• Dara Friedman, Government Cut Freestyle, 1998, 16 mm transferred to digital video, color, silent, 9 minutes 20 seconds.


    Pérez Art Museum Miami (PAMM)
    1103 Biscayne Blvd.
    November 3–March 4

    Curated by René Morales

    In one of her earliest films, Friedman slowly and systematically trashes a room, shattering plates, smashing chairs, and stomping dresser drawers. The Super 8 footage of Total, 1997, was printed in reverse, however, so what we see instead is a lurching, mystical return to order. As in many of the films to follow, from the two-channel 16-mm Bim Bam, 1999, to the cacophonous multiscreen Dichter (Poet, 2017), Friedman uses structural film techniques—looping, flicker effects, color fields, and asynchronicity of image and sound—to highly emotive ends. Though her films have gotten bigger and bolder—fifty-five singers perform in the forty-eight-minute-long Musical, 2007–2008, and sixty-six in Dancer, 2011, for example—her interests in intimacy, affection, and magic have remained. With two dozen works and an accompanying catalogue, the first midcareer survey of this Miami-based artist offers a welcome chance to track the movements of her evocative, empathic oeuvre over the past twenty years. 

  • Pascale Marthine Tayou, Masque délavé (Faded Mask) (detail), 2015, mixed media on twenty-five wooden masks, dimensions variable.


    The Bass
    2100 Collins Avenue
    October 8–April 2

    Curated by Silvia Karman Cubiñá and Leilani Lynch

    Tayou possesses one of the quirkiest and most irreverent artistic sensibilities around: Having abandoned the study of law for art, he revels in contradiction, mysticism, and delphic aphorism, all of which he cloaks in riotous color and sparkly lights. In this show—organized in close collaboration with the artist himself—Tayou will present a range of assemblages from the past decade, including his signature crystal doll sculptures, “Poupées Pascale,” 2007–17, and his chalk mosaics, “Fresques de craies,” 2015–16. He will ruffle the permanent collection and build a wall of neon WELCOME signs in more than seventy languages. They will all be “beautiful,” even as—and because—they participate in Tayou’s genteel efforts to decolonize the museum. Is this “welcome” a nod to the colonial encounter that produced modernism and its museums? And by beautiful does Tayou (following philosopher and critic Elaine Scarry) also mean fair, as in just? You decide, remembering that Tayou’s tongue is happiest in his cheek.