In its second year, Vizcaya co-created another semester-long course with instructors from the College of Architecture + The Arts at Florida International University to explore the conceptual and logistical considerations for site-specific performance work, or installations resulting from or based on a performance. Participating students were paired with the commissioned artists for the annual CAP exhibition Fantastical Vizcaya and charged to develop case studies for each artist’s project. The museum organized classroom and studio visits to connect students with artists, which resulted in rich discussions in artistic practice. Based on the individual needs of the artists, students supported installation and preparation, community programs at the museum during Art Basel in Miami Beach week and in some cases implementation for the one-night exhibition.
The following students were our partners in 2015: Mariele Capssa, Amandy Carranza, Matthew Chernoff, Jose Garcia, Michael Gray, Rhea Leonard, Lianis Martinez, Charline Monjanel, Samaneh Rohanimanesh, Sterling Rook, Maricel Ruiz, Ana Sanz, and Angela Yang.
Students conducted case studies on each CAP artist to explore the opportunities and challenges that arise when artists collaborate with Vizcaya to develop and present site-specific performance work for the Contemporary Arts Program at Vizcaya. Studio visits emphasized the principals of collaboration, mentorship and engagement relative to an academic setting and museum practice.
A case study on artist Dona Altemus and her project Southeastern Quadrant is featured below to demonstrate how each student developed and presented their case study through a personal lens.
In 2015, CAP Lab created a community program that include a panel with contributions from curators, scholars, educators and artists on issues surrounding the commissioning and presentation of contemporary art in historic and public art contexts. The program, which was open to the public covered topics including, but not limited to:
The objectives of creating site-specific work in a historic context
Working outside of the “white cube,” within the context of a historic site
Audience engagement and the influence of contemporary art and artists on programming and interpretation
The typologies of historic contexts that engage with contemporary artists
Contemporary art in historic sites as an interventionist approach
Creating an issues-based program with social impact
Co-production and collaboration between artist and curator, artist and site, artist and artist(s)
The negotiations in working site-specifically with curators, conservators, educators and others