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Exhibition in Miami showcases 39 artists and 49 works from the Ella Fontanals-Cisneros Collection
Eugenio Espinoza, Negativa Moderna, 2007. Acrylic on unprimed canvas, site-specific installation, 579 x 853 cm.

MIAMI, FLA.- World-renowned curators Eugenio Valdes Figueroa and Katrin Steffen come together for CIFO’s ever-awaited Miami Art Week 2016. The exhibit titled Toda Percepción es una Interpretación: You are part of it showcases 39 artists and 49 works from the Ella Fontanals–Cisneros Collection. The exhibit opened November 30th and remains open until March 12, 2017.

Based in part on The Philosophy of Toys by Charles Baudelaire in 1853, where the relationship of children and their toys is used as a metaphor to speak on the morality in founding principles of art and of society. The exhibit aims to examine what would evolve into modern art during the first half of the 20th century. During this time, a trend emerged – both in the art of the time as well as in its market – to stress “perceptual” relationships. The title of the exhibit comes from Liliana Porter’s statement and it reaffirms the invitation to the audience to actively participate by inserting itself in certain mental maps with similar concerns. This exhibit is made up of exceptional toys, actions, game inventors, and players, where some of their main thematic axes intertwine and take on other meanings. Toda Percepción es una Interpretación: You are part of it is a retrospective look from the viewpoint of contemporary issues of art, culture, politics and economics. It seeks to reflect on the successive reconfigurations of the art map in the last few decades, on the displacements and relocations of its primary centers, from Paris to New York, from Venice to São Paulo, from Basel to Miami. The exhibit speaks of areas that have succeeded in alternating centripetal or centrifugal forcer, where art has relocated its meeting points and its observation points. In addition, it also pays attention to the effects of redrawing the financial or political map, with the repercussion it has on how one makes and proceeds in art.

“As Eugenio and I began our research for this exhibit, we wanted to concentrate on how objects generate perceptual responses in the mind of the audiences,” explained curator Katrin Steffen. “We were marveled by the fact that this phenomenon was happening simultaneously in New York with The Responsive Art at MOMA and One and Three Chairs by Josef Koluth was exhibited at the Musee de la Ville de Paris.”

“For us, it was crucial to create a connection between this occurrence and how this idea had a growing impact on the rewriting of the rules of the game of arts and its institutional circuits,” agreed curator Eugenio Valdes Figueroa. “We also wanted to continue the conversation we started during Liquid Sensibilities, where we had the opportunity to explore the Zigmunt Bauman’s concept of ‘liquid modernity’.”

Some of the artist included in the exhibit are: Elena Ansis (Spain), Paulo Bruscky (Brazil), Pavel Buchler (Czech), Luis Camnitzerer (Uruguay), Arturo Cuenca (Cuba), Iran Do Espiritu Santo (Brazil), Leon Ferrari (Argentina), Jose Antonio Hernandez-Diez (Venezuela), Karla Andrei (Puerto Rico), Barbara Kruger (US), Glenda Leon (Cuba), Carlos Martiel (Cuba), Priscilla Monge (Costa Rica), Helio Oiticica (Brazil), and Horacio Zavala (Argentina). Argentinian artist Liliana Porter will recreate her 1968 interactive environmental piece Wrinkle for the show.

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