A Miami based contemporary art newsletter / blog

Second Saturday: A night in pictures


Psychic Youth Inc inaugurate the project room at Del La Cruz Collection. Image courtesy of the artists.

Before we resume our regular Saturday coverage of LA shows, we’d like to make up in some small way for a slack week by sharing some images from last Saturday’s Second Saturday Art Walk. Originally an exclusively Wynwood thing, Second Saturday events now happen en masse in both the Wynwood Arts and Design Districts. Last week was no exception. Even in spite of our Jet Set Saturday crew being in town for the opening Annie Wharton’s show at David Castillo Gallery we still didn’t get to see everything!


New comer Nick Klein performs for his solo exhibition “O Mio Babbino Caro/ Toomus Meremereh Nor Good” at CMG (Christopher Miro Gallery) Projects.


Klein, exhibited during last years Art Basel Miami Beach by hanging himself from a tree at CasaLin and in a artist run home gallery for The Small Show.


Focusing on gestures that poke fun at the role of the artist, particularly himself, Klein's show at CMG Projects was a sentimental and reflective self portrait.


Dead Dad's Club Corporation's solo show "Final Performance" at Spinello Gallery consisted of large scale crayon drawings of murder by asphyxiation.


DDCC corporealize bullshit cotton candy cone portraits, landscape cross- sections of brown derby cake, and hardcored florals by incantations of Crayola crayons. The inert non-ism works on expansive cotton paper are stepped on wildly by drunken hookers whenever they get the chance.


They say: "The goal is to take over genre, form, principle and be the most elite provider of XXXL Crayola crayon images of bodies on the frozen earth and suffocating heads around. If we can't do that, it's onto the next genre, form, principle and fuck you all. Anything else."


Also at Spinello Gallery in the project room, Zach Balber's "My American's" features some familiar scenes from neighboring Little Haiti. While admittedly less gory than the works in the main gallery Balber's photographs themselves inspire a perverse morbid curiosity.


Next door to Spinello Gallery, Jay Hines opens "Ain't No Disputin' the Rasputin" at Dimensions Variable.


With a hilarious press release courtesy of Mike Tayor that appears to confound itself with notions of artistic purpose, the exhibition appears to conjure a tenuous correlation between the mystique of the art object and Rasputin's penis.


"Though the transcendence offered by the artist is no accident, it's up to debate whether or not it's by design. These folks are notoriously bad at stating their intentions; hence, the code. As Rasputin's role in Czar Nicholas'; regime, so is the artist's role in material culture. Mystic? Visionary? Huckster with dynamic style? Does it matter? Could it not matter? Layers?" - Mike Taylor


"Simple Simon" at "Ain't No Disputin' The Rasputin". True to the form we have come to expect from Hines, the show, small in scale, but with vastly different sized works, leaves a taste in ones mouth of childhood uncertainty twinned with pointed anarchic futility and a healthy appreciation for doom.


"Chained to a Creature of a Different Kingdom" at David Castillo Gallery, curated by Annie Wharton. Here a tight grouping of videos that address corporeal themes litter the gallery space. Screened on a variety of systems from mini laptops to wall size projections the show was dominated by a visceral Marylin Minter film of her muse kissing a variety of gold materials - mainly pearls and glitter - with fat, red lips onto plate glass.


Opening of Matrin Murphy's "Don't Forget To Crash" at Dorsch Gallery. A selection of disparate works connect in the gloom of Murphy's show. One piece in particular in Murphy's own brand of staged, vicarious aesthetic features a panning video of the interior of a disused soviet mental institution. Narrated by an aging Russian reminiscent of the French dude from "Alphaville" the piece, which provides subtitles in their own frame (a nice touch) describes a thwarted escape from a burning asylum. Melancholic, the almost deadpan nature of the near indecipherable audio creates a prickly, mounting sense of panic.


Sharing Dorsch Gallery with Martin Murphy, Elizabeth Condon shows new paintings in "Walkabout". The artist (far right) with gallery staff Annie Hollingsworth (left) and writer Michelle Weinberg (center).


At Fredric Snitzer Gallery, Diego Singh shows "Pathological Liar/Stalker". Over a year in the making, the exhibition surprised viewers on grounds of the artists dexteriteorus style. We liked the press release for this show almost as much as the one for "Ain't No Disputin' The Rasputin"!


Opening the project room at the new De La Cruz collection, Miami's collaborative performance troop Psychic Youth, Inc present "TRI".


The first installment of three performances, the groups characteristic thrashing, performative dance elements and experimental music and stage props such as Theramins and mirrored vinyl took on new authority in this, perhaps their most officiated gig to date.


"TRI" a series of performances will be continued tomorrow with the added element of Rick Diaz.


Although exact times are yet to be announced, one can expect that th event will take place from 6 - 9pm. Each performance of the three promises to be vastly different from the last so prepare to be surprised by the opposite of your expectations.

Tonight George Sanchez-Calderon opens “In God We Trust” at Farside Gallery (1305 Galloway Road, 87th Ave). Consisting of a multi-faceted installation comprised of  zines, drawings, maquette’s and appropriated corporate monuments the show also includes an 8:30pm Falla performance and Kosher Paella in honor of St.Joseph’s day, the birthday of the artist’s father. Unfortunately, March 19th is also my son’s birthday so I won’t be attending, but Calderon’s “context-driven public installations and architectural re-interpretations that confront the viewer”are always well worth a look-in. For more information call 305-264-3120 or visit

This post was contributed by Thomas Hollingworth.

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Second Saturday: A night in pictures