By Monica McGivern
By Travis Cohen
By Hannah Sentenac
By Daniel Reskin
By Hans Morgenstern
By George Martinez
By Pablo Chacon Alvarez
By Ciara LaVelle
For his March 14 opening, Chambers flooded the gallery with banana-scented soap bubbles that spread over the gallery floor and erupted onto the pavement outside, to the delight of the kids in attendance; they covered themselves in the stuff. The foam party feeling was enhanced by other works that vaguely suggested such fashionable trends -- on the floor false eyelashes and a muffin-shape wig of Chambers's own design floated in a puddle of Dippity-Do. Miniature marshmallows in the pastel colors of spring collections filled colored rubber bowls. Something smelled like peppermint.
At the entrance to the room was a huge nineteenth-century bellows, a gorgeous found object of worn wood and cracked leather that could be pressed to blow air into a silk balloon attached to its end (this didn't work too well; the fabric was all wet from the bubbles). With the foam, the slippery floor, the bellows, and various whirring sounds, the sensorial installation had the feel of a science museum display -- a common characteristic of Chambers's participatory works. The most vehemently interactive of these was a special effects cannon, one of Chambers's favorite devices, mounted out of sight on the roof of the studio. Set to a timer, it periodically emitted an ear-buzzing explosion that sounded like a close-range gunshot.
"It's like a herald," says Chambers. "Something to punctuate your thoughts, to clear your mind before you go inside the building."
Can't Trust a Big Butt and a Smile.
Through April 26. art1035, 1035 Lincoln Rd, Miami Beach; 534-3339.
Through April 5. Space Cadette, 7339 SW 45th St; 261-7585.