This video is a collage of impressions from the press preview of the exhibition One Way: Peter Marino at Bass Museum of Art in Miami Beach on December 2, 2014, and includes statements by Peter Marino and atmospheric shots from the exhibition.
One Way: Peter Marino at Bass Museum of Art, Miami Beach (Remix). December 2, 2014.
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One Way: Peter Marino explores the renowned American architect’s multifaceted relationship with art. Recognized as a pioneer of cross-disciplinary practice, Peter Marino has been celebrated over the past four decades for his forward-thinking work that exists at the intersection of art, fashion and architectural design.
Curated by internationally renowned cultural agitator and curator Jérôme Sans, the exhibition explores the interplay between Marino’s iconic architectural designs, his personal collection of contemporary art and his series of cast-bronze boxes. True to the architect’s practice of creating bespoke environments at the intersection of art, design and fashion, One Way: Peter Marino will feature commissioned new work by artists Gregor Hildebrandt, Guy Limone, Farhad Moshiri, Jean-Michel Othoniel and Erwin Wurm.
One Way: Peter Marino begins with Hildebrandt’s Orphische Schatten (Orphic Shadows), a site-specific installation that employs hundreds of videotape strips culled from copies of Jean Cocteau’s classic film Orphée. Hildebrandt’s installation continues inside the museum galleries, plunging the Bass Museum’s “white cube” into shimmering darkness, extending Cocteau’s poetic play with imagery of mirrors and passageways to the Underworld.
These corridors of tape guide visitors through a selection of works from Marino’s personal collection of contemporary art, including pieces by Loris Gréaud, Keith Haring, Richard Serra, Rudolf Stingel, and Andy Warhol, among others. The exhibition also features sections dedicated to Pop Art, iconic portraiture and photography, and Marino’s recently designed series of cast-bronze boxes that will be presented within leather-clad walls.
One Way: Peter Marino comes to a suitably mythological conclusion with the recreation of Christophe Willibald Gluck’s opera Orfeo ed Euridice. This work – a collaboration between Marino, his wife Jane Trapnell, Michal Rovner, Dior, Francesco Clemente and others – recreates the opera originally staged in Marino’s New York home in 2013 with sets designed by Marino himself. Artistic collaborations and privately commissioned performances such as Orfeo ed Euridice demonstrate Marino’s passion and continued drive to work with the most talented individuals in the visual and performing arts.
Miquel Barceló, Georg Baselitz, Steve Benisty, Jeff Burton, Francesco Clemente, Dan Colen, Ronnie Cutrone, Peter Dayton, Richard Deacon, Pierpaolo Ferrari, Lucio Fontana, Adam Fuss, Loris Gréaud, Andreas Gursky, Keith Haring, Gregor Hildebrandt, Damien Hirst, Thomas Houseago, Zhang Huan, Y. Z. Kami, Idris Khan, Anselm Kiefer, David LaChapelle, Claude Lalanne, Peter Lane, Guy Limone, Nate Lowman, Robert Mapplethorpe, Steven Meisel, Andrei Molodkin, Joel Morrison, Farhad Moshiri, Vik Muniz, Jean-Michel Othoniel, Yan Pei-Ming, Walter Pfeiffer, Paola Pivi, Richard Prince, Lee Quiñones, Michal Rovner, Robert Ryman, Tom Sachs, Richard Serra, Andy Warhol, Christopher Wool, Erwin Wurm, Manolo Yllera.
About Peter Marino:
Peter Marino is the Principal of Peter Marino Architect PLLC, the New York-based architecture firm he founded in 1978. He received his architecture degree from Cornell University and began his career at Skidmore Owings & Merrill, George Nelson and I.M. Pei/Cossutta & Ponte. In 2012, he was named a Chevalier de l’Ordre des Arts et des Lettres by the French Ministry of Culture in recognition of his significant contributions to furthering art and culture. An active collector of bronzes as well as sculpture, Marino’s own collection of 17th-century bronzes was exhibited at The Wallace Collection, London, in 2010. In addition to this show, entitled Beauty and Power: Renaissance and Baroque Bronzes from the Peter Marino Collection, Marino, who has amassed the largest private collection of sculpture by Claude and François-Xavier Lalanne, designed the retrospective of their work entitled Les Lalanne, at the Musée des Arts décoratifs, Paris.He has supported the restoration of Pierre Chareau’s 1925 Bureau de l’Ambassade Française, one of the museum’s famed period rooms. And in 1999, designed the exhibition space for “Art and Industry: Contemporary Porcelain from Sèvres” at the American Craft Museum in New York.