Charo Oquet

Born in Santo Domingo
Currently based in Miami, FL. United States

Oquet has presented numerous solo exhibitions at museums and galleries worldwide, including the Bass Museum in Miami Beach; Casal Solleric in Palma de Mallorca; and the Convento de Santo Domingo in Lanzarote, Canary Islands, Spain, curated by Antonio Zaya.

His work has also been featured in major international exhibitions, including Relational Undercurrents: Contemporary Art of the Caribbean Archipelago at the Museum of Latin American Art (MOLAA), Long Beach, California (2017); GAGA NOW! Art, Race, and Fluidity in the Dominican Republic and Haiti at the Martin E. Segal Theatre, CUNY, New York (2016); the 1st Asunción Biennial at the Salazar Museum, Paraguay (2015); and Be.Bop: European Body Politics, Spiritual Revolutions & the Scramble for Africa at Nikolaj Kunsthal, Copenhagen; Ballhaus Naunynstraße, Berlin; and Art Labour Archives (2015).

Additional international presentations include the 1st Afri-Perfoma Biennial Live Art Festival in Harare, Zimbabwe (2013); Mami Wata, curated by Henry Drewal at the Fowler Museum at UCLA (2008); Subliminals in Beijing, China (2007); Away at UNESCO Headquarters in Paris (2006); After Columbus.com at Kunstnernes Hus, Oslo, Norway (2003); the V Caribbean Biennial at the Museo de Arte Moderno de Santo Domingo (2001, 2003); En Ruta PR’02 at M&M Projects, Puerto Rico, curated by Antonio Zaya; the Centro Atlántico de Arte Moderno (CAAM), Gran Canaria, Spain; and the Govett-Brewster Art Gallery, New Zealand.

Miami Art Week: A Global Celebration of Contemporary Art

Miami Art Week has firmly established itself as one of the most anticipated cultural events of the year, attracting visitors from around the world. This vibrant and dynamic celebration of contemporary art transforms the city into an unparalleled epicenter of creativity, innovation, and artistic expression. With renowned art fairs such as Art Basel Miami Beach, Untitled, Art Miami, and several others, Miami has become a global stage where art lovers, collectors, curators, and artists converge to explore the latest trends in the art world.

A City Transformed by Art

During Art Week, Miami is not just a city but a living, breathing canvas. The streets, galleries, and public spaces are infused with an electric atmosphere as people from all over the world come together to engage with some of the most cutting-edge and thought-provoking works of contemporary art. Miami’s local community plays an integral role in this transformation, as the city’s galleries, museums, and cultural venues host special exhibitions and events, turning the city into an interactive art hub.

The Miami Art Week experience extends beyond the traditional art fairs, offering visitors a diverse range of experiences. There is something for everyone, from intimate artist talks and exclusive gallery viewings to large-scale installations and immersive art experiences. The city’s famed cultural districts, such as the Wynwood Walls, Design District, and Little Havana, become even more vibrant during Art Week, hosting established and emerging artists pushing the boundaries of creativity.

The Heart of Miami Art Week: Art Basel Miami Beach

At the heart of Miami Art Week is Art Basel Miami Beach, the U.S. counterpart to the prestigious Swiss fair. Every December, Art Basel welcomes an international audience of art collectors, dealers, curators, and museum professionals to experience one of the world’s most celebrated contemporary art fairs. The fair’s extensive collection of works spans painting, sculpture, photography, video, and large-scale installations. The artists and galleries featured at Art Basel offer a rare opportunity to engage with the most significant developments in the art world, providing insight into contemporary art’s current landscape and future trajectory.

What makes Art Basel Miami Beach so unique is its extraordinary collection of works and its collaborative spirit. Many major art institutions and museums in Miami, such as the Pérez Art Museum Miami (PAMM) and the Institute of Contemporary Art (ICA), use Art Basel’s timing to host exclusive exhibitions, transforming the entire city into a sprawling art experience.

Untitled, Art Miami, and Beyond

In addition to Art Basel, Miami Art Week features other notable fairs, such as Untitled and Art Miami, which have become fixtures of the city’s cultural calendar. Untitled is celebrated for its unique atmosphere, often considered more intimate than larger fairs, and is known for showcasing a carefully curated selection of contemporary art. Featuring galleries worldwide, the fair stands out for its open-air venue with stunning ocean views and its commitment to presenting innovative and boundary-pushing works. Visitors can enjoy everything from experimental installations to thought-provoking contemporary sculptures.

Art Miami, the city’s longest-running contemporary art fair, has become a mainstay in the Miami Art Week circuit. Known for its diverse range of modern and contemporary works, the fair features art from over 125 international galleries. Art Miami is particularly notable for its focus on emerging and established artists, offering a unique opportunity for collectors to acquire significant pieces while engaging with cutting-edge art trends. This diversity ensures that there’s something for everyone, making Art Miami an inclusive part of Miami Art Week.

In addition, Miami Art Week also features a host of satellite fairs, such as PULSE Miami, NADA Miami, and SCOPE, each bringing its distinct flavor to the city’s cultural landscape. Often attracting emerging artists, these fairs provide a platform for new voices in the contemporary art world. The city becomes a canvas, with pop-up shows, public art installations, and street performances offering an eclectic mix of visual experiences.

A Hub of Global Exchange

Miami’s significance in the art world is not just its role as a host city during Art Week but also the city’s increasing influence as a year-round cultural center. Miami’s international reputation as a global art hub continues to grow as its art scene becomes more integrated into the international conversation on contemporary art. The city’s proximity to Latin America, combined with its rapidly growing number of collectors and artists, makes it a crossroads of global cultural exchange. This year-round cultural vibrancy ensures that visitors and locals alike are always connected to the global art scene.

For visitors, Miami Art Week is an unforgettable experience—a celebration of creativity and connection that transcends borders. Whether you’re an art collector looking for your next acquisition or a first-time visitor, seeing the world’s top artists, galleries, and institutions come together in one dynamic city is a rare and exhilarating event.

Miami has truly earned its place as the center of contemporary art in the world, and Art Week serves as a reminder of the city’s vital role in shaping the art world’s future. For the local community and international visitors, Miami Art Week offers a unique opportunity to experience the best global creativity while immersing oneself in the diverse cultural energy that defines Miami.

Contemporary Tapestry — From Narrative Cloth to Critical Surface

Tapestry, traditionally defined as the weaving of images through the interlacing of warp and weft, has undergone one of the most profound transformations in the history of visual art. Once a medium of decoration, insulation, and narrative storytelling, tapestry has re-emerged in the 21st century as a critical, conceptual, and spatial practice—a surface that thinks, remembers, and constructs meaning.

The Ancestral Image: Tapestry as Narrative System

Tapestry is among the earliest image-making technologies. Long before painting assumed its central place in Western art, textiles functioned as vehicles of storytelling and symbolic communication. In ancient Peru, tapestry served as a primary medium of meaning in the absence of written language, encoding cosmology and social order into woven form.

In medieval Europe, monumental tapestries such as The Lady and the Unicorn were both decorative and functional, insulating castle walls while presenting complex allegorical imagery.

Across cultures, tapestry has always operated at the intersection of:

• image and structure
• function and symbolism
• material and narrative

Modernism and the Revaluation of Textile

The 20th century marked a decisive turning point. Artists such as Anni Albers redefined weaving and tapestry as forms of modernist experimentation, emphasizing structure, repetition, and material intelligence over ornament.

Simultaneously, major modern artists—including Alexander Calder and Fernand Léger—collaborated with weaving ateliers to translate their visual language into tapestry, expanding its status within the canon of fine art.

Yet despite these advances, tapestry remained peripheral—its association with craft and decoration limiting its institutional recognition.

The Break: “New Tapestry” and the 1970s

The true rupture occurred in the 1960s and 1970s, particularly through the Lausanne Biennials, where what became known as “New Tapestry” redefined the medium entirely.

Artists abandoned the flat wall-hanging format, creating:

• suspended fibers
• monumental, sculptural forms
• experimental constructions with unconventional materials

These works dissolved the boundary between tapestry and sculpture, marking a shift toward what we now understand as fiber art in the expanded field.

This moment also intersected with feminist art movements, which reclaimed textile practices as sites of intellectual and political agency.

Contemporary Tapestry: Beyond the Wall

In contemporary art, tapestry no longer belongs exclusively to the wall. It has become:

• installation
• sculpture
• hybrid media

Artists such as Annika Ekdahl rework historical formats—drawing on Renaissance and Baroque traditions—while integrating contemporary themes and visual strategies.

Others incorporate unexpected materials—plastic, metal, digital imagery—challenging the very definition of tapestry. Recent exhibitions highlight how contemporary works integrate elements such as industrial materials and digital motifs, expanding the medium’s conceptual range.

Crucially, many contemporary artists treat tapestry not as a fixed object, but as a site of negotiation between painting, textile, and sculpture.

Material Expansion and Conceptual Depth

What defines contemporary tapestry is not technique alone, but its material and conceptual elasticity.

Artists today:

• weave with unconventional fibers (synthetics, found objects)
• merge tapestry with painting, collage, and digital imagery
• explore scale—from intimate works to architectural installations

The medium becomes a platform for addressing contemporary issues:

• identity and sexuality
• politics and conflict
• memory and migration

As noted in recent critical discourse, tapestry has become a means of expressing “conflicting impulses” and complex narratives through layered material systems.

Labor, Time, and the Politics of Slowness

Tapestry remains one of the most labor-intensive art forms. Its slow production—thread by thread—imbues each work with duration and embodied time.

In contrast to digital immediacy, tapestry asserts:

• the value of process
• the visibility of labor
• the persistence of the handmade

This temporal dimension is not incidental; it is central to the medium’s contemporary relevance.

Tapestry as Contemporary Condition

In 2026, tapestry is experiencing what many describe as a renaissance. Contemporary artists are revisiting this ancient medium not out of nostalgia, but because it offers something uniquely suited to our time:

• a way to think through complex systems and interconnections
• a material language for layered, fragmented realities
• a structure that holds multiple narratives simultaneously

It is no longer simply an image woven in thread. It is a field of relations—between past and present, material and meaning, structure and story.

Closing: The Image Woven in Time

Tapestry endures because it embodies a paradox: it is one of the oldest art forms, yet among the most adaptable.

From ancestral storytelling textiles to contemporary installations, it continues to evolve while retaining its essential logic—the transformation of thread into image, and image into meaning.

In contemporary art, tapestry is no longer decorative.
It is epistemological—a way of knowing, constructing, and understanding the world through the act of weaving itself.

The professional levels of visual arts studies follow a clear path of progression, each level building upon the skills and knowledge gained in the previous one. This structured journey offers different degrees of specialization and depth in the field, inspiring students to advance in their artistic careers. Below is a description of the most common levels of education in visual arts:

1. Technical or Preparatory Training (Art Schools and Technical Courses)

At this level, students acquire a solid technical foundation in various visual arts disciplines, such as drawing, painting, sculpture, photography, graphic design, and more. Art schools or centers specializing in technical education focus on developing practical skills, equipping students with the confidence and preparation they need to succeed in the field.

• Duration: Generally 2 to 3 years.
• Degree: Technical Diploma or Certificate.

2. Bachelor’s Degree (Undergraduate)

The next level is the university degree, typically offered under titles such as Bachelor of Fine Arts (BFA), Bachelor of Visual Arts, or similar degrees. This level of study is not just about practical skills, but also about academic and theoretical exploration, providing students with a stimulating intellectual environment.

• Duration: 3 to 4 years.
• Degree: Bachelor of Fine Arts (BFA), Bachelor of Visual Arts, Bachelor of Graphic Design, etc.

At this stage, students explore various areas of visual arts, such as painting, sculpture, photography, video art, printmaking, and design, while developing their style and theoretical understanding of art.

3. Master’s Degree (Postgraduate)

The next level is the master’s in visual arts, which is for those seeking greater specialization and a more rigorous academic approach. At this stage, students typically choose a specialization, such as contemporary art, sculpture, painting, digital design, multimedia art, etc. In addition to artistic practice, students dive deeper into critical analysis, art theory, and research methodologies.

• Duration: Generally 1 to 2 years.
• Degree: Master of Fine Arts (MFA), Master in Art, etc.

This level is aimed at those who want to pursue a professional career as artists, curators, educators, or even researchers in visual arts.

4. Doctorate (Ph.D. or Doctorate in Fine Arts)

The doctorate is the highest level of study focused on academic research and high-level artistic production. Doctorates in visual arts are less common and are intended for those who wish to combine artistic creation with in-depth research on art theory, art history, or any field of visual arts in an academic context.

• Duration: Typically 3 to 5 years, depending on the research.
• Degree: Doctorate in Arts (Ph.D. in Art) and Fine Arts (DFA).

At this level, artists may also produce a thesis or a series of works that are innovative and contribute to the development of the field. A Ph.D. can open doors to academic positions in universities, as well as for high-impact artistic projects.

5. Specialized Courses and Workshops (Continuing Education)

In addition to formal studies, specialized courses, workshops, and seminars allow artists to continue their education throughout their careers. These short-term programs enable artists to refine specific techniques, learn new digital tools, explore contemporary trends in art, or learn about art management and the art market.

• Duration: Varies from a few days to several months.
• Degree: No formal degree is awarded, but certifications or diplomas are often provided.

Art schools, universities, art galleries, or even online platforms can organize these programs. They are popular among professionals already working in the art field who want to continue developing their skills.

Summary of Levels:

1. Technical Training: Diploma or Certificate.
2. Bachelor’s Degree in Visual Arts: BFA (Bachelor of Fine Arts).
3. Master’s in Fine Arts (MFA): Master of Fine Arts.
4. Doctorate in Visual Arts: Ph.D. or DFA (Doctor of Fine Arts).
5. Specialized Courses and Workshops: Continuing education without formal degree.

Each level offers different opportunities for personal and professional development in the visual arts field, allowing artists and creatives to find the path that best suits their interests and goals.

Miami Fiber Triennial 2026

FAMA and MIFA Announce Miami Fiber Triennial 2026, a Citywide Cultural Event Reframing Fiber as a Language of Memory, Labor, Identity, and Belonging

Presented during the 250th anniversary of the United States, the Triennial brings together exhibitions, performances, public programs, and satellite activations across Miami to explore how textile practices shape personal histories, national narratives, and collective futures.

Miami, FL — May 9, 2026 — Fiber Artists Miami Association (FAMA) and Miami International Fine Arts (MIFA) are proud to announce the Miami Fiber Triennial 2026, a citywide cultural event dedicated to the expanded field of fiber, textile, and material-based contemporary art.

Opening on Thursday, June 11, 2026, from 6:00 to 9:00 PM at Miami International Fine Arts (MIFA), the Triennial’s main exhibition program will be on view through July 24, 2026. The event will activate MIFA’s galleries, performance room, printshop, outdoor spaces, and resident artist gallery while extending across Miami through satellite exhibitions and public programs at Red Thread Studios, P71, Mundo Arte Gallery, and Outer Space.

Presented in dialogue with the 250th anniversary of the United States, the Miami Fiber Triennial 2026 arrives at a moment of national reflection on civic memory, migration, labor, identity, and belonging. Rather than approaching fiber as a decorative or secondary medium, the Triennial positions textile practices as critical artistic languages through which artists examine the structures shaping contemporary life: the home, the body, the city, the border, the archive, ritual, and the nation itself.

“This Triennial recognizes fiber as one of the most urgent and expansive artistic practices of our time,” said the organizers. “Through weaving, stitching, knotting, dyeing, and material experimentation, participating artists transform textile traditions into contemporary forms of cultural memory, resistance, and collective imagination.”

OPENING NIGHT AT MIFA
Thursday, June 11, 2026
6:00 PM – 9:00 PM

Exhibitions On View (June 11 – July 24, 2026)

Room A
American Fiber: Threads of Labor, Memory, and Belonging
Group Exhibition · 24 artists
Curated by Tayina Deravile

Room B
Movement in Suspended Time
Patricia Calero
Curated by Katherine Chacón

Room C
Textile, Intimate Matter
Mayra Alpízar
Curated by Katherine Chacón

Room D
Encoded Threads: Weaving Memory, Data, and Identity
Emilio Vavarella & Doro Seror
Curated by Olga García-Mayoral
Juried by Bernice Steinbaum

Room E
Memories Woven into the City
Group Exhibition · 27 artists
Curated by Shirley Moreira
Juried by Carol Damian

Outdoor Spaces
Weathered Structures
7 artists · Site-responsive outdoor works
Curated by Pamela Solares
Juried by Sophie Bonet

Residents Room
Holding the Thread of Reality
MIFA Artists-in-Residence · 5 artists
Curated by Adriana Zubikarai

Printshop Room
Imprinted Selves
William Alonso · Lina Linkimer · Helio Salcedo · Marilyn Valiente
Curated by Shirley Moreira

Performance Program

MIFA Performance Room
Embracing the Knot
June 20, 2026 · 11:00 AM
Performance by Ana Sofia Ruiz Cavero
Juried by Monica Czukerberg

In addition to exhibitions and performances, the Miami Fiber Triennial 2026 will feature artist talks, family programs, workshops, screenings, and public activations designed to engage audiences of all ages and backgrounds. The Triennial emphasizes Miami’s unique position as a crossroads of diasporic cultures and material histories, creating a platform for artists whose practices connect local experiences to broader global conversations.

By bringing together emerging and established artists from across disciplines, the Miami Fiber Triennial 2026 redefines fiber not simply as medium, but as method: a way of thinking through interconnection, repair, storytelling, and collective futures.

SPECIAL PROGRAMMING · AT MIFA

June 11, 2026 · 6:00–9:00 PM
OFFICIAL OPENING NIGHT
Miami Fiber Triennial 2026 — Triennial Opening

The official launch of the Miami Fiber Triennial 2026. All eight exhibitions open simultaneously. Free and open to the public.

MIFA
5900 NW 74th Ave, Miami, FL 33166

June 13, 2026 · 11:00 AM–12:30 PM
ARTIST TALK · EMILIO VAVARELLA
Weaving Together Old and New Media

A conversation exploring how DNA becomes textile form — where art, science, and industry converge. The talk examines identity, nature, and technological processes through the language of weaving.

MIFA
Free admission

July 11, 2026 · 11:00 AM–2:00 PM
KIDS & FAMILY DAY
Fiber, Texture, and Storytelling

Guided artist tours, hands-on fiber activities, demonstrations, and interactive learning experiences for children and caregivers. Includes refreshments, prizes, and a welcoming environment for all ages.

Led by Aurora Molina and Alina Rodríguez-Rojo

MIFA
Free admission · All ages welcome

ACROSS THE CITY · SATELLITE PROGRAM

Friday, June 5, 2026 · 6:00–9:00 PM
THREADING SILENCE: CONDITIONED TO BE QUIET
Film Screening by Cynthia Passavanti

Red Thread Studios
283 Catalonia Ave, Coral Gables, FL

Friday, June 12, 2026 · 6:00–9:00 PM
SOFT ARCHITECTURE: TEXTILE AND THE TECHNOLOGIES OF LIVING

Featuring works by Rodríguez-Rojo, Caridad, Lopera, Molina, Politzer, Tsalikis, and Valiente

P71 Gallery
230 NW 71st St, Miami, FL

Saturday, June 20, 2026 · 3:30–5:30 PM
RETURNING THE COLORS TO THE SEA
Participatory Installation & Poetry

Marisol Torruella & Nidia Baquero / Ocean Ink

P71 Gallery
230 NW 71st St, Miami, FL

Saturday, June 20, 2026 · 6:00–9:00 PM
THRESHOLDS OF RITUAL

Featuring Pilar Tobón, Ọmọlará Williams McCallister, and Joaquín Ponzzinibio

Mundo Arte Gallery
1746 NE 163rd St, North Miami Beach, FL

Saturday, June 27, 2026 · 3:30–6:30 PM
CURATOR-LED WALKTHROUGH: SOFT ARCHITECTURE

Led by Sophie Bonet

P71 Gallery
230 NW 71st St, Miami, FL

A Poet and the Endless Hollywood Mirror: When Latin American Cinema Becomes Raw Material

Hollywood Remake

By Rafael Montilla

The announcement that Simón Mesa Soto’s acclaimed Colombian film A Poet (Un poeta, 2025) will receive an American remake has ignited a familiar debate across the international film community. The controversy is not merely about one film. It touches a deeper question that has accompanied global cinema for decades: Why does Hollywood so often feel compelled to retell stories that have already been told—sometimes brilliantly—in other languages?

Mesa Soto’s original film emerged as one of the most celebrated Latin American productions of recent years. Premiering at the Cannes Film Festival in 2025, where it received major recognition, A Poet quickly established itself as a poignant reflection on artistic failure, ambition, and redemption. Its success led to international distribution and critical acclaim well beyond Colombia.

Yet only a year later, an American adaptation is already in development. Directed by Nathan Silver and produced by Saïd Ben Saïd, the project has provoked criticism from audiences who question whether such a recent and culturally specific work requires reinterpretation for English-speaking viewers.

To be fair, remakes are not inherently problematic. Cinema has always been a conversation across borders. Stories migrate, transform, and acquire new meanings. Simón Mesa Soto himself has defended the adaptation, arguing that the sale of remake rights helps sustain independent filmmakers and finance future projects. From an economic perspective, his position is entirely understandable.

The concern lies elsewhere.

For many cinephiles, the issue is not that Hollywood remakes foreign films, but that the remakes frequently overshadow the originals. Audiences often encounter the American version first and remain unaware that the story originated elsewhere. This dynamic has affected numerous international works whose artistic achievements become secondary to the visibility of their English-language adaptations.

A notable example is The Secret in Their Eyes (El secreto de sus ojos), Juan José Campanella’s Argentine masterpiece, winner of the Academy Award for Best Foreign Language Film in 2010. In 2015, Hollywood released Secret in Their Eyes, starring Julia Roberts, Nicole Kidman, and Chiwetel Ejiofor. While heavily marketed, the remake received mixed reviews and was frequently criticized for failing to capture the emotional and political complexity of the original. Critics noted that much of what made the Argentine film exceptional was lost in translation.

Another example is CODA (2021), winner of the Academy Award for Best Picture. Many viewers were unaware that it was a remake of the French film La Famille Bélier (2014). While CODA successfully reimagined the story and achieved enormous acclaim, public discussion often centered on the remake itself rather than its source material.

The pattern extends beyond Latin America. International cinema frequently serves as a testing ground for narratives that are later reformulated for American audiences. The remake industry operates under the assumption that many viewers prefer stories delivered through familiar cultural codes and in English. Whether this assumption remains valid in an era of streaming platforms, subtitles, and global audiences is increasingly open to question.

Today, viewers can access Colombian, Argentine, Korean, French, and Iranian cinema with unprecedented ease. The old argument that foreign-language films are inaccessible feels less convincing than ever. Contemporary audiences have shown a growing willingness to engage directly with original works rather than mediated versions.

Perhaps the debate surrounding A Poet signals a broader cultural shift. The resistance to the remake is not necessarily resistance to adaptation itself; it is a defense of cultural specificity and artistic authorship. It reflects a desire to preserve the integrity of works that emerge from particular histories, languages, and social realities.

Hollywood will undoubtedly continue remaking international films. The practice is as old as the industry itself. But the conversation surrounding A Poet reminds us that audiences are becoming more attentive to origins. They want to know where stories come from. They want to recognize the artists who first imagined them.

And perhaps that is the most important outcome of this controversy: not the remake itself, but the renewed attention being given to the remarkable original film that inspired it.

Edouard Duval-Carrié with Guillermina De Ferrari

Oolite Arts’ latest Conversations installment on June 25 with Duval-Carrié, joined by De Ferrari, exploring Caribbean and diasporic culture.

When:
June 25, 2026
7:00 – 9:00 p.m.

Where:
Proscenium Theatre, Little Haiti Cultural Complex
212 NE 59th Terrace, Miami, FL 33137

Admission: Free

Free On-Site Parking

Oolite Arts is pleased to announce the latest installment of Oolite Arts Conversations, a new series of public talks that convenes artists, curators, museum professionals, and cultural thinkers in rigorous and lively dialogue.

On June 25, 2026, Oolite Arts Conversations will present Edouard Duval-Carrié, the Haitian-born, Miami-based artist whose richly layered paintings and installations have played a defining role in shaping contemporary Caribbean and diasporic discourse in the United States. He will be joined in conversation by Guillermina De Ferrari, a curator, critic, and scholar whose work focuses on modern and contemporary Caribbean culture.

Forced into exile as a youth during the regime of François Duvalier, Duval-Carrié lived and worked across the Caribbean, North America, and Europe before settling in Miami in the mid-1990s. This transnational trajectory has informed a sustained engagement with histories of migration, displacement, and cultural memory that spans his entire artistic practice. Working across painting, sculpture, and installation, Duval-Carrié has developed intricate visual languages that draw from Haitian history, Vodou symbolism, and the enduring legacies of colonialism, often employing reflective and translucent materials to create spatially immersive environments.

Duval-Carrié’s practice also extends beyond the studio through a significant civic and institutional presence in South Florida, contributing to the development of Miami’s cultural landscape through exhibitions, collaborations, and public commissions, including major projects along the Miami Riverwalk and other key sites.

About the Speakers:

A key figure in advancing Haitian art internationally, Edouard Duval-Carrié participated in Haiti’s first national pavilion at the 54th Venice Biennale (2011) and was named a Chevalier of France’s Ordre des Arts et des Lettres (2014). Duval-Carrié’s work excavates histories of revolution and exile, Vodou cosmologies, and colonial afterlives, mobilizing Haiti’s intellectual and spiritual traditions as living frameworks for the present. His work was included in documenta XV (2022) as part of the Atis Rezistans / Ghetto Biennale constellation. Most recently, Duval-Carrié has been invited to participate in the 61st Venice Biennale (2026), further affirming his stature as a leading voice connecting Haiti’s revolutionary histories to contemporary global art.

Guillermina De Ferrari is a Guggenheim Fellow and distinguished scholar of Caribbean literature and visual culture, whose research-driven curatorial practice bridges archives, memory, and contemporary art. Her work has advanced critical frameworks for understanding Caribbean and Haitian cultural production within broader transnational and postcolonial debates. De Ferrari is the author of Vulnerable States: Bodies of Memory in Contemporary Caribbean Fiction (University of Virginia Press, 2007) and the forthcoming Broken Tropics: Contingency in Contemporary Caribbean Art. Her curatorial and academic work includes directing the Center for Visual Cultures at the University of Wisconsin–Madison (2014–2018), as well as organizing exhibitions, publications, and symposia that have significantly shaped discourse in the field.

ABOUT OOLITE ARTS CONVERSATIONS

Conceived as a platform for critical exchange, Oolite Arts Conversations reflects Oolite Arts’ commitment to supporting artists while advancing the knowledge and practice of contemporary visual arts.

Oolite Arts Conversations is organized by Rina Carvajal, Senior Director of Programs at Oolite Arts. It is made possible with the support of the John S. and James L. Knight Foundation; the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council; the Miami-Dade County Mayor and Board of County Commissioners; the State of Florida, Department of State, Division of Arts and Culture; and the Florida Council on Arts and Culture.

Oolite Arts Media-Only Contacts: Claudia DoCampo, Director of Communications and Marketing, [email protected], (305) 746-2250

GAME TIME Returns to Pérez Art Museum Miami During FIFA World Cup 2026

A One-Day Gathering Explores the Intersection of Art, Sports, Media, and Cultural Identity

MIAMI, FL — As Miami takes center stage during the 2026 FIFA World Cup, Pérez Art Museum Miami (PAMM) will host GAME TIME: Session 2 – Dialogues on Art, Sports, and Headlines on Friday, June 26, 2026, bringing together some of the most influential voices in sports, journalism, art, and culture for a day of dynamic conversations and public engagement.

Timed to coincide with the World Cup group stage and Miami’s role as one of the tournament’s host cities, the event examines how sports shape contemporary culture, influence public discourse, transform cities, and inspire artistic expression. With seven FIFA World Cup matches scheduled to take place in Miami and thousands of international visitors arriving across South Florida, GAME TIME offers a unique cultural platform for exploring the broader impact of global sporting events.

The program will feature an exceptional roster of participants, including Olympic gold medalist and civil rights icon Tommie Smith, artist Glenn Kaino, The New Yorker staff writer Kelefa Sanneh, former NFL defensive lineman and Studio Kër founder Michael Bennett, PAMM Director Franklin Sirmans, Smithsonian curator Dr. Damion L. Thomas, Miami Herald reporter C. Isaiah Smalls III, architect and designer Germane Barnes, and other leading figures from the worlds of art, sports, and media.

The event builds upon the momentum of GAME TIME’s inaugural session, a sports and culture conference series conceived by curator and creative director Adam Abdalla. Hosted in collaboration with major museums and cultural institutions, the initiative seeks to foster meaningful dialogue around the cultural significance of sports through conversations, performances, screenings, and community engagement.

Tickets include admission to PAMM’s galleries and two major exhibitions opening that week: Get in the Game: Sports, Art, Culture, a landmark exhibition featuring more than 100 works by internationally recognized artists exploring athletic performance, resilience, identity, and spectacle; and Basquiat: Figures, Signs, Symbols, a major presentation examining the visual language and symbolism of Jean-Michel Basquiat.

Organized by the San Francisco Museum of Modern Art (SFMOMA) and adapted for Miami, Get in the Game: Sports, Art, Culture reflects the city’s unique position at the intersection of international sports and contemporary art, making GAME TIME a timely addition to Miami’s growing role as a global cultural capital.

Event Details

GAME TIME: Session 2 – Dialogues on Art, Sports, and Headlines
Date: Friday, June 26, 2026
Location: Pérez Art Museum Miami (PAMM)
1103 Biscayne Boulevard, Miami, FL 33132
Tickets: Available through PAMM and GAME TIME. Admission includes access to museum exhibitions.

As the world turns its attention to Miami during FIFA World Cup 2026, GAME TIME offers a compelling opportunity to consider how sport extends beyond competition—serving as a catalyst for creativity, cultural exchange, storytelling, and social change.