Yesterday we presented the first installment of photographs and videos from the collaborative venture between Italy-based artist, 2501 and Argentina-based artist, Pastel entitled the “MIRRORLESS PROJECT.” Amidst this year’s annual mural painting influx that occurs in the Wynwood District of Miami during Art Basel, these two artist’s constructed several unconventional installations on a number of residential houses in the area (four in total). Creating spatial interventions by using objects and paintings that include mirrors, this project materialized with the residents of Wynwood in mind and with the aim in bringing awareness to the tension spawning from the rapid shifting changes over the last few years.
Read further more about this ideas and thoughts of this project below:
So the three subjects involved – artists, homes and people - facing each other that make up this installation, form their own materiality, complex and fragmentary, expansive and detailed, and transform this tensions into a fourth subject: FOUR SHORT DOCUMENTARIES based in Wynwood.
Wynwood, where a multitude of images coexist in different cores of attention, through different manners of painting and a set of variation (from events to gestures, from ghetto to gentrification), imply the critical, ironic and paradoxical acceptance of chaos as a creative and co-existential principle.Wynwood, where a multitude of images coexist in different cores of attention, through different manners of painting and a set of variation (from events to gestures, from ghetto to gentrification), imply the critical, ironic and paradoxical acceptance of chaos as a creative and co-existential principle.
From today's perspective and on the basis of a contemporary understanding of art, 2501 and PASTEL apply a range of artistic strategies and mean to explore the building's fundamental idea of being a model-like, ideal space for the presentation of art.
MIRRORLESS PROJECT deals with different categories: firstly, home and its facade as utopian spaces for art, which is an architectural sculpture in themselves; secondly, the categories of performance, documentation; furthermore, self-reflectively, the film medium; and finally people who know this place because they live, walk and look at rapid change that is taking place here.
This analysis is not about a lamentation about their imminent destruction, which would find its counterpart in “colorful ghetto” or “ideal place”, but rather about the “peripheries of perception” into a random interaction with what is happening in Wynwood and with its inhabitants.
As well as the aim is not to impose some sociological or anthropological reading onto a set of images and artworks. Rather, it is to convey the experience of the place where they are produced – which constitutes an essential element in the work process of these artists - in order to delineate the singularity of their practices and experience within the contradictory territory of Wynwood today.
The silent and mechanical vision of the camera is coupled with an interest in spatial and relational juxtaposition that set up dialectical tensions occasioned by a clash between people and simultaneous, yet utterly separate, events.
A play of mirrors could show a provocative mean of perception, with the observer seeking an escape route or a way of reaching the destination. Like the doors, windows and walls are a kind of books of a blank pages on which a transverse story is written.
2501 and PASTEL suggest a lucid glaze on an optical illusion.
Mirrorless Project Facebook
All photography by Austin McManus
To learn more about the changes occuring in the Wynood Disrtict of Miami check out this video by Camila Alvarez & Natalie Edgar