pulseartfair.com
/2018PROJECTS

PROJECTS

2018 PROJECTS

PROJECTS is committed to the presentation and promotion of audience-engaging large-scale sculptures, installations and performances.

MIYA ANDO, Moonlit Clouds

PULSE is pleased to present this year’s PROJECTS Special Commission by Miya Ando, whose immersive, site-specific installation will activate PULSE’s entrance to welcome visitors down a path of discovery before they even enter the fair.

Comprised of suspended, gossamer silk banners, Moonlit Clouds is an immersive installation that features signature cloud imagery that Miya Ando photographed in Miami in 2017. The site-specific work invites meditation and interaction with visitors, activating the PULSE tent space to create an experiential entry into the art fair.

Inspired by Buddhist teachings, the banners feature unique cloud artwork that creates an opportunity for visitors to become aware of nature and the environment of PULSE. The installation explores the idea that the things we see change our state of mind with the intent to promote calmness, an awareness of inter-connectivity, and an attention to the viewer’s relationship to time and the present moment via the visual vocabulary of clouds, which connote transitoriness. The balance between the transparency, opacity, and form of the lightweight and sheer silk chiffon play with visitors’ perceptions of light and materiality, while also creating a contemplative environment.

  Miya Ando,   Moonlit Clouds , 2018, Silk, Dimensions variable, Courtesy of the artist and Sundaram Tagore Gallery, booth S-101     PROJECTS Special Commission supported by PULSE’s  Official Shipping and Logistics Partner , TBS Tramo, Inc.

Miya Ando, Moonlit Clouds, 2018, Silk, Dimensions variable, Courtesy of the artist and Sundaram Tagore Gallery, booth S-101

PROJECTS Special Commission supported by PULSE’s Official Shipping and Logistics Partner, TBS Tramo, Inc.


LAFLEUR & BOGAERT, Famasi Mobil Kongolè

Mobile pharmacies are the main source of medicine for many Haitians. Street vendors carry spires of curved cardboard covered with pills —painkillers, antibiotics, Viagra knockoffs, condoms, abortion pills and cough syrups.

Exclusively for PROJECTS, Michel Lafleur (Haiti) and Tom Bogaert (Belgium) present new work inspired by the “Famasi Mobil Swis” originally commissioned by the Swiss Pavilion at the 2017 Ghetto Biennale in Port-au-Prince, Haiti. Lafleur and Bogaert bring to PULSE a number of sculptural mobile pharmacies reminiscent of artist Bodys Isek Kingelez’ “extreme maquettes.”

  Lafleur & Bogaert,   Famasi Mobil Kongolè , 2018, Electric lights, Congo Blue filter sheets, hand painted cardboard, plastic buckets, multicolored pills, rubber bands and pairs of scissors, Approx. 50 x 8 x 15 inches, Courtesy of the artists

Lafleur & Bogaert, Famasi Mobil Kongolè, 2018, Electric lights, Congo Blue filter sheets, hand painted cardboard, plastic buckets, multicolored pills, rubber bands and pairs of scissors, Approx. 50 x 8 x 15 inches, Courtesy of the artists


JANA CRUDER & MATTHEW LAPENTA, Natural Plasticity

Artists Jana Cruder and Matthew LaPenta’s installation Natural Plasticity beckons viewers to examine their own roles and relationships with disposable plastics and the environment. The title references the adaptability of an organism to changes in its environment or differences between its various habitats, existing in or caused by unnatural additives; the changing of our natural environment due to the impact of disposable plastic. Looking back at the impact of the choice of disposable plastic.

Made out of post-consumer plastic and representative of a single American consumer’s use of disposable plastic in 1 year, these larger than life inflatable art sculptures are part of a traveling series of trash aimed at engaging public participation encouraging activism through art.

  Jana Cruder & Matthew LaPenta,   Natural Plasticity , 2018, Post-consumer plastic, Dimensions variable. Courtesy of the artist

Jana Cruder & Matthew LaPenta, Natural Plasticity, 2018, Post-consumer plastic, Dimensions variable. Courtesy of the artist


THOMAS BROADBENT, Rotating Moon

Rotating Moon is an open air, outdoor project with the sublime Miami Beach ocean view as the backdrop. Thomas Broadbent has created this installation with an illusion of the globular body of the moon hovering above the sandy beach surface, slowly rotating in space.

Projected on a large circular screen, the image of the moon rotates a complete 360 degrees in a 1.40-minute continuous loop. This allows the observer to view the moon in a new way, as the moon turns, the so called dark side of the moon comes into full detail in a seemingly 3-D form.

  Thomas Broadbent   Rotating Moon,  2018,   Video projection on panel, 10 feet in diameter. Courtesy of the artist and Front Room Gallery, booth S-213

Thomas Broadbent Rotating Moon, 2018, Video projection on panel, 10 feet in diameter. Courtesy of the artist and Front Room Gallery, booth S-213


REBECA RANEY, Ghost Garden

Multidisciplinary artist Rebeca Raney creates Ghost Garden, a suspended, maximalist installation that will act as a site for visitors to gather, pause, and connect. Drawing from 1980s American malls, vintage Hermès ads, South American markets, and recent trends in contemporary art and installation, Raney combines sensations of abundance with her own detailed and idiosyncratic imagery.

Hand-painted Crêpe de Chine silk makes up the primary material of Ghost Garden, lending a focus to tactility, color, and scale ranging from large, architectural gestures to intimate details of ghosts, flowers, and other characters. Activated by airflow in the tent, the installation reveals waves of movement as the loose components shift and wave, evoking a suspended garden.

  Rebeca Raney,   Ghost Garden,  2018,   Hand-painted silk. Dimensions variable. Courtesy of the artist and Uprise Art, booth S-204

Rebeca Raney, Ghost Garden, 2018, Hand-painted silk. Dimensions variable. Courtesy of the artist and Uprise Art, booth S-204


ANN LEWIS, One in Five of Us

One in Five of Us represents the statistic that 20% of American women will be raped in their lifetimes.

The advent of the #MeToo Movement has been powerful in illuminating this horrific reality in a largely abstract yet public space. With this work, Lewis offers a palpably violent moment of physical consciousness. 

Visitors are invited to step within the installation and explore.

  Ann Lewis,   One in Five of Us,  2016.   Women's underwear, girl's underwear, beer, dirt, glass, blood, tears, grass, twine, wood, metal. Dimensions variable. Courtesy of the artist

Ann Lewis, One in Five of Us, 2016. Women's underwear, girl's underwear, beer, dirt, glass, blood, tears, grass, twine, wood, metal. Dimensions variable. Courtesy of the artist


LUC BOKOR-SMITH, node-558

node-558 is a media installation for CRT television monitors, palm trees, and live electronics. The project was inspired by ideas of remoteness and connectivity in the golden age of pirate broadcasting.

  Luc Bokor-Smith,   node-558,  2018 .  CRT television monitors, palm trees, and live electronics. Dimensions: 14 x 4 feet. Courtesy of the artist

Luc Bokor-Smith, node-558, 2018. CRT television monitors, palm trees, and live electronics. Dimensions: 14 x 4 feet. Courtesy of the artist


NY FEM FACTORY X JESSICA YATROFSKY, Pink Privacy

In Pink Privacy, the women of the NY FEM FACTORY invite you to their most personal refuge. An installation where you’re beckoned into the inner spaces of the artists.

Taking in hypnotic ambient music, have a seat and listen in on a phone call: inspired poetic recitations while you bask in a neon glow beneath a sprawling tree. Right now when everyone’s privacy is imperiled, women must have the right to express and create without intrusion. NY FEM FACTORY welcomes you to experience the uncensored female voice that is Pink Privacy.

Performance takes place throughout the day on Thursday, December 6

  NY FEM FACTORY x Jessica Yatrofsky,   Pink Privacy,  2018 .  Mixed Media Installation. Courtesy of the artists: Words by Jessica Yatrofsky, JoAnnesta & Elaine Kahn. Sound by Drum&Lace and Lil Touches. Neon by Dana Caputo. Set Design by Alexis Badiyi

NY FEM FACTORY x Jessica Yatrofsky, Pink Privacy, 2018. Mixed Media Installation. Courtesy of the artists: Words by Jessica Yatrofsky, JoAnnesta & Elaine Kahn. Sound by Drum&Lace and Lil Touches. Neon by Dana Caputo. Set Design by Alexis Badiyi


ALLISON JANAE HAMILTON, Sweet milk in the badlands

Sweet milk in the badlands looks toward ritual, storytelling, and trance in search of the connections between landscape and selfhood, place and disturbance. This series approaches landscape as integral to the understanding of both history and the present. Throughout the photographs — landscape works and environmental portraits — an uncanny cast of "haints," or spirits, leads the viewer through the beginnings of an epic tale that animates the land as a guide and witness. The collection of works considers the ways that land operates as a protagonist and considers each apparition that inhabits its terrain as a bridge between today's lived realities and the long history of the rural American landscape. The series was developed in North Florida and in Western Tennessee where the artist’s family lives.

  Allison Janae Hamilton.   Sweet milk in the badlands , 2018. Archival Pigment Print. Dimensions variable. Courtesy of the artist & ArtLeadHer.

Allison Janae Hamilton. Sweet milk in the badlands, 2018. Archival Pigment Print. Dimensions variable. Courtesy of the artist & ArtLeadHer.