Seung-taek Lee’s “Earth Play” was first conceived in 1989, but has become all the more relevant today. Photo by Parker Calvert

Artists and brothers Clayton and Parker Calvert are the founders of NYC culture club in New York. Here, they give us an exclusive glimpse into one of the most prestigious art fairs in the world, describing some stand out pieces – and some unforgettable afterparties…

The weather was chillier than normal for South Beach on Wednesday on the opening day of the 21st edition of Art Basel Miami Beach. The mayor of Miami welcomed guests to a pre-fair breakfast in the Collectors Lounge, setting the tone for the day ahead. Guests and attendees sipped coffee and Ruinart champagne as they browsed the New York Academy of Art booth, sponsored by Chubb.

A bird’s-eye view of the fair. Photo by Parker Calvert

The energy in the air was palpable as collectors and aficionados eagerly waited the moment when they could rush in for a first view of the fair. The doors opened at 11 and visitors flooded in to survey the scene and find out what was available. Many galleries had pre-sold quite a bit, but there was still plenty of top tier art for purchase as the fair commenced, suggesting a somewhat cooled-off art market.

Jospin is Ruinart’s Carte Blanche artist for 2023. In this piece, she offers her vision of the terroir of Maison Ruinart, creating a landcape resembling Montagne de Reims. Photo by Parker Calvert

One notable piece was Seung-taek Lee‘s “Earth Play,” presented by Gallery Hyunda in the Meridians section, stood out as a powerful metaphor. Originally conceived as a call to action on environmental issues, the giant balloon adorned with satellite imagery of the Earth now rested partially deflated, a relic from its global travels in the 1990s.

Among the standout booth presentations were Michael Werner‘s brilliantly curated program, Acquavella‘s high-quality historic presentation, Roberts Projects with their consistently innovative approach, and Pace‘s showcase of blue-chip pieces highlighting the greatness of various artists. The Convention Center buzzed with activity as celebrities like Leonardo DiCaprio, Venus Williams, Shakira, Cindy Crawford, Joe Montana, and JR mingled with guests amid the art.

Janelle Monet performing at the Tropicale and the Miami Beach EDITION. Photo by Clayton Calvert

The perfect end to a long day at the fair was the toast Ruinart hosted with Eva Jospin to celebrate the finale of their year long collaboration. Eva is an alchemist, turning cardboard into extraordinary masterpieces while also referencing classical architecture and nature.

I think it is safe to say Eva is an alchemist, turning cardboard into extraordinary masterpieces while also referencing classical architecture and nature. Mickalene Thomas always throws some of the most memorable parties at the fair. This year she partnered with Janelle Monae for a poolside concert that was not to be missed. Janelle electrified the crowd with a high energy performance complete with her signature vocals and inimitable dance moves before she finally jumped in the pool after the last song of her set. She graciously got back on stage, soaking wet, to belt out a couple more notes and thank everyone for being there.

Dwyane Wade at the Soho Beach House. Photo by Parker Calvert

Soho House always packs a punch during the art filled week and this year they partnered with Porsche on an opening day beach tent event with Juvenile as the headliner. Miami Heat legend Dwyane Wade introduced the artist before a high-energy performance that spanned 16 songs, blending new and old material.

Other Art week standouts included Design Miami, always an extraordinary presentation of cutting edge and historic design. Friedman Benda‘s exceptional booth featured a rare wood-carved two-seat bench by Wendell Castle and a curvilinear bench made of red travertine by Najla El Zein. New Art Dealers Alliance continued its tradition of being a fair for discoveries, with Storage Gallery presenting Michiko Itatani’s captivating solo exhibition.

Storage Gallery creator Onyedika Chuke at NADA Miami 2023. Photo by Parker Calvert

Tariku Shiferaw‘s piece at Galerie Lelong stood out, resembling a night sky or twilight landscape with its subtle hues and intricate detailing. Perrier Jouet’s collaboration with Fernando Laposse took center stage at both Design Miami and Soho House, paying homage to flora and fauna, emphasizing the delicate beauty and fragility of the natural world. Laposse’s presentation at Soho House drew a captivated audience eager to delve deeper into the series.

It is safe to say that the art world is alive and well in Miami.

Parker and Clayton Calvert conceived The NYC Culture Club is a project offering opportunities for curators and artists to have exhibitions free of charge.

Find out more: nyccultureclub.com

Todd Gray, Sumptuous Memories of Plundering Kings, 2021. Courtesy the artist and David Lewis.

Magali Arriola

As Art Basel Miami Beach returns for its first in-person iteration since 2019 this week, so does Meridians, the only large-scale project space at the fair. Showcasing 16 larger-than-life works by a roster of international artists which challenge class, race, and power structures, Meridians reimagines the constraints of the traditional art fair format. Ahead of its opening, curator Magalí Arriola (also Director of Museo Tamayo, Mexico City) speaks to LUX about her curation process and how large-scale art is as much a question of temporality as spatiality

1. Tell us about your curation process for Meridians. How did you go about selecting the artists and artworks?

There was a long process of selection behind Meridians. As its curator, I did a lot of reaching out to the galleries and then worked closely with a committee to do the final selection. This year, however, felt a little different from 2019 since, because of the lockdown, many artists didn’t meet the conditions to produce large-scale works.

Follow LUX on Instagram: luxthemagazine

2. What new opportunity does Meridians seek to present artists?

Just like the 2019 iteration, this second instalment provides galleries with a unique opportunity to present ambitious art projects that go beyond the limits of the conventional art fair layout.

Jacqueline de Jong, De achterkant van het bestaan (The backside of existence, 1992). Courtesy Pippy Houldsworth Gallery

3. How do you think experiencing art through a large-scale format affects our relationship with the pieces?

I don’t think scale changes the way we experience art, nor the quality of that experience. I’d like to think that what a sector such as Meridians does is allow us to revisit the notion of scale not only in terms of space but, as some of the works we’re presenting are time-based pieces like video and performance, also in terms of time.

Read more: Legendary Designer Christian Louboutin on Passion & Solidarity

4. Meridians combines the work of emerging and established artists. Why is this hybridity important to you?

Forming a dialogue between emerging and established artists is something that has always been important to me, as it demonstrates that many of the challenges we’re facing today are old challenges that we haven’t resolved. This intergenerational crisscrossing points to the different processes and strategies used by artists for an examination of contemporary thought and experience, as they engage many of the concerns that impact our society and undoubtedly contribute to reassess our current realities.

Yinka Shonibare CBE, Moving Up, 2021 © Yinka Shonibare CBE 2021. Courtesy the artist and James Cohan, New York. Photo by Stephen White & Co.

5. Many of the works in Meridians challenge class, race, and power structures. Which single piece challenged you most and why?

Maxwell Alexandre’s work stands out as a piece that reflects on racial representation and social conflict. He is presenting a new painting from ‘Pardo é Papel’, a series that dates back to 2017. It originates from a group of self-portraits that the artist created on brown kraft paper, referencing its early use by Brazil’s administration to generate birth certificates and identity cards for Black people as a way to veil their skin colour. In his practice, Alexandre depicts daily life in Rio de Janeiro’s Rocinha, one of the largest favelas in Brazil, seeking to empower his country’s population and resist discrimination.

6. This December marks the first in-person edition of Art Basel Miami Beach since 2019. In what ways do you expect the fair to have evolved since then?

I don’t expect Art Basel Miami Beach to have evolved; I think it is we, as people, who will hopefully have changed, having had the opportunity these whole two years to reflect on many of the social challenges that the globalised world faced during 2020. This, I hope, might have led us to develop a larger and stronger sense of community.

Find out more: artbasel.com