With three gallery spaces tailored for public art, the Museum of Contemporary Art of the Americas stands as the inaugural venue designed for showcasing contemporary art in the Kendall region.Through its lively programming and rotating exhibitions, the Museum bridges the gap between the community and artists hailing from all corners of the globe. It nurtures emerging artists, encourages established ones to explore new horizons, and demonstrates Kendall's aspirations to establish itself as a key player in the South Florida and wider American contemporary art scene.
The Museum's exhibition program presents solo and group shows by local, national, and international artists, prioritizing originality and striving to showcase works from a diverse array of creators. Its goal is to bring innovative contemporary art that transcends borders to South Florida and beyond, connecting communities and broadening horizons.Exhibitions are organized by Jorge Rodríguez (R10), the Museum's director and Chief Curator, and by guest curators from all visual arts. Each one runs for an average of 45 days, with shorter exhibitions of seven to fifteen days being planned in cases where certain works cannot be displayed for the usual period of time.
The "Pop Up Shows" or ephemeral exhibitions are conceived as part of a specific line of projects aimed at presenting as many local artists as possible to the community and offering them exhibition spaces throughout the regular season.
"Exaggerations of History" is a compelling collection of 101 miniature portrait paintings of female artists spanning from the 12th to the 20th centuries, each coupled with an embedded Augmented Reality (AR) experience. Via an app-enabled AR journey, viewers are privy to a video narrative that vividly brings to life the biography and creative trajectory of each artist. A salient goal of this series is to affirm the significant role of women in the arts from the outset. Apia views this omission in historical records as a profound distortion of history. The artists selected for this compilation were pivotal during their eras but were conspicuously absent from scholarly texts, effectively leaving successive generations bereft of a full historical narrative.
On the afternoon of Friday, March 15, in a meaningful commemoration of Women's History Month and under the auspices of the Women in the Arts program, the American Heartbeats collective exhibition was inaugurated with great anticipation. This exhibition serves as a vibrant showcase for the works of a carefully selected group of women artists who have garnered substantial recognition within the dynamic cultural scene of South Florida. Embracing an open theme that focuses on displaying their latest artistic endeavors, the exhibition presented an eclectic array of pieces from artists hailing from various corners of Latin America.
Featured within this diverse collection were the captivating works of Uruguayan artist Evelyn Politzer, whose creations delve into themes of empowerment and resilience; Peruvian Aisha Ascóniga, known for her intricate explorations of identity and heritage; Brazilian Bella Cardim, whose art captures the vibrancy and fluidity of life; Costa Rican Aimée Joaristi, who challenges conventional perceptions through her abstract expressions; Panamanian MaiYap, celebrated for her environmental consciousness; Venezuelan Carola Bravo, who navigates the intricacies of space and memory; and Colombian Sandra García Pardo, whose pieces reflect on the human condition and societal constructs.
As we evolve into an increasingly visually-oriented society, the skills to identify and distinguish valuable objects, interpret symbolic meanings, and swiftly organize a deluge of captivating visual stimuli become indispensable. Contemporary education now more than ever requires educators specialized in visuality and, by extension, in the realm of visual arts. The artist-educator has always held a prominent position within the educational profession. Successful art teachers possess the unique ability to grasp the creative process and convey this elusive knowledge to others. Their key skill is inspiring student achievement.
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At first glance, it would seem that the work of Antonio Espinosa and Alain Pino – two visual producers trained in art academies in Cuba, who participated in the generational will of the nineties– have no connection to each other, as they are two artists with different trajectories and, if you will, polarized. But beyond the topics that obsess both creators, the turning point that unites them is the procedural conception of their pieces, the transformation of a primordial idea that will later evolve into an artistic expression. This is the reason that brings them together and becomes a pretext to join them in the upcoming exhibition at the MoCAA.
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In recent years, Cirenaica Moreira has frequently delved into the realm of performance art. Since the 90s, Moreira has focused—through the representation of her own body—on challenging the political discourse expressed as yet another projection of toxic masculinity. She analyzes the female body from the perspectives of sexuality, gender, and race. Much of her work as a photographer transports us to dreamlike or unreal contexts where the subject has evolved at its own pace, untouched by the haste and agitation of 'becoming'. Cirenaica's models simply 'are'. On this occasion, the involvement of the audience was crucial.
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For the past six years, the erstwhile Kendall Art Center —now reimagined as the Museum of Contemporary Art of the Americas— has devoted itself to nurturing a profound dialogue surrounding painting, encouraging a spirit of experimentation and a multiplicity of perspectives. 'Old Friends' exemplifies this fruitful discourse between two maestros of abstract art. This dialogue was sparked by Rigoberto Mena's journey to Boston in 2000, some 23 years ago. Mena, traversing to the USA, participated in the exhibition 'Cuba, Cuba, three contemporary artists', showcased alongside fellow artists Alejandro Lazo and Pango at the Espacio 12 gallery.
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The Museum of Contemporary Art of the Americas and the Fine Arts Ceramic Center presented their exhibition "Unlikely Assemblages" as part of the 57th Annual National Council on Education for the Ceramic Arts (NCECA) Conference, which took place from March 15th to 18th, 2023 in Cincinnati, Ohio, United States. The Annex Gallery, located next to the Pendelton Art Center and directed by photographer and cultural promoter Jens G. Rosenkrantz, hosted the exhibition, which will run until April 29th, 2023. "Unlikely Assemblages" showcases the works of three prominent Cuban creators who are based in South Florida.
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The Women in the Arts Program, along with a sizable group of Cuban artists, pays homage to the extraordinary Cuban artist Carmen Herrera. The Museum of Contemporary Art of the Americas in Kendall inaugurated the group exhibition 'A mi me manda Carmen' on Friday, March 10, 2023, witnessing an exceptional turnout. In response to a call by curator Monica Batard, a select group of artists, predominantly Cuban, decided to honor the memory, life, and legacy of Herrera. These artists shared their works with the public in Kendall and Miami-Dade County, once again showcasing the diversity of female creativity in the world of contemporary art.
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The Fine Art Ceramic Center and Miami Ceramic League are teaming up to promote and educate the public on ceramic arts. The Miami Ceramic League recently hosted an annual exhibition in collaboration with the Museum of Contemporary Art of the Americas, featuring renowned ceramicist Tom Coleman as the keynote speaker. The event provided a platform for artists to showcase their latest creations and network with fellow creators for several hours. The evening was filled with creative and motivational experiences, and attendees gained a deeper appreciation for this unique art form.
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I don’t remember when I first met Montoto, but by the time I began to associate with the art world, he was already well-established. It’s been over 25 years now. I later designed several catalogs for him and got to know him personally. At that time, he often worked with art critic Rufo Caballero, who unfortunately passed away at the peak of his career. Rufo told me that Montoto’s entire discourse was based on deep intellectual convictions and that I should not be swayed by appearances, that beyond his almost absolute mastery of technique, there were deep philosophical reflections layered underneath.
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The Rodríguez Collection, displayed at the Museum of Contemporary Art of the Americas (MoCAA), offers a fascinating exploration of contemporary Cuban and continental art. Encompassing various mediums and styles, the collection emphasizes the richness and diversity of continental artistic expression. Featuring paintings, sculptures, photographs, drawings, and ceramics, the works interact with each other and captivate viewers, creating a unique heritage that transcends boundaries of time, culture, and geography, for a truly enriching and immersive artistic experience, serving the Kendall community and the rest of South Florida.
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The museum must not be a conventional and unsurprising place. It must offer wondrous experiences and provide insights into the mysteries of creation; it must invite us to embark on new journeys. Though the museum must never be ordinary, visitors must feel like they are on familiar ground. A museum is to be prone to debate, discovery and thought. A museum is a place for integration and sharing where the notion of community is vital. It is a place of concurrence, not opulence. At the same time, a museum should be accessible and welcoming to all, inspiring curiosity and sparking imagination in visitors of all ages and backgrounds.
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The Fine Arts Ceramic Center integrates into The New MoCAA museum. The exhibition "Ceramics: Omnipresence Matter" is organized, encompassing the complex connotations of identity, belonging, and diaspora. It concerns the artist's narratives, history, and social context. It's a total departure from how traditionally the ceramics collection has been presented. Ceramics have become a source of inspiration and expressiveness for a selection of artists presented as part of the FACC collection. As part of the integration, the exhibition showcases how the Fine Arts Ceramic Center has evolved into a really dynamic space.
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Collecting art is not just a hobby, it's an exploration of one's own values, ideologies, and tastes. This practice not only curates a personalized visual narrative but also plays a role in shaping cultural conversations and driving the artistic direction. For collectors of contemporary art, the acquisition of new pieces isn't merely transactional—it's about engaging with the present, participating in current dialogues, and directly influencing the direction of the art world. Adding new artwork to their collection is a commitment to the ongoing evolution of culture and creative expression. It's about supporting artists, facilitating their growth and ability to create.
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The transition from art center to museum requires many changes, from operational structures, programming to the manner in which art is presented and exhibited. One thing however, that will not change in this transition, is the Kendall Art Center’s–and now MoCA-Americas’, view collaboration as our cornerstone. As the museum is meant to service the community, MoCA-Americas will not be a closed off museum, dedicated only to its permanent collections, but also continuing our educational and external programs of traveling shows, Art in the Community, Women in the Arts, SOFLO New Artists, which focuses on giving senior MFA students the chance to graduate with exhibition experience, and of course, loaning our work for other museums and institutions to exhibit and enjoy.
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The Kendall Art Cultural Center (KACC), dedicated the past six years to the preservation and promotion of contemporary art and artists, and to the exchange of art and ideas throughout Miami and South Florida, as well as abroad. Through an energetic calendar of exhibitions, programs, and its collections, KACC provides an international platform for the work of established and emerging artists, advancing public appreciation and understanding of contemporary art.
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The Rodríguez collection is a blueprint of Cuban art and its diaspora. Within the context of the new MoCA-Americas the collection becomes an invaluable visual source for Diaspora identity. It represents a different approach to art history to try to better understand where we come from to better know where we are heading.
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