| A moving and interactive art project is taking place in Miami this week, coloring the fancy atmosphere of the art fairs week with a Red historical vehicle, made in London. Making art interplaying with life, as history with the present, a 1967 London bus is just arrived to the United States and will be traveling next year, from Miami heading to Artistic Noise, an arts program for youth in the justice system in Boston and New York, and from there all the way to the Burning Man in Nevada. |
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A London bus…Miami Bound!
By Vanessa Saraceno
A moving and interactive art project is taking place in Miami this week, coloring the fancy atmosphere of the art fairs week with a Red historical vehicle, made in London. Making art interplaying with life, as history with the present, a 1967 London bus is just arrived to the United States and will be traveling next year, from Miami heading to Artistic Noise, an arts program for youth in the justice system in Boston and New York, and from there all the way to the Burning Man in Nevada.
During art fairs week in Miami it will welcome guests along for the ride, offering them the experience of audacious interventions in public art, performances and poetic sound installations, creating a fully encompassing form of surrealism in motion. From December the 4th to the 9th there will be five runs a day, between 12 pm and 8 pm, riding in style from the creatively inspired Wynwood Walls to South Beach. Lying in the space between a public art experience and a crazy, moving art fair, the London iconic double decker bus called Doogle will greet its guests with some cocktails in the transformed interns with a bar downstairs, while offering performances in the roof top lounge.
The project, created and directed by PS Project Prace, in collaboration with the owner/driver Joe Phillips, and sponsored by Select Fair, will make the beautiful iconic London Bus be the moving booth for the immersive film of artist Ryan Uzilevsky, presenting as well the works of Emily Chatton and C Finley, the sound interventions of Roots QC and some pieces of Paul Seftel, director of PS Project Space. Truly, nobody knows who will be the next passenger, so curators want the public aware that other artists and performers will be announced daily.
Being funny, but a the same time irreverent, this project made me think about the monumental format of fairs/biennials developed in the last years. Shall we think of public art as a potential challenge for the art system in general, something that can make it more intense as event than bigger as apparatus? Well, maybe.
