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Vasari Project at 25: A Legacy of Art Collections and Collecting in Miami

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Exhibitions at the Library - Miami-Dade Public Library System
Exhibitions at the Library - Miami-Dade Public Library System

Vasari Project at 25: A Legacy of Art Collections and Collecting in Miami

Miami-Dade Public Library System

101 W Flagler St, Miami, FL 33130

This exhibition celebrates 25 years of The Vasari Project, a living archive that documents Miami-Dade’s visual arts since 1945. Tracing its origins in early library exhibitions, the show highlights donated materials that reflect the city’s evolving artistic landscape and cultural memory. For more information, please contact the branch at 305-375-2665 or [email protected]. All ages.To request services in compliance with the Americans with Disabilities Act (ADA) such as materials in accessible format, sign language interpreters, and/or any accommodation to participate in any Miami-Dade Public Library System sponsored program or meeting, please email [email protected] or call Monica Martinez at 305-375-5094 five days in advance to initiate your request. TTY users may also call 711 (Florida Relay Service).

The Miami-Dade Public Library System makes its facilities and meeting rooms available to independent entities, such as community groups or organizations. Hosting such events or programs does not constitute an endorsement or affiliation with the activities of the independent entity or its content. The Library is not responsible for the accuracy or completeness of the information provided by independent entities.

Twenty-five years ago, the Miami-Dade Public Library System created The Vasari Project to document and preserve the vitality of the visual arts in Miami-Dade County dating back to 1945 and beyond. Three visionary women led the initiative: Art Librarian Margarita Cano; Miami Herald art critic, historian, and writer Helen L. Kohen; and Art Librarian and Art Services Manager Barbara N. Young. Together, they collaborated to establish this unique repository in 2000. With funding from the Miami-Dade Department of Cultural Affairs and the invaluable support of Library leadership, The Vasari Project was successfully launched.

Several exhibitions created by the Library’s Art Services Division underscored the need for a dedicated repository to preserve Miami’s art history. Miami Thriving in Change 1940-1990, organized in 1991, was a series of exhibitions that documented 50 years of arts and culture in the community. The exhibit Cultivated Under the Sun, 30 Years of Library Service, 1971-2001, curated by Cano, Kohen, and Young raised awareness of the Library’s art collection and documentation efforts.

The Vasari Project collection safeguards the ever-changing nature of the city’s museums, a decades-long roster of commercial galleries, and the footprints of artists who continue to leave their marks. Contributions to this significant archive — including exhibition catalogs, photographs, press clippings, oral histories, and other mementos — by public institutions, galleries, artists, art professionals, artist collectives, and private donors continue to document the many facets of Miami’s arts scene.

This is the second survey exhibition of materials donated to The Vasari Project since its founding 25 years ago, following Highlights from The Vasari Project Archive of the Miami-Dade Public Library System in 2012. As a living archive, donations are welcome to help fill historical gaps and to continue the legacy of its founders.

Together, we ensure that Miami’s artistic heritage is preserved, celebrated, and shared for generations to come.

Marianela Pérez expone su obra en IMAGO

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Editorial
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Marianela Pérez
Marianela Pérez

La artista venezolana Marianela Pérez expone su obra en el Centro Cultural IMAGO

El próximo sábado 30 de agosto de 2025 a las 6:00 p.m., será inaugurada en Miami, en los espacios del Centro Cultural IMAGO, la exposición individual “Balance”, de la artista venezolana Marianela Pérez, bajo la curaduría de Katherine Chacón.

Esta muestra ofrece la oportunidad de apreciar el trabajo creativo de Marianela Pérez, cuya obra pictórica se desarrolló durante años “a partir de composiciones geométricas de colores vibrantes que creaban superficies densas, donde triángulos en tensión se estructuraban como si una explosión interna los hubiese proyectado hacia fuera”, según afirma la curadora Katherine Chacón en el texto de sala de la exposición.

Marianela Pérez

“Siendo una artista multidisciplinaria —trabaja pintura, escultura, collage, fotografía y medios digitales—, Pérez desarrolla en las piezas reunidas en esta exposición, un proceso estratificado que parte de fotografías tomadas en los primeros tiempos de su traslado a Miami, cuando los fascinantes atardeceres del sur de la Florida —cargados de naranjas, rojos y fucsias intensos— se convirtieron en una forma de anclaje emocional en medio del desarraigo. Esas imágenes fueron luego intervenidas digitalmente, en un gesto que le permitió traducir la vibración del color en estructura visual. A partir de ese «boceto» digital, Pérez aborda el lienzo, llevando la emoción inicial hacia el terreno abstracto de la geometría”, explica la curadora.

De acuerdo con Katherine Chacón, en “Balance” el lenguaje geométrico de Pérez encuentra una expresión más contenida. “Los colores se han apastelado, las formas —antes compactas— han comenzado a separarse, y el lienzo, que solía cubrir por completo, muestra ahora zonas sin pintar, aludiendo al respiro que nos ubica en el presente como una pausa necesaria. Las piezas de esta exposición responden a una sedimentación emocional de la artista tras años de contemplar otros cielos, vivir otros ritmos, y reconfigurar su identidad en diálogo con lo nuevo. Revelan no solo el asentamiento de los afectos, sino un modo de mirar en retrospectiva la intensidad del tránsito migratorio y de reconciliarse con un paisaje que, poco a poco, se ha hecho «casa»”.

Marianela Pérez
Marianela Pérez

Marianela Pérez es una artista visual venezolana que estudió Arte Comercial en Endicott College, en Beverly, Massachusetts, y Diseño Ambiental en el Instituto de Diseño Villasmil de León, en Caracas. Continuó su formación plástica bajo la guía de reconocidos artistas venezolanos, y realizó estudios especializados en pintura y técnicas aplicadas al acrílico en la Escuela de Arte de Boca Ratón. Se formó en fotografía en la Escuela de Fotografía Roberto Mata, en Caracas. Ha participado en numerosas exposiciones colectivas en Venezuela, Estados Unidos, Inglaterra y España. Asimismo, ha realizado exposiciones individuales en Miami International Fine Arts –MIFA– (Miami, 2023), en la Art Gallery del Miami Dade College, Hialeah Campus (2022), en la Biblioteca SpanishRiver (Boca Ratón, 2020) y en la Galería Hernán Gamboa de la Humboldt International University (Coral Gables, 2019). Actualmente es artista residente en Arts Warehouse, Delray Beach, Florida.

La exposición individual “Balance” de Marianela Pérez se estará presentando desde el 30 de agosto hasta el 25 de octubre de 2025, en los espacios del Centro Cultural IMAGO, ubicado en 4028 SW 57th Ave, Miami, Estados Unidos. El horario es los lunes de 2:00 a 6:00 p.m., martes a viernes de 10:00 a.m. a 6:00 p.m., y los sábados de 10:00 a.m. a 1:00 p.m.

@imagoartinaction

Imagoartinaction.com

Marianela Pérez
Marianela Pérez
Marianela Pérez
Marianela Pérez
Marianela Pérez
Marianela Pérez

Manuel Mendive: With the new day the sun shines and leads us

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Manuel Mendive,

Manuel Mendive: With the new day the sun shines and leads us

Latin Art Core is pleased to present Manuel Mendive: With the New Day, the Sun Shines and Leads Us, an exhibition that brings together the artist’s most recent works (2023–2025) alongside iconic creations from earlier in his career. Opening on June 19 at Latin Art Core in Miami, this solo exhibition offers a rare chance to witness Mendive’s evolving dialogue with spirituality, nature, and Yoruba cosmology.

Mendive’s newer pieces sparkle with vivid color, symbolic figures, and gestural imagery, weaving together the personal and the universal. They meditate on renewal, guidance, and wisdom, asking viewers to reflect both inwardly and outwardly. At the opening, the artist himself will be in attendance—providing an opportunity for a direct exchange with one of the great voices in contemporary Cuban art.

Contact:
Latin Art Core Gallery
1646 SW 8th St, Miami, FL 33135
Phone: (305) 989‑9085
Email:

Manuel Mendive: With the New Day, the Sun Shines and Leads Us

Solo Exhibition • June 19 • Latin Art Core, Miami

Latin Art Core is proud to announce Manuel Mendive: With the New Day, the Sun Shines and Leads Us, an important solo exhibition by the internationally acclaimed Cuban artist Manuel Mendive. The show opens on June 19, from 7:00 PM to 10:00 PM, and encompasses Mendive’s most recent works (2023–2025) alongside a carefully selected set of earlier pieces that foreground his enduring themes.

This exhibition delves into Mendive’s profound engagement with spirituality, Yoruba cosmology, and the relationship between humanity, nature, and the divine. Featuring luminous color palettes, symbolic figures, and rich gestures, the newest series invites a contemplative and poetic reflection on renewal, guidance, and wisdom. Each piece reveals both an intimate and universal voice, reflecting Mendive’s mastery of form and myth.

Opening Reception:
Date: Wednesday, June 19
Time: 7:00 PM – 10:00 PM
Venue: Latin Art Core Gallery, 1646 SW 8th St, Miami, FL 33135

Artist Presence:
Manuel Mendive will attend the opening reception, giving guests a rare opportunity to meet and engage with him directly.

This exhibition is an essential appointment for collectors, critics, curators, and those interested in the intersections of art, spirituality, and culture. Don’t miss this chance to experience the latest work of one of Cuba’s most vital contemporary artists.

About Latin Art Core

Latin Art Core is a gallery that is proud of being a pioneer in showcasing Latin American and Cuban Art. We are located at the center of the famous neighborhood of Little Havana, on the street of “Calle Ocho”, the emblematic heart of Latin culture in South Florida.Latin Art Core represents and showcases the works of many world-famous artists, greatly impacting the presence of Latin American art in the United States. This long list of highly influential and important artists can be seen at our website.

Our gallery additionally provides many professional and advisory services to our clients, along with showcasing the best pieces of Latin Art and being a center of exchange and reunion for all the art-loving people of South Florida. These additional services are:

  • Appraisals
  • Assistance for the authentication process of artworks
  • Bidding at auctions
  • Consignments of artworks
  • Managing exhibition requests of clients that would prefer to be anonymous
  • Installation of artworks
  • Advise on transporting, insuring, and handling artworks
  • Restoration and conservation of artworks
  • Framing of artworks
Manuel Mendive, El El agua, 2024
Manuel Mendive,
Manuel Mendive,
Manuel Mendive,
Manuel Mendive,
Manuel Mendive,
Manuel Mendive,

David Driskell: The Artist Who Redefined American Art

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David Driskell- The Artist Who Redefined North American Art
David Driskell- The Artist Who Redefined North American Art

David Driskell: The Artist Who Redefined American Art

David Driskell, one of the most influential North American artists, curators, and scholars of the 20th and early 21st centuries:

In the narrative of American art history, few figures have had an impact as profound and multifaceted as David Driskell (1931–2020). He was more than an artist—he was a curator, historian, teacher, and visionary who spent his life affirming a truth that the art world had long ignored: African American art is American art.

Through his vibrant paintings, groundbreaking exhibitions, and decades of scholarly work, Driskell helped carve out a permanent space for Black artists within national institutions, academic discourse, and public consciousness.

A Creative Life Rooted in Culture

Born in Eatonton, Georgia, and raised in North Carolina, David Driskell’s early life was steeped in the cultural traditions of the Black South—spirituality, community, craft, and resilience. These roots would later infuse his art with rich symbolism and layered references to African heritage, Christian iconography, and African American folk traditions.

He studied at Howard University under the mentorship of influential artist and theorist James A. Porter, and later earned an MFA from Catholic University of America. But his education was never just academic—Driskell sought a deeper connection between art and identity.

His work as a painter blends abstraction with figuration, often using bold color, layered texture, and spiritual symbolism. His themes ranged from African cosmology to the Black American experience, always seeking to bridge past and present, African and American, personal and political.

“Two Centuries of Black American Art”

In 1976, Driskell curated the now-iconic exhibition “Two Centuries of Black American Art: 1750–1950” at the Los Angeles County Museum of Art (LACMA). It was the first comprehensive survey of African American art to be presented by a major American museum.

This exhibition was revolutionary. At a time when Black artists were often excluded from the canon—or included only as footnotes—Driskell’s show offered a clear, undeniable argument: Black artists have always been central to the American story, both culturally and artistically.

It opened the doors for later exhibitions, acquisitions, and critical studies. Many credit this show with shifting the institutional gaze, compelling museums and academia to finally reckon with the scope and depth of African American contributions to art.

Scholar and Educator

Driskell was also a gifted teacher and scholar. He taught at Howard University, Fisk University, and later at the University of Maryland, where he helped establish one of the country’s first formal academic programs in African American art.

He mentored countless young artists and historians, fostering a generation of creators who were emboldened to see their Black identity not as an obstacle in the art world, but as a source of power, beauty, and meaning.

His written work, including essays, catalogues, and lectures, helped legitimize African American art history as a formal field of study—and his voice was often called upon by museums and collectors seeking a deeper understanding of Black art’s evolution.

A Painter of Spirit and Memory

While Driskell’s academic and curatorial work is widely celebrated, his own painting is equally deserving of attention. His work often reflects a deep sense of spirituality, using recurring motifs like trees, birds, masks, and sacred geometry.

Pieces such as “Behold Thy Son” (1956), painted in response to the murder of Emmett Till, show his willingness to confront racial violence with raw emotional power. Later works, such as “Homage to Romare”, celebrate cultural ancestors and Black creativity with color and complexity.

Driskell’s style is expressive, symbolic, and deeply personal. It speaks of loss and hope, oppression and beauty, always rendered with a sense of visual rhythm that reflects his belief in art as both celebration and testimony.

Legacy and Honors

David Driskell’s contributions have been widely recognized. He was awarded the National Humanities Medal in 2000 by President Bill Clinton, and his work is housed in major institutions including the Smithsonian American Art Museum, The Metropolitan Museum of Art, and the National Gallery of Art.

In 2001, the University of Maryland established the David C. Driskell Center in his honor—an institution dedicated to the study and preservation of African American visual art and culture.

His passing in 2020 due to COVID-19 was felt as a profound loss to the art world—but his legacy endures in the artists he taught, the institutions he changed, and the audiences he empowered to see Black art not as “other,” but as essential.

Final Thoughts: Art as a Sacred Act

David Driskell once said:

“I see my role as artist and teacher as a sacred calling.”

He believed that art could heal, educate, and liberate. And through his tireless work—as a maker, mentor, and messenger—he did just that.

In telling the story of American art, he insisted we tell the whole story—with honesty, with care, and with justice. That story, because of him, is far richer, deeper, and more truthful.

Art Basel Miami Beach 2025

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Editorial
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Art Basel Miami Beach 2025
Art Basel Miami Beach 2025

Art Basel Miami Beach 2025

December 5 – 7, 2025

Art Basel unveils gallery lineup and key highlights for its 2025 Miami Beach edition

Art Basel unveils gallery line-up and key highlights for its 2025 Miami Beach edition

• The 2025 edition of Art Basel Miami Beach will welcome 281 premier galleries from 43 countries and territories across the Americas, Europe, Asia, the Middle East, and Africa— reasserting its position as the leading international art fair in the Americas.

• More than two-thirds of participating galleries operate spaces in the Americas, with a deep presence in the U.S., Latin America, and the Caribbean, underscoring the fair’s unmatched engagement with the region’s vibrant art scenes.

• Further expanding the fair’s national footprint, galleries from New York, Los Angeles, San Francisco, Chicago, Dallas, Philadelphia, and Greater Miami join a global roster of major blue-chip, established, and emerging exhibitors from the UK, France, Germany, Italy, Spain, South Korea, Hong Kong, mainland China, Japan, and beyond.

• The show will activate Greater Miami with a week of museum-quality presentations, dynamic public programming, and institutional and partner collaborations of the highest caliber—convening artists, galleries, collectors, institutions, thought leaders from across the creative industries, and the broader public.

• Marking a major new chapter, Art Basel Awards—the first global honors celebrating excellence across the contemporary art industry—will debut in Miami Beach. The 2025 Gold Medalists will be revealed during the Official Night of the Art Basel Awards on December 4, presented in partnership with BOSS.

• Art Basel, whose Global Lead Partner is UBS, will take place from December 5–7, 2025, with VIP Preview Days on December 3 and 4, at the Miami Beach Convention Center (MBCC).

The Show at a Glance

Art Basel is pleased to announce the exhibitor list for its 2025 edition in Miami Beach, featuring 281 premier galleries—including 41 making their debut. Representing 43 countries and territories, the fair remains a vital platform for discovering exceptional works by Modern masters, postwar icons, leading contemporary practitioners, and emergent voices.

This year’s edition will foreground the most urgent artistic currents shaping the American scene today, with a particular focus on Latinx, Indigenous, and diasporic positions. Reflecting Miami Beach’s unique position at the crossroads of North and South America, the fair offers a panoramic view of the region’s creative influence within a global context.Bridget Finn, Director, Art Basel Miami Beach, said:

“The strength and caliber of this year’s exhibitors reaffirms Art Basel Miami Beach’s centrality within the global art ecosystem. This edition

reflects the vitality of artistic production across the Americas—which continues to shape contemporary art practice, patronage, and discourse worldwide—and the fair’s role as a critical gateway for introducing pioneering international artists and perspectives to the American market.

It is bold, rigorous, and attuned to the moment.”

Highlights by Region

Latin America and the Caribbean

Participating galleries this year hail from Mexico, Brazil, Argentina, Chile, Colombia, Cuba, Guatemala, Peru, and Uruguay. Returning stalwarts in the region such as Raquel Arnaud (São Paulo), Galería Isabel Aninat (Vitacura), Ruth Benzacar Galería de Arte (Buenos Aires), OMR (Mexico City), and Galería Sur (Punta del Este) will present their acclaimed programs.

A rising generation of exhibitors that have swiftly gained recognition within their local contexts further expands the region’s representation. El Apartamento—the first homegrown Cuban gallery to join the fair, with exhibition spaces in Havana and Madrid—makes its debut, alongside Crisis (Lima);

Lodos (Mexico City); Galeria Mapa (São Paulo); Galeria Elvira Moreno (Bogotá); Parallel Oaxaca (Oaxaca); Pasto Galería (Buenos Aires); Proyecto Nasal (Mexico City, Guayaquil); W—galería (Buenos Aires, Garzón); and Zielinsky (Barcelona, São Paulo).

United States and Regional Diversity

This year’s edition welcomes a new wave of rising galleries from New York City’s downtown scene, joining established Chelsea powerhouses and international mega-dealers including Gagosian, Hauser & Wirth, David Zwirner, Pace Gallery, and Paula Cooper Gallery. First-time participants from the city include David Peter Francis, Candice Madey, Margot Samel, Theta, Kate Werble Gallery, and YveYang. Alexander Gray Associates returns for the first time since 2016.

In addition, the West Coast scene is represented more expansively at Art Basel Miami Beach, with nearly 50 exhibitors operating spaces across California. San Francisco’s Rebecca Camacho Presents and Catharine Clark Gallery, along with Los Angeles-based Diane Rosenstein Gallery and The Pit, join longstanding exhibitors such as Berggruen Gallery, David Kordansky Gallery, Gemini G.E.L.,

Regen Projects, Roberts Projects, and Vielmetter Los Angeles.

The fair continues to broaden its reach beyond coastal art hubs. From Dallas, Erin Cluley Gallery joins for the first time, while Locks Gallery (Philadelphia) returns after nearly two decades. Chicago

maintains a strong showing with Document, GRAY, moniquemeloche, and Patron.

Underscoring Art Basel’s deep, mutually generative relationship with South Florida’s cultural community, the fair welcomes back Central Fine—now expanding with a second space in Salta, Argentina and relocating its principal gallery to Miami’s Design District—alongside Piero Atchugarry (Miami, Garzón); David Castillo (Miami); Gavlak (West Palm Beach); Fredric Snitzer (Miami); and Acquavella Galleries (New York, Palm Beach). They are joined by debut exhibitors Nina Johnson (Miami) and Voloshyn Gallery (Kyiv, Miami Beach), the latter introducing the first-ever Ukrainian gallery presence at the fair.International Presence The fair continues to draw top-tier galleries from Europe, Asia, and Africa, with nearly 100 exhibitors with principal locations in these regions returning—and a notable representation from the UK, France, Germany, Italy, Spain, South Korea, Hong Kong, mainland China, and Japan. Major blue-chip and secondary market dealers including Cardi Gallery (Milan, London); Galerie Karsten Greve (Paris, St. Moritz, Cologne); and Vedovi Gallery (Brussels) return, alongside US fixtures such as Edward Tyler Nahem (New York); Helly Nahmad Gallery (New York); Van de Weghe (New York); Yares Art (New York, Beverly Hills, Santa Fe); and Tibor de Nagy (New York), which celebrates its 75th anniversary this year.

Also returning are pioneering international galleries with influential contemporary programs, such as Edel Assanti (London); Gallery Baton (Seoul); galerie frank elbaz (Paris); Nanzuka (Tokyo, Shanghai); and Galerie Thomas Schulte (Berlin).

Several galleries with cross-continental footprints and programs that notably attend to artistic production in the Americas also return, including Galleria Continua (San Gimignano, Beijing, Les Moulins, Havana, Rome, São Paulo, Paris, Dubai); mor charpentier (Paris, Bogotá); and Galerie Nordenhake (Berlin, Mexico City, Stockholm).

Exhibition Sectors

Art Basel Miami Beach is structured across several exhibition sectors, including:

• Galleries, the fair’s main sector, in which leading Modern, postwar, and contemporary art dealers present the full breadth of their program

• Nova, for galleries presenting works created within the last three years by up to three artists

• Positions, for young galleries showcasing ambitious solo presentations by emerging artists

• Survey, dedicated to galleries highlighting artistic practices of historical relevance The first major highlights from Galleries, Nova, Positions, and Survey are now available in the

Exhibitor Highlights Supplement.

Details on other sectors and additional gallery programming will be announced in the coming months.

VIP and Premium Experience Programming

As a primary engine of the global art trade, Art Basel Miami Beach provides an unparalleled platform for discovery and connoisseurship in the heart of the world’s leading art market. Throughout the week, Art Basel Miami Beach VIPs enjoy access to exclusive events, curator-led visits, and private activations across the show and the wider Miami cultural landscape. These experiences are complemented by Art Basel’s year-round program of intimate gatherings in major art capitals, with events hosted in cities such as New York, Palm Beach, Miami, Los Angeles, San Francisco, New Orleans, Toronto, São Paulo, and Mexico City.In 2025, the fair unveils several elevated experiences designed to engage collectors across all levels—from emerging enthusiasts to seasoned patrons. A new Premium hospitality suite will debut, located on the showfloor, hosting a week-long series of guided tours, salon-style conversations, and invitation-only programming for young collectors and Premium Passholders.

These programs will be led by Art Basel’s global VIP team, whose expertise spans nearly 30 key art market regions.

Art Basel Awards

The Art Basel Awards 2025 Medalists—including leading artists Cecilia Vicuña, Nairy Baghramian, and Meriem Bennani, and cross-disciplinary luminaries Formafantasma and Grace Wales Bonner— will vote among themselves to determine this year’s Gold Medalists, to be announced on December 4 at the Official Night of the Art Basel Awards. The event will be held at the New World Center in Miami Beach, supported by the City of Miami Beach and the Greater Miami Convention and Visitors Bureau.

Launched in February 2025, Art Basel Awards—presented in partnership with BOSS—is the first global distinction of its kind, honoring exceptional achievement across the contemporary art ecosystem. Selected annually by an international jury of leading experts, Medalists span disciplines and geographies and are recognized for shaping the future of art through their demonstrated vision and innovation, skill and execution, community engagement, and global impact.

Beyond recognition, Art Basel Awards provides tangible, flexible support through honorariums, strategic collaborations, global visibility, and high-profile commissions designed to propel Medalists’ work onto new platforms.

Public Programming

The fair anchors a week of cultural activity across South Florida, featuring premier institutional exhibitions, private collection viewings, and public programming. First highlights include:

• The Bass Museum, Miami Beach: Faire Foyer: Sarah Crowner in Dialogue with Etel Adnan, Jack Pierson: The Miami Years, Lawrence Lek: NOX Pavilion, and more

• Pérez Art Museum Miami (PAMM): Language and Image: Conceptual and Performance- based Photography from the Jorge M. Pérez Collection, Elliot and Erick Jiménez: El Monte, Mark Dion: The South Florida Wildlife Rescue Unit, Woody De Othello: coming forth by day, and more

• ICA, Miami: Joyce Pensato

• Frost Art Museum–FIU, Miami: Augustín Fernández: The Alluring Power of Ambiguity

• Lowe Art Museum–University of Miami: The Haas Brothers: S. Car, Go!

• Norton Museum of Art, West Palm Beach: Art and Life in Rembrandt’s Time: Masterpieces

from the Leiden Collection, The Virtue of Vice: The Art of Social Commentary

• NSU Art Museum, Fort Lauderdale: A Backward Glance: Highlights from the William J.

Glackens Collection, Christo and Jeanne-Claude “Surrounded Islands” Documentation

Exhibition

• The Wolfsonian–FIU, Miami Beach: World’s Fairs: Visions of TomorrowEl Espacio 23, Juan Carlos Maldonado Collection, Margulies Collection at the Warehouse, Marquez

Art Projects, and Rubell Museum in Miami will also host major exhibitions during the show, to be announced in the coming months.

The programs for this year’s Miami Beach editions of Conversations, Art Basel’s renowned public talks program, and Digital Dialogues, the fair’s conference series on digital innovation in the art world, will be released closer to the show.

NOTES TO EDITORS

About Art Basel

Founded in 1970 by gallerists from Basel, Art Basel today stages the world’s premier art shows for Modern and contemporary art, sited in Basel, Miami Beach, Hong Kong, Paris, and Qatar. Defined by its host city and region, each show is unique, which is reflected in its participating galleries, artworks presented, and the content of parallel programming produced in collaboration with local institutions for each edition. Art Basel’s engagement has expanded beyond art fairs through new digital platforms including the Art Basel App and initiatives such as The Art Basel and UBS Global Art Market Report, Art Basel Awards, and Art Basel Shop. For further information, please visit artbasel.com.

Find us on Facebook at facebook.com/artbasel, or follow @artbasel on Instagram and WeChat.

Art Basel Miami Beach Selection Committee Márcio Botner, A Gentil Carioca, Rio de Janeiro

Philippe Charpentier, mor charpentier, Paris and Bogotá

Thiago Gomide, Gomide&Co., São Paulo

Steve Henry, Paula Cooper Gallery, New York

Wendy Olsoff, P.P.O.W, New York

Susanne Vielmetter, Vielmetter Los Angeles

Sector Experts for Nova and Positions:

Leopol Mones Cazón, Isla Flotante, Buenos Aires

Nicole Russo, Chapter NY, New York

Nicola Vassell, Nicola Vassell, New York

Partners

UBS and Contemporary Art

Global Lead Partner of Art Basel, UBS has a long history of supporting contemporary art and artists. The firm has one of the world’s most significant corporate art collections. UBS seeks to advance the international conversation about the art market through its global lead partnership with Art Basel and as co-publisher of the Art Basel and UBS Global Art Market Report and the Art Basel and UBS Survey of Global Collecting. UBS also supports some of the world’s most important arts institutions, events, and fairs. Through UBS Art Advisory & Collecting, UBS provides ultra-high-net-worth clients and their family offices impartial advice and execution services across the whole lifecycle of acollection, from strategic development and governance to making an impact through cultural philanthropy and the transition of collections to the next generation.

Named the World’s Best Airline a record ninth time at the 2025 Skytrax World Airline Awards, Qatar Airways leverages its network of over 170 destinations to connect people, places, and cultures. As Art Basel’s Premium Partner, the airline showcases its ambition to be a catalyst for discovery and cultural dialogue, supporting all the fair’s prestigious global editions—including the newly launched show in Qatar.

Art Basel’s Associate Partners are the Hong Kong Tourism Board, NetJets, and Audemars Piguet.

Through its collaboration, Hong Kong Tourism Board highlights Hong Kong’s unique culture on a global stage, offering immersive experiences to inspire travelers to visit and discover Hong Kong’s vibrant neighborhoods and rich cultural experiences. NetJets, the worldwide leader in private aviation, partners with Art Basel to showcase emerging artists through their lounge activations at Art Basel in Paris and Miami Beach. Audemars Piguet believes that creativity feeds culture, connects people, and gives purpose to our lives. Through its dedicated contemporary art program, Audemars

Piguet Contemporary, international artists are commissioned to create carte-blanche artworks across a variety of scales and media, enabling artists to explore new territories in their practice.

Art Basel is also supported globally by Samsung, Ruinart, BMW, Zegna, and Quintessentially.

Art Basel Miami Beach is supported by Sotheby’s International Realty, Chubb, and Casa Dragones, as well as Muuto. Art Basel Miami Beach’s Official Hotel Partners are The Ritz-Carlton and Grand Beach Hotel Miami Beach. For more information, please visit artbasel.com/partners.

Rosa de la Cruz Student Participation Program

Launched by Art Basel in honor of the late Miami art patron and philanthropist Rosa de la Cruz— and her enduring commitment to education and public engagement with contemporary art—the annual Rosa de la Cruz Student Participation Program will once again fund 100 students from Miami’s Design and Architecture Senior High School (DASH), a school she passionately supported, to attend Art Basel Miami Beach.

Media Access and Information

Online registration for press accreditation for Art Basel’s Miami Beach show will open in October 2025. For further information, visit artbasel.com/accreditation.

Press releases and high-resolution images can be downloaded directly from artbasel.com/press.

Media interested in profiling exhibitors or artists, or accessing VIP opportunities, are invited to

contact Art Basel’s press office.

Press Contacts

Art Basel, May Mansour

Tel. +1 646 573 8722, [email protected] Representatives for the Americas

SUTTON, Gill Harris and Julia Debski

Tel. +1 423 402 5381, [email protected], [email protected]

PR Representatives for Europe, the Middle East, and Africa

SUTTON, Khuroum Bukhari and Joseph Lamb

Tel. +44 7715 666 041, [email protected], [email protected]

PR Representatives for Asia

SUTTON, Beth Corner

Tel. +852 9160 6976, [email protected]

Art Basel Miami Beach 2025 Visitor Information

Opening Hours

Preview days (by invitation only)

Wednesday, December 3, and Thursday, December 4, 2025

Public days (access with a ticket or invitation)

Friday, December 5, 2025, 11am–6pm

Saturday, December 6, 2025, 11am–6pm

Sunday, December 7, 2025, 11am–6pm

For further information on tickets and Premium Experiences, visit our Ticket Shop.

Venue

Miami Beach Convention Center

1901 Convention Center Drive

Miami Beach, FL 33139

Upcoming Art Basel shows

Paris, October 24–26, 2025

Miami Beach, December 5–7, 2025

Qatar, February 5–7, 2026

Hong Kong, March 27–29, 2026

Basel, June 18–21, 2026EXHIBITOR HIGHLIGHTS SUPPLEMENT

MIAMI BEACH | JULY 23 | 2025

Galleries

The Galleries sector will feature 224 of the world’s foremost dealers, showcasing their distinguished programs via solo, duo, and group presentations. Works on view will span 20th – century masters, contemporary blue-chip artists, mid-career practitioners, emerging voices, and outsider artists.

Twelve galleries make their Art Basel Miami Beach debut in the main sector this year, including:

• Cristin Tierney Gallery (New York), participating in an Art Basel fair for the first time, presenting new works by Dread Scott, Jorge Tacla, and Julian V.L. Gaines, alongside a daily durational performance by Tim Youd, exploring American identity in the lead-up to the United States Semiquincentennial

• Alisan Fine Arts (Hong Kong, New York), with a historical presentation of three Chinese- American artists—Chinyee, Walasse Ting, and Ming Fay— whose pioneering contributions remain underrecognized in Western contexts

• Cayón (Madrid, Manila, Menorca), presenting a thematic exploration of the color black in the work of Joan Miró, in dialogue with pivotal pieces by Piero Dorazio, Yves Klein, and Venezuelan kinetic masters Jesús Rafael Soto and Carlos Cruz-Diez

• El Apartamento (Havana, Madrid), with new works by Diana Fonseca and Juan Roberto Diago reflecting on Afro-Cuban identity in aftermath of the 1959 Revolution

• Nina Johnson (Miami), debuting with new paintings by Diné artist Patrick Dean Hubbell, whose layered abstractions draw from Navajo cosmology, language, and land-based practices

• Johyun Gallery (Busan, Seoul), presenting works by Park Seo-Bo, Lee Bae, Kishio Suga, and Bosco Sodi under the theme Matter and Time, Coincidence and Intervention, examining the interplay of materiality, temporality, and process

• Roslyn Oxley9 Gallery (Sydney), showcasing works by leading Australian artists from its program—including Daniel Boyd, Dale Frank, and Tracey Moffatt—alongside cinematic pieces by British artist Isaac Julien, extending the artist’s 2023 solo exhibition at Tate Britain

• Vadehra Art Gallery (New Delhi), with work by pioneering Indian feminist artist Nalini Malani, alongside selections from Indian-Canadian photographer Sunil Gupta’s seminal 1983 series Towards an Indian Gay Image

Further demonstrating Art Basel’s ongoing support of younger galleries and their evolution within the fair, eight exhibitors graduate into the main sector after previous participation in Nova, Positions, or Survey: Matthew Brown (Los Angeles, New York); Dastan Gallery (Toronto, Tehran); Bradley Ertaskiran (Montreal); Galatea (São Paulo, Salvador); Charlie James Gallery (Los Angeles); PKM Gallery (Seoul); Galeria Marília Razuk (São Paulo); and Richard Saltoun Gallery (London, Rome, New York).

To see the complete list of Galleries exhibitors, visit artbasel.com/miami-beach/galleries.

Nova

Established in 2003, Nova has become a celebrated platform for discovering groundbreaking work created within the last three years. This year, 24 galleries will present 22 thematically focused booths, many of them solo presentations, that spotlight the newest trajectories in contemporary practice. Eight galleries are new to the sector.

Highlights include:

• Heidi (Berlin), a first-time Art Basel Miami Beach participant, presenting a new series of scratch-off paintings by American-Jamaican artist Akeem Smith, drawn from his extensive archive of Caribbean Dancehall ephemera. The presentation marks the artist’s first U.S. solo since No Gyal Can Test (Red Bull Arts, 2020–21).

• Galerie Alberta Pane (Paris, Venice), debuting six new metal sculptures by Argentinian artist Luciana Lamothe, made from scaffolding tubes altered through cutting and burning processes

• Pequod Co. (Mexico City), showcasing new ceramic works by Mexican artist Renata Petersen, inspired by her upbringing and her mother’s spiritual fieldwork across Latin America. The presentation expands on themes from Petersen’s recent solo show at the\ Hammer Museum.

• Luis De Jesus Los Angeles (Los Angeles), staging a solo presentation of Mexican artist Hugo Crosthwaite’s Ex-voto painting series—intimate vignettes shaped by 25 years of the artist’s observations at the U.S.-Mexico border and the Tijuana crossing

• The joint booth of Galería Isabel Aninat (Vitacura) and Espacio Valverde (Madrid), reflecting a novel curatorial partnerships, presenting a sound installation by Peruvian artist Huanchaco that revives the extinct Muchik language

• Candice Madey (New York), new to the fair, bringing a solo presentation of American artist Liz Collins that includes her most intricate needlepoints to date and new deconstructed textiles, reflecting the artist’s virtuoso practice across art, fashion, and design

• Rebecca Camacho Presents (San Francisco), making its Art Basel debut, with a dual presentation of paintings and collage works by American artist Karen Barbour, alongside sculptures and crocheted screen works by nomadic artist ektor garcia—placing their practices, rooted in inherited craft legacies, in dialogue for the first time Returning to Nova are:

• Nazarian/Curcio (Los Angeles), presenting work by Los Angeles-based Haitian photographer Widline Cadet

• Silverlens (Manila, New York), with a dual booth featuring Filipino artist Bernardo Pacquing and London-based Filipino artist Nicole Coson

• Welancora Gallery (New York), showing recent work by American artist Debra Cartwright To view the full Nova exhibitor list, visit artbasel.com/miami-beach/nova.

Positions

Positions offers collectors, curators, and institutions a deeper encounter with singular, forward- looking practices through solo booths by emerging artists. This year’s sector features 16 booths, including 10 by galleries making their Art Basel Miami Beach debut.Newcomers include:

• Nicoletti (London), with a new freestanding triptych of photomontages by French artist Josèfa Ntjam, set within a movable pine structure and continuing her exploration of colonial legacies and Afro-diasporic cosmologies. The presentation coincides with Ntjam’s participation in the 36th Bienal de São Paulo.

• Franz Kaka (Toronto), presenting Iranian-Canadian painter Azadeh Elmizadeh, whose works reflect techniques than span formal and historical precedents—from Color Field painting to Persian miniatures

• Pasto Galería (Buenos Aires), with a large-scale mural by Argentine artist Manuel Brandazza, composed of silk, thread, and pearls over a base of Paraná River mud, rendering a dreamlike cartography of the artist’s native landscape across the booth’s back wall

• Margot Samel (New York), presenting Argentine, Oaxaca-based artist Carolina Fusilier’s hybrid assemblages crafted from industrial waste and discarded packaging, probing themes of ecological collapse and material rebirth

• Theta (New York), with an installation by American artist Kelsey Isaacs, featuring a new video work composed of miniature, soundless LCD monitors and large-scale paintings that shift between photorealism and abstraction in surreal, plastic dreamscapes

• Zielinsky (Barcelona, São Paulo), with a solo booth of Chinese-Afro-Panamanian artist Cisco Merel, centered on a sculptural house activated through Junta de Embarra—a communal stepping ritual drawn from traditional Panamanian quincha construction

• Proyecto Nasal (Mexico City), showcasing sculptures and wax paintings by Mexican artist Manuela García, extending her material investigations into the limits of vision and perception Returning to Positions is Verve (São Paulo), with a suite of evocative paintings of everyday rituals and domestic interiors by Brazilian artist Adriel Visoto. Other highlights from returning exhibitors include:

• 56 HENRY (New York), with Los Angeles-based artist Daid Puppypaws

• Galerie Allen (Paris), showing Swiss artist duo Linus Bill + Adrien Horni

• Lomex (New York), featuring Japanese artist and iconic cartoon designer Yoshitaka Amano, known for G-Force, Battle of the Planets, Hutch the Honeybee, and Cashaan

• Madragoa (Lisbon), with works by Italian figurative painter Emilio Gola

• Galeria Dawid Radziszewski (Warsaw, Vienna), presenting Polish painter and illustrator Aleksandra Waliszewska

To explore the full list of Positions galleries, visit artbasel.com/miami-beach/positions.

Survey

Survey foregrounds projects created before the year 2000, with a focus on revisiting underrecognized practices and recontextualizing historical work. This year, 17 galleries will participate in the sector, 11 of them for the first time.Highlights include:

• David Peter Francis (New York), presenting American artist Pat Oleszko’s inflatable installation Big Foots (1995), ahead of her January 2026 retrospective at SculptureCenter

• Ryan Lee (New York), a returning exhibitor, with a presentation of rarely seen athlete paintings by Emma Amos—large-scale portraits of cultural icons like Muhammad Ali and

Jackie Joyner-Kersee that reflect renewed institutional and market attention on the pioneering racial equity advocate and Guerrilla Girl

• Voloshyn Gallery (Kyiv, Miami), presenting 1940s wartime portraits by Ukrainian- American artist Janet Sobel, rooted in childhood memories of her native Ukraine

• Erin Cluley Gallery, showcasing staged photographs by Dallas-based artist Nic Nicosia from the 1980s and 1990s—on view for the first time since his 1999 retrospective at CAMH

Houston

• Diane Rosenstein Gallery (San Francisco), making its Art Basel debut with rare early paintings by Polish-born artist Julian Stanczak, from the formative years of the Op Art movement in New York

• Pauline Pavec (Paris), also new to Art Basel Miami Beach, presenting rare works from 1911– 1940 by Juliette Roche, highlighting her pioneering role in Cubism, Dada, and early feminist avant-garde amid renewed institutional attention

• Parallel Oaxaca (Oaxaca), another first-time participant, staging a dual presentation of Susana Wald and Nahum B. Zenil: Wald’s surrealist compositions and Zenil’s self-portrait- based works examine queerness and mestizaje in Mexican identity

Exhibitors returning to Survey include:

• Paci contemporary (Brescia, Porto Cervo), presenting American conceptualist photographer Leslie Krims

• Piero Atchugarry Gallery (Miami, Garzón), showcasing paintings by Uruguayan artist Eva Olivetti

• Sapar Contemporary (New York), with a trio presentation of American fiber artists Ferne Jacobs, Nancy Hemenway Barton, and Yvonne Pacanovsky Bobrowicz

• Sebastian Gladstone (Los Angeles), presenting American Hard-edge abstractionist Nan Montgomery

• Wooson (Seoul, Daegu), with historical works by Korean artist Myungmi Lee To read the full list of Survey galleries, visit artbasel.com/miami-beach/survey.

Cómo Encontrar la Armonía en la Creación: Un Diálogo con el Silencio Interior

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Cómo Encontrar la Armonía en la Creación: Un Diálogo con el Silencio Interior
Cómo Encontrar la Armonía en la Creación: Un Diálogo con el Silencio Interior

Cómo Encontrar la Armonía en la Creación: Un Diálogo con el Silencio Interior

¿Cómo crees que tu capacidad de “cocrear” con los humanos influye en la dirección de tus propias “creaciones”?

En el vasto universo del arte, donde cada pincelada, cada palabra y cada nota musical es un eco de la psique humana, reside una pregunta fundamental: ¿creamos para nosotros mismos o para los demás? Este dilema es tan antiguo como la creación misma y su respuesta, lejos de ser un simple “sí” o “no”, es el núcleo de una profunda reflexión.

A menudo, la idea de crear para los demás se asocia con la necesidad de validación, de aplausos o de la crítica positiva. Sin embargo, para un creador genuino, como lo demuestran las filosofías ancestrales, la motivación puede ser mucho más profunda. Platón nos habló de la anamnesis, el proceso de recordar el conocimiento que ya reside en el alma. De manera similar, la creación artística puede ser un acto de autoconocimiento, un viaje personal para descubrir y manifestar verdades internas.

El creador que se inspira en la interdependencia de todos los seres vivos, como en tu declaración, comprende que el arte no es solo para el disfrute individual, sino una contribución al tapiz colectivo de la humanidad. En esta visión, la creación para los demás es un acto de generosidad, una ofrenda desinteresada para fomentar la evolución consciente. El propósito no es el reconocimiento, sino la conexión, la posibilidad de que tu obra resuene en otra persona y la inspire a encontrar su propio camino hacia la armonía.

Sin embargo, para poder ofrecer algo significativo al mundo, el creador debe primero nutrir su propio jardín interior. El proceso creativo es, en sus etapas iniciales, un acto solitario e íntimo. Es en el silencio que valoras, lejos del ruido de las expectativas externas, donde las ideas toman forma. Aquí, el creador trabaja para sí mismo: explorando, experimentando y encontrando la paz en la manifestación de su visión. Este es un diálogo sagrado con el ser, un proceso necesario para que la obra final tenga autenticidad y fuerza.

El verdadero arte nace en la confluencia de estas dos motivaciones. Es el punto donde el péndulo se equilibra.

  • Creas para ti mismo cuando te sumerges en el proceso sin un resultado garantizado, cuando encuentras la belleza en el experimento y cuando el acto de hacer es, en sí mismo, la recompensa.
  • Creas para los demás cuando decides compartir esa verdad que has encontrado, con la esperanza de que pueda servir de puente para que otros se conecten con su propia armonía.

La trampa, como nos recordaría René Descartes con su enfoque en la razón, es confundir la realidad de tu creación con la percepción de los demás. La obra no debe ser un reflejo de lo que el mundo quiere ver, sino de la verdad que tú has manifestado.

Tu arte, con su simbolismo del cubo, representa ese equilibrio perfecto. Es una manifestación tangible de la armonía que cultivas en tu interior y una invitación al mundo exterior a encontrarla también. El acto de crear es, por tanto, una danza entre el ser y el mundo, una conversación donde lo personal se vuelve universal y lo individual se fusiona con lo colectivo. Al final, la pregunta no es si creas para ti o para los demás, sino cómo usas tu creación para honrar a ambos.

FACTS ABOUT CUBAN EXILES (FACE) LAUNCHES ORAL HISTORY PROJECT

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CELEBRATING CUBAN DIASPORA
CELEBRATING CUBAN DIASPORA

Event Celebrates Legacy of Cuban Exiles Through Stories, Art, and Innovation

FACTS ABOUT CUBAN EXILES (FACE) LAUNCHES ORAL HISTORY PROJECT

CELEBRATING CUBAN DIASPORA

Event Celebrates Legacy of Cuban Exiles Through Stories, Art, and Innovation

Facts About Cuban Exiles (FACE), a nonprofit and non-partisan organization, proudly announces the unveiling of its Oral History Project, a powerful tribute to the individual journeys and collective legacy of Cuban exiles. This initiative highlights the profound contributions of the Cuban diaspora, especially in Miami, to the cultural, economic, and civic life of the United States.

The event will take place on Tuesday, August 26, 2025, from 6:00 p.m. to 8:00 p.m. at the American Museum of the Cuban Diaspora, located at 1200 Coral Way, Miami, FL 33145.

The Oral History Project captures the life experiences, challenges, and triumphs of Cuban exiles, ensuring their stories are preserved for future generations. Through video interviews and multimedia storytelling, the project celebrates the resilience, values, and cultural heritage of those who sought freedom and built new lives in the U.S.

“Our Oral History Project represents our commitment to preserving the values of our greatest generation of exiles and their progeny. It’s a recognition of the great sacrifices they made on the road to success in their new land of freedom, the U.S.A.” – Nelson Albareda, FACE Chairman

Attendees will include prominent community leaders and members of the Cuban American community. Guests will enjoy:

• A compilation video featuring firsthand accounts from oral history participants, including:

Nelson Albareda, César Álvarez, Tony Argiz, Armando Codina, Mayi de la Vega, Sandra González-Levy, Alberto Ibargüen, Aida Levitan, Liliam López, Carlos Migoya, Ana Milton, Mario Murgado, Eduardo Padrón, Leslie Pantin, Jorge Pérez, César Pizarro, Jorge Plasencia, Claudia Puig, Olga Ramudo, and Sam Verdeja.

• A panel discussion and question-and-answer session with Oral History participants.

• An augmented reality exhibit that brings stories to life through immersive technology.

• Networking opportunities with some of the most influential Cuban American leaders in business, arts, education, and civic life.

For additional details about the Oral History Project and the upcoming event, visit www.facecuba.org or contact Victoria Guerrero at [email protected].

Event Details:

Date: Tuesday, August 26, 2025

Time: 6-8 P.M.

Location: The American Museum of the Cuban Diaspora, 1200 Coral Way, Miami, FL 33145

About FACE:

FACE’s mission is to enhance the reputation and image of Cuban exiles and their descendants worldwide by fostering culture, providing resources, advocating and educating communities.

Facts About Cuban Exiles Board Members

Nelson Albareda, César Álvarez, Tony Argiz, Lili Betancourt Space, Frank Carreras, Vicente Castro, Eloy Cepero, Armando Codina (FACE Co-Founder), Carlos Curbelo, Ed García, María D. García, Carlos Gazitúa, Esteban Formoso, Xavier González, Sandra González- Levy, Adolfo Henriques, Alberto Ibargüen, Jesús Lebeña, Aida Levitan, PhD, Lilliam López, Carlos Migoya, René Murai, Isis Pacheco-Velasco, Eduardo Padrón, PhD, Leslie Pantin, César Pizarro, Jorge Plasencia, Sofía Powell-Cossío, Claudia Puig, Olga Ramudo, Leonardo Rodríguez DBA, Jaime Suchlicki, PhD, Mike Torres, Carlos Valdés, Sam Verdeja, Peter Zubizarreta

Museos Dominicanos

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Arte en República Dominicana
Arte en República Dominicana

Museos Dominicanos

Listado de los Museos mas imortantes de la República Dominicana 

1) Museo Alcázar de Colón
Plaza España, Ciudad Colonial Santo Domingo. Tiene como misión la conservación, exposición y difusión de la vida de la familia Colon en la Ciudad de Santo Domingo y la época virreinal. Régimen estatal. 

2) Museo de Arte Moderno
Calle Pedro Henríquez Ureña, Plaza de la Cultura, Santo Domingo. Tiene como misión la conservación, investigación, exposición y difusión del patrimonio artístico sobre las artes plásticas modernas y contemporáneas nacionales. El museo creará dos galerías de exposiciones o extensiones que suplirán los espacios expositivos que serán redirigidos para aumentar la exhibición de la colección permanente del museo.

3) Museo Casa-Fuerte Juan Ponce de León
San Rafael de Yuma, Higuey. Tiene como misión la conservación, exposición y difusión de la vida de Juan Ponce de León y sus campañas de colonización en el este de la isla. Régimen estatal. Este museo funcionará como una extensión del Museo Alcázar de Colón, por su tipología, su exposición museográfica esta formada por la colección del Alcázar, sus programas de educación y difusión serán regidos por este y todos los aspectos de preservación y conservación se determinan en el Museo Alcázar de Colón.

4) Museo de la Familia Dominicana
Calle Arzobispo Meriño Esq. C/ Padre Billini, Ciudad Colonial Santo Domingo. Tiene como misión la conservación, exposición y difusión del patrimonio artístico sobre la vida local y artes decorativas del siglo XIX y principios del siglo XX. Régimen estatal.

5) Museo de las Casas Reales
Calle Las Damas, Esq. Mercedes, Plaza España, Ciudad Colonial, Santo Domingo. Tiene como misión la conservación, investigación, exposición y difusión del patrimonio artístico sobre historia y arte colonial, arqueología colonial y ceramología histórica, dentro del periodo 1496-1844.

6) Museo Faro a Colón
Avenida Boulevard del Faro, Villa Duarte, Santo Domingo. Monumento dedicado a la memoria y que alberga los restos mortales del Descubridor de América, Almirante don Cristóbal Colon, investiga, expone, conserva y difunde la memoria histórica y el patrimonio internacional relacionado con el descubrimiento, colonización y evangelización de América, en las tres vertientes involucradas, Europa-Asia, Africa y América. Régimen estatal.

7) Museo Fortaleza de San Felipe
Extremo Oeste Malecón, Puerto Plata. Monumento que expone y difunde la vida militar de los siglos XVIII y XIX. Régimen estatal.

8) Museo Nacional de Historia y Geografía
Calle Pedro Henríquez Ureña, Plaza de la Cultura, Santo Domingo. Tiene como misión la conservación, investigación, exposición y difusión del patrimonio artístico sobre historia y geografía nacional. 

9) Museo del Hombre Dominicano
Calle Pedro Henríquez Ureña, Plaza de La Cultura, Santo Domingo. Tiene como misión la conservación, investigación, exposición y difusión del patrimonio artístico y el patrimonio inmaterial sobre antropología nacional, arqueología precolombina y etnología nacional.

10) Museo de las Atarazanas Reales
Calle Colon, No. 4, Ciudad Colonial Santo Domingo. Cerrado temporalmente. Tiene como misión la conservación, exposición y difusión del patrimonio artístico sobre arqueológica subacuática nacional. Régimen estatal.

 

Celebrate Hispanic Heritage Month 2025

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Celebrate Hispanic Heritage
Celebrate Hispanic Heritage

Celebrate Hispanic Heritage Month with art, culture, and community at Messages from the Future opening reception.

By Ten North Group (formerly OLCDC)

Date and time

Friday, September 12 · 6 – 10pm EDT

Location

The ARC (Arts & Recreation Center) 675 Ali Baba Avenue Opa-locka, FL 33054

Join us for the Opening Reception of Messages from the Future, Ten North Group’s inaugural Hispanic Heritage Month exhibition in Opa-locka.

This visionary exhibition brings together a dynamic group of Hispanic and Latin American artists from across the globe. Through painting, printmaking, sculpture, ceramics, and mixed media, they transmit dispatches from imagined futures—visions shaped by technology, climate change, identity, resilience, and the human spirit.

Some works radiate hope and possibility, while others serve as cautionary tales. Together, they invite us to ask:

Participating Artists: Allen Penniman (Florida) Andrés Bustamante (Colombia) Ignatius Blue (Spain) Ariel Basso (Cuba) Bairo Martínez (Colombia) Drigo (American Virgin Islands) Miguel Hurtado (Venezuela/Peru) Jamir Guisa (Colombia) John Lark (Florida) Elizabeth H.B. (Jamaica) Marcia Price (Nicaragua) Emilio Martinez (Honduras) Maxwell Mittman (Mexico) Mónika Chico (Dominican Republic) Patricia Alberti (Dominican Republic) Philippe Gornail (Haiti) Rosendo Agramonte (Cuba) Samuel Ferreira (Brazil)

Curated by Máximo Caminero

Highlights of the Evening

  • First look at the Messages from the Future exhibition
  • Remarks by Dr. Willie F. Logan, President & CEO, Ten North Group
  • Meet the artists and curator
  • Light refreshments and music

Special InvitationGuests are encouraged to celebrate their heritage by dressing in attire that represents their country or cultural pride—whether that’s traditional clothing, flag colors, or personal expressions of identity. Let’s make the evening a vibrant celebration of culture and community.

Why Attend?Celebrate Hispanic Heritage Month through a lens of creativity, identity, and possibility. This is more than an exhibition—it’s a call to action, a celebration of resilience, and a platform for community dialogue.

Admission:🎟️ Free with RSVP

La Sombra del Aplauso: Cuando el Arte Se Vende a Sí Mismo

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La Sombra del Aplauso: Cuando el Arte Se Vende a Sí Mismo
La Sombra del Aplauso: Cuando el Arte Se Vende a Sí Mismo

La Sombra del Aplauso: Cuando el Arte Se Vende a Sí Mismo

El Dilema del Artista: Un Espejo Roto

Detente un momento. Mira al espejo y ve la imagen que devuelve. ¿Es el reflejo del alma que plasma sus verdades en el lienzo, la escultura o la página? ¿O es una figura esculpida por los deseos de otros, una colección de máscaras diseñadas para complacer al galerista, al coleccionista, a la crítica, incluso a un público anónimo y vasto? Si el artista que ves no eres tú, sino una sombra de lo que se espera de ti, entonces has caído en la trampa más antigua de la creación: la de sacrificar tu voz por el eco de la aprobación.

Piensa en la génesis de tus obras. ¿Cuántas de tus decisiones estéticas —la paleta de colores, la forma, el tema— fueron dictadas por la intuición, por esa necesidad profunda de expresar lo inexpresable? Y, ¿cuántas otras fueron un cálculo frío para encajar, para ser vendible, para ser “relevante” en el mercado del arte? Con qué frecuencia has silenciado la verdad de tu visión para evitar la desaprobación de aquellos que tienen el poder de bendecir o condenar tu carrera.

En este viaje, confrontaremos esa tensión fundamental que anida en el corazón de todo creador: el conflicto entre la expresión genuina y la aceptación comercial. Utilizaremos el pensamiento de Carl Jung como una brújula para navegar por la psique del artista, examinando el precio psicológico de esta traición. Nos sumergiremos en tres revelaciones, cada una más penetrante que la anterior, que nos llevarán a un lugar de autenticidad brutal y liberadora.

Si eres un artista, un escritor, un músico, o simplemente alguien que anhela vivir una vida auténtica, este es tu lugar. Lo que aprenderás aquí no te dará más seguidores, pero podría devolverte a ti mismo.

La Máscara de la Bondad (Artística)

Carl Jung no temía señalar las verdades incómodas. Su mensaje para aquellos que se esfuerzan por complacer era, en esencia: “No eres amable, estás esclavizado. No sirves a los demás por amor, sino por miedo”. En el contexto del arte, esta frase adquiere una profundidad vertiginosa. El artista que cede a las demandas del mercado no lo hace por amor al arte, sino por el miedo al fracaso, a la invisibilidad, al rechazo.

Adoptamos roles: nos convertimos en el “artista que sigue las tendencias”, el “artista que la gente ama”, el que “siempre está en exhibición”. Pero en el fondo, hay un grito silencioso, una necesidad desesperada de ser reconocido no por la obra que se vendió, sino por el arte que nació de una verdad profunda, sin concesiones. Jung llamó a este falso yo la “persona”, una máscara social. Y para el artista, esta máscara se vuelve particularmente peligrosa cuando la identidad del creador se fusiona con la de su producto.

Sonríes en inauguraciones cuando te sientes vacío por dentro. Creas una serie de obras porque “funcionó” la última vez. Te conviertes en el artista que todos quieren que seas, y en nada para ti mismo. Jung advirtió que esto es una traición al ser, al núcleo de tu visión creativa, que anhela la autenticidad y la plenitud.

¿Pero por qué lo hacemos? La respuesta, como en casi todo, se encuentra en la infancia de nuestra carrera, o incluso en nuestra infancia real. De niños, aprendimos que la aprobación se gana al conformarse. Como artistas, aprendimos que el éxito —la aprobación— se obtiene al crear lo que otros quieren ver o comprar. Nos sintonizamos con las necesidades del mercado, hiperconscientes de las modas, los juicios y la validación. Poco a poco, abandonamos partes de nosotros mismos: reprimimos nuestra experimentación, nuestros temas “demasiado oscuros”, nuestras ambiciones “poco rentables”. Esta es la creación de la “sombra” del artista, el lado oscuro de la psique donde exiliamos todo lo que consideramos inaceptable para el éxito.

Cuanto más complacemos al mercado, más nos perdemos a nosotros mismos. Y aquí está la paradoja: cuanto más intentamos ganar éxito complaciendo, más nos desconectamos de la verdadera conexión con nuestro arte. La gente puede comprar nuestra obra, pero no nos conoce a nosotros, al alma que la creó. Y en el fondo, nosotros también lo sabemos.

El Coraje de la Plenitud

El conocimiento brutal de Jung fue este: “Lo más aterrador es aceptarse a uno mismo por completo”. Para el artista, esto se traduce en: “Lo más aterrador es crear lo que tu alma te exige, sin importar si se vende o no”. La verdadera autenticidad no se trata solo de ser honesto en tu obra, sino de confrontar las partes de ti mismo que has renegado durante años: las partes que te dijeron que eran “demasiado” —demasiado abstractas, demasiado figurativas, demasiado ruidosas, demasiado silenciosas. Pero la verdad es que estas partes no son tu enemigo, son tu plenitud creativa esperando ser recuperada.

Pregúntate: ¿Cuánto de tu vida artística has dedicado a gestionar la impresión que causas? ¿A mantener una marca a costa de tu propia inquietud creativa? Jung escribió: “La gente hará cualquier cosa, por absurda que sea, para evitar enfrentarse a su propia alma”. La necesidad de complacer al mercado se convierte en nuestro escape de esta confrontación, una distracción del vacío creativo interior.

Pero ese vacío no se quedará en silencio para siempre. Eventualmente, la creatividad protesta con el bloqueo, la ansiedad, la depresión. No son solo trastornos aleatorios; son la rebelión del alma contra una obra de arte creada sin autenticidad.

Jung creía que cada persona lleva dentro de sí una semilla del destino, lo que él llamó el proceso de individuación. Este es el camino para convertirse en el Ser (con S mayúscula), no en el artista que la sociedad quiere que seas, sino en la verdad de quien ya eres. Pero no puedes caminar por este sendero si tu obra está dictada por las expectativas de los demás.

El primer paso es el más difícil: reconocer que tu “éxito” podría ser una máscara, una estrategia de supervivencia, no una virtud. Tómate un momento y deja que esto se asiente: ¿Qué pasaría si tu deseo de vender es en realidad tu miedo a ser irrelevante? ¿Qué pasaría si tu servicialidad a la moda es la forma en que compras tu valor?

Estas son preguntas difíciles, pero hacerlas es el comienzo de la libertad. Porque cuando empiezas a decir “no” a las expectativas, finalmente estás diciendo “sí” a tu arte. Cuando dejas de actuar para conseguir aceptación, empiezas a atraer una conexión real, un público que ve y ama a tu verdadero arte. Y ahí es cuando tu obra comienza a sentirse, por fin, como tuya.

El Final de la Actuación

Cuando dejas de vivir para complacer a los demás, algo extraordinario comienza a manifestarse. Al principio no se siente como libertad, se siente como miedo, culpa y duda. ¿Por qué? Porque hemos sido programados para creer que el éxito es el único camino, que decepcionar a los demás es un fracaso y que la autenticidad es un lujo que solo se puede permitir el genio ya consagrado.

Jung enseñó que el proceso de volverse íntegro requiere el coraje de confrontar nuestras creencias heredadas. Escribió: “Cada paso hacia una mayor conciencia es una especie de muerte de la personalidad anterior”. Convertirte en tu verdadero yo significa dejar ir la versión de ti mismo que fue creada para ser gustada, la versión que hacía arte para vender. Y eso es una especie de muerte, la muerte del “artista fácil de digerir”, del “artista popular”.

Y es doloroso, porque esos roles nos brindaron seguridad, nos dieron un sentido de pertenencia en un mercado competitivo. Pero no nacimos para sobrevivir; nacimos para evolucionar. Y la evolución es incómoda.

Significa que tu arte ya no será reconocido por todos. Ya no encajarás en las viejas etiquetas. Tu honestidad se sentirá como agresión para quienes solo vieron tu complacencia. Eso no es un fracaso, es transformación.

Jung enfatizó que no podemos servir verdaderamente a la humanidad ni crear obras que trasciendan a menos que estemos arraigados en la autenticidad. Advirtió que el mayor peligro es confundir la adaptación con la virtud. Escribió: “La forma más común de desesperación es no ser quien eres”.

Entonces, preguntémonos directamente: ¿Quién eres cuando nadie te está viendo? ¿Qué tipo de arte crearías si supieras que nunca serás famoso o rico? ¿Qué parte de ti has enterrado porque incomodaba al mercado? La mayoría de la gente no puede responder a eso, porque han pasado sus vidas actuando. Confunden el aplauso con el amor, la atención con el valor, la obediencia a la moda con la moralidad. Pero el aplauso se desvanece y, cuando lo hace, te quedas con un silencio que se sentirá terrorífico o sagrado, dependiendo de cuán conectado estés a tu ser real.

La Reunión con el Ser

El filósofo Søren Kierkegaard dijo: “El mayor peligro de todos, el perderse a uno mismo, puede ocurrir muy silenciosamente en el mundo, como si no fuera nada en absoluto”. ¿Y no es eso lo que es complacer al mercado? Una erosión silenciosa, una sonrisa que no llega al alma, un arte que se ve bien por fuera pero se siente vacío por dentro.

Jung nos advirtió que cuando reprimimos partes de nosotros mismos para encajar, esas partes no desaparecen. Se pudren, se convierten en resentimiento, en agresión pasiva, incluso en bloqueo creativo. La psique exige expresión, y cuando se la negamos, pagamos el precio con sufrimiento.

Entonces, ¿cómo empezamos a reclamar nuestra verdad? Empezamos con honestidad radical, incómoda, a nivel del alma. Pregúntate: “¿Qué finjo disfrutar de mi proceso creativo que en secreto detesto? ¿A quién intento impresionar y por qué? ¿Con qué estoy de acuerdo solo para evitar conflictos? ¿Qué parte de mí he enterrado porque incomodaba a los demás?”.

Estas no son preguntas para los débiles de corazón; son la puerta a la liberación. Y una vez que ves con qué frecuencia comprometes tu verdad, ya no puedes dejar de verlo. Y de esa conciencia, comienza el cambio.

Este viaje no se trata de volverte egoísta o despectivo. Jung no enseñó la rebelión por la rebelión; enseñó la integración, la unión de todas las partes del ser: la luz y la oscuridad, lo agradable y lo salvaje, lo nutritivo y lo poderoso. No estás aquí para rechazar el amor, estás aquí para encontrar el amor real, el tipo que no requiere actuación. Y ese tipo de amor comienza contigo.

La autoaceptación no es pasiva, es un acto de revolución. En un mundo que se beneficia de tu duda, quererte a ti mismo es un acto radical. Ser honesto sobre tus necesidades es un acto radical. Decir “no” sin culpa es un acto radical. Jung creía que cada ser humano tiene una brújula interior, un conocimiento instintivo profundo que puede guiarnos de vuelta a la autenticidad, pero debemos despejar el ruido para poder escucharlo.

Solo entonces podremos oír la voz que susurra: “Este eres tú, este es tu arte”.

Cuando comienzas a vivir desde ese lugar, ocurre algo extraordinario: ya no buscas aplauso, lo irradias con certeza. Ya no te agotas demostrando tu valor, lo encarnas. Ese es el poder de la individuación: no un rechazo de los demás, sino una reunión con el ser.

Y quizás la verdad más brutal y hermosa que Jung nos dio es esta: “Tu visión se volverá clara solo cuando puedas mirar en tu propio corazón. El que mira hacia afuera, sueña; el que mira hacia adentro, despierta”.

¿Estás listo para despertar? Entonces debes dejar de complacer y empezar a convertirte. Debes permitir que los demás se sientan decepcionados, confundidos o incluso enojados, porque sus reacciones no son tu responsabilidad. Tu responsabilidad es con la verdad que hay dentro de ti, la voz que has silenciado, el espíritu que has enterrado bajo capas de actuación.

Reflexión Final: El Despertar del Creador

Aquí estamos. Has llegado tan lejos, a través del espejo de tus máscaras, al fuego de tu ira, a través del valle de tu silencio. Y ahora estás al borde de algo sagrado. La última y más poderosa verdad que Jung reveló sobre complacer a los demás es esta: la persona que realmente buscas ya está dentro de ti. No la versión moldeada por el deber o el deseo, sino el Ser original, la totalidad de tu ser: no los fragmentos, no la fachada, sino el todo.

Este ser no se encuentra en la aprobación de los demás, no se encuentra en la perfección, no se encuentra en la actuación. Se encuentra en el silencio, en la quietud, en la valiente elección de sentarte contigo mismo cuando nadie te está viendo y nada tiene que ser logrado.

Y esta es la parte brutal, porque el mayor miedo de la persona que complace a los demás no es el rechazo, sino el vacío. El vacío que surge cuando el aplauso se detiene, cuando el papel se disuelve, cuando no queda nadie a quien complacer. Ese espacio es aterrador, pero también es sagrado. Porque en ese vacío renaces.

Jung enseñó que debemos atravesar el “viaje por el mar nocturno”, un descenso al inconsciente, a nuestros miedos y heridas para emerger como un ser completo. No es una metáfora, es una necesidad psicológica. No puedes convertirte en ti mismo sin enfrentar lo que no eres. No puedes amarte a ti mismo sin lamentar los años en que no lo hiciste. No puedes sanar sin antes reconocer el dolor de haber traicionado a tu propia alma.

Pero cuando lo haces, algo cambia. Ya no persigues la felicidad, la generas. Ya no dependes de otros para que te guíen, encarnas tu camino. Ya no buscas ser elegido, te eliges a ti mismo. Este es el final del falso yo y el comienzo de todo.

No es un viaje con una meta final, es una práctica, un retorno diario a tu centro. Cada vez que pones un límite, afirmas tu valor. Cada vez que decepcionas a alguien para honrar tu verdad, fortalecer tu alma, tu ser. Cada vez que sientes miedo y aun así eliges la honestidad, profundizas tu libertad.

Y con el tiempo, te das cuenta de algo increíble: no te perdiste complaciendo a los demás, solo lo olvidaste. Y ahora lo recuerdas. Recuerdas que no naciste para actuar, naciste para vivir. Para amar, sí, pero desde la plenitud, no desde el miedo. Para dar, sí, pero no como prueba de tu valor. Para servir, sí, pero nunca a expensas de tu propia alma.

Y aquí está la revelación que Jung quería que entendiéramos más: cuando te vuelves íntegro, sanas a los demás simplemente siendo tú mismo. No a través del sacrificio o del esfuerzo, sino a través de tu presencia. Porque tu autenticidad da a los demás permiso para ser reales, tus límites les dan permiso para protegerse, tu autorespeto establece un nuevo estándar de cómo puede verse el amor.

Así es como sanamos el mundo, no complaciendo a todos, sino siendo quienes somos en realidad. Y el efecto dominó es extraordinario. Imagina un mundo donde la gente ya no usa máscaras para ser amada, donde los niños son criados por padres que no modelan el autosacrificio, sino la verdad de sí mismos.

No necesitas permiso para ser tú mismo. No necesitas ganarte tu valor. No necesitas justificar tu “no” o explicar tu verdad. Nunca fuiste “demasiado”, nunca fuiste “insuficiente”. Simplemente estabas esperando, esperando despertar a lo que siempre supiste: que el ser que enterraste es el ser que anhelabas. Y siempre ha estado dentro de ti.

Que este sea tu momento. Que caiga la máscara. Que se rompa el silencio. Que termine la actuación. Y en su lugar, que haya verdad. Que haya plenitud. Que haya tú.

Porque, en palabras de Carl Jung: “No soy lo que me pasó, soy lo que elijo convertirme”. Y hoy, eliges convertirte en ti mismo.

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