PULSE Art Fair’s signature Pulse Projects program is committed to the presentation and promotion of audience-engaging large-scale sculptures, installations and performances.
Buy a poster, argue about art, and experience this year’s art fair bonanza through the lens of Bad at Sports (B@S). Commissioned by Miami-based Cannonball (www.cannonballmiami.org), B@S will curate a booth of limited-edition posters by Chicago and Miami artists and conduct live interviews with the rich, famous, or fabulous as part of an internet radio show. Along with the posters, fairgoers will be able to stock up on the latest B@S gear while ridiculing B@S contributors for their inept attempts to make sense of today’s art world. Please stop by and laugh with us!
blinkvideo presents three programs on PULSE (Booth P-5).
Program 1: Selection by art collectors Baryn Futa and Manuel de Santaren including Kota Ezawa, Kate Gilmore, Severine Hubard, Francesco Jodice, William Lamson, Bjørn Melhus, Paulo Nazareth, Annegret Soltau, Stacy Steers, Peter Weibel. Program 2: Prize winners of the first edition of B3 Biennale in Frankfurt/Germany including Laurie Anderson, Candice Breitz, Richard Mosse, Everyday Rebellion (Arman and Arash T. Riahi) and the emerging prize winners. Program 3: “Living” library – a glance into the research platform blinkvideo, a curated selection of international artists presented on blinkvideo: Stefan Constantinescu, Kota Ezawa, Kate Gilmore, Bjørn Melhus, William Lamson, Julia Charlotte Richter, Ene-Liis Semper, Adnan Softic.
Head in the Hole, 2013
Cel-Vinyl acrylic on plywood, steel and wood framework
84 x 197 in
Courtesy of Martha Otero Gallery, Los Angeles
The intention to hide or reveal certain layers of one’s appearance and/or identity is a commonplace human motive. As science and medicine progress along a path to the ever-easy transition to an idealized aesthetic, philosophical questions arise. What are the ideals and possibilities? Who are we trying to be and why? Using an antiquated format versed in kitsch sentiment, this interactive installation attempts to make available some examples of identity that push our sense of self beyond the accepted boundaries of humanity.
Sound installation curated by Taylor Deupree
Marcus Fischer (US), Moskitoo (Japan), Stephen Vitiello and Molly Berg (US), Ryuichi Sakamoto and Taylor Deupree (Japan/US)
Lull is an outdoor listening field consisting of 4 hammocks and 4 sets of headphones featuring the sounds of New York's 12k label. It's set up as a sonic escape from the bustling surroundings. Contrary to some ambient music destined for the background, the work presented in Lull is most rewarding when the listener is full immersed. The sounds range from the most fragile and sparse piano to the weathered and worn warmth of found instruments and reel-to-reel tape recordings. The atmosphere is deep and engaging, curious and surprising. Lull is quiet music for an over-saturated world. With over one hundred releases since its inception by Taylor Deupree in 1997, New York-based music label 12k has decisively defined and developed the concept of minimalism in the realms of electronic music for more nearly two decades. Fusing elements from ambient and electro-acoustic composition with carefully arranged digital textures and associative micro-noises, the label's aesthetics revolve around a precisely-outlined, yet deeply emotional concoction of the technological and the organic.
Wake and Wonder, 2013
Nails, thread, and serape
12 x 30 feet
Installation view Pérez Art Museum Miami
Collection Pérez Art Museum Miami, museum purchase with funds provided by Darlene and Jorge M. Pérez and the Helena Rubinstein Philanthropic Fund at The Miami Foundation Daniel Azoulay photography
The artist’s own history and cultural anchor, in the form of the serape, become the starting point for a new kind of aesthetic: the everyday object, also regarded as a souvenir brought home by people having visited Mexico, gets transformed and hereby stakes a claim to being an aesthetic and conceptual work of art.
Some Where Some What, 2013
Metal shelf system, electrical hardware, conduit, lights, wire plugs, receptacles
48 x 84 x 36 in
Courtesy of New Art Projects, London
This work continues a series of pieces that mix basic metal shelving and electrical hardware, creating a work that is both a place and a piece, and playing off the industrial nature of the materials and their similarities to the high-rise construction of skyscrapers. McCaslin has been working for the last 25 years with electricity as a central material. It is a woven material that connects us to each other. It is an expansive and inclusive material that can move in many directions.
Sometimes You Are Carried Aloft (Flag), 2013
216.14 x 216.93 in.
Courtesy of C24 Gallery
Photo credit: Satomi Yamauchi
The work of Robert Montgomery follows a tradition of conceptual text art that includes artists such as Jenny Holzer and Lawrence Weiner. Although linked with his London predecessors of the YBA generation, Montgomery stands out by drawing from examples of public interventionist strategies and brings a poetic voice to the discourse of text art. Essential to Montgomery’s work is the tradition of modernist Concrete Poetry, where the visual elements of words are as important in conveying the intended effect as the conventional elements of the poem, such as meaning of words, rhythm, rhyme, etc. The English art historian Edward Lucie-Smith, who began his career as a poet and an acolyte of Concrete Poetry, recently said of Montgomery’s work simply, “Yes to this, and yes again.”
Aluminum sections, neon tubes, polished stainless steel, wire, one-way mirror glass
7 x 11.6 x 3.5 ft
Courtesy of Taubert Contemporary, Berlin
In the style of a product display, eight horizontal and nine vertical neon lights, in rows of cool white and columns of candy-pink, are hung on an aluminum construction and immerse the exhibition space in a diffuse light that makes the viewer oscillate between attraction and repulsion. It is not for nothing that candy-pink light is an often-used antisocial behavior device to drive young people from public places.
Ragnar Helgi Ólafsson, 2013
Courtesy of Dimensions Variable, Miami
The tragedy of our infinite imagination and our limited lives (and other stories). or Thoughts on the seeming impossibility of putting the theory of maximal living into practice, along with a few observations on loss. or A failed attraction at an abandoned philosophical theme-park #5. or An rough idea for an answer to a few problems connected presence and the tendency of the artwork to suggest what is not there. or “... as empty-handed as the shirt on the clothesline.“ 2013 Active video installation and archive for one camera, a projector, one computer and a computer programme.
Nails Across America, 2012-2013
Performance; dimensions variable
Courtesy of the artist and Mixed Greens, New York
By appointment only
Nails Across America seeks to connect with a broad audience through the act of performing manicures. This experiential project is about more than simply “nail art.” By transforming a 1968 Shasta Compact trailer into a mobile salon, Trammell aims to create an intimate platform to exchange ideas and conversation.
Sputnik Returned, 2013
60 x 12 x 6 ft
Courtesy of Art Mûr, Montreal
Sputnik Returned consists of a replica of Sputnik, the first manmade satellite to orbit the earth, installed as if it has fallen from its orbit and crashed back to earth. Sputnik Returned presents a metaphor for the failed promises of a future predicated on scientific advancement. The stainless steel orb, resting lifeless in a crater, recalls a modern-day Icarus, whose faith in technology led to hubris and imminent demise as he fell back to earth. This simple, streamlined, and reflective design seems to encapsulate the space race of the 1950s. Today this design appears as a wonderfully crude relic of the period, a potential unmanned doomsday weapon mirroring the excesses of the Cold War while also recalling the proto-modernist sculptures of Brâncuși.