1. On exhibit at:
THE DELANO HOTEL LOBBY
Miami Beach
December 2–8
ART MIAMI
Rosenbaum Contemporary Booth #A43
December 3-8
RAPHAEL MAZZUCCO
www.rosenbaumcontemporary.com
ART BASEL IN Miami Beach offers
more art than a collector can
hope to absorb in a few days. The
good news? There’s something
for everybody. Here, Blouin Artinfo’s
EILEEN KINSELLA offers
a short guide for collectors who
know what they want.
Blum & Poe, Los Angeles, CA, USA
BEST FOR: Collectors of
contemporary blue chip artists
The gallery is showing Carroll
Dunham’s colorful and arresting
mixed media on canvas “Hers/Dirt/
Three,” 2009, and Yoshitomo
Nara’s “Blood, Sweat, Tears,” 2008.
British artist Linder’s collage
“An Unidentified Species,” 2007,
are also on view, as is Zhu Jinshi’s
painting “I am Here Inviting
Bach I,” 2013.
White Cube, London, UK
BEST FOR: The not easily shocked
The London gallery is toting
a 2013 gouache-and-embroidery-
on-calico, “Floating,” by Tracey
Emin (see the interview on page 8).
Also in the booth is brothers Jake
and Dinos Chapman’s installation
“In Our Dreams We Have Seen
Another World,” 2013 — a rare
treat, since the Chapmans seldom
show in the U.S.
Pace, New York, NY, USA
BEST FOR: Collectors of
modern masters
Pace presents a new mirror sculp-
ture by Fred Wilson, a bronze relief
by Kiki Smith entitled “Mine,”
2012, and the rare “Rinzen núm.
2,” 1993, by Antoni Tàpies. Also
sprung from the crates: multiple
works by Kenneth Noland and
Richard Pousette-Dart, both of
whose estates Pace now represents.
Eigen + Art, Berlin and Leipzig,
Germany
BEST FOR: Painting aficionados
Gallery founder Gerd Harry Lybke
chose to bring works by Uwe
Kowski, a longtime exhibiting
German artist. The gallery is also
showing work by Melora Kuhn,
“our discovery in the U.S.A.,”
Lybke says. “We are happy to show
the Americans what we discovered
in America.”
Fortes Vilaça, São Paulo, Brazil
BEST FOR: Collectors of Latin
American up-and-comers
Brazilian artist Erika Verzutti, who
is currently participating in the
Carnegie International in
Pittsburgh, Pennsylvania, and the
Bienal do Mercosul in Porto Alegre,
Brazil, is highlighted here. The gal-
lery also brings work by Janaina
Tschäpe, Los Carpinteros, Iran do
Espírito Santo, and the graffiti and
street art duo Os Gêmeos.
McCaffrey Fine Art, New York,
NY, USA
BEST FOR: Collectors of
artists’ artists
Dealer Fergus McCaffrey offers
works by the Scots-Irish painter
William Scott. These include
“Green Beans on a White Plate,”
1977/78, and “Forms Domestic,”
1976. McCaffrey is also showing
an untitled 1966 work by Sigmar
Polke (MOMA will have a retro-
spective of his work in April), and
Birgit Jurgenssen’s “Eiserne
Jungfrau/Iron Maden,” 1976, a
work on paper.
THE ARGENTINE ARTIST Leandro Erlich may
not be as well known in the U.S. as his country-
man Guillermo Kuitca, but his following is
expanding. In Miami, his works are included in
the Margulies Collection at the Warehouse (591
NW 27th Street) among such prominent names
as Sol LeWitt and Isamu Noguchi, and two
weeks ago the director of the Collection report-
edly decided to install Erlich’s “Rain III,” 1999–
2000, previously in storage and then on loan.
“Rain III” takes the form of a window, in which
special effects create wind, thunder, and light-
ning; a water pump system sprays the glass. “Archaeological Storm,”
2013, one of Erlich’s newest stormy windows, can be purchased at Art
Basel in Miami Beach at the Sean Kelly Gallery. — ELIZABETH MANUS
Erlich’s “Archaeological
Storm,” 2013
LEANDRO ERLICH’S TAKE-HOME STORM
WORKS TO WATCH FOR
What Will the Collectors Be Fighting Over?
FOR LIVE UPDATES AND VIDEO VISIT BLOUINARTINFO.COM
M I A M I FA IRS EDIT ION | DECEMBER 3, 2013
CLOCKWISEFROMTOP:COURTESYTHEARTISTANDBLUM&POE,LOSANGELES;COURTESYTHEARTISTANDFREDRICSNITZERGALLERY;©LEANDROERLICH,COURTESYSEANKELLY,NEWYORK
THIS MONTH, IN his first exhibi-
tion with Fredric Snitzer Gallery,
Miami-based artist Enrique
Martínez Celaya has created
an immersive installation, titled
“Burning as It Were a Lamp.”
In line with his expansive multi-
media show at SITE Santa Fe this
past summer, Martínez Celaya pres-
ents a room with mirrors on three
walls, at the center of which stands
a bronze statue of a young man.
Behind him hangs a new large-scale
painting of a burnt angel; a similar
large-scale painting also hangs in
Snitzer’s Art Basel booth.
“Art fairs are a challenge for an
artist like myself who works in a
total work of art,” Martínez Celaya
says. “That’s why I try to subvert
it. For this I am doing a painting
that is very big and connected
in dialogue with the other things.
As an artist you have to find ways
to sabotage it [the fair] while still
participating.” — ASHTON COOPER
BURNING ANGELS
Yoshitomo Nara’s “Blood, Sweat, Tears,” 2008, at Blum & Poe
Enrique Martínez Celaya’s “The Forgotten,”
2013, at Fredric Snitzer Gallery

2. AMONG THE FRESH faces at Art
Basel in Miami Beach this year are
Elizabeth Dee, cofounder and pres-
ident of the Independent fair in
New York, as well as several mem-
bers of the New Art Dealers
Alliance (NADA), who are graduat-
ing from the organization’s event
at the Deauville Beach Resort to
the convention center. “The vacan-
cies are enabling us to bring on
some great new galleries,” says
NADA Art Fair director Heather
Hubbs, who also notes that due to
economic recovery, she has seen “a
surprising number of quality gal-
leries open in places you wouldn’t
necessarily expect” over the past
couple of years. This year the
NADA show attracts a strong
crowd of young art world insiders,
with a range of exhibitors from
places likes Romania and Estonia
to Milwaukee and Kansas City.
There is no shortage of compe-
tition for the attention of curious
young collectors, and fairs continu-
ally must reinvent the wheel. Scope
is moving over the causeway from
midtown Miami to a series of tents
near the ocean in South Beach.
The 24-year-old Art Miami, a
more established scene (based in
the Wynwood neighborhood)
that’s heavier on work by modern
or midcareer contemporary artists,
will reprise its edgier sister,
Context, launched last year. And
Pulse returns to the Ice Palace
Studios downtown with an inter-
national lens, with half of its
galleries hailing from outside the
United States.
All eyes will be on the second
edition of UNTITLED, which
last year felt like an oasis in an
airy, spacious tent on the beach
(designed by architects John
Keenen and Terence Riley of
K/R). More than doubling its num-
ber of exhibitors, with 97 on
board this year, UNTITLED is
changing the traditional art fair
model. It’s not a “come here and
..hang your wares” fair, says
founder Jeff Lawson. Rather,
curator Omar Lopez-Chahoud
and a team of advisers carefully
consider what to show — and
this year that means more Latin
American galleries and a
“contrast between older and
midcareer artists with a
younger generation,” says
Lopez-Chahoud of a strategy
pitched to add historical con-
text. A similar approach is
apparent at Design Miami,
the sister fair to Art Basel
that attracts a well-heeled
crowd of collectors and style
mavens. Cutting-edge creations
by the world’s top designers
are de rigueur at Carpenters
Workshop Gallery, Demisch
Danant, and Didier Ltd.,
among others; but it’s the
historical material that
lends gravitas, courtesy of
Moderne Gallery and Magen
H. Gallery. With all the
flurry, it’s easy to see why in
Miami there’s no time for
fatigue. — MEREDITH MENDELSOHN
ART CITY
Miami Fairs Curated for the Cutting Edge
BY APPOINTMENT
CLOCKWISEFROMLEFT:COURTESYTAUBERTCONTEMPORARY,BERLIN;COURTESYTHEARTISTANDBLANKSPACE;THREEIMAGES:KRISTENBOATRIGHT;COURTESYARTMRKTANDSTEVENKASHERGALLERY;COURTESYTHEARTISTANDLOYAL,SWEDEN;COURTESYACEGALLERY
Clockwise from left: Beat Zoderer’s
“Specimen Tondo 4-Gruppe, Nr. 1, 2, 3, 6,”
2013, at PULSE Miami; J.T. Kirkland’s
“Subspace 099,” 2012, at SCOPE; Daido
Moriyama’s “How to Create a Beautiful
Picture 6: Tights in Shimotakaido,” 1987, at
Miami Project; Ara Peterson’s “Tower,”
2013, at UNTITLED; Olympia Scarry’s “Saliva,”
2012, at SCOPE
It’s not a “come here and hang
your wares” fair, says UNTITLED
founder Jeff Lawson.
2 | B L O U I N A R T I N F O M I A M I F A I R S E D I T I O N | D E C E M B E R 3 , 2 0 1 3
April 10-13, 2014 | San Jose Convention Center | www.siliconvalleycontemporary.com
The Region’s FiRsT inTeRnaTional Fine aRT FaiR
deFining sTaTe-oF-The-aRT
ART-CADE GAMES
Among the many quirky installa-
tions in Miami is one by Patrick
McNeil and Patrick Miller, known
as the artistic duo FAILE. Along
with fellow Brooklyn artist BAST,
they are taking their third “Deluxx
Fluxx Arcade” to a vacant
storefront on Washington Avenue
near 16th Street. Featuring
programmed video games, pinball
machines and psychedelic foos-
ball, the interactive exhibition
brings contemporary punk rock
and New York City graffiti culture
into a custom-made arcade.
FAILE gave ARTINFO a tour during
the last-minute preps.
— KRISTEN BOATRIGHT
SEE THE VIDEO AT:
blouinartinfo.com/failemiami
WATCH IT ONLINE
AMONG THE FRESH faces at Art
Basel in Miami Beach this year are
Elizabeth Dee, cofounder and pres-
ident of the Independent fair in
New York, as well as several mem-
bers of the New Art Dealers
Alliance (NADA), who are graduat-
ing from the organization’s event
at the Deauville Beach Resort to
the convention center. “The vacan-
cies are enabling us to bring on
some great new galleries,” says
NADA Art Fair director Heather
Hubbs, who also notes that due to
economic recovery, she has seen “a
surprising number of quality gal-
leries open in places you wouldn’t
necessarily expect” over the past
couple of years. This year the
NADA show attracts a strong
crowd of young art world insiders,
with a range of exhibitors from
places likes Romania and Estonia
to Milwaukee and Kansas City.
There is no shortage of compe-
tition for the attention of curious
young collectors, and fairs continu-
ally must reinvent the wheel. Scope
is moving over the causeway from
midtown Miami to a series of tents
near the ocean in South Beach.
The 24-year-old Art Miami, a
more established scene (based in
the Wynwood neighborhood)
that’s heavier on work by modern
or midcareer contemporary artists,
will reprise its edgier sister,
Context, launched last year. And
Pulse returns to the Ice Palace
Studios downtown with an inter-
national lens, with half of its
galleries hailing from outside the
United States.
All eyes will be on the second
edition of UNTITLED, which
last year felt like an oasis in an
airy, spacious tent on the beach
(designed by architects John
Keenen and Terence Riley of
K/R). More than doubling its num-
ber of exhibitors, with 97 on
board this year, UNTITLED is
changing the traditional art fair
model. It’s not a “come here and
..hang your wares” fair, says
founder Jeff Lawson. Rather,
curator Omar Lopez-Chahoud
and a team of advisers carefully
consider what to show — and
this year that means more Latin
American galleries and a
“contrast between older and
midcareer artists with a
younger generation,” says
Lopez-Chahoud of a strategy
pitched to add historical con-
text. A similar approach is
apparent at Design Miami,
the sister fair to Art Basel
that attracts a well-heeled
crowd of collectors and style
mavens. Cutting-edge creations
by the world’s top designers
are de rigueur at Carpenters
Workshop Gallery, Demisch
Danant, and Didier Ltd.,
among others; but it’s the
historical material that
lends gravitas, courtesy of
Moderne Gallery and Magen
H. Gallery. With all the
flurry, it’s easy to see why in
Miami there’s no time for
fatigue. — MEREDITH MENDELSOHN
ART CITY
Miami Fairs Curated for the Cutting Edge
BY APPOINTMENT
CLOCKWISEFROMLEFT:COURTESYTAUBERTCONTEMPORARY,BERLIN;COURTESYTHEARTISTANDBLANKSPACE;THREEIMAGES:KRISTENBOATRIGHT;COURTESYARTMRKTANDSTEVENKASHERGALLERY;COURTESYTHEARTISTANDLOYAL,SWEDEN;COURTESYACEGALLERY
Clockwise from left: Beat Zoderer’s
“Specimen Tondo 4-Gruppe, Nr. 1, 2, 3, 6,”
2013, at PULSE Miami; J.T. Kirkland’s
“Subspace 099,” 2012, at SCOPE; Daido
Moriyama’s “How to Create a Beautiful
Picture 6: Tights in Shimotakaido,” 1987, at
Miami Project; Ara Peterson’s “Tower,”
2013, at UNTITLED; Olympia Scarry’s “Saliva,”
2012, at SCOPE
It’s not a “come here and hang
your wares” fair, says UNTITLED
founder Jeff Lawson.
2 | B L O U I N A R T I N F O M I A M I F A I R S E D I T I O N | D E C E M B E R 3 , 2 0 1 3
April 10-13, 2014 | San Jose Convention Center | www.siliconvalleycontemporary.com
The Region’s FiRsT inTeRnaTional Fine aRT FaiR
deFining sTaTe-oF-The-aRT
ART-CADE GAMES
Among the many quirky installa-
tions in Miami is one by Patrick
McNeil and Patrick Miller, known
as the artistic duo FAILE. Along
with fellow Brooklyn artist BAST,
they are taking their third “Deluxx
Fluxx Arcade” to a vacant
storefront on Washington Avenue
near 16th Street. Featuring
programmed video games, pinball
machines and psychedelic foos-
ball, the interactive exhibition
brings contemporary punk rock
and New York City graffiti culture
into a custom-made arcade.
FAILE gave ARTINFO a tour during
the last-minute preps.
— KRISTEN BOATRIGHT
SEE THE VIDEO AT:
blouinartinfo.com/failemiami
WATCH IT ONLINE

3. Visit the Hasselblad VIP Lounge at the Bass Museum of Art
to see the most luxurious cameras in the world!
Find out what’s trending! Follow these official Hasselblad Ambassadors
during Art Basel for the latest in art, style, and design.
Lisa Anastos
Founder of ARThood
Ryan McGinness
Artist
Penelope Umbrico
Artist/Photographer
Janis Cecil
Director of Edward Tyler Nahem Fine Art
New York
Patrick McMullan
NYC Celebrity/Society Photographer
Kenny Scharf
Artist
2100 COLLINS AVENUE MIAMI BEACH, FL 33139
Alissa Friedman
Partner/Director
Salon 94
AVAILABLE IN MIAMI AT VAULT - 1024 LINCOLN ROAD, MIAMI BEACH FL, 33139 AND AT OTHER FINE RETAILERS.
www.hasselblad-stellar.com

4. 4 | B L O U I N A R T I N F O M I A M I F A I R S E D I T I O N | D E C E M B E R 3 , 2 0 1 3
FROMLEFT:©MARCDANIELS;MATTHUPLACEK;THEJEWELBOX,NATIONALYOUNGARTSFOUNDATIONCAMPUS,©BACARDIARCHIVE
expochicago.comPresenting Sponsor
THE INTERNATIONAL EXPOSITION OF CONTEMPORARY & MODERN ART
SAVE THE DATE
18–21 SEPTEMBER 2014
NAVY PIER
THE INTERNATIONAL EXPOSITION OF CONTEMPORARY & MODERN ART
SAVE THE DATE
18–21 SEPTEMBER 2014
NAVY PIER
3-D ABRAMOVIC
Matthu Placek’s Portrait of the Artist
MOVING PICTURES
IT’S EASY TO get from New York
to Miami. Just take a look at New
York photographer Matthu
Placek’s “A Portrait of Marina
Abramovic.” A short 3-D film
paced to the haunting sounds of a
Serbian-translated Greek folk song,
it was shot in the abandoned
Hudson, New York, theater-
turned–tennis club that will be
home to the future OMA-designed
Marina Abramovic Institute.
And the film is as much about
the architecture as it is about
Abramovic herself. “The space
is her future, her body is her pres-
ent and past, and the music is her
heritage,” Placek says of his
Belgrade-born subject.
During Art Basel in Miami
Beach, Placek’s six-minute “por-
trait” will be screened at, appropri-
ately enough, another vacant site:
the Ignacio Carrera-Justiz–designed
“Jewel Box,” a stained-glass–walled
pavilion cantilevered on a red
rectangular plinth. Placek describes
the building as “architecture ripe
for renewal.” In Wynwood, as the
Jewel Box’s gutted interior awaits
renovation by the National
YoungArts Foundation (which pro-
duced Placek’s film in collaboration
with art and fashion publishers
Visionaire), visitors will ascend a
set of stairs accompanied by
music and travel the perimeter
of the building’s interior before
being confronted with Abramovic’s
gaze head-on. The film has also
arrived in Miami at an opportune
time for Abramovic to drum up
publicity for her soon-to-be-real-
ized $20 million institute.
In a single take, Placek’s
camera descends (and descends,
and descends) through a cavernous
industrial shell in which the distort-
ed color temperature renders the
soft lighting orange and the con-
crete surfaces a pallid green.
It lands on Abramovic standing in
a Madonna-like posture of for-
ward-facing palms and downcast
gaze. Her body appears to float —
partly because her body has been
painted a cold white, partly
because the film’s audience mem-
bers are wearing 3-D glasses.
“I asked her to be nude in the
film because this is really a portrait
of her body of work, which is
her body,” says Placek. “I wanted
to do that in 3-D so that her body
is tangible.”
In contrast to her previous
work, Abramovic’s performance
here is far less strenuous, thanks to
the simplicity of Placek’s direction:
“I said, ‘I want you to just react
to the movement of the music.
Address the camera when you feel
the room has come to a stop,
and I’m just going to follow you.’”
Spare and focused, the film has
a monastic, meditative quality
that gives away nothing about its
hectic production process, which
involved no fewer than 45 crew
members, a 50-foot-tall crane,
some 80 light fixtures, and a 3-D
rig. What Placek presents is a
nearly unblinking portrait of the
utmost intensity.
“She blinked once, and we
said we could take care of it in
post [production],” he recalls. “She
said, ‘I get paid not to blink —
no, we’re doing it again! That’s
my job.’” — JANELLE ZARA
“A Portrait of Marina Abramovic”
is on view December 4–7 at the
Jewel Box every 15 minutes from
6 p.m.–3 a.m.
Left to right: Matthu Placek; still from “A Portrait of Marina Abramovic´ ,” 2013; the Jewel Box
4 | B L O U I N A R T I N F O M I A M I F A I R S E D I T I O N | D E C E M B E R 3 , 2 0 1 3
FROMLEFT:©MARCDANIELS;MATTHUPLACEK;THEJEWELBOX,NATIONALYOUNGARTSFOUNDATIONCAMPUS,©BACARDIARCHIVE
expochicago.comPresenting Sponsor
THE INTERNATIONAL EXPOSITION OF CONTEMPORARY & MODERN ART
SAVE THE DATE
18–21 SEPTEMBER 2014
NAVY PIER
THE INTERNATIONAL EXPOSITION OF CONTEMPORARY & MODERN ART
SAVE THE DATE
18–21 SEPTEMBER 2014
NAVY PIER
3-D ABRAMOVIC
Matthu Placek’s Portrait of the Artist
MOVING PICTURES
IT’S EASY TO get from New York
to Miami. Just take a look at New
York photographer Matthu
Placek’s “A Portrait of Marina
Abramovic.” A short 3-D film
paced to the haunting sounds of a
Serbian-translated Greek folk song,
it was shot in the abandoned
Hudson, New York, theater-
turned–tennis club that will be
home to the future OMA-designed
Marina Abramovic Institute.
And the film is as much about
the architecture as it is about
Abramovic herself. “The space
is her future, her body is her pres-
ent and past, and the music is her
heritage,” Placek says of his
Belgrade-born subject.
During Art Basel in Miami
Beach, Placek’s six-minute “por-
trait” will be screened at, appropri-
ately enough, another vacant site:
the Ignacio Carrera-Justiz–designed
“Jewel Box,” a stained-glass–walled
pavilion cantilevered on a red
rectangular plinth. Placek describes
the building as “architecture ripe
for renewal.” In Wynwood, as the
Jewel Box’s gutted interior awaits
renovation by the National
YoungArts Foundation (which pro-
duced Placek’s film in collaboration
with art and fashion publishers
Visionaire), visitors will ascend a
set of stairs accompanied by
music and travel the perimeter
of the building’s interior before
being confronted with Abramovic’s
gaze head-on. The film has also
arrived in Miami at an opportune
time for Abramovic to drum up
publicity for her soon-to-be-real-
ized $20 million institute.
In a single take, Placek’s
camera descends (and descends,
and descends) through a cavernous
industrial shell in which the distort-
ed color temperature renders the
soft lighting orange and the con-
crete surfaces a pallid green.
It lands on Abramovic standing in
a Madonna-like posture of for-
ward-facing palms and downcast
gaze. Her body appears to float —
partly because her body has been
painted a cold white, partly
because the film’s audience mem-
bers are wearing 3-D glasses.
“I asked her to be nude in the
film because this is really a portrait
of her body of work, which is
her body,” says Placek. “I wanted
to do that in 3-D so that her body
is tangible.”
In contrast to her previous
work, Abramovic’s performance
here is far less strenuous, thanks to
the simplicity of Placek’s direction:
“I said, ‘I want you to just react
to the movement of the music.
Address the camera when you feel
the room has come to a stop,
and I’m just going to follow you.’”
Spare and focused, the film has
a monastic, meditative quality
that gives away nothing about its
hectic production process, which
involved no fewer than 45 crew
members, a 50-foot-tall crane,
some 80 light fixtures, and a 3-D
rig. What Placek presents is a
nearly unblinking portrait of the
utmost intensity.
“She blinked once, and we
said we could take care of it in
post [production],” he recalls. “She
said, ‘I get paid not to blink —
no, we’re doing it again! That’s
my job.’” — JANELLE ZARA
“A Portrait of Marina Abramovic”
is on view December 4–7 at the
Jewel Box every 15 minutes from
6 p.m.–3 a.m.
Left to right: Matthu Placek; still from “A Portrait of Marina Abramovic´ ,” 2013; the Jewel Box

5. PISTONHEAD
VENUS OVER MANHATTAN
PRESENTS
ARTISTS ENGAGE THE AUTOMOBILE
RON ARAD • BRUCE HIGH QUALITY FOUNDATION • DAN COLEN
JOSHUA CALLAGHAN • CÉSAR • KEITH HARING • DAMIEN HIRST
JACOB KASSAY • NATE LOWMAN • SERVANE MARY
OLIVIER MOSSET • VIRGINIA OVERTON • RICHARD PHILLIPS
RICHARD PRINCE • TOM SACHS • SALVATORE SCARPITTA
KENNY SCHARF • LUCIEN SMITH • FRANZ WEST
1111 LINCOLN ROAD, 7th
FLOOR
MIAMI BEACH, FL
DECEMBER 4-8, 2013
1pm-8pm
POWERED BY

6. 6 | B L O U I N A R T I N F O M I A M I F A I R S E D I T I O N | D E C E M B E R 3 , 2 0 1 3
COURTESYPIOTRUKLANSKI
DEBARKING IN MIAMI
Two Museum Shows Document the Immigrant Experience
ON VIEW
ON DECEMBER 4, the Pérez Art
Museum Miami (PAMM) moves to
its new Herzog & de Meuron–
designed home. In the spirit of
migration, one of its many opening
exhibitions features the work of
the French-Moroccan video artist
Bouchra Khalili, whose art deals
explicitly with the immigrant expe-
rience. Khalili’s work explores
issues of transnationalism and
transience, resonating also with
Miami’s history as a port city.
“We wanted artists who could
dynamically engage the spaces of
the new building and the diverse
cultural contexts of Miami,”
PAMM curator Diana Nawi wrote
in an e-mail. “We are a city that
embodies the movements and
migrations that global capital and
economies and political situations
have engendered; these are the sto-
ries and experiences that Bouchra
engages with across her practice.”
In 2012, for example, Khalili,
who is based in Paris, produced a
photo series called “Wet Feet,” in
reference to Florida’s infamous
“wet foot / dry foot” policy allow-
ing Cuban immigrants who make
it to shore to stay in the U.S. while
those apprehended at sea are
deported. The pictures show rem-
nants of these refugees’ often pre-
carious voyages — overturned
hulls, sheets of corrugated metal.
In the PAMM show, Khalili pres-
ents the concluding chapter of her
video trilogy “The Speeches Series,”
2012–13, in which she documents
the experiences of individuals from
a range of backgrounds.
Commissioned by the museum, this
final piece focuses on immigrants
who have settled in New York
City. “While she didn’t produce the
work here, nor is it about ‘Miami,’
it’s incredibly relevant to the pro-
cesses, politics, and economies that
shape the city,” Nawi wrote.
Meanwhile, across Biscayne
Bay, the works of Polish-born artist
Piotr Uklan´ski come to Miami
Beach’s Bass Museum of Art start-
ing on December 5. The show is
titled “ESL,” the acronym for
“English as a second language,”
which speaks not only to
Uklan´ski’s status as an immigrant
in America but also to the “dialect”
of his artistic practice.
“Here the notion of ‘ESL’
becomes an interpretative meta-
phor,” Uklan´ski wrote in an e-mail.
“I see equivalence between my
use of specific artistic vernaculars
and my particular use of grammar
or awkward pronunciation in
English.”
The artist has produced work in
a wide range of media, from fiber
arts and sculpture to performance
and film — notably the literally
ESL feature film “Summer Love,”
2006, an English-language Western
set in Poland. Though the show at
the Bass Museum presents neither
film nor performance, Uklan´ski
sees the “deliberate mise-en-scene”
of the exhibition as an assertion
that “my studio practice, itself, is a
performative project.”
One of the themes explored in
his work, according to the Bass, is
the American Dream. “I love a
good cliché — particularly when
it’s true,” the artist wrote. “There is
nothing more hackneyed than the
aspirational implications of the
American Dream. It is simultane-
ously a hollow myth pandered to
by demagogues and a tangible par-
adigm of class mobility that per-
sists in our collective conscious-
ness. All of my works embrace this
dual quality of aspiration and
cliché.” — ANNELIESE COOPER
Piotr Uklan´ ski’s “Untitled (Priceless),” 2012, at the Bass Museum of Art
6 | B L O U I N A R T I N F O M I A M I F A I R S E D I T I O N | D E C E M B E R 3 , 2 0 1 3
COURTESYPIOTRUKLANSKI
DEBARKING IN MIAMI
Two Museum Shows Document the Immigrant Experience
ON VIEW
ON DECEMBER 4, the Pérez Art
Museum Miami (PAMM) moves to
its new Herzog & de Meuron–
designed home. In the spirit of
migration, one of its many opening
exhibitions features the work of
the French-Moroccan video artist
Bouchra Khalili, whose art deals
explicitly with the immigrant expe-
rience. Khalili’s work explores
issues of transnationalism and
transience, resonating also with
Miami’s history as a port city.
“We wanted artists who could
dynamically engage the spaces of
the new building and the diverse
cultural contexts of Miami,”
PAMM curator Diana Nawi wrote
in an e-mail. “We are a city that
embodies the movements and
migrations that global capital and
economies and political situations
have engendered; these are the sto-
ries and experiences that Bouchra
engages with across her practice.”
In 2012, for example, Khalili,
who is based in Paris, produced a
photo series called “Wet Feet,” in
reference to Florida’s infamous
“wet foot / dry foot” policy allow-
ing Cuban immigrants who make
it to shore to stay in the U.S. while
those apprehended at sea are
deported. The pictures show rem-
nants of these refugees’ often pre-
carious voyages — overturned
hulls, sheets of corrugated metal.
In the PAMM show, Khalili pres-
ents the concluding chapter of her
video trilogy “The Speeches Series,”
2012–13, in which she documents
the experiences of individuals from
a range of backgrounds.
Commissioned by the museum, this
final piece focuses on immigrants
who have settled in New York
City. “While she didn’t produce the
work here, nor is it about ‘Miami,’
it’s incredibly relevant to the pro-
cesses, politics, and economies that
shape the city,” Nawi wrote.
Meanwhile, across Biscayne
Bay, the works of Polish-born artist
Piotr Uklan´ski come to Miami
Beach’s Bass Museum of Art start-
ing on December 5. The show is
titled “ESL,” the acronym for
“English as a second language,”
which speaks not only to
Uklan´ski’s status as an immigrant
in America but also to the “dialect”
of his artistic practice.
“Here the notion of ‘ESL’
becomes an interpretative meta-
phor,” Uklan´ski wrote in an e-mail.
“I see equivalence between my
use of specific artistic vernaculars
and my particular use of grammar
or awkward pronunciation in
English.”
The artist has produced work in
a wide range of media, from fiber
arts and sculpture to performance
and film — notably the literally
ESL feature film “Summer Love,”
2006, an English-language Western
set in Poland. Though the show at
the Bass Museum presents neither
film nor performance, Uklan´ski
sees the “deliberate mise-en-scene”
of the exhibition as an assertion
that “my studio practice, itself, is a
performative project.”
One of the themes explored in
his work, according to the Bass, is
the American Dream. “I love a
good cliché — particularly when
it’s true,” the artist wrote. “There is
nothing more hackneyed than the
aspirational implications of the
American Dream. It is simultane-
ously a hollow myth pandered to
by demagogues and a tangible par-
adigm of class mobility that per-
sists in our collective conscious-
ness. All of my works embrace this
dual quality of aspiration and
cliché.” — ANNELIESE COOPER
Piotr Uklan´ ski’s “Untitled (Priceless),” 2012, at the Bass Museum of Art

7. Arader Galleries
›› www.thefinest.com/Arader
Barridoff Galleries
›› www.thefinest.com/Barridoff
Clarke Auction Gallery
›› www.thefinest.com/Clarke
Cowan’s Auctions
›› www.thefinest.com/Cowans
Guernsey’s
›› www.thefinest.com/Guernseys
James D. Julia
›› www.thefinest.com/JDJ
Palm Beach Modern Auctions
›› www.thefinest.com/PalmBeachModern
Ro Gallery
›› www.thefinest.com/RoGallery
Theriault’s
›› www.thefinest.com/Theriaults
Great White Heron
by John James Audobon
Femme Profile
by Pablo Picasso Historic & Important Imperial Gilt Bronze Seal
VISIT US AT WWW.THEFINEST.COM | 1.877.505.7770 | INFO@THEFINEST.COM
In the Garden
by Abbott Graves
INTRODUCING THE FINEST
A Sophisticated Online Marketplace for Fine Art,
Antiques and Collectibles
The Finest taps into the spirit of the collector, the buyer and the seller of fine,
rare objects—fine art, antiques and collectibles. We curate stories, commentary
and criticism from the industry’s top sources to bring you an online e-commerce
experience unlike any other. And all transactions are backed by an industry-leading risk
management team that delivers unmatched fraud prevention and dispute resolution.
Explore TheFinest.com.
VIEW MORE FROM THESE FINE AUCTION HOUSES ON THEFINEST.COM:
MEET UP WITH THE FINEST!
Look for us at the Red Dot Art Fair in Miami,
Florida from December 3rd through the 8th
››

8. I saw her a few other times, and then the
idea of the collaboration came up. I could
either send her stuff or she could send
me stuff, but we didn’t decide. Then one day
I just got this roll of prints through the
post. I could do whatever I wanted with
them. It took me two and half years,
because I was nervous. I wanted it to be me
and Louise, and I also desperately wanted it
to look as if one person had made it. I just
loved her watercolors; to me they were
finished, I didn’t have to do anything. I had
to work out how I could make my mark
on them without overriding what she
did. And I did it. Louise came up with the
title for the whole thing, “Do Not Abandon
Me,” and I titled each print, so everything
was balanced.
Are there other women who have played a
similar role in your life?
No. But it’s her age as well. She might have
known a lot of people who influenced me.
Edvard Munch died in 1945. She was con-
nected to a part of history that I really
respond to. I don’t think it’s the fact that
she’s a woman, I think it’s about the
kind of artist she was, and where her
influences were coming from.
It’s amazing how much one can recognize
your drawings in your clay figures [like your
swan on a plinth].
Have you read “The Black Swan” by
Thomas Mann? You’ve got to read it. I had
this intellectual crush on someone. But he
didn’t feel the same way about me. For a
present he bought me “Black Swan.” It’s
basically about a woman who falls in love
with this young guy. She thinks that her
periods have started again, and it’s like the
elixir of love, but in truth she’s got cancer of
the womb, and within a couple of weeks,
she’s dead. The complexity of the book is
really interesting, especially from the point
of view of a woman who is 50 and has an
intellectual crush on someone much younger
than herself. This is why I made this piece.
Did you feel humiliated?
Yes, totally! But it’s quite good, because
the swan looks quite clitoral — without
being over the top. One of the biggest
derogatory remarks made about my neons
was “pithy, overindulgent sentimentality.”
Have they never fallen in love before?
Obviously they haven’t. Obviously
they’ve never had the courage to express
any kind of emotional feelings, because
people who have can relate. It’s like the
lyrics of a song like “One Day I’ll Fly
Away.” In the right situation, it doesn’t mat-
ter how drossy that song is, it can affect
you, because everybody can relate to
the sentiment — especially at a funeral,
actually. Put that song in a funeral context
and, wow, everyone is in tears, aren’t
they? If you go around judging on a
supremacy level, you are never going to
experience anything, are you?
Do you feel that people are scared of their
own feelings?
Yes. It’s a bit like karaoke. The people who
are best at it are the people who can’t
sing — they try their hardest. It’s endearing,
it’s heartfelt, and you really feel it. If you
are a professional artist and you have been
doing what you are doing for 20 years and
you have conviction behind what you do,
then you should do it.
Your own story has featured prominently
in your work. But with these sculptures
you seem to be coming at your story some-
what tangentially.
I do need to escape, because there’s stuff
I want to say about love and about people
but I can’t. At the age of 50, you can’t keep
banging on about the same kinds of things.
Grow up! You are getting better, get on
with it. You may have the same issues as
when you were 20, but you address them
in a very different way. When you are hun-
gry as an adult, you tend not to scream
about it — you go and get something to eat.
I don’t do therapy: I just want to do it all
through my work. When I work something
out, it’s such a good feeling: “Oh yes, of
course, love didn’t exist, I just thought that
it did.” Once I realized that, I felt so much
better, because I realized that a lot of the
agony or hurt that I went through wasn’t
real. It’s just what I thought was happening.
For more information about Emin’s exhibi-
tion “Angel Without You,” see page 15.
ALTHOUGH LONG PART of Britain’s art establishment, Tracey Emin remains for many the
navel-gazing enfant terrible of the 1990s. Despite representing the U.K. at the 2007 Venice
Biennale, being appointed professor at the Royal Academy in 2011 (one of only two women
ever to win this post), and even being named a Comander of the British Empire in March,
she hasn’t managed to shake off this image. So much has been written about Emin —
by herself and others — since she first came to prominence alongside fellow YBAs Damien
Hirst and Sarah Lucas more than 20 years ago that her story has congealed into a series
of quasi-mythical episodes: the childhood in the seaside town of Margate; the promiscuity;
the abortions; the shop with Lucas; the first show with White Cube’s Jay Jopling, cheekily
entitled “My Major Retrospective 1963–1993”; the tent in 1995 (“Everyone I Have
Ever Slept With 1963–1995”); 1998’s “My Bed”; the drunkenness; the heartbreaks. Emin’s
life story is so ingrained in every one of her drawings, sculptures, paintings, neons, and
embroideries that at times it has obscured the striking coherence of her artistic project. Yet
things have begun to change. Emin’s 2011 exhibition at London’s Hayward Gallery allowed
the emergence of affinities with the likes of Ida Applebroog and Louise Bourgeois, demon-
strating that Emin does belong in their league. In May, at the New York foundry Bourgeois
once frequented, Emin prepared a series of bronze sculptures for a solo show at Lehmann
Maupin in Manhattan. In advance of her first museum show in the U.S., at the Museum
of Contemporary Art, North Miami — timed to coincide with the December 4 opening of
Art Basel in Miami Beach — the artist talked with Blouin Artinfo U.K. bureau chief COLINE
MILLIARD at her studio, a 17th-century former weaving works in Spitalfields, London.
This feels a bit like your American year.
I’ve never shown in a museum in America.
I’m 50 this year, so I think it’s quite late.
But then I was a late developer. I didn’t have
an exhibition anywhere until I was 30.
My first exhibition was at 30, and then for
my first show in America, I’m 50. It’s kind
of all right: I’m just a slow burner. And
this is a very ambitious exhibition. It’s
during Art Basel [in] Miami Beach, and it’s
a neon show. I don’t know anyone else who
has done that. I don’t know any women
who have done it, that’s for sure.
Do you think there is still a discrepancy
between male and female artists?
Yes, a massive discrepancy. If Louise
[Bourgeois] had been a man, her work
would now be selling for 30, 40 million —
but it’s not, because she’s a woman.
Not long before her death you collaborated
with Bourgeois, adding texts and drawings
to one of her series of watercolors. And
for your forthcoming gallery show, you are
working with the foundry she used to use
to produce new bronzes.
Yes, I’m working with Jerry Gorovoy and
Scott Lyon-Wall. Jerry was Louise’s assistant
for 30 years, and Scott was involved with
the [Bourgeois] foundation. When I did the
collaboration with her, I didn’t quite under-
stand what Louise was giving me. I didn’t
expect to have this amazing friendship with
these people: really warm, close, cozy, bril-
liant, intellectual, and stimulating. I thought
I was doing a collaboration. It’s amazing
how it all turned out. I spend a lot of time
in America now because of them. I’ve just
bought a place in Miami, so you are right, it
is my American year.
How did you first meet Bourgeois?
Through my gallery, Lehmann Maupin, that
I love and that I’ve worked with now for,
like, 16 years. I was upset about something
to do with a show that I had. They asked,
“Is there anything we can do to make it up
to you?” I thought of lots of things, and
then I said, “Yes, I’d like to meet Louise
Bourgeois.” They said, “She isn’t really
meeting anyone anymore, she’s not doing
the salon.” And I said, “Yes, but this is what
I would really like.” Anyway, they called up
the studio and Louise said yes. So I went
around to have tea with her and ended up
having some wine and stuff. I thought she
didn’t like me, because she really shouted at
me quite a lot!
What did she say?
She asked me if it was my first time in
New York. I said no, so she asked, “How
long have you been coming to New York?”
I said, “I don’t know, about 11 years.”
And then she just went ballistic in French.
Basically, she was saying “Why is it the
first time you’ve come to see me then?”
TRACEY EMIN
Ripe for Her American Year
Q&A
THISPAGE,FROMLEFT:TRACEYEMIN;STEVENWHITE,TRACEYEMIN,ANDWHITECUBE.OPPOSITEPAGE,CLOCKWISEFROMTOP:EDTEMPELTON;CHRISBURKE,TRACEYEMIN,ANDLOUISEBOURGEOISTRUST;TRACEYEMINANDWHITECUBE
8 | B L O U I N A R T I N F O M I A M I F A I R S E D I T I O N | D E C E M B E R 3 , 2 0 1 3
“One of the biggest derogatory remarks made about
my neons was ‘pithy, overindulgent sentimetality.’
Have they never fallen in love before? Obviously they
haven’t. Obviously they’ve never had the courage to
express any kind of emotional feelings.”
Left to right: “Just Love Me,” 2001; “Outside Myself
(Monument Valley),” 1994; “Reaching for you,” 2009–10,
made in collaboration with Louise Bourgeois; “Everyone I
Have Ever Slept With 1963–1995,” 1995

9. D E C E M B E R 3 , 2 0 1 3 | B L O U I N A R T I N F O M I A M I F A I R S E D I T I O N | 9
Tracey Emin photographed in Miami
by Ed Tempelton, October 2012

10. NOW IN ITS 24TH edition, Art Miami, one of the biggest
contemporary art fairs of the Miami season, has been
getting even bigger. Along with the second-year run of
Context, its sister fair for emerging and midcareer artists, Art
Miami’s acquisition last year of Aqua — a fair for emerging
talent, run out of a hotel — has expanded its footprint onto
the beach, as well as adding a wider variety of young and
emerging contemporary international talent to its roster,
which initially focused on galleries that traded on the sec-
ondary market. Blouin Artinfo’s ROZALIA JOVANOVIC caught
up with Art Miami director Nick Korniloff to hear more
about the expansion and why he thinks the mood going into
the Miami fair season this year is generally more upbeat.
Art Miami has expanded in the past year. With the
second year of Context and with the newer acquisition
of Aqua, how has that affected Art Miami?
It’s connected us more to younger emerging talent.
We’re fully integrated into the contemporary market,
from very young talent through midcareer, through career
artists, through classical modern. I don’t think there is
another fair that has that breadth in the city of Miami,
and then extends with a footprint on the beach.
What changes will we see at Aqua now that it’s under
the aegis of Art Miami?
The hotel has been renovated since last year, so the
ambience is improved, and we’ve added a lot to the infra-
structure of the galleries in the rooms. The VIP card for
Art Miami and Context also provides access for Aqua, and
the same for Aqua’s VIP card. We’ll be running shuttle
buses from Aqua back and forth from Art Miami
and Context, and from Miami Beach Convention Center
to and from Art Miami and Context, which will be
convenient for collectors.
We kick off December 3 with an Opening Night VIP
benefit for the new Pérez Art Museum Miami (PAMM).
And on Wednesday, after Basel closes, we’re in the middle
of our Aqua VIP preview, which opens from 4 p.m. to
11 p.m. There’s always been a great crossover between the
audience that goes to Art Basel for the opening and then
heads on over to Aqua.
Art Miami is the oldest fair during Miami Art Week.
What are some of the changes you’ve had to make
during the newer seasons?
I came in as the director in 2008 and purchased the fair with
two partners in 2009. Then, there was the globalization of
the art fair market, and Miami and Art Week had clearly
become the most important destination and event in the U.S.
for collecting contemporary art. I think there were a lot of
fair models that were barely surviving, and a lot of fair
models that were copying one another. This was also at the
beginning of the economic crash, and a lot of fairs were
working strictly with primary artists and galleries with newly
created works. I felt that there wasn’t a fair that offered
both high-quality secondary market programs alongside
solid contemporary programs. We’ve worked very hard to
put a list of galleries together that are strong, seasoned veter-
ans, well-connected with collectors, with solid secondary
market material that would also help fund the business side
through tough economic times. And that proved to be a
very successful model.
We also diversified, and introduced disciplines such as
high-quality ceramics, glass, and design. Objects were
very important to collectors who were coming. Their wall
space may have been full, and being true connoisseurs,
they were starting to buy more objects in design at the high-
est level. So that formula really created our own identity.
Why did you decide to launch Context and acquire Aqua?
Coming out of 2011, we realized that things were starting
to cure here on the economic side. The art market was
still very strong here in America, but the economy was con-
tinuing to weaken in Europe, and I talked to collectors
who knew that for European galleries, especially younger
ones, there really wasn’t a great fair in Miami that was
very international and very affordable. So we decided to
launch Context.
Aqua was a further commitment to embrace younger
talent and make sure that there was a good incubator down
the line for Context and Art Miami.
What about Context? Is it less expensive for galleries
to show there than at Art Miami?
We offer a stand of 200 square feet for $8,400, which is
an unbelievable opportunity to come to a market like
Miami and be attached to a 24-year-old fair. We had a
couple of galleries move over from Context to Art Miami
this year, like Praxis Gallery. We also have galleries that
are doing both, like Eli Klein Gallery, Magnan Metz,
Connersmith, Lyons Wier Gallery: They see the value of
being able to be close to both programs. One gallery,
Lyons Wier, is doing all three.
Anything notable in terms of new galleries this year?
We have 22 new galleries in Art Miami this year. We’re see-
ing more blue chip applicants from other international art
fairs bringing serious secondary market material to the fair,
along with new contemporary programs. For example,
David Castillo will do the show with us for the first time,
who was with Art Basel last year. We have Galerie Ernst
Hilger, Galerie Anita Beckers, Galerie Ludorff, Die Galerie,
Pascal Lansberg from Paris.
What is the range of the works for sale?
At Aqua, it’s $500 up through $15,000 to $20,000, with
maybe a couple of bigger surprises. At Context, you
could start with a few thousand dollars and work your way
up to a couple of hundred thousand, depending on how
prominent the emerging artist is. At Art Miami, it’s every-
thing from a few thousand dollars all the way up to
tens of millions of dollars.
What’s been the biggest day for you?
Opening night, Tuesday, is the can’t-miss event — the kickoff
of art week. The VIP private preview starts at 5:30 p.m.
at the Art Miami pavilion. Last year, we had 11,000 people
from 5:30 until 10, and it took a good hour and a half to
clear everyone out. Sales were very productive.
Wednesday is one of our strongest days. The pace slows
down a bit, because of the opening of Art Basel. And
then Wednesday night, the VIP preview from 4 to 11 p.m. for
Aqua, and then Thursday it really picks up again.
We reported in sales by Saturday morning of $50 million.
So it’s pretty substantial when you consider that’s just on
reported sales, and ultimately that is a very small percentage
of the fair reporting sales.
Do you expect sales to be as strong this year?
I do. Our applications were up this year for Art Miami,
with over 700 applications for a fair that has 125 positions.
Context, a fair that has 70 positions, had over 175
applications. I think there’s no doubt that a lot of dealers
who disappeared after the economic crash have either
restructured or are coming back to the market for the first
time, so there seems to be a lot more energy this year going
in than I can remember in the past couple of years.
NICK KORNILOFF
Art Miami’s Director on His Fair’s Big Plans
Q&A
ERIKADELGADO
1 0 | B L O U I N A R T I N F O M I A M I F A I R S E D I T I O N | D E C E M B E R 3 , 2 0 1 3
“I think there’s no doubt that a lot of dealers who disap-
peared after the economic crash have either restructured or
are coming back to the market for the first time.”
Nick Korniloff

12. BIACI

14. For locations and times of
the many fairs happening in
Miami, see the map and listings
on pages 22–23.
GALLERIES
ALMA FINE ART
2242 NW 1st Place
“Sceneries”
Through February 23, 2014
Works in this solo exhibition
by Esteban Pastorino Díaz fall
into two categories: “Aerial,”
photographs of colorful
landscapes, and “Panoramics,”
long exposure photographs.
ART FUSION GALLERIES
3550 North Miami Avenue
“Fusion X – Art Ascension”
Through December 16
In honor of Miami’s Art Basel
season and the gallery’s 12th
anniversary, more than 60
contemporary artists present
about 500 pieces in a wide
range of media.
KAVACHNINA CONTEMPORARY
46 NW 36th Street
“Armando Romero: The Sinners”
Through January 8, 2014
A series of “neo-eclectic composi-
tions,” from line drawings to
collage-like works, by Mexican
painter Armando Romero.
EMERSON DORSCH GALLERY
151 NW 24th Street, Suite A
“Ideas Are Executions: Dave
Hardy & Siebren Versteeg”
Through December 21
After nearly 10 years of collabora-
tors Versteeg and Hardy present-
ing joint works, the artists’
individual pieces are now present-
ed side by side for the first time,
revealing the commonalities
between the two artists’ works
and their creative processes.
CAROL JAZZAR
CONTEMPORARY ART
158 NW 91st Street
“Present Tense Future Perfect”
Opening on December 4
This group show, curated by Teka
Selman, explores contemporary
sociopolitical issues, using
common materials to reexamine
familiar cultural tropes.
HAROLD GOLEN GALLERY
2294 NW Second Avenue
“Geode”
Through December 5
Motion lenticulars by artist Chris
Dean challenge viewers’ percep-
tions with their distorted and
ever-shifting images.
WILLIAMS MCCALL GALLERY
110 Washington Avenue, CU-3
“Manuel Pardo 1952–2012 ”
Through December 29
This special Art Basel exhibition
features late paintings and
drawings by artist Manuel Pardo,
who passed away in 2012.
YEELEN GALLERY
294 NW 54th Street
“Genesis”
Through December 21
This exhibition presents new oil
and acrylic works by French-
born Miami-based artist Jerome
Soimaud, inspired in part by
the symbolism of Haitian Vodou.
MUSEUM
EXHIBITIONS
ADRIENNE ARSHT CENTER
FOR THE PERFORMING ARTS
OF MIAMI-DADE COUNTY
1300 Biscayne Boulevard
“The Art of Fashion Show”
Through December 7
The connections between art
and fashion are explored in this
exhibition, which features
creations by well-known design-
ers, including Alexander Mc-
Queen and Coco Chanel.
FROST ART MUSEUM
10975 SW 17th Street
“Eternal Cuba”
Through December 8
A collection of 22 19th- and
20th-century Cuban paintings
from the Darlene M. and Jorge
M. Pérez Collection.
“Crisis and Commerce:
World’s Fairs of the 1930s”
Through January 5, 2014
This exhibition features texts,
documents, photographs,
and models from the World’s
Fairs of the 1930s.
“Things That Cannot Be
Seen Any Other Way: The Art
of Manuel Mendive”
Through January 26, 2014
This exhibition features paintings,
sculptures, and objects by Cuban
artist Manuel Mendive Hoyo
that are inspired by orishas, ances-
tral African spirits. Mendive
aims to convey the mythology of
Africa to new audiences.
NORTON MUSEUM OF ART
1451 South Olive Avenue,
West Palm Beach
“New Work/New
Directions: Recent Acquisitions
of Photography”
Through January 12, 2014
This exhibition celebrates the
significant amount of photogra-
AROUND TOWN
What’s On in Miami
1 4 | B L O U I N A R T I N F O M I A M I F A I R S E D I T I O N | D E C E M B E R 3 , 2 0 1 3

15. phy acquired by the museum over
the past two years. The collection
includes 19th-century motion
studies by Eadweard Muybridge,
large-scale narrative works by the
Sanchez Brothers, and works by
artists including Ansel Adams,
Holly Roberts, and Eileen Cowin.
“L.A. Stories: Videos from
the West Coast”
Through January 12, 2014
Four artists come together in
this exhibition to push the
boundaries of video through
projections and installations.
“Phyllida Barlow: HOARD”
Through February 23, 2014
For the third Recognition of
Art by Women (RAW) exhibition,
sculptor Phyllida Barlow presents
a combination of new and
old works — “anti-monumental”
pieces created with everyday
urban materials, such as plywood
and polystyrene.
MOCA NORTH MIAMI
770 NE 125th Street
“Tracey Emin: Angel
Without You”
Opening December 4
In Emin’s first solo exhibition
in America, more than 60 works
from the past 20 years are
presented, with a focus on her
neon works.
PEREZ ART MUSEUM MIAMI
1103 Biscayne Boulevard
“In the Sculpture Garden:
Jedd Novatt”
Opening December 4
Geometric metal sculptures
by Paris-based American artist
Novatt are featured in the
museum’s new sculpture garden.
“Ai Weiwei: According to What?”
Opening December 4
Ai’s first major international
survey, this exhibition presents
works from the artist’s
varied output over the past
20 years, from photography
to large-scale sculptures.
“Project Gallery: Hew Locke”
Opening December 4
This installation, “For Those
in Peril on the Sea,” 2011, recalls
Miami’s storied history of
seafaring immigration with
its dozens of ship replicas, from
fishing skiffs to cruise liners,
suspended from the ceiling.
“Project Gallery:
Bouchra Khalili”
Opening December 4
French-Moroccan video artist
Bouchra Khalili explores issues
of transience and transnationalism
her trilogy “The Speeches Series,”
the final chapter of which
was commissioned by PAMM.
LOWE ART MUSEUM
1301 Stanford Drive
“?#@*$%! the Mainstream:
The Art of DIY Self Expression”
Through January 5, 2014
These 123 fanzines from Special
Collections at the University of
Miami Libraries cover a variety of
topics, from punk rock to identity
politics to conspiracy theories
— from 1965’s “Communism,
Hypnotism and the Beatles” to
2010’s “Are You a Boy or a Girl?”
“ArtLab @ the Lowe –
From Ancient Art to Modern
Molas: Recurring Themes in
Indigenous Panamá”
Through April 27, 2014
The fifth installment of the
“ArtLab @ the Lowe” series,
which gives University of Miami
students hands-on museum
experience, this exhibition
displays a variety of Panamanian
works, from ancient ceramics to
contemporary paintings.
WOLFSONIAN-FIU
1001 Washington Avenue
“The Birth of Rome”
Through May 18, 2014
Part of “Rebirth of Rome,” an
exhibition series that showcases
interbellum Italian art and
design, “The Birth of Rome”
focuses on five major architectural
projects built during the Fascist
regime, including the study
for Ferruccio Ferrazzi’s mosaic
“The Myth of Rome,” shown
here for the first time.
“Rendering War: The Murals of
A.G. Santagata”
Through May 18, 2014
Also part of “Rebirth of Rome,”
this exhibition features artist
Antonio Giuseppe Santagata’s
studies for mural paintings from
the 1920s and 1930s.
THE RINGLING MUSEUM
5401 Bay Shore Road, Sarasota
“Icons of Style”
Through January 5, 2014
A collection of costumes, illustra-
tions, and photographs that
explore the creation of style icons,
including runway pieces by
designers John Galliano for Dior
and Karl Lagerfeld for Chanel.
“Unfamiliar Realities”
Through March 9, 2014
Photographers including Minor
White, Wynn Bullock, and
Michael Kenna use the particular-
ities of their medium to distort
and reimagine reality, turning
everyday scenes into compelling
visual paradoxes.
OPPOSITEPAGE,CLOCKWISEFROMLEFT:COURTESYTHEARTISTANDLOWEARTMUSEUM;COURTESYTHEARTISTANDNORTONMUSEUMOFART;COURTESYTHEARTISTANDHAUSER&WIRTH.THISPAGE,CLOCKWISEFROMTOPLEFT:CATHYCARVER;COURTESYLAURAF.BALDWIN;LISBETHSALAS;LYNTONGARDINER
Opposite page, clockwise from left: “File” magazine, Vol. 3, No. 4, Fall 1977, at the Lowe
Art Museum; Burk Uzzle’s “Red Hamburgers, California,” 2006, at the Norton Museum of Art;
Phyllida Barlow’s “untitled: brokenupturnedhouse2013,” 2013 (detail), at the Norton Museum
of Art. This page, clockwise from top left: installation view of Ai Weiwei’s “Colored Vases,”
2007–2010, at the Pérez Art Museum Miami; Manuel Mendive’s “Yemayá,” 1970, at the Frost
Art Museum; Jesús Fuenmayor, director and curator of the Cisneros Fontanals Art Foundation;
George Hoyningen-Huene’s “Foro Mussolini, Roma,” 1937, at Wolfsonian-FIU
D E C E M B E R 3 , 2 0 1 3 | B L O U I N A R T I N F O M I A M I F A I R S E D I T I O N | 1 5
PANEL DISCUSSION: BRAZIL IN LATIN AMERICA
On Saturday, December 7, from 11 a.m.–12:30 p.m., the Cisneros Fontanals Art Foundation (CIFO)
hosts a panel discussion on the status of Brazilian contemporary art, chaired by CIFO curator and
director Jesús Fuenmayor. Speakers include curator Luiz Camillo Osorio from the Museum of
Modern Art Rio de Janeiro, and curators Jen Mergel and Liz Munsell from the Museum of Fine Arts,
Boston (MFA). Mergel and Munsell recently collaborated with CIFO on the exhibition “Permission
To Be Global/Prácticas Globales: Latin American Art from the Ella Fontanals-Cisneros Collection.”
The show, which includes pieces by 61 contemporary Latin American artists, opens at CIFO on
Wednesday, December 4, and lasts through February 2014, before moving to the MFA in March.

16. D M I T R I Y & C O
1 3 3 W 2 5 S T R E E T
S U I T E 2 E , N Y C 1 0 0 0 1
T. 2 1 2 . 2 4 3 . 4 8 0 0
E . I N F O @ D M I T R I Y C O. C O M
W W W. D M I T R I Y C O. C O M
A C O L L E C T I O N O F M A D E TO O R D E R F U R N I T U R E ,
A N T I Q U E S A N D D E C O R AT I V E O B J E C T S F O R T H E
C U R AT E D I N T E R I O R .
BRAMPTON
COLLECTION – WINTER 2013

17. The Global Forum for Design
December �– �, ����
Preview Day/ December �, ����
Design Galleries/
Antonella Villanova / Florence, Carpenters Workshop Gallery/ London & Paris, Casati Gallery/ Chicago, Cristina Grajales Gallery/ New York, Demisch Danant /
New York, Didier Ltd / London, Erastudio Apartment-Gallery/ Milan, Fine Art Silver / Brussels, Gabrielle Ammann // Gallery/ Cologne, Galerie BSL –
Béatrice Saint Laurent / Paris, Galerie Downtown – François Laffanour/ Paris, Galerie Jacques Lacoste/ Paris, Galerie kreo/ Paris, Galerie Maria Wettergren / Paris,
Galerie Patrick Seguin / Paris, Gallery SEOMI / Seoul & Los Angeles, Hostler Burrows/ New York, Jason Jacques Inc / New York, Jousse Entreprise/ Paris,
Louisa Guinness Gallery/ London, Magen H Gallery/ New York, Mark McDonald / Hudson, Moderne Gallery/ Philadelphia, Ornamentum / Hudson,
Pierre Marie Giraud / Brussels, Priveekollektie Contemporary Art + Design / Heusden aan de Maas, R 20th Century/ New York, Sebastian + Barquet / New York,
Victor Hunt Designart Dealer/ Brussels
Design On/Site Galleries/
ArtFactum Gallery/ Beirut presenting Marc Baroud & Marc Dibeh, Caroline Van Hoek / Brussels presenting Gijs Bakker, Elisabetta Cipriani / London
presenting Carlos Cruz-Diez, Industry Gallery/ Washington DC & Los Angeles presenting Benjamin Rollins Caldwell, Volume Gallery/ Chicago presenting
Jonathan Muecke, Wonderglass / London presenting Nao Tamura
Meridian Avenue & 19th Street / Miami Beach / USA
designmiami.com

18. AT ART BASEL in Miami Beach, there’s no
shortage of things to see and places to
be seen. Take a break from the convention
center to sample Miami’s flourishing
restaurants and nightlife, or just soak up
a beachside view.
EAT
The Cypress Room
This Design District restaurant is the
latest offering from award-winning chef
Michael Schwartz. The wood-paneled
dining room includes mint banquettes,
crystal chandeliers, and an abundance of
deer heads. Expect gussied-up American
dishes and a sweet finish from dessert
genius Hedy Goldsmith.
3620 NE Second Avenue
(305) 520-5197
thecypressroom.com
PB Steak
The latest addition to the Pubbelly’s Sunset
Harbour mini-empire applies its signature
communal energy and vibrant Japanese-
infused flavors to the steakhouse. There
are chalkboard walls, a raw bar, yellowtail
ceviche in gyoza shells, and steak tartare
sliders, plus buffalo sweetbreads and
French onion soup dumplings — not to
mention the option to add a Valdeon blue
cheese crust or foie gras mousse to your
shiso béarnaise–drizzled aged porterhouse.
1787 Purdy Avenue
(305) 695-9577
pbsteak.com
Khong River House
SoBe’s Khong River House serves authentic
cuisine from Northern Thailand (try
the boat noodles with braised beef and
meatballs). The rustic interior has bamboo
fish trap lampshades and walls lined with
Thai wooden crates. Adding to the appeal,
the bar Patpong Road recently opened
upstairs, serving street food and cocktails
in plastic Sippi bags, like the Laid-ee (rum,
fresh juices, and lime).
1661 Meridian Avenue
(305) 763-8147
khongriver.com
DRINK
Rec Room
Chalk it up to the wood paneling, tropical
chinoiserie wallpaper, and groovy ban-
quettes (plus an iconic Christmas Story leg
lamp), but the ’70s-inspired basement
Rec Room somehow manages the delicate
mix of unpretentiousness and exclusivity —
think Bungalow 8 back in its heyday. DJs
spin throwback jams (new wave, ’90s hip-
hop, disco) on vinyl.
Gale South Beach
1690 Collins Avenue
(305) 673-0199
recroomies.com
The Broken Shaker
Cocktails in Miami often imply rail-liquor
swill, so when the Broken Shaker set
down roots at the über-cool Freehand hos-
tel, it was like manna from mixology heav-
en. Expect fresh-pressed juices, offbeat
ingredients (Cocoa Puffs–infused bourbon,
mushroom bitters, jerk-spice reduction),
plus elixirs made from herbs grown on-site.
Freehand Miami
2727 Indian Creek Drive
(305) 531-2727
thebrokenshaker.com
Do Not Sit on the Furniture
It’s in South Beach but not of South Beach.
In fact, this lounge, opened in early
September by the guys who founded
Wynwood venue Electric Pickle, could be
from another era altogether. We’re talking
disco ball, gold-paneled ceilings, cassette-
lined walls, and black leather booths
(which you actually can sit in).
423 16th Street
(305) 924-1898
facebook.com/DoNotSit
SEE
Occupant: Jonah Bokaer X Daniel Arsham
Two sweethearts of the contemporary art
scene — NYC artist and Miami native
Daniel Arsham and choreographer Jonah
Bokaer — are at it again for another genre-
defying world premiere. This three-day,
four-performance exploration at the
Adrienne Arsht Center tests the bounds
of movement by incorporating built spaces
and chalk plaster casts of technological
objects that degrade on the stage during
the performance.
1300 Biscayne Boulevard
(877) 949-6722
arshtcenter.org
Fairchild Tropical Botanic Garden
Escape from the crowds in 85 acres of
palms, orchids, and tropical fruit trees.
This year’s design exhibition features
Brazilian artist Hugo França’s functional
pieces created from felled, burned, or dead
trees, opening December 1. On December 8
Fairchild hosts a brunch and art tour in
the garden for Art Basel VIP cardholders.
10901 Old Cutler Road, Coral Gables
(305) 667-1651
fairchildgarden.org
SHOP
Books & Books Miami Beach
This independent bookstore specializes in
art, design, fashion, and architecture,
and stocks a healthy array of local and
international magazines. For lunch, check
out the café with outdoor tables.
Bal Harbour Shops
927 Lincoln Road
(305) 532-3222
booksandbooks.com/miamibeach
Alchemist
For Basel this year, Alchemist hosts French
retailer Colette in a retro fast food–
inspired pop-up on Level 5 of Herzog &
de Meuron’s parking garage. From
December 2 through 8, drive up to the
DRIVE-THRU window for a menu stocked
with exclusive items by the likes of Kehinde
Wiley and Zaha Hadid — even “Happy
Meals” featuring a limited edition Keith
Haring coloring book in place of a burger
and fries — brought to your car by employ-
ees on roller skates.
1111 Lincoln Road
(305) 531-4653
shopalchemist.com
— JUSTIN OCEAN AND NICOLA MCCORMACK
1 8 | B L O U I N A R T I N F O M I A M I F A I R S E D I T I O N | D E C E M B E R 3 , 2 0 1 3
CLOCKWISEFROMTOP:ADRIANGAUT;MICHAELSTAVARIDIS;COURTESYBOOKS&BOOKS;COURTESYFAIRCHILDTROPICALBOTANICGARDEN
EXPLORING
WHEN IN MIAMI
Where to Eat, Drink, See, and Shop
Clockwise from top: A refreshing cocktail at the
Broken Shaker; Alchemist; Books & Books; Fairchild
Tropical Botanic Garden

19. D E C E M B E R 3 - 8 | 2 0 1 3
VIP PREVIEW | DECEMBER 3
Abby M. Taylor Fine Art | New York Aldo de Sousa Gallery | Buenos Aires Alfredo Ginocchio Gallery | Mexico Allan Stone Gallery | New York Antoine Helwaser Gallery | New York Arcature Fine Art | Palm
Beach ARCHEUS / POST-MODERN | London Armand Bartos Fine Art | New York Art Nouveau | Miami Arthur Roger Gallery | New Orleans Ascaso Gallery | Miami Birnam Wood Galleries | New York Blue
Leaf Gallery/J. Cacciola Gallery | New York Bolsa De Arte | Porto Alegre Bonni Benrubi Gallery | New York Bridgette Mayer Gallery | Philadelphia C. Grimaldis Gallery | Baltimore Catherine Edelman Gallery |
Chicago CernudaArte|CoralGables ChristopherCuttsGallery|Toronto ClaireOliverGallery|NewYork CONNERSMITH.|WashingtonDC ContessaGallery|Cleveland CynthiaCorbettGallery|London Cynthia-
Reeves | New York David Castillo Gallery | Miami David Klein Gallery | Detroit David Lusk Gallery | Memphis David Richard Gallery | Santa Fe De Buck Gallery | New York Dean Project | New York DIE Galerie
| Frankfurt Dillon Gallery | New York Douglas Dawson | Chicago Durban Segnini Gallery | Miami Durham Press | Durham Eli Klein Gallery | New York Espace Meyer Zafra | Paris Ethan Cohen NewYork | New
York FaMaGallery|Verona Flowers|NewYork GalerieAnitaBeckers|Frankfurt GalerieErnstHilger|Vienna GalerieForsblom|Helsinki GalerieLudorff|Dusseldorf GalerieOlivierWaltman|Paris GaleriePascal
Lansberg|Paris GalerieRenateBender|München GalerieTerminus|Munich GalerievonBraunbehrens|Munich GalerievonVertes|Zürich GALLERIANDERSSON/SANDSTRÖM|Umea GALLERIAFUMAGALLI
| Milano Gallery Delaive | Amsterdam Gallery Kleindienst | Leipzig gallery nine5 | NewYork Gerald Peters Gallery | NewYork Goya Contemporary | Baltimore Guijarro de Pablo | Mexico City Hackelbury Fine Art
| London Heller Gallery | NewYork HollisTaggart Galleries | NewYork Jackson Fine Art | Atlanta James Barron Art | South Kent James Goodman Gallery | NewYork Jenkins Johnson Gallery | NewYork Jerald
Melberg Gallery | Charlotte Jonathan Novak Contemporary Art | Los Angeles Juan Ruiz Gallery | Miami Keszler Gallery | Southampton KM Fine Arts | Chicago Laurence Miller Gallery | New York Lausberg
Contemporary | Düsseldorf LeonTovar Gallery | NewYork Leslie Sacks Contemporary | Santa Monica LESLIE SMITH GALLERY | Amsterdam Lisa Sette Gallery | Scottsdale LyonsWier Gallery | NewYork Magnan
Metz Gallery | NewYork Mark Borghi Fine Art Inc.| NewYork Matteo Lampertico | Milano Mayoral | Barcelona McCormick Gallery | Chicago Michael Goedhuis | London Michael Schultz Gallery | Berlin MikeWeiss
Gallery|NewYork MindySolomonGallery|St.Petersburg Mixografia|LosAngeles ModernbookGallery|SanFrancisco ModernismInc.|SanFrancisco NancyHoffmanGallery|NewYork NicholasMetivierGallery
| Toronto NIKOLA RUKAJ GALLERY | Toronto Nohra Haime Gallery | NewYork N.O.M.A.D. | Brussels Now Contemporary | Miami Osborne Samuel | London Other Criteria | London Pan American Art Projects |
Miami PaulThiebaud Gallery | San Francisco Peter Marcelle Gallery | Bridgehampton Piece Unique | Paris Praxis International Art | NewYork Rosenbaum Contemporary | Boca Raton Rudolf Budja Gallery LLC |
Miami Beach Schantz Galleries | Stockbridge ScottWhite Contemporary Art | La Jolla Simon Capstick-Dale Fine Art | NewYork Sims Reed Gallery | London SundaramTagore Gallery | NewYork Todd Merrill 20th
Century+StudioContemporary|NewYork TORBANDENA|Trieste TORCH|Amsterdam Tresart|CoralGables UnixGallery|NewYork VincentVallarinoFineArt|NewYork Waterhouse&Dodd|London Westwood
Gallery | New York Wetterling Gallery | Stockholm William Shearburn Gallery | Saint Louis Woolff Gallery | London Yares Art Projects | Santa Fe Zadok Gallery | Miami Zolla/Lieberman Gallery Inc. | Chicago
ART MIAMI GALLERIES:
ART VIDEO LOUNGE
Sponsored by
For the 2013 Art Video Lounge, La Rete Art Projects has invited the Video-Forum of Neuer Berliner Kunstverein
(n.b.k.), the oldest collection of video art in Germany now in its 42nd year, to present works from its archive of
more than 1,600 videos spanning the history of the medium. A special program the Video-Forum has curated
exclusively for CONTEXT features Hartmut Bitomsky, Anetta Mona Chişa & Lucia Tkáčová, Hito Steyerl and Amir
Yatziv. Recognizing the origins of video technology within the military, this exhibition stimulates a timely dialogue
with a critical examination of the complex military technology, ideology and politics of imagery.
ZOOM IN
ZOOM IN provides three galleries with a platform to screen video works by artists that LaRete Art Projects
believes to be of notable significance. In a new format, the videos in this exhibition will play continuously inside
viewing booths along the covered walkway that connects the CONTEXT and Art Miami pavilions in the courtyard
closed to traffic and transformed into a gathering space with a café, lounge and additional curated projects.
THINK BIG
THINK BIG gives artists participating in Art Miami space to stretch out in the passageways linking the fair’s three
main pavilions.These solo installations have been selected by the discerning curators of LaRete Art Projects from
proposals by galleries participating in the fair.“Thinking big” is not only a question of the artworks’ size and scale:
expect to see daring ideas, innovative approaches to everyday life, and courageous concepts for major changes
proposed by visionary artists.
CHECK OUT
CHECK OUT positions provocative installations and remarkable projects by individual artists participating in Art
Miami and CONTEXT at the areas of highest exposure, inside and outside the fair entrances and in the Maserati
VIP Lounge at Art Miami. Check these pieces out – LaRete Art Projects considers them exceptional works of
cutting-edge art or gems among modern classics.
ONE ART NATION
CONTEXT has partnered with One Art Nation to feature daily symposia presented by leading art experts.
Seminars focus on various art specialties including art history, market trends, advisory services, appraisals,
insurance, shipping, storage, design, lighting and security. These educational programs are all free for VIP
cardholders in the CONTEXT VIP Lounge.
Celebrate Aqua Art Miami’s first year as a part of the Art Miami family of fairs. A top
fair for emerging art held at a classic South Beach hotel since 2005, Aqua’s 2013
edition presents 47 vibrant and noteworthy exhibitors:young and established galleries
showcasing emerging and mid-career artists, as well as innovative multimedia programs, immersive installations
and solo artist projects.Highlights include AQUAVIDEO LOUNGE curated by Montgomery Knott of NYC’s Monkey
Town; SOUND VISION, a daily program of curated visual art and music by Lyons Wier Music & Audiophile Plus,
educational programs, and solo projects by Gary Baseman (Shulamit Gallery, Los Angeles), Kevin Berlin (Mark
Miller Gallery, New York), Mari Kim (EJMQ, Seoul) and Steve Lambert (Charlie James Gallery, Los Angeles).
For hours and complete show information visit www.aquaartmiami.com
ART MIAMI + CONTEXT 2013 | SPECIAL PROGRAMS & EVENTS
CURATED BYLARETEART PROJECTS: Julia Draganović, Elena Forin and Claudia Löffelholz
TUESDAY, DECEMBER 3 - SUNDAY, DECEMBER 8, 2013 - DURING FAIR HOURS
For complete show information visit:
www.art-miami.com | www.contextartmiami.com
LOCATION: Midtown Miami I Wynwood, 3101 & 3201 NE 1st Avenue, Miami, FL 33137
VIP PREVIEW: Tuesday Dec 3, 5:30pm - 10pm | Access for Art Miami | CONTEXT
Aqua VIP Cardholders & Press
PARKING: Valet and general parking directly across the street from the fair
DAILY SHUTTLE SERVICE:
• JW Marriott Marquis to/from Art Miami Pavilion; shuttle departs every 30 minutes
• Art Miami Pavilion to Aqua Art Miami & Miami Convention Center (17th & Washington);
continuous loop every 30 minutes
GENERAL ADMISSION:
Wednesday, December 4 11 am – 7 pm
Thursday, December 5 11 am – 7 pm
Friday, December 6 11 am – 8 pm
Saturday, December 7 11 am – 7 pm
Sunday, December 8 11 am – 6 pm
OFFICIAL SPONSORS:
532 Gallery Thomas Jaeckel | New York Accola Griefen Gallery | New York Alicia David Contemporary Art | London Alida Anderson Art Projects | Potomac Amstel Gallery | Amsterdam Andrea Schwartz
Gallery | San Francisco Anna Kustera Gallery | New York Arch Gallery | Miami Art Lexing | Miami ASYMMETRIK | New York Athena Contemporânea | Rio de Janeiro Aureus Contemporary | Wakefield Baang
+ Burne Contemporary | New York blunt | Toronto camara oscura galeria de arte | Madrid Casa de Costa | New York Cheryl Hazan Contemporary Art | New York CONNERSMITH. | Washington DC Cube
Gallery | London Da Xiang Art Space | Taichung Denise Bibro Fine Art | New York Eduardo Secci Contemporary | Florence Eli Klein Gallery | New York Fabien Castanier Gallery | Studio City FitzRoy Knox
Gallery | New York Galeria Enrique Guerrero | Mexico City Galeria Sicart | Barcelona Galerie Berlin | Berlin GALERIE KORNFELD | Berlin Galerie Obrist | Essen Galerie Richard | New York Galleri Urbane
Marfa + Dallas | Dallas Galleria Ca’ D’Oro | Miami Gallery Henoch | New York Heitsch Gallery | Munich JanKossen Contemporary | Basel JJ Joong Jung Gallery | Seoul Julian Navarro Projects | Long Island
City Kathryn Markel Fine Arts | New York Kavachnina Contemporary | Miami Kim Foster Gallery | New York Kuhn & Partner | Berlin Library Street Collective | Detroit LICHT FELD | Basel Lyle O. Reitzel
Arte Contemporaneo | Santo Domingo Lyons Wier Gallery | New York Magnan Metz Gallery | New York Mark Wolfe Contemporary Art | San Francisco metroquadro | Rivoli N2 Galería | Barcelona Officine
dell’Immagine | Milan P.S.H. project | Miami Packer Schopf Gallery | Chicago Patricia Conde Galería | Mexico City Pentimenti Gallery | Philadelphia Porter Contemporary | New York SCHMALFUSS BERLIN
| Berlin Seager Gray Gallery | Mill Valley Shulamit Gallery | Venice Sous Les Etoiles Gallery | New York Stephan Stoyanov Gallery | New York Susan Eley Fine Art | New York Swedish Photography
| Berlin TAMMEN & Partner | Berlin The McLoughlin Gallery | San Francisco The Proposition | New York VIMM GALLERY | Czech Republic White Room Art System | Capri Whitestone Gallery | Tokyo
CONTEXT GALLERIES:
D E C E M B E R 4 - 8 | 2 0 1 3
VIP PREVIEW | DECEMBER 4

20. WITH SPACES IN Lucerne and Beijing, gal-
lerist Urs Meile takes cultural ambassador-
ship seriously. Opened in 1992, the gallery
hit its stride in ’95 when it began to open
up the international market to contempo-
rary Chinese art with artists such as Qiu
Shihua, Wang Xingwei, and Xie Nanxing.
Since moving to its new Ai Weiwei–
designed Cao Changdi, Beijing, outpost in
2006, artists from the West such as Rémy
Markowitsch, Julia Steiner, Christian
Schoeler, and Brendan Earley have been
similarly afforded a platform to present
their work in China through a series
of artist-in-residence programs within the
gallery complex.
Meile’s Miami booth features a quiver
of works by top-notch Chinese talent, such
as Ai Weiwei’s “Forever 6 (Stainless Steel
Bicycles),” 2013. A continuation of Ai’s
“Forever Bicycles” series, which was shown
in October to great acclaim during
Toronto’s all-night Nuit Blanche arts festi-
val, the gold-hued example on offer at Art
Basel features six frames fashioned together
such that the outline of their wheels (no
tires) forms a vertical hexagon.
Other highlights iinclude Hu Qingyan’s
“Edition of 8,” 2013, which sees a single
rock from North China’s Hebei province
replicated eight times in marble, Cheng
Ran’s video work “The Last Sentence,”
2013, and paintings by Wang and Schoeler.
— ALEXANDER FORBES
See Galerie Urs Meile at Art Basel in Miami Beach,
Booth A17.
Urs Meile; Wang Xingwei’s “Untitled (in spring),” 2013
GALERIE URS MEILE
Lucerne, Switzerland / Beijing, China
DEALER SPOTLIGHT
FROMLEFT:TWOIMAGES,COURTESYFREDRICSNITZERGALLERY;©MARIONNITSCH;COURTESYWANGXINGWEIANDGALERIEURSMEILE
YOU MIGHT BE hard pressed to find a fig-
ure more hip to the Miami art scene than
Fredric Snitzer. Not only does he run a lead-
ing gallery, he is an exhibiting artist with an
MFA in sculpture and a professor at the
New World School of the Arts in Miami.
He says when he arrived in the city in 1977,
he “basically came to Miami trying to
figure out how to make a living and be an
artist.” Within the same year, he had opened
“a space to have a studio and sell posters —
it evolved into the gallery.”
This year at Art Basel in Miami Beach,
Snitzer brings works by sculptor Alice
Aycock, multimedia artist Enrique Martínez
Celaya (see page 1), and painter Ridley
Howard. Also on view are Hernan Bas’s fig-
urative painting “Untitled,” 2013, Michael
John Kelly’s abstract painting “Broad
View,” 2013, and Alexander Kroll’s “Ikat
Creature,” 2013, another abstract work.
After the fair ends, Snitzer will continue
working with Aycock on her project
“Paper Chase,” a series of large-scale alumi-
num and fiberglass sculptures that will
be situated along the Park Avenue median in
Midtown Manhattan beginning in May.
— CHRIS RETSINA
See Fredric Snitzer Gallery at Art Basel in Miami
Beach, Booth B26.
Fredric Snitzer; Alexander Kroll’s “Ikat Creature,” 2013
FREDRIC SNITZER
Miami, Florida
DEALER SPOTLIGHT
2 0 | B L O U I N A R T I N F O M I A M I F A I R S E D I T I O N | D E C E M B E R 3 , 2 0 1 3
MIAMI FAIRS EDITION
BENJAMIN GENOCCHIO
EDITOR IN CHIEF
Elizabeth Manus
DEPUTY EDITOR, NEW YORK
Frank Gargiulo
ART DIRECTOR, NEW YORK
Nicole LaCoursiere
PHOTO EDITOR &
PRODUCTION MANAGER
Anneliese Cooper
ASSISTANT EDITOR
Emily Blake
INTERN
David Gursky
PRESIDENT, GLOBAL DEVELOPMENT
Ben Hartley
PRESIDENT
Bruce W. Ferguson
VICE CHAIRMAN
B. William Fine
PRESIDENT, GLOBAL SALES
Dawn Fasano
GENERAL COUNSEL
SALES
NORTH AMERICA
Wendy Buckley
Kathleen Cullen
Judy Holm
Candy Light
Kathy Murphy
Julia Nihon
Carmela Rea
Andrea Renaud
Kate Shanley
Brian Souser
Suzonne Taylor
LATIN AMERICA
Sarali Cota
Ana Pessoa
Fernando Hugo Pinheiro
EUROPE
Valerie Genty
Marie-Kathrin Krimphoff
Catherine Loewe
Robert Logan
Peter Neerinckx
Romina Provenzi
Jean Ruffin
Lindsay Russell
Katerina Sarkisova
Anne-Laure Schuler
Mia Stock
ASIA
Janice Febbraio
Inna Kanounikova
Suhyun Lee
Faith Yanai
INDIA
Sandesh Jayant Gupte
BlouinARTINFO.comDailyEditionispublishedby LouiseBlouinMedia
GroupInc.,601West26thStreet,Suite410,NewYork,NY10001©2013.
Allmaterialiscompiledfromsourcesbelievedtobereliable,butpublished
withoutresponsibilityforerrorsoromissions.Blouinartinfo.com
acceptsadvertisementsfromadvertisersbelievedtobeofgoodrepute,but
cannotguaranteethe authenticityorqualityofobjectsorservicesadver-
tisedinitspages.Allrights,includingtranslationintootherlanguages,
reserved bythepublisher.Nothinginthispublicationmaybereproduced
withoutthepermissionofthepublisher.ThenameBlouinartinfo.com®is
apendingtrademarkintheUSPTO byLouiseBlouinMediaGroup,Inc.,and
cannotbeusedwithoutitsexpresswrittenconsent.

22. FAIRS, MUSEUMS,
COLLECTIONS, AND
OTHER ART SPACES
ON THE MAP
1. AQUA ART MIAMI
1530 Collins Avenue
VIP preview:
Wednesday, December 4, 4–11 p.m.
Thursday, December 5, 12–9 p.m.
Friday, December 6, 11 a.m.–9 p.m.
Saturday, December 7,
11 a.m.–9 p.m.
Sunday, December 8, 11 a.m.–6 p.m.
2. ART BASEL IN MIAMI BEACH
Miami Beach Convention Center,
1901 Convention Center Drive
Invite-only preview:
Wednesday, December 4, 11 a.m.–6 p.m.
VIP vernissage:
Wednesday, December 4, 6–9 p.m.
Thursday, December 5, 12–8 p.m.
Friday, December 6, 12–8 p.m.
Saturday, December 7, 12–8 p.m.
Sunday, December 8, 12–6 p.m.
3. ART MIAMI
3101 NE First Avenue
VIP preview:
Tuesday, December 3, 5:30–10 p.m.
Wednesday, December 4, 11 a.m.–7 p.m.
Thursday, December 5, 11 a.m.–7 p.m.
Friday, December 6, 11 a.m.–8 p.m.
Saturday, December 7, 11 a.m.–7 p.m.
Sunday, December 8, 11 a.m.–6 p.m.
4. BRAZIL ARTFAIR
190 NE 36th Street
VIP preview:
Tuesday, December 3, 5–10 p.m.
Wednesday, December 4, 11 a.m.–7 p.m.
Thursday, December 5, 11 a.m.–7 p.m.
Friday, December 6, 11 a.m.–8 p.m.
Saturday, December 7, 11 a.m.–7 p.m.
Sunday, December 8, 11 a.m.–7 p.m.
5. CONTEXT
3201 NE First Avenue
VIP preview:
Tuesday, December 3, 5:30–10 p.m.
Wednesday, December 4,
11 a.m.–7 p.m.
Thursday, December 5, 11 a.m.–7 p.m.
Friday, December 6, 11 a.m.–8 p.m.
Saturday, December 7, 11 a.m.–7 p.m.
Sunday, December 8, 11 a.m.–6 p.m.
6. DESIGN MIAMI
Corner of Meridian Avenue
& 19th Street
VIP preview:
Tuesday, December 3, 12–6 p.m.
VIP vernissage:
Tuesday, December 3, 6–9 p.m.
Wednesday, December 4, 11 a.m.–9 p.m.
Thursday, December 5, 12–8 p.m.
Friday, December 6, 12–8 p.m.
Saturday, December 7, 12–8 p.m.
Sunday, December 8, 12–6 p.m.
7. INK MIAMI ART FAIR
Suites of Dorchester, 1850 Collins Avenue
VIP preview:
Wednesday, December 4, 10 a.m.
Wednesday, December 4, 12–5 p.m.
Thursday, December 5, 10 a.m.–7 p.m.
Friday, December 6, 10 a.m.–7 p.m.
Saturday, December 7, 10 a.m.–7 p.m.
Sunday, December 8, 10 a.m.–3 p.m.
8. MIAMI PROJECT
Corner of NE First Avenue &
NE 30th Street
VIP preview:
Tuesday, December 3, 4:30–10 p.m.
Wednesday, December 4, 11 a.m.–5:30 p.m.
Thursday, December 5, 11 a.m.–7 p.m.
Friday, December 6, 11 a.m.–8 p.m.
Saturday, December 7, 11 a.m.–7 p.m.
Sunday, December 8, 11 a.m.–6 p.m.
9. NEW MATERIAL ART FAIR
855 Collins Avenue
Opening reception:
Thursday, December 5, 6–10 p.m.
Friday, December 6, 12–8 p.m.
Saturday, December 7, 12–8 p.m.
Sunday, December 8, 12–6 p.m.
10. RED DOT MIAMI
3011 NE First Avenue
VIP reception:
Tuesday, December 3, 6–10 p.m.
Wednesday, December 4,
11 a.m.–6 p.m.
Thursday, December 5, 11 a.m.–8 p.m.
Friday, December 6, 11 a.m.–8 p.m.
Saturday, December 7, 11 a.m.–8 p.m.
Sunday, December 8, 11 a.m.–6 p.m.
11. SCOPE MIAMI
1000 Ocean Drive
Platinum preview gala:
Monday, December 2, 5–8 p.m.
VIP preview:
Tuesday, December 3, 1–9 p.m.
Wednesday, December 4,
11 a.m.–8 p.m.
Thursday, December 5, 11 a.m.–8 p.m.
Friday, December 6, 11 a.m.–8 p.m.
Saturday, December 7, 11 a.m.–8 p.m.
Sunday, December 8, 11 a.m.–8 p.m.
12. SELECT FAIR
1732 Collins Avenue
VIP vernissage:
Wednesday, December 4, 7–11 p.m.
Thursday, December 5, 10 a.m.–7 p.m.
Friday, December 6, 10 a.m.–7 p.m.
Saturday, December 7, 10 a.m.–7 p.m.
Sunday, December 8, 10 a.m.–7 p.m.
13. SPECTRUM MIAMI
Corner of NE First Avenue &
NE 30th Street
VIP preview:
Wednesday, December 4, 6–10 p.m.
Thursday, December 5, 12–8 p.m.
Friday, December 6, 12–9 p.m.
Saturday, December 7, 12–9 p.m.
Sunday, December 8, 11 a.m.–5 p.m.
14. UNTITLED.
Corner of Ocean Drive & 12th Street
Invite-only preview:
Monday, December 2, 6–9 p.m.
VIP preview:
Tuesday, December 3, 3–7 p.m.
Wednesday, December 4, 11 a.m.–7 p.m.
Thursday, December 5, 11 a.m.–7 p.m.
Friday, December 6, 11 a.m.–7 p.m.
Saturday, December 7, 11 a.m.–7 p.m.
Sunday, December 8, 11 a.m.–6 p.m.
15. BASS MUSEUM OF ART
2100 Collins Avenue
(305) 673-7530
Wednesday–Sunday, 12–5 p.m.
16. WOLFSONIAN–FIU
1001 Washington Avenue
(305) 531-1001
12–6 p.m.
Friday, until 9 p.m.
Closed Wednesday
17. BAKEHOUSE ART COMPLEX
561 NW 32nd Street
(305) 576-2828
12–5 p.m.
18. CENTER FOR VISUAL COMMUNICATION
541 NW 27th Street
(305) 571-1415
Tuesday–Friday, 10 a.m.–5 p.m.
Saturday, 12–5 p.m.
Closed Sunday and Monday
19. DE LA CRUZ COLLECTION
23 NE 41st Street
(305) 576-6112
Tuesday–Saturday, 10 a.m.–4 p.m.
Closed Sunday and Monday
20. LOCUST PROJECTS
3852 North Miami Avenue
(305) 576-8570
Tuesday–Saturday, 12–5 p.m.
21. RUBELL FAMILY COLLECTION
95 NW 29th Street
(305) 573-6090
Wednesday, December 4,
9 a.m.–6 p.m.
Thursday, December 5,
9 a.m.–6 p.m.
Friday, December 6, 9 a.m.–6 p.m.
Saturday, December 7, 9 a.m.–6 p.m.
Sunday, December 8, 9 a.m.–6 p.m.
JUST OFF THE MAP
LOWE ART MUSEUM
1301 Stanford Drive
(305) 284-3535
Tuesday–Saturday, 10 a.m.–4 p.m.
Sunday, 12–4 p.m.
Closed Monday
MOCA NORTH MIAMI
770 NE 125th Street
(305) 893-6211
Tuesday, Thursday, Friday,
Saturday, 11 a.m.–5 p.m.
Wednesday, 1–9 p.m.
Sunday, 12–5 p.m.
Closed Monday
NADA ART FAIR
The Deauville Beach Resort,
6701 Collins Avenue
VIP preview:
Thursday, December 5, 10 a.m.–2 p.m.
Thursday, December 5, 2–8 p.m.
Friday, December 6, 11 a.m.–8 p.m.
Saturday, December 7, 11 a.m.–8 p.m.
Sunday, December 8, 11 a.m.–5 p.m.
PEREZ ART MUSEUM MIAMI (PAMM)
1103 Biscayne Boulevard
(305) 375-3000
Tuesday–Sunday, 10 a.m.–6 p.m.
Thursday, until 9 p.m.
Closed Monday
PULSE MIAMI
59 NW 14th Street
VIP brunch:
9 a.m.–1 p.m.
Thursday, December 5, 1–7 p.m.
Friday, December 6, 10 a.m.–7 p.m.
Saturday, December 7,
10 a.m.–7 p.m.
Sunday, December 8, 10 a.m.–5 p.m.
VIZCAYA MUSEUM & GARDENS
3251 South Miami Avenue
(305) 250-9133
9:30 a.m.–4:30 p.m.
Closed Tuesday
A LITTLE FARTHER
NORTON MUSEUM OF ART
1451 South Olive Avenue,
West Palm Beach
(561) 832-5196
Tuesday, Wednesday, Friday,
Saturday, 10 a.m.–5 p.m.
Thursday, 10 a.m.–9 p.m.
Sunday, 11 a.m.–5 p.m.
Closed Monday
THE RINGLING MUSEUM
5401 Bay Shore Road, Sarasota
(941) 359-5700
10 a.m.–5 p.m.
Thursday, until 8 p.m.
2 2 | B L O U I N A R T I N F O M I A M I F A I R S E D I T I O N | D E C E M B E R 3 , 2 0 1 3
ART GUIDE
WHERE TO GO

23. D E C E M B E R 3 , 2 0 1 3 | B L O U I N A R T I N F O M I A M I F A I R S E D I T I O N | 2 3
5 Street
7 Street
8 Street
13 Street
14 Street
16 Street
Lincoln Lane South
Lincoln Lane North
17 Street
Dade Boulevard
North
BayRoad
PrairieRoad
PineTreeDrive
ParkAvenue
23 Street
21 Street
18 Street
19 Street
20 Street
MeridianAvenueMeridianAvenue
AltonRoad
WestAvenue
FlamingoDrive
JamesAvenue
ConventionCenterDrive
CollinsAvenue
CollinsCourt
WashingtonAvenue
OceanCourt
OceanDrive
11 Street
10 Street
9 Street
12 Street
15 Street
1
26 7
9
14 Place
EuclidAvenue
11
12
14
15
16
CollinsAvenue
NE 39 St
NW 36 Street
NE 35 St
NE 30 St
NW 35 Street
NW 34 Street
NW 33 Street
NW 32 Street
NE 31 St
NE 32 Street
NE 33 Street
NE 34 Street
NE 35 Ter
NW 29 Street
NW 28 Street
NE 28 St
NW 27 Street
NE 27 Street
NW 26 Street NE 26 St
NE 25 Street
NE 24 Street
NE 23 Street
NE 22 Street
NE 21 Street
NE 20 Terrace
NE 20 Street
NW 25 Street
NW 24 Street
NW 23 Street
NW 22 Street
NW 5 Avenue
NW5Place
NW6Avenue
NW5Avenue
NW3Avenue
NW1AvenueNW1Avenue
NW1Court
NW1Place
NorthMiamiAvenue
NE2AvenueNE2Avenue
BiscayneBoulevard
NE1CourtEastCoastAve
NE1Avenue
NW2Avenue
NW 30 Street
3
4
5
8
NW 39 Street
NW 37 Street
NW 40 Street
NW 41 Street
NE 42 Street
NW 42 Street
NW 44 Street
Julia Tuttle Causeway
Julia Tuttle Causeway
NE1Avenue
NE2Avenue
NW2Avenue
NW1Avenue
NE 29 Street
10
13
17
18
19
21
DESIGNESDESIGN
DISTRICTSTDISTRICT
WYNWOODW
yyy
NEastC
AvenueAvenueNN
ausew
Julia TJulia T
NorthFederalHighway
edhF
ghway
MIAMIAM
BEACHEACAC
20

24. TO BREAK THE RULES,
YOU MUST FIRST MASTER
THEM.
THE WATCH THAT BROKE ALL THE RULES, REBORN.
IN 1972, THE ORIGINAL ROYAL OAK SHOCKED THE
WATCHMAKING WORLD AS THE FIRST HAUTE
HOROLOGY SPORTS WATCH TO TREAT STEEL AS A
PRECIOUS METAL. TODAY THE NEW ROYAL OAK
COLLECTION STAYS TRUE TO THE SAME PRINCIPLES
SET OUT IN LE BRASSUS ALL THOSE YEARS AGO:
“BODY OF STEEL, HEART OF GOLD”.
OVER 130 YEARS OF HOROLOGICAL CRAFT, MASTERY
AND FINE DETAILING LIE INSIDE THIS ICONIC MODERN
E X T E R I O R ; T H E P U R P O S E F U L R O YA L O A K
ARCHITECTURE NOW EXPRESSED IN 41MM
DIAMETER. FROM AVANT-GARDE TO ICON.
ROYAL OAK
IN STAINLESS STEEL.
SELFWINDING
MANUFACTURE MOVEMENT.
AUDEMARS PIGUET BOUTIQUES. 646.375.0807
NEW YORK: 65 EAST 57TH STREET, NY. 888.214.6858
BAL HARBOUR: BAL HARBOUR SHOPS, FL. 866.595.9700
AUDEMARSPIGUET.COM
PROUD PARTNER OF
MANUFACTURE MOVEMENT.