The pumpkins come out Oct. 12, when ICA-Miami opens its off-site exhibition of Yoyoi Kusama’s “All the Enternal Love I have for Pumpkins” infinity-room installation at 112 NE 41st Street, suite 106. (Tickets and information at www.icamiami.org.)
But there’s more to October, including these art highlights:
“Within Interdependence,” through Art Week 2019. National YoungArts Campus, 2100 Biscayne Blvd., downtown Miami. youngarts.org.
Entwining ideas of intimacy and the body-mind dynamic, the YoungArts alumni exhibition “Interdependence” weaves together works that focus on each artist’s connection to their bodies in a rapidly changing ecological, physical and social world. While coming from numerous vantage points, each work attempts to draw out what inherently connects us to ourselves, the people around us and the lands we live on. Curated by Deana Haggag, president & CEO of United States Artists, a national arts funding organization based in Chicago, the exhibit pulls together 20 artists, all winners in the YoungArts visual arts, design, and photography over the last decade. They include Demetri Burke, an Atlanta painter and 2017 YoungArts Winner in Visual Arts, andMiami sculptor Maite Iribarren, who has a background in structural engineering and is influenced by Miami’s subtropical wilderness, heavy industry and Latin culture.
“Second Impressions,” paintings by Ariel Cabrera Montejo, through Nov. 9 at Bernice Steinbaum Gallery in Coconut Grove. By appointment; bernicesteinbaumgallery.com.
The paintings of Ariel Cabrera Montejo take us on a strange and evocative journey through Cuba’s past, present and possible future. The native of Camagüay who now makes Brooklyn home scoured Cuban archives for archival images from important eras, such as the Interwar Period and the War of Independence (all late 19th century) and came up with over 6000 digitalized photos, from which he builds his tableaux. But his impressionist-tinged paintings don’t depict traditional heroes; instead he focuses on those with faults and carnal desires who float through time, and who may be transvestite soldiers or people engaged in old-fashion foreplay. As the gallery suggests, “We follow Cabrera Montejo’s work in order to fuel our imaginations to find whether his visual language is real or imagined.”
MIAMI DADE COLLEGE
Globalization and technology once were seen as mechanisms to bring us closer together and make us more connected – but borders created by them increasingly divide us. This multi-pronged exhibit engages two Caribbean figures who devoted their work to thinking through borders, both physical and ideological: the Cuban painter and scholar Lydia Cabrera (1899–1991) and the Martinican philosopher and poet Édouard Glissant (1928–2011). The exhibition features two writers, 40 artists and collectives, who combine modern and contemporary art with archival materials to explore notions of shifting and porous borders and social issues. For instance, the multisensory installation “Black Power Naps/Siestas Negras,” by Navild Acosta and Fannie Sosa opening Oct. 24 invites visitors to lounge on a variety of beds embellished with serene lighting and therapeutic sound vibrations as an “energetic repair” — a response to the exhaustion tactics once used to subjugate slaves. Other boundary-breaking artists in the show include Theaster Gates, Dominique Gonzalez-Foerster, Felix Gonzalez-Torres, Wifredo Lam, Glenn Ligon, Roberto Matta, Julie Mehretu and Ana Mendieta.
“Elisabeth Condon: Effulgence,” through Nov. 16, at Emerson Dorsch gallery,
Like the title “Effulgence,” which means a shine, a lovely radiance, Condon’s work is a pleasure to behold. The former University of South Florida professor — who is also a grantee of the Joan Mitchell and Pollock Krasner foundations — paints flowers and landscapes. Such imagery has always aroused pleasure, but Condon’s are not decorative additions to a wall. The artist immerses herself in the joy of details and luscious colors – in a very pre-Minimalist way – but with a brashness that adds an extra element of excitement. She uses Chinese black ink and unpredictable lines, colors and pours to create slightly abstract patterns in the vein of a Georgia O’Keefe and Lee Krasner. In the catalogue for the show, Jason Stopa writes that like her predecessors, Condon refuses to “dwell in abstraction without representation.” She “represents a pattern or decoration not only for the look of it, but also for its symbolism, its history and the way it can be represented.” Through Nov. 16, emersondorsch.com.
UNDER THE BRIDGE
“Tools of the Game,” video by Dennis Scholl and Marlon Johnson, through Nov. 3 by appointment, with panel discussion on the closing day, 305-987-4437. At Under the Bridge, 12425 NE 13th Ave., North Miami.
The artist-run space is screening a quirky, fascinating video from Miami’s Dennis Scholl and Marlon Johnson, “Les Outils Du Jeu,” or “Tools of the Game.” So let’s first put together disparate elements: the history of the baseball bat – the famed Louisville Slugger – and a 1913 score from French composer Claude Debussy, “Jeux.” Then take entirely found, archival footage of the story of the bat, from its origins in the forest, to the logging of the tree trunk, to the instrument in the hands of players on a baseball diamond, and let that footage flow to the symphony. ““We wanted the film to be in service to the music, not the other way around, as most films are scored,” said Scholl. Debussy’s work synced with the Impressionist painters of his time; “Jeux,” or “Game,” itself broke new ground as a work commissioned by Sergei Diaghilev for his innovative Ballets Russes company. (The choreography initially revolved around the story of a couple told through a game of tennis.) In 2017, Conductor Teddy Abrams chose the piece for the Louisville Orchestra, and commissioned Scholl and Johnson to produce an accompanying film. Because of the orchestra’s roots, the filmmakers decided that the story of the Louisville Slugger was the perfect fit – and it’s all come together in this experimental film.