With Fondazione Prada in Miami, you debuted the second iteration of Double Club. How did this particular project come about?
Much of my work is conceptually akin to the Double Club, so it was a natural extension.
In 1999, when we did Synchro System at the Prada premises with Fondazione.
You highlighted the saturated color visuality of Miami by juxtaposing it with a completely grayscale space. In which way does color, do you think, affect the way we interact with a space and each other?
Color does so much to define a space. Our understanding of our surroundings is based in large part on gradation — identifying a difference in perceived color to be a shadow, for example, and so gaining a sense of the relative location of objects in three dimensions, and the lines that divide them from one another. This is common sense. The colors in a space point us subtly toward comfort or anxiety, excitement or placidity. That is reflected in the way we interact with one another in those spaces. And it functions as metaphor, of course.
Art Basel Miami Beach is full of contradictions and paradoxes. What dichotomies did you try to flesh our in this edition of Double Club?
Much of my work could be conceived of as, functionally, a double club. I’ve been doing this sort of thing for some time now. It’s been interesting approach this club, in contrast to the London club, as an aesthetic division — monochromatic and hyper-polychromatic — elaborated upon by cultural elements, and not the other way around. I take particular note of the details: even the bottles at the bar are monochromatic, for example.