FM: Well, phenomenology as a kind of philosophical discipline, I think, implies some very specific ideas about spatiotemporal coordination and three-dimensionality. It implies a kind of separation of the subject and the object. The object comes into view. The object comes into consciousness for a subject as a function of that separation and hopefully what the object does is, in a way, both confirm and also mirror the assumed three-dimensionality of the subject, of the viewer. When we talk about a well-developed character, in a novel or in a play, the complement we like to give such a character is that they are three-dimensional. And I think there’s something to be said, there’s much to be said in praise of two-dimensionality. There’s much to be said that’s in praise of what people ordinarily, I think, misrepresent as flatness. And for me, I would maybe begin, if you have a chance to visit the gallery, by encouraging a stance towards the works, particularly to the wall-based works, to encourage a stance that isn’t, let’s say, full-frontal. Don’t stand up in front of it or stand against it as if it were your object. It’s a really cool thing to walk carefully and respectfully up to the side of it so that if you can imagine not looking at it, but looking with it or almost looking through it. And especially in those big, huge wall paintings, what you see is all this texture. And you see all this richness. And you see all this shape. And you see the intensity with which color doesn’t oppose itself to shape, but folds into shape. And all of a sudden, it turns out that this two-dimensionality, this sort of holographic reality that he’s giving us, is immeasurably and unimaginably rich, which I think allows us to begin to imagine how rich all of the things which we ordinarily would dismiss as two-dimensional must be, right? Including, for instance, let’s say, the generally understood to be two-dimensional lives of, say, Black folks in Tupelo, Mississippi, in 1935 or something like that. It makes me want to really, really think hard about the rich, deep, syncretic, two-dimensional richness of Black Tupelo, Mississippi, which must have been the deepest possible flat place that anybody could ever imagine if it turned out to produce both Sam Gilliam and Arthur Jafa within thirty years of one another. That’s a mystery that somebody needs to try to figure out right there.
Sam Gilliam’s Latest A Roundtable Conversation-Hickey, Martin, Moten Pace Gallery, recorded on December 16, 2020
everyday life is that it enabled (and enables) one to think dialectically. Everyday life may well be the site of alienation, but it is also the site of its undoing, the terrain for social change.
[…]
Through flexibility, a clear sense of the stakes of the battle and the enemy they share, and above all through repeated gestures of cooperation, they make a common front. This is a front that avoids the fixity of class or party but that is nevertheless organized. It takes the overly abstract call to “save the climate”and brings it down to earth—in fact, and quite pragmatically, to particular plots of earth. This is the commune form for our own time.
[…]
contemporary mode is trans-regional— that is, occurring in many federated regions (but not necessarily occurring everywhere, as would an abstraction).
[…]
the contemporary commune mode manifests itself in several regions at once or in close sequencing: sites and local skirmishes based on the situations, histories, and specific needs of the people and other life-forms inhabiting each one thus find themselves “federated”— linked together by the coordinating actions and the relations between groups and individuals established within Soulèvements.
2024 Installment of No Vacancy, Miami Beach on Display from Nov. 14 to Dec. 12
— 12 artists will exhibit one-of-a-kind art projects and installations at area hotels with $35,000 in prize money up for grabs during Art Week Miami Beach —
Miami Beach, FL – The City of Miami Beach, in collaboration with the Miami Beach Visitor and Convention Authority (MBVCA) and the Greater Miami Convention & Visitors Bureau (GMCVB), is pleased to announce the return of No Vacancy, Miami Beach — a juried art competition that supports and celebrates local artists, provokes critical discourse and encourages the public to experience Miami Beach’s famed hotels as art destinations. For the fifth edition of the competition, No Vacancy, Miami Beach 2024will include 12 participating artists and collectives that will present site-specific works at 12 different hotels around Miami Beach. The workswill be displayed from Nov. 14 to Dec. 12.
Each selected artist or collective will receive $10,000 to create an installation at an assigned hotel. Participants were selected from an open call for submissions issued by the city and by representatives from the City of Miami Beach Art in Public Places Committee, Cultural Arts Council and MBVCA.
For the fifth iteration, two artists will be awarded a combined total of $35,000 in prizes. One will receive a $10,000 public prize from the GMCVB and the other will be awarded a $25,000 juried prize from a panel of art world professionals.
Participating Hotels and Projects No Vacancy, Miami Beach 2024:
Avalon Hotel: Miami Artist Julia Zurilla presents “— .. .- .– -..- (MIA WX),” a multimedia project that combines experimental videos and circular photographs, juxtaposing images from past and present that explore nostalgia and contemporary environmental realities. The installation layout is arranged in Morse code, a visual system composed of dashes, dots and spaces that is also known as “the lifesaving language.” This project reflects both the urgency of climate communication and the adaptability of the installation, allowing any word associated with the project’s theme to be expressed and tailored to various spaces.
The Betsy Hotel: Artist [dNASAb] presents “Faux Ecologies + Augmented Visions of the Micro-verse,” an AI-assisted film that dives into the unseen world of microplastics and microorganisms and explores their hidden interactions. This installation transforms the spherical form of the structure into a dynamic, translucent water droplet, revealing an intricate, fictional ecosystem at a microscopic scale. “Faux Ecologies + Augmented Visions of the Micro-verse” serves as both a meditation on the fragility of our environment and an experimental use of cutting-edge technology to bring new dimensions of environmental storytelling to life.
Cadillac Hotel & Beach Club: Artist Marielle Plaisir presents “Rhapsody for a Beloved World.” Through a multifaceted and interdisciplinary approach, Plaisir strives to resist harmful histories and offers hope for a better future. Plaisir draws attention to the interconnections between humans, the universality of fractured identities and the power of recognizing and describing inner worlds. Plaisir’s socially engaged works transcend temporal and cultural boundaries, serving as visual meditations on the resilience of the human spirit in the face of adversity. The color-drenched collage features elaborate compositions of elements, combining intricate botanical images of lush foliage with salvaged vintage black and white photographs as well as elements of landscape paintings.
The Catalina Hotel & Beach Club: Artist Joshua Aronson presents the site specific installation, “Florida Boys,” featuring the photograph “Spring “(2023–2024). The translucent fabric allows daylight to pass through, transforming the photograph into a dynamic interplay of light and shadow. As air circulates in the lobby, the suspended artwork gently moves, creating a living, evolving presence that shifts with the changing light throughout the day. “Spring” depicts a serene moment of young men floating in a Florida spring, a scene that speaks to themes of unity, tranquility, and the expansive nature of modern masculinity. Set in Miami Beach, the installation resonates with the city’s unique convergence of natural beauty and urban vibrancy, while also nodding to its legacy as a haven for queer culture. The subtle interaction of the photograph with its environment invites viewers into a contemplative space, echoing the rhythmic pace of the city while offering moments of quiet reflection and connection.
Esmé Miami Beach: Artist collaborative We Are Nice’n Easy’s “Soft Squeeze” represents a site-specific artwork rooted in the dynamic interplay between nature and culture inherent to South Florida. With a focus on public projects within its practice, Nice’n Easy believes in the transformative power of public art and works to elevate Miami’s cultural identity. This playful creation, however seemingly compressed, creates a visual tension that highlights the clash and fusion of natural and cultural elements. As viewers move around and underneath the artwork, the recognizable shapes shift and merge, creating an ever-evolving visual narrative that reflects the fluidity and complexity of Miami’s subtropical environment. This work not only captures the playful spirit of Miami Beach but also prompts deeper reflection on how cultural artifacts and natural habitats coexist and influence one another.
Faena Hotel: Artist Magnus Sodamin’s “Reflections of our Environment” offers lush, nature-inspired treatment that explores changing global narratives through spiritual inquiry and spontaneous creativity. Sodamin’s process is cathartic and vigorous, resulting in work that reflects the beauty of the natural world while exploring the states of climate and environment. His vibrant works are full of energetic gestures that are both joyful and turbulent, indicative of the artist’s passionate sense of awe and quiet reverence for nature.
Hotel Croydon: Artist Dennis Scholl’s work “Untitled (Dodecagon Drawing Grid), 2024” comes across as an obsessive drawing practice. Scholl is interested in the dodecagon 12-sided figure and uses it as an organizing principle in his practice. This presentation consists of up to 100 unique dodecagon drawings shown in a grid. The dodecagon reminds us of the hours on a clock, months in a year or signs of the zodiac — in essence the passage of time.
International Inn on the Bay: Artist Asser Saint-Val’s “Aquatic Incursion-MHEDRAYNGT” is a series of amorphous air sculptural installations that integrate into the architecture of South Beach. These organic, sea life-inspired structures create a surreal, otherworldly aesthetic that contrasts with the iconic art deco buildings of the city. The sculptures appear to invade the familiar built environment, generating a captivating interplay between manmade and the sea. The organic forms of the sculptures are inspired by the ongoing discourse around sea level rise and the encroachment of sea life into urban spaces. The underwater quality of these sculptural installations are designed to evoke a sense of wonder prompting viewers to reflect on the delicate balance between human activities as the main driver of climate change, primarily due to burning of fossil fuels like coal, oil and gas.
Kimpton Surfcomber: Artist Adler Guerrier’s ”Untitled (objects, landscape, and things. At the still point of mottled formations and a scruple of compassion)” presents a network of images, places and haunts as the broad errant reaches of here. The work builds on relations to the ways we shape public space, embellish the lived environment within various abstractions, botanicals and sentiments while insisting on expanded views of the commons.
Kimpton Palomar Hotel: Artist GeoVanna Gonzalez presents “Moving Interlude.” Inspired by the theories of sociologist Henri Lefebvre, Gonzalez’s work investigates the intersection of urban design, cultural values and spatial justice. Gonzalez explores how elements of urban architecture can inadvertently perpetuate social inequalities through exclusionary designs, such as antisocial architecture, which subtly controls behavior and restricts movement.
Royal Palm South Beach: Artist Philip Lique, presents “YOU ARE HERE,” an interactive installation that serves as an homage to the commonly seen wayfinding maps in public spaces. The work offers a chance to recalibrate one’s own spatial and contemplative awareness. The artist aims to engage hotel guests through design, sculpture and cultural programming by intervening in an often overlooked architectural element — the floor. “YOU ARE HERE” reassigns the lobby’s purpose — offering a scale shift for guests to consider as they orient themselves within either a single building, city block, Miami Beach and beyond.
Sherry Frontenac Hotel: Artist Patricia Cooke’s “Anodyne” praises the healing power of South Florida’s mangrove systems. Mangroves are a crucial facet of the South Florida landscape. Their complicated root systems provide filtration and distribution for both fresh and saltwater, as well as acting as attachment sites to marine organisms that filter water with their bodies — a double source of healing. The quilts of “Anodyne” strive to recreate the unique view of both roots disappearing under the water’s surface and the menagerie tangle of the roots themselves. The use of calming pastel colors supports a similar calming experience of kayaking or canoeing through the mangroves, offering a sense of tranquility knowing that these ancient trees are hard at work protecting and healing our world.
Funding for this project is provided by the City of Miami Beach Cultural Arts Council, Miami Beach Visitor and Convention Authority as well as the Greater Miami Convention and Visitors Bureau. For additional information, please visit mbartsandculture.org.
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About the City of Miami Beach Art in Public Places Committee
The Art in Public Places Committee is a seven-member City Commission-appointed citizen’s board responsible for the commission and purchase of artwork by contemporary artists in all media. The program allocates funds totaling 2% of hard costs for city projects and joint private/public projects. Funds from construction projects may be aggregated into the Art in Public Places Fund and allocated for artwork at public sites and for collection maintenance.
About the City of Miami Beach Cultural Arts Council
The Cultural Arts Council (CAC) is an 11-member body created in 1997 for the purpose of developing, coordinating and promoting the performing and visual arts in the City of Miami Beach. The CAC serves as arts advocates before governmental bodies, coordinates collective marketing initiatives for the local arts community and funds not-for-profit arts organizations. Since the program’s inception, the CAC has awarded approximately $18 million in cultural arts grants, supporting thousands of performances, exhibits, and other cultural activities in Miami Beach.
About the Miami Beach Visitor and Convention Authority (MBVCA)
The MBVCA is a seven-member authority, appointed by the City of Miami Beach Commission, with the goal of encouraging, developing and promoting the image of Miami Beach locally, nationally and internationally as an outstanding tourist destination. To this end, the MBVCA strategically focuses its funding investments in a balanced manner, fostering outstanding existing programs, stimulating new activities and encouraging partnerships. The MBVCA is committed to a careful, long-term plan for allocation of resources to help Miami Beach thrive as a destination with something for everyone.
About the Greater Miami Convention and Visitors Bureau ??(GMCVB)
The Greater Miami Convention & Visitors Bureau is an accredited, independent not-for-profit sales and marketing organization whose mission is to attract visitors to Greater Miami & Miami Beach for leisure, business, meetings and conventions. For a vacation guide, visit our website at www.MiamiandMiamiBeach.com or call 1.888.76.Miami (US/Canada only) or 305.447.7777. To reach the GMCVB offices dial 305.539.3000. Meeting planners may call 1.800.933.8448 (US/Canada only) or 305.539.3071 or visit www.MiamiMeetings.com. To get further engaged with Greater Miami & Miami Beach, join the conversation by following us on our social media channels at Facebook.com/visitmiami, Twitter.com/visitmiami, Instagram.com/visitmiami, TikTok.com/@visitmiami and Pinterest.com/visit_miami.
Communal forms of “inhabiting” or “sharing usage”—particularly of the land—are directly political in a way that allows us to break with modalities of ideology and identitarianism.
[…]
When people of starkly different backgrounds and beliefs come together pragmatically on an everyday basis to perform the tasks and devise the ever-shifting agendas of a territorial occupation, something like a polemical political community is created. Composition begins when people of different origins, with different ways of thinking, different histories and relations to the land, different skills, and sometimes vastly different risk tolerance decide to act together, under the presumption of equality, to defend a territory. A new collective subject—the result of mutual displacements and dis-identifications and the action of equals as equals—is produced, essentially, through practice, through creative, shared engagement in building, defending, and sustaining the life of the occupation day by day. The product of a massive investment in organizing life in common, composition dispenses with the kinds of exclusions based on ideas, identities, or ideologies so frequently encountered in radical milieus, the whole tired sectarianism of the history of the left. As such, it is a manner of making a world, the weaving together of a new kind of solidarity—one where the unity of experience counts more than the divergence of opinions, and one that amplifies, as well, Kropotkin’s conviction that solidarity is not an ethics or a moral sentiment but, rather, a revolutionary strategy, and perhaps the most important one of all.
Kristin Ross, Composition, e-flux, Excerpt from The Commune Form: The Transformation of Everyday Life (Verso, 2024)
