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Artist-in-Residence Program at Altis Grand Kendall in Miami

Hector Prado POP artist
Hector Prado POP artist

Altman Living Selects Hector Prado for Artist-in-Residence Program at Altis Grand Kendall in Miami

Altman Living, a leading multifamily real estate company and operating platform of Altman, announced today it has selected internationally acclaimed pop artist Hector Prado as its artist-in-residence at the recently opened Altis Grand Kendall community in Miami. This is the second time Prado, who is known for his signature POP Style, experimental and award-winning graphic design, has been selected for the artist program.

The Artist-in-Residence program provides a practicing South Florida artist with a one-year, rent-free apartment complete with den space to practice and fine-tune his or her craft. Artists are selected for the residency program based on the quality, originality, creativity, workmanship and artistic distinction of their portfolio.

“When we first launched the Artist-in-Residence program, our hope was that this initiative would provide a novel opportunity to shine a spotlight on how art is a vital part of the community,” said Seth Wise, CEO of Altman. “We couldn’t be more thrilled to be partnering with Hector again at one of our newest communities in Kendall. His aesthetic and visionary approach fit perfectly with the kind of ambiance and exeptional living experience we want to curate throughout our properties.”  

Born and raised in Colombia, Prado knew from an early age he was destined to become an artist. While his professional career initially took off in the world of marketing and graphic design, over the past decade he has been able to transform his passion for art into a successful business. Today, Prado’s works have earned him recognition at high-profile events worldwide such as the Cannes Festival, One Show, London Awards, Clio Awards, New York Festivals, Emmy Awards, and a special award for his artwork for Steven Spielberg’s HBO series “The Pacific.” In Fall 2023, he was chosen to exhibit at the Louvre in Paris as part of the museum’s “New Emerging Masters” Carrousel exhibit.

In addition to a home and studio space, Prado will now have the opportunity to create and display his art at the Altis Grand Kendall community and engage with residents through monthly creative activities and experiences – from pet fashion shows to art exhibitions.

In December, Prado helped lead an art walk and open house at Altis Grand Kendall featuring community tours through the lavish development, complemented by an exclusive art exhibition showcasing works from over ten renowned artists. According to Prado, who is known to partner with premier brands rather than individual galleries, Altman was the first developer to believe in his vision and help transform the residential experience.

“I have always said that art is a feeling and I am fortunate to collaborate with a company like Altman that shares a passion for my craft and has afforded me the opportunity to create a culture of art inside its communities,” said Prado. “The Artist-in-Residence program is more than just a concept; it’s about creating a space where art, creativity and community can intersect and thrive. In addition to this art exhibition event, I plan to lead additional unique artistic programming at Altis Grand Kendall that will blend lifestyle with art and creativity, offering residents more than a a place to live but an inspirational space to connect and create.”

Altis Grand Kendall was developed by Altman Living, which has a history of developing and investing in the multifamily real estate market for 57 years. The mid-rise apartment community features 342 luxury apartment homes in Miami’s vibrant Kendall neighborhood. The property, centrally located at 9455 SW 137th Ave., offers one-, two-, and three-bedroom apartment units with modern design elements and efficient floor plans to meet the demands and desires of today’s discerning renters.

Residents enjoy a robust selection of indoor and outdoor amenities including the 24/7 fitness center along with a yoga and cycling studio, an Indulge spa lounge with a sauna and treatment room, an interactive sports simulator with virtual sports experiences, a movie lounge and a game room with shuffleboard, billiards, and pinball. The Plunge heated pool offers private cabanas, lounge seating, and oversized daybeds for ultimate relaxation. Altis Grand Kendall also has an outdoor pavilion with grills and a fireplace, and a children’s playground perfect for families. The community also features an enclosed dog park and a dog spa with washing stations for residents who are pet owners.

To learn more about the Altis Grand Kendall community, please visit www.altisgrandkendall.com.

About Altman Living

Altman Living, an operating platform of Altman, is engaged in the development, construction, and management of multifamily apartment communities. Since 1968, Altman Living and its predecessors have developed, constructed, acquired, and managed over 27,000 multifamily units throughout the United States, including communities in Florida, Michigan, Illinois, Tennessee, Georgia, Texas, and North Carolina. The company has distinguished itself by creating boutique mid-rise and garden-style communities under its Altís and Altra brands with resort-style amenities and high-touch services, delivering with it ‘Exceptional Living Experiences’ for its residents. For more information on Altman Living, visit www.altmancos.com.

About Altman

Altman is a real estate company engaged in the acquisition, development, and sale of multifamily rental apartment communities, warehouse and logistics facilities, and single-family master-planned housing communities primarily located in Florida and the Eastern United States. Altman is a wholly-owned subsidiary of BBX Capital, Inc.

Perez Art Museum PAMM
Pérez Art Museum Miami

Eli Bornstein

Photo-Eli-Bornstein
Photo-Eli-Bornstein

Eli Bornstein: A Pioneering Force in Structurist Art

Eli Bornstein’s contributions to abstract art, particularly his innovative approach to Structurist art, have firmly established him as one of Canada’s most prominent and inventive artists. His work, a fusion of geometric abstraction and a profound engagement with Nature creates a vibrant, three-dimensional exploration of color, form, and environmentalism. His pioneering approach to abstraction, reshaping the abstract art landscape, and establishing a lasting connection between art and the natural world is a testament to his unique artistic vision that would define his long and prolific career.

The Evolution from Representation to Abstraction

Bornstein’s journey into the abstract world was neither sudden nor accidental. His early experiences with representational art laid the groundwork for his transition into abstraction, which occurred gradually over the 1950s. Initially inspired by the light and color dynamics of Impressionism, Bornstein gravitated toward more formal compositions influenced by the likes of Cézanne and Cubism. Works such as his 1952 Boats at Concarneau and the splintered cityscapes of Paris and Saskatoon from 1954 demonstrate his fascination with light and fractured forms. However, by the late 1950s, Bornstein realized that representational art no longer offered him the challenges or depths he sought.

His shift toward abstraction was inspired by the revolutionary developments of European modernists, mainly Dutch painter Piet Mondrian. Mondrian’s move to the strict geometry of De Stijl provided Bornstein with a new path: abstraction devoid of any imitative naturalism. However, Bornstein was not content with mimicking Mondrian’s retreat from reality. Instead, he sought a way to adapt the geometric vocabulary of Mondrian’s style into a more dynamic, organic form that resonated with Nature.

Structurist Art: A New Language of Abstraction

Bornstein coined the term Structurist to define his evolving practice, emphasizing that his approach was not a style or school of art but a way of ‘building’ form, similar to how a sculptor constructs a relief. This term reflected his belief that art should not simply exist as a set of static visual arrangements but should engage with its environment more immersive, three-dimensionally, inviting the audience to be part of the art.

The resulting Structurist Reliefs, developed in the 1950s and 1960s, were monumental in the evolution of abstract sculpture. Bornstein’s reliefs combined sharp angles, vivid colors, and geometric configurations to produce works that demanded an active engagement with the viewer. Unlike traditional flat paintings, Bornstein’s works protrude from the wall, altering their appearance depending on the angle of light or the viewer’s perspective. These were not static objects but ever-changing compositions, much like Nature itself.

Bornstein’s reliefs explore the mutable quality of the natural world, employing a strategy that he termed ‘organic.’ His work re-imagines Nature’s processes through abstraction, where the forms do not replicate Nature but evoke it through color, shape, and light. By the 1960s, his reliefs had grown more sophisticated, incorporating a wider range of colors and shapes that mirrored the natural world’s vibrancy and dynamism, connecting the audience to the ever-changing essence of Nature.

Nature and Transcendentalism: The Heart of Structuralism

While Bornstein’s technique draws heavily on European modernist movements like De Stijl and Cubism, his subject remains deeply rooted in North American Transcendentalism. This philosophical movement, which emerged in the 19th century, emphasized a deep spiritual connection with Nature and profoundly shaped Bornstein’s approach to art. Writers like Ralph Waldo Emerson and Henry David Thoreau, as well as artists such as Marsden Hartley, had long championed Nature as a spiritual force that transcended individual ego and connected all living things.

For Bornstein, this philosophy provided the underpinning for his Structuralist work. While he firmly rejected Expressionism’s emotionalism and the subjectivity it often embraced, Bornstein believed that art should be an extension of Nature’s Nature’s processes—objective yet alive with dynamic movement and energy. Much like the Transcendentalist writers, his works look to Nature not as a subject to be imitated but as an active, organic force to be interpreted.

Bornstein articulates his vision in a journal entry: “The creation of art in its deepest sense is like an act of worship, like a prayer. It is a communion with Nature and other human beings.” Through his art, Bornstein sought not only to represent the beauty of the natural world but also to participate in it and find a language that could reflect its ever-changing essence while remaining rooted in reality.

Structuralism and Ecological Awareness

In addition to his philosophical and artistic contributions, Bornstein was a pioneering voice in ecological and environmental discussions within the art world. Through his internationally influential periodical, The Structurist, founded in 1960, he created a platform for discussing art’s connection to the natural world. Bornstein’s writing and artwork resonated with ecological concerns, advocating for a return to natural forms of life in an increasingly industrialized and alienated world. As he noted, art could serve as a refuge—a space that counteracts the “inhuman environments” of modern cities.

This ecological perspective was ahead of its time, anticipating the rise of environmental consciousness in the late 20th century. As early as the 1960s, Bornstein recognized that humanity’s increasing detachment from Nature could be alleviated by art, which could serve as a “green space” in itself. His reliefs, with their tactile, interactive forms, encourage viewers to reconnect with their surroundings—offering a direct, physical engagement with Nature’s dynamics.

Legacy and Influence

Bornstein’s Structuralist art continues to inspire artists and environmental thinkers. His innovative approach to abstraction, blending geometry with naturalism, has set a new standard for how art can engage with human perception and the natural world. Bornstein’s In a career that spanned decades, works have been shown across Canada and internationally. His periodical The Structurist remains a key contribution to the intellectual and artistic dialogue of the 20th and 21st centuries.

Today, Eli Bornstein stands as a towering figure in the development of Canadian abstract art. His Structuralist works, with their powerful integration of Nature, abstraction, and geometry, reflect his lifelong dedication to exploring new ways of seeing and experiencing the world. In an age increasingly concerned with environmental issues, Bornstein’s art offers a spiritual connection to Nature and a call to action—a reminder of the importance of preserving the living, breathing world around us.

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Pérez Art Museum Miami

Alfredo Hlito

alfredo hlito

Alfredo Hlito and the Chromatic Rhythms: A Revolutionary Approach to Abstract Art and the Influence of De Stijl

Alfredo Hlito (1923–1993) was a pivotal figure in developing abstract art in Latin America, mainly known for his groundbreaking exploration of geometric abstraction, color, and rhythm. His Chromatic Rhythms series, created in the late 1950s and early 1960s, represents one of his most important contributions to modern art. This series, showcasing his innovative approach to abstract painting, combined visual art with a dynamic sense of movement and sound, transforming the boundaries of abstraction and establishing him as a significant figure in Latin American modernism.

The Birth of Chromatic Rhythms

Hlito’s Chromatic Rhythms was born out of his interest in the rhythmic qualities of visual art—how colors and shapes could be arranged to convey a sense of movement akin to music or dance. In this series, Hlito introduced a fluid, almost musical composition where color, form, and space seemed to pulse with energy. His carefully orchestrated use of geometric shapes such as circles, squares, and lines created patterns that visually mimicked the fluidity of rhythm, inviting the viewer to perceive a beat or pulse in the work. This ability to use color as a visual component and a driving force that added to the composition’s dynamism set Hlito apart from his contemporaries in the Argentine avant-garde movement.

The Use of Color as a Visual Rhythm

Color was crucial in Chromatic Rhythms as a visual tool for expressing rhythm. Hlito’s color choices were deliberate, employing bold primary hues—reds, blues, yellows, and greens—in rhythmic sequences that created a sense of flow and movement. The placement of these colors was not random; it was a calculated orchestration akin to how a composer arranges musical notes to form a melody. This careful arrangement gave the impression that the colors were moving, forming dynamic sequences that could almost be heard.

Through his use of color and form, Hlito’s paintings transcended the visual realm to evoke a multi-sensory experience, where the viewer could feel the rhythm embedded within the composition. The titles of his works in Chromatic Rhythms often drew on musical metaphors, reinforcing the connection between the visual and the auditory. The combination of color and geometric shapes in his paintings not only engaged the viewer’s eyes but also invited an emotional and intellectual response, making these works stand out in the context of Latin American modernism.

Alfredo Hlito

De Stijl and Its Key Principles

Hlito’s Chromatic Rhythms is similar to the De Stijl movement, a revolutionary abstract art movement founded in the Netherlands in the early 20th century. De Stijl, led by artists like Piet Mondrian and Theo van Doesburg, focused on geometric abstraction, primary colors, and harmony through simplicity. The movement emphasized reducing form to basic geometric shapes—rectangles and squares—and a restricted color palette, often consisting of primary colors (red, blue, yellow), black, white, and gray.

De Stijl’s artists believed that abstraction could communicate universal truths, transcending individual expression to create a harmonious, spiritual language that connected all viewers. This idea of abstraction as a unifying, universal force is a central tenet of De Stijl’s aesthetic, and its influence can be seen in Hlito’s work.

Alfredo Hlito and De Stijl: A Shared Vision of Order and Rhythm

While Hlito’s Chromatic Rhythms emerged several decades after De Stijl’s heyday, it aligns closely with the movement’s principles. Like Mondrian’s work, Hlito’s compositions focus on geometric precision, with meticulously arranged rectangles, squares, and lines. His use of primary colors alongside black and white evokes the De Stijl palette, and his work emphasizes balance and harmony through these elements.

However, one distinctive difference in Hlito’s approach is his interpretation of rhythm. While static compositions often characterized De Stijl, Hlito injected a sense of dynamism into his work. His geometric shapes shift and vibrate, creating a sense of movement and rhythm akin to music. This rhythmic quality in his paintings elevates the De Stijl principles, infusing them with energy and flow, and reflects a more fluid approach to abstraction. His work is less about static harmony and more about an unfolding, continuous visual rhythm that carries the viewer through the composition.

Geometric Structure and Rhythmic Patterns

In Chromatic Rhythms, Hlito adhered to De Stijl’s focus on geometry, using shapes like rectangles, squares, and lines to construct his compositions. However, his arrangements often felt less rigid and more fluid than De Stijl’s controlled static compositions. The repetition of geometric forms and dynamic color placement led to rhythmic patterns that guided the viewer’s eye across the canvas in a lively, almost musical flow.

The controlled, methodical use of geometry in Hlito’s works recalls the precision of De Stijl, but his application of these forms to create a sense of movement and rhythm set his work apart. The repetition and variation of shapes and colors suggested an unfolding sequence, as if the painting were in constant motion, resonating with the principles of color theory and visual rhythm.

Music and Dance as Influences

Hlito’s deep connection to rhythm can be traced to his interest in music and dance. He often described his paintings as visual compositions, where color and form were arranged to create a visual “melody.” The interplay between geometric shapes and color rhythms in Chromatic Rhythms can be compared to a dance’s choreography or musical performance’s cadence. This connection between visual art and music was central to Hlito’s process, allowing him to create works that transcended the purely visual and engaged the viewer emotionally.

Like a composer arranging notes to form a melody, Hlito arranged color and shapes to form a visual rhythm. His compositions could be interpreted as a form of visual music—where the structure of the canvas allowed the viewer to feel the rhythm as they experienced the interplay of colors and shapes.

Impact and Legacy

Alfredo Hlito’s Chromatic Rhythms redefined the role of color and rhythm in modern abstract art. Where color had once been an element of decoration or background, Hlito’s work elevated it to the forefront, making it the driving force of the composition. His ability to merge color with geometric abstraction in such a dynamic, rhythmic way helped to expand the possibilities of abstract art.

Hlito’s exploration of geometric abstraction and his innovative use of color and rhythm placed him at the forefront of the Latin American modernist movement. His work resonated with the international avant-garde movements, like De Stijl, and contributed to the evolution of Argentine and Latin American abstraction. His Chromatic Rhythms continue to be celebrated as some of the most significant works in Latin American modernism, bridging the gap between European abstraction and the unique aesthetic languages of the region.

In summary, Alfredo Hlito’s Chromatic Rhythms is a fusion of De Stijl principles and modern Argentine abstraction. While his work draws heavily from the geometric precision and use of primary colors championed by De Stijl, Hlito infuses it with movement and rhythm, creating dynamic and engaging compositions. Through his innovative approach, Hlito helped to redefine the potential of abstraction, leaving a lasting legacy in the history of modern art.

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Pérez Art Museum Miami

El Miami Film Festival y la Lynn & Louis Wolfson II Family Foundation

Gina Ann Margillo_previous film_Overtown's Living Legacy
Gina Ann Margillo_previous film_Overtown's Living Legacy
Miami Film Festival

El Miami Film Festival y la Lynn & Louis Wolfson II Family Foundation Anuncian a los Ganadores de The Louies, Otorgando $100,000 a Seis Cineastas Locales

Documentales Ganadores Explorarán a la Primera Comentarista Deportiva Femenina, una Querida Pista de Patinaje y Legados Generacionales

Seis cineastas de Miami traerán a la vida historias inéditas del sur de Florida como los ganadores inaugurales de The Louies, una iniciativa del Miami Film Festival patrocinada por la Lynn & Louis Wolfson II Family Foundation. Estos cineastas recibirán un total combinado de $100,000 para crear documentales que exploran la historia, la identidad cultural y los personajes y lugares icónicos del sur de Florida. Dos de los documentales se estrenarán en el Miami Film Festival de 2025, mientras que los otros debutarán en futuras ediciones.

“Estamos emocionados de celebrar a estos talentosos cineastas y las extraordinarias historias que contarán”, dijo James Woolley, director ejecutivo del aclamado Miami Film Festival de Miami Dade College. “Los ganadores de The Louies reflejan la diversidad, la resiliencia y la creatividad del sur de Florida. Sus documentales destacarán la historia y la cultura que hacen de esta región un lugar tan especial”.

Los ganadores y sus proyectos incluyen:

Ganador de Documental de Largometraje ($50,000)

Margaret Cardillo – Jane Chastain: La Historia No Contada de la Primera Comentarista Deportiva Femenina del País, un documental sobre Jane Chastain, quien hizo historia como la primera comentarista deportiva femenina de Estados Unidos mientras capturaba la creciente cultura deportiva de Miami en los años 60 y 70 para la primera estación de televisión de Miami, WTVJ.

“Esta historia [la de Jane] no solo es una parte inédita de la historia de Estados Unidos, sino también de la historia de Miami”, dijo Cardillo. “Este documental explorará por qué, de todos los mercados del país, fue la ciudad de Miami la que fomentó este talento pionero”.

Ganadores de Documental Corto ($10,000 cada uno)

Symone Titania Major – Bajo el Árbol de Mango, explorando la profunda conexión de una familia con un árbol de mango en Goulds y sus vínculos con la rica herencia agrícola de la zona.


Gina Ann Margillo – Night Train Last Stop, un perfil de Ted Grossman, cuyo programa de radio Night Train ha preservado la conexión de Miami con el jazz y la música de big band durante casi 50 años.


Jayme Kaye Gershen – Adult Night: Un Documental de Super/Hot Wheels, un film que captura la cultura de esta icónica pista de patinaje de Miami y su impacto duradero en la comunidad.


“Como una habitual de los lunes por la noche, comencé a documentar el latido de este lugar y su gente”, dijo Gershen. “Este documental captura la alegría, la cultura y el alma de un preciado punto de referencia de Miami mientras evoluciona, dejando su huella en generaciones de miamenses”.

Ganadores de Fondos de Finalización ($10,000 cada uno)

Rachelle Salnave – Ciudadana Dual, una exploración divertida y emotiva de la identidad haitiano-estadounidense y el viaje para recuperar la ciudadanía haitiana.


Emilio Oscar Alcalde – El Sonido de Miami, que traza la evolución del sonido musical latino característico de Miami, una fusión de influencias cubanas y estadounidenses.


“El Sonido de Miami es una historia que solo podría haberse desarrollado en el sur de Florida. Es una carta de amor a los inmigrantes cubanos que buscaban su lugar en Miami”, dijo Alcalde.

Menciones Especiales del Jurado

Además, cuatro cineastas—Gaspar González, Kareem Tabsch, Matt Deblinger y Sasha Wortzel—recibieron Menciones Especiales del Jurado por sus propuestas y recibirán un estipendio y el uso gratuito de los Archivos Wolfson para completar sus proyectos.

Una piedra angular de The Louies para todos los cineastas ganadores es el acceso a los Archivos Wolfson en Miami Dade College, que albergan más de 35,000 horas de video y filmaciones que documentan la historia de Florida. El abundante material de los archivos ayudará a los ganadores a dar vida a sus historias, desde los lugares culturales de Miami hasta momentos históricos cruciales.

The Louies, nombrados en honor a Louis Wolfson II, cuya familia fundó la primera estación de televisión de Miami, WTVJ, fueron reinventados en 2024 para apoyar a los cineastas de documentales del sur de Florida. Establecida en colaboración con el Miami Film Festival y la Lynn & Louis Wolfson II Family Foundation, esta iniciativa amplifica las voces locales financiando proyectos que celebran la vibrante cultura e historia de la región. Los ganadores fueron seleccionados por un distinguido jurado.

“Nos complace continuar el legado de mi familia en educación y preservación de la historia”, dijo Randi Wolfson Adamo, fideicomisaria de la Lynn & Louis Wolfson II Family Foundation. “The Louies asegurará que las historias del sur de Florida sean contadas, recordadas y atesoradas”.

Para más información sobre The Louies, visita www.miamifilmfestival.com/thelouies.

Sobre el Miami Film Festival de Miami Dade College
Celebrando el cine en dos eventos anuales, Miami Film Festival y GEMS, el Miami Film Festival de Miami Dade College es considerado el principal festival de cine para exhibir cine iberoamericano en EE. UU. y una importante plataforma de lanzamiento para el cine internacional y documental. El festival anual recibe a más de 45,000 asistentes y más de 400 cineastas, productores, talentos y profesionales de la industria. Es el único gran festival alojado dentro de una universidad. En los últimos cinco años, el festival ha proyectado películas de más de 60 países, incluidas 300 premieres mundiales, internacionales, norteamericanas y de la costa este. El festival también ofrece oportunidades educativas inigualables para estudiantes de cine y la comunidad en general. Para más información, visita www.miamifilmfestival.com o llama al 305-237-FILM (3456).

Sobre la Lynn & Louis Wolfson II Family Foundation
Establecida por Lynn Wolfson en 2014, la misión de la Lynn & Louis Wolfson II Family Foundation tiene dos partes: proporcionar apoyo a la educación que fomente vocaciones en cine, video y transmisión, así como financiar las artes en el sur de Florida. El éxito de la familia fundadora en los medios impulsó el interés en apoyar la educación para el mejoramiento de todas las industrias relacionadas. Louis Wolfson II fue vicepresidente senior de Wometco Enterprises, un modelo a seguir en la comunidad empresarial e industria de medios en el sur de Florida y a nivel nacional hasta su fallecimiento. Lynn Wolfson inició los Archivos Wolfson de Imágenes en Movimiento de Florida, ahora alojados en Miami Dade College, y apoyó todas las formas de arte en el sur de Florida. Ahora, guiada por las siguientes generaciones de la familia Wolfson, la fundación se complace en asociarse con el Miami Film Festival en The Louies.

Contactos de Prensa de The Louies:
Debbie Ramirez, 786-877-2295, [email protected]; Rachel Pinzur, 305-725-2875, [email protected]

Contactos de Prensa de MDC:
Nikki Whiting, vicepresidenta asistente de comunicaciones, 305-237-3920, [email protected]; Sue Arrowsmith, directora de relaciones con los medios, 305-237-3710, [email protected]; o Norma Ardila, 305-237-3607, [email protected].

Este y otros comunicados de MDC están disponibles en news.mdc.edu.

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Pérez Art Museum Miami

Miami Film Festival and Lynn & Louis Wolfson II

Symone Titania Major Miami Film Festival
Symone Titania Major Miami Film Festival

Miami Film Festival and Lynn & Louis Wolfson II Family Foundation Announces Winners of The Louies, Awarding $100,000 to Six Local Filmmakers   

Winning Documentaries to Explore Miami’s Trailblazing Female Sportscaster,           Beloved Roller Rink and Generational Legacies

Six Miami-based filmmakers are set to bring South Florida’s compelling untold stories to life as the inaugural winners of The Louies, an initiative of  the Miami Film Festival sponsored by  the Lynn & Louis Wolfson II Family Foundation. These filmmakers will receive a combined $100,000 to create documentaries exploring South Florida’s history, cultural identity and iconic people and places. Two of the films will premiere at the 2025 Miami Film Festival, with the others debuting at future editions.

“We are thrilled to celebrate these talented filmmakers and the extraordinary stories they will tell,” said James Woolley, executive director of Miami Dade College’s acclaimed Miami Film Festival. “The Louies winners reflect the diversity, resilience, and creativity of South Florida. Their films will shine a spotlight on the history and culture that make this region so special.”

The winners and their projects include:

Feature-Length Documentary Winner ($50,000)

Margaret Cardillo Jane Chastain: The Untold Story of the Nation’s First Female Sportscaster, a documentary about Jane Chastain, who made history as America’s first female sportscaster while capturing Miami’s growing sports culture of the 1960s and 70s for Miami’s first TV station WTVJ.

“This [Jane’s] story is not just an untold piece of American history but of Miami history,” said Cardillo. “This documentary will explore why, of all the markets in the country, it was the city of Miami that fostered this pioneering talent.”

Short Documentary Winners ($10,000 each)

  • Symone Titania MajorUnder the Mango Tree, exploring a family’s deep connection to a mango tree in Goulds and its ties to the area’s rich agricultural heritage.
  • Gina Ann MargilloNight Train Last Stop, a profile of Ted Grossman, whose Night Train radio show has preserved Miami’s connection to jazz and big band music for nearly 50 years.
  • Jayme Kaye GershenAdult Night: A Super/Hot Wheels Doc, a film capturing the culture of this iconic Miami roller rink and its enduring community impact.

“As a Monday night regular, I started documenting the heartbeat of this place and its people,” said Gershen. “This film captures the joy, culture, and soul of a treasured Miami landmark as it evolves, leaving its mark on generations of Miamians.”

Finishing Funds Winners ($10,000 each)

  • Rachelle SalnaveDual Citizen, a humorous and heartfelt exploration of Haitian-American identity and the journey to reclaim Haitian citizenship.
  • Emilio Oscar AlcaldeEl Sonido de Miami, tracing the evolution of Miami’s signature Latin music sound, a fusion of Cuban and American influences.

“El Sonido de Miami” is a story that could only have taken place in South Florida. It is a love letter to the Cuban immigrants who were trying to find their place in Miami,” said Alcalde. 

Special Jury Mentions

In addition, four filmmakers, Gaspar González, Kareem Tabsch, Matt Deblinger and Sasha Wortzel, received Special Jury Mentions for their submissions and will each receive a stipend and complimentary use of the Lynn & Louis Wolfson II Florida Moving Image Archives to complete their projects.

A cornerstone of The Louies for all the winning filmmakers is access to the Lynn & Louis Wolfson II Florida Moving Image Archives at Miami Dade College, housing over 35,000 hours of video and film chronicling Florida’s history. The archives’ robust footage will help winners bring their stories to life, from Miami’s cultural landmarks to pivotal historical moments.


The Louies, named for Louis Wolfson II, whose family started Miami’s first TV station WTVJ, were reimagined in 2024 to support South Florida’s documentary filmmakers. Established in collaboration with the Miami Film Festival and the Lynn & Louis Wolfson II Family Foundation, this initiative amplifies local voices by funding projects that celebrate the region’s vibrant culture and history. Winners were selected by a distinguished jury.

“We are thrilled to continue my family’s legacy of education and preservation of history,” said Randi Wolfson Adamo, trustee of the Lynn & Louis Wolfson II Family Foundation. “The Louies will ensure that South Florida’s stories are told, remembered and cherished.”

For more information about The Louies, visit www.miamifilmfestival.com/thelouies.

About Miami Dade College’s Miami Film Festival

Celebrating cinema in two annual events, Miami Film Festival and GEMS, Miami Dade College’s Miami Film Festival is considered the preeminent film festival for showcasing Ibero-American cinema in the U.S., and a major launch pad for all international and documentary cinema. The annual Festival welcomes more than 45,000 audience members and more than 400 filmmakers, producers, talent and industry professionals. It is the only major festival housed within a college or university. In the last five years, the Festival has screened films from more than 60 countries, including 300 World, International, North American, U.S. and East Coast Premieres. The Festival also offers unparalleled educational opportunities to film students and the community at large. For more information, visit www.miamifilmfestival.com or call 305-237-FILM (3456).

About Lynn & Louis Wolfson II Family Foundation

Established by Lynn Wolfson in 2014, the Lynn & Louis Wolfson II Family Foundation’s two-part mission provides support for education that furthers vocations in film, video, and broadcasting, as well as funds the arts in South Florida. The founding family’s success in media propelled interest in supporting education for the betterment of all related industries. Louis Wolfson II served as senior vice president of Wometco Enterprises, a paragon of the business community and media industry in South Florida and nationally until his passing. Lynn Wolfson initiated the Wolfson Florida Moving Image Archives now housed at Miami Dade College and supported all forms of arts in South Florida. Now guided by the next generations of the Wolfson family, the foundation is pleased to partner with the Miami Film Festival on The Louies.

The Louies Media Contacts: Debbie Ramirez, 786-877-2295, [email protected]; Rachel Pinzur, 305-725-2875, [email protected]

MDC Media Contacts: Nikki Whiting, assistant vice president of communications, 305-237-3920, [email protected]; Sue Arrowsmith, director of media relations, 305-237-3710, [email protected]; or Norma Ardila, 305-237-3607, [email protected].  

This and other MDC releases are available at news.mdc.edu.  

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Homenaje a Malevich de Victor Vasarely

Victor Vasarely. Homenaje a Malevich 1954-1958
Victor Vasarely. Homenaje a Malevich 1954-1958

Homenaje a Malevich de Victor Vasarely: Una Geometría en Movimiento

La obra Homenaje a Malevich (1954-1958) de Victor Vasarely, creada en óleo sobre lienzo, es una pieza fundamental que destaca por su exploración de la geometría y el movimiento. Con una medida imponente de 120 × 195 cm, esta obra se encuentra en la colección de Louis Bogaerts y está considerada una de las representaciones más destacadas de la corriente del arte óptico (Op Art), un movimiento en el cual Vasarely se consagró como uno de los principales exponentes.

La influencia de Kazimir Malevich

El título de la obra ya deja clara la reverencia del artista húngaro hacia el pintor ruso Kazimir Malevich, creador del suprematismo, un movimiento abstracto que se centraba en lo esencial: el uso del cuadrado y el círculo como formas puras. Malevich llevó el cuadrado negro a la máxima expresión en su pintura, mientras que Vasarely, en su Homenaje a Malevich, recrea esa forma, pero dándole un giro innovador. Vasarely no solo presenta el cuadrado en su versión bidimensional, sino que introduce una dimensión de movimiento.

Al observar su entorno, Vasarely se dio cuenta de que la luz que entraba a través de la ventana de su casa en Gordes formaba un contorno cuadrado similar al que él había percibido en negativo en el exterior. De este fenómeno, nació la idea de su Homenaje a Malevich, donde reinventa esa forma cuadrada y la coloca en constante cambio. El cuadrado que, en la obra de Malevich, se mantenía inmóvil y absoluto, se convierte en un rombo giratorio que se desplaza, alterando su forma original. Este giro transformacional del cuadrado refleja la interpretación de Vasarely de la geometría como algo dinámico, en constante evolución y afectado por el movimiento.

Victor Vasarely. Homenaje a Malevich 1954-1958
Victor Vasarely. Homenaje a Malevich 1954-1958

Geometría Relativista

Uno de los aspectos más fascinantes de esta obra es la introducción de una geometría relativista que se manifiesta en el constante cambio de las formas. Vasarely muestra cómo un cuadrado puede ser transformado en un rombo al girar sobre su punta, o cómo el círculo puede devenir en una elipse. La obra invita a los espectadores a percibir un universo visual en el que las formas no son fijas, sino fluidas, y las fuerzas que las originan las modifican continuamente. El espacio se vuelve mutable y no sujeto a una única lectura estática.

Este enfoque refleja la influencia de la teoría de la relatividad y la física moderna, que comenzaron a tener una fuerte repercusión en la vanguardia artística de la época. Al presentar las formas de esta manera, Vasarely demuestra cómo el arte puede reflejar las complejidades de las percepciones visuales y la naturaleza dinámica del mundo. La luminosidad que entra en su estudio y las tensiones de la luz y la oscuridad también se perciben como elementos que modifican la percepción visual, un concepto esencial que Vasarely explora a través de las variaciones geométricas.

La evolución del Op Art

La obra Homenaje a Malevich es representativa de la fase inicial del arte óptico de Vasarely, cuando se limitaba al uso de blanco y negro. Sin embargo, a lo largo de su carrera, el artista expandiría este vocabulario y comenzaría a incluir colores vibrantes que aumentaban la sensación de movimiento y profundidad en sus composiciones. A pesar de los altibajos en el mercado del arte en las décadas siguientes, el Op Art de Vasarely sigue siendo una parte esencial del legado artístico del siglo XX.

En la década de 1950, Vasarely ya había establecido su particular estilo visual y conceptual, jugando con la ilusión de la tridimensionalidad y las formas que parecían desplazarse o vibrar frente a los ojos del espectador. El uso de patrones geométricos complejos y de efectos visuales fue un avance importante, influenciado no solo por Malevich, sino también por otros artistas y movimientos vanguardistas, como el Constructivismo y el Futurismo, que también buscaban experimentar con la percepción visual.

Legado y vigencia del Op Art

A pesar de su influencia en las décadas de 1960 y 1970, y de la popularidad alcanzada por el Op Art, la producción de Vasarely fue, en algunos aspectos, demasiado prolífica y, con el tiempo, esto jugó en contra de su valoración en el mercado. En los años 80, la repetición de sus patrones y la saturación de su obra en el mercado hicieron que la relevancia de su estilo comenzara a decaer. Sin embargo, la reciente exposición del Centre Pompidou, que rinde homenaje a su obra, ha hecho que se revalore su legado artístico y su contribución al arte del siglo XX.

Aunque la obra de Vasarely ha sido subestimada por muchos en el ámbito comercial, es innegable su impacto en la historia del arte moderno. El Homenaje a Malevich no solo es una reverencia a un maestro del arte abstracto, sino también una declaración de la intención de Vasarely de redefinir la relación entre arte, percepción y movimiento. Su influencia sigue viva en los movimientos contemporáneos que buscan explorar la interacción del espectador con el arte, y el Homenaje a Malevich continúa siendo una obra esencial que demuestra cómo la geometría puede ser una puerta hacia nuevas dimensiones perceptivas.

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Paul Celan

Paul Celan
Paul Celan

Paul Celan: A Poet Shaped by History and Language

Paul Celan, born Paul Antschel on November 23, 1920, in Czernowitz (now in Ukraine), is considered one of the most significant poets of the 20th century. His work, profoundly influenced by his personal experiences and the trauma of the Holocaust, resonates through its emotional depth, linguistic complexity, and philosophical reflections on memory, loss, and survival.

Celan’s early life was marked by tragedy. Growing up in a German-speaking Jewish family in Czernowitz, he was exposed to several languages, including Romanian, Russian, and French, which later informed his poetry. His life was irrevocably altered by World War II when he and his family faced the horrors of Nazi persecution. During the war, Celan was sent to a forced labor camp, and his parents were deported to a concentration camp. His father died from typhus, and his mother was executed. These traumatic events permeated Celan’s work, where themes of suffering, loss, and the search for meaning in a shattered world take center stage.

After the war, Celan settled in Paris, where he lived for the rest of his life. He worked as a German language and literature teacher and earned a living translating works by poets such as Robert Frost, Emily Dickinson, and Charles Baudelaire. His exposure to French surrealists like Antonin Artaud and Arthur Rimbaud greatly influenced his poetry, even though he chose to write in German—the language that both nurtured and betrayed him.

Celan’s first collection, Sand from the Urns (1948), marked the beginning of his poetic career. However, it was his second collection, Poppy and Memory (1952), that established him as a significant literary figure. Critics noted how his work balanced the personal and the universal, grappling with the horrors of the Holocaust while exploring the limitations and potential of language. Rooted in the aftermath of the war, Celan’s writing grew increasingly abstract and self-reflective as he sought to transform the German language into a tool for rebuilding his fractured sense of self.

His most famous poem, “Death Fugue” (Todesfuge), is perhaps the most harrowing depiction of the Holocaust in modern poetry. In this poem, Celan combines the formal structure of a fugue with chilling imagery, creating a piece that both evokes and resists the horrors of concentration camps. The repetition of phrases like “black milk of daybreak” has made it one of the most iconic works of post-war literature. However, as Rika Lesser noted, “Death Fugue” does not fully represent Celan’s later work. In his subsequent poems, Celan increasingly dismantled conventional language, seeking to create a new poetic lexicon in which each poem had its own context. His writing evolved into a more private, hermeneutic style, deeply attuned to the dark layers of lived experience.

Celan’s struggle with the German language—the language of his mother’s killers—became a central theme in his work. As Shoshana Olidort pointed out, Celan’s poetry in German reflected a profound estrangement; he sought to “dismantle and reweld” the language in a way that could bear the weight of his trauma without replicating the violence of its historical use. This led to poetry that, while rich with references to the Holocaust, moved beyond direct depictions of history to engage with more profound existential questions of survival, identity, and the possibility of meaning in a world scarred by brutality.

Throughout his career, Celan received numerous prestigious awards, including the Bremen Prize for German Literature in 1958 and the Georg Büchner Prize in 1960. Despite his success, he struggled with deep depression, and in 1970, at the age of 49, he tragically took his own life. His death profoundly impacted the literary world, and his work continues to be studied and celebrated for its ability to confront the most painful aspects of human existence.

Celan’s poetry is characterized by its innovative use of language, exploration of memory, and attempt to make sense of unspeakable trauma. His later works, such as Breathturn into Timestead (collected in 2014) and The Collected Poems of Paul Celan (translated by Pierre Joris), reflect a poet at the height of his powers, using language not merely to communicate but to reforge it, wrestle with his history, and create a new space for meaning. Through Celan’s masterful use of sound, form, and silence, his work stands as a testament to the endurance of the human spirit in the face of unimaginable loss.

Celan’s poetry, rich in symbolism and linguistic innovation, remains a pivotal element of post-war literature. It is a profound exploration of grief, identity, and survival, shaped by one man’s attempt to find meaning in a world torn apart. His legacy endures as a poet who confronted both the darkest aspects of human history and the transformative power of language itself.

  1. “Death Fugue” (“Todesfuge”)
    This is undoubtedly Celan’s most famous poem, often regarded as one of the most powerful works of Holocaust literature. The poem uses haunting imagery and repetition to convey the horrors of concentration camps.
  2. “The Sand from the Urns” (“Der Sand aus den Urnen”)
    The title poem from his first collection, Sand from the Urns, captures Celan’s early poetic style, blending memory and language in a way that would characterize his later works.
  3. “Poppy and Memory” (“Mohn und Gedächtnis”)
    A key poem from his second collection, this work reflects Celan’s struggle with memory, loss, and language, marking the transition in his poetry towards more abstract and complex forms.
  4. “Tenebrae”
    One of Celan’s most famous later works, Tenebrae engages with themes of darkness, despair, and the search for redemption in the wake of the Holocaust. It is a poem about the inescapable presence of suffering and mourning.
  5. “Psalm” (“Psalm”)
    In this short but deeply meditative poem, Celan reflects on the experience of faith and its relationship to language and suffering, central themes in his later work.
  6. “The Meridian” (“Der Meridian”)
    A highly complex and experimental poem, The Meridian addresses Celan’s understanding of his role as a poet, exploring the intersections of language, silence, and existence.
  7. “Atemwende” (“Breathturn”)
    Featured in his later work, Atemwende is a part of his poetic reworking of language. It deals with the tensions between breath, voice, and silence, creating a unique sense of rhythm and expression.
  8. “The Noose of the Words” (“Der Knoten der Worte”)
    Another late poem, The Noose of the Words examines the entanglement of language, the impossibility of fully articulating trauma, and the relationship between memory and silence.
  9. “In the Storm of Roses” (“Im Sturm der Rosen”)
    This poem reflects Celan’s search for meaning amidst despair, using the metaphor of a storm of roses to express both beauty and destruction.
  10. “Fugue of Death” (“Todesfuge”)
    While the title may be redundant with “Death Fugue,” some scholars refer to different translations and versions of this work, which explores themes of annihilation, rhythm, and the horrors of war.


Poetry Collections
 

  • The Sand from the Urns (Der Sand aus den Urnen, 1948).
  • Poppy and Memory (Mohn und Gedächtnis, 1952).
  • From Threshold to Threshold  (Von Schwelle zu Schwelle, 1955).
  • Speechwicket / Speech Grille  (Sprachgitter, 1959).
  • The No-One’s-Rose (Die Niemandsrose, 1963).
  • Breathturn (Atemwende, 1967).
  • Threadsuns / Twinesuns / Fathomsuns (Fadensonnen, 1968).
  • Lightduress (Lichtzwang, 1970).
  • Snow Part [posthumous] (Schneepart, 1971).
  • Timestead / Homestead of Time [posthumous] (Zeitgehöft, 1976) .

Translations in English
 

  • Breathturn into Timestead: The Collected Later Poetry: A Bilingual Edition, translated by Pierre Joris, Farrar, Straus & Giroux, 2014.
  • Corona: Selected Poems of Paul Celan, translated by Susan H. Gillespie, Station Hill Press of Barrytown, 2013.
  • From Threshold to Threshold, translated by David Young, Marick Press, 2010.
  • Snow Part, translated by Ian Fairley, Sheep Meadow Press, 2007.
  • Threadsuns, translated by Pierre Joris, Green Integer, 2005.
  • Lightduress, translated by Pierre Joris, Green Integer, 2004.
  • Paul Celan: Selections, edited and with an introduction by Pierre Joris, University of California Press, 2004.
  • Romanian Poemsi, translated by Julian Semilian and Sanda Agalidi, Green Integer, 2003.
  • Fathomsuns and Benighted, translated by Ian Fairley, Sheep Meadow Press, 2001.
  • Poems of Paul Celan: A Bilingual German/English Edition, Revised Edition, translated by Michael Hamburger, Persea Books, 2002.
  • Selected Poems and Prose of Paul Celan, edited and translated by John Felstiner, W.W. Norton & Co., 2000.
  • Glottal Stop: 101 Poems, translated by Nikolai B. Popov and Heather McHugh, Wesleyan University Press, 2000.
  • Breathturn, translated by Pierre Joris, Green Integer, 1995.
  • Collected Prose, edited by Rosmarie Waldrop, Sheep Meadow, 1986.
  • Last Poems, translated by Katharine Washburn and Margret Guillemin, North Point Press, 1986.
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Bernadette Mayer

Bernadette Mayer
Bernadette Mayer

Bernadette Mayer: A Legacy of Innovation in Poetry and Art

Bernadette Mayer (1945–2022) was an influential poet and a key figure in the New York School of Poetry, leaving a lasting impact on contemporary literature through her experimental approach to language, structure, and emotion. Born in Brooklyn, New York, on May 12, 1945, Mayer’s creative journey was profoundly influenced by her formative years in the vibrant and dynamic artistic culture of New York City. She was known for her candid and confessional style, as well as her fearless exploration of personal and collective themes, engaging with the complexities of memory, time, and experience.

Mayer began her education at the New School for Social Research, where she earned her BA in 1967. It was here that her poetic voice began to emerge, leading her to join the ranks of avant-garde poets and artists associated with the New York School. In the late 1960s, she collaborated with the renowned conceptual artist Vito Acconci to co-edit the journal 0 TO 9, a seminal platform for experimental poetry and prose that contributed to the cutting edge of literary and visual art.

Her literary oeuvre spans nearly three decades and includes almost thirty books of poetry and prose. Her works range from collections of poetry to experimental and conceptual writings. Some of her most celebrated works include Milkweed Smithereens (2022), Eating the Colors of a Lineup of Words: The Early Books of Bernadette Mayer (2015), Poetry State Forest (2008), and Midwinter Day (1982). Each book showcases Mayer’s signature style: fragmented, deeply introspective, and often reflective of the challenges of balancing the personal with the universal.

One of Mayer’s hallmark works, Midwinter Day, is a remarkable narrative that captures the entirety of a single day in the poet’s life over a 24-hour period. By focusing on the minute details of the ordinary, she underscores how time accumulates meaning. This work exemplifies Mayer’s ability to capture the richness of fleeting moments through her complex yet accessible language, offering a glimpse into the intimate workings of her mind.

Mayer’s poetry was not confined to the written word; she was also deeply engaged with the experimental and conceptual art movements of her time. Her collaboration with Acconci on 0 TO 9 played a significant role in shaping the landscape of avant-garde publishing, and she maintained strong connections with artists who explored the intersections of poetry, visual art, and performance. Mayer was not only an artist in her own right but also a catalyst for others, helping to cultivate a literary community that thrived on innovation and interdisciplinary exploration.

Throughout her career, Mayer’s works were characterized by their emotional intensity, innovative forms, and an unwavering commitment to questioning traditional modes of expression. Her directness and honesty, particularly regarding motherhood, sexuality, and identity, made her an essential voice for women in literature. In works like The Desires of Mothers to Please Others in Letters (1994), Mayer deconstructed the societal roles imposed on women, offering a more complex and nuanced view of the female experience, far removed from conventional portrayals.

In addition to her written work, Mayer’s impact on the literary world extended to her role as a teacher and mentor. For many years, she taught writing workshops at The Poetry Project at St. Mark’s Church in New York City, where she inspired countless emerging poets. She served as the director of The Poetry Project during the 1980s, and her influence as an educator helped shape the next generation of experimental poets. Much like her writing, her teaching style encouraged openness to exploring new forms and ideas, emphasizing that poetry is a fluid, ever-evolving practice.

Alongside her husband, writer and publisher Lewis Warsh, Mayer created United Artists Press, which published many works by fellow poets and artists, further reinforcing her commitment to supporting and amplifying the voices of avant-garde creatives.

Mayer’s contributions to poetry were not only artistic but also intellectual. In 1979, she was awarded a fellowship from the National Endowment for the Arts, recognizing her talent and importance within the literary community. Her works continue to stand as a testament to her unique voice and vision, with her influence resonating in the ongoing evolution of contemporary poetry.

Bernadette Mayer lived in East Nassau, New York, until her death on November 22, 2022. Her legacy is one of continuous experimentation, profound introspection, and fearless creativity. Through her innovative contributions to the New York School of Poetry and her engagement with the broader avant-garde movement, Mayer’s work continues to inspire and challenge readers and poets alike. She leaves behind a body of work that remains essential to the canon of contemporary poetry, demonstrating that the personal, the mundane, and the deeply introspective can create art that transcends time, offering new ways to perceive the world.rld.

  1. Midwinter Day (1982) – This long poem is often considered Mayer’s masterpiece. It chronicles a day in the life of the poet, blending the ordinary with the profound, and is known for its experimental structure and deep introspection.
  2. The Desires of Mothers to Please Others in Letters (1994) – A deeply personal and experimental work, this collection of poems explores themes of motherhood, gender roles, and the complexities of human relationships.
  3. Sonnets (1989) – A collection of sonnets that plays with the form while offering an emotional, reflective look at love, identity, and the passage of time.
  4. Poetry State Forest (2008) – A significant collection that reflects Mayer’s continued interest in nature, language, and the intersections between the personal and the natural world.
  5. Milkweed Smithereens (2022) – One of her more recent collections, offering a mix of reflections on life, death, and the minutiae of daily experience.
  6. Eating the Colors of a Lineup of Words: The Early Books of Bernadette Mayer (2015) – A comprehensive collection that includes many of her early works, offering insight into her evolving poetic style and voice.
  7. Scarlet Tanager (2005) – This collection is a blend of personal narrative and observational poetry, written with Mayer’s signature introspection and wit.
  8. The Golden Book of Words (1978) – One of her early works that demonstrates her playfulness with language and exploration of the poetic form.
  9. Two Haloed Mourners (1998) – A collection that investigates grief, love, and loss, deeply personal but universal in its resonance.
  10. Ceremony Latin (1964) – This early collection features Mayer’s exploration of Latin rituals and the structure of language, reflecting her early experimentation with form and content.
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Coumba Samba

Coumba Samba
Coumba Samba

Coumba Samba

@savecoumba

Coumba Samba: An Interdisciplinary Artist Defying Boundaries in Sculpture, Installation, and Performance

Coumba Samba is an emerging name in the art world, celebrated for her innovative interdisciplinary practice that blends sculpture, installation, and performance. Driven by a deep curiosity and a profound connection to her surroundings, Samba’s work delves into themes of identity, heritage, and the human experience. She engages audiences in ways that go beyond traditional art forms, creating a space where personal narratives intertwine with collective history and pushing the boundaries of how art can communicate and interact with viewers.

At the heart of Samba’s practice is the concept of transformation—both in materials and meaning. Her sculptures are more than mere objects; they represent a living dialogue between the artist and her subjects. Often constructed from organic and found materials such as wood, fabric, metal, and natural elements, her works evoke a strong connection to nature. This tactile approach allows Samba to breathe new life into seemingly discarded or overlooked items, imbuing each piece with meaning and significance.

Samba’s installations provide a sensory experience that invites viewers not only to observe but also to engage. These immersive works are often site-specific, responding to their surroundings while provoking emotional and intellectual reactions. In her installations, the space becomes an integral part of the artwork, creating an atmosphere for reflection and introspection. By manipulating light, sound, or texture, Samba fosters a dialogue between the artwork and the viewer, often breaking the barrier of passive observation and encouraging active participation.

Performance art is another dimension of Samba’s interdisciplinary approach that distinguishes her work. During her live performances, she embodies themes present in her sculptures and installations, using her body as a canvas to explore the intersections of identity, cultural memory, and collective history. Her performances are emotionally charged, often invoking the ancestral and spiritual forces that shape her worldview. In this way, Samba’s body becomes a site of transformation—a vessel through which she shares her innermost thoughts while inviting the audience to reflect on their personal and collective experiences.

The cultural roots informing Samba’s practice are deeply embedded in her work. Her heritage and the narratives of those who preceded her significantly influence her artistic choices. She is dedicated to preserving and redefining cultural traditions while questioning the role of art in shaping social, political, and environmental change. Through her sculptures, installations, and performances, she creates a space where history, culture, and personal identity intersect, offering viewers a platform for dialogue and contemplation.

One of the most striking aspects of Samba’s work is her ability to convey complex ideas through a combination of abstract and representational forms. While her sculptures are grounded in the tangible, they often suggest the intangible—hinting at emotional states, social commentaries, or universal themes through their organic shapes and layered meanings. In her installations, viewers are invited to engage in a sensory experience that reflects the workings of the mind and the collective consciousness.

Beyond her visual art, Samba is deeply committed to community engagement. Her work often brings together individuals from diverse backgrounds, fostering collaborative environments where dialogue and connection thrive. She recognizes the potential of art as a tool for social change, using her interdisciplinary practice to engage, challenge, and empower communities.

As an artist, Coumba Samba represents a new generation of creatives redefining what it means to be interdisciplinary. Her work transcends traditional art forms, exploring the endless possibilities of sculpture, installation, and performance as vehicles for personal and collective expression. With her unique ability to blend materials, space, and human presence, Samba creates art that is both timeless and contemporary, inviting audiences to engage, reflect, and participate in an ongoing dialogue between art, culture, and society.

Her commitment to transformation—both in materials and meanings—ensures that her work resonates on a global scale. Through her evolving practice, Coumba Samba is shaping the future of art, inviting us all to see the world not just as it is, but as it could be: dynamic, interconnected, and full of possibilities.

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The Teskey Brothers: A Soulful Tribute to the Golden Age of Soul Music

The Teskey Brothers
The Teskey Brothers

Rain * The Teskey Brothers

The Teskey Brothers: A Soulful Tribute to the Golden Age of Soul Music

The Teskey Brothers, hailing from Melbourne, Australia, have carved a distinct niche in the modern music scene with their soulful fusion of blues, folk, and rock. Comprising siblings Sam and Josh Teskey, the group’s music pays heartfelt tribute to the golden era of soul music, drawing inspiration from the raw emotion and timeless quality that defined the genre between the late 1950s and the 1970s. Their soulful ballads, compelling lyrics, and exceptional musicianship have captivated audiences globally, making them a standout force in contemporary music.

Josh Teskey, with his once-in-a-generation voice, brings a deep, commanding energy that mirrors the power and vulnerability found in the golden age of soul music. His voice carries a sense of urgency and emotional depth, evoking greats like Otis Redding, Sam Cooke, and Marvin Gaye, while maintaining a unique sound of its own. This vocal power is perfectly complemented by his brother Sam’s silky, expressive lead guitar work, which adds layers of richness to their sound. The combination of their talents creates a seamless blend of old-school Motown vibes with the nuances of modern blues, resulting in a timeless, authentic style that resonates with listeners of all ages.

The Teskey Brothers’ 2019 album, Run Home Slow, received widespread acclaim and even earned a Grammy nomination. Their latest album, The Winding Way (2023), reached the top spot on the ARIA album chart and won the ARIA Award for Best Blues & Roots Album. All three of the band’s studio albums share a sense of honesty, with their songwriting and production deeply rooted in analog warmth, evoking the classic soul records of the past.

One of their most poignant tracks, “Rain,” encapsulates their mastery of the soul genre. The song exudes a melancholic beauty, showcasing Josh’s soulful voice at the forefront, expressing vulnerability and longing. The emotional depth of the track is further amplified by its lush instrumentation, blending rich guitar work, smooth basslines, and subtle percussion that evoke the musicality of the golden era of soul.

“Rain” exemplifies The Teskey Brothers’ ability to take the spirit of soul music and make it their own, creating a sound that is both nostalgic and fresh. It reflects timeless themes of love, heartache, and introspection, but with a contemporary twist. The combination of Josh’s emotionally charged vocals, delicate yet powerful instrumentation, and the raw sincerity in the lyrics makes it a standout track in their impressive catalog.

With their distinctive sound and impeccable musicianship, The Teskey Brothers have solidified themselves as torchbearers of the soul genre, while adding their modern spin. They represent a rare breed of artists who honor the legacy of the past while pushing into new territories. Their music transcends time, inviting listeners into a world where the soul of yesterday meets the vibrancy of today.

For those unfamiliar with The Teskey Brothers, “Rain” serves as a perfect introduction to their musical world. It serves as a reminder that the heart of soul music—authenticity, emotion, and timelessness—continues to thrive in the hands of gifted artists like Sam and Josh Teskey. In a world continuously seeking new music that resonates on a deep emotional level, The Teskey Brothers stand at the forefront, offering something real, raw, and undeniably beautiful.

Their music is more than just a nod to the past—it’s a revival of a sound that speaks to the soul, reminding us of the power of music to heal, inspire, and bring people together.

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