• Diamond Stingily

    ICA - Institute of Contemporary Art, Miami
    61 NE 41 Street
    May 17 - October 14

    Curated by Alex Gartenfeld and Stephanie Seidel

    The work of Chicago-born, New York-based multidisciplinary artist Diamond Stingily is hard to forget. I remember clearly when I first encountered it, on a Saturday afternoon in October 2016, at her second-ever solo gallery exhibition, hosted by Ramiken Crucible on New York’s Lower East Side. In the year and a half since, much critical attention has been given to Stingily’s calculated creations—usually some combination of sculpture, found objects, and video—and their commentary on the psychology of memory and on the ways in which structural violence infiltrates and corrodes the home, the family, the mind. This, the artist’s first solo museum show, will present two existing works (in one, an excerpt from her suite Entryways, 2016, a baseball bat rests against a frameless, freestanding door) alongside two new commissions. Stingily’s ominous installations, prescient yet austere, tug at and unravel the correlations between the most innocuous details of daily life and mechanisms of discrimination and control.

  • William Cordova, Badussy (or macho pichu after dark), 2003, video transferred to digital video, color, sound, 2 minutes 45 seconds.

    “William Cordova: Now’s the time—narratives of southern alchemy”

    Pérez Art Museum Miami (PAMM)
    1103 Biscayne Blvd.
    April 27 - October 7

    Curated by María Elena Ortiz

    The most prescient work in the 2014–15 Prospect.3 biennial in New Orleans was William Cordova’s staged showdown between the Soul Rebels brass band and the colossal Robert E. Lee statue in the city center. At Cordova’s invitation, the all-black group played loud and proud from a rooftop facing the Confederate general. (A video documenting the event is titled Silent Parade . . . or the Soul Rebels Band vs. Robert E. Lee, 2014.) Three years later, the monument was removed. Silent Parade will be on view at the Pérez Art Museum along with some twenty-five other pieces by the Lima, Peru–born, Miami-based artist, including a selection of films transferred to digital video spanning 1993 to the present and recent sculptures and works on paper in which the artist uses music and pop culture to flag historical injustices. An accompanying catalogue will feature contributions from María Elena Ortiz, Leslie Hewitt, Jeff Chang, and Candice Hopkins.