrian South Beach Dec 7 $25
Miami Project Opening Party
with Performance by Hundred Waters NE 1st Avenue & NE 30th Street Dec 6, 7 VIP passes required
Events/ Other
Pulse Art Fair Champagne Preview Brunch
& Book Launch with Rachel Lachowicz The Ice Palace, 1400 N. Miami Ave Dec 5, 10 am
Hermes Opening reception for
“Couleurs de L’ombre” by Hiroshi Sugimoto Hermes, 175 NE 40th Street Dec 6, 7 pm by invitation
Sagamore Art Basel Brunch Sagamore Hotel Dec 8, 9 am by invitation
Bakehouse Art Complex Breakfast 561 NW 32nd Ave Dec 6 + 7, 9 am-12
Miami Project Artist Talk with Ruben Ubiera Dec 5, 6-11 pm
Miami Project Panel Discussion with Jean-Paul Mallozzi Dec 6, 6-11 pm
Miami Project Artist Talk with Kiki Valdes Dec 8, 6-11 pm
MEI Building Karel Fonteyn “Pistoleros” Dec 5-9
International Contemporary Jewelry Fair aboard the Seafair, Miami Bayfront Dec 4-9
First up, tell us a bit about yourself
I'm a singer/songwriter/producer born in Ethiopia, raised mostly in New York City but also around the world; the Caribbean, Africa, Europe because my parents were international civil servants. I'm still relatively new to the music industry in the sense that people are still just finding out about me but I have been singing, writing and performing for many years, hoping to break through and one day sell out stadiums. I believe in my dreams, and I go hard for them.
Can you share some highlights of your career so far please?
My first single was a song I wrote and produced and put out myself on my own label called "Love This Lifetime". It got a pretty good response from youtube, which led to DJ's in the UK and in the Caribbean playing it. It charted in the UK, which led to remixing it with Bounty Killer, a legend in the Dancehall. That remix and the video for it got played in a lot of places. It wasn't a huge commercial hit all over the world but it traveled far and wide; it charted in the UK twice more and got added to MTV UK and MTV Base. These are awesome results considering I was the sole person who ran the record label. It was pretty much just me, my laptop and tiny shoe string budget the whole time.
You are promoting your new single as “The Queen of Hearts.” What’s the idea behind the project?
There are several reasons why I decided to do it this way: For one, the album, which sort of wrote itself is called The Queen of Hearts. Initially the first song I wrote for it. which came out of nowhere for me, was called "Queen of Hearts". I was really broken-hearted at the time and it was really empowering to think of myself as The Queen of Hearts. Also, there have been other musical artists squatting on my trademark, and I wanted to make it really obvious to people who were confused by the brand dilution, that we were different. But the final reason, and the one that really speaks to me, is that this album made me realize that there is no greater power than being the Queen of your own Heart. That was a personal lesson. And I wanted everything related to this album, to have that message on it because that is what I have to say in the world.
The “Who is the Queen of Hearts” project is quite secretive. Why did you choose to keep your name a secret?
I just feel that the business of promoting music has become about how far people can shove a brand down your throat. And as a consequence of focusing on sales and marketing, the music people are putting out, does not even necessarily feel that good going down. I wanted people to focus only on my music and like me for that, not for how much money I can spend on smoke and mirrors. Also I just finished an album called The Queen of Hearts (Valentine's Day, 2013) so I figured it would be just be more fun to introduce myself as the question, since most people are just hearing about me for the first time. Hopefully they like "Technicolor" enough to find out my real name.
You wrote a “Queen of Hearts” Manifesto. Please elaborate.
The music business right now is really interesting. On one hand we all have access to the same tools, which are cheaper than ever before: recording, shooting video, ways to share... but breaking though the noise of the multitudes still requires a lot of money, and the odds of becoming known as a musician these days can be slimmer than ever given the sheer number of people recording music now is greater than ever before. At the same time fans, have this awesome power now too. If they really get behind something, it can have a fair shot to get out there and stay out there. They can create reactions that are viral. That is a beautiful thing. Independent artists really need fans to champion them so they can finance their projects and continue to make music. Quality music takes money to make. Just because you can download a song for free, does not mean no one spent money to make it. Unless it came from a major, chances are someone really struggled to make something of quality for you to enjoy. Since file sharing changed the way we consume and experience music, fewer people are able to make a living on recorded music than ever before, so a lot of great music does not get funded. Meanwhile there is still this persistent complaint that there is a lack of quality in pop music. Fan support has the power to change that. The Manifesto was a little bold but I do think people need it posted up on their radar that they have the power to support artists that make the music they want to hear, whether that artist is on a label or not. It's easy for fans forget that, which is fair, we are all busy, but fans do have the power and it's awesome when they use it. I really am just speaking in support of all indie musicians. Yes, I want people to support me, but ultimately it's an important conversation for people to be having for the sake of good music in general. I'm a fan, too.
Your new single “Technicolor” features a new sound. Which direction is your music taking?
I like to think that popular music is a conversation that is happening all over the world, by many different people all at the same time and I just want to participate. I focus on writing the best songs I can write and producing them in a way that allows me to connect with as many people as I possibly can. I nearly got stuck in a genre box with the Bounty Killer record; everyone assumed I was a one trick pony that was only interested in Reggae/Dancehall. I love that music but it's only one facet of what I do. My performances and production might traffic in a lot of culture because my life experience has me moving in and out of many world cultures, but ultimately I write, sing and produce pop songs. The songs dictate the production style and that has a lot to do with what is happening in music when I put the recording out. I want have a relevant voice in the pop conversation and to make music that is universal so I can invite as many people to the party as I possibly can.
“Technicolor” also has a new video. What is the concept behind the video?
It's funny, I did not have a lot of money to make the video, so we got footage from a variety of sources. I went out with a camera and walked around shooting people that inspired me, then we edited it up to capture a feeling that was universal and felt good. I didn't want the video to be about romantic love, because romantic love is only one type of love. It's beautiful but agape is more interesting and I wanted the video to spark that in people. I literally want people to feel more alive after experiencing my sonic and visual work and hopefully take that out into their lives and relationships. I also did not want to be in the video. I'm sure I'll have tons of chances to make performance videos in the future, but the stars of this song and video are all kinds interesting human beings just being awesome and engaged in living a full life and I was more interested in watching them.
Who did you work with on the video?
I directed the video. I got my degree in Film, but I never really did anything with it. I dusted it off, because I was working with such a small budget initially, but now I'm realizing that making the visuals myself is just another way I can tell my stories as a musician. I collaborated with a few really talented Editors to help me pull it all together: Aurora Halal, Wilmer Arellano and Greg Reitman all jumped in at different points.
What inspired the song? What’s the story?
The song "Technicolor" was written as I was coming out of a really tough period in my personal life. The stress of being an independent artist was starting to take it's toll, I had gone through a heartbreak. I was feeling very lost but there was still this inspiration in me to keep moving forward, especially when I thought of all the people that have touched my life. I was not in love with anybody in particular, I was feeling in love with life itself and that feeling is truly what keeps me putting one foot in front of the other. That song made me feel more inspired to go out and keep chasing my dreams.
You are an independent artiste. What are the positives and negatives of working independently?
The positive is the creative freedom. Literally, I am never having conversations with anyone about whether or not anything I am doing musically is a good idea or not. I write the song, I hit the studio, and no one is really ever really weighing in on the final product until it's done. There is no committee. Once it is done, I send it to my Manager for feedback and to be honest he rarely suggests changes. What you hear on record comes directly from my heart, right to your ears, without a ton of opinions filtering the process and I think you can hear that on the recordings somehow. The negatives are that I am nickel and diming it the whole time and robbing Peter to pay Paul. There are times when it would be generous to call my budget a shoe string budget and I work hard to get the money together and make time to finish projects, while I balance an actual job. And the unpredictability of never knowing if anyone is every going to enjoy your work can also be really stressful, there are also quality of life issues when you make your life about your art. The only logical reason to be doing music in this fashion is because you love it, because the process itself is not very glamorous or easy.
You are based in New York. What are some of your favorite hang out spots?
I'm a big fan of Red Rooster and the nightclub downstairs, Ginny's. I also hang out at Spur Tree and Miss Lily's.
What else are you planning?
The Album, The Queen of Hearts is done, we're just at the mixing phase right now. I have an IndieGogo campaign where fans can get involved in making sure that we get that done right. It's on the website:
www.whoisthequeenofhearts.com.
Any and all support is welcome, even if it's spreading the word.
I've been rehearsing my new band for the last 6 months, and getting the live show together so we can really have something spectacular for people when we start touring in 2013. I'm working on booking those dates now, so people should sign up for the mailing list, follow me @myqueenofhearts or go to the website
www.whoisthequeenofhearts.com to find out more. And demand me in your city, I'll go anywhere you are. We have a great live show lined up.
Your new website www.whoisthequeenofhearts.com is interactive. How important is communication with your fans and how can people get involved?
To me, fan interaction is everything. My fans are my bosses, I make music for them. I need them to keep making music and I make no secret of that. I ask them to get involved, to tweet me, to share my music. But with The Queen of Hearts campaign, I am taking it a step further and asking them questions about their lives, because I genuinely find them interesting and I want to converse with them in a deeper more meaningful way. My fans inspire me to keep chasing my dream, so I want to keep nurturing those relationships and deepening that connection.
“I want to capture an unspoken language between our generation and the world of art” explains Ruben Ubiera. His language in “Urban Narrative” at 101/Exhibit in Miami consists of abstract, bold, bright, geometric shapes and lines combined with life-like depictions of gorillas.
“I have a clear use of the line and depict ideas in a very figurative and graphic way. It is also very conceptually driven. Each painting is a conversation starter, a catalyst for interactivity,” explains Ubiera and adds “My work is an urban narrative from my search for objects to turn into art, to the ideas and concepts. My observations always tell a story.”
As a South Florida artist Ubiera is inspired by the eclectic cultural mix of Miami. His Dominican heritage shapes his aesthetics and visual vocabulary and his experiences of life in New York and Miami add an urban point of view.
Ubiera’s work has made an impact on the Miami art scene via various exhibitions, murals and public art projects. Signed to the Michael Margulies Artist Agency he has a strong presence in the gallery world, he was voted “Street Artist of the Year” by the Miami New Times, has recently collaborated with the Museum of Contemporary Art and the North Miami Police Department on an installation and has created public art for the city of Pembroke Pines and Hollywood.
The gorilla has become a signature object in Ubiera’s work. It recurs in many different variations and was also the central element of the work in “Urban Narrative.” The artist conceptually developed the gorilla as a metaphor for the street art invasion of the gallery space.
“ It is the art that everyone is seeing on the streets, but no one wants to let it in. It's huge, strong, smart, witty, serious and funny at the same time. You may want to say that it's just brute force and vandalism, but there's more than meets the eye. It represents the art movement that it's currently shaping up in Wynwood at a local level and globally in so many other cities.”
Ubiera’s apes invaded 101/Exhibit for “Urban Narrative” in paintings and mixed media installations using repurposed materials such as spray cans, cardboard, newspaper and skateboards. Each object has a previous story that becomes part of the art work and the dialogue and part of the unspoken language that Ubiera uses in his continuous quest to “find beauty in the balance of form and line.”
Text by Heike Dempster
Photos by Robert Dempster
“Rashid Johnson: Message to our Folks,” the first major solo exhibition for Johnson, is a collage of materials, metaphors and metaphysics. In works spanning more than a decade Johnson explores the idea of creation, identity, self and art through the lens of African-American culture.
Born in Chicago in 1977 Rashid Johnson now lives and works in New York. His conceptual work, albeit heavily influenced by his own experiences growing up as an African-American in the late 70s and 80s, leaves room for interpretation. Contrary to any intentional fallacy the viewer can simply explore the works and start an individual and unique dialogue.
“Rashid Johnson’s unusual vocabulary of materials and innovative mixing of diverse forms and cultural references makes him one of the most vital and interesting artists working today,” says MAM chief curator and deputy director Tobias Ostrander.
Johnson’s oeuvre is a diverse collection of works including painting, photography, film, wood burn, mixed media installation and sculpture. He references icons from African-American culture like W.E.B. Du Bois, Miles Davis, Malcolm X and Public Enemy by incorporating books and records in his assemblages, installations and photography. Other references are made via music such as the soundtrack of Melvin Van Peebles’ indie film “Sweet Sweetback’s Baadasssss Song” from 1971 into his video installation “Sweet Sweet Runner.” Allusions to Kung Fu movies, popular in the African American communities in the 80s, can be seen in his work as often as references to black scholars like socialist and Pan-Africanist Du Bois. A title such as “Triple Consciousness,” pays homage to Du Bois’ classic socio-historical essay compilation “The Souls of Black Folk” from 1903.
Some of Johnson’s most well known work are his portrait series, which he began in early 2000. The artist is inspired by the likes of American reformer, abolitionist and writer Frederick Douglass and also depicts himself as various fictional members of the “The New Negro Escapist Social and Athletic Club.”
to continue reading please visit www.miamiartzine.com
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