• 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.  

  • Terry Adkins

    ICA - Institute of Contemporary Art, Miami
    61 NE 41 Street
    April 1 - June 28

    Curated by Alex Gartenfeld and Gean Moreno

    The work of the late artist and saxophonist Terry Adkins explores deep and abiding structural, aesthetic, and process-oriented relationships among sound, image, and ritual. This important survey, with catalogue texts by Alex Gartenfeld, Gean Moreno, and Kobena Mercer, among others, highlights Adkins’s contributions to sculpture, with fifty pieces created between the mid-1980s and the artist’s untimely passing in 2014. Adkins’s works are often dedicated to historical figures with strong resonances in Afrodiasporic culture, exemplified here by the exhibition’s dialogue with John Coltrane’s 1972 album Infinity, which features string arrangements by the saxophonist’s wife and longtime collaborator, pianist and harpist Alice Coltrane, composed after her husband’s death in 1967. This intermundane collaboration dovetails with Adkins’s articulation of a spiritual ecology of history. Seemingly paradoxically, Adkins’s sculptures embrace that most vital and traditional attribute of musical experience—its immateriality.  

  • 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.