Page 12 - The Wynwood Times - 1st Edition
P. 12
Vo l . 1 T H E W Y N W O O D T I M E S MAY 2015
From Basel to the Barrio
Wynwoodhood Tales By Lupita Tasch
We all experience a rare moment when the earth seems to shift These days when I hear people speak about Wynwood I’m often
unpredictably under our feet. Sometimes we feel it’s because left amazed by accounts of revisionist history.
people or places conspire to change how we see things and
when that happens consequences are undeniable. Wynwood’s early pioneers were the Rubells, Brook Dorsch
and Locust Projects who all helped forge the area in the late
In 2004, I visited Miami to hangout with a friend who was 1990s. By the time I arrived, Wynwood was well on the way to
a local artist plugged in to the changes sweeping the city. It becoming the fastest growing art scene in the country.
turned out to be an eye-opening experience.
By the following year, the few galleries on the Wynwood scene
She introduced me to the shabby warehouse area recently circa 2005 included: Emmanuel Perrotin Gallery (opened 2005
designated the Wynwood Art District by early founders. closed Jan 2009), Luis Adelantado, Gallery (opened late 2005
We visited the hot gallery of the moment, Rocket Projects which closed 2008) Bernice Steinbaum Gallery, Fredric Snitzer Gallery,
closed in 2006. We moved on to Locust Projects before ending Dorsch Gallery, David Castillo, Spinello’s Red Dot Projects and
our tour that afternoon at the Rubell Family Collection. Dot Fifty One.
Art Basel 2004 was raging when I visited Miami that week
and every night I crashed parties and events in the city. The
Omni Art installations spread across several vacant downtown
warehouses, spring to mind as one of the most thought-
provoking projects. I distinctly remember Fernando Calzadilla’s
street intervention, Magnus Sigurdarson’s newspaper
installation, and the art invasion cosmetically making over
the Miami Design District. Music, performances, underground
happenings and exhibitions seemed to sprout overnight,
everywhere.
So too were big ticket, tax-busting projects that seemed would
never come to completion.
At that time construction for the new Carnival Performance Arts
Center was mired in serious economic problems with many
citizens wondering if it would ever be finished. It finally opened
to grand fanfare in October 2006, before it ended up becoming
rechristened the Adrienne Arsht Center for the Performing Arts
in January 2008 after the eponymous philanthropist donated
$30 million to secure its stability.
I instantly felt a special connection with Wynwood and became
creatively and spiritually drawn into the hood.
Wynwoodhood Tales reflect my vision as to the relations
between Art Basel Miami Beach, the Design District, the City of
Miami and the hood where the normal people of Wynwood live
and work despite runaway gentrification.
By the year 2000 Contemporary Art was blooming on the global
scene. This phenomenon spawned an era of proliferation for
Contemporary Art Fairs. Biennales began to multiply with equal
consistency.
