"The curator Yasmil Raymond has taken the helm of Art Basel Miami Beach's Meridians sector for the second year in a row. Last year marked her first time ever curating for an art fair. Now she is a seasoned professional in the role and is concentrating on showing a more diverse group of artists and providing opportunities to newcomers. "We're very proud to feature a large number of female artists in Meridians this year," Raymond says. "And for a lot of the galleries and artists, this is their first time at Art Basel. It's a good entryway into the fair." Raymond gave The Art Newspaper a tour of some of the section's highlights."
"Raymond calls Huang "a giant of Chinese art from the diaspora, and his work is very political." This sculpture is part of a series about a US spy plane that came down over China in 2001 adorned with a bat logo. "In Chinese mythology, the bat represents good luck," Raymond says. "But this work is also about the relationship between humans and animals, and the mythology we give to them.""
"Syjuco, based in Oakland but originally from the Philippines, made an installation that is "like a prop stage in a photography studio, with the props interrogating Western culture-objects like Freud's couch next to the Le Corbusier chaise longue", Raymond says. The iconic wicker peacock chair, a Filipino invention, features prominently in the work, which acts as a critique of the 1913 book Ornament and Crime, in which the architect Adolf Loos associated ornament with "primitive cultures"."
Yasmil Raymond returns to curate Art Basel Miami Beach's Meridians sector for a second consecutive year, focusing on diversity and opportunities for emerging participants. The sector features a notable number of female artists and many galleries and artists making their Art Basel debut. Exhibitions include Huang Yong Ping's politically charged sculpture referencing a 2001 US spy plane and bat mythology, Stephanie Syjuco's installation critiquing Western cultural objects and ornament, and Ward Shelley's The Last Library IV, described as a humorous yet sad, deeply political 'post-truth' library installation combining imaginary books.
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