Pinecrest Gardens, in collaboration with the Hartvest Project, the Fiber Artists Miami Association (FAMA), and Threading the City, is proud to present “Unraveling Surrealism: Celebrating Women’s Narratives through Contemporary Fiber Art”. This groundbreaking exhibition opens on Sunday, September 8, 2024, from 11:30 am to 1:30 pm in the Chandelier and Hibiscus Galleries, and will remain on view until October 25, 2024.

Marking the centennial of the Surrealist movement, this exhibition honors the often-overlooked contributions of women to this influential artistic genre. Through the lens of contemporary textile art, “Unraveling Surrealism” reimagines and celebrates women’s narratives, inviting artists to explore the magic and strangeness of beauty in the unconventional medium of fiber.

By merging diverse fiber techniques and pushing the boundaries of the medium, the exhibition aims to amplify and reclaim the voices of women in art, highlighting their lasting impact on the artistic landscape. It seeks to foster a dialogue between the past and present, tradition and innovation, creating new connections and understandings.

“Unraveling Surrealism” is a testament to the power of art to transform, inspire, and challenge. Through the intricate and evocative works on display, visitors will be invited to delve into the rich tapestry of women’s experiences, reimagined through the vibrant language of fiber art.

About the collaborators:

• The Hartvest Project is dedicated to supporting and promoting contemporary art and artists.
• The Fiber Artists Miami Association (FAMA) is a non-profit organization committed to fostering the growth and recognition of fiber art in Miami.
• Threading the City is an initiative that explores the intersections of fiber art and urban environments.
• Pinecrest Gardens provides a unique and inspiring setting for cultural and artistic events in the heart of Miami.

Exhibition details:

• Opening Reception: Sunday, September 8, 2024, 11:30 am – 1:30 pm
• Location: Chandelier and Hibiscus Galleries, Pinecrest Gardens
• On view: September 8 – October 25, 2024

Join us for the opening reception and immerse yourself in the captivating world of “Unraveling Surrealism”!

Artists:
Aida Tejada

Aleli Egues

Alexis Oliva

Alina Rodriguez-Rojo

Ana Biondo

Aurora Molina

Bella Cardim

Blanca Caraballo

Carola Bravo

Cynthia Passavanti

Debora Rosental

Emily Peters

Eumelia Castro

Evelyn Politzer

Fernanda Froes

Ivonne Ferrer

Janet Mueller

Kari Hovaghimian

Laura Villarreal

Mabelin Castellanos

Macarena Zilvetti

Marcia Marconi

Marine Fonteyne

Marlene Kohn

Marylin Valiente

Michelle Drummond

Mila Hajjar

Mirele Volkart

Mirena Suarez

Monica Avayou

Nancy Billings

Paola Mondolfi

Paula Gaetan

Rosario Salazar

Shelly Mc Coy

Silvana Soriano

Silvia Castro Yapur

Suzanne Byrne

Taylor Cavazos

Yanira Lopez

Stanley Brouwn: The Measure of a Journey

In the realm of conceptual art, where ideas often reign over tangible creations, Dutch artist Stanley Brouwn, born in Suriname and based in Amsterdam since 1957, carved a unique path for himself by focusing on the seemingly mundane act of walking. His work, spanning several decades, invites viewers to reconsider the very essence of distance, measurement and the experience of traversing space.

Brouwn’s artistic journey began in the 1960s, a time of artistic experimentation and questioning of traditional art forms. He embarked on walks, meticulously documenting his steps and the distances traveled. These walks, at first limited to his local environment, gradually expanded to encompass journeys across continents.

What distinguishes Brouwn’s work is his unwavering commitment to accuracy and his rejection of conventional artistic representations. His documentation often took the form of simple typed notes detailing the number of steps taken, the time elapsed, and sometimes even the type of footwear used. These unadorned records, devoid of any embellishment or artistic interpretation, serve as stark reminders of the physical act of movement and the passage of time.

Brouwn’s work challenges our perception of distance, prompting us to question the arbitrary nature of standardized measurements. His focus on the individual experience of space, rather than on objective cartographic representations, highlights the subjective and embodied nature of navigating the world.

His pieces, such as “This Way Brouwn” (1960-1964), in which he asked passersby for directions and then followed them, literally embody the concept of a journey guided by chance encounters and subjective perspectives. In another work, “1 Meter” (1969), Brouwn marked a distance of one meter on a wall, blurring the line between art and the everyday environment. He even went so far as to claim every shoe store in Amsterdam as a work of art, demonstrating his radical conceptual approach.

Brouwn, recognized as the best-known representative of Dutch conceptual art, always prioritized the underlying idea of his works over their formally austere aesthetics. Self-taught, he initially leaned, like the artists of the Zero movement, toward monochrome geometric abstraction. But Brouwn soon transcended the specific aesthetic of Zero. Beginning in 1960, he constructed a particularly personal and consistent body of work, in which he investigated the interplay between movement and distance. Using his body as the measure of all things, he formulated his own unique system of measurement (the sb-foot, the sb-elbow and the sb-step). From this scale, the artist investigated the field of tension between the subjective experience of distance and the objective recording of it.

Brouwn’s artistic legacy lies not in large installations or visually stunning creations, but in his ability to elevate the simple act of walking into the realm of conceptual art. His work serves as a quiet invitation to pay attention to the subtle details of our movements, the passage of time, and the unique experience of traversing space.

While Brouwn’s art may seem deceptively simple, it opens up a world of philosophical and conceptual inquiry. It challenges us to reconsider our relationship to the physical world, to question the boundaries between art and life, and to appreciate the beauty and complexity of the everyday.

In a world saturated with visual stimuli and grand artistic gestures, Stanley Brouwn’s work stands as a testament to the power of simplicity, precision, and the enduring charm of the journey itself.

Daniel Almeida & Adrian Rivera
The Elephant Never Forgets
Nostalgia, identity, and the pervasive influence of media across borders found inan uncanny backstage TV studio lot inspired by 1970s sitcom “El Chavo del Ocho”

Opening Reception; Saturday, September 07, 2024. 6:00pm-8:00pm

Locust Projects presents The Elephant Never Forgets, a majormultimedia installation in the form of an uncanny backstage TV studio lot byDaniel Arturo Almeida (b. 1992, Caracas, Venezuela) and Adrian Edgard Rivera (b.1991, Austin, Texas) opening on Saturday, September 7, 2024 with a Meet theArtist Reception from 6-8pm; Performance by LIZN’BOW at 8pm.Drawing from ‘la vecindad,’ the iconic setting of the 1970s sitcom ‘El Chavo delOcho,’1 and other historical and contemporary references from the artists’ experience of a Mexican and Venezuelan mass media, the immersive installation traces Latin American media history to lay bare the socio-political intricacies of memory through themes of transnational telecommunications, piracy as access/agency, the public broadcast theatrics of authoritarianism, constructed memories, and soft power.

The title of the exhibition, “The Elephant Never Forgets,” is inspired by the third song on side B of Jean-Jacques Perrey’s 1970 album Moog Indigo.

This playful electronic adaptation of Beethoven’s “Turkish March” was famously used without authorization as the opening theme for ‘El Chavo,’ the most watched sitcom in Mexican television history, and still airing today in syndication cementing it as an iconic and unmistakable sound across Latin America and the Spanish-speaking world, including the United States.

The installation invites visitors to enter a TV production studio set filled with screens, costumes, props and set dressings. Suspended from the ceiling, a mass of bootleg marionettes with iconic faces populate the space. An industrial metal puppet theater “castelet,” armored with counterfeit national decorations, frames a hologram. A grouping of monitors tune in footage of a broadcast performance from varying camera angles undressing the manipulative choreography of televised state ceremonies of power. Large photo backdrops cascade down from a towering wall of scaffolding. Spread throughout the gallery, and three oversized heads of El Chavo characters allude to a contentious dispute over copyright and ownership. On the opposite side of the scaffolding is an intimate space, filled with a collection of photos, books, small objects and familial paraphernalia, among them a couch shining in the glow of a TV set displaying footage from 1990s anti-piracy commercials.

Deep economic inequalities and censorship have historically limited access to media, leading to piracy as a way to bypass exclusionary paywalls and state-controlled narratives. In many countries in the region, a volatile economy made a single DVD or video game worth more than a week’s salary. Piracy provided agency and became a transformative force, allowing people to remix and escape the oversaturation of foreign media. Fansubs and other grassroots efforts contributed to this cultural exchange. While the issue of piracy raises questions of ownership and authenticity, in the face of cultural flattening, the counterfeit often becomes more authentic than the original.

Almeida and Rivera’s set is a platform where the artists reminisce and reflect upon their respective biographical journeys linked by fragmented memories and layered experiences of a bygone era in Latin American media consumption.

1 El Chavo del 8 is a Mexican situational comedy television series created by and starring Roberto Gómez Bolaños and produced by Televisión Independiente de México (later, Televisa ). El Chavo first appeared in 1971 as a sketch on a Mexican show called Chespirito. It officially ended in 1980. Syndicated episodes existed until 1992 and was broadcast across all of Latin America, Brazil,
Spain and the United States with an approximate audience of around 350 million people per episode across the Americas.

LINK RELATED PROGRAMS AND EVENTS
Little Haiti Little River Art Days
Saturday, October 19 | 12-5pm|; Artist Activation: 4pm
Highlighting arts and culture offerings in the neighborhood on a quarterly basis; Artist Activation: 4pm performance by Carlos Fabián Medina, a multidisciplinary creative, actor, and director from Caracas, Venezuela, activating The Elephant Never Forgets
Closing Event: Tianguis Flea Market
Saturday, November 2, 2024 | 12-5pm: Artist Talk: 4pm
“Tianguis” are open air/street Mexican flea markets known for their rich culture of marionette making, which were a major source of inspiration for The Elephant Never Forgets. Local Miami makers, artists, and vendors gather to celebrate the closing of The Elephant Never Forgets and Niñalandia by LIZN’BOW.

ABOUT THE ARTISTS
Daniel Arturo Almeida, a Miami-based artist of Venezuelan descent, has cultivated a notable presence in the art world with an M.F.A. from the School of Visual Arts, NY, and a summa cum laude B.F.A. from Florida International University, Miami, FL. His work has garnered significant recognition, including a Curatorial Fellowship at NYU’s Latinx Project and a membership at the NEW INC, New Museum, NY. Almeida’s artistic narrative unfolds through a series of solo and group exhibitions, reflecting his nuanced exploration of identity and memory. His solo debut at Florida International University, curated by Mirta Gómez del Valle, set a profound precedent for his career. He has since contributed to various impactful group shows, such as “Dread/Dream” at SVA Chelsea Galleries and “Glow in the Dark” at A.I.R. Gallery, Brooklyn, asserting his voice within contemporary dialogues. Beyond his artistic
practice, Almeida engages in curatorial projects and art pedagogy, shaping art discourse and nurturing emerging talents.
His role in projects like “An Inward Sea: Oral History” and teaching at the Institute of Contemporary Art, Miami, underscores his commitment to community engagement and art education in Miami.

Adrián Edgard Rivera, born in 1991 in Austin, Texas, and raised in Yautepec de Zaragoza, Morelos, Mexico, is a contemporary artist who currently lives and works in Brooklyn, NY. Rivera’s artistic journey is marked by a series of thought-provoking exhibitions, including recent showcases at Black Brick Project and Klaus von Nichtssagend Gallery in New York. His work delves into themes of identity, culture, and memory, as seen in his solo exhibition at Plexus Projects and participation in various curated group shows across prominent New York venues. Rivera’s commitment to his craft has been recognized through residencies and awards, notably at The New Museum’s NEW INC program and Plexus
Projects. Beyond his visual art practice, Rivera engages with the art community through lectures and talks, sharing his insights and experiences at institutions like the Institute of Contemporary Art Miami and Northern Michigan University, fostering dialogues that bridge art and technology.
The artists extend their gratitude to artist Itzel Basualdo for her critical role and contributions in the early conceptual development of “The Elephant Never Forgets.” They also extend special thanks to Maria Avellaneda, Roxana Barba, Dimitry Saïd Chamy, Coco Clockner, Haruko Hashimoto, Andres Ibarra, Kevin Leonard, Carlos Fabián Medina, Claudio Marcotulli, Eric Monasterio, Pilar Rodríguez Aranda, Sterling Rook, Corey Silverman, and Harrison Tyler, Inkub8, Bakehouse Art Complex, Lorie Mertes, Tom Mickelson, Tony Kapel, Nuria Richards, Laurie Rojas and Sid Wolf.
The Elephant Never Forgets was selected from online Open Call for the Main Gallery in 2021 from more than 280 applicants online and was coordinated by Locust Projects’ artist co-founder Elizabeth Withstandley. The 2021 Main Gallery Open Call review panel included: past exhibiting artists Shikeith (2019) and Juana Valdes (2020) and Aldeide Delgado, founder and director of WOPHA (Women Photographers International Archive).

ABOUT LOCUST PROJECTS
Founded by artists for artists in 1998, Locust Projects is Miami’s longest running nonprofit alternative art space. We produce, present, and nurture ambitious and experimental new art and the exchange of ideas through commissioned exhibitions and projects, artist residencies, summer art intensives for teens, and public programs on contemporary art and curatorial practice. As a leading incubator of new art and ideas, Locust Projects emphasizes boundary-pushing creative endeavors, risk-taking and experimentation by local, national, and international artists. We invest in South Florida’s arts community by providing artists with project grants and empower creative careers by supporting the administrative work of being an artist through an onsite artist resource hub and access to pro bono legal services.
Locust Projects 2024-2025 exhibitions and programming are made possible with support from: The John S. and James L. Knight Foundation; The Andy Warhol Foundation for the Visual Arts; The Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners, The Children’s Trust; Dede and Robert Moss; The National Endowment for the Arts Art Works Grant; Diane and Werner Grob; Susan and Richard Arregui; The Korean Arts Management Service; The Berkowitz Contemporary Foundation; Funding Arts Network; Kirk Foundation; Cowles Charitable Trust, Miami Salon Group, and the Incubator Fund Supporting Sponsors and Friends.

Locust Projects presents
MAIN GALLERY: DANIEL ALMEIDA & ADRIAN RIVERA:
The Elephant Never Forgets
Exhibition Dates: September 7 – November 2, 2024
Opening Event Saturday, September 7, 2024 6-8pm, Meet the Artists
Little Haiti Little River Art Days Saturday, October 19 | 12-5pm;
Artist Activation: 4pm performance by Carlos Fabián Medina, a multidisciplinary creative, actor, and director from Caracas, Venezuela, activating The Elephant Never Forgets
Closing Event
Saturday, November 2, 2024 12-5pm: Tianguis Flea Market; 4pm Artist Talk
Public Hours:
Wednesday to Saturday 11am – 5pm
MEDIA CONTACT:
[email protected]
305-576-8570
Press kit and images:
Available here
Also on view:
PROJECT ROOM: LIZN’BOW
Niñalandia Both shows open September 7 | 6-8pm and features performance by LizN’Bow at 8pm

Artist of the Week
JOSHUA WINGERTER

“Let’s just do it man, see what happens.”

This is the philosophy of Josh Wingerter, self-made artist and entrepreneur from Westwego, Louisiana, a small town right outside of New Orleans. Josh’s early roots in his artistic process started while he was working in artist Keith Eccles’s studio, who Josh credits as a huge influence on his artwork. Despite the lack of professional training or schooling in the arts, Josh managed to wow Eccles with his work. A customer stopped by the studio one day and noticed Josh’s work. Eccles introduced them to one another and commented, “If he wasn’t so lazy, he’d be a great artist.” This is when Josh had to ask himself—is that true? Should he be challenging himself more?

This sparked the motivation needed to take Josh’s competitive nature into higher gear. His drive to create both noticeable and significant work took him to the Frenchmen Street Art Market in New Orleans. This is when his artwork started gaining more notice, particularly for the unique mediums utilized. One recognizable feature is the use of newspaper backgrounds. Josh believes we are currently in age of the last generation of the printing press, and to immortalize such a long-cherished means of communication in his work preserves its memory. Much of his work contains colorful images that pay homage to legendary people. He appreciates the New Orleans culture that he was born into. His work does feature some of the local flair, but he rather constantly exposes himself to “new information in order to always be inspired.” Josh likes to stay stimulated, garnering inspiration from a variety of sources, from the tellings of philosopher Alan Watts, matters in social activism, to books, movies, and all genres of music. He claims that his art themes come to him in waves, and he lets the art define him and tell him where to go.

His art has certainly opened new doors for him over time. Josh is now a well-respected and recognized artist in his community, where his art has been featured in 15 locations in the New Orleans area. The Rebellion Bar and Urban Kitchen, Who Dat Coffee Café, and Peaches Records regularly feature his pieces and attract customers for both the business and art sales. This growing popularity has landed Josh showcasing opportunities in Washington, D.C. and Miami, FL. Miami has been a successful venture so far, allowing Josh to participate in Art Basel, showing pieces in the Art Fusion Gallery and Aqua Gallery in South Beach Miami. These opportunities have left Josh with a sense of gratitude and accomplishment and make him want to aim even higher with his goals. He would like to one day become an internationally recognized artist and never stop this journey he defines as an “infinite learning process.”

Overall, Josh feels extremely fortunate about what his art has done for him in life. He believes he doesn’t have the right to feel upset about anything because he is so lucky to have this “dream job” that allows him to spend time with his son. Just 3 months before his son’s birth, Josh quit his full-time job to pursue a career in artistry. His son and art are his ultimate focal points in life, and he believes he owes it to both his son and career to “go all in.” Josh strives to defy the odds—an artist from a small town who wants to prove that art is “more than a hobby.” It can truly provide career opportunities. “You’re going to get out of it what you put into it.”

“Spaghetti.”

Art Fusion Galleries

About william braemer and art fusion galleries

Our mission is simply to offer new and emerging artists a springboard into a prosperous and successful career in art.

As a young man, I was exposed to the art auction houses of New York through my father’s work. When I moved to Europe during the 1980’s, I lived in Florence and, was inspired by the city’s rich artistic history and its alluring culture. From that moment on, I began to pursue my growing passion for art.

Along the way I learned that being a successful artist requires more than just talent, a strong work ethic, and a joyous passion for the creative process. It is also requires learning how the art marketplace works and developing the right opportunities to present your work to art buyers in a significant and substantive manner.

I feel fortunate to have had the experiences that now allows me to share my knowledge of the business side of art with new and emerging artist from around the world here in our Miami and St. Petersburg galleries. Jay Jakela and I founded Art Fusion Galleries almost twenty years ago in Miami. Since then, we have discovered and represented more than 800 artists along the way.

Now, I am not sure which bring me the most excitement in life–continuing to be a working artist, or that first meeting with a new artist accepted into the growing Art Fusion family.

3496 NE 12TH AVE, OAKLAND PARK FL 33334, UNITED STATES

305.573.5730