Juan Carlos Maldonado Collection Presents: Cinematheque & New Catalogue at JCMC
The Juan Carlos Maldonado Collection (JCMC) invites you to a special evening on Thursday, September 19th at 7:00 PM, celebrating the launch of their new exhibition catalogue and the premiere of “The Unboxed Musicians Concert at JCMC” film series.
Last year, Unboxed Musicians performed “Music, Art, Space,” a concert inspired by JCMC’s exploration of geometric abstraction. This unique collaboration is now preserved in a series of films that will be unveiled at this closing event.
Event Details:
Date: Thursday, September 19, 2024
Time: 7:00 PM (Film screening starts at 7:30 PM)
Location: Juan Carlos Maldonado Collection 45 NE 39th St, Miami, FL 33137
Highlights:
New Catalogue Launch: Get your hands on the latest JCMC exhibition catalogue.
Film Premiere: Be the first to see “The Unboxed Musicians Concert at JCMC” films.
Celebration of Art & Music: Experience the synergy between visual art and music.
About JCMC:
The Juan Carlos Maldonado Collection is dedicated to showcasing geometric abstraction and its evolution. This event is a testament to JCMC’s commitment to fostering creative collaborations and enriching the cultural landscape.
Don’t miss this opportunity to celebrate art, music, and the launch of JCMC’s new catalogue. We look forward to seeing you there!
Emerson Dorsch is pleased to present Six Years, a solo exhibition showcasing the work of Berkeley, California-based artist Mel Davis. The exhibition, featuring 30 pieces created over the past six years, opens with a reception on Thursday, September 19th, from 6pm to 9pm, and will be on view through November 2, 2024.
Six Years offers a captivating exploration of memory, history, and the ever-evolving nature of painting. Davis’s work delves into the complexities of these themes, inviting viewers to contemplate their own relationship to the past and the present. Through a variety of techniques and approaches, Davis creates a visual narrative that is both personal and universal.
Mel Davis is a Berkeley-based artist whose work explores the intersections between memory, history, and painting. Through a diverse range of techniques and approaches, Davis creates thought-provoking works that resonate with viewers on a personal and universal level.
Join us for the opening reception on September 19th and experience Mel Davis’s captivating exploration of time and memory.
Mel Davis: Six Years
Emerson Dorsch is pleased to present Six Years, a solo exhibition featuring the work of Berkeley, California-based artist Mel Davis. The exhibition, which encompasses 30 pieces created over the past six years, is an investigation of memory, history, and the evolution of painting.
Mel Davis approaches her practice by focusing on individual bodies of work. Her style transforms based on the topics she engages with. This method stems directly from how she looks at painting; she places an emphasis on observing the memories that arise each time she encounters a particular work. “It’s impossible to make a painting without thinking of past paintings. We are always in dialogue with images that came before us,” Davis says when speaking about how the culmination of imagery in our lives affects how artists work today. “In an age where there isn’t a hierarchy on how we can use images, artists can take from all different kinds of sources to create their own palette.”
In her exploration of painting, Davis often recreates works through a new lens, one influenced by, or infused with, memory. She turns to art history in order to create a conversation between the past and the present—although instead of longing for the past and feeling a sense of nostalgia, the artist describes her process, rather, as a commemoration of the past. In Book(after Matisse) (2018-2024), Davis pays homage to Henri Matisse by painting an image of a cover design that the famed artist produced for an exhibition catalog in 1951.
The original work was made of paper cut-outs and is a horizontal piece; Davis’s version is a vertical oil on linen of a different scale. She recalls the impact Matisse had on painting, transforming it in a way the world hadn’t seen before, and offering an escape from reality. In his post-WWII works, the artist’s use of bold color and abstract forms offered beauty and respite in the shape of domestic bliss in the middle of a still-devastated Europe.
Similarly, in other works from the exhibition, we are reminded of our relationship with Pablo Picasso, Ernst Ludwig Kirchner, and Sandro Botticelli. It’s as instant as taking that first glance—we immediately know the reference. But Davis’s works have an additional element that we may not be as familiar with. She adds her own reference, her personal memory comes into play, and we can see her recalling a certain sentiment or history which is her own. An image of a portrait may be flipped, a black on white work on paper becomes an oil on canvas painted blue, or the scale of an original work is made smaller (or larger). Whatever it is, we are now confronted with a layered perception of the work.
In Postcard from Italy 1 (2024), Davis includes a number of historical elements on one canvas. She’s looking at Sandro Botticelli’s The Annunciation (ca. 1485-92) because in this particular image of the Madonna and the Angel, she sees a rhythm in the figures. To her, the scene is less about a message from God, and more of a ballroom dance. Perhaps we wouldn’t have noticed this by looking at Botticelli’s painting, but in Davis’s version, it’s clearly part of the narrative. This form of playing with history, or as she calls it, “making a collision with history,” is emblematic of her work. She’s interested in using a variety of sources in her reproductions—in one instance she paints a Hellenic sculpture that may not actually exist, but she recreates a type of figure that we connect with because it already exists in our minds, in our collective memory.
Themes of femininity, delicacy, and tenderness are found in her paintings of hands holding flowers. This is her way of exploring, much like Picasso did, how much you can say with the least amount of lines and color. What can painting do, or describe; what can painting be; in its most abbreviated form? Beyond paintings of flowers, her still lives emphasize objects as an everyday universal truth. Here, the sources may be coming from the past, but these concepts are very much present today.
Taking inspiration from the Wolfgang Tillmans’s installation at the Albertinum in Dresden (2018), Six Years displays Davis’s paintings at different levels throughout the gallery walls with purposeful moments of pause in between works—a thoughtful consideration of how they interact with each other and the space. The exhibition design presents us with a rich tapestry of works that reflect both personal and historical dimensions. In this way, it’s not just her paintings, but the installation, too, looks to the familiar as a reference to build a new narrative structure.
September 2024, Mel Davis: Six Years, by Ana Clara Silva
Emerson Dorsch Presents Judd Schiffman: Mothman in the Bardo
Emerson Dorsch Presents Judd Schiffman: Mothman in the Bardo
Dorsch is proud to present Mothman in the Bardo, an exhibition of new works by Judd Schiffman. The exhibition opens with a reception on Thursday, September 19th, from 6pm to 9pm, and will be on view through November 2, 2024.
Schiffman’s work delves into the realms of mythology, personal reflection, and spirituality. Through a variety of media, he explores the intersections between these themes, creating a unique and thought-provoking visual language.
Mothman in the Bardo invites viewers to embark on a journey through Schiffman’s artistic vision. Encountering mythological symbolism alongside introspective narratives, audiences will experience a space where personal and universal truths intertwine.
Judd Schiffman is a multidisciplinary artist whose work explores the boundaries between the personal and the universal. Through his use of mythological symbolism and spiritual exploration, he creates a unique and compelling visual language.
Join us for the opening reception on September 19th and experience Judd Schiffman’s captivating new exhibition.
Judd Schiffman: Mothman in the Bardo
Emerson Dorsch is pleased to announce Mothman in the Bardo, an exhibition of new works by Judd Schiffman. The exhibition opens on Thursday, September 19th, and will be on view through November 2, 2024.
Judd Schiffman’s artistic practice traverses mythological symbolism, personal introspection, and spiritual exploration. His ceramic pieces are here to tell a story, and his latest solo exhibition presented at Emerson Dorsch, Mothman in the Bardo, does exactly that—it features a new body of work in which Schiffman’s protagonist navigates through personal rites of passage.
Mothman first appeared to Schiffman at a cryptozoology museum in Maine as a life-sized mannequin. From that moment, he became a surrogate archetype for the artist, serving as a lens through which to understand what masculinity can mean. Part moth, part man, he is delicate, yet powerful; a figure who represents the “wounded healer” and who reflects Schiffman’s own exploration of fatherhood and reciprocity with the natural world.
Over time, Mothman has become more meaningful in Schiffman’s work—he has transcended the 1960s folkloric West Virginian mythical creature and developed beyond form, characterizing a symbolic bridge between the earthly and the otherworldly.
It’s as if the Mothman we see in the exhibition is shamanic; he has an ability to communicate with nature in a way that humans have forgotten how to. In various pieces in the exhibition we see this connection through the way in which the figure’s body is intertwined with intricate systems of crystals and fungi. For example, in Bardo of Death (2024), an arm protrudes out of a crystal formation and is entangled by a mushroom growing up towards its hand. It’s clear that Mothman is one with the Earth, making peace with his body’s connection to nature—especially in death.
Schiffman’s investigation into the bardos and incorporating them into his work stems from his ties to Buddhism (he jokes about being a “basic Buddhist”). In Tibetan Buddhism, the bardos represent the gaps, or intermediate states, experienced between life and death. They are: this life, meditation, sleep and dreams, death and dying, clear light, and becoming. Typically, three are experienced during this life, and three during death and rebirth. Where Buddhism’s essential teachings about suffering can be a hard pill to swallow, the bardos have offered Schiffman a sense of relief—it’s a way of framing the concept of “everything changes” in a way that makes sense, allowing him to understand the significance of time in a profound way. There’s a beginning, a middle, and an end to everything we experience, and things will never happen in the same exact way again. This way of reading a period of time, or the gaps in between states, proposes that we live in the present.
In the exhibition, Schiffman portrays Mothman going through the different bardo states in six ceramic sculptures. The story of life and death is told through pieces that emphasize the importance of being bound to the Earth. The Earth is growing around him, and at the same time he is growing into It. This soul connection to nature is key to the artist—he sees his work as an extension of his life and spiritual practice.
Surrounding these six sculptures are works that help to tell the story of Mothman’s transitions. Ten undulating candle pieces called the mourners are there to help guide Mothman to the next stage, a nod to his relationship with Jewish cultural identity. In another work, Perfect Teacher (2024), a dog whose fur is so detailed it evokes Van Gogh’s thick impasto brushstrokes, serves as Mothman’s spiritual guru and reminds the artist of a meditation teacher he once had in Arizona. And lastly, in one of his wall pieces, Heir to the Glimmering World (2024)—a title borrowed from the Cynthia Ozick novel—Mothman looks down at a mask, as a mythological skunk stands proudly nearby, presenting himself as a guide and seemingly making a statement about the wonder of life and everything we have inherited; “look at this world, this is our time, we are here now.”
Much like the bardos, Schiffman describes the process of making his works as being in a constant state of flux. He builds the ceramic pieces with wet clay, lets them dry, glazes the works, packs them, stores them in a warehouse, then ships them off to another, where they are eventually unpacked and begin a new life. This way of looking at the lifespan of an artwork, makes clear the connection that Schiffman feels to his creative process.
He talks about ceramic sculpture in particular carrying a heaviness with it that seems magnetic to the Earth. Their 3D form means Schiffman can go beyond representation and explore the cavernous spaces that he brings to life. Unlike his previous works where ceramic pieces were bound to the wall in what he calls paintings, these new sculptures are alive in a different way. If bardos is about being bound to the Earth, the sculpture has to be heavy, a gravity has to exist.
Schiffman builds worlds around us with his work, and although the narratives he creates are closely related to his personal experiences, there is a sense of the collective throughout his stories. The rites of passage that Mothman goes through are transitions we are all going through, and ones we will all ultimately face. As he guides us through the bardos, we are reminded that everything is always in a transformative state, opening an opportunity for us to live in the moment and evolve in the in between.
September, 2024, Judd Schiffman: Mothman in the Bardo, by Ana Clara Silva
Opening Reception: Juan Henriquez IMPROBABLE CORDEL LITERATURE
The House of Art Presents “Improbable Cordel Literature”: Juan Henriquez Solo Show
Opening Reception: Juan Henriquez, IMPROBABLE CORDEL LITERATURE
Miami, FL (September 18, 2024) – The House of Art is pleased to announce the opening reception for Juan Henriquez’s solo exhibition, “Improbable Cordel Literature,” on Thursday, September 19th, from 6:30 to 9:30 pm. The exhibition offers an abstract and alternative perspective on the narrative tradition of Cordel literature, with each image conveying a unique story or worldview.
Henriquez, a painter based in Miami, utilizes gestural and visceral techniques to translate his daily experiences and immediate pleasures onto the canvas. Through expressive graphic choreographies and vibrant colors, he builds a conversation between the physicality of the painting and his intuitive creative process. The result is a narrative-driven body of work that invites viewers to explore the world through the artist’s unique lens.
Event Details:
Opening Reception: Thursday, September 19, 2024, 6:30 – 9:30 pm
Location: The House of Art, 100 NW 36th St., Miami, FL 33127
About the Artist:
Juan Henriquez was born in Maracaibo, Venezuela and currently resides in Miami, Florida. His work has been featured in numerous exhibitions and collections, and he continues to push the boundaries of painting through his exploration of narrative and abstraction.
For more information or to request the artist’s portfolio, please contact [email address removed].
HISPAFEST y MUSEO DE ARTE CONTEMPORÁNEO DE LAS AMÉRICAS.
¡ESTÁS INVITADO! ¡Este viernes 20 de septiembre de 6:00 pm a 9:00 pm estás invitado a celebrar la Herencia Hispana HISPAFEST 2024 en el 5to aniversario del Festival de Arte y Cultura las fechas más emocionantes de La Fundación Bright! Venga al «MOCAA» MUSEO DE ARTE CONTEMPORÁNEO DE LAS AMÉRICAS.
Disfrute de esta ecléctica y vibrante exposición de artistas, cada uno trabajando desde su visión individual y sin más requisitos curatoriales que lo que su alma le dicte en su expresión, una vez más refleja la esencia de The Bright Foundation & HISPAFEST, mostrando la individualidad de cada artista seleccionado, todos unidos en una celebración de voces únicas.
Lugar: Museum of Contemporary Art of the Americas (MoCAA) 12063 SW 131st Ave Miami (Kendal), Fl 33186 United States
Fecha: September 20, 2024 – 6:00 pm a 9:00 pm
Selección de obras de arte: Nubia Abaji, Directora Fundadora de The Bright Foundation & HISPAFEST. Museografía: Ivonne Ferrer
Artistas:
DALIA BERLÍN
FRANCISCO DEL RÍO
FRANCK DE LAS MERCEDES
LORENA VELEZ
MARTÍN CANO
MÓNICA JARAMILLO
RAFAEL MONTILLA
SILVANA SORIANO
“¿Qué mejor que el intercambio cultural que enriquece nuestra convivencia, fomenta el orgullo por nuestras raíces y nos impulsa a construir un horizonte común que refuerza nuestro sentido de pertenencia a esta mágica ciudad?”*
HISPAFEST, el Festival de Arte y Cultura Hispanoamericano, nació en 2018 con la misión de integrar diversas disciplinas artísticas y ofrecer un espacio de encuentro para la comunidad multicultural del Gran Miami. Cada edición del festival celebra la riqueza y diversidad de las culturas hispanoamericanas, destacando a artistas inmigrantes de diferentes países que ahora residen en Miami. A través de HISPAFEST, se les ayuda a conectarse con la red artística de la ciudad, abriendo puertas y fomentando relaciones que apoyan su integración en la vibrante escena cultural de la región. De esta manera, The Bright Foundation y HISPAFEST se consolidan como una plataforma clave en el creciente reconocimiento de Miami como una capital global del arte.
Durante la celebración del Mes de la Hispanidad, en septiembre y octubre, HISPAFEST organiza simultáneamente exhibiciones de artes visuales en distintos puntos de la ciudad. Este año, el MUSEO DE ARTE CONTEMPORÁNEO DE LAS AMÉRICAS, “MOCAA” se suma a esta iniciativa, presentando en su sede a ocho de los artistas seleccionados para la quinta edición del festival en 2024.
Esta muestra presenta los trabajos de la artista española Dalia Berlin, cuya búsqueda de sus raíces está siempre representada a través del origen de las Meninas de Velázquez; del chileno Francisco de los Ríos, quien, con una trayectoria familiar en las artes, revela en sus trazos abstractos pero definidos sus estudios de arquitectura y su visión clásica de lo contemporáneo; y de Franck de las Mercedes, inmigrante nicaragüense radicado en Nueva York, quien nos relata, en su obra de pop art, una historia de pérdida que refleja las vivencias de aquellos que, tras perderlo todo de manera abrupta, se ven obligados a comenzar de nuevo.
Lorena Vélez, artista peruana, representa una fusión entre lo moderno y la naturaleza, utilizando materiales que forman ante nuestros ojos el paisaje del que somos parte. Martín Cano, de Ecuador, presenta una composición de sus múltiples investigaciones y experimentaciones, con el uso de técnicas y estilos que reflejan los cambios de la ciudad que lo ha acogido. Mónica Jaramillo, artista colombiana que transita entre las metrópolis y la selva, trabaja la representación de la mujer fusionada con la naturaleza como tema central. Rafael Montilla, venezolano, destaca por la rigidez de las formas en su obra y en sus performances del “Kubeman”, donde representa la unión de la humanidad en un solo ser; la simplicidad de su obra nos habla de la idea de “yo soy tú y tú eres yo”.
Finalmente, Brasil, país invitado que comparte el territorio americano aunque no hispano, está representado por Silvano Soriano, intelectual y pedagogo, cuya obra es una constante búsqueda entre técnica, materialidad e integración de sus pasiones, como la literatura y la representación artística visual.
Esta muestra ecléctica y vibrante de artistas, cada uno con su visión individual y sin más requisito curatorial que lo que dicta su alma al expresarse, refleja una vez más la esencia de The Bright Foundation & HISPAFEST, mostrando la individualidad de cada uno de los artistas seleccionados, todos unidos en una celebración de voces únicas.
An exploration of the boundaries between the tangible and the intangible, the everyday and the mystical
MoCAA presents “Allegories of the Real and the Supernatural,” featuring Caridad, Morón, & Cañas. Sept 20-Oct 31. Explore the boundaries between the tangible & intangible through powerful artworks.
Exhibition Highlights:
Venue: Museum of Contemporary Art of the Americas (MoCAA)
Dates: September 20 – October 31, 2024
Featured Artists: Marco Caridad, Milixa Morón, and Elkin Cañas
Curator: Jorge Rodriguez Diez (R10)
Theme: The intersection between the real and the supernatural, inviting viewers to contemplate the liminal space where these realms intertwine.
Exhibition Overview:
“Allegories of the Real and the Supernatural” is a thought-provoking exhibition that delves into the complex relationship between the tangible and the intangible. Through a diverse range of artistic expressions, the show explores the boundaries between the everyday and the mystical, inviting viewers to question their own perceptions of reality. The featured artists, Marco Caridad, Milixa Morón, and Elkin Cañas, each bring their unique perspectives to the theme, creating a rich and multi-layered experience for the audience.
Key Themes and Concepts:
Liminal Spaces: The exhibition explores the in-between spaces where the real and the supernatural coexist, blurring the lines between the known and the unknown.
Symbolism and Visual Narratives: The artworks utilize a complex interplay of symbols and visual storytelling to create immersive experiences that invite viewers to explore their own interpretations.
The Power of Myth and Mysticism: The show delves into the enduring power of myth and mysticism, highlighting their continued relevance in contemporary society.
The Human Experience: The exhibition ultimately reflects on the human experience, exploring our innate desire to make sense of the world around us and our place within it.
Don’t Miss This Captivating Exhibition!
“Allegories of the Real and the Supernatural” promises to be a captivating and thought-provoking exhibition that will challenge your perceptions and invite you to explore the mysteries that lie beyond the everyday. Mark your calendars and prepare to be transported to a world where the real and the supernatural intertwine.
‘Allegories of the Real and the Supernatural’ invites a deep philosophical reflection, as it is situated at the threshold of two fundamental dimensions of human experience: the tangible, what we perceive through the senses, and the intangible, that which transcends empirical logic and enters the realm of the spiritual, the mystical, or the metaphysical. ‘Allegories’ suggests that art, in a case like this, proposes symbolic representations that are not limited to the literalness of things, but transcends them to offer deeper meanings. Allegories are vehicles through which hidden truths, complex realities, and invisible connections between different planes of existence are communicated.
‘Allegories of the Real and the Supernatural’ invites a deep philosophical reflection, as it is situated at the threshold of two fundamental dimensions of human experience: the tangible, what we perceive through the senses, and the intangible, that which transcends empirical logic and enters the realm of the spiritual, the mystical, or the metaphysical. ‘Allegories’ suggests that art, in a case like this, proposes symbolic representations that are not limited to the literalness of things, but transcends them to offer deeper meanings. Allegories are vehicles through which hidden truths, complex realities, and invisible connections between different planes of existence are communicated.In the framework of philosophy, the real is often associated with the concrete, the immediate, and the verifiable. Philosophical traditions such as empiricism hold that the real is what we can know through the senses and experience. However, philosophers like Kant have argued that reality is also mediated by the structures of our mind and perception. Thus, art can reinterpret the real, revealing hidden or ignored aspects of the everyday.
The supernatural, on the other hand, challenges the limitations of the real and moves into the realm of the ineffable, the inexplicable. From Plato to the Neoplatonists, philosophy has explored the idea that there is a ‘beyond’ the sensible world: a realm of pure ideas, spirits, or transcendental forces that shape the material world. In this sense, the supernatural is not simply ‘that which cannot be explained,’ but what, at least in theory, lies beyond the reach of direct experience yet is essential to understanding reality in its entirety.’
The Dancing Spirit, 2022. Oil on Linen | 40 x 28 Inches. By Milixa Morón In Milixa’s community, there is a tradition of dressing up like monsters and performing a ritual dance to ward off evil. Her painting portrays “The dancing spirits” participating in this tradition, and through it, Milixa expresses her beliefs and identity. Milixa’s artwork captures the essence of the phrase “Holy water!” which highlights the significance of something when it is scarce, particularly something as fundamental as water. The struggle for access to clean water in Latin America is a daily reality, and people can truly appreciate its value when it becomes available. In her piece, Milixa portrays her father taking a bath using the water he was able to collect, demonstrating his optimistic outlook on life despite limited resources. Milixa’s artwork “Yara,” portrays the goddess of nature, also known as Maria Lionza, who is a mythological figure with roots in reality as the daughter of a Cacique, or native Indian chief. This piece is part of Milixa’s self-portrait series and serves as an allegory for her connection to nature and the spiritual world.
MILIXA MORON
Milixa Morón is best known for her mystical, allegorical and symbolic pieces, where depicts characters or symbols of different eras, centuries and believes. She is a Venezuelan born but ItalianAmerican too. She is figurative realist artist with residence in USA, born in 1977 and her interest in drawing and painting began early in childhood. In 1997 graduate in Graphic Design at the Design Institute of Valencia. In 2000, enrolled to the Giovanni Battista Scalabrini Academy of Art, where received the basics knowledge in the great traditions of western art and also had the opportunity to work for few months at the studio of the director, the artist Francesco Santoro. In the summer of 2006 went to the Academy of Realist Art (ARA) in Toronto-Canada where did few workshops as well as the first level of the program. At the beginning of 2007 began at the Angel Academy of Art in Florence-Italy where finished her studies in December 2009. In August 2013 they moved to Miami-USA and founded an academy called Chiaroscuro Atelier, 5 years later it evolved to a bigger project, that is today MIFA. Today they paint and teach there. During all these years she has participated in various salons, competitions and exhibitions in different countries, like the ARC salon competition in USA and Figurativas in Barcelona-Spain; and won some prizes and honorable mentions. Also has some pieces in public places like the Museum Dibujo y la Estampa de Valencia- Venezuela.
(Work by Elkin Cañas) Elkin Cañas’ installation delves into the rituals of energetic cleansing through objects and sensory interaction. STAND 1 showcases traditional cleansing tools, with graphite drawings on the walls symbolizing the purging of negative energy. STAND 2 incorporates incense and palo santo, appealing to the sense of smell. The drawings depict figures covering their noses, avoiding the purifying aromas. STAND 3 features a Tibetan bell, focusing on sound. Here, the figures cover their ears, symbolizing a retreat from external noise into inner silence. STAND 4 presents a rosary, evoking spirituality. The figures shield their eyes, alluding to blind faith and the tension between belief and perception. The installation reflects how our senses shape the experience of the invisible, highlighting the connection between physical objects and spiritual practices.
In an ambivalent manner, Cañas invites us to engage with cosmic energy and the multiple existences that, according to him, coexist within the vast fabric of the universe. His work offers a sensory experience that challenges our perception of reality. The installation unfolds a series of ritual altars, each associated with the purification of energies, while the graphite drawings on the walls evoke the expulsion of negative energies. Through these symbolic objects—incense and palo santo, a Tibetan bell, and a rosary—Cañas leads us to reflect on the intersection of the physical and the metaphysical. Each piece challenges a sense: the smell of incense urges us to cover our noses; the sound of the Tibetan bell prompts us to block our ears; and the rosary, in an act of spiritual blindness, suggests closing our eyes—thus addressing the limitations of sensory perception in the quest for the sacred.
ELKIN CAÑAS
Elkin Cañas, a Colombian-born, Venezuelan-raised artist based in Miami, has been recognized and celebrated for his exceptional contributions to the arts. In 2019, he received a prestigious Certificate of Recognition for “outstanding contribution to the arts in the United States of America” from Urbe University in Miami, Florida. In 2020, he was honored as the Portrait Society of America P.S.O.A. Ambassador for Miami and Latin America, highlighting his expertise and influence in portraiture. His talent as an artist also led to him being invited as a Speaker at the Figurative Art Convention (FACE) in 2018, where he engaged in a conversation with Peter Trippi, the Editor of Fine Art Connoisseur Magazine. His international acclaim includes being a Portrait and Still Life Category finalist in the 2011-12 ARC Salon competition and a Drawing Finalist in the 2010-11 ARC Salon competition. He also received an Honorable Mention at the Faber Castle Salon in Caracas, Venezuela, demonstrating his dedication and talent. Elkin Cañas holds an Arts degree in graphic design from the Caracas Institute of Design and is a former Arturo Michelena School of Art student. As the executive director of Miami International Fine Arts, Elkin Cañas continues to inspire the art community with his exceptional skills, impressive awards, and significant contributions to the world of art.
Reflections of the Impossible, 2024. Video Performance by Marco Caridad Meanwhile, Marco Caridad expands his artistic practice in “Reflections of the Impossible,” a video performance that, along with his installation of assemblages of electrocuted books and candles on an altar, questions the boundaries between the possible and the impossible. Here, the mirror becomes a device of introspection and confrontation, while the interaction with books and candles deepens the tension between knowledge, faith, and desire. The lights and shadows projected in his work symbolize the eternal ebb and flow between the visible and the invisible, suggesting that in each reflection, new realities emerge that challenge established certainties. Ultimately, Caridad invites the viewer to reconsider the notion of belonging and the inherent foreignness of our existence, as we are all, in essence, foreigners within our own reflections.
MARCO CARIDAD Marco Caridad was born in Maracaibo, Venezuela, and lives and works in Miami, Florida. Caridad received a Master’s in Arts from The Art Institutes, Miami International University of Art & Design (2016), a Bachelor’s in Arts from the University of Zulia (2008), and an Associate in Fine Arts from the School of Fine Arts Neptalí Rincón (2003). He celebrates the complexity and diversity of human identities and feelings by exploring the intricate nuances of his experiences as an immigrant, queer, and a descendant of indigenous peoples. Selected solo exhibitions include “A Particularly Vicious Tongue” (2024), Mundo Arte Gallery, Miami, Florida; “Sin Estereotipos” (2022), Centro de Bellas Artes de Maracaibo, Venezuela; and “Sans Stereotypes” (2022), Miami International Fine Arts, Miami, Florida. Selected group exhibitions include the Hartvest Project at Pinecrest Gardens, “Art in the Gardens” (2023); Doral Contemporary Art Museum’s “Take This. Take Me” (2022); and Miramar Cultural Center’s “Roots of an Identity” (2019). Caridad received the Knight Foundation Art + Research Center Fellowship (2022-2023), the Loop Art Critique Fellowship (2023), the Fort Lauderdale Art & Design Week Artist-In-Residency Fellowship (2021), and the Miami-Dade Arts Support Program award (2020).
This exhibition is made possible thanks to the support of the Miami-Dade County Department of Cultural Affairs, the Cultural Affairs Council, the Mayor, and the Miami-Dade County Board of County Commissioners.
Hours Wednesday: 12—4PM Thursday: 12—4PM Friday: 12—4PM Saturday: 12—4PM Sunday—Tuesday: By appointment only
Laundromat Art Space isn’t your typical gallery; it’s a testament to the transformative power of art and community. Housed in a repurposed laundromat in the heart of Little Haiti, this artist-led organization has been a vibrant hub of creativity since 2015.
Founded by a group of artists seeking to create their own unique platform for artistic expression, Laundromat Art Space is a testament to the power of collaboration and self-determination. The expansive 4,500 square foot venue boasts 11 studios and a captivating gallery space, offering a haven for multidisciplinary artists to connect, create, and showcase their work.
Laundromat’s commitment to fostering local talent is evident in its dynamic programming, which features a diverse mix of local, national, and international artists. Their contemporary art exhibitions push boundaries and challenge conventions, while the residency program provides emerging artists with invaluable support and resources.
Under the leadership of Executive Director and Co-founder Ronald Sánchez, Laundromat has cultivated a thriving community of artists, including past residents like Susan Kim Alvarez, Jay Bellicchi, Geraldine Bello, and many more. These artists, representing a wide array of disciplines, have found inspiration and camaraderie within Laundromat’s walls.
Laundromat Art Space is more than just a gallery or a collection of studios; it’s a living testament to the power of art to transform lives and communities. By breaking down barriers between disciplines and fostering a spirit of collaboration, Laundromat is washing away the traditional confines of the art world, creating a space where creativity can truly flourish. In the heart of Little Haiti, Laundromat Art Space is a beacon of artistic innovation, reminding us that even the most mundane spaces can be transformed into something extraordinary.
Nestled in the heart of Miami’s Magic City district, Diana Lowenstein Gallery stands as a testament to the unwavering passion and discerning eye of its founder, Diana Lowenstein. Since 1989, Lowenstein has been a driving force in the international art scene, first under the name Der Brücke and later with Diana Lowenstein Fine Arts. Her journey from an avid art collector in Argentina to a renowned gallerist in Miami is a story of dedication, expertise, and a deep love for contemporary art.
Lowenstein’s early years in Buenos Aires saw her championing young local talent while also showcasing works by internationally acclaimed artists like Wifredo Lam, Roberto Matta, and Antoni Tapies. Her keen understanding of the art world, coupled with her strong relationships with European galleries, allowed her to bring these masters to an eager audience in Argentina.
For over two decades, Lowenstein has been an ardent advocate for Argentine art, both at home and abroad. Her gallery has been a consistent presence at prestigious art fairs like FIAC in Paris, ARCO in Madrid, and Art Basel, showcasing the vibrancy and diversity of Argentine contemporary art to the world.
In 2000, Diana Lowenstein Fine Arts found its new home in Miami, a move that solidified Lowenstein’s commitment to the burgeoning South Florida art scene. The spacious warehouse-turned-gallery, located just south of Coral Gables, provides a fitting backdrop for the eclectic mix of paintings, sculptures, photography, and installations that Lowenstein carefully curates.
Her personal touch is evident in every exhibition, reflecting her unwavering commitment to showcasing the most exciting and thought-provoking contemporary art. Lowenstein is not only dedicated to introducing new and vibrant artists to the Miami community but also to making their work accessible to a global audience through her participation in major art shows and publications.
Diana Lowenstein Gallery is more than just a showcase for established and emerging artists; it’s a cultural cornerstone in Miami’s art scene, fostering dialogue, inspiring creativity, and expanding horizons. Lowenstein’s unwavering dedication to contemporary art and her passion for sharing it with the world make her gallery a must-visit destination for any art enthusiast.
Hispanic Heritage Celebrated Through Vibrant "Colour Senses" Art Exhibition
Hispanic Heritage Celebrated Through Vibrant “Colour Senses” Art Exhibition
Colour Senses Project is proud to present “Colour Senses”, a captivating group art show celebrating Hispanic Heritage Month. The exhibition will open its doors on Saturday, September 21st, from 6 PM to 10 PM, featuring a diverse collection of works by talented Hispanic artists.
This vibrant showcase will spotlight the unique perspectives and artistic expressions of artists hailing from various Hispanic countries, including Venezuela, Puerto Rico, Ecuador, Colombia, the Dominican Republic, and Argentina. Participating artists include:
Carlos Ayube (Venezuela)
Jose Diaz (Puerto Rico)
Susana Falconi (Ecuador)
Jamir Guiza (Colombia)
Marggie Haza (Dominican Republic)
Ezequiel Hernandez (Argentina)
Miguel Angel Jimenez (Venezuela)
Juank Valencia (Colombia)
Andres Zorrilla (Colombia)
“Colour Senses” promises to be an immersive experience, inviting visitors to explore the rich tapestry of Hispanic culture through the lens of contemporary art. The exhibition will feature a variety of mediums and styles, offering a dynamic and thought-provoking exploration of color, form, and cultural identity.
The opening night reception will offer guests complimentary wine and prosecco while they mingle with the artists and fellow art enthusiasts. Entry to the exhibition and parking in the back are free.
Colour Senses Project is a dynamic art space dedicated to showcasing the work of emerging and established artists from around the world. With a focus on promoting cultural diversity and artistic expression, Colour Senses Project provides a platform for artists to connect with audiences and share their unique visions.
Contact:
For further information or media inquiries, please contact:
Email: [email address removed]
Phone: +1 (754) 422-5942
Hispanic Heritage Celebrated Through Vibrant “Colour Senses” Art Exhibition
Miami’s Art Scene Buzzed on Saturday, September 14th, with a Plethora of Openings and Events
Miami’s vibrant art scene kicked into high gear on Saturday, September 14th, 2024, with a diverse range of openings and events that showcased both established and emerging talents. Art enthusiasts and collectors flocked to various galleries across the city to experience a night filled with creativity and inspiration.
Highlights of the evening included:
Diana Lowenstein Gallery: The “tableaux” group exhibition featured an eclectic mix of works by Elba Bairos, Loris Cecchini, Hernán Dompé, Clemencia Labin, Gye Hoon Park, Alex Trimino, and Xawery Wolski, drawing a large crowd to the gallery’s opening reception.
The Private Gallery [Museo of Graffiti]: Curated by Joan “Entes” Jiménez, “Urban Latino” presented a dynamic group exhibition that celebrated the vibrant energy of Latinx street art and its impact on contemporary art.
Laundromat Art Space: “The Silence of Forms” offered a curated selection of works by Linet Sánchez, curated by Daniela Oliverio. The exhibition explored the power of subtle forms and minimalist aesthetics.
Imago Art Gallery: “Geométricas” showcased the geometric explorations of Mariana Copello & Luisa Duarte, curated by Katherine Chacón, offering a visual feast of precise lines and harmonious shapes.
Miami Fine Art Gallery: The joint exhibition of Daniel De Roes & Ale Baranini captivated visitors with their distinctive artistic styles and thought-provoking works.
These events underscored Miami’s position as a thriving hub for contemporary art, providing a platform for artists from diverse backgrounds to showcase their creativity and engage with a passionate audience.
