At Helly Nahmad, an enormous black Alexander Calder mobile was elegantly housed in its own white space – a spectacular piece with an equally spectacular $35million price tag

本周，参观迈阿密巴塞尔艺术展(ArtBasel)的游客不需要走到入口处就能得到这样的信息：博览会正在认真对待自己的艺术。在左边，在赫尔利·纳赫玛的展位上，一辆巨大的黑色亚历山大·考尔德(Alexander Calder)手机“红色胜利号”(Ruge Triomphant，1959-1962年)被优雅地安置在自己的白色空间里-这是一部同样壮观的3500万美元的巨幅作品。

就在加莱丽Gmurzynska，一幅价值100万美元的毕加索壁画吸引了人们的注意。这家瑞士画廊在庆祝50周年之际，引进了巴兹·卢尔曼(Baz Luhrmann)(这是很明显的证据，而且随着时间的推移看上去年轻得多)来主持它的生日展览。这位澳大利亚导演做出了一些优雅的选择，包括一幅精致的叶夫-克莱因(Yves Klein)1961年的火画。在这幅画中，纸上留下的痕迹几乎像și一样。

在做出这些宏伟的姿态之后，集市迅速地回到了今天。在Sadie Coles，一个由乌尔斯·菲舍尔(Urs Fischer)设计的1080个石膏“雨滴”组成的天花板装置，装满了从绿色到黄色的彩色点滴。在加文·布朗企业(Gavin Brown Enterprise)，八幅由毕吉恩·梅尔加德(Bjarne Melgaard)永远渴望震惊的华丽画作-全都是朋克式的巫毒脸和大混蛋-在展览开幕时以每瓶45，000美元的价格售出。(梅尔加德去了，并把一部分利润花在了时装设计师伯恩哈德·威廉(Bernhard Wilhelm)的返程目录出售的设计区的“Nobody”和“某人”弹出式商店。)

同时，瑞士豪泽画廊

在卡维古普塔画廊(KaviGupta)，米卡琳·托马斯(MickaleneThomas)极其详细的20世纪70年代的房间套装之一，正在为疲惫的游客提供艺术品/休息“把这件事带到迈阿密是一种爱的劳动，”古普塔说。托马斯的使命是讲述美国黑人的故事，并冻结日常生活的细节。这其中包括一对高抛光铸造青铜的Crocs-很可能这是第一次这种鞋看起来有些模糊的吸引力。

'Rouge Triomphant', by Alexander Calder, 1959 -1962, at the Helly Nahmad booth

Over at Galerie Gmurzynska, a $1million Picasso fresco (second from left) was attracting attention

The Swiss gallery, celebrating 50 years in the business, had brought in Australian director Baz Luhrmann to curate its birthday exhibition

At Sadie Coles, a ceiling installation comprising 1080 plaster 'raindrops' by Urs Fischer filled the booth with drops of colour graduating from green to yellow

‘Melodrama’, by Urs Fischer, 2013, at the Sadie Coles booth

Meanwhile, Swiss/London gallery Hauser & Wirth made a tactical nod to North America, where it will open a dazzling new space in Los Angeles sometime next year

'Peonies', by Diana Thater, 2011. 'We’re showing America at its finest,' said Iwan Wirth, of Los Angeles artists Diana Thater and Mark Bradford

Paul McCarthy’s 'White Snow, Bambi' eclipsed the lot – a three-metre high tangle of pigs heads, hooves and human faces telling a hallucinatory X-rated fairy tale

‘Untitled’, by Mark Bradford, 2014, at the Hauser & Wirth stand. Photography: Joshua White

Kavi Gupta Gallery presented one of Mickalene Thomas’ fanatically detailed 1970s room sets, which functioned as an artwork/resting place for tired visitors, complete with a pair of Crocs in highly polished cast bronze

'Bringing this to Miami was a labour love,' said Gupta surveying the scene. Thomas’ mission is to tell the story of Black America, and to freeze frame the minutiae of daily life

Elsewhere, Locust Projects unveiled 'Welcome to the Future', a major site-specific installation by Daniel Arsham. For the installation, Arsham transformed the gallery into an excavation site, digging a trench in its floor and filling it with calcified 20th century media devices

The pit held mounds of boom boxes, electric guitars, SLR cameras, Blackberries, Nintendo controllers, VHS tapes, Walkmans, film projectors, and portable televisions, rendered in crystal, volcanic ash, and other minerals

As a child, Arsham survived Hurricane Andrew huddled in a closet of his family’s Miami home. The wreckage he encountered in the storm’s aftermath influences his perception of architectural spaces

At the Bass Museum of Art, architect Peter Marino’s multifaceted ouevre is explored through art at the Jerôme Sans-curated retrospective

Presenting the architect’s work alongside pieces from his personal art collection and a series of cast-bronze chests (pictured), the exhibition also includes new work commissioned by Marino from artists Gregor Hildebrandt, Guy Limone, Jean-Michel Othoniel and Erwin Wurm. Photography: Maggie Nimkin

Detail of site-specific commission 'Black Rosaries', by Jean-Michel Othoniel, 2014, at the Bass Museum of Art. Courtesy of Jean-Michel Othoniel. Photography: Philippe Chancel

'Red, Black And Grey-White Tapestry', by Guy Limone, 2014, frames Andy Warhol's 'Human Heart', circa 1979, at the Bass Museum of Art. The exhibition runs until 3 May 2015

Argentinian Paris-based artist Julio Le Parc kicked off proceedings in Miami at 444 Brickell Avenue with developer and collector Jorge Perez during a private unveiling of two sculptures, 'Sphère Rouge' (pictured) and 'Torsion 1'

'Torsion 1', by Julio Le Parc, 1999-2014

Ryan McNamara’s restaged his immersive performance 'ME3M 4 Miami: a Story Ballet About the Internet', which explores web surfing. © Art Basel

Liz Glynn and Dawn Kasper peformed 'cosmo[il]logical', reflecting on the origins of the universe. © Art Basel

This year's public commissions included Ryan Gander's 'Never has there been such urgency, or The Eloquent and the Gaga – (Alchemy Box #45)', 2014, shown by Lisson Gallery. © Art Basel

'Mirror Angle Fragments (3x60°)', by Jeppe Hein, 2014, presented by Berlin gallery Johann König. © Art Basel

'GOD 5', by Florian & Michael Quistrebert, 2014, at the Galerie Juliette Jongma stand. Courtesy of the artists and Juliette Jongma, Amsterdam

Paul Scholper Gallery exhibited various works by Damien Hirst from his recent 'Schizophrenogenesis' series. © Art Basel

'Untitled', by David Shrigley, 2014, at the BQ stand. Photography: Roman Maerz, Berlin. Courtesy of BQ, Berlin, and Stephen Friedmann Gallery, London

'Homesick', by Hrair Sarkissian, 2014, at the Kalfayan Galleries stand. Courtesy of Kalfayan Galleries, Athens - Thessaloniki

'Great Nymph mother', by Mike Bouchet, 2014 at the Peres Projects stand. Courtesy of Peres Projects

keywords:Art Basel Miami Beach, art, art fair, exhibition, fair report, Sadies Coles, Hauser & Wirth, Urs Fischer

关键词：艺术巴塞尔迈阿密海滩，艺术博览会，展览，博览会报告，萨迪科尔斯，豪泽