Jeffrey Rosen
Jeffrey Rosen, co-founder of Misako + Rosen.
Javier Peres
Javier PeresFounder, Peres Projects What makes Seoul an art city? Seoul is an incredible mega city with a large population—it’s larger than NYC—which makes it a city of endless possibilities and potential. The city has an array of cultural institutions presenting artworks from different periods, regions, etc., and is further enhanced by a number of leading Korean galleries. Most recently a number of international galleries have also opened branches here which has further enhanced the cultural offerings. The city has a robust art market which is comprised of a broad range of collectors as well as collecting private and public institutions. The city’s art press is also incredibly active and supportive of contemporary art. What does your gallery do that’s unique in the Seoul gallery scene, and the international one? Peres Projects has always focused on identifying, supporting, and championing artists that we felt could expand the canon of art history, irrespective of where they came from. The identity of the gallery, and what I think is special to our DNA, is that we primarily focus on showing artists at the beginning of their careers, giving audiences an early look at the artists that will shape art history, both in the immediate time and the future. Our ethos of discovering artists early in their careers has been one of our important advantages from the start, this has allowed us to showcase important artists from all parts of the world and share their visions as their careers develop. This continues to be the driving force for our growth and is very much a part of who we are as a gallery, but we have never limited ourselves in this way and having multiple locations working together allows us to further advance our way of working. What was Peres Projects’ motivation to open up in Seoul? We are very interested in the Korean art scene, both the important historic artists and also the new generation of artists who we have been following with great interest. For us, it was a natural expansion to open in Seoul because we have a great deal of clients in the region. We had been thinking of opening here for several years in order to be closer to our clients on a prolonged and continued basis but of course, the pandemic delayed things a bit. Having a location in Korea for us is advantageous because we would like to have a long-term presence here and we see Seoul as having the possibility of becoming our primary base in Asia the way Berlin became our base in Europe. With KIAF and now Frieze, do you think Seoul is becoming an (the?) art market hub of Asia? We anticipate that Frieze will have a great impact. When a new art fair, or other cultural institutions, comes to a city it’s often a great thing for that city and the art scene there. Look at what happened with Miami Beach and Hong Kong with Art Basel or Bilbao with the Guggenheim. Seoul is a bit different from that of course because the city already has a very established fair, KIAF Seoul, so we anticipate that the additional attention coming from another international fair will result in a great deal of new possibilities for the Korean art scene. Is Seoul a global art power player? Why/not/when will it be? We see Seoul as a major player in the global art scene for us. It’s one of the regions in Asia that has become a major focus for us and we are planning exhibitions for many years to come and also organizing institutional exhibitions well into the future as well. What makes it such an important city for us is that it has a strong art market with many layers and an openness to contemporary art that for us creates an ideal climate for long-term growth for our program. What is unique about Seoul’s art gallery ecosystem? Seoul is home to some incredible galleries that have nurtured and supported Korean artists for decades while also showcasing international artists. In the past, we have collaborated with some of those incredible galleries, like PKM Gallery, Leeahn Gallery, Johyun Gallery, which has resulted in our artists gaining greater appreciation in Korea. Something that’s very special about the galleries here is that they are often founded by very keen and active collectors who appreciate quality and come from the perspective of collection building. Since the gallery’s grow from the collecting activities of their founders they give a great deal of support and confidence to the art market participants here. What do collectors in Seoul want? Are tastes divided into Korean v Int’l or modern v contemporary? Curious to hear a bit about this. Collectors here want the best works and they are very open to discovery. They appreciate learning and receiving a lot of information. Our gallery’s main focus is in presenting interesting artists that we believe have the potential to develop into historical artists. We provide a lot of information and context to our clients. Our exhibitions in Seoul sell primarily to collectors in Seoul but also from other major art centers in Korea like Busan and Daegu. Since our focus is the primary market of contemporary art, that’s the main component of our business here but we also do some secondary market of contemporary art. We don’t currently represent any contemporary Korean artists but this will be changing later this year when we introduce the work of a young Korean artist who will have their debut with us in Europe next year. We do know from our colleagues here that there is a great deal of interest in modern art as well, both Korean and international. What does the scene here need more of and less of? The main thing that this scene needs more of, and it’s something that we think is needed pretty much in all the major art cities, are more institutions, both public and private, that focus on showing
Patrick Lee
Patrick LeeDirector, Frieze Art Fair What makes Seoul an art city? Seoul is a dynamic place with a sophisticated and inquisitive collector base and art world infrastructure. The country boasts incredibly talented artists, world-class museums, corporate collections, non-profits, biennales, and galleries. Korean art lovers are so open to learning and educating themselves and engaging with the artists and galleries, but they also love to share information and thoughts. Right now, the speed of sharing these thoughts via social media or other ways is incredible and has particularly fostered a younger audience. The speed of this sharing of information has led to a growth in the appreciation of contemporary art What does Seoul offer to Frieze (… and that wouldn’t be found elsewhere)? Frieze looks to cities where there is a vast appreciation of culture; in Seoul, this is demonstrated not only in the art world but also in film, design, fashion, cuisine, and music. Korean culture has already gained recognition on a global scale, and this is fueling an interest in visiting the country and the growth in attention gained by everything coming out of Korea. Does this fair further the case of Seoul becoming an (the?) art market hub in Asia? It is definitely a validation of the city and its place within the arts ecosystem. Of course, we hope it will replicate the success of what we have achieved in other cities – the best fairs facilitate dialogue and lasting relationships. The art world has its own wonderful machinations and network. Korea is already an important part of this – as shown by the fact that Frieze Seoul has landed here – but the fair can play a leading role in extending this international reach and continuing the development of the art scene here in Asia. Is Seoul a global art power player? Why/not/when will it be? It’s certainly growing and becoming a more influential player – this trend for art appreciation and collecting is likely to continue at a rapid pace. Artists are continuing to receive greater recognition, with the support from galleries and institutions, curators who engage critically to help contextualize what is going on here and then in turn the support and patronage of collectors that continue to grow in numbers and sophistication. How does the art market landscape here handle Korean tastes v International ones? The local gallery scene is distinctive – we see a strong showing of both Korean and international artists and that really shapes tastes to be something unique to Korea. The collecting scene has been growing in Seoul since the 1980s and so now there is an incredibly sophisticated understanding of the arts landscape and people are hungry for knowledge – the more energy and activity that happens here, the more it will be rewarded. What does the scene here need more of and less of? Like everywhere, we need more and less of everything! There are arguments on both sides but as the art scene in Korea becomes increasingly international that continues to drive local knowledge of the wider and, in turn, that brings a global interest to the Korean art world – everything works both ways. Seoul-based galleries that excite you? There is such a huge number of galleries in Seoul it is difficult to choose, however I would absolutely direct people towards some of our major spaces such as Kukje and Gallery Hyundai along with stalwarts like Hakgojae, PKM and ONE AND J. Younger galleries that are having some interesting exhibitions include Baton and Jason Haam. If you travel to Busan I would visit Johyun Gallery. Also, everyone should absolutely check out some of the younger spaces that are showing in our Focus Asia section such as P21, and Whistle. I also visit the non-profit or artist-run spaces that are doing interesting work with emerging artists. Artists you discovered in Korea who you’re currently into? Contemporary Korean artists that have gained renown and are immensely talented include Do Ho Suh, Haegue Yang, Moon & Jeon, Lee Bul, Anicka Yi, and I continue to follow their practice. Some of the younger artists I like include Gala Porras-Kim, Ayoung Kim, Mire Lee, Seokyeong Suki Kang, Kang Seung Lee, and Christine Sun Kim just to name a few. What is unique about Seoul’s art gallery ecosystem? The Seoul gallery ecosystem grew up with a certain level of autonomy – of course, major spaces were able to exhibit at an international level, but that has been no means the case for the majority of galleries and so there has been a huge amount of activity in Korea that has its own identity. There are still so many major figures from Korean art history yet to be really understood on a wider cultural level and Korean galleries are developing and evolving at a fast clip to help raise their profile on the international scene. What’s your best-kept Seoul (art) secret? The fantastic non-profit and artist-run spaces in Seoul are very interesting. There is an area near the old Saeun Electronics Market that has wonderful character. The building itself houses some artists’ studios and the roof offers a nice view of Seoul and you will find some small new cafes and bars in the building. Nearby you will see some impressive non-profits like Uljiro OF and N/A.
Bo Young Song
Bo Young Song,Vice President, Kukje Gallery What makes Seoul an art city? Relative to other big cities in Asia, Seoul has seen an even development among different art spheres including institutions, collectorship, galleries, and artists. Even outside of Seoul, Gwangju Biennale is one of the most anticipated events on the international art fair calendar, and the general public’s interest in these art events is very strong. Kukje pioneered the international gallery model in Korea. How has the Seoul gallery scene changed since Kukje began, and in the last 5 years as more international attention has arrived in Seoul? When Kukje Gallery was founded, it was imperative to educate the local audience on art and its importance as the awareness, interest, and infrastructure for arts and culture were lacking. This is why we’ve been holding weekly Academy events for our clients at the gallery, and continue to do so even today. In terms of the gallery’s programming, during our earlier days, we were focused more on modern, or historical artists to provide essential context. Our aim was to provide a broad overview of what had been going on in the art world in the past century in order to help our audience foster a keen eye and cultivate tastes prior to exploring contemporary art, and I daresay this was a vital learning experience for the gallery as well. Today, we work with a wide range of artists and estates ranging from Yoo Youngkuk, the pioneering Korean abstractionist who was born in 1916, to Korakrit Arunanondchai, the young Thai multimedia artist. With KIAF and now Frieze, do you think Seoul is becoming an (the?) art market hub of Asia? Is Seoul a global art power player? Why/not/when will it be? While it remains to be seen, at least until after the first edition of Frieze Seoul! I definitely think that Seoul is on its way to becoming an art market hub and global art power player. We’re hopeful that the international attention on the Korean art market will further stimulate and enlarge its scale. We believe that this will bring further opportunities to the country’s local artists—not just for sales but also for international representation—and in turn that the western galleries will bring their diverse pool of artists into the Korean market, further acquainting Korean collectors with what the art world has to offer. While competition is inevitable, we hope that it will, in the end, turn out to be a healthy and mutually beneficial one. But we also need to think about the sustainability of this situation—Korean galleries must continue to cultivate and promote the careers of local artists in order to not become overshadowed by the quickly growing international presence in the local market. What does the scene here need more of and less of? With international galleries opening outposts in Seoul, there’s definitely a need for these galleries to adapt to the local context and acquaint themselves with Korean artists. And in turn, I think it’s pertinent for institutions to keep in line with the rapid changes going on in the Korean art scene these days and strive to foster and maintain an international program and presence. Favorite art spaces in Seoul? A Room of Quiet Contemplation at the National Museum of Korea While this presents a stark departure from any of the blockbuster works by blue-chip artists one will surely encounter at Frieze Seoul, it definitely provides a refuge from the prevailing hustle and bustle of the cosmopolitan capital. The exhibition consists of two pensive bodhisattva statues glimmering in a quiet, dimly lit room designed by the architect Choi Wook (101 Architects). Evoking an immaterial atmosphere which is a far cry from all the other art events taking place around the city throughout the fair week, the audience will find a much-needed moment of solitude and relief. Korea Furniture Museum For the scale and quality of its collection, the Korea Furniture Museum has remained one of the lesser visited museums in Korea–probably owing to its location in one of the most residential parts of the city and strictly by-reservation-only policy. Not only does this jewel of a museum house a vast collection of Korean traditional furniture, but also provides a beautiful landscape of traditional hanok architecture, altogether creating a unique setting where one will feel truly in Korea. Korean artists who currently fascinate you? Heejoon Lee is a young Korean artist we just began to work with—his paintings combine abstraction and photography that suggest a new dimension of space. He has a very instinctual practice in that he invests a lot of time in selecting the one image (out of many) that viscerally portrays his experience in a certain space, which I can relate to as I also have a keen interest in architecture. Lee just closed his first solo exhibition with us in Busan, and is looking forward to participating in a number of solo and group exhibitions in Korea this year and next. What is unique about Seoul’s art gallery ecosystem? Over these past few years, Korea has become truly global in many aspects. However, Korea has very strong ties to tradition which helps our contemporary art galleries adopt internationally viable characteristics (i.e.: it’s more difficult to find gallerists who are not fluent English speakers), yet at the same maintain a strong local presence (i.e.: a strong representation of Korean artists).
Jason Haam
Jason HaamFounder, Jason Haam Gallery What makes Seoul an art city? Speaking specifically about the market, Seoul has a comparatively large and important domestic art market, with an established gallery system (both home-grown and increasingly the presence of international galleries), multiple generations of collectors, and strong auction houses. There are also favorable tax systems for the commercial art world. Most importantly, we have some really great artists in this country. Korea is home to some of the largest and most important companies on the planet, a history of corporate philanthropy and collecting, an affluent population, and a strong appetite for art, both from collectors and a well-educated general public, who have access to high-quality public and private museums, with world-class exhibitions and collections. More broadly, Korea as a country has a history of more than 10,000 years and a culture of making art dating back thousands of years, we also have a culture of art appreciation and of viewing art as an important part of popular culture. There is also so much interest in the popular culture of Korea at the moment, whether that’s K-Pop, Korean cinema/ TV, etc being consumed by a global public. Regionally, we have the dual advantage of our geographic proximity to China, and an international mindset similar to that of the US, with English widely spoken as the language of business and commerce. What does your gallery do that’s unique in the Seoul gallery scene, and the international one? In Seoul, we are unique because of our international outlook. I travel a lot internationally, including to Europe, the US, and much further afield (to places like Senegal). We have a stand-alone, fully flexible gallery building and a space that is designed specifically for exhibitions.We are unique in the international art world because we are an internationally focused Korean gallery. We bring top-quality works by the biggest international names—as evidenced by our upcoming Urs Fischer solo show (opened on the 25th of August), which will feature a completely new body of large-scale paintings. We are also looking to the global art world, whilst the majority of Korean galleries tend to focus mostly on the local market. Some of the artists in our program are not (yet) famous often in their own countries and it is important to me to work with artists at an early stage in their careers and to judge them solely on the quality of their work and the message they have, working with them in the long-term to propagate their voices. We have recently started working with young Korean artists, whose works will be exhibited at Frieze Seoul. What’s the mission of Jason Haam Gallery? We have two! Firstly, to work with the best global artists, and persuade them to work with us in Korea, thereby giving Koreans a taste of the best art in the world. There are also no globally recognized young Korean artists right now and we want to change that. The next generation needs championing and support in becoming global stars and deeper engagement with the best global artists, galleries, and institutions. With KIAF and now Frieze, do you think Seoul is becoming an (the?) art market hub of Asia? Seoul is undoubtedly an art market hub, and there is certainly a huge opportunity here. We have the supply and we have the demand. The Asia art market is very broad (depending on your definition of Asia), and still maturing. It’s also rapidly evolving particularly in KoreaWe also have a sophisticated and well-established infrastructure, from artists and galleries to auction houses, museums, biennales, and institutions, as well as corporate and private collectors. There is also an embedded culture of art appreciation and collecting in Korea, which is common across all generations. Is Seoul a global art power player? Why/not/when will it be? Potential is there and the ingredients are all there. As I’ve said above, there is some way to go but there’s a commitment from the scene and major players in terms of galleries and Frieze, who are continuing to invest and commit to Korea. Another important step is for artists to see Korea as an important place to present their works. What is unique about Seoul’s art gallery ecosystem? We have a lot of galleries here but not a huge number of what the rest of the art world might recognize as major names. People will be familiar with the long-term established galleries like Kukje and Hyundai, but there are a lot of incredibly exciting younger galleries that are proving that it’s possible to do something new and ambitious here. What do collectors in Seoul want? Are tastes divided into Korean v lnt’I or modern v contemporary? Curious to hear a bit about this. Amongst what I’d loosely describe as an older generation of collectors, the taste is relatively homogenous, with an emphasis placed on being able to secure significant works by top international blue-chip artists. In terms of Korean artists, the Korean artists who do particularly are those who have established themselves outside of the country. The taste is also definitely moving towards international contemporary, with an increasing appetite for global names. What does the scene here need more of and less of? There’s a huge amount of potential here, but the scene is still evolving. An important next step is to make the city a year-round hub, and we are seeing this starting to happen. The arrival of Frieze Seoul, taking place alongside KIAF, is creating a lot of buzz, both here and internationally, and means, for the first time, Korea has a “moment” in the international art market; more and more major international galleries are coming to town, often for the first time, whilst others are doubling-down on their commitment to the city. There are still some gaps, particularly in the professional services side of the art world, but we do expect that to change pretty rapidly. Whilst that energy, growth, and recognition are important, it’s also important that we grow sustainably
Craig Robbins
What would Miami’s Design District be without Craig Robins? Possibly nothing. Robins helped persuade Art Basel to plant itself in Miami when they were scouting on American shores, and then ushered in Design Miami/ at first in the then-derelict Design District, which now, under his direction, is the year-round cultural focal point of Miami between the design ateliers and the art institutions, like the ICA Miami.
Elizabeth Margulies
Art advisor Elizabeth Margulies believes in the artists she buys for her clients. So much so that she collects the same names herself, the “artists whose practices and techniques I admire,” she says. Lucky for those already in or heading to Miami, now she’s put her ultra-contemporary acquisitions on display—at the Warehouse in Wynwood. This is the first time the private institution run by Martin Margulies (her father)’s foundation is exhibiting another collection. Included in the exhibition are Barry McGee, Lauren Quin, Gary Simmons, Emily Mae Smith, and Kennedy Yanko. Margulies recently returned to Florida after living up north in New York where her career in art advising and cultural consulting led her to broker licensing deals of artworks to Showtime, and public art activations of David Salle, Kenny Scarf, and Rob Pruitt, to name a few. Miami, around ABMB, she says, “it’s always about seeing the art and gaining new perspectives.” We’ve seen Miami explode as a cultural destination because of art and design, and with the 20th anniversary of ABMB, how can art and design transform a city? I think Miami has always been a cultural destination—that’s why Basel chose Miami for its US outpost. ABMB has become a social event in Miami and a week full of parties that bring people to the city from all over the world. This ultimately has positively affected tourism in Miami over the last 10 years or so, and will hopefully continue to encourage people’s interest in the arts. What’s the future of the arts/design in Miami? As Miami continues to thrive as a city, I’m hoping that more and more art-focused endeavors will continue to pop up. Miami has a solid group of private collectors who have exhibition spaces that are open to the public, such as Margulies, Rubell, De La Cruz, etc. I hope they will inspire a new generation of collectors to do the same. These collections include works by mostly blue-chip and established artists, and my exhibition showcases work by mostly emerging and mid-career artists. I’m grateful for the opportunity to show these works within the space of a major private collection, and to be able to give artists that type of exposure. What challenges does Miami face in terms of the arts? I wish there was more local media coverage of visual arts organizations, artists, and exhibitions in Miami. Some cities are hubs for art/design but not the market. What makes Miami ripe for both? Miami has become an incredibly desirable place to live for many reasons, with high-net-worth individuals relocating from other states and driving up the market. There are lots of financial incentives and benefits to living in Florida, and people need art for their homes.
Nina Johnson
We’ve seen Miami explode as a cultural destination because of art, and with the 20th anniversary of ABMB, how art and design can transform a city? Miami is a city with a rich history that is often overlooked to suit the various interests of newcomers. Art and design can help realign the focus of development. The history of art in Miami dates back well before the arrival of ABMB; for example, we have one of the first percent-for-art programs in the country. Think of Art Deco, the arrival of the car motel, and the massive engineering projects that shaped the everglades—those are all designs! Particularly when we talk about ‘design’ the influence on a city is enormous. The arrival of Art Basel 20 years ago is a momentous occurrence in a city that dates back well over a hundred years. What’s the future of the arts/design in Miami? Miami is uniquely positioned to face 21st-century challenges which are increasingly relevant the world over; climate change, income disparity, and the influx of immigrant populations; I hope that when we talk about art and design, we aren’t just talking about the contemporary art market as it exists during ABMB, rather a lasting impact in terms of how it influences the conversations surrounding these discussions. What challenges does Miami face in terms of the arts? Miami has become an enormously expensive city in which to live with very little infrastructure in terms of artist support. We need more legislation and government support for our artist populations: this means considering artist-friendly development when we talk about zoning, municipal bond support to help our institutions be sustainable, and programs that help fund, not only innovative ideas but things like health care, child care and retirement for artists. Some cities are hubs for art/design but not the market. What makes Miami ripe for both? I am grateful to have seen so many wonderful institutions (both private and public) thrive here over the past twenty years; ICA, PAMM, The Bass, etc. Many of our institutions are supported by individual donors who want to see world-class curatorial endeavors in their backyard, as well as more institutionalized philanthropy, like the Knight Foundation which supports the arts as a vehicle for engaging the public. In terms of the private market and commercial endeavors, the increasingly digital and globalized art market has allowed for those of us operating outside of traditional hubs like London, New York, etc., to build audiences who support our programs, not only in December but throughout the year.
Zoe Lukov & Abby Pucker
Both Zoe Lukov and Abby Pucker have been in cultural production long enough to understand how art can impact social habits. So for the first exhibition of their newly founded Art in Common non-profit, debuting in Miami, the co-curators decided to confront the existential and metaphysical. “Boil, Toil + Trouble” brings together 40 artists who through various practices engage the alchemy of water, the source of life and destruction (particularly for Miami). It opens on November 29 in Miami’s Design District, then travels to Los Angeles in February 2023, and Chicago in April 2023 (timed to the art fairs). The duo founded this creative enterprise to chart “new avenues of access to contemporary art nationwide that speak to the most pressing creative, sociopolitical, and spiritual issues of our time.” Pucker’s own background fuses the creative economy and civic engagement, sitting on the boards of Pioneer Works, The Marshall Project, and Ghetto Film School. She is also the founder of Chicago’s cultural engagement platform Gertie. Lukov is fresh off Faena, where she served as chief curator in Miami and Buenos Aires, and was a founding board member of Desert X. She now works full-time with Art in Common. Zoe Lukov We’ve seen Miami explode as a cultural destination because of art and design, and with the 20th anniversary of ABMB, how can art and design transform a city? ZL: Miami was my home for almost 7 years (until very recently), and during that time I witnessed the ways in which providing space for artists and creatives across disciplines can be transformative for all of us. ABMB has evolved into an incredibly powerful convening moment for artists, arts workers, and supporters from around the world, and it has really become a moment each year to shine a light on the work artists are doing in Miami all year round. In Art in Common’s inaugural exhibition “Boil, Toil + Trouble,” which opens during Miami Art Week in the Design District, we commissioned five new works from Miami artists which are placed in dialogue with canonical works by renowned artists who have been dealing with concepts of the sacred, magic, alchemy, and water for decades. Miami has historically provided space for artists to create across disciplines with little-to-no oversight from traditional gatekeepers. As such, the mix of rituals from across the Americas, art deco architecture, performance-based work, and embodied practices have thrived here since at least the early 80s. The relationship as well between Miami artists and the natural world—both its beauty and destruction—has created a unique visual lexicon and aesthetic vocabulary as well as provided a blueprint for artists to engage with issues of climate change. What challenges does Miami face in terms of the arts? ZL: I think one of the challenges Miami faces is that outsiders underestimate the city as an event-based place that is frivolous or somehow itinerant—but there is a wealth of ancient knowledge and practices from across the Americas, namely Haiti, Cuba and beyond that inform the contemporary art practices in the city as well as a rich history of contemporary art and creation. There are incredibly vibrant contemporary artists and cutting-edge galleries that are challenging and shifting the conversation beyond just Miami and it is short-sighted to miss the broader cultural movements globally that Miami is contributing to. Miami has always had and continues to have reverberations around the world. ABBY PUCKER How are you helping write the future of the arts/design in Miami? AP: I see the future of arts/design in Miami to be full of cross-disciplinary and sector collaboration, building on the models that have been cultivated over time by spaces like Miami Design District. At Art in Common, we are, in a lot of ways, working as intermediaries between funders and artists to give artists opportunities to produce new works or reinstall works in a way that provides creative freedom that is not commercially driven. We are allowing the work to stand on its own and to engage in expansive multigenerational artistic dialogues conceived by Zoe through the curation of exhibitions like Boil, Toil + Trouble. As a not-for-profit, Art in Common works across sectors to engage public and private support systems to create exhibitions and other forms of art encounters that are free and accessible to all. I believe this type of collaborative model is essential in order to continue to build a thriving creative economy not just in Miami but in the country as a whole. Some cities are hubs for art/design but not the market. What makes Miami ripe for both? AP: I think the success of the art and design scene cannot be separated from the larger economic forces in a city. Miami is home to many of the largest national arts funders, whether foundations or individuals. While they are funding nationally, these entities have strong ties to Miami and are helping to bolster the ecosystem locally. These organizations, especially the Knight Foundation, in my opinion, have done something very strategic. They have used philanthropic capital to catalyze arts and cultural projects that become larger civic projects that then in turn garner attention and support from highly visible sources of support, leading to increased local engagement and job creation in the creative ecosystem. This all leads to a better ability to attract and retain young, diverse, high-quality talent to the city, supporting the creation of a group of new potential collectors in addition to the existing collectors and funders. This support, including the building of visual art and art-adjacent organizations, is essential to creating an economy that allows artists to exist and thrive in a city.
Tesfaye Urgessa
It’s a big week for Tesfaye Urgessa, whose classical-infused paintings have found their way to the permanent collection of the Uffizi. Now the in-demand Ethiopian who lives in Germany is the featured spotlight for Saatchi Yates’ third itinerant gallery pop-up in Miami’s Design District. The exhibition is of new paintings, and coincides with the year-long solo showing of Urgessa at the Rubell Museum, opening Monday night when the Art Basel VIPs arrive. When and Where November 22, 2022 – December 20, 2022Saatchi Yates35 NE 40th St November 28, 2022 – November 12, 2023Rubell Museum1100 NW 23 St