An Image

The Pink House 1


Geometry in Motion


Geometry in Motion
Heloisa Botelho
ON VIEW June 23 – September 25, 2016
OPENING RECEPTION Thursday, June 23 | 6-9pm
O Cinema Wynwood |  90 NW 29th St, Miami, FL 33127

Botelho has created a new series inspired by Copacabana in her hometown of Rio de Janeiro, Brazil and her new home in Miami. In this series, she introduces imagery and circular shapes, an influence of the Art Deco architecture that abounds in her new city. Using a monotyping technique influenced by one of her mentors, Brazilian artist Beatriz Milhazes, Botelho draws with charcoal and creates collages by transferring geometric shapes painted on plastic sheets to the canvas. As a result of this technique, shapes are not exact as they get lost during the transfer process. By extracting the brush from the painting process she incorporates the element of chance.

Botelho’s interest in collage carries over to the installation, Art Around the Corner. In this installation, Botelho uses postcards that she has collected over the last 10 years from her time in Boston, New York and Miami to create a collage mimicking the patterns created in her paintings.

Closing Reception | Geometry in Motion
Brunch & Film Screening of Central Station
Sunday, September 25, 2016 | 11:30am
O Cinema Wynwood
90 NW 29th St, Miami, FL 33127

O Cinema Wynwood & ArtCenter/South Florida invite you to the closing reception of Geometry in Motion, an exhibition by Heloisa Botelho.

Starting at 11:30 am, guests will enjoy a complimentary light brunch of baked goods, fruit and mimosas. Then at 12:00 pm, guests will be invited into the auditorium for a free film screening of Central Station.

Heloisa Botelho | Rio De Janeiro, Brazil | Lives and works in Miami Beach
Botelho is a mixed media artist who works with acrylic, transfers and collage. Through a reconstructive process, she reproduces traditional works in painting such as impastos and transparencies using original semantic content, creating a second layer of purely conceptual juxtapositions. Botelho graduated from the School of Visual Arts at Parque Lage in Rio de Janeiro with a specialization in painting. Her work has been featured in numerous international museums and group exhibitions across North America, Europe and Asia. Corporate collections including Santander Bank, HSBC, Terrabank, Gibraltar Bank, Double Tree Hotel and Genesis Corporation.


Everything good I have is from a long time ago


Everything good I have is from a long time ago
Miranda Burns
ON VIEW June 25 – August 21, 2016
924 Vitrine | 924 Lincoln Road, Miami Beach

Miranda Burns’ Everything good I have is from a long time ago is a visual odyssey exploring the last phase of her mother’s battle with cancer. In this installation, the vitrine is transformed into a domestic bunker that depicts her mother’s combative response toward the disease and the anticipation of death over the course of 11 years. The enclosure is a space that simultaneously contains her efforts to hide from cancer, to confront it, and to stay alive as long as possible.

Burns curates her mother’s embodiment in the space through the perspective of artist and daughter, treating her personal items and photographs as though she still occupied their use. At once a visual homage or, as she describes it, a lucid coming to terms, the domestic bunker is an exercise in representing absence and imagining answers to questions that linger long after personal loss.

Miranda Burns | Zephyrhills, 1990 | Lives and works in Miami
Burns graduated with a BFA of Fine Arts from Ringling College of Art + Design in 2014. Her rural surroundings in Central Florida and interest in 80s cult slasher films have influenced a body of work in drawing, painting and installation. Her practice can be seen as a passive aggressive response to a narrative of vulnerability where intimacy, detachment, environment and longing often recur. Burns’ work is characterized as bratty, sometimes darkly articulated, seeking abrasive conversations through a maelstrom of material applications that translate in to a tonality of bitter tenderness to the viewer.


Curator in Residence Talk: Julia Morandeira Arrizabalaga

Suaves se revelan, ásperas se cuidan, todas se tocan_Diego del Pozo image
Curator in Residence Talk | Julia Morandeira Arrizabalaga
Be careful with each other, so we can be dangerous together

Saturday, April 23 | 11:00 am
ArtCenter Downtown | 1035 N. Miami Ave. #300, Miami, FL
Free & open to the public

Be careful with each other, so we can be dangerous together is an ongoing curatorial research on notions of care, social affect and mutual support across a spectrum of visual and cultural practices. It was recently initiated through the program La Práctica in Beta Local (San Juan, PR), as an entry point from where to investigate the types of affective regimes set in motion by different artistic communities and economies. Drawing from an array of feminist practices, theory on the commons as well as pedagogies, archives and artworks, the project seeks to devise how affective apparatuses are created and activated throughout different artistic, curatorial and institutional gestures – what affects do they unleash, and how, in turn, notions such as care, support, vulnerability or glamour articulate them. The presentation will share the initial status of the research, and the materials collected so far.

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.

Image: Diego del Pozo, Suaves se revelan, ásperas se cuidan, todas se tocan (2016)

Implicitly Stated


Implicitly Stated | Michael Williams
In partnership with O Cinema
ON VIEW April 7 – June 5, 2016
OPENING RECEPTION Thursday, April 7 | 6-9pm
CLOSING RECEPTION Sunday, June 5 | 11:30am
O Cinema Wynwood | 90 NW 29th St, Miami, FL 33127

Comprising of small watercolor studies, Michael Williams transforms singular expressions into a communal dialogue. Through the spatial placement and specific groupings, the work creates interpretive narratives that range from simple emotional relationships to broader societal themes. The use of light and the implication of line it creates has always been an essential part of Williams’ work. Combined with the delicacy of watercolor, it creates an intimacy and acts to further enhance the audience’s role in the interpretation of the work’s narrative.

Michael Williams | Hollywood, 1986 | Lives and works in Miami
Williams combines contemporary realism with a minimalist sensibility, using an overwhelming sense of light to deconstruct figural landscapes. He develops stark yet delicate depictions of the human figure, leading to the scrutiny of candid and often amusing observations that provide a dialogue on social identity and self-awareness. This obsessive scrutiny, deconstructed throughout his work, is broken by implied lines and ambiguous shapes, which fill the entirety of the implicit space. Pools and strokes of watercolor translucently enhance this deconstructive realism as he gives way to the hints of detail that act as the visual focus of this process. Williams’ recent exhibitions include Aqua Art Fair, FL (2015); Artopia, NSU Museum of Art, FL (2015); Seventh Juried Biennial, Hollywood Arts and Cultural Center, FL (2015); and Olympia, Living National Treasure Museum, Japan (2015).

Vizcaya on the Beach

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Vizcaya on the Beach
Dona Altemus | Gaston Lachaise | Maritza Molina | Ernesto Oroza
Opening Reception | April 6, 2016 | 7-10pm
924 Vitrine | 924 Lincoln Road, Miami Beach

On view through June 5, 2016

Vizcaya Museum and Gardens’ Contemporary Arts Program (CAP) commissions artists to develop site-specific work inspired by Vizcaya, the winter residence of James Deering (1859–1925), that was built between 1914 and 1922 in the Coconut Grove area of Miami. The estate, conceived as a modern and subtropical interpretation of an eighteenth-century Italian villa, was entirely surrounded by subtropical forest—the Main House and the formal gardens appeared as a dreamlike vision in the midst of the jungle on the shores of Biscayne Bay. Today, Vizcaya is an oasis of silence and green, miraculously preserved just south of Miami’s modern skyline.

The CAP program, initiated in 2006, draws on the spirit of creative dialogue that characterized Vizcaya’s founding. Deering was a patron of contemporary artists of his day and commissioned figures like Gaston Lachaise and A. Stirling Calder for site-specific work. CAP provides visitors with new ways of seeing the historic estate, and strengthens relations with contemporary artists. Projects have ranged from long-term installations by individual artists to one-night-only programs featuring the work of several artists. All CAP projects explore themes related to Vizcaya, using the site as a point of departure. Vizcaya on the Beach highlights the historic precedent of CAP by exhibiting the work of Gaston Lachaise alongside recently commissioned works by Dona Altemus (2015), Maritza Molina (2015) and Ernesto Oroza (2011).

Gaston Lachaise
Lachaise’s work was among the more avant-garde commissions by Vizcaya’s founder James Deering. Lachaise was a Frenchmen but was naturalized through marriage. He worked very closely with Paul Manship on the designs for Rockefeller Center and his work can be seen throughout the plaza. He is best known for his gravity defiant figurative work which prompted E.E. Cummings to liken Lachaise to sculpture as Cezanne is to painting. He also exhibited several works in the 1913 Armory Show. Lachaise created a pair of peacocks out of plaster in his New York City studio and then shipped the models down to Vizcaya, where artisans did a rough cut in native coral stone. Lachaise came onsite to do the final touches in 1921. The peacocks (currently deinstalled and in storage at Vizcaya) once marked the site where guests would transition from the old world formal gardens to the new world lagoon gardens.

Ernesto Oroza | Archetype Vizcaya
Oroza’s work focuses on design and architecture. The notion of archetype—the original pattern or model on which all similar things are based—is central to his investigation of material culture. As part of his installation, Oroza inserted silhouettes of the invasive plants that endanger Miami’s local vegetation on plexiglass panels in the Main House, challenging visitors to question what is original and authentic at a place like Vizcaya. In this exhibition, Oroza installs the silhouettes in a similar fashion on the glass of the vitrine. He also installs a “wallpaper” using images of the extravagant marble floors that served as an organizing principle in another portion of his original project.

Maritza Molina | Sparkling Vision
Inspired by Vizcaya owner James Deering’s spirit of creation, Sparkling Vision reflects the interplay between the real and the imagined. Molina’s performance was part of Fantastical Vizcaya in December 2015 and activated Vizcaya through whimsical forms and playful intervention, alluding to a vision of fantasy and dreams as the magic of Vizcaya materialized. The performance/installation conveyed an ethereal dreamlike state connected to Molina’s personal interpretation for her ideal Vizcaya, a place where everything sparkles of gold, a state she imagines may have been characteristic of Deering’s vision in the years leading up to Vizcaya’s creation. Remnants from the resulting installation are exhibited here.

Dona Altemus | Southeastern Quadrant
Southeastern Quadrant was a participatory collaboration that, in the week preceding Fantastical Vizcaya, engaged Vizcaya visitors as co-creators in constructing a large-scale textile work assembled in the public realm. Museum visitors selected historic archival images, which they transferred onto fabric under the artist’s guidance. Altemus stitched these individual fabric components together using quilting techniques. The result is a large-scale architectural collage that references the many minds and voices that participated in the manifestation of Vizcaya.




Curated by Carolina Puente
João Enxuto | Erica Love

ON VIEW | April 13 – June 19, 2016
OPENING RECEPTION | Wednesday, April 13 | 7-10pm
STUDIO CRAWL | Wednesday, May 4 | 7-10pm
ArtCenter’s Project 924 | 924 Lincoln Road, Second Floor, Miami Beach

Enxuto and Love’s institutionally focused work forms the basis of Beacons. The exhibition builds upon their interest in the role technology plays in mediating the power dynamics between institutions and their publics. The beacons used in this exhibition—small wireless sensors that can be attached to objects to produce data on their movement—are a “smart” technology that allows for user interactivity to be monitored within the gallery space. This technology has recently been employed in commercial venues and museums as a way to monitor interest in products and/or artworks and, like data collected from any system, it retains institutional biases despite their precise recordings. In this environment, Beacons becomes an interactive system that illuminates, tracks, and predicts movement, where the user experience is an interrogation of what contemporary art can provide for cities and their communities.

Free & Open to the public.

Resident Night

Resident Night
Wednesday, March 7, 2018 | 7:00 – 9:00 PM
Location: ArtCenter/South Florida | 924 Lincoln Rd, Miami Beach

Visit our artists’ studios, view their most recent works and gain insight into their creative process during Resident Night.

ArtCenter South Florida Studios: 924 Lincoln Road
Office: 924 Lincoln Road, Suite 205 | Miami Beach, FL 33139 | (p) 305.674.8278 (f) 305.674-8772