tc: temporary contemporary is a city-wide temporary, public art program initiated by the Bass Museum of Art in partnership with the City of Miami Beach. This program seeks to activate the urban landscape with art, surprising and engaging residents, visitors and passers-by with outdoor works of art in unexpected places. Sculpture, murals, sound installations, video and other interactive works of art, will interrupt people’s daily routines and encourage thoughtful interactions with the city and its communities. Public art becomes a catalyst to appreciate the unique character of Miami Beach from the Art Deco façade of the Bass Museum to Frank Gehry’s New World Symphony, to the busy streets and boardwalk and the spaces in between.
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 will be pointed to, redrawn and redefined by some projects. Others will 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.
On occasion, groupings of works will be presented as exhibitions within tc: temporary contemporary. The first such project was developed for Art Public 2012 by guest 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). A selection of the works included in the exhibition – Alice Aycock, Lourival Cuquinha, Jose Davila, Mark Hagen, Teresa Margolles, Jaume Plensa, Randy Polumbo and Ugo Rondinone – remained onsite and became part of the tc: temporary contemporary program.
Art Public 2012 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,’ as I wrote about Art Public 2011, Art Public 2012 understands and underscores langue and takes on parole through images, manipulations, forms and phrases.
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tc: temporary contemporary is made possible through the support of ArtPlace, National Endowment for the Arts, Knight Foundation and Funding Arts Network, Inc.
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