Saturday 7 December 2013


Herzog & de Meuron's Perez Art Museum in Miami

The building is like a Ceiba or a Banyan tree, where the columns become branches/roots that support the canopy and give shade underneath, in this way the Perez Museum becomes a tropical museum. In Jaques Herzog's words after a conversation with him in Miami, "it's about creating an architectonic language for the tropics that responds to to the climate and conditions of the place, not about creating air conditioned spaces which are like entering a refrigerator"... "We tried to create new architectonic typologies for the tropics, working with what would work in Miami's weather. It wouldn't work to import European or North American typologies to the building. You have to cook with local ingredients, if not, it would be like cooking fondue for dinner in the tropics"

PAMM's hanging gardens

last construction finishing touches

up the stairs and into the building

Hew Locke's floating boats in the entrance space project gallery

the Americana exhibition presents an expanded notion of what art in the Americas is, and in doing so, redefines American art history through works in the collection. Using Miami as the axis from where to do this, the exhibition rewrites the history of art previously read as a linear history dominated by the European-AngloAmerican axis. PAMM's chief curator, Tobia Ostrander (who previously was at Tamayo and El Eco in Mexico) presents an expanded field of works from the American continent. Through the incorporation of works from Latin American and Caribbean origin, exhibited together with North American works, Americana creates new historical narratives through the juxtaposition of these works and histories, which today can no longer continue to be read as other or parallel histories, but need to be read as equal histories coexisting in same spatial temporalities.

Alfredo Jaar's ' A Logo for America', (This is Not America) 1987

Americana: Desiring Landscapes gallery
works by Mark Dion's The South Florida Wildlife Rescue Unit: Mobile Laboratory, together with Fernando Botero, Leandro Katz

Fernando Botero's tropical Patio and Leandro Katz' Catherwood Project

Wilfredo Lam next to Ana Mendieta in the Americana: Sources of the Self gallery

up the stairs which also act as an open auditorium to the second floor

Ai Weiwei, According to What?, retrospective in the second floor

Ai Weiwei retrospective in the second floor

Americana: Progressive Forms Gallery
Paulo Pires, Helio Oiticica, Donald Judd, Joseph Albers

Americana: Progressive Forms gallery
Gego, Ellsworth Kelly, Waldemar Cordeiro, Lygia Clark

Torres Garcia next to Pablo Rasgado

Damian Ortega, Pablo Rasgado

Damian Ortega, Sam Durant, Eugenio Espinoza

Alexander Apostol, Robert Morris' portal, and Sarah Morris painting

Americana: Commodity Cultures gallery
Jac Leirner next to Andy Warhol

Josephine Meckseper

Cildo Meireles, Insertion into Ideological Circuits

Nadin Ospina's stone carved Bart Simpson

Americana: Corporeal Violence gallery, Oscar Muñoz, Cortinas de Baño

Miguel Angel Rojas

Artur Barrio's Situation T/T

Americana: Formalizing Craft gallery

Adrian Esparza's sarape and Gabriel Orozco's table with baked clay sculpture

PAMM's photography gallery

PAMM's paper gallery exhibiting A Human Document: Selections from the Sackner Archive of Concrete and Visual Poetry

a retrospective exhibition of Cuban painter Amelia Peláez: The Craft of Modernity

PAMM's Project Gallery with Yael Bartana's Inferno video on the construction of the third Temple of Solomon (Templo de Salmão) in São Paulo by a Brazilian Neo-Pentecostal Church, the Universal Church of the Kingdom of God

with Elisa on the rooftop, view of Miami from PAMM

and Ai Wei Wei head outside PAMM

PAMM's website

and read more on PAMM at Dezeen 

Wednesday 4 December 2013


Often referred to as the Switzerland of Central America, Costa Rica prides itself on having no army and—unlike its Central American neighbors—has managed to avoid civil war and other military conflict. Costa Rica has a reputation for biodiversity and environmental protectionism; its jungles and beaches are favorite spots for eco-tourists (who generally favor them over San José), and the country is ranked as the happiest on earth by the Happy Planet Index. However, Costa Ricans do tend to think of themselves as “whiter” than their more indigenous Central American neighbors, an attitude that has given rise to racist prejudice against those perceived as darker, especially immigrants from bordering countries. Pictured here is Jungla de Hamacas (Hammock Jungle) was an intervention by Bureau de Intervenciones Publicas (BIP), part of Proyectos Ultravioleta’s exhibition in MADC’s Pila de Melaza (Molasses Fermenting Tank), a space now used for large-scale installations and performances.

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