In the Fall 2017 edition of One Life magazine Nila Do Simon shines a light on newly renovated The Bass art museum in Miami Beach.
Read the full article below, and check out the entire issue online.
The Ace of Bass by Nila Do Simon
They say good things come to those who wait. If that’s the case, the art world has much to appreciate now that The Bass art museum has opened its doors following a two-and-a-half-year renovation. The Bass has been a mecca for cultural and curatorial ambition since opening in 1964 inside an art deco building. Now, after a $12 million renovation—which increased programmable space by nearly 50 percent within the existing footprint—the institution will host some of the area’s most exciting exhibits in its new space.
“The Bass is Miami Beach’s contemporary art museum, and our programming has consistently presented exhibitions of established international contemporary art that reflect the spirit of our city,” says Silvia Karman Cubiñá, the museum’s executive director and chief curator. “The new space allows us even more opportunities to host larger scale exhibitions and connect with our community.”
Up first are Swiss native Ugo Rondinone’s “good evening beautiful blue” (on display until February 19) and Cameroonian-born Pascale Marthine Tayou’s “Beautiful” exhibits (on display until April 2), which both debuted in conjunction with the museum’s October 29 reopening.
Rondinone is no stranger to The Bass, as his 42-foot-tall Miami Mountain work is permanently installed in Collins Park, on the corner of 21st Street and Collins Avenue. But his “good evening beautiful blue” exhibit is part of a multi-institution retrospective comprising works that span three decades. From poetic installations in public spaces to life-size drawings, Rondinone’s work balances on the edge of euphoria and depression—even featuring an installation of 45 life-size clown figures in the piece vocabulary of solitude (2014).
Showcasing Tayou’s alchemy-like work, the artist’s “Beautiful” exhibition displays an organic and collaboratively formed presentation of pieces made in the last decade. Visitors will navigate between stacked Arabic pots—Colonnes Pascale (2012)—and encounter Tayou’s colorful Fresque de Craies (2015), a work constructed from hundreds of chalk pieces arranged beneath West African colon tourist figures, gold foil and plastic eggs. Tayou, whose practice spans media and subject matter, is known for fluidly transforming the viewer’s understanding of materials, objects and narratives. “Beautiful” looks to be no different.