Wes Kline's MINOTAUROCRACY Extends at ArtCenter/South Florida thru 3/17

MINOTAUROCRACY-20010101

ArtCenter/South Florida, the cultural epicenter of South Beach's Lincoln Road that welcomes more than 100,000 visitors per year, is extending artist Wes Kline's art exhibition MINOTAUROCRACY through March 17 as part of Subtropics XXII: Miami's Biennial of Music and Sound Art.

Kline returns to Miami Beach to participate in Subtropics events at ArtCenter:

- March 2nd the artist performs as part of ArtCenter's Studio Crawl

- March 16th and 17th Kline performs as part of the Subtropics Marathon

MINOTAUROCRACY is inspired by filmmaker Hans Richter's mid-century avant garde film Minotaur. The Gainesville-based artist, originally from Baltimore, has been invited to utilize the ArtCenter's new Project 924 venue as a collage space for re-imagining the film. The resulting experience is a series of performative vignettes and architectural photographic archives strewn throughout the gallery space.

Kline's title MINOTAUROCRACY humorously alludes to the artist's process of 'production,' re-creating the image of the Minotaur not as a fragment but as a plurality. "I imagined a Minotaur running through a Modernist housing project, rather than a through a labyrinth, " said the artist Wes Kline.

ArtCenter/South Florida's Project 924 is located at 924 Lincoln Road, 2nd Floor.

Project 924 Hours:
Mondays - Thursdays: 12 noon - 6 pm
Fridays - Saturdays: 11am - 10pm
Sundays: closed
Admission is free

Kline's multi-sensory experience re-imagines the film and envelops visitors with a series of structures, video vignettes, photographs, archives, drawings, and performances that collapse the modernist figure of the Minotaur (a favorite of the Surrealists, Picasso, and many others) into a series of participatory moments.

"I used microphones to record sounds in and around the buildings that I photographed for the project," said Kline. "These sounds range from children playing to the humming of heating units."

Instead of the fragmented figure of the Minotaur in a labyrinth, visitors encounter opportunities to "repair," "archive," or "restructure" the Minotaur as a site of exchange and production.

"By utilizing recordings from binaural and contact microphones to capture sounds at the site of the four Modernist houses and housing complexes depicted in the installation," said Kline, "the performance reassembles these sounds as edited loops, attempting to replicate an architectonic space using the sonic imprint of the buildings, their usage, and their surroundings. The performances merge the documentary impulse of field recording with more contemporary electronic music structures, suggesting a hybridity of use and aesthetics."

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