Latest Events in Miami(April Updated)

A World Far Away, Nearby and Invisibleinvites viewers on a journey through selected works from the Jorge M. Pérez Collection that explore and reimagine the complex, multifaceted idea of territory. The exhibition moves from a conception of territory as layered, tangible ground to one rooted in primordial, earthbound forces—celebrating it as a space where the symbolic and the dreamlike converge. Organized into four chapters, the exhibition weaves together narratives that portray territory as a shared space of affection, magic, and community, where legends and myths meet. These stories form a tapestry of metaphors that, in the words of Mazatec shaman María Sabina, evoke a world that is far away, nearby, and invisible all at once. The works on view at El Espacio 23 suggest territory as a vital force: a living, shifting organism, a refuge, a site of purification, and a space for meaning. In contrast, the landscape emerges as a cultural construct: a subjective gaze that, through aestheticization, fragments and categorizes territory in order to name it. Curated by Claudia Segura Campins in dialogue with curators of the Pérez Collection, Patricia M. Hanna and Anelys Alvarez, A World Far Away, Nearby, and Invisible becomes a dialogue between physical substance and symbolic resonance. Within this conceptual frame, territory is rendered in sharp, unembellished clarity, revealing its political, performative, and transformative dimensions.

Filling the museum’s initial seven galleries and presenting over twenty works from the past two decades, Thomas Houseago: First Light marks the first single-artist survey exhibition to take place at the Rubell Museum and will occupy a suite of galleries newly dedicated for this purpose. From eight plaster figures commissioned by the Rubells for the 2006 Red Eye exhibition, to large-scale, collaged paintings created this Fall, the exhibition will elucidate Houseago’s range and psychological intensity across mediums as diverse as wood, bronze, paper, found objects, plaster and paint on canvas.

The exhibition "Participation: Sport, Art, and Culture" explores the dynamic interaction between athletic competition and artistic expression. Coinciding with Miami hosting several major international sporting events—the Miami Open, the Formula One Grand Prix, and the FIFA World Cup—the exhibition transforms the Perez Museum of Art (PAMM) into a venue for a global audience to reflect on the impact of sport culture. In this city characterized by exchange and diversity, the exhibition emphasizes how competition and rivalry transcend tradition, identity, and contestation to create a shared platform.

Cecilia Vicuña is a poet and artist who grew up in the Chilean commune of La Florida, in the Maipo Valley. Born to a family of artists and intellectuals, Vicuña grew up hearing about the persecution and incarceration of individuals who struggled for social justice in the wake of increasingly conservative government agendas. While attending the Slade School of Fine Art in London on a British Council Award in 1972–73, a coup d’état led by General Augusto Pinochet, commander-in-chief of the Chilean army, ushered in a seventeen-year military dictatorship. This led Vicuña to remain in London on a self-imposed exile, where she exhibited her work at the Institute of Contemporary Arts and published her first book, Saborami (1973). At the time, she was largely focused on political activism directed against fascism and human rights violations in Chile and other countries.

Memory serves as the bridge between life’s fleeting moments and our ongoing formation of a sense of self—shaping our identity and anchoring us to the past. In the constant interplay of remembering and forgetting, life becomes a series of fragmented recollections that define how we exist in time and how we confront the inevitability of death. Fragments of Time: Selections from PAMM’s Collection draws on video works from the museum’s permanent collection to explore how artists reflect on the passage of time, the nature of memory, and humanity’s enduring search for life’s meaning. Through works that address reflection, loss, transformation, and the evolution of personal and collective memory, the exhibition considers how moments—both remembered and forgotten—shape our understanding of ourselves. Themes include Alzheimer’s disease, explored through Elizabeth Cerejido and Mark A. Koven’s Absence Series: Rocking Chair (2002) and Autumn Casey’s Elysian Fields (2014); the role of shared cultural memory in Glenda León’s Canalización (2014); the erosion of innocence in Hernan Bas’s Fragile Moments (2003); and the fragility of memory in the digital era in Jack Strange’s Into a Puff of Virtual Smoke (2008). Together, these works invite viewers to reflect on the fragile, transformative power of memory in shaping human experience.

This exhibition brings together female artists from the PAMM collection who use photography and printmaking to reflect on the subtle imprints left by memory and life experiences. The exhibition title hints at the duality of these works: on the one hand, the shadows captured by the lens are like echoes; on the other hand, the prints concretize these material imprints.

Headwind by Susanne Schirato explores the dynamic relationship between human activity and the environment. This outdoor, site-specific installation evokes a school of fish formation through blue-dyed windsocks that shift direction with the wind. Schirato draws from environmental art traditions to transform root-like forms into wind-filled figures that gesture toward systems of power. The poetic ambiguity of the word windsock—both as a weather instrument and a slang term in Portuguese—adds layers of meaning to these floating innate beings. Through its visual and conceptual language, Headwind invites contemplation on the fragility of ecosystems, the urgency of climate awareness and the complexities of human behavior. Headwind is Schirato’s first solo show in the United States.

Miami-born artist Woody De Othello presents coming forth by day, a new series of ceramic and wood sculptures, tiled wall works, and a large-scale bronze that explore the primordial relationship between body, earth, and spirit. The immersive installation will feature grounding natural materials such as clay-painted walls and subtle herbal scents. Rooted in precolonial and diasporic African traditions, Othello draws inspiration from spiritual practices, hermetic philosophy, and cultural artifacts—including nkisi power figures, Dogon ritual objects, and Egyptian pyramids. His anthropomorphic sculptures, with their richly glazed surfaces, suggest a quiet vitality—the forms appear to lean, rest, or embrace, as if shaped by the weight of memory and emotion. Known for his hand-built ceramics, Othello animates everyday objects—clocks, mirrors, phones, vessels—blurring the line between body and object. In doing so, he highlights the ways we feel, emote, and communicate, while revealing the unseen forces that shape our daily lives. As Othello’s first solo museum exhibition in Miami, coming forth by day reflects his deep connection to the city and his ongoing exploration of his ancestral heritage. Through material experimentation and sculptural gesture, the exhibition considers how objects carry history, absorb meaning, and serve as vessels for both spiritual and emotional experience.