Miami Art Week Catalog 2025

MIAMI ART WEEK 2025 LIBRARY OF US

ES DEVLIN FAENA MIAMI BEACH DECEMBER

“For a decade, our purpose has been to uplift the community through art—opening free, sacred spaces of imagination where everyone is invited into a shared cultural journey. Welcoming visionary creators affirms our commitment to a vibrant ecosystem where emerging voices flourish and international artists expand our horizons. As we look ahead, we remain devoted to bold, thoughtful programming that elevates the spirit of the city and illuminates new paths of creativity for all.”

–ALAN FAENA

10 YEARS OF ART AT THE CENTER OF PUBLIC LIFE

FOR THE PAST DECADE, FAENA ART HAS TRANSFORMED MIAMI INTO A PLATFORM WHERE AMBITIOUS PUBLIC ARTWORKS, EXPERIMENTAL INSTALLATIONS, AND DEEPLY ROOTED COMMUNITY INITIATIVES CONVERGE.

Since launching its Miami Beach program in 2015, Faena Art has commissioned and presented landmark works by international artists such as Tavares Strachan, Derrick Adams, Alfredo Jaar Nicholas Galanin and Zhang Huan, while equally championing local talents including Kelly Breez and Beatriz Chachamovits through exhibitions that transform the Faena Art Project Room. Together, these projects have shaped a vibrant cultural landscape that places art at the heart of Faena District Miami Beach Marking its tenth anniversary, for Miami Art Week Faena Art presents a constellation of new commissions across the district celebrating the power of art to foster encounter, reflection, and collective imagination. Unveiling these interconnected environments, inviting viewers to read, listen, encounter, and reflect together. Each work draws upon the power of the written word, memory, and shared space to reveal how stories, personal and collective, shape our sense of who we are and who we may become. This year’s program features major new commissions by Es Devlin taking over Faena Beach with a monumental work Library of Us and an accompanying commission Reading Room in the Cathedral of Faena

Hotel, and an exhibition in the Faena Art Project Room inviting us into a rare and exciting glimpse into her studio practice.

Pepe Mar, a Miami based artist takes over the atrium in Casa Faena with Tropical Stomping Grounds, creating a livable lounge filled with his vibrant assemblage works and patterns. Each space throughout the district offering immersive environments that expand the boundaries of storytelling and spatial experience. Es Devlin ’s poetic exploration of collective memory to Pepe Mar ’s vibrant reimagining of his visual archive, these works embody Faena Art ’s commitment to bold, transformative artistic practice. Together, these new commissions celebrate Faena Art ’s commitment to commissioning boundary-pushing artists, nurturing Miamibased talent, and making art accessible to all. What began as a bold vision for a cultural district has grown into a decade-long practice of placing art at the center of public life. As Faena Art enters its second decade in Miami continuing to build a dynamic, inclusive cultural ecosystem, one where local and international voices meet, where public space becomes a site for shared imagination, and where art remains a vital, transformative force for the community.

LIBRARY OF US —ES DEVLIN

A 50-FOOT REVOLVING LIBRARY AND LUMINOUS READING ROOM THAT TRANSFORM THE FAENA DISTRICT INTO A TEMPORARY SOCIETY GATHERED IN READING, REFLECTION, AND ENCOUNTER.

Library of Us is a 50-foot-wide rotating triangular bookshelf containing 2500 books including the texts that have influenced Es Devlin’s thinking, life and practice. The illuminated triangular sculpture rotates like a mirrored compass needle within a circular reflecting pool surrounded by a 70-footwide collective reading table, set daily with Devlin’s personally annotated books that viewers are invited to read as their seats revolve around one another. Each day, Devlin sets the reading table with her annotated, margin-scrawled books. On the outside circumference of the table there are static stools so visitors can sit and read. On the inside circumference the stools revolve slowly with the rotating bookshelf, allowing visitors to encounter a new text and a new face with each degree of rotation. One of the shelves in the revolving bookshelf is filled with a 30’ wide strip of LED subtitle screen. Throughout the day, phrases from 250 texts are illuminated on the screen accompanied by a recording of the artist’s voice reading them, underscored with compositions by British composers Polyphonia The artwork is an evolution of Devlin’s recent Library of Light installation at Pinacoteca di Brera with Salone di Mobile in Milan, Italy earlier this

year. It reflects the artist’s reading of Umberto Eco’s phrase: Books are the compass of the mind, pointing toward countless worlds yet to be explored, and Jorge Luis Borges’ words: “I am not sure I exist actually, I am every book I have ever read, as well as those of James Baldwin: It was books that taught me that the things that tormented me most were the very things that connected me with all the people who were alive, who had ever been alive.” Es Devlin has said “I have always experienced libraries as silent, intensely vibrant places where minds and imaginations soar, while clutched like kites by their seated bodies. I sense the synaptic connections being forged, the resonances and associations at play within the minds of a temporary community of readers. This installation seeks to express the vitality of the library through a series of encounters between viewers revolving to meet one another through language around a circular collective reading table. Library of Us is a community of books, peacefully sharing one slowly revolving bookshelf, all silently beaming their contrasting points of view, all allowing for the other to exist, as they turn together between the sun, sea and sky.”

READING ROOM —ES DEVLIN

A NEW PARTICIPATORY INSTALLATION BY ES DEVLIN INVITES GUESTS INTO A LIVING ARCHIVE OF COLLECTIVE INSPIRATION AT FAENA MIAMI BEACH. BLENDING LITERATURE, LIGHT, AND COMMUNITY, THE WORK TRANSFORMS EVERYDAY REFLECTIONS FROM THE ARTISTS, CREATIVES, AND HOTEL STAFF, THOSE WHO MAKE THE MAGIC OF FAENA COME TO LIFE INTO A SHARED EXPERIENCE OF READING, LISTENING, AND CONTEMPLATION.

Reading Room is a 46’ long bench incorporating a bookshelf and strip of LED screen. Conceived as a participatory work to complement Library of Us , Es Devlin has asked every member of the hotel staff to contribute a text that has influenced their thinking. Phrases from books and song lyrics have been contributed by the hotel housekeeping team, pool staff, restaurant, bar and kitchen staff, gardening and beach team, maintenance, security and reception staff as well as the teams who fabricated this work and the works on the beach and project room. Titles and phrases have also been contributed by artists who have collaborated with Faena Art over the past decade. Readings of the texts have been recorded by Devlin, and the sculpture will read them aloud and beam them through the LED screen throughout the day. Visitors are invited to sit and read the books, which also include works about the flora and fauna that are featured in Juan Gatti ’s murals which surround the work. Translation between Spanish and English is provided by Ray-Ban Meta Glasses, and they also offer further insights into the books within the work.

TRACING TIME —ES DEVLIN

AN EXHIBITION OF TWELVE NEW WORKS INCLUDING PAINTED TELEVISION SCREENS, LAYERED AND KINETIC SCULPTURAL WORKS, PRINTS, AND PAINTINGS AND DRAWINGS ON GLASS.

Es Devlin has maintained a studio practice of drawing, painting and making alongside her three-decade-long career in large scale installation artworks and stage design. Many of these drawings, paintings, maquettes and cardboard sculptures are featured in her sculptural monograph, An Atlas of Es Devlin (Thames & Hudson, 2023). The works exhibited in Tracing Time have been made over the past two years in parallel with some of the artist’s recent large scale installation works and stage designs. In Edge Dance, Surfacing and Home is the other we carry inside us , Devlin explores the dialogue and dance between the edges of the human form and the architecture that surrounds it. Water becomes an additional layer in some of the works, expressed as suspended painted glazes (in Drawing not drowning ), rain filmed in slow motion (in Surfacing ) and the filmed surface skin of a swimming pool (in Not Drowning ). These works draw on Devlin’s earliest memory — of not drowning in the River Thames in London aged three, and her reading of a transcendent, near-drowning episode in Herman Melville’s

Moby Dick Surfacing draws on the themes of drowning and emergent identity in the novels of Margaret Atwood. The Library of Us series, including Iris , Compass and Sketch, was made in the studio in preparation for the monumental Library of Us installation commissioned by Faena Art on Faena Beach. Laser cut circular voids in 6 layers of plywood are offset to form Iris. A mirror laminated triangular extrusion revolves around a vertical axis in Compass Both works are printed with layers of book and play titles and draw on Devlin’s reading of Umberto Eco’s phrase A Library is a Compass of the Mind, and Jorge Luis Borges’ text I am not sure I exist actually; I am every book I’ve ever read… while Sketch documents the initial idea for the geometry of the work in pencil, ink and charcoal. Nevada Ark and Redraw the Edges of Yourself were made in 2023 and 2022 respectively. They draw on Devlin’s observational drawings of the endangered species of London and Nevada and express the porosity she felt between the edges of her drawing hand and the geometry of each more-than-human being.

Questionnaire

LIBRARY OF US IS BUILT FROM THE 2,500 BOOKS THAT HAVE SHAPED YOUR PHILOSOPHY AND PRACTICE. HOW DO YOU UNDERSTAND THE RELATIONSHIP BETWEEN ONE’S READING HISTORY AND ONE’S ARTISTIC IDENTITY?

When I was a child, we used to go to the local public library every Wednesday after school. My older sister was a big reader and used to take out 5 new books every week and read them. I didn’t read as much but I loved making things, usually out of cardboard cereal packets and tin cans and yoghurt pots. There was a small section in the library of instruction manuals, books about how to build periscopes, kaleidoscopes and zoetropes. I would renew the same 5 books every week. For that early period of my life, the library was a silent place that led to the noise of cutting and pasting, a clean place that led to the mess of making. I began reading seriously as a teenager. The library became a series of corridors, full of doors to possible worlds. Like most teenagers I was seeking the shape of my identity, an unlit room seeking its edges. I tried on books like lenses in an optometrist’s lab. Each week was a sustained foray into the world seen through the eyes of a new stranger. I recently looked through my Amazon purchasing history: it goes back twenty years, it’s like a geological record of the literary sediment layers that have accrued in parallel with the studies, projects and events of my life: the research books that relate to each play, opera and concert; interspersed with the books about DIY, IVF, babies, toddlers, travel, teenagers. Humans in general, and artists in particular, are always seeking patterns, associations. We weave connections between previously unrelated elements that we find in books, images, and life.

UMBERTO ECO, JORGE LUIS BORGES, AND BALDWIN APPEAR AS CONCEPTUAL ANCHORS. HOW HAVE THEIR IDEAS SPECIFICALLY GUIDED THE FORMATION OF THIS ARTWORK?

Umberto Eco characterizes the library as a compass of the mind, each book opening a door to a new perspective. Jorge Luis Borges sublimates his identity into the library “I am not sure I exist actually, I am every book I’ve ever read..’, and James Baldwin cites the library as his teacher, “it was Dostoevsky and Dickens and who taught me that the things that tormented me most were the very things that connected me with all the people who were alive, or who ever had been alive.” Each of these insights has helped shape my approach to this work.

HOW DO YOU THINK BOOKS OPERATE DIFFERENTLY WHEN PRESENTED AS SCULPTURAL MATERIAL RATHER THAN AS PRIVATE OBJECTS?

I tend to read any series or sequence of objects as a sculptural text. Objects on a shelf are like words on a line. The color and size and shape of books in a sequence is something to read even before you open their pages.

THE ROTATING TABLE CREATES EVERSHIFTING ENCOUNTERS BETWEEN STRANGERS THROUGH SHARED TEXTS. WHAT POSSIBILITIES DO YOU SEE IN THESE ORCHESTRATED, BOOK-MEDIATED MEETINGS? The encounters will be in slow motion across a table from strangers, the texts that sit opposite one another are chosen as props, cues, provocations for a conversation.

THE INSTALLATION EMPHASIZES READING AS A COMMUNAL ACT RATHER THAN A SOLITARY ONE. HOW DOES THIS RESHAPE YOUR UNDERSTANDING OF THE LIBRARY AS A CULTURAL SPACE?

There is a power generated when any action is multiplied by many participants simultaneously — choreography in unison, choral singing, mass prayer. Reading together, even silently, also generates a potent charge.

A 30-FOOT LED SUBTITLE SHELF DISPLAYS ILLUMINATED PHRASES WHILE YOUR RECORDED VOICE READS THEM ALOUD. WHAT IS THE ROLE OF VOICE IN GUIDING OR REFRAMING A READER’S INTERNAL EXPERIENCE?

Most of us remember being read aloud to as children, we remember the reverberation of the spoken word through the resonant body of our parent.

HOW DID YOUR COLLABORATION WITH BRITISH COMPOSERS POLYPHONIA SHAPE THE ATMOSPHERE OF THE INSTALLATION, ESPECIALLY IN RELATION TO THE MEDITATIVE ACT OF READING? I have been collaborating with Polyphonia for nearly a decade. In a way, the underscore to Library of Us is an archive of our collaborations.

DO YOU THINK OF THE ILLUMINATED PHRASES AS A FORM OF POETRY, CHOREOGRAPHY OF LANGUAGE, OR SOMETHING ELSE ENTIRELY?

The illuminated phrases and their spoken word counterparts are the voice of the library.

LIBRARY OF US FOLLOWS LIBRARY OF LIGHT FROM EARLIER THIS YEAR. WHAT QUESTIONS REMAINED UNRESOLVED THAT PUSHED YOU TO EXPAND THIS INVESTIGATION? HOW IS LIBRARY OF US AN EVOLUTION OF LIBRARY OF LIGHT?

The terms of engagement for the audience have evolved: the cylindrical geometry of Library of Light held visitors within its central amphitheater, offering them a view of the surrounding 18th Century courtyard sculpted scholars through the gaps in the half empty bookshelf. The mode of participation for the audience in Library of Us is quite distinct from Library of Light : rather than browsing the shelves of the library, they are seated in a more formal encounter with texts and with one another: they sit face to face rather than side by side. This arrangement has been influenced by the sustained face to

face encounters with strangers that I carried out last year for the choral portrait installation Congregation, (which is showing now in NYC at the Perelman Arts Center December 9th–January 4th). Each work is made in response to the specific conditions of its location. While Library of Light is a response to an enclosed 18th Century courtyard within an Italian Museum densely packed with treasured works of art and literature, Library of Us oscillates its passengers between the waves of the Atlantic Ocean and the lights of the city, its compass needle cycling between North, Central and South America and the islands in between. Like Miami, this Library speaks in Spanish and Creole as well as English — and any Spanish speaking visitors are offered a pair of Ray-Ban Meta glasses which translate the texts as they hear them.

ACROSS YOUR WORK, YOU OFTEN EXPLORE HOW INDIVIDUAL EXPERIENCES BECOME COLLECTIVE ONES. HOW DOES THE LIBRARY, AS A CULTURAL ARCHETYPE, DEEPEN OR COMPLICATE THAT INQUIRY?

In a way each of us is a library, a storehouse of ancestral volumes and contemporary scrawls and songs. Perhaps an encounter with this work, like any encounter, will be stored in the libraries of all of us who share it. I think places also remember the works they’ve hosted. The beach in Miami remembers the swirling screen of Refik Anadol’s Coral Dreams , Leandro Erlich’s row of sinking sand cars and Jim Denevan’s round table. Each time we pass this spot on the beach we conjure the layers of works through

time that these sands have supported. The books will become accessible to thousands of readers in Miami public libraries once the work is dismantled. Each book will be marked by its time within the work. The pages may be swelled by salt and sea. Fragments of this work will travel into people’s homes and minds for as long as the libraries continue to lend out books.

WHAT DO YOU HOPE VISITORS CARRY WITH THEM—INTELLECTUALLY, EMOTIONALLY, OR IMAGINATIVELY—AFTER PARTICIPATING IN THIS TEMPORARY COMMUNITY OF READERS?

One of the questions I am asked most regularly at talks, often by students and young artists and designers are: ‘Where do your ideas come from?’. Library of Us aims to explore this question. As you sit at the circular reading table you will encounter a series of books, and a sequence of people who revolve into your orbit and then rotate out again. If you sit at the table long enough, a person you encountered a cycle ago, may return to face you, perhaps when you meet again you’ll both turn to the next pages of the texts you’d been discussing 15 minutes earlier. Perhaps your perspective will have been influenced in the interim by the encounters you may have had with other books, other people, phrases you’ve heard being read aloud, a view you’ve had of the sunset, the sea, the city or a seagull. Perhaps you’ll find an unexpected association between some words you’re reading on the page and a quotation, you hear read aloud or see beamed through the LED line. In a way the work is a model of a life spent in collaboration with people, language, geometry and place.

HOW DOES READING ROOM IN THE FAENA CATHEDRAL EXTEND OR REFRACT THE IDEAS PRESENT IN LIBRARY OF US ?

The first work I made in Miami was Room 2022 at the Edition Hotel in 2017. It explored the social structures expressed within a hotel, and reflected on: “What we all need to agree to believe, every time we stay in a hotel: that the room is ours, that the guests before us left no trace, and the guests that will follow us cast no shadow; that the walls between us are impenetrable: soundproof and life proof, and that the chaos we may leave behind us will be cleared up and restored to order by invisible magic while we are out”. Reading Room, is

OF US HAVE BEEN KINDLY SUPPLIED BY PENGUIN RANDOM HOUSE AND WILL BE DONATED TO VARIOUS ORGANIZATIONS THROUGHOUT MIAMI, INCLUDING PUBLIC LIBRARIES AND SCHOOLS, AT THE CONCLUSION OF MIAMI ART WEEK.

co-authored those who make ‘invisible magic’: the hotel housekeeping team, pool staff, restaurant, bar and kitchen staff, gardening and beach team, maintenance, security and reception staff as well as the teams who fabricated this work and the works on the beach and project room. Each has contributed a phrase from a book or song that has influenced their thinking.

IF YOU COULD INVITE THREE AUTHORS, LIVING OR NOT, TO SIT WITH YOU AT THE ROTATING READING TABLE FOR AN AFTERNOON, WHO WOULD YOU CHOOSE AND WHY? Ocean Vuong, James Baldwin, Arundhati Roy.

DO YOU HAVE ANY PERSONAL “ANNOTATION QUIRKS”—A FAVORITE SYMBOL, MARGIN HABIT, OR PHRASE YOU TEND TO MARK WHILE READING?

If I really disagree with something I sometimes scrawl multiple exclamation marks.

IS THERE A SMALL DAILY RITUAL (READING, WALKING, TEA, A MOMENT OF SILENCE) THAT HELPS CENTER YOUR CREATIVE PRACTICE? I set the alarm each morning 20 minutes before I need to be awake. I meditate on gravity and consider the gravitational vanishing point that connects all of us to the center of the planet.

British artist ES DEVLIN (born London 1971) views an audience as a temporary society, a momentary community in which new perspectives can be rehearsed. Her large-scale art installations have invited public participation in communal choral works. In Come Home Again (2022) she made drawings of 250 of London’s most endangered species and installed them outside the Tate Modern, underscored by local diasporic choirs; in 2023 in collaboration with U2, she inaugurated the Sphere, Las Vegas with a cathedral of Nevada’s endangered species, and her revolving Library of Light installation welcomed nearly 200,000 visitors to daily collective readings in Milan earlier this year. This fall, Congregation, her installation of 50 portraits in collaboration with the United Nations High Commission for Refugees, is

being shown at the Perelman Arts Center NYC (7 Dec – 4 Jan), following her Lincoln Centre installation Your Voices , which explored the 637 languages spoken in NYC in 2022. In 2018 she painted one of Trafalgar Square’s stone lions fluorescent red and invited visitors to feed it words that formed a collective poem projected onto Nelson’s Column. She conceived the UK Pavilion at the World Expo (2021) which gathered millions of visitors’ words into an AI co-authored global collective poem. She brought a map of Compton to the 2022 Super Bowl Halftime show (featuring Dr Dre and Kendrick Lamar) and has created stadium sculptures with the world’s most celebrated musicians, operas at the Royal Opera House and the Metropolitan Opera, NYC, and Olympic Ceremonies in London and Rio. Her installation works have been shown in Miami

over the past decade, starting with Room 2022 a vast maze and zoetrope during Miami Art Week 2017, Forest of Us which inaugurated Superblue Miami with a mirrored meditation on the symmetry between lungs and trees in 2021 and is still on view there today; Five Echoes, a monolithic labyrinth surrounded by 1000 plants and trees which were contributed by Chanel to One Tree Planted, Million Trees Miami and are now growing in Miami-Dade County parks, including Camp Matecumbe Park and Gwen Cherry Park. Es Devlin has been honoured by the Emmy and Ivor Novello Awards, and awarded 3 Olivier Awards, a Tony Award, the London Design Medal, the McDermott Award in the Arts at MIT and a CBE. She is a Fellow of the Royal Academy of Music, Fellow of UAL: Camberwell College of Arts, Bloomberg Oxford Fellow and Visiting Professor at Oxford University.

The Pages That Formed a Decade of Imagination

OVER THE PAST TEN YEARS, FAENA ART HAS INVITED ARTISTS FROM AROUND THE WORLD TO TRANSFORM SPACES IN THE FAENA DISTRICT MIAMI BEACH THROUGH BOLD IDEAS AND EXPANSIVE IMAGINATION. BEHIND EACH COMMISSION, EACH INSTALLATION, AND EACH MOMENT OF SHARED WONDER LIES A QUIETER FORCE: THE BOOKS THAT SHAPED THE ARTISTS WHO CREATED THEM.

THIS COLLECTION BRINGS TOGETHER FIVE INFLUENTIAL TITLES FROM THE ARTIST AND CREATIVES WHO HAVE COLLABORATED WITH FAENA ART, FORMING A LIVING LIBRARY OF THE IDEAS, STORIES, AND PHILOSOPHIES THAT HAVE FUELED A DECADE OF CREATIVITY.

ALAN FAENA

The Picture of Dorian Gray, Oscar Wilde Las Enseñanzas de Don Juan, Carlos Castaneda

The Hardy Boys Series, Franklin W. Dixon

The Little Prince, Antoine de Saint-Exupéry Psychomagic: The Transformative Power of Shamanic Psychotherapy, Alejandro Jodorowsky In Search of the Miraculous: Fragments of an Unknown Teaching , P. D. Ouspensky

NICHOLAS GALANIN

The Wretched of the Earth, Frantz Fanon Border and Rule, Harsha Walia

An Indigenous Peoples’ History of the United States , Roxanne Dunbar-Ortiz

Tao of the Raven, Ernestine Hayes

GONZALO FUENMAYOR

Perfume, Patrick Süskind

Cien Años de Soledad, Gabriel García Márquez

King Leopold’s Ghost, Adam Hochschild

El Otoño del Patriarca, Gabriel García Márquez

El Túnel, Ernesto Sábato

MAGNUS SODAMIN

The River of Grass , Marjory Stoneman Douglas Steppenwolf, Hermann Hesse

Desert Solitaire, Edward Abbey

The Old Man and the Sea, Ernest Hemingway

The Longest Silence, Thomas McGuane

ANTONIA WRIGHT & RUBEN MIJARES

Artists in Times of War, Howard Zinn

The Argonauts , Maggie Nelson

Making Your Own Days , Kenneth Koch

The Artist’s Way, Julia Cameron

The Alchemist, Paulo Coelho

A Miracle in Paradise, Carolina Garcia-Aguilera

SEBASTIÁN ERRAZURIZ

Thinking , Fast and Slow, Daniel Kahneman

The Demon-Haunted World: Science as a Candle in the Dark , Carl Sagan

Superforecasting: The Art and Science of Prediction, Philip E. Tetlock y Dan Gardner

Thinking in Bets , Annie Duke

The Art of Thinking Clearly, Rolf Dobelli

KELLY BREEZ

Where the Sidewalk Ends , Shel Silverstein

All the Light We Cannot See, Anthony Doerr

A Wild Sheep Chase, Haruki Murakami

How Should a Person Be?, Sheila Heti

The Stinky Cheese Man and Other Fairly Stupid Tales , Jon Scieszka

CORNELIUS TULLOCH

Crafted Kinship: Inside the Creative

Practices of Contemporary Black Caribbean Makers , Malene Barnett

What Black Is This, You Say?, Amanda Williams

The Highwaymen: Florida’s African American Landscape Painters , Gary Monroe

Poetics of Relation, Édouard Glissant

Reflections in Black: A History of Black Photographers, 1840 to the Present, Deborah Willis

EDGARDO GIMÉNEZ

The Wit and Wisdom of Mae West, Mae West

El universo de Rita Hayworth, Antonio Albella

Snow White, Brothers Grimm

Trash Trio: Pink Flamingos, Desperate Living and Flamingos Forever, John Waters

Alice’s Adventures in Wonderland, Lewis Carroll

BEATRIZ CHACHAMOVITZ

Small Arcs of Larger Circles , Nora Bateson

All We Can Save, Ayana Elizabeth

Johnson y Katharine K. Wilkinson

Seashore Life of Florida and the Caribbean, Gilbert L. Voss

The Swamp, Michael Grunwald

The Emancipated Spectator, Jacques Rancière

ELI SUDBRACK

The Revolutionary Genius of Plants, Stefano Mancuso

Love Saves the Day, Tim Lawrence

The Agony of Eros , Byung-Chul Han

The Dawn of Everything , David

Graeber y David Wengrow

How to Change Your Mind, Michael Pollan

LIENE BOSQUE

Macunaíma: The Hero with No Character, Mário de Andrade

Too Much of Life: The Complete Crônicas, Clarice Lispector

The Book of Disquiet, Fernando Pessoa

Destruction of the Father / Reconstruction of the Father: Writings and Interviews

1923–1997, Louise Bourgeois, Hans-Ulrich

Obrist and Marie-Laure Bernadac

One Place After Another: Site-Specific Art and Locational Identity, Miwon Kwon

DIEGO GRAVINESE

The Philosophy of Andy Warhol (From A to B and Back Again), Andy Warhol

Tao Te Ching , Lao Tzu

Leaves of Grass , Walt Whitman

The Tao of Physics , Fritjof Capra

The Doors of Perception, Aldous Huxley

Autobiography of a Yogi, Paramahansa Yogananda

ALEXANDRE ARRECHEA

Tropicana Nights: The Life and Times of the Legendary Cuban Nightclub, Rosa Lowinger y Ofelia Fox

El monte, Lydia Cabrera

The Old Man and the Sea, Ernest Hemingway

The Idiot, Fyodor Dostoevsky

Nieve, Julián del Casal

ALEX NUÑEZ

Play It as It Lays , Joan Didion

When You Are Engulfed in Flames , David Sedaris

Just Kids , Patti Smith

Ninth Street Women, Mary Gabriel

Helen Frankenthaler: Five Painters and the Movement That Changed Modern Art, Mary Gabriel

The Lost Apple, María Torres

Matilda, Roald Dahl

LYRA DRAKE

The Devil at Large, Erica Jong

Tales of Wonder, Huston Smith

Matter and Memory, Henri Bergson

Mother Night, Clarissa Pinkola Estés

Tao Te Ching , Lao Tzu

MANUEL AMEZTOY

La mano izquierda de la oscuridad, Ursula K. Le Guin

On Weaving , Anni Albers

Mil mesetas (A Thousand Plateaus: Capitalism and Schizophrenia), Gilles Deleuze y Félix Guattari

Art Forms in Nature, Ernst Haeckel

The Grammar of Ornament, Owen Jones

TYPOE

The Creative Act: A Way of Being , Rick Rubin Harold and the Purple Crayon, Crockett Johnson

Oh, the Places You’ll Go!, Dr. Seuss

The Little Prince, Antoine de Saint-Exupéry Winnie-the-Pooh, A. A. Milne

FRANCIS MALLMANN

The Waste Land, T.S. Eliot

The Prophet, Kahlil Gibran

Les Fleurs du Mal, Charles Baudelaire

Anthology, W.H. Auden

A Natural History of the Senses, Diane Ackerman

PAUL QUI

Burgundy Stars , William Echikson

White Heat, Marco Pierre White

Kitchen Confidential, Anthony Bourdain

Essential Cuisine, Michel Bras

The French Laundry, Michael Ruhlman

TROPICAL STOMPING GROUNDS —PEPE MAR

COMMISSIONED BY THE CITY OF MIAMI BEACH IN COLLABORATION WITH THE MIAMI BEACH CONVENTION AND VISITORS AUTHORITY PRESENTED BY NO VACANCY IN PARTNERSHIP WITH FAENA ART

PEPE MAR’S SITE-SPECIFIC INSTALLATION, TROPICAL STOMPING GROUNDS, TRANSFORMS CASA FAENA’S SUNLIT ATRIUM INTO AN IMMERSIVE TABLEAU COMPOSED OF TEXTILES PRINTED WITH IMAGERY DRAWN FROM FIFTEEN YEARS OF HIS COLLAGE, ASSEMBLAGE, AND SCULPTURAL PRACTICE.

Unfolding as a floor-to-ceiling panorama of pattern and memory, the work reimagines fragments of Mar’s earlier pieces in textile form as a tactile retrospective that maps his visual and emotional terrain. Both autobiographical and celebratory, Tropical Stomping Grounds pays homage to Miami Beach, a place that has shaped the artist’s life and practice for over two decades. The repeated patterns and layered imagery evoke ideas of myth, culture, self-exploration, and nature, creating a vibrant environment that reflects Mar’s ongoing exploration of identity and belonging. As a part of the installation, Mar introduces a custom-designed sofa upholstered with imagery from his monumental collage My First 25,000 Years on Earth (2024), extending the work’s vivid iconography into a lived and tactile encounter. Viewers are invited to sit, read, and lounge within a living collage that bridges art and everyday experience. Mar’s assemblage practice embraces a spirit of reuse and transformation, incorporating discarded objects, vintage jewelry, ceramics, glassware, leather, and other found materials. Books and objects integrated into the installation further expand this sense of discovery and reflection, encouraging a communal and contemplative engagement with the artist’s world.

PEPE MAR was born in Mexico (1977) and lives and works in Miami, Florida. He received his BFA from California College of the Arts (CCA), San Francisco and received his MFA from Florida International University. He participated in the Skowhegan School of Painting and Sculpture (2011). Upcoming exhibitions include an artist curated project at the Currier Museum of Art, Manchester, NH; The Atrium Project: 10 Years and 10 Stories at the Kemper Museum of Contemporary Art, Kansas City, MO; Something Borrowed, Something New at the Sarasota Art Museum. Recent solo exhibitions include a 15-year career survey Myth and Magic at Tampa Museum of Art (2023-2024); Rising Sun at the Kemper Museum (2022-2023); Magic Vessel at

Everson Museum of Art (2023); Pepe Mar at Baker Museum of Art (2023-2024); Tesoro: Pepe Mar’s Love Letter to the Frost at Frost Art Museum in Miami (2020-2022); Dragonfruit at The Mattress Factory Museum of Contemporary Art, Pittsburgh (2019-2020) and others. Mar’s work has been exhibited widely and is included in major collections including the Seattle Art Museum; High Museum, Atlanta; Institute of Contemporary Art, Miami; Perez Art Museum, Miami; Kemper Museum; Tampa Museum, among others. His work has appeared in The New York Times, Artforum, ARTnews, Art in America, The Artnewspaper, BOMB Magazine, Burnaway, Panorama and numerous others.

CELEBRATING 10 YEARS IN MIAMI

Faena Art is a 501(c)(3) nonprofit organization committed to commissioning cross-disciplinary artistic experiences and immersive works that bring art into the public realm and into the heart of community life. Free, inclusive, and deeply connected to place, Faena Art fosters new ways of experiencing culture and community, transforming everyday spaces into vibrant platforms for creative and cultural expression.

THANK YOU TO ALL THE ARTISTS, CURATORS, INSTITUTIONS, AND ORGANIZATIONS WHO HAVE COLLABORATED WITH THEIR MAGIC TO BRING OUR DISTRICTS ALIVE, AND FOR SUPPORTING OUR MISSION.

Achim Borchardt-Hume

AES+F

Agustina Woodgate

Alberto Garutti

Alex Nuñez

Alexandre Arrechea

Alfons Hug

Alfredo Jaar

Almudena Lobera

Amalia Pica

Amaya Bouquet

Ameyal Mexican Cultural Organization

Ana Mendieta

Anabella Bergero

Andrea Bellini

Andrea Büttner

Andrés Reisinger

Anita Dube

Anthony McCall

Antonia Wright & Ruben Millares

Aorist

Arto Lindsay

assume vivid astro focus

Auriea Harvey

Auto Body

Barry University

Beatriz Chachamovits

Beatriz Monteavaro

Beeple

Boris Mitić

Boychild

Camille Henrot

Carlos Basualdo

Carlos Betancourt

Carlos Cruz Diez

Carnival Arts

Caroline Bourgeois

Cayetano Ferrer

Cecilia Alemani

Cecilia Bengolea

Celeste Fraser Delgado & Damián Rojo

Chris Levine

Christina Pettersson

Chus Martínez

Cielo Tejido

Claire Tancons

Compañía De Danza

Folklórica Ban Ra Rra

Consuelo Castañeda

Coral Morphologic

Cornelius Tulloch

Cristina Lei Rodriguez

Cynthia Cohen

Dagoberto Rodríguez Sánchez

Damien Hirst

Dan Siegler

Derrick Adams

Diego Gravinese

Edgardo Gimenez

Eduardo Capilla

Eduardo Navarro

Elvira Dyangani Ose

Emeka Ogboh

Emiliano Miliyo

Ernesto Neto

Es Devlin

Eugene Jarecki

Faith Ringgold

Fernando Rubio

Florida International University

Franklin Sirmans

Franz Ackermann

Fundación Vairoletto

Fyodor Pavlov-Andreevich

Gabriel Chaile

Gachi Hasper

George Sánchez-Calderón

Gia Wolff

Gonzalo Fuenmayor

Grethell Rasúa

Inés Katzenstein

International Ocean Film Festival

Isabel Lewis

Jamilah Sabur

Janine Antoni

Jeff Koons

Jessica Morgan

Jesús Fuenmayor

Jillian Mayer

Jim Denevan

Jimena Croceri

Job Smeets (Studio Job)

Joel Mesler

Jonas Lund

Jordan Betten

Jorge Lizarado

Jorge Miño

José Roca

Joseph Beuys

Juan Gatti

Juan Jose Cambre

Juliana Huxtable

Jumana Mana

Katie Sonnenborn

Kelly Breez

Larisa Zmud

Liene Bosquê

Los Carpinteros

Lucrecia Palacios

Luna Paiva

Lyra Drake

Magnus Sodamin

Manuel Ameztoy

Marcello Pisu

Marco Antonio Castillo Valdés

Marina Abramović

Marinella Senatore

Marko Brajovic

Martin Sastre

Miami Arts Charter

Miami Beach Convention and Visitors Authority

Miami Beach School Of Narrative Dance

Miami Bridge Homestead

Miami City Ballet School

Miami Dade College

Michael Nyman

Miralda

Mischa Kuball

Miya Ando

Montse Guillén

Myrlande Constant

Naama Tsabar

Nancy Baker Cahill

Nicholas Galanin

No Vacancy

Nu Deco Ensemble

Nynke Tynagel

Osías Yanov

Pablo León De La Barra

Pablo Siquier

Pace Center For Girls

Pam Tanowitz

Paula De Solminihac

Pedro Neves Marques

Pepe Mar

Peter Tunney

Petroc Sesti

Phillip K. Smith III

Pilar Zeta

Quayola

Ragnar Kjartansson

Random International

Rara Laka Band

Raul Das Neves

Refik Anadol

Reza Negarestani

Richard Long

Rita Gonzalez

Roger Hiorns

Sebastian Errazuriz

Shohei Shigematsu/Oma

Sinisa Kukec

Sonia Becce

Sophia Al-Maria

Studio Drift

Suzi Analogue

Sybilla Sorondo

Tavares Strachan

The Bandshell

The Propeller Group

Thyssen-Bornemisza Art

Contemporary Tba21

Typoe

Victoria Noorthoorn

Vivi Tellas

Vivian Caccuri

Wu Tsang

Yael Bartana

Young Arts

Zhang Huan

Artistic Collaborations

Jamie xx

James Thomas Smith is a British musician, DJ, producer, and remixer, widely respected both for his solo work and as a core member of the indiepop band The xx . As a solo artist, he gained critical acclaim with his debut album In Colour, earning a Grammy nomination for Best Dance/Electronic Album. In 2024 he released his second solo album blending emotional euphoria with club textures and featuring collaborators like Robyn and Honey Dijon.

Cherlato is a celebration of flavors and artistry, delivering an unforgettable experience that’s as bold and inspiring as the rule breaking artist who founded the brand. Cherlato transcends the boundaries of traditional gelato, offering a seamless blend of innovation and luxury. Under Cher ’s visionary guidance, Cherlato’s master gelato artisans create flavours designed to delight the senses and inspire creativity. Blond:ish

Vivie-Ann Bakos is a Canadian DJ, producer, label founder, and environmental activist. Her sound blends house, techno, and global rhythms with a deeply spiritual and uplifting energy. In 2017, she founded her own label and collective, Abracadabra, fostering a “femalepowered” community of artists. Passionate about sustainability, she founded the non-profit Bye Bye Plastic, aiming to eliminate single-use plastics from music venues and festivals.

assume vivid astro focus

amaze vogue ascend flourish by AVAF returns with the Cherlato gelato car, bringing the vibrant, playful energy that lit up New York’s October roller rink to Miami Art Week. The work celebrates diversity, inclusion, and selfexpression through swirling neon colors, ecstatic patterns, and bold maximalism. Founded in 2001, AVAF is an artist collective that shifts form across projects, working in media ranging from installations and painting to tapestry, neon, video, sculpture, and performance, often exploring gender, politics, and cultural codes through exuberant visuals.

@FAENAART @ESDEVLIN

#MIAMIARTWEEK #FAENAART

Executive Director: Nicole Comotti

Director of Exhibitions: Nicole Natalie Pozos

Editorial Director: Gastón Guaglianone

Graphic Design Director: Alejandra Román

Director of Marketing and Communications: Itzamme Maya

Art Director: Rafa Olarra

Digital and social media content: Sol Alonso Production: Elizabeth Brady

Controller: José Soto

ES DEVLIN STUDIO

Scarlett Moloney, Anna Niamh Gorman Composition and Sound Design: Polyphonia Sound Design: Erich Bechtel – ADI Worldwide

KADAN PRODUCTIONS

Technical Direction & Fabrication: Founder: Serge Hunkins

Vice President & Project Manager : Patrick “Wizard” McCluskey

Systems Integration & Lighting: Tyler Hall

Lead Draughtsperson: Pancharee “Pan” Sangkaeo Draughtsperson: Prakriti Nambiar

KADAN SHOP TEAM

Justin Haugh, Roxy Gillespie, Chris “CJ” Talamini, Christen Donlon, Bjorn Holm, Todd Weir, Lance Holbrook, Matt Kneer, Lucas Hunkins, Brad Maltby, Kaia Hunkins

TURNTABLE BUMAT

Timo Burgmeier, Harald Oechsler, Richard Hauser

Faena Art Project Room Technical Direction & Fabrication: Erin Cermak, Emiliano Pares, Loren Mochari

ACKNOWLEDGEMENTS

Faena Art would like to express sincere gratitude to the individuals and organizations who make this program a reality and without whom, none of this would be possible. Thank you to all the Faena Rose members.

Special thanks to Pinacoteca di Brera, Salone di Mobile, Rohit Anand, Scott Geraghty, Said Haykal, Dilip Mukundan, Mandy Guldner, Galit Wainberg, Michele Caniato, Kimberly Strauss, Suzette Tillit, Angelica Cortes, and East of Collins. Thank you to the Vranken Family, Ayinde Chase, Taire Sims and Laura Fairweather. Thank you to the City of Miami Beach Administration and City of Miami Beach Commission and the Miami Beach Convention and Visitors Authority.

A very special thank you to the neighbors of Faena District and the residents of the City of Miami Beach who we hope to support in our mission to create an innovative cultural program that serves the multitude of diverse communities within our city.

Photo in page 9 by Sara Karens

Photo in page 10 by Cian Oba Smith

Tracing Time photos by Daniel Devlin

Photos in pages 12 and 13 by oriol tarridas

Photography and Renderings are courtesy of the artists.

FAENA ART THANKS

CHÂTEAU LA GORDONNE, PERRIER-JOUËT, MAISON PERRIER, FEVER-TREE, ILLY, RED BULL, SAINT JAMES, BACARDI, CASA DRAGONES, MIDNIGHT COWBOY, KETTLE ONE VODKA FOR THEIR GENEROUS SUPPORT

JOIN US IN SUPPORTING THE ARTS