I’ve been scheming to go to Miami for the last year and a half now – ever since my essay was published in The Killing Machine, the catalog for Janet Cardiff and George Bures Miller’s show. The eponymous show has been in Germany and Spain and just hit stateside late last month. I mean, how can I be in the book and not see the show? The exhibition will be at the Miami Art Museum until January 20, 2008, but as it was clearly scheduled to coincide with the huge art fair, Art Basel Miami – which runs December 6-9, it seems a shame to go to Miami any other time.
Luck was on my side: I recently got in touch with an artist friend from Art Center (she has Dawson Weber’s show “Bridge Group” showing in her living room/gallery, Apartment 2, at the moment), and it turned out Kathryn was already planning to be in Miami, and what’s more she offered to let me crash in her hotel room.
So, I got tickets last night – and I was thrilled to see that roundtrip tix from LAX to MIA were still under $300. It’s rare these days that I fly to the other coast under $300, so I wonder, is it because so few people fly from one sunny clime to another? Or because both places have a DisneyLand/World?
I leave Tuesday! Gone for a week! I get to see the catalog I’m in, stacked in piles at the museum store!
and I finally get to check out the one Cardiff pieceÂ that I’ve wondered about the most: the Forty Part Motet. It’s forty speakers each individually playing back a single singing part of a forty-part choral harmony. Read more about it here from when it was at Tate Liverpool.