Kaspar Müller

Art Basel Miami Beach recommendations, Dec 1 – 4

30 November 2016

The 2016 edition of Art Basel Miami Beach will take over various locations across the Florida city, running December 1 to 4.

The event brings together 269 galleries, as well as a film program, set of talks, performance and large-scale work.

Kicking off the weekend will be a number of free to attend events, including the Life and Death Party at Little River Studios organised by labels PL0T + III Points Present featuring Ame, Job Jobse, HVOB live, Prins Thomas, and Young Marco + more.

The Untitled. Miami Beach art fair is happening alongside, that includes a roster of ‘Special Projects’ including Do We Dream Under the Same Sky by artists Tomas Vu and Rirkrit Tiravanija, while Kult of Konsciousness at Fringe Projects Miami 2016 

The ongoing online project Dream Fair will be live on November 29, and host galleries Exile, Future Gallery, Hollybush Gardens and Limoncello among others. SP15 is presenting Kult of Konsciouscness as part of Fringe Projects Miami 2016, and the An Image group exhibition is running at ArtCenter South Florida.

The nonprofit organisation New Art Dealers Alliance (NADA) will also run alongside, featuring: Alex Ito @ Springsteen, Cristine Brache + Jimmy Wright @ Fierman GalleryAmy Garofano @ GoodweatherMax Ruf @ Union PacificAnn Hirsch, Brian Kokoska and Vanessa Gully Santiago @ American Medium and Vikky Alexander and Sara Cwynar @ Cooper Cole Gallery.

See some of our gallery recommendations below:

Kaspar Müller Société 

Group exhibition @ Pilar Corrias

Maggie Lee @ Real Fine Arts 

Kelly Akashi and Patrick Jackson @ Ghebaly Gallery

Amy Yao and Lena Daly @ Various Small Fires

Kult of Konsciousness at Fringe Projects Miami 2016, Dec 3

See the Miami Basel website for the full programme and more details.**

Life and Death Party (2016). Promotional image. Courtesy of Little River Studios, Miami.
Life and Death Party (2016). Promotional image. Courtesy of Little River Studios, Miami.
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Grand Opening Reception @ NAK (2015) exhibition photos

9 December 2015

The blue-carpeted group show, Grand Opening Reception ran at Neuer Aachener Kunstverein (NAK) between July 18 to September 13 2015. Each of the works by artists, inlcluding Carey Young, Peter Friedl, Dena Yago, Stewart Uoo, Christian Von Borries, Renaud Jerez, Cooper Jacoby were installed on top of white shiny bar tables made by Kuwaiti artist and architect Aziz Al Qatami. Al Qatami was commissioned by curators Lennart Wolff and Elisa R. Linn to make the exhibition architecture bear close relation to what it looks like at small business events. Berlin-based Wolff and Linn run a project called km temporaer, which pushes at the form and thematics of the group exhibition.

Some of the works in Grand Opening Reception were made for the table tops specifically. They become presentations. George Rippon‘s ‘Why Do Birds Suddenly Appear’ (2015) is a scenario with tiny characters and props inside a white box with a blue floor and skinny shiny white tables. There are three pigs, one on top of another on one of the micro-tables: they appear to be having fun.

Cooper Jacoby, Deposits (leaking valley) (2015) Install view. Photo by Ivo Gretener. Courtesy the gallery Neuer Aachener Kunstverein.
Cooper Jacoby, ‘Deposits (leaking valley)’ (2015). Install view. Photo by Ivo Gretener. Courtesy the gallery Neuer Aachener Kunstverein.

On another table is an incredibly flat piece, ‘Untitled’ (2015) by Julien Ceccaldi. It is an image of a figure half way behind a curtain behind a window, looking out – or up, as the table’s flat surface would have it. Ceccaldi’s table becomes like a stained glass window and the figure is trapped in its visibility. Kaspar Müller also presents figures on top of his table. A group of characters and objects taken from different recognisable children’s fables sit together in close proximity making a strange circle-scene that mostly faces outwards.

The group of works as a collection somewhat refuse (and refuses) to join in with an exact shared aesthetic, or affect, despite and perhaps because of their joint display fashion and its blatant gesture towards a commercialisation of aesthetics (and visa versa). In a previous interview between Peter Friedl and Mousse Magazine, he talks about the disappearance of anything – history, potential -in image, and art as being a phase-out model in the process of standardising an aesthetic.

Where does art go in midst of this process? Where does art go in the discussion of the intentional commercialisation of ‘look’ and aesthetic identity? Does it fall in the gap? Does it fall off? Many of the exhibition photos displayed for and after Grand Opening Reception are of people standing in the blue carpeted room. It is a show wherein the artworks end up as these small unstable self-iterating gems inside something else that’s not really paying attention, whatever they look like, however they appear. **

Exhibition photos, top right.

The Grand Opening Reception group exhibition was on at Aachen’s Neuer Aachener Kunstverein from July 19 to September 13, 2015.

Header image: Grand Opening Reception (2015) Exhibition view. Photo by Ivo Gretener. Courtesy the gallery Neuer Aachener Kunstverein.

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