Miami in the news

The guardian has an article on Miami and some post-ArtBasel reflections. It, of course, refers to Miami has ‘the city that coke built’–a Miami New times reference. The article focuses on Miami as a host city for culture. At CIFO, Manny Diaz said that was one of his goals. Well, here some international press confirming it.

This is a similar article; the noteworthy parts being, Robert Rauschenberg and Alain Robbe-Grillet was in town, Raleigh Hotel parties and a quote:

There were many events outside the Convention Centre. The most moving work I saw was at Miami Art Central, a museum set among Spanish-style bungalows in the suburbs. Here they were showing William Kentridge, a South African artist who does brilliant charcoal drawings that he works into disturbing films. I thought that these genuinely caught some of the horror and pain of the late 20th century.

We’re back.

Thanks FP&L. Anyone else who doesn’t have power, drop us a word and we’ll try to help. We probably will not climb electric poles to connect your house or block back on the grid. But we will give you some support otherwise–shower, water, internet, etc…
Only about 10% of Miami-Dade is left without power. Same thing happened to us after Katrina; we got our power back as part of the last 10%. Anyway, it won’t be long until the two or three of you left get your power.
I haven’t been on top of all things currently going on in the world. Though, we have been abreast on some past events, like Carl Andre & Ana Mendiata and the ever heroic, Richard Feigen.

adad/dada

Many discussions/fights/strong lines of demarcation have come to be as a result of art movements. Dada is/was the most unruly of them all. Dada has its beginnings in Zurich at the Cabaret Voltaire in 1916 and was a reaction to World War I. Today, nytimes has an article about an exhibition about Dada, which opens at the George Pompidou Center. The show

…proposes that Dada is still very much alive, its influence on contemporary art all too apparent in today’s collages, installations, ready-mades and performances.

And that,

…Dada was creative in its radical nihilism.

…Dada was principally an intellectual movement, one that set out to provoke and scandalize as a strategic response to prevailing social and artistic values.

But more importantly, Dada introduced a line of thinking that questionned authorship, authority, the object and favored appropriation. But overttime,

Dada’s aesthetic values may even have triumphed, but its political message has been forgotten. Today, many artists like to shock, not to overthrow the art establishment but to join it.

John Perreault’s defense of Mike Bidlo has been a refreshing reading about the legacy of Dada, the art market and one’s artistic ‘devil’-ish career.

Not Duchamp's Bottle Rack, 1914
Image from here.