Day Two of our personal Art Week and Constant Companion went for previews at nearby Lincoln Road, the famed pedestrian mall of the city. We went to see the unveiling of two public art pieces special for 2024. Along the way, we had several planned and unplanned detours.

Last May, a special installation of wind chimes, called called Chime Gardens, was arranged throughout the trees shading the central space of “The Road,” as we call Lincoln. Four distinct gardens apparerntly offering four distinct musical experiences were created in partnership with wind chime expert Erica des Roches. The initiative is trying to create “a soothing soundscape in public areas.” This goal, however, is controlled by Mother Nature and her peripatetic breezes.

First we found Paradise Garden in the 800-900 block. The sounds of the chimes are supposed to “evoke a sense of serenity and harmony … and promote relaxation, and so forth.”

The Celestial Garden (1000 block) was near our final destination. According to the on-line text (more about on the website below) this “arrangement” “mimics the celestial harmony of the stars and planets” … and contributes to the cosmic music of the universe.”*

*Look into the branches of the trees to find the suspended wind chimes.

I know we passed the two other installations in the beautiful, spreading arboretum down the center of Lincoln, the Latin Gardon and the Harmony Garden but the signs identifying them were too well hidden. I enjoyed the sounds of these chimes, a lovely audio addition to the Road as we passed, but, to me, they all gave tones similar to the wind chimes at my home.

Our destination after finding most of the Chime Gardens was Daniel Anderson’s XO World at the eastern entrance of The Road. His sculpture comprised of a large silver figure reminiscent of a jack from the jacks game many of us played in our youth next to a large globe. Together the figures represent love and unity of humanity. A friend told me the clenched fists also represent solidarity. Other images filled my head upon seeing for huge clenched fists.

While waiting for the ceremony to begin, we made a quick side trip into the neighboring Zara store to once again see the beautiful terrazzo, Three Sisters, a reminder of the Road’s splendid history, “Fifth Avenue of the South.” It’s one of our hidden treasures.

This is the 4^th year that the Lincoln Road Business Improvement District has contributed to the cityscape during Art Week. Previous installations included Botero sculptures, more sculptures by Richard Orlinsky, and last year’s Marco Cochrane’s 45-foot-tall, 32,000-pound female silhouette, ‘R-Evolution^TM’ (see 12-18-2023 post for the latter).

In the background of the new display, I took in the mysterious installation of percussion instruments I’d seen last year when I took a friend and her husband on a public art walking tour. Then, there was no signage, no indication of what it was … Now, still no signage or indication visible to encourage passersby the participate. My inquiry about signage was met with “It’s on the website.” So Miami Beach!

Next, the group trooped to the other end of the Road that goes from the Atlantic Ocean to Biscayne Bay for the second 2024 installation, Rubem Robierb’s Dream Machine, a large sculptural butterfly, read “instagram” location. “This sculpture honors dreamers—those who dedicate their lives to making the impossible possible,” according to the sappy press material about this work,

Dream Machine is overlooked by the only remaining Lincoln Road gallery of Oolite Arts, formerly South Florida Art Center. Constant Companion and I took a final detour to get a preview of their 2024 Art Week exhibit. We were greeted by curator, Omar Lopez Chahoud, who graciously guided us through the exhibit in process of installation (opening December 6, during Art Week).

One piece among the crates stood our. Local artist, et al, Houston Cypress assembled natural items that represent the Everglades, the vast and significant wetland to the west of the city that is perpetually under attack by developers. Central to Archeology of a Prayer is a block of oolitic limestone, our bedrock, staged behind four charred piece of wood representing the sacred fire of the southeastern ceremonial complex.

Later that day, Constant Companion and Icclosed the art-filled day that evening with a joyous crowd to welcome the new relationship between Diaspora Vibe Cultural Arts Incubator (DVCAI) and Barry University. DVCAI has carved out a significant place in the community by providing guidance, resources, and opportunities for diasporic artists in the Southeastern United States, the national scene, and across the globe. With the exhibition, The Whole World is Churning: Then and Now a new partnership has started with nearby Barry University. Among the crowd were numerous Barry students; one of the primary beneficiaries of the new relationship.

The work of ten artists who have had fellowships from the organization was carefully curated in a large space in the University library.

Asser Saint-Val’s MICPO-MAHNEWL, a code for “inner power,” a multidisciplinary art installation and performance was front and center. Other local artists included in the show are Devorah Perez and her work with acrylic sheets

and Chris Friday‘s large-scale girls (Untitled).

And now, we are continue counting the (preview) days, enjoying more previews as they appear and our strength allows in preparation for the (actual) days of Art Week. They are quickly approaching,