tc: temporary contemporary is a public art program initiated by the Bass Museum of Art in partnership with the City of Miami Beach. This program seeks to activate the the museum exterior and the adjacent Collins Park with art, surprising and engaging residents, visitors and passers-by with outdoor works of art. Sculpture, murals, sound installations, video and other interactive works of art, interrupt people’s daily routines and encourage thoughtful interactions within the community. Public art becomes a catalyst to appreciate the unique character of Miami Beach, the Art Deco façade of the Bass Museum and the gardens, lawns and pathways of Collins Park.
tc: temporary contemporary is an ongoing project, as works of art explore interactions and relationships: to an environment, to a site and to each other. This general theme includes the nuances of communication and interactivity, as well as our physical relationship to architecture. The topography of the city is pointed to, redrawn and redefined by some projects. Others convey a sense of surprise via displacement, where seemingly common objects in public space are not what they appear. A number of projects are designed to promote new, vibrant meeting places for social interactions in the community.
There are now 20 works of art installed in Collins Park, as part of tc: temporary contemporary, the public art program managed by the Bass Museum of Art in partnership with the City of Miami Beach.
A total of 18 works were installed in early December as part of Art Basel Miami Beach 2014 Public sector. Nicholas Baume, Director and Curator of Public Art Fund, selected the works for the exhibition entitled “Fieldwork”, December 3-7, 2014. Thanks to funding from the John S. and James L. Knight Foundation, these 18 sculptures from that exhibition will remain on view until March 31, 2015.
Now on view in Collins Park as part of tc: temporary contemporary:
Lynda Benglis, Pink Lady, 2013; Matthias Bitzer, Sleep and echo, 2012, Sarah Braman, Door, 2013-2014; Ana Luiz Dias Batista, Eva (Eve), 2014;
Guillermo Faivovich & Nicolas Goldberg, Territorio del Chaco, 2013,; Falsnaes Front, 2104; Nuria Furster, Pump Iron, 2014 Ryan Gander, Never has there been such urgency, or The Eloquent and the Gala (Alchemy Box #45), 2014; Alfredo Jaar, Culture=Capital, 2012-2014; Jose Carlos Martinat, Manifiestos, 2014; Olaf Metzel, Untitled, 2014; Sam Moyer, Zola, 2014; Ugo Rondinone, Untitled, 2014; Nancy Rubins, Our Friend Fluid Metal, Chunkus Majoris, 2013; Yinka Shonibare MBE, Wind Sculpture, 2013; Jessica Stockholder, Angled Tangle, 2014; Barthélémy Tuguo, In the Spotlight, 2007; Tatiana Trouvé, Waterfall, 2013.
Also on view is Chess Tables, 2014 by Jim Drain, which was installed in October, 2014 and Michael Linares, Así las cosas (This being so), 2012
For details on each sculpture, CLICK HERE.
Curatorial Statement “Fieldwork”
‘The way to do fieldwork is never to come up for air until it is all over.” Margaret Mead
It’s hard to know what the indefatigable anthropologist Margaret Mead would have made of the international contemporary art fair. It’s a wonderfully peculiar phenomenon, a case study in human behavior as much as in the operations of the art market. For most of us, it’s an all-consuming marathon; between vernissages, satellite fairs, collection and museum visits, breakfasts, lunches, dinners, cocktail and after parties, coming up for air isn’t really an option
Intense experiences are what we crave – and what draw us to art and artists. Their business is experimentation, and fieldwork is how artists test their ideas. Public art demands a different approach and a willingness to take risks. On the breezy lawns, gardens and pathways of Collins Park, we find that fertile terrain where artists get to try out their ideas and verify them ‘in the field.’
Fieldwork brings together over 25 artists from 13 different countries working in remarkably varied ways. A number have conceived works specifically for the exhibition, including Jessica Stockholder’s eccentric forms, Sam Moyer’s marble tableaux and Ryan Gander’s mysterious Alchemy Box. Some artists engage architecture like Ugo Rondinone’s intervention on the Bass Museum façade and Alfredo Jaar’s on the rotunda. Others extend the park further, like Gunilla Klingberg’s performance-installation on the beach.
The human figure marks historical memory from Ancient Rome to modern Sao Paulo, in works by Georg Baselitz, Ana Luiza Dias Batista, Elmgreen & Dragset and Justin Matherly. Art history plays a leading role in Sam Ekwurtzel’s LeWittian mole tunnels and in Jose Carlos Martinat’s cacophonous Manifiestos. History and politics come together in Faivovich & Goldberg’s minimalist maps as well as in Olaf Metzel’s newsprint. Meanwhile, Hank Willis Thomas and collaborators from the Cause Collective invite visitors to record their own truth.
The classical fountain has been reconceived by both Lynda Benglis and Tatiana Trouvé. Nancy Rubins and Nuria Fuster give new meaning to found objects, while familiar images shift scale and significance in sculptures by Yinka Shonibare and Barthélémy Tuguo. Perceptions of space and form are challenged by Matthias Bitzer, Sarah Braman, Jeppe Hein and Jessica Jackson Hutchins.
The artists have done their fieldwork; now it is time for the viewer to do theirs. Like budding anthropologists, visitors are immersed in the effort to make a “find.” Even if Dr. mead doesn’t recommend coming up for air, every visit should include time with Ernesto Neto’s spacebodyship; reclining in a hammock is often where I do my most productive research.
Nicholas Baume, curated Art Basel Miami Beach Public in 2013. The exhibition ‘Social Animals’ featured works by Carole Bove, Olaf Breuning, Michelle Lopez, Matthew Monahan, Scott Reeder, Santiago Roose, Tony Tasset, Mungo Thomson, Ursula von Rydingsvard, and Phil Wagner which remained onsite and as part of the tc: temporary contemporary program.
‘Man is by nature a social animal.’ – Politics, Aristotle
Aristotle could have imagined no better proof of his claim than the international contemporary art fair. Culture, commerce, conversation, celebration; these inherently social activities converge around the art fair, transforming it into a hybrid form of contemporary event. Art, it seems, is the original social medium, made for and by social animals. This year’s Public installation in Collins Park demonstrates that more artists than ever before are creating powerful works for public space. Artists want a direct, unfiltered connection with audiences and to engage with everyday life. At the same time, they mine an artistic continuum that long predates the idea of the museum, spanning diverse cultures and histories.
For many artists raised on a steady diet of art galleries and museums, public space is an intriguing and challenging frontier. It is, in many ways, the opposite of the “neutral” white cube. Inherently dynamic, it is warmed by the sun and lit by the moon, but never in exactly the same way. It is dense, layered, social, and constantly changing. A successful public work must make a virtue of its promiscuity, delighting in the gaze of newfound admirers and critics alike, able to make of its environment a stimulating context.
A blend of classical landscape design and more picturesque elements, the layout of Collins Park creates a series of outdoor rooms. Some are rectilinear and open, others more densely planted and intimate. Social Animals imagines all of the works of art installed in these different spaces to be participants in a temporary community, meeting for the first time and getting acquainted. Some of the works included refer to human and animal forms, while others use organic materials such as wood, water, and stone to express an elemental sense of nature. A number of works are also clearly conceptually based, referring to objects, images, and systems that relate to our everyday lives; yet others use language and sound – often to humorous effect. Artists of widely different generations and nationalities have been included side by side, reflecting not only the global reach of the art fair, but also the supple flow of art history as it continually reinvents itself. The participating galleries have contributed all of the works now taking up residence in Collins Park. They came for the fair, but like snowbirds, many of the sculptures and installations will stay on as part of Bass Museum’s tc:temporary contemporary program. We hope you will visit them during the fair and beyond; after all, what social animal doesn’t love company?
Curator Christine Y. Kim, Associate Curator of Contemporary Art at LACMA (The Los Angeles County Museum of Art) and Co-Founder of LAND (Los Angeles Nomadic Division) was the guest curator of Art Basel Miami Beach Public 2012. A selection of the works included in that exhibition – works by Alice Aycock, Lourival Cuquinha, Jose Davila, Mark Hagen, Teresa Margolles, Jaume Plensa, Randy Polumbo and Ugo Rondinone – remained onsite until March 2014, as part of the tc: temporary contemporary program.
This exhibition recalls Barthes’s distinction between ‘speech’ (parole) and ‘language’ (langue). Taking on the notion of speech as an essentially ‘individual act of selection and actualization,’ and as a ‘combinative activity that corresponds to an individual act and not to a pure creation,’’ the selection of works reflect altered content within language: the less malleable counterpart from which it emerges but with which it co-exists in reciprocal comprehensiveness. In other words, the works of art take cues and apply or imply meanings that derive from a common tongue, but they reorder and reintroduce curious utterances and phrases that connect to references outside of, but inevitably intertwined with, a specific lineage of modern and contemporary art. In essence, the speech acts represented by these disparate and variable works spring from, enable, converse with, and challenge systems or discourses such as: modern art and architecture; urban myth, monument and archive; and the language of banners, flags and signage, among others. Many of these works are unexpected in scale and delivery but grounded in their connection to – and the dialectics of – language and speech, interdependent, where ‘real linguistic praxis is situated,’ according to Merleau-Ponty. Instead of the effort to ‘weave more texture and openness into more conventional approaches to what is perceived as public art,’, Art Public 2012 understands and underscores language and takes it on parole through images, manipulations, forms and phrases.
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tc: temporary contemporary is made possible through the support of The City of Miami Beach, ArtPlace, National Endowment for the Arts, Knight Foundation and Funding Arts Network, Inc.
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