The best 10 Booth at Untitled Art, Miami Beach 2024
With sunlight streaming through its tent and the sound of waves crashing along South Beach, Untitled Art, Miami Beach is a much-beloved event in a packed Miami Art Week schedule. On December 3rd at 10 a.m., a VIP crowd poured into the fair’s signature shoreline tent, greeted by champagne, coffee carts, and a beachside lounge that cut through any stuffiness between booths.
Indeed, the sunlit aisles also provided an ideal backdrop for art browsing. This year’s edition of the fair—its 13th—is Untitled’s largest yet, featuring 176 galleries (compared to 163 last year). This year, the participating galleries were curated under the theme “East Meets West,” guided by Kathy Huang, an independent curator, and Jungmin Cho, founder of Seoul art space White Noise. As part of Untitled Art’s aim to better represent the breadth of the contemporary art market, the fair invited a more diverse array of galleries from Asia, Eastern Europe, North Africa, the Middle East, and Asia Pacific. Several galleries focused on exploring individual artists’ struggles with identity or assembled diverse rosters that reflect a broad geographic and cultural scope.
“I’ve most enjoyed witnessing how galleries have really leaned into this year’s curatorial theme, ‘East Meets West,’ intending to extend the geographical reach of the fair beyond traditional, Western understandings of contemporary art,” said Clara Andrade, the fair’s executive director. “These galleries are bringing more experiential and conceptual approaches, further broadening what this edition has to offer.”
Untitled Art’s commitment to curator-driven presentation is clear across the board, but is particularly prominent in its special projects section of installations. Notable works, scattered across the three aisles, include Judy Pfaff’s El Patio (1988)—a massive colorful artwork affixed to the East wall near the VIP lounge—and Brooklyn gallery Transmitter’s “contain and mend” exhibition, a group show of textile work from artists from Asia and of the Asian diaspora.
Meanwhile, the fair’s Nest sector continues with its aim of breaking down the financial barriers to art fair participation by offering subsidized booths. This forward-thinking initiative has drawn in fresh faces like Hong Kong’s Mou Projects, Los Angeles’s Rajiv Menon Contemporary, and New York’s Latitude Gallery, all making their fair debuts.
Untitled Art is also poised for major change in 2025. Last month, the fair announced its expansion to Houston, scheduled for September 19th through 21st. The new fair—described as a “boutique invitational fair”—hopes to engage the local art community and Texas’s rapidly growing collector base.
“Our role during Miami Art Week is to continue creating a space that is open, inclusive, and accessible while pushing boundaries and presenting cutting-edge ideas and work—which the market is positively responding to,” said Andrade. “It signals the hunger for this type of offer within today’s art fair landscape, which we are excited to bring to Houston when we launch there in September next year. We are concluding 2024 on a positive high, with confidence in the market and so much to look forward to in 2025.”
Here, we present the 10 best booths from Untitled Art, Miami Beach 2024.
Levi van Veluw was born in the Dutch town of Hoevelaken in 1985 and studied at the ArtEZ Institute of the Arts in Arnhem. He lives and works in Amsterdam. Since graduating in 2007, he has produced multi- disciplinary works that spans scenographic installations, photographs, videos, sculptures and drawings. Van Veluw bases his practice around the idea of an alternate reality, creating a visual laboratory where both order and chaos are present. The artist has extensively investigated the relativity of matter and draws on scientific theories and physics to approach various existential dilemmas. His dark and sensory installations encourage the viewer to reflect on the development of a new knowledge, stemming from the desire for a regulated universe, while acknowledging the rational impossibility of total control.
Among his personal recent exhibitions we remind: Videocittà Rome, Italy (2021); Eduardo Secci, Florence, Italy (2020); Rijksmuseum Twenthe, Enschede,The Netherlands (2020); Praz-Delavallade, Paris (2020); Het HEM, Zaandam, The Netherlands (2020); Tenuta Dello Scompiglio, Lucca, Italy (2019); Domaine de Kerguéhennec, Bignan, France (2018); La Galerie Particulière, Paris (2017); Galerie Ron Mandos, Amsterdam (2019); Rosenfeld Porcini Gallery, London (2016). Among group shows we remind: Museo Kranenburgh, Bergen, The Netherlands (2017); labellisée Normandie Impressonniste, Jumièges, France (2016); Museum de Fundatie, Zwolle, the Netherlands (2016); Maddox Arts, London (2015). Van Veluw’s works have also been widely shown at international art fairs such as Zona Maco (2018); The Armory Show, New York (2017); Art Brussels (2016); Chicago Art Fair (2016); Volta Basel (2012) and the Barcelona Loop Fair Barcelona (2014). The work of Levi Veluw has been exhibited internationally in leading museums and institutions, and is included in both public and private collections, including the Borusan Contemporary Collection, Caldic Collection, Ekard Collection and KPMG Art Collection.
Levi van Veluw was born in the Dutch town of Hoevelaken in 1985 and studied at the ArtEZ Institute of the Arts in Arnhem. He lives and works in Amsterdam. Since graduating in 2007, he has produced multi- disciplinary works that spans scenographic installations, photographs, videos, sculptures and drawings. Van Veluw bases his practice around the idea of an alternate reality, creating a visual laboratory where both order and chaos are present. The artist has extensively investigated the relativity of matter and draws on scientific theories and physics to approach various existential dilemmas. His dark and sensory installations encourage the viewer to reflect on the development of a new knowledge, stemming from the desire for a regulated universe, while acknowledging the rational impossibility of total control.
Among his personal recent exhibitions we remind: Videocittà Rome, Italy (2021); Eduardo Secci, Florence, Italy (2020); Rijksmuseum Twenthe, Enschede,The Netherlands (2020); Praz-Delavallade, Paris (2020); Het HEM, Zaandam, The Netherlands (2020); Tenuta Dello Scompiglio, Lucca, Italy (2019); Domaine de Kerguéhennec, Bignan, France (2018); La Galerie Particulière, Paris (2017); Galerie Ron Mandos, Amsterdam (2019); Rosenfeld Porcini Gallery, London (2016). Among group shows we remind: Museo Kranenburgh, Bergen, The Netherlands (2017); labellisée Normandie Impressonniste, Jumièges, France (2016); Museum de Fundatie, Zwolle, the Netherlands (2016); Maddox Arts, London (2015). Van Veluw’s works have also been widely shown at international art fairs such as Zona Maco (2018); The Armory Show, New York (2017); Art Brussels (2016); Chicago Art Fair (2016); Volta Basel (2012) and the Barcelona Loop Fair Barcelona (2014). The work of Levi Veluw has been exhibited internationally in leading museums and institutions, and is included in both public and private collections, including the Borusan Contemporary Collection, Caldic Collection, Ekard Collection and KPMG Art Collection.
Daria Dmytrenko (1993, Dnipropetrovsk, Ucraina) vive e lavora a Venezia. Dopo la prima formazione artistica a Dnipropetrovsk, ha frequentato i corsi di pittura presso l’Accademia Nazionale di Arti Visive e Architettura di Kiev (2012-15) e si è diplomata all’Accademia di Belle Arti di Venezia nel 2021. Attraverso la pittura, l’artista esplora l’espressione visiva del subconscio, utilizzando gli impulsi intuitivi come strumento per far emergere i ricordi più profondi e trasformarli in composizione. Tra le mostre in cui sono state esposte le sue opere: Journey to the center of the mind, Stems (Paris, 2024) What’s behind the gloom, Setareh (Düsseldorf, 2023), Degree Show II, Palazzo Monti (Brescia, 2021); Extraordinario, Vulcano agenzia VEGA (Venezia, 2020); 103ma Collettiva Giovani Artisti, Fondazione Bevilacqua La Masa, Galleria Piazza San Marco (Venezia, 2020); Spin Off, Calle Lunga Santa Caterina (Venezia, 2019); Speculum mundi, Davide Gallo (Milano, 2018); Upon a Time, Galleria Eduardo Secci (Firenze, 2022); Fluuuuuido, Cassina Projects (Milano, 2022).
Daria Dmytrenko (1993, Dnipropetrovsk, Ucraina) vive e lavora a Venezia. Dopo la prima formazione artistica a Dnipropetrovsk, ha frequentato i corsi di pittura presso l’Accademia Nazionale di Arti Visive e Architettura di Kiev (2012-15) e si è diplomata all’Accademia di Belle Arti di Venezia nel 2021. Attraverso la pittura, l’artista esplora l’espressione visiva del subconscio, utilizzando gli impulsi intuitivi come strumento per far emergere i ricordi più profondi e trasformarli in composizione. Tra le mostre in cui sono state esposte le sue opere: Journey to the center of the mind, Stems (Paris, 2024) What’s behind the gloom, Setareh (Düsseldorf, 2023), Degree Show II, Palazzo Monti (Brescia, 2021); Extraordinario, Vulcano agenzia VEGA (Venezia, 2020); 103ma Collettiva Giovani Artisti, Fondazione Bevilacqua La Masa, Galleria Piazza San Marco (Venezia, 2020); Spin Off, Calle Lunga Santa Caterina (Venezia, 2019); Speculum mundi, Davide Gallo (Milano, 2018); Upon a Time, Galleria Eduardo Secci (Firenze, 2022); Fluuuuuido, Cassina Projects (Milano, 2022).
Sebastiano Sofia was born in Verona in 1986. He lives and works between Verona and Milan, and after briefly attending a few courses at the Naba in Milan, he continues his journey as a self-taught artist. He uses painting, drawing and sculpture to develop his personal iconographic universe in which the human body, the animal world and the domain of things are in mutual dialogue, often organised around a narrative centre open to suggestions and interpretations. In her works, contamination and metamorphosis govern the relationship between figures and environments. Sofia explores the fusion between feminine and masculine, between human and animal, between the body as a place of control and the body as a space for the loss of rationality, using a language that reveals the most human and melancholic traits of absurdity and violence.
He has taken part in various artist residencies, including: Viafarini in residence (Milan) 2013, Bevilacqua la Masa (Venice) 2015, Maya Art Center (Sharjah UAE) 2018, Palmieri Collection in 2021 and De Iorio Collection in 2021/2022
Solo exhibitions include 2022 Marèa at Boccanera Gallery in Milan with a text by Alessandro Rabottini, 2019 Anemone at Palazzo Monti in Brescia with a text by Denis Isaia, 2018 Remember me curated by Laura Mezler at Maraya art Center in Sharjah (UAE), 2017 Natural Metamorphosis at Fatma Lootha Gallery in Dubai (UAE), 2016 Ariel at CarDrde in Bologna.
Sebastiano Sofia was born in Verona in 1986. He lives and works between Verona and Milan, and after briefly attending a few courses at the Naba in Milan, he continues his journey as a self-taught artist. He uses painting, drawing and sculpture to develop his personal iconographic universe in which the human body, the animal world and the domain of things are in mutual dialogue, often organised around a narrative centre open to suggestions and interpretations. In her works, contamination and metamorphosis govern the relationship between figures and environments. Sofia explores the fusion between feminine and masculine, between human and animal, between the body as a place of control and the body as a space for the loss of rationality, using a language that reveals the most human and melancholic traits of absurdity and violence.
He has taken part in various artist residencies, including: Viafarini in residence (Milan) 2013, Bevilacqua la Masa (Venice) 2015, Maya Art Center (Sharjah UAE) 2018, Palmieri Collection in 2021 and De Iorio Collection in 2021/2022
Solo exhibitions include 2022 Marèa at Boccanera Gallery in Milan with a text by Alessandro Rabottini, 2019 Anemone at Palazzo Monti in Brescia with a text by Denis Isaia, 2018 Remember me curated by Laura Mezler at Maraya art Center in Sharjah (UAE), 2017 Natural Metamorphosis at Fatma Lootha Gallery in Dubai (UAE), 2016 Ariel at CarDrde in Bologna.
Alin Bozbiciu is a young, talented artist representing the figurative painting of the School of Cluj in Rumania. He excels in the medium of painting in all its facets. A soft wide brush stroke and abundant use of paint are characteristic for his style. The palette roams on the spectrum of earth colors and grisaille hues with very rare color outbursts.
The artist is passionate about subjects of his own private surrounding and the representation of familiar or even related individuals. Animals, especially dogs, star in many of his paintings. The subjects are set in private, intimate poses usually alone and seemingly unobserved. Often their gaze is turned to the floor, their bodies crouched or bent which conveys a feeling of the portrayed people being abandoned or immersed in private thoughts. The dogs reinforce the intimacy of the moment and create an emotional link between the person in the picture and the viewer. After further contemplation, one sometimes spots details in the pictures that do imply the presence of others.
Bozbiciu is dedicated to his subjects in constant repetition, serial work is a main method of his oeuvre. It allows him to study his subjects in different formats and variations, eliminating the clichés of content and representation. This method forces the viewer to look closer in order to distinguish the motives. This way Bozbiciu questions and challenges our perception of images. Despite his painting being figurative it is also extremely aloof only hinting at things instead of being explicit. Much is left ambiguous and open for interpretation or associations of the viewer. His big brush strokes are a tool to convey emotions and sensuality not enunciate content. Hence his work demands to be looked at again and again in order to be seen. They reveal their chore qualities when met with devotion.
Alin Bozbiciu is a young, talented artist representing the figurative painting of the School of Cluj in Rumania. He excels in the medium of painting in all its facets. A soft wide brush stroke and abundant use of paint are characteristic for his style. The palette roams on the spectrum of earth colors and grisaille hues with very rare color outbursts.
The artist is passionate about subjects of his own private surrounding and the representation of familiar or even related individuals. Animals, especially dogs, star in many of his paintings. The subjects are set in private, intimate poses usually alone and seemingly unobserved. Often their gaze is turned to the floor, their bodies crouched or bent which conveys a feeling of the portrayed people being abandoned or immersed in private thoughts. The dogs reinforce the intimacy of the moment and create an emotional link between the person in the picture and the viewer. After further contemplation, one sometimes spots details in the pictures that do imply the presence of others.
Bozbiciu is dedicated to his subjects in constant repetition, serial work is a main method of his oeuvre. It allows him to study his subjects in different formats and variations, eliminating the clichés of content and representation. This method forces the viewer to look closer in order to distinguish the motives. This way Bozbiciu questions and challenges our perception of images. Despite his painting being figurative it is also extremely aloof only hinting at things instead of being explicit. Much is left ambiguous and open for interpretation or associations of the viewer. His big brush strokes are a tool to convey emotions and sensuality not enunciate content. Hence his work demands to be looked at again and again in order to be seen. They reveal their chore qualities when met with devotion.
Etsu Egami (1994, Tokyo, Japan), is a representative of the third generation of post-war Japanese contemporary artists, actively involved in Japan, China, United States, and Europe. She studied at The Karlsruhe University of Arts and Design (HFG) in Germany and at the Central Academy of Fine Arts in Beijing.
She got The best artist prize in 2023, Forbes Asia 30 UNDER 30 in 2021, and now in New York dispatched as a talented artist by Agency for Cultural Affairs, Japan Government. Etsu Egami currently lives and works between Tokyo and New York. Selected solo exhibitions include “Etsu Egami solo show”, Whitestone gallery Singapore (Singapore, 2023); “Etsu Egami: Obsession and Qusetion, New Horizons of Modern Painting”, Hiroshima Woodone Museum (Japan, 2022); “Rainbow”, Tang Contemporary Art, Seoul (Korea, 2022); A2Z PARIS (Paris, 2022); “Etsu Egami: Rainbow”, Karuizawa New Museum(Japan, 2022); “Etsu Egami: In a Moment of Misunderstanding, All the Masks Fall”, Tang Contemporary Art, Beijing (China, 2021); “RAINBOW- ETSU EGAMI”, Whitestone gallery Taipei, Taipei (China, 2021); “Face book- EGAMI ETSU”, Chambers Fine Art, New York (USA, 2021), etc
Etsu Egami (1994, Tokyo, Japan), is a representative of the third generation of post-war Japanese contemporary artists, actively involved in Japan, China, United States, and Europe. She studied at The Karlsruhe University of Arts and Design (HFG) in Germany and at the Central Academy of Fine Arts in Beijing.
She got The best artist prize in 2023, Forbes Asia 30 UNDER 30 in 2021, and now in New York dispatched as a talented artist by Agency for Cultural Affairs, Japan Government. Etsu Egami currently lives and works between Tokyo and New York. Selected solo exhibitions include “Etsu Egami solo show”, Whitestone gallery Singapore (Singapore, 2023); “Etsu Egami: Obsession and Qusetion, New Horizons of Modern Painting”, Hiroshima Woodone Museum (Japan, 2022); “Rainbow”, Tang Contemporary Art, Seoul (Korea, 2022); A2Z PARIS (Paris, 2022); “Etsu Egami: Rainbow”, Karuizawa New Museum(Japan, 2022); “Etsu Egami: In a Moment of Misunderstanding, All the Masks Fall”, Tang Contemporary Art, Beijing (China, 2021); “RAINBOW- ETSU EGAMI”, Whitestone gallery Taipei, Taipei (China, 2021); “Face book- EGAMI ETSU”, Chambers Fine Art, New York (USA, 2021), etc
Alfredo Pirri was born in Cosenza, Italy, in 1957. He lives and works in Rome, is one of the best-known artists working there. He attended the Academy of Fine Arts in Rome and graduated with a degree in Painting.
His work, between painting and sculpture, architecture and installation, gains international recognition in the mid-80s. Color, matter, volume and space are instrumental to his practice which finds, in the relationship with light, the origin of a research which continuously reinvents itself. The work of Alfredo Pirri harmonically confronts architecture and constantly tends to the creation of an archetypal place, a space for dwelling connected to a public function.
Alfredo Pirri has exhibited in several museums and biennials, in Italy and abroad, among which: Eduardo Secci Milan (2021); Castello Maniace, Siracusa (2021); MACRO Museo d’Arte Contemporanea di Roma (2017), Nomas Foundation (2016-2017), Museo Novecento, Florence (2015); London Design Festival (2015); National Gallery of Modern Art, Rome with the semi-permanent installation “Passi” (2012-2016); Palazzo Te, Mantova (2013) e Project Biennial D-0 ARK Underground Konjic, Bosnia Herzegovina (2013), where “Passi” is permanently exhibited; National Archaeological Museum Reggio Calabria (2011) with his permanent installation “Piazza”; Visual Arts Centre Pescheria, Pesaro (2007); Maison Européenne de la Photographie, Parigi (2006); Havana Biennial (2001); French Academy in Rome -Villa Medici (2000); MoMa PS1, New York (1999); Korrespondenzen, Walter Gropius Bau, Berlino (1992); Venice Biennial (1988).
His recent collaborations with architects Nicola di Battista (director of Domus) and Efisio Pitfalls (Studio PROAP, Lisbon) were exhibited in 2015 at the British School in Rome.
He has taught at Bezalel Academy of Arts and Design in Jerusalem, at the Sapienza University in Rome, at the Academy of Fine Arts in Urbino, at the Academy of Fine Arts in Palermo. He is currently teaching Painting at the Academy in Frosinone and Visual Arts Advisor at the American Academy in Rome.
In 2015 AMACI (Italian Association for Contemporary Art Museums) selected Alfredo Pirri as guiding artist for the eleventh contemporary art day.
Alfredo Pirri was born in Cosenza, Italy, in 1957. He lives and works in Rome, is one of the best-known artists working there. He attended the Academy of Fine Arts in Rome and graduated with a degree in Painting.
His work, between painting and sculpture, architecture and installation, gains international recognition in the mid-80s. Color, matter, volume and space are instrumental to his practice which finds, in the relationship with light, the origin of a research which continuously reinvents itself. The work of Alfredo Pirri harmonically confronts architecture and constantly tends to the creation of an archetypal place, a space for dwelling connected to a public function.
Alfredo Pirri has exhibited in several museums and biennials, in Italy and abroad, among which: Eduardo Secci Milan (2021); Castello Maniace, Siracusa (2021); MACRO Museo d’Arte Contemporanea di Roma (2017), Nomas Foundation (2016-2017), Museo Novecento, Florence (2015); London Design Festival (2015); National Gallery of Modern Art, Rome with the semi-permanent installation “Passi” (2012-2016); Palazzo Te, Mantova (2013) e Project Biennial D-0 ARK Underground Konjic, Bosnia Herzegovina (2013), where “Passi” is permanently exhibited; National Archaeological Museum Reggio Calabria (2011) with his permanent installation “Piazza”; Visual Arts Centre Pescheria, Pesaro (2007); Maison Européenne de la Photographie, Parigi (2006); Havana Biennial (2001); French Academy in Rome -Villa Medici (2000); MoMa PS1, New York (1999); Korrespondenzen, Walter Gropius Bau, Berlino (1992); Venice Biennial (1988).
His recent collaborations with architects Nicola di Battista (director of Domus) and Efisio Pitfalls (Studio PROAP, Lisbon) were exhibited in 2015 at the British School in Rome.
He has taught at Bezalel Academy of Arts and Design in Jerusalem, at the Sapienza University in Rome, at the Academy of Fine Arts in Urbino, at the Academy of Fine Arts in Palermo. He is currently teaching Painting at the Academy in Frosinone and Visual Arts Advisor at the American Academy in Rome.
In 2015 AMACI (Italian Association for Contemporary Art Museums) selected Alfredo Pirri as guiding artist for the eleventh contemporary art day.
Kevin Francis Gray was born in Northern Ireland in 1972. He currently lives and works between London and Pietrasanta.
Kevin Francis Gray has generated bodies of work which address the complex relationship between abstraction and figuration. At the core of the artist’s practice is an interrogation of the intersection of traditional sculptural techniques and contemporary life. Rather than working towards ideals of beauty or memorial, Gray attends to the psychological effects, often relying on textural surfaces rather than facial or bodily expressions. Furthering Gray’s decade of working with marble, his new work pushes the possibilities of the artist’s sculptural practice into new territories of physical and psychological expression.
He received his BA from the National College of Art & Design in Dublin (1995) and the School of Art Institute in Chicago (1996), and then went on to earn an MA in Fine Art from the Goldsmiths College in London. He works closely with the Giannoni marble studio in Pietrasanta, renowned for its use of sculpting techniques that date back to Canova and Michelangelo. His works have been included in exhibitions at the Royal Academy, London, UK; Sudeley Castle, Winchcombe, Gloucestershire, UK; Museum of Contemporary Art of the Val de-Marne, Paris, France; Nieuw Dakota, Amsterdam; Palazzo Arti Napoli, Naples, Italy; Musee d’art Moderne, Saint-Etienne, France; ARTIUM, Centro-Museo Vasco de Arte Contemporáneo, Vitoria-Gasteiz, Spain; Tel Aviv Museum of Art, Tel Aviv, Israel; and Art Space, New York, USA.
Kevin Francis Gray was born in Northern Ireland in 1972. He currently lives and works between London and Pietrasanta.
Kevin Francis Gray has generated bodies of work which address the complex relationship between abstraction and figuration. At the core of the artist’s practice is an interrogation of the intersection of traditional sculptural techniques and contemporary life. Rather than working towards ideals of beauty or memorial, Gray attends to the psychological effects, often relying on textural surfaces rather than facial or bodily expressions. Furthering Gray’s decade of working with marble, his new work pushes the possibilities of the artist’s sculptural practice into new territories of physical and psychological expression.
He received his BA from the National College of Art & Design in Dublin (1995) and the School of Art Institute in Chicago (1996), and then went on to earn an MA in Fine Art from the Goldsmiths College in London. He works closely with the Giannoni marble studio in Pietrasanta, renowned for its use of sculpting techniques that date back to Canova and Michelangelo. His works have been included in exhibitions at the Royal Academy, London, UK; Sudeley Castle, Winchcombe, Gloucestershire, UK; Museum of Contemporary Art of the Val de-Marne, Paris, France; Nieuw Dakota, Amsterdam; Palazzo Arti Napoli, Naples, Italy; Musee d’art Moderne, Saint-Etienne, France; ARTIUM, Centro-Museo Vasco de Arte Contemporáneo, Vitoria-Gasteiz, Spain; Tel Aviv Museum of Art, Tel Aviv, Israel; and Art Space, New York, USA.
