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When you think of a rocking chair, images of grandparents and parents who tell stories passed down from generation to generation as they accompany their children to bedtime, immediately spring to mind. The podcast series, created by BABA Collective and now in their third edition, symbolically refer to the concept of rocking chair as a concept of spontaneous narration of authentic stories, told by artists, gallery owners, museum art curators and all those who take part in the creative process. Progressively numbered from # 76-100, the BABA Collective podcast sessions at Swampspace are the third part of a long journey begun in 2017 with a first series (# 1-50) and continued in 2018 with a second (# 51-75) who found in the warmth of Oliver Sanchez’s Swampspace, the right place in which to complete the third series. Progressively numbered from # 76-100, the BABA Collective podcast sessions at Swampspace are the third part of a long journey begun in 2017 with a first series (# 1-50) and continued in 2018 with a second part (# 51-75 ) that they found in the warmth of Oliver Sanchez’s Swampspace, the right place in which to complete the third series. They are lived experiences, projections of the artistic process, inspirations and complex mechanisms that move the mirror that reflects society better than anyone else, art.
Open from May 4th to 24th, the third sessions of Rocking Chair combines the tangible works of art set up on the basis of reflections: atmospheric, meditative and of form, with the audio recordings of 25 artists including: Oliver Sanchez (# 76) who doesn’t need clarifications in the Miami both on the environmental and the artistic level and at the level of exhibition space. The owner of the Miami Swampspace Gallery, as a young man, along with his brother Adolfo, actively participated in the fame of the iconic Club 57 in New York, the city to which they had moved and from which he returned to Miami to “give what he received “; the art as a pop culture combined with the second fashion is the conception of the artist Nick Manshie (# 77); the practice of mystical-ancestral systems, deriving from Judeo-Christian and Afro-Caribbean religions, is what underlies the art of Nicole Salcedo (# 78); the focus is the versatility of the clay with which it tells stories, the concept of art according to Myung Nam An (#79); the intrinsic value of Lucinda Linderman’s works of art (# 80) takes on new appearances starting from waste materials; the black and white images of Amanda Bradley (# 81); the artistic surfaces of Michelle Weinberg (#82); the unconventional combinations of the works of Stephanie Jaffe (#83); the works of Valeria Yamamoto (#84) are inspired by the study of organic forms found in the natural world; it proceeds by interconnections between the natural environment and the environment built by the art of Nick Gilmore (#85); the works of Reginald O’Neal (#86) are inspired by street art (# 86) while the holograms of the photographer Mark Diamond (#87) represent his artistic concept; the multidisciplinarity of Carrie Sieh (#88); the assembly of Kerry Phillips (#89); the exploration of ephemeral objects by Gabriela Garcia d’Alta (#90); the versatility of Belaxis Buil (#91); the spontaneous reactions of Juan Henrique (#92); the digitized images of David Gary Lloyd (#94); the tranfers by Marina Gonella (#95); the metal sculpture by Ian Fichman (#96); the 4D world of Elaine Defibaugh (#97); the embroideries symbolizing the eastern and western heritage of Eurydice (#98); Shariff Slimting’s street photography (#99). In addition to all this, the stories of Anthony Spinello (#93), young artist, gallery curator of Spinello Project and Jordana Pomeroy (#100) current director of the Patricia and Frost Art Museum in Miami.
The BABA Collective is made to collect the oral tales of those who experience art in the first person: RCS is art within art driven by the need to access interviews, the most precious material, in addition to the intrinsic value of the work , which the artists make available.
The BABA Collective, named after the initials of the surname of the two founding members: Elysa D. Batista and Maria Theresa Barbist, who met at the Bakehouse Art Complex where both have a studio: Elysa is a sculptress with a background in advertising graphics was born in Panama and grew up in Miami, completing her studies in New York; Maria, originally from Innsbruck, is a multimedia artist with a background as a psychologist and psychotherapist, before moving to Miami she moved to San Francisco to study psychology of art. The idea of the RCS (Rocking Chair Sessions) is born from the latter’s profession, whose freudian psychotherapy chair is replaced by the rocking chair with the most evocative and undoubtedly less stressful aspect. Podcast sessions are archived online on the RCS: Rocking Chairs Session and are recorded once a week, usually on Mondays. The number of participants is variable and depends on the size of the exhibition space which is composed of the image of a photograph of the artist strictly seated on the rocking chair, and a pair of headphones with which to listen to the session that becomes a tangible moment through which to engage in an intense and lively dialogue within the multicultural artistic community of South Florida.
Rocking Chairs sessions are all downloadable from this site:
https://www.rockingchairsessions.com/sessions
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