Archives for September 2016

Lecture with Laura McLean-Ferris


Wednesday, September 28, 2016 |  7 PM
Free Entry

ArtCenter/Downtown Miami
1035 N Miami Ave #300
Miami, FL 33136

Join us for a lecture with the Miami Rail’s 18th Visiting Writer Laura McLean-Ferris of the Swiss Institute at ArtCenter/South Florida’s Downtown Location.

The words empathy and narcissism are locked into the intermittent flashing spin of an alarm signal: manifestations of confusion in the current climate. From Pokémon Go to Trumpian speech, from filter bubbles to safe spaces, there is a sense that the shared public space of politics is more and more evacuated each day, and so we are left with an endless succession of overlapping realities that do not always care to meet each other, or do not even notice that they don’t. Discussing the works of artists including Jean Luc Moulène and Ellen Cantor, writer and curator Laura McLean-Ferris will discuss the importance of thinking through the nuances of the personal and the unfamiliar in art and writing.

Laura McLean-Ferris is a writer and curator based in New York. She is the Adjunct Curator at the Swiss Institute / Contemporary Art. Her recent exhibitions include Our Lacustrine Cities, featuring work by Anne Imhof, Nancy Lupo, Liz Magor, & Hayley Silverman, at Chapter NY and Columbidae at Cell Project Space, featuring work by Essex Olivares, Mélanie Matranga, Barbara T. Smith & Dena Yago. She has contributed essays, criticism and interviews to Artforum, ArtReview, Frieze, Art Agenda, Art Monthly, Flash Art International and Mousse.

Please RSVP to to confirm attendance



Laurencia Strauss and Fifty-Fifty
ON VIEW October 15 – January 8, 2017
O Cinema Wynwood | 90 NW 29th St, Miami, FL 33127

Laurencia Strauss and Fifty-Fifty present a pair of projects that navigate hope and doom to materialize personal and collective responses to sea level rise. In Strauss’ Talking to Satellites, a series of photographs spell a phrase. Each letter is formed as video and GPS track her bicycle movements on an ocean pier. The project connects the impending transformation of an individual’s life with that of an island landscape.

Fifty-Fifty (an art collective formed by Lisa Bulawsky and Laurencia Strauss) presents a new project, Stories for Fishes, which includes film screenings, public dialogue, and collective visual responses that will be shared underwater with fish and other sea creatures – the eventual heirs to the land we now call home.

Opening Reception | Transmission
Screening, Participatory Event & Brunch
Sunday, October 16, 2016 | 11:00 AM
O Cinema Wynwood | 90 NW 29th St, Miami, FL 33127

At the Opening Brunch and screenings of Le Maison en Petits Cubes and Thule Tuvalu, the artists will invite the audience to participate. During the films, they will encourage people to doodle. After the films, they will open a discussion and ask people to write or draw an experience of Miami that they would want to share with the fish who will eventually live in our city. The stories will be collected and become part of the larger print based installation in the exhibition space at O Cinema Wynwood. These will also be part of a video of the artists telling the stories, by reading or describing them, to fish off the coast of Miami.


Le Maison en Petits Cubes
12min | Animation, Short, Drama | 2010
Director: Kunio Kato; Writers: Kunio Kato, Kenya Hirata

An old man lives alone in a decrepit, partially submerged house that never seems to be quite safe from the rising levels of the ocean. One day, he drops his pipe into the flooded parts of his house while working on repairs, and he is forced to dive down to retrieve it. In the process, he finds himself recalling the parts of his life that he had forgotten about a long, long time ago.

Thule Tuvalu
1h 36min | Documentary, News | 2015
Director and writer: Matthias von Gunten

Thule lies in the extreme north of Greenland, Tuvalu is a small island state in the Pacific Ocean. In spite of this huge distance and their polarity, the two places are intimately related by a stroke of fate: in Thule the ice is retreating ever further and turning into seawater, in Tuvalu sea level is perpetually rising. The film deals with the people in Thule and Tuvalu whose lives are changing forever.

An artist collective founded by Lisa Bulawsky and Laurencia Strauss, working at the intersection of individual experience and the public sphere, negotiating cultural tensions through socially engaged participatory art practices.

Lisa Bulawsky
Lisa Bulawsky is an artist/printmaker known for her mixed media works on paper, installations, and temporary public projects. Her work explores the reciprocal influence of culture on the individual, especially as it is shaped by history and memory. Recent exhibitions include solo shows at the Eleanor D. Wilson Museum in Roanoke, VA (2015) and the Martin Wong Gallery in San Francisco, CA (2014) as well as group exhibitions at the International Print Center in New York, the Opole Contemporary Art Gallery in Poland, and the International Print Biennale at Northern Print in the UK. She is Professor of Art at Washington University in St. Louis and the director of Island Press, the Sam Fox School’s collaborative publishing workshop.

Laurencia Strauss
Laurencia Strauss is a visual artist and trained landscape architect. She investigates vulnerabilities and ingenuities of people and places through social actions, installations and projects in public spaces. Her alternative site analyses rely on social engagement and share researching a place with the people who live there. Working across art and design, she creates experiences that challenge our interdependencies. Recent solo exhibitions include Infiltracao at Peninsula Gallery, Porto Alegre, Brazil (2016), Landlines at Penland School Gallery, North Carolina (2016), and Reclining Islands at Fort Gondo Compond for the Arts, St. Louis (2014). Group shows include Waterscapes at The Box Gallery, Ft. Lauderdale (2016), Hightide at Satellite, Miami Beach (2015), and Museo con Piernas, Chile (2014).

Presentation | Agustina Woodgate


Monday, September 26 | 7:00 pm
ArtCenter/ Downtown
1035 N Miami Ave #300, Miami, FL

TVGOV member Agustina Woodgate will share tools and tactics from Discreet–an intelligence agency for the people formed during the 9th Berlin Biennale. Attendees are encouraged to bring computers or mobile devices for hands-on learning on how to navigate the Internet without traces. Following the presentation, we will live stream the presidential debate.

TVGOV is a research collective organized in Miami, FL in 2015, by Sofia Bastidas (EC), Nicole Doran (US), Peter Fend (US), Guillermo León Gómez (US), and Agustina Woodgate (AR). TVGOV is tied to Ocean Earth Development Corporation, a company which pioneered satellite monitoring of crisis spots, both ecological and military, for mass media in the 1980s.
With funds from Miami Dade County’s International Cultural Exchange Grant, the ArtCenter was able to provide TVGOV with a grant award to participate in Discreet at the 9th Berlin Biennale.

Free & Open to the public.

(Human) Learning Reading Group


Saturday September 24, 2016 | 11am
(Human) Learning Reading Group (Part 1 of 3)

ArtCenter/ South Florida is is pleased to present (human) learning in conjunction with the exhibition An Image. (human learning) is a study group focused on technology and aesthetics with shifting participants, locations and collaborators.

The sessions of the study group, are transcribed live on the project’s website employing Holly—a custom software. Holly neutralizes individual voices by rendering conversations as single discourses. Through reinterpretations and misinterpretations, the ever-evolving software embodies the increasing disconnection between complexity in technology and human cognition—further problematizing the relationship between reality itself and its digital construction.

Sessions will take place on September 24, October 22, and November 12

Open to the general public

Participants are expected to commit to all three sessions and actively engage in the analysis of the readings and materials.

Location: ArtCenter/South Florida, 924 Lincoln Road, Miami Beach

Caption: Holly (2016), Algorithmic intelligence software in perennial beta testing phase

You, Me and the Other

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You, Me and the Other | Elysa D. Batista
On view September 3 – November 13, 2016
924 Vitrine | 924 Lincoln Road, Miami Beach

Batista’s sculptural text acts as an inanimate presence watching over the viewer. The text work is paired with footage taken from a live feed camera installed on Lincoln Road Mall, only blocks away from ArtCenter/South Florida. Through this work Batista exposes our lack of privacy and the overwhelming presence of social surveillance in today’s world.

Elysa D. Batista | Panama City, Panama | Lives and works in Miami
Elysa D. Batista is a mixed media artist who works with language, specifically the multiplicity of meaning according to different contexts. Her three-dimensional work explores personal experiences with power dynamics in relationships and communication and is interpreted through the use of semiotics.

Recent exhibitions include solo show Retrospective Lining at the Miami-Dade Public Library in Downtown Miami (2016); group shows include Drums on Paper: A Risograph Print Show II at Rabbit Hole Studio in Brooklyn (2016); and From Eden to Sahara in Little River (2016). She received an MFA from Parsons The New School for Design in NYC in 2013 and a BFA from the University of Miami in 2009. 

Applied Artistic Research

About The Program for Applied Artistic Research

The Program is a platform that offers free seminars and open critique sessions led by a distinguished faculty of practitioners in the cultural fields and the social sciences. 

The Program builds upon the school started in 2009 by Cannonball Miami known as It draws from a long tradition of informal but rigorous pedagogical initiatives. It is a forum to engage in important dialogues around contemporary realities in the cultural sphere and beyond it, and to develop projects that shed light on the dynamics that are organizing present-day urban and global configurations. A non-degree granting program, it offers a number of seminars by a distinguished faculty of practitioners in the cultural fields and the social sciences. It is driven by an effort to:

  • Develop a broad knowledge base for participants interested in working outside traditional disciplinary boundaries
  • Foster a critical understanding of how this knowledge is situated in the world at large within and outside the boundaries of the cultural sphere
  • Encourage the use of non-traditional methodologies in order to address pressing problems that structure social, economic, and cultural spaces.

The Program contributes to local educational infrastructure and makes new pedagogical resources available to artists, arts professionals, and cultural producers at all stages of development, as well as to members of the general public who are interested in the program. In this way it renders cultural discourse in Miami more robust and dynamic by binding it to global conversations. This is part of an effort to foster a healthy cultural sphere that retains creative and critical practitioners in the city, which will help continue to develop Miami as a site of significant artistic and discursive production.

The Program encourages both its participants and its faculty to engage in research and projects that engage with Miami as a prototypical city that is taking shape around a series of concerns and dynamics that have intensified to unprecedented degrees during the first decades of the 21st Century, including those of image politics, financial speculation, logistics, urban redevelopment, migration, and environmental precariousness.

Faculty members determine the structure of each seminar. The courses are held at either of ArtCenter’s locations in Downtown or Miami Beach or throughout the city, via partnerships with other organizations and community groups.

For this fall’s program, organized under the heading Parallax Drift, faculty members micha cárdenas, Julia Morandeira Arrizabalaga, Victoria Ivanova, and The Otolith Group will run seminars exploring the intersection between art and the shifting landscape of border politics. The monthly sessions look beyond traditionally held notions of the political subject and instead consider shifting, alternate, or oft-overlooked positions from which to question the dominant economic, political, and social conditions that define much of our contemporary moment.

For information about the Fall, Click here

Information about this fall’s open critique sessions can be found here

HYPERSTITION: Truth is Science is Fiction


HYPERSTITION: Truth is Science is Fiction
Screening and Q&A with theorist Armen Avanessian
Saturday, October 1 | 12 pm

A film on time and narrative by Christopher Roth with Armen Avanessian.

Hyperstitional thinking hijacks the present-forming daring interventions into conditions of cybernetic governance that foreclose contingency. Hyperstitions are not imaginary, they are virtual fictions situated in the chaotic unfolding of the Real. Philosophical hyperstitions bring about their own reality. Hyperstition materializes the future as it leaks from beyond the threshold of comprehension.

Christopher Roth’s and Armen Avanessian’s HYPERSTITION is a filmic involution into the narratives and temporalities that both condition and resist the accelerating tempos of global capitalism. It is a film about time and narrative, speculative realism and accelerationism, transmodernism and xeno-feminism (featuring Ray Brassier, Iain Grant, Helen Hester and many others). Tread carefully: the deterritorializing intensity of machinic desire and speculative thinking may not be safe for some viewers.

Featuring: Armen Avanessian, Elie Ayache, Ray Brassier, Iain Hamilton Grant, Helen Hester, Deneb Kozikoski, Robin Mackay, Steven Shaviro, Benedict Singleton, Nick Srnicek, Christopher K. Thomas, Agatha Wara, Pete Wolfendale, and Suhail Malik (2026).

Appearences: J.G. Ballard, Nick Land, Philipp Lahm, Quentin Meillassoux, Reza Negarestani, Patricia Reed, Tom Streidl, James Trafford, Jeanne Tremsal, Alex Williams, and Slavoj Zizek

1035 N. Miami Ave #300, Miami

Film Christopher Roth with Armen Avanessian
Drawings Andreas Töpfer

Intermissions 2026: Diann Bauer
Music Cosimo Barnet

Session D


Session D: The Otolith Group


November 30-December 2
Session details and times to be posted
Location: ArtCenter South Florida

Class Description Forthcoming

Bio: The Otolith Group was founded in 2002 and consists of Anjalika Sagar and Kodwo Eshun who live and work in London.

During their longstanding collaboration The Group have drawn from a wide range of resources and materials. They explore the moving image, the archive, the sonic and the aural within the gallery context.

The work is research based and in particular has focused on the essay film as a form that seeks to look at conditions, events and histories in their most expanded form.

The Group have exhibited, installed and screened their works nationally and internationally, they are commissioned to develop and exhibit their art works, their research, installations, and publications by a wide range of museums, public and private galleries, biennials, foundations and other bodies

Session C

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Session C: Citizenship for a Posthuman Rights with Victoria Ivanova


November 8-11
(exact class times to be posted)
November 18th 7:00pm: Public presentation in collaboration with Fall Semester at ICA, Miami.
Location: ArtCenter/South Florida

Citizenship for a Posthumanrights World led by Victoria Ivanova will interrogate the confluences, failures and affordances of human rights and contemporary art as mediation regimes of larger global political projects. It will be proposed that one of the avenues for their progressive aspects to be carried over, revised and applied is by using the contemporary art space to prototype speculative institutional forms and systems as they pertain to the question of citizenship. The sessions will function as a means of testing the posthumanrights vision that the proposal involves by looking at specific case studies and working towards potential strategies.


Victoria Ivanova is a curator and writer living in London. Having previously worked in thehuman rights field, in 2010, she co-founded a multidisciplinary cultural platform inDonetsk, Ukraine, which critically explored the intersection between activism, educationand artistic research. Ivanova is also one of the founding members of Real Flow—aresearch and development platform for socialising finance. Her practice is largelyinformed by systems analysis and her interest in infrastructures as mechanisms forshaping and (re)producing socio-economic and political realities. Ivanova’s recentpublications include ‘Art’s Values: A Détente, a Grand Plié’; in Parse 2: The Value of Contemporary Art (2015), ‘Novelty Intermediation and the Future of AccelerationistPolitics’ in Reinventing Horizons (2016), ‘Fractured Mediations’ in Der Zeitkomplex.Postcontemporary (2016), and ‘Contemporary Art and Collateral Financialisation’ inFinance and Society (II(i), 2016).

Session B

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Session B: Cannibal affinities. Predation, digestion, and other visceral forms of relatedness with Julia Morandeira


October 24-28, 2016
exact class times to be posted
Location: ArtCenter/South Florida

The cannibal navigates history through lines of continuity and discontinuity of re-signification, in echoes of greater and lower intensity. A ‘green’ thread of cannibalism can be traced from the colonisers’ accounts of the 16th century through to the writings and works of the Antropofagia movement in 1920s Brazil to today’s anthropology, which in turn echoes Amerindian cosmogonies, land struggles and the demand for the rights of nature. More significant to this research, cannibalism is being “recovered”, proposed and even hailed as a specific mode of knowing and understanding our relation to the outside.  

Cannibalism implies a whole new negotiation, digestion and production of different thresholds -political, ecological, ontological- which require multiple displays of translation. For the sociologist Boaventura de Sousa Santos, the opposite of general theory is translation, understood as “the procedure that allows for mutual intelligibility among the experiences of the world, both available and possible, as revealed  by the sociology of absences and the sociology of emergences, without jeopardizing their identity and autonomy, without, in other words, reducing them to homogenous entities”. Following De Sousa Santos, how could we translate this cannibal economies and epistemologies in our different contexts and positions? How could they imply new forms of circulation of subjects and affects, and what type of ecologies between the interior and exterior could emerge? Against the intellectual epistemological traditions that have been overtaken and evacuated of meaning in the rampant forward thrust of global capital, remaining  moreover anchored in their self-instated superiority and containment, producing subjects through previous knowledge rather than through critical premises – could cannibal exchange propose new knowledges and forms of producing knowledge?  And how could artistic and curatorial practice as well as cultural production and management be affected from it?  

The Canibalia Seminar proposes to organize a series of encounters and conversations and translation workshops. This structure and methodology aims at mapping out a constellation of cannibal economies and ecologies, which propose a counter-topia from where to (un)think cannibalism and the cannibal as spaces of mediation, community, ecology and exchange.

Julia Morandeira Arrizabalaga is an independent curator and researcher, based in Madrid. Her practice deals with issues of geography and coloniality, production and exhibition apparatuses in art and culture, and their inscription as sites of knowledge production. She is part of the artistic collective Magnetic Declination and of the research group Península. Recent projects include Cannibal House, at the Cultural Centre of Spain in Costa Rica; Canibalia, at the Kadist Foundation in Paris; Until lions have their own historians, with Magnetic Declination at Matadero Madrid; Broadening the battlefield at the Cultural Centre Montehermoso, and Miralda’s Twin Tastes & Tongues at 9th Shanghai Biennale. Morandeira holds a BA in Humanities from the Pompeu Fabra University in Barcelona, and an MA in Contemporary Art Theory from Goldsmiths, University College of London. At the moment she is part of La Práctica in Beta Local, Puerto Rico.

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