Felipe Arturo, Estación móvil para hamacas
Over the last decade there have a been a number of exhibitions dedicated to Miami artists. These have been excellent at presenting a generation of homegrown artists, and explaining its internal dynamics and its relationship to previous generations that migrated to, and continue to work in the city. What these exhibitions haven’t done as consistently is place the work of Miami artists alongside that of their international generational peers in a concrete way–that is, by literally presenting the work side-by-side, on equal footing.
It is only by doing this that we can begin to gauge how these artists fare in an international context. One the one hand, the similarities that Miami artist may share with their international counterparts will surface, disclosing how their work fits within international trends. On the other hand, their differences will also shine through to reveal what new positions they bring to an international dialogue. One of the goals of Improvising Architectures is to begin this process of presenting Miami artists within a larger context in a systematic way. It will showcase the work of five Miami artists–Christy Gast, Adler Guerrier, Nicolas Lobo, Ernesto Oroza and Viking Funeral–along side that of artists who live in London (Graham Hudson), Bogotá (Felipe Arturo), and New York (Heather Rowe and Carlos Sandoval de León).
Viking Funeral, Installation View
Adler Guerrier, Installation View
Another goal of the exhibition is to take improvised architectural spaces as figures through which to think a world of globalized networks. What is the relationship between “nomadic” structures or improvised buildings and a world that is, at once, more connected and more disconnected, more prone to swift changes precisely because it is a world of expanding horizons? What happens when a sense of the precarious begins to be felt everywhere? Of course we need not think of all this so literally. What of discursive or mental architectures–ways of seeing the world–that need to be improvised to keep up with the velocities and changes that cut right through our everyday lives? The improvised dwelling site is a metaphor for ways of thinking that need to be light enough to change quickly as disruptions and alteration continue to reorganize the world for us. The sculptures and installations in this exhibition allude to the informal architectural structure as a double metaphor. On the one hand, as the trope for a type of building that recognizes the world as a series of forces that can change everything in an instant. And, on the other hand, as a metaphor for the kind of thinking that is necessary in a world that is increasingly characterized by erratic shifts, proliferating information, and expanding vistas.