MIAMI—One of the highlights of exploring The Marguiles collection is waiting for the elevator. It looks real, as though it will take you to another floor of exhibits, but the elevator itself is art—a video installation titled “Elevator Pitch” by Argentinian artist Leandro Erlich. Each time the doors open, a new loop of various groups of people riding in an actual elevator appears. It’s a simple concept, yet the work is incredibly captivating (see elevator further down page).
“Fountain (earth fountain),” 2012 (acryl glass, metal, pumping system, colored methyl cellulose, lava stones) by Doug Aitken.
The Marguiles Collection at the Warehouse opened to the public in 1999 and is one of the big draws for Art Basel Miami Beach attendees who venture to the Wynwood Arts District. Housed in a 45,000 square foot structure, the eclectic collection was assembled over the past 30 years by Martin Z. Marguiles in collaboration with his longtime curator Katherine Hinds, a spans photography, video, sculpture, mixed-media and site-specific installations.
All photos © Arts Observer
“Untitled,” 2010 (2 figures from the show “Rudiments of Territory”) by Izaak Zwartjes.
From left, “Black Cross Folded,” 1989 (latex, canvas) by Holt Quientel; “Lilybaeum,” 2009 (welding curtains, soapstone, cedar and graphite) by Ralph Provisero; and “Caution Panel,” 2011 (reclaimed lumber) by Marianne Vitale.
From left, “Jungle Fever B,” 2011 (collages, drawings and metal frame) and “Paradise is Truth,” 2010 (ornament animals/doll, baskets, bowls), both by Pascale Marthine Tayou.
Detail of “Paradise is Truth” by Pascale Marthine Tayou.
“Elevator Pitch,” 2011 (video projection, automatic door operator, sliding doors, stainless steel, button panel and rear screen; 5 minutes looped door) by Leandro Erlich.
Detail of “Subway” by George Segal.
“Subway,” 1968 (plaster, metal, glass)by George Segal.
“Shelf (Fur Pie),” 2003 (chrome shelving system with 5 shelves, 18 neon panels, 69 ceramic donkeys and extension cables) by Jason Rhoades.