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AÚN NOS QUEDA EL ALMA: LUIS CASADEVALL RETRATA LA DIGNIDAD Y LAS HERIDAS DE LA HABANA

AÚN NOS QUEDA EL ALMA: LUIS CASADEVALL RETRATA EN BLANCO Y NEGRO LA DIGNIDAD Y LAS HERIDAS DE LA HABANA
AÚN NOS QUEDA EL ALMA: LUIS CASADEVALL RETRATA EN BLANCO Y NEGRO LA DIGNIDAD Y LAS HERIDAS DE LA HABANA

AÚN NOS QUEDA EL ALMA: LUIS CASADEVALL RETRATA EN BLANCO Y NEGRO LA DIGNIDAD Y LAS HERIDAS DE LA HABANA

El fotógrafo sevillano Luis Casadevall dedicó más de una década a recorrer las calles de La Habana con su cámara, construyendo un archivo de más de 65.000 fotografías en blanco y negro. De este monumental trabajo surge el libro Aún nos queda el alma, que reúne una selección inédita de estas imágenes, ofreciendo un relato visual íntimo y profundo de la ciudad.

El volumen cuenta con prólogo del reconocido escritor Leonardo Padura, quien describe el proyecto como “un testimonio íntimo y revelador sobre el alma inmortal de Cuba”, y con textos de Mauricio Vicent, Chema Conesa, Toni Segarra y Tito Muñoz, que aportan distintos enfoques literarios, periodísticos, culturales y creativos. Padura define la obra como un relato comprometido y revelador: «Si el alma de Cuba permanece, es porque es un alma inmortal». Sus palabras dialogan con la mirada de Casadevall, que convierte cada imagen en una crónica visual del pueblo cubano.

El proyecto, desarrollado a lo largo de doce años, parte de un trabajo de escucha y búsqueda de autenticidad. Casadevall se adentró en los barrios, retrató a niños, ancianos y familias, y convirtió las calles deterioradas y los gestos cotidianos en materia poética y documental. La edición final, realizada por Chema Conesa, organiza este vasto material en un relato visual que refleja tanto el desgaste urbano como la resistencia vital de los habaneros.

Aún nos queda el alma no es solo una obra fotográfica, sino un mosaico de miradas que enriquece la interpretación de la ciudad. La obra demuestra el poder de la fotografía como memoria colectiva y como herramienta para interrogar el presente, estableciendo un puente entre la historia, la cultura y la identidad de La Habana.

La presentación del libro se llevará a cabo el miércoles 5 de noviembre, a las 18:30 horas, en la librería La Fábrica (c/ Verónica, 13), con la participación del autor, Luis Casadevall, el director de la editorial César Martínez-Useros y el fotógrafo Chema Conesa, responsable de la selección de las imágenes que componen el libro.

Luis Casadevall

Luis Casadevall, nacido el 1 de agosto de 1950 en Sevilla y adoptando posteriormente Cataluña como su hogar, es una de las figuras más influyentes de la publicidad española. Comenzó su carrera en el periodismo, trabajando para el Grupo Godó, pero pronto descubrió su pasión por la publicidad, iniciando su trayectoria como redactor publicitario en la agencia barcelonesa CreativeShop.

Más tarde, al unirse a MMLB, Casadevall tuvo un papel clave en la formación del departamento creativo, recomendando la contratación del reconocido director creativo Ernesto Rilova. Juntos formaron un sólido equipo creativo junto a directores de arte como Ramón Roda y Carlos Rolando, desarrollando campañas que consolidaron a España como una potencia emergente en la publicidad internacional.

En los años 80, Casadevall, Rilova y Salvador Pedreño fundaron su propia agencia, RCP, en Barcelona. La agencia ganó rápidamente reconocimiento, trabajando con marcas internacionales como Danone, Renault, La Caixa, Sanex, Cruz Roja, Zanussi, ONCE, Evax, Nenuco y Vileda. Gracias a su enfoque creativo innovador, RCP transformó el panorama publicitario en España. En 1991, tras lograr gran éxito, RCP fue adquirida por Saatchi & Saatchi, integrando la creatividad española en el mercado global, aunque Casadevall y Pedreño decidieron emprender un nuevo proyecto independiente.

En 1992, Casadevall y Pedreño lanzaron Casadevall & Pedreño, junto a socios como José María Piera, Toni Segarra y Ramón Roda. La agencia trabajó con marcas de alto perfil como Talens, Seat, Iberia y Sara Lee, consolidando su reputación en campañas publicitarias innovadoras y de alto impacto. Entre sus piezas más célebres se encuentran:

  • “El Chupete” para Cruz Roja
  • “Hombres Abandonados” para Galerías
  • “Cuerpos Danone” y “Aprende de tus hijos” para Danone
  • “Sanex, piel sana” para Sanex
  • “Donde va, triunfa” para San Miguel
  • “Hola, soy Edu, Feliz Navidad” para Airtel

Una de sus campañas más icónicas, “Monjas” para Talens, ganó el Gran Premio del Festival de Cannes, siendo solo la segunda campaña española en lograr este prestigioso reconocimiento.

En 2007, Casadevall y Pedreño recibieron el Premio c de c de Honor del Club de Creativos por sus destacadas contribuciones a la publicidad española. En 2013, Casadevall fue nombrado Miembro de Honor de la Academia Española de la Publicidad, distinción otorgada a profesionales con impacto duradero en la industria.

El legado de Casadevall trasciende fronteras. Su trabajo ha influido en la evolución de la publicidad europea y latinoamericana, combinando estrategia y excelencia creativa, formando generaciones de profesionales que hoy lideran agencias internacionales. Reconocido por su capacidad de unir narrativa, atractivo emocional y pensamiento estratégico, Casadevall ha modernizado la publicidad española y la ha posicionado globalmente.

Actualmente está casado con Montse y tiene tres hijos.

Premio a la Crítica de Arte 2024 AICA

Premio a la Crítica de Arte 2024 AICA
Víctor Fuenmayor Ruiz, en la Mención Reflexión Teórica, por su libro “Armando Reverón.

Premio a la Crítica de Arte 2024

Asociación Internacional de Críticos de Arte • Capítulo Venezuela
Conferido el 17 de octubre de 2025

Caracas, octubre de 2025 — El pasado 17 de octubre de 2025, la Asociación Internacional de Críticos de Arte (AICA), Capítulo Venezuela, confirió el Premio a la Crítica de Arte 2024 al reconocido investigador y ensayista Víctor Fuenmayor Ruiz, en la Mención Reflexión Teórica, por su libro “Armando Reverón. La cábala personal: del toque a la antirrepresentación.”

Este reconocimiento celebra la profundidad y originalidad del pensamiento crítico en torno a las artes visuales venezolanas, destacando el riguroso aporte teórico de Fuenmayor. Su estudio sobre Reverón ofrece una lectura renovadora del mito y la modernidad en el arte nacional, explorando los procesos simbólicos y las poéticas del acto creador desde una perspectiva que entrelaza la estética, la filosofía y la psicología.

Víctor Fuenmayor Ruiz comentó sobre este reconocimiento:
“Recibir el Premio a la Crítica de Arte es un honor que trasciende lo personal; reafirma la importancia de pensar y reflexionar sobre nuestro arte y nuestra cultura, y espero que mi trabajo inspire nuevas lecturas y diálogos sobre la obra de Reverón y la creación venezolana.”

La ceremonia de entrega se realizó el domingo 19 de octubre de 2025, a las 11:00 a.m., en la Galería Freites, durante la gala de los Premios Gego 2025, organizada por el Colegio de Arquitectos de Venezuela, la Fundación Colegio de Arquitectos de Venezuela (FUNDACAV), la Fundación Gego, la Asociación Venezolana de Artistas Plásticos (AVAP) y la Asociación Internacional de Críticos de Arte (AICA Venezuela).

En el mismo acto se otorgaron los siguientes reconocimientos:

  • Gran Premio Gego: Luis Arroyo
  • Premio Gego a la Trayectoria: Víctor Lucena
  • Premio Gego Artista Emergente: Manuela Zárate
  • Premio Gego a la Labor Cultural: Taller de Artistas Gráficos Asociados “Luisa Palacios” (TAGA)

El evento reunió a destacadas figuras del arte, la crítica y la arquitectura nacional, consolidándose como uno de los encuentros más relevantes para el reconocimiento del pensamiento estético y la creación contemporánea en Venezuela.

Lugar: Galería Freites, Av. Orinoco, Las Mercedes — Caracas
Organizan:
Colegio de Arquitectos de Venezuela
Fundación Colegio de Arquitectos de Venezuela (FUNDACAV)
Fundación Gego
Asociación Venezolana de Artistas Plásticos (AVAP)
Asociación Internacional de Críticos de Arte, Capítulo Venezuela (AICA)

SPECTRUM MIAMI AND RED DOT MIAMI ANNOUNCE DATES FOR MIAMI ART WEEK 2025

Red Dot Miami
Red Dot Miami

SPECTRUM MIAMI AND RED DOT MIAMI ANNOUNCE DATES FOR MIAMI ART WEEK 2025

Two fairs under one roof return to Mana Wynwood Convention Center, Dec. 3—7

Redwood Art Group, the nation’s leader in exhibitions, event production, media, and marketing for the global fine art community, announces its return to Wynwood Arts District with its flagship art fairs, two of the longest running fairs during Miami Art Week. 

Spectrum Miami and Red Dot Miami will return to Mana Wynwood Convention Center, offering “Two Fairs Under One Roof” for both exhibitors and art enthusiasts during this year’s Miami Art Week, taking place December 3rd to December 7th, 2025, at Mana Wynwood, 2217 NW 5th Ave., and NW 22nd St. in Miami.  The five-day fairs will cover more than 150,000 square feet of indoor exhibition space, all within walking distance of Wynwood’s coveted restaurants, bars, and retail boutiques. E-tickets can now be purchased in advance by visiting redwoodartgroup.com/spectrum-miami/ and redwoodartgroup.com/red-dot-miami/. 

Spectrum Miami and Red Dot Miami have grown to become the ultimate destination for the fine art industry professional and contemporary art enthusiast, with exhibits showcasing today’s elite artists, galleries, dealers, and emerging talents. With more than 40,000 attendees flocking to see the artwork of the 1,000+ artists showcased by over 280 exhibitors, avid art enthusiasts and industry leaders will also return to enjoy Spectrum Miami’s sister fair [SOLO], highlighting established and independent emerging artists.

Spectrum Miami and Red Dot Miami form the acclaimed contemporary and fine art experience that collectively presents some of today’s most coveted national and international galleries and artists from the U.S. and around the world. Redwood Art Group exclusively produces the two art fairs housed in one location—considered to be the only multi-fair production of its kind during Miami Art Week.

“We’re pleased to announce the dates for Spectrum Miami and Red Dot Miami, returning to Mana Wynwood for a 15th year and 20th year respectively, during Miami Art Week,” says Eric Smith, president of Redwood Art Group. “Each year, we see a record attendance of international art enthusiasts and industry leaders, and we anticipate this year’s show to attract an even bigger audience.  This year’s Red Dot Miami will mark two decades of Redwood’s gallery-only contemporary art fair – showing the strength of today’s gallery business. Attendees will enjoy the very best the fine art world has to offer, and we’re looking forward to introducing another five days of incredible art and entertainment.”

Spectrum Miami, an upscale and urban curated contemporary art fair, now in its 15th year, will be located adjacent to its sister fair, Red Dot Miami. Spectrum Miami presents special programs and site-specific exhibitions that showcase the thriving art landscape of the city.  Spectrum Miami showcases independent career artists, studios, and younger galleries that are pushing the boundaries in surprising and significant ways.

Spectrum Miami is also where contemporary meets extraordinary, featuring the works of more than 200 exhibiting galleries and artists from the Florida region, the U.S. and around the globe. Known for its urban and upscale works of art, the five-day show attracts more than 40,000 visitors and high-net-worth collectors who interact with the specially curated programming, while celebrating the fine art experience with music, entertainment, and other special events.  Within Spectrum Miami, [SOLO] offers established and emerging independent artists the opportunity to showcase their work on an international stage. Over the decades, [SOLO] has become the ultimate venue for independent artists to be discovered—not only by gallery owners and art publishers, but also by collectors and enthusiasts. As part of the interactive schedule of programming, this year’s Spectrum Miami will include Art Labs, featuring specially curated site-specific projects by prominent galleries, art institutions, and art collectives within the fair; Spotlight Program, providing collectors with a focused look at several prominent galleries and artists that will each be creating a site-specific exhibition; and the Discoveries Collection – selections of artwork chosen by the Spectrum Miami curatorial team that make up a group of amazing discoveries throughout the fair, each priced at $3,000 or less.

Red Dot Miami, a curated gallery-only contemporary art fair, now in its 20th year, will be located adjacent to Spectrum Miami as part of the highly anticipated annual presentation of leading galleries and their artists from the U.S. and around the world.  Red Dot Miami illuminates the best the contemporary art world has to offer, with its special exhibits and programming that showcases exhibitors, art industry professionals, and select nonprofits and institutions. Red Dot Miami features more than 75 galleries representing over 500 leading contemporary artists from primary and secondary markets throughout the world. The five-day show attracts more than 40,000 visitors and high-net-worth collectors who interact with the specially curated programming, which includes Spotlight Galleries, a focused look at several cutting-edge galleries chosen by the Redwood Art Group selection committee; Art Labs, a series of outstanding projects by leading galleries, art institutions, and art collectives within the show, and the Discoveries Collection – selections of artwork chosen by the Red Dot Miami curatorial team that make up a group of amazing discoveries throughout the fair, each priced at $5,000 or less. The complete Spectrum Miami and Red Dot Miami schedule of programing will be announced in November.

Returning exhibitors for this year’s Spectrum Miami, include A & E Fine Art /Aviram, Jason Perez Art, Von Siebert, Charlotte Fonne Art, Elidea Art, Mathilda, Carmine Bilardello, Gavi Kaplan, and Chadwick Concepts. Returning exhibitors for this year’s Red Dot Miami, include K-Art Projects USA, Mecenavie Gallery, Artavita/World Wide Art, Gebhardt Gallery, Perseus Gallery, End to End Gallery, The Gallery Steiner, SAB Gallery, and Famespace. 

The Opening Night Preview for Spectrum Miami and Red Dot Miami will take place from 6:00 to 9:00 p.m. on Wednesday, Dec. 3rd, featuring libations and musical entertainment. Tickets for the Opening Night Preview are priced at $85 per person and include access to all fair dates. A General Admission 1-day Pass for Spectrum Miami and Red Dot Miami is $50 and includes admission to the Opening Night Preview and one additional fair date when purchased online in advance (available until Nov. 15).

All tickets will be delivered as mobile e-tickets and can be purchased in advance. With digital ticketing, each guest’s mobile phone becomes their ticket, enabling a more streamlined and contactless entry experience. For further information or to purchase tickets, please visit redwoodartgroup.com/spectrum-miami/ and redwoodartgroup.com/red-dot-miami/. For more information on Redwood Art Group, visit redwoodartgroup.com/.

La grandeza cultural peruana en Gary Nader Art Centre, de Miami

Ropa de Lizeth Asháninka
La grandeza cultural peruana será homenajeada en una gala que tendrá lugar el 7 de noviembre en Gary Nader Art Centre, de Miami

La grandeza cultural peruana será homenajeada en una gala que tendrá lugar el 7 de noviembre en Gary Nader Art Centre, de Miami

El evento marcará una presencia en la gran nación estadounidense de las distintas vertientes del arte milenario y singular de Perú, que maravilla al Mundo desde hace siglos.

La ceremonia cuenta con la organización de la entidad PERÚ USA, con la colaboración de PROMPERÚ (Comisión de Promoción del Perú para la Exportación y el Turismo) y la Cancillería del país sudamericano.

La jornada también servirá de festejo anticipado del Bicentenario del establecimiento de relaciones diplomáticas y comerciales entre Perú y Estados Unidos, que se cumplirá en mayo del 2026.

La celebración de la Galería Nader -ubicada en el barrio Wynwood- será transmitida en directo y en exclusiva por el canal TV Perú, con una audiencia de más de 11 millones de espectadores a nivel nacional. 

La velada destacará la moda artesanal contemporánea y la música. El segundo  segmento será representado por la mayoría de los peruanos nominados a los Latin Grammy 2025, que se entregarán una semana después, en Las Vegas.

Esta insigne lista está integrada por la cantautora Nicole Zignano; el compositor y productor Renzo Bravo; el dúo de cantautores Alejandro y María Laura; y las artistas gráficas Lourdes Carhuas y Daniela Tomas. 

En la gala de Gary Nader Art Centre también participarán figuras de la moda como Yirko Sivirich, Alessandra Durand, Lizeth Asháninka, Ermol Gonzales, y las marcas Marín, Las polleras de Agustina, e Illari Souvenirs. Sus prendas podrán ser apreciadas en un imponente desfile.

Todos estos diseñadores mezclan lo ancestral con lo contemporáneo; resaltan  la diversidad visual y riqueza del legado textil peruano mediante colecciones que fusionan técnicas antiguas con una visión moderna de la moda peruana. 

En la velada también se contará con la presencia de un diseñador que representará a la comunidad cubana. El nombre es una sorpresa que será revelada a último momento.

Durante el evento también habrá un espectáculo musical. El momento más saliente de la noche será el de la entrega de reconocimientos a los artistas presentes.

De manera simultánea, se realizará una transmisión de la gala vía livestream, para más de cuatro millones de peruanos residentes en el extranjero, llevando así este homenaje a una audiencia global.

Con este acontecimiento, PERÚ USA se consolida como una plataforma de promoción cultural e integración que remarca el valor del arte, la música y la artesanía como conexión entre Perú y Estados Unidos.

The Art of the Fully Integrated Self

Lauren Jane Clancy
Lauren Jane Clancy

The Art of the Fully Integrated Self

By Lauren Jane Clancy

“I’m hungry!”
“Where are my shoes?”
“No! Not that outfit!”
“She’s not sharing with me.”
“I don’t want to go to school!”

At 6 a.m., the cries cut through the dark. I jolt awake—heart pounding, breath tight. My long-depleted adrenal glands fire as though awaiting a drill sergeant’s command. Twice already tonight I’ve been summoned. No pause, no mercy—just the relentless call to rise.

My body aches, not in the way a hot bath can fix, but with the slow, relentless erosion of sleepless years. Alas, there’s no time to lament.

Breakfast awaits. Three-year-old twins to wrangle. Teeth to brush, backpacks to pack. I’m half-dressed, mentally rehearsing a Zoom call while scrolling through emails—hoping whatever I threw on looks halfway professional. Somewhere in there, I remember to breathe. I slam back an espresso, often two.

This is the story of a single working mom raising identical twin girls while holding herself to impossibly high standards. I demand that I nurture my artistic passions and creative projects, show up fully for toddler mom life, and still perform in the corporate world that pays most—though certainly not all—of the bills.

Just this week, a restructuring was announced that may affect my role come January. The kind of uncertainty that arrives quietly but lands heavily—right before the holidays.

And yet, I push onward. I paint, I write, I create. In the middle of this pandemonium, art is where I dissolve, where freedom reigns—music blasting, paint and mess everywhere, the rip of plastic from a new canvas, the pungent smell of molding paste. I obsess over newspaper fragments, images, and words that inspire me, saving them for my next piece. Here, I let go of the perfectionism that dictates most of my days and dive into the unknown of play.

The studio is where I shed the mask of corporate gloss and the endless demands of motherhood. Even the ego of appearance falls away. I rarely match, wear no makeup, and look the antithesis of “presentable.” I can simply be me—unedited Lauren—a rare occurrence.

It’s a relief to mold exhaustion, ambition, joy, and fear into something tangible. The canvas absorbs the karmic chaos and reflects back something new—something sacred, almost ritualistic. Sometimes drenched in color, other times neutral and calm, it mirrors my longing for a simpler life. Each meditative brushstroke is a spiritual offering from my sovereign soul.

Naturally, I carry mom guilt into the studio. I can’t be in two places at once, and there’s agony in that. Still, I persevere—hoping I’m a better mother for carving out time for my beloved art and my beloved self.

At times, I second-guess my work, question my place in the art world, and even wonder whether I’m an impostor with no business showing my art at all. When your art is abstract, there’s no template to follow—it can leave the mind as unsettled as life. With abstraction, there’s no scaffolding, no certainty to lean on. You simply free fall, and the judgment is as fluid as the work itself.

There’s a strange love in that—the headiness, the contradiction, the cerebral struggle. It exercises my mind, demanding both control and surrender.

People often ask how I “juggle it all.” Truthfully, I don’t know. I just do. I have to is probably the best answer. I stumble, fall short, and doubt—but I also feel empowered, motivated, more passionate and inspired than ever. I’m propelled by a feverish momentum, magnetized forward by the striking awareness of life ticking by in flagrant disregard of its observers. I don’t want to squander a single moment on the mundane if I can help it.

Art teaches me that imperfection itself is part of the process. The drips, the cracks, the layers beneath the surface—these are what give a piece its depth. They reveal beauty in the broken and strength in the unfinished.

Miami, with all its contradictions—luxury and grit, sunshine and storms—mirrors this perfectly. It’s not a city of neat categories; it thrives in the collision of worlds. And maybe that’s why I find my footing here—as a mother, a corporate professional, an entrepreneur, a writer, and an artist.

The fully integrated self isn’t about balance, as if life were a scale to measure. It’s about merging it all together—allowing the messy, conflicting parts of ourselves to coexist. Art shows me how. I’m still humbly learning.

So tomorrow, when the alarm goes off and the chorus of demands begins again, I’ll take a breath. I’ll make breakfast, snuggle the twins, log into my call. And later, I’ll return to the studio—brush in hand—ready to turn the human folly of our world into something meaningful, if only to me.

That is not just the art of survival.
It is the art of the fully integrated self.

Lauren Jane Clancy is a Miami Beach–based artist, writer, entrepreneur, and single mother of twin girls. Her work explores themes of alchemy, existentialism, and transcendence, blending the chaos of modern life with the quiet grace of creation.

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

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

  • The 2025 edition of Art Basel Miami Beach will welcome 284 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).

Art Basel is pleased to announce the exhibitor list for its 2025 edition in Miami Beach, featuring 284 premier galleries—including 47 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

2025 participating galleries

Galleries from North America, Latin America, Europe, Africa, and Asia make up the list of participants in the Miami Beach show.

303 Gallery

47 Canal

A Gentil Carioca

ACA Galleries

Acquavella Galleries

Afriart Gallery

Aicon Gallery

Alexandre Gallery

Alisan Fine Arts

Almeida & Dale Galeria de Arte

Ames Yavuz

Galeria Raquel Arnaud

Alfonso Artiaco

Barro

von Bartha

Gallery Baton

Nicelle Beauchene Gallery

Livia Benavides

Ruth Benzacar Galeria de Arte

Berggruen Gallery

Berry Campbell

Peter Blum Gallery

Marianne Boesky Gallery

Tanya Bonakdar Gallery

Bortolami

Bradley Ertaskiran

Luciana Brito Galeria

Broadway

Ben Brown Fine Arts

Matthew Brown

Canada

Cardi Gallery

Casa Triângulo

David Castillo

Cayón

Central Fine

Galeria Pedro Cera

Chapter NY

James Cohan Gallery

Commonwealth and Council

Galleria Continua

Paula Cooper Gallery

Crèvecœur

Cristea Roberts Gallery

Thomas Dane Gallery

Dastan Gallery

Tibor de Nagy

Massimodecarlo

Jeffrey Deitch

Document

Anat Ebgi

Edel Assanti

Andrew Edlin Gallery

El Apartamento

galerie frank elbaz

Derek Eller Gallery

Thomas Erben Gallery

Larkin Erdmann

Galerie Cécile Fakhoury

Daniel Faria Gallery

Eric Firestone Gallery

Konrad Fischer Galerie

Peter Freeman, Inc.

Stephen Friedman Gallery

James Fuentes

Gaga

Gagosian

Galatea

Gavlak

Gemini G.E.L.

François Ghebaly

Gladstone Gallery

7 de NOVIEMBRE GRAN INAUGURACIÓN DE “La 4ta pared”

La 4ta pared
La 4ta pared

7 de NOVIEMBRE GRAN INAUGURACIÓN DE “La 4ta pared”

16351 SW 88th St
Miami, FL 33196

“La 4ta pared” abre sus puertas un nuevo espacio teatral en Miami con el estreno de esta obra icónica del Teatro del Absurdo.

Una comedia ocurrente y conmovedora que reflexiona sobre la soledad, el sentido y el absurdo de la vida.

Las Sillas, Eugene Ionesco
Las Sillas, Eugene Ionesco

Actuan:
Gerardo Riverón
Marilyn Romero
Assad Mardelli

Dirección ~ Marilyn RomeroProducción ~ Gigi GonzálezEscenografía ~ Pedro Balmaseda y Jorge Noa
Iluminación ~ Ernesto Padillab
Música Original ~ Pepín Rivero

¡NO PUEDES FALTAR!
NOVIEMBRE 7, 8, 9 y 14, 15, 16
Viernes y sábado ~ 8:30 p.m.Domingo ~ 7 p.m.

The INK Miami Art Fair Announces Exhibitors for 2025 Edition

INK Miami Art Fair
INK Miami Art Fair

The INK Miami Art Fair Announces Exhibitors for 2025 Edition:

Showcasing Limited Edition Prints & Contemporary and Modern Works on Paper

The INK Miami Art Fair returns to Miami Beach December 3–7, 2025, featuring 16 premier national and international publishers, nonprofits, and galleries that focus on works on paper. The 2025 INK Miami exhibitors will offer collectors a broad spectrum of vibrant and innovative contemporary pieces, masterworks, and limited-edition prints.

INK Miami Art Fair
INK Miami Art Fair

Aspinwall Editions (NY)

Childs Gallery (MA)

David Krut Projects (NY/South Africa)

Flying Horse Editions/UCF (FL)

Gregg Shienbaum Fine Art (FL)

Harlan & Weaver (NY)

Island Press (MO)

Jim Kempner Fine Art (NY)

Kingsland Editions (NY)

Kress Contemporary (FL)

David Krut Arts (NY)

PS Marlowe (NC)

Stoney Road Press (Ireland)

TAG Fine Arts (UK)

Tandem Press (WI)

The Tolman Collection (Tokyo)

INK Miami Art Fair

Celebrating its 19th year, the 2025 edition of the INK Miami Art Fair promises to be an extraordinary celebration of 20th-century masterworks and newly released editions by leading contemporary artists. Admission to the fair is free, and more information regarding the roster of INK Miami’s exhibitors can be found on the fair’s website, www.inkartfair.com.

We are also pleased to announce that INK Miami Art Fair, Inc. is now officially recognized as a 501(c)(3) non-profit organization. The INK Miami Art Fair is the only fair in Miami dedicated exclusively to fine art prints and works on paper, emphasizing their connoisseurship and collection. As Miami

Beach’s only non-profit art fair featuring international art dealers, galleries, and publishers, INK Miami is committed to fostering greater appreciation for works on paper among both collectors and the public. Through its global network, dynamic online presence, and engaging public programs, the INK Miami Art Fair supports education, understanding, and growth within a vibrant community passionate about prints.

“We are proud to continue our tradition of offering free admission to the fair, furthering our mission of making art accessible to all,” says Kristin Soderqvist, Committee member of the INK Miami Art Fair.

About INK Miami

The INK Miami Art Fair is renowned for its emphasis on modern and contemporary works on paper, standing out as a distinctive satellite fair during Art Week Miami Beach, and attracting a dedicated audience of museum curators and serious collectors. Set in a lush open-air courtyard, the fair offers visitors a unique experience, as transformed suites serve as gallery spaces for exploration. Its participation in Miami’s Art Week has solidified its status as a key event for enthusiasts of works on paper.

INK Miami Art Fair | December 3–7, 2025

Suites of Dorchester, 1850 Collins Avenue, Miami Beach, FL 33139

[email protected] | www.inkartfair.com | Instagram: @inkmiamiartfair | Facebook: @inkmiamiartfa

INK MIAMI SPONSORS

INK Miami Art Fair

WITH THE SUPPORT OF THE MIAMI BEACH VISITOR AND CONVENTION AUTHORITY

Art media/mediums

Art Mediums
Art Mediums

Art media/mediums

In art, medium refers to the singular substance or material used to create a piece (e.g., oil paint, marble, graphite), while media (or mediums) is the plural for the general category of materials or techniques for creating art (e.g., painting, sculpture) or the specific substances themselves when multiple are used.

Art media/mediums are the materials and methods through which artists form their ideas, shaping how viewers experience and interpret a work. From the traditional—oil paints, graphite, charcoal, and clay—to the contemporary—digital media, video, installation, and interactive formats—each medium carries its own language, possibilities, and limitations.

Mediums are not merely technical choices; they profoundly influence a piece’s concept and reception. A delicate silverpoint drawing communicates precision and intimacy, while a monumental steel sculpture conveys permanence and physicality. Similarly, digital media allows for movement, interactivity, and infinite reproducibility, opening new ways to challenge perception and narrative.

Art media are also cultural and historical markers, reflecting the technological, social, and philosophical contexts in which they are employed. They are both the vessel and the voice of artistic expression, bridging the artist’s intent with the audience’s experience. The choice of medium shapes a work’s texture, scale, and impact, guiding viewers toward an understanding of its emotional, intellectual, and aesthetic dimensions.

The Grammar of Materials: A Critical Survey of Art Mediums

As an art critic, I recognize that the medium is the physical lexicon of the visual artist. It is the language of matter—the oil, the stone, the light—through which concept, emotion, and perception are translated into tangible form. The choice of a medium is never arbitrary; it is a profound conceptual decision that dictates the artwork’s scale, texture, permanence, and its dynamic relationship with time and space.

Here is a critical survey and descriptive list of major visual art mediums, categorized by their primary mode of engagement.

I. Drawing & Pigment-on-Surface Media (The Planar Realm)

These mediums are defined by their reliance on line, tone, and color applied to a flat plane (the “support”).

MediumDescription and Critical Attributes
Oil PaintThe King of Painting. Pigment suspended in a drying oil (typically linseed). Renowned for its luminous depth, rich color saturation, and slow drying time, which permits seamless blending (sfumato) and the building of dense texture (impasto). It symbolizes tradition, technical mastery, and Western art history.
Acrylic PaintA modern, synthetic medium (pigment in acrylic polymer emulsion). Defined by its versatility, speed, and durability. Water-soluble when wet, it dries quickly to a permanent, often vibrant finish. It allows for effects ranging from opaque density to thin washes, making it a favorite for modern and mural applications.
WatercolorPigment bound by a water-soluble gum (like gum arabic). Characterized by its transparency, delicacy, and spontaneity. The white of the paper is integral, providing the necessary luminosity. It is a demanding medium that requires precision and confidence, as corrections are notoriously difficult.
GouacheOpaque watercolor. It has a higher pigment-to-binder ratio and often an added inert white pigment (chalk). Provides a dense, matte, and uniform color field when dry, often preferred by illustrators and designers for its capacity for flat, graphic color and ability to hide underlying layers.
CharcoalPure, burnt organic material (wood). An immediate, volatile, and expressive drawing medium. It creates deep, velvety blacks and is easily manipulated by smudging and erasure, making it ideal for large-scale tonal studies, dynamic gesture, and dramatic chiaroscuro.
Pastel (Soft/Oil)Powdered pigment held together with minimal binder. Soft pastels offer the brilliance of pure pigment applied dry, resulting in a fragile, luminous, and textured finish. Oil pastels use a wax/oil binder, yielding a richer, denser, and more saturated color with a tactile, crayon-like quality.
Ink (India/Calligraphic)Liquid pigment or dye. Applied with pen or brush, it is prized for its unyielding permanence, graphic contrast, and expressive line quality. Pen-and-ink emphasizes precision and structure, while brush-and-ink favors fluidity and spontaneous wash effects.
FrescoThe ancient technique of applying pigment directly to wet (buon) or dry (secco) plaster. Buon fresco is an architectural medium where the chemical bond with the wall ensures monumental permanence and a distinctive matte, integrated surface quality.

II. Sculpture & Material Transformation Media (The Spatial Realm)

These mediums transform raw material into three-dimensional form, engaging with volume, mass, and space.

MediumDescription and Critical Attributes
Bronze (Casting)An alloy of copper and tin. It is the definitive material of classical and modern sculpture, known for its durability, tensile strength, and capacity to capture minute detail via the lost-wax process. It grants the sculpture a timeless, monumental presence and can be finished with various patinas for color.
Stone (Carving)Materials like marble, granite, or alabaster. A subtractive process that demands intense labor and foresight. Stone conveys mass, gravity, and permanence, often utilized to evoke classical ideals, power, or raw, geologic essence.
Wood (Carving & Construction)Carving is subtractive, emphasizing the grain and inherent life of the material. Construction is additive (assemblage). Wood is accessible, warm, and organic, yet challenging due to its fibrous structure and vulnerability to environment.
CeramicsClay that is molded (additive) and then hardened by firing. Highly versatile, ranging from delicate porcelain to massive earthenware. Ceramics is defined by its malleability when wet and its brittle permanence when fired, making it a medium of both fragility and ancient history.
GlassSilica heated to a molten state. Highly technical, glass is prized for its capacity to manipulate light: it can be transparent, translucent, or opaque, and can be molded, blown, or fused, yielding works of delicate brilliance or powerful, solid form.

III. Expanded & Time-Based Media (The Temporal and Conceptual Realm)

These contemporary practices challenge traditional definitions of the object, incorporating time, light, and interaction.

MediumDescription and Critical Attributes
PhotographyThe process of recording light and shadow, defining a moment in time. It is a dual medium: a tool for objective documentation and a highly subjective instrument for compositional and conceptual framing. The material choice (film vs. digital, print surface, scale) fundamentally alters its meaning.
Installation ArtThe arrangement of objects and elements within a site to create an immersive, single artwork. The medium is the entire environment (including light, sound, and the architecture), prioritizing the viewer’s experience and challenging the traditional boundary between art and space.
Video Art / FilmThe moving image, using video, digital files, or celluloid. Distinct from commercial cinema, video art often employs non-narrative structures, loops, and temporal distortion to explore psychological, political, or abstract concepts. Its medium often includes the screen, projector, or monitor itself.
Digital ArtWork created or manipulated entirely using computer software (3D modeling, digital painting, generative code). This medium trades the unique material object for the fluidity and reproducibility of the virtual file, prioritizing concept, data, and the potential for interactive experience.
Found Object / AssemblageThe creation of art by incorporating pre-existing, often mundane or discarded, non-art materials. A conceptual medium that challenges notions of craft and value, relying on juxtaposition, context, and the artist’s selection to transform the object’s original meaning into art.

THAT WHICH INHABITS ME – THE SILENCE THAT REMAINS – OUR LOVING WORLD

LO QUE ME HABITA / THAT WHICH INHABITS ME (Front Gallery) By Lisu Vega
THAT WHICH INHABITS ME - THE SILENCE THAT REMAINS - OUR LOVING WORLD

THE FRANK C. ORTIS GALLERY

LO QUE ME HABITA / THAT WHICH INHABITS ME (Front Gallery) By Lisu Vega

THE SILENCE THAT REMAINS (Main Gallery) By Sibel Kocabasi

OUR LOVING WORLD (Aisles Gallery & Third Space) By Stephanie McMillan

October 16, 2025 – January 10, 2026

601 City Center Way, Pembroke Pines, FL 33025

This fall, The Frank C. Ortis Art Gallery presents three compelling exhibitions that explore memory, heritage, and belonging through immersive installations and vibrant storytelling. Audiences are invited to the Opening Reception on Thursday, October 16, from 6:00–9:00 PM, a festive, free event featuring artist meet-and-greets, refreshments, and access to all three exhibitions at The Frank C. Ortis Art Gallery, 601 City Center Way.

Exhibition Details The 2025 Fall Exhibition Series features new presentations by Lisu Vega (Lo Que Me Habita / That Which Inhabits Me), Sibel Kocabasi (The Silence That Remains), and Stephanie McMillan (Our Loving World). Together, their works transform the gallery into spaces of reflection, resilience, and joy.

Featured Exhibitions

LO QUE ME HABITA / THAT WHICH INHABITS ME (Front Gallery) By Lisu Vega | Curated by Sophie Bonet In Lo Que Me Habita (That Which Inhabits Me), multidisciplinary artist Lisu Vega interlaces memory, language, and material into immersive installations that explore belonging, displacement, and transformation. Drawing from her Wayuu heritage and diasporic archives, Vega works with textiles, oxidized fibers, photographic fragments, and multilingual poetry to create sensorial landscapes where personal history becomes collective memory. Her practice, rooted in sustainability and ritual, transforms discarded traces into living matter, insisting that even absence carries presence. Through gesture, poetry, and woven forms, Vega invites visitors to inhabit memory as something fragile yet resilient, embodied yet shared.

THE SILENCE THAT REMAINS (Main Gallery) By Sibel Kocabasi | Curated by Sophie BonetIn The Silence That Remains, Turkish-born, South Florida–based artist Sibel Kocabasi transforms textiles of survival and inheritance into contemplative spaces of resilience and care. Combining heirloom kilims, emergency blankets, embroidery, and crochet, Kocabasi creates sculptural environments that speak to migration, memory, and the quiet strength of repair. Her works shimmer with paradox—fragile yet protective, luminous yet intimate—inviting viewers into a meditative terrain rather than a confrontational one. By layering the domestic with the precarious, she reimagines home as something carried within the body, folded into fabric, and sustained through ritual. The exhibition asks how acts of making and mending can transform rupture into continuity and silence into a shared space of reflection.

OUR LOVING WORLD (Aisles Gallery & Third Space) By Stephanie McMillan | Organized by The Frank’s Education Department Ft. Lauderdale native Stephanie McMillan brings joy and color to the gallery with playful works that “cute-ify” South Florida’s plants and animals. Anthropomorphized flora and fauna—with bright faces and cartoon charm—celebrate the region’s edible and medicinal species, offering a whimsical lens for audiences of all ages to rediscover their environment.

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