PULSE emphasizes special projects and cultural programming to encourage local artistis to explore themes of contemporary art.
The fair links leading figures in the visual arts and culture fields - collectors, curators, artists and audiences, to an international roster of premier contemporary galleries via collaborations between organizations, artists, and individuals dedicated to arts and culture.
PULSE Art Fair’s signature Pulse Projects program is committed to the presentation and promotion of audience-engaging large-scale sculptures, installations and performances. By focusing on the Miami and its cultural assets, Pulse Projects encourages the exploration of artistic practice within an art fair context.
No Feeling Is Final
No Feeling Is Final (2011) by Yorgo Alexopoulos is a synchronized composite of two horizontally aligned high-definition video frames withcontinuous looping of an animated grid of digitally manipulated paintings, photographs, and graphics moves across the screen, and an abstract narrative unfolds, composed of archetypal images and symbolic shapes.
Jim Campbell uses technologies developed for information transfer and storage to explore human perception and memory. His exploration of the distinction between the analog world and its digital representation is a metaphor for the human talent for poetic understanding or “knowledge” as opposed to the mathematics of “data.”
This installation explodes the moving image into three dimensions with a flickering grid of light that is part sculpture, part cinematic screen. Thousands of computer-controlled LED spheres create the illusion of fleeting shadowlike figures that dissolve and resolve as one moves around and beneath the suspended, chandelierlike matrix.
The -scape series by Woojin Chang is about the existence of individuals within the greater volume of society, depicted in the form of a landscape composed of tiny beings, each struggling for survival. In a sense, the monstrous wave that devours the individual is none other than our other self; we are both the unopposable force of nature and the perilous being in front of it. The resulting scene is a manifestation of the terror and beauty of our world, of the sublime.
Lifeboat: The Wreck of the Invisible Hand
Michael Dinges’ Lifeboat: The Wreck of the Invisible Hand is a full-sized “lifeboat” fabricated by the artist out of vinyl siding and engraved on its exterior with images and text exploring the intertwined stories of labor, consumerism, and the environment, as well as the political and social fallout from of the excesses of globalization.
Okay, 2008/Animal, 2010/Transforming Beauty, 2011
In these three “motion paintings”-a term coined by Ellis-the images are painted in improvised, overlapping patterns on the studio floor. Overhead, a dome is constructed to support a time-lapse camera and control the lighting during production. Later, these images are compiled into a slow-motion video.
Dan Gioia’s Sphere was made to bridge a connection between viewer and sculpture via physical interaction. It invites the viewer to touch the grass, and the sculpture relies on that contact to survive. If the viewer does not engage and rotate the sculpture to give all sides access to sunlight and water, it will die.
The Dumpster Project
1. MAC PREMO archived much of my life through collected objects.
2. MAC PREMO moved into a smaller studio, making it necessary that I get rid of a lot of these objects.
3. MAC PREMO uses them as the raw material for one enormous collage, created inside a 30-yard Dumpster.
4. Oh, also, MAC PREMO photographed around 500 of these objects and display one daily at thedumpsterproject.com, accompanied by a brief history of each item.
Helga Steppan’s Parallelistic Imitations is a series of geometric forms, constructed from mirrored surfaces that immediately disorientate, interrupt and disrupt the spaces that they inhabit. The mirror, historically representational of a gateway into other dimensions or entry point into the subconscious, leads us into a never ending labyrinthine gaze.
Smoke and Mirrors / Nothing to See Here
A large scale installation by the Berlin-based Argentinean artist Santiago Taccetti, confronts the viewer as a great summary of the mechanisms of seduction.
It’s also a parody of the sad side of the system: the exclusion; the show is not for everyone, the illusion is – It’s even public.
For PULSE Play, a curated video program presenting work both by emerging and established artists, Lucie Fontaine will create a domestic setting in which she will organize a program of videos that are themselves dealing with contents related to domesticity. The environment she will present in Miami will resemble a common living room, similar to the famous first scene of The Simpsons.
Other Exhibiting Artist
December 1- December 3, 1pm - 7pm
Sunday, December 4, 11am – 5pm
1400 North Miami Avenue
Miami, FL 33136