It is a truth universally acknowledged that visitors to Miami Art Week’s Satellite Art Show should expect the unexpected. Even those who came prepared were still confounded by this year’s edition, where experiences included rubbing elbows with ghosts in a nightclub, exploring hallucinatory, iridescent caverns, and taking virtual treks to the Egyptian underworld. Satellite Art Show proudly occupies the liminal boundary between contemporary art and cultural trendsetter, serving as a glimpse through the looking glass into the future of groundbreaking art. Virtual reality experience and immersive installations held court with groundbreaking performance art and interactive exhibitions in an abandoned hotel. Satellite Art Show, located at 74th street and Ocean Terrace, has tapped into the free spirit of North Beach in presenting an untethered yet conceptually solid selection of art offerings to visitors. Diversity of medium and concept seeps through the floorboards in this unapologetically creative space, with exhibitors turning the relative disadvantage of working within an architecturally challenging space into new and exciting models of site-specificity. Several exhibitors even transformed their now-defunct bathrooms into party zones complete with balloons, beer cans and mirror shards. If rock stars trashed a hotel that was quickly transformed into a high caliber contemporary art exhibition, the result would mimic Satellite Art Show.
Here we wandered through nine exceptional experiences on view at Satellite Art Show 2017 for Miami Art Week.
Famous on Mars x Susie Mag (Brooklyn, NY)
Famous on Mars and Susie Mag are each captivating, boundary-pushing female forward entities. Famous on Mars’ AnnaLiisa Ariosa-Benston is an artist and emerging creative icon, renowned for her feminist gear and art objects. Susie Mag is a zine putting a spotlight on female and non-gender binary identified folks. Both are based in Brooklyn, NY and collaborated to formidable effect for Satellite Art Show. Susie Mag brought all existing iterations of their published zines to peruse, focusing on fierce emerging artistic talent from Brooklyn and beyond. A space for creatives working from the margins, Susie is a creative space promoting equality in the arts with an emphasis on quality and thought-provoking content. With a creatively arranged space offering everything from female-forward fashion to zines to mixed material artworks, Famous on Mars & Susie Mag brought an engaging and meaningful multisensory experience for visitors to Satellite Art Show.
The Haunt (Miami Beach, elsewhere)
The Haunt: what can I say? This place had it all, a la Stefan from Saturday Night Live. Dancing ghosts, plush coffins, glittering rum cocktails, even a phantom DJ. An experiential space where attendees were forced to wait in line (for a marginal amount of time) to be asked by a bouncer if their name was on the list, visitors where then scanned into an augmented reality experience: a club for the ghosts of Miami Beach club life. The Haunt managed a delicate balancing act that so many exhibitions miss. An unforgettable club experience, visitors could dance and party while simultaneously learning about the lost legacies of the Miami Beach scene. The Haunt brought an incredible vision of how we engender and protect cultural legacy into what was easily the most party-ready exhibition at Satellite Art Show.
The Tanga art collective at Satellite Art Show offered up a little bit of everything good, from artwork to …haircuts. With installation artwork occupying the bathroom area into the center of the space, mirror shards shining brilliantly from the bathroom sink and amorphous sculptures rising in surprising configurations to greet the visitor, this collective featured artworks along with the styling work of Andrew Prieto and Rachel Chick. Visitors were advised to swing by if they wanted a haircut and to be flexible about returning within a certain time slot. The room and artists within it were unmistakable: Chick’s flashy, diamond-encrusted bodysuit alone was worth a second glimpse. For cheeky concept and bathroom accoutrements, Tanga was a standout at the show.
Christopher Stout (ADO Gallery) (Brooklyn, NY)
Linear Anagram, a show presented by curator Christopher Stout of ADO Projects in Brooklyn, features the work of artists who also directly contribute to arts organizations that serve as platforms for other artists working in New York City and beyond. Featuring an unprecedented array of work, from abstract wall-mount sculptures to tongue-in-cheek photography, the exhibition presents work by artists Ambre Kelly + Andrew Gori, Thomas Burr Dodd, Colin Radcliffe, Jen Hitchings, Julie Torres, Mark Joshua Epstein, Nick Naber, Noah Becker, Paul D’Agostino, Sharilyn Neidhardt, Will Hutnick, and Vincent Como. The works are spread throughout the space in an immaculately-curated array, providing insights into the driving factors that motivate artists who also give of themselves in order to produce opportunities to other emerging artists. A fun and insightful exhibition echoing Satellite’s role in elevating ground-breaking contemporary art, Stout has applied his incisive curatorial eye to profound effect with this exhibition.
Arts + Leisure (New York, NY)
A trip down into a quixotic archive of image and text form the core experience at Arts + Leisure at Satellite Art Show. The space showed artist Aimee M. Odum’s Horizon Lines work in a series of videos and photo/text artworks by Jessica Wynne that probed notions of geographic orientation and identity. Glimpses of the natural landscape, de-contextualized and disorienting, created an interwoven body of work across multiple mediums exploring how we relate to immediate spatial concepts. Layering imagery through different interpretations, including analog letters and digital compositions, Odum’s and Jessica’s works demanded visceral consideration and unrelenting attention from the viewer. Arts & Leisure presented two artists with a firm grasp of how imagined pasts and futures can intersect in dizzying, wondrous ways.
Link to Installation Video: https://vimeo.com/227748107.
Performance is Alive (Brooklyn, NY)
Curator Quinn Dukes organized Performance is Alive in the performance project space at Satellite Art Show, and she drew from her wealth of resources to provide a wide range of programming for visitors to the space. Incorporating video and panel discussions alongside live performances by artists such as Alice Vogler, Ayana Evans, Hu Renyi, Luis Mejico and Katya Grokhovsky, Duke applied a rigorous eye toward programming performances that investigate our contemporary condition in profound and absurd ways. By encompassing a wide swath of artistic considerations for the Satellite visitor, no two visitors experienced the same encounter when traversing Satellite’s performance room and adjacent, interstitial spaces.
Con Artist Collective (New York, NY)
Featuring dozens of artists who comprise the collective’s membership base, Con Artist Collective’s Satellite showing offered something for everyone. Paintings and mixed media works spanned two adjacent spaces, all bright colors and textured surfaces. Located firmly in the heart of the space an inconceivable adventure awaited: a virtual reality journey deep into the heart of the Egyptian Book of the Dead called “The Neo Kingdom”. A collaboration by artists Erin Ko and Jamie Martinez (publisher of Arte Fuse), the creative immersive experience catapulted participants deep into a new dimension, driven through space with menacing creatures, where a virtual Anubis awaits to escort the visitor through the doorway to the Egyptian underworld. Futuristic artifacts awaited for those awaiting or ending the virtual reality experience, carved into materials reminiscent of hieroglyphic remnants from ancient Egypt, directly considering how a futuristic society would approach excavating objects from our modern era. A unique interface and a top offering at Satellite’s 2017 iteration.
CHASM.nyc presents Julia Sinelnikova AKA The Oracle (Brooklyn, NY)
Julia Sinelnikova (AKA The Oracle)’s intricate and inviting holographic cavern, located at the end of the first floor hallway, was an easy space for guests to become lost in the artist’s iridescent visions, never to return. Presented by CHASM.nyc, supporting NYC’s artists engaging with the intersection of contemporary art and Brooklyn nightlife, Sinelnikova’s creation spanned the depth and height of the room, silver slivers slithered in and out of the space’s consciousness, creating various entry points for visitors occupying the space to consider. Brightly lit with projections and glimpses into the artist’s other projects lining the interior of the space, Sinelnikova’s pronounced installation made for an unforgettable space to become immersed within the polyphonic possibilities of light-induced visions of heightened reality.
Haute to Death (Detroit, MI)
Detroit came out to play in Haute to Death’s fun and engaging installation, Emergency Nothing. Featuring interesting insight into the party crew’s art-meets-club-life aesthetic, they also brought the most engaging bathroom installation. Bright pink balloons filled a bathtub, with a disco ball rotating in a projection on the wall above. Haute to Death is a community of creative partiers, with DJs and visual artists in the mix. Photography and mixed media artwork infiltrated the space, which not only brought an edgy, gritty vibe that neatly fit Satellite’s vibe but even extended to produce a DJ set for Basel while in town. The candid photographs, offset by the party remnants (beer cans and glitter) scattered throughout the space added a key blend of fun and grunge, infusing the space with a chill yet turnt feeling as only Detroit can.
LENA MARQUISE V-PLATE STATEMENT:
“V- Plate” (Art as Commodity)
V-plate was the second in the series of works in which Lena Marquise explores the connection between the body, art, and the commodification of both.
The artists poses a theory: in order to end objectification we must disembody our fear of the body, and recreate it as an object of worship outside of ourselves. After we have exploited ourselves willingly through self-worship and become fetishes of our own device, can we then step back and feel we own ourselves?”
Unlike the flower works of Georgia O’Keeffe (whose image was unapologetically sexualized by her husband Alfred Stieglitz, and whose work was misinterpreted as vaginal) the V-Plates are literal to the point of desexualizing the vagina.
Literal to the point of opposing abstract vaginal forms such as Judy Chicago’s “The Dinner Party”, which do exist as a notable precursor, despite coming to the artist’s attention only after the work was completed.
Much more akin is the contemporary rendering by Colin Christian who framed a fleshy labia of nude color silicone in a large glitter heart. The figurative alliteration deepened only by Miley Cyrus’s purchase of it along with a large glossy mouth.
Marquise aims to objectify the female sex organ (external) by using the rendering on a plate, in the same way a vagina might be used as a commodity by a sex worker. Simultaneously glorifying and commodifying the vulva in the form of a plate.
As sculpture, it becomes art; thus, art is commodified.
Five of Petéus’s paintings, “Window Paintings”, are displayed in the Vagina Chapel. These paintings function as windows surrounding the V-plate, creating a meditative space.
Beginning in 2012, Petéus began painting a series of abstract paintings with 3 to 4 different hues – usually green and black – using chlorine enamel paint. This set of Window Paintings is a continuation of this practice, created especially for the Vagina Chapel. Unlike his figurative work, these paintings are larger in scale and made using a much different technique, utilizing a broom to paint and later flooding the surfaces with chlorine and water. These paintings are working as windows, reflecting the interior as well as the exterior of one’s inner truth.