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WHAT: The Miami Design District, in alignment with Istituto Marangoni, is delighted to welcome back Expressions for its third session on Thursday, October 15th and Friday, October 16th. Curated by Istituto Marangoni, the program was conceptualized with a purpose to spark a series of insightful discussions as well as encourage meaningful exchanges of ideas and workshops at Miami’s one-of-a-kind destination for rich cultural, dining, shopping and creative experiences. Society and human behavior are changing as advances in technology, innovative tools, new attitudes and experiences guide us through this transformative period. Commerce, retail, hospitality and personal interactions will be forever changed by current events. To make sense and brainstorm about these transformations, panels of experts, professionals and influential personalities will spark thought-provoking conversations on topics related to the “new normal” we are currently experiencing. Led by local and international influencers and industry experts, workshops are set to be held at various participating venues throughout the Miami Design District including The Atrium, Rooftop Garden and The Arsenale. Topics will include The New Normal, a discussion on how our lives have changed from homeschooling to the new custom of getting everything delivered and everything in between; The Fashion Industry’s Reinvention, including the closing of stores and how brands are preparing for the new wave of digital consumers; Wellness is The New Essential, encompassing a myriad of topics ranging from online meditation to body care and breathing techniques to cope with stress and anxiety; and Trends on Consumer and Societal Behavior, a discussion touching upon various changes in consumer patterns. Speakers and moderators for this year’s panels include Carolina Melo, Fashion Business Consultant and VOGUE Brazil Correspondent; Cristina Favretto, Head of Special Collections at University of Miami Library; Estefania Lacayo, Founder of Latin American Fashion Summit; Gelareh Mizrahi, Designer and Founder of Gelareh Mizrahi; Javi Javi Gutierrez and Alejandra Cohen, Founders at BREATH TRIBE; Luis Pons, Interior Designer and Founder at Luis Pons Design Lab; Massimo Casagrande, Academic Director at Istituto Marangoni; and May Beckhauser, Founder at Festival Yoga Lifestyle, among many more. The Miami Design District is committed to impacting the community by offering new and exciting experiences for visitors that are free and open to the public. Through providing thought-provoking platforms like Expressions, the Miami Design District continues to play an integral part in Miami's ever-expanding cultural fabric. WHEN: Thursday, October 15, 2020 & Friday, October 16, 2020 WHERE: Miami Design District, 140 NE 39th St. TICKETS: Talks will accommodate 20 to 30 guests maximum. Masks and social distancing required. RSVP here. By ML Staff. Image courtesy of Unsplash

AVIUM is one of the world’s largest network of private jet charter companies, offering an array of private jets with world reach. With a fleet of more than 12,000 private jets, AVIUM offers exclusive top-level service to thousands of airports worldwide providing the best prices for private jet charters without subscription fees – guaranteed. AVIUM´s experienced international aviation consultants will assist and advise you from the moment you contact them to request a quote, 24/7, 365 days a year. An expert adviser will offer you the best solution, adapted to your needs and expectations. Their dedicated and efficient team of experts manages all aspects of your flight itinerary, including transfers, accommodation and leisure reservations. AVIUM is committed to providing you a completely personalized “VIP Care” service at the highest level and with the best market price. With a special focus on customer safety and comfort, AVIUM only uses trusted operators who have full Aircraft Operating Certificates (AOC) and with Public Liability Insurance allowing you to fly not only comfortably, but also safely and with peace of mind. FLIGHT TYPES AVIUM provides all types of private flights. Whether you need corporate, leisure or medical flights, AVIUM takes care of every detail so you can sit back, relax and enjoy the experience. Currently, AVIUM has 4 international offices throughout Europe, Asia and the United States, located in key cities: • AVIUM United States: Houston • AVIUM Europe: Puerto Banús, Marbella, Costa del Sol • AVIUM Switzerland: Lausanne • AVIUM Asia: Hong Kong HOW DOES IT WORK Avium offers precise and transparent quotes and guarantees the best price for your charter flight to your desired destination in any part of the world. All you have to do is search their website www.aviumjets.com and submit a request, including information about departure and arrival airports, dates and times of flights and the number of people flying with you. For your convenience, their request form is available in 5 languages: English, German, French, Spanish and Russian. In addition, there is the option to choose your preferred currency. The moment you submit the request, AVIUM Global MarketPlace will instantly find and show you all possible options for your trip with a list of all available types of jets: from Very Light Jets, to Medium Size Jets, Heavy Jets, Ultra Long Range and VIP airliners, for your selection. You can even choose to receive quotes for several types of jets. AVIUM quotes are straightforward and include detailed information about your flight itinerary and the available amenities, along with actual photographs of the exterior and interior of the private jet you will be taking. You can then choose the quote which best suits your travel needs. At AVIUM, we are passionate about the service we offer and always happy to do our best to satisfy our clients. We pay exceptional attention to detail to provide a unique and pleasant experience. It is time to enjoy an unforgettable AVIUM trip! CONTACT US Fly private with your family and friends, quickly, easily, comfortably and directly around the world. AVIUM takes care of everything. AVIUM IS available 24/7 by email, phone, web or app – anytime and any place. By ML staff. For more info, visit www.aviumjets.com.

Located steps away from its sister resort Casa Marina, The Reach Key West is a h istoricstyle hotel with a modern design situated on Key West’s only stretch of natural sandy beach. The property is ideal for t hose seeking t ranquility or to host an elegant yet relaxed event, such as a wedding and corporate gathering. AMENITIES & ACTIVITIES The Reach Key West features 150 spacious rooms, nine event rooms, and a spectacular wooden deck that is ideal for couples and wedding ceremonies. Featuring magnificent panoramic views of the Atlantic Ocean, The Reach Key West is the supreme spot for a romantic and memorable beachside wedding. Over 20,000 square feet of indoor and outdoor space is available, including two ballrooms that each feature their own terrace. The Caribe Terrace offers an elegant setting for a reception event suitable for up to 150 guests. Enjoy pool and beach amenities, including private cabanas, a range of water sports such as scuba diving, snorkeling, jet skiing and food service steps away at the Four Marlins. Unique experiences are also available by appointment, including sand sculpture workshops, therapeutic treatments at Spa al Maré and more. Contact concierge for experience details. ROOMS Choose from stylish suites, rooms, or accessible rooms while staying at The Reach Key West. Each room has its own balcony featuring beautiful views. Room decor features a nautically-inspired design and all rooms come with black-out curtains, Keurig coffee maker, and a mini fridge. For a memorable stay, choose the Ocean View Suite Retreat, which offers a grand view of the Atlantic Ocean, private balcony, a separate living room and 575 square feet of space allowing up to four guests to sleep. DINING Four Marlins offers an oceanfront breakfast, lunch, and dinner experience. Executive Chef Kevin Spencer offers fresh seafood and prime steaks made with seasonal and local ingredients. An impressive selection of rums, wines, and draught beers is also available. Breakfast is served from 7 am-11 am, lunch from 11:30 am-4:30 pm, and dinner from 5:30 pm-10 pm. The bar opens daily at 11 am. The Reach Key West, Curio Collection by Hilton Address: 1435 Simonton Street, Key West, FL 33040 Phone: 305-296-5000 Website: www.reachresort.com Instagram: https://www.instagram.com/thereachresort Twitter: @TheReachResort Facebook: www.facebook.com/TheReachResort Words by Markin Abras • Images courtesy of The Reach

Miami Living takes a look at Dior's watches. These masterpieces are crafted diligently, with the precision to create timepieces that are timeless. DIOR GRAND BAL RUBAN The Dior Grand Bal collection is now enriched with two pieces and a new aesthetic inspired by the couture universe. The Dior Grand Bal Ruban are equipped with the ‘‘Dior Inversé 11 1/2’’ calibre, featuring the oscillating weight placed on top of the dial which shapes a knot swirling to the rhythm of a ball gown. The velvet strap, the different settings of diamonds, the feathers and gold threads echo the wealth of materials in Haute Couture. The lining of the strap as well as the iridescent case-back are details only known to the wearer. 36 mm automatic - pink gold, white gold, diamonds and feathers. Limited edition of 18 pieces. DIOR GRAND BAL MASQUÉ 7 All Dior Grand Bal Masqué watches are equipped with an automatic ‘Dior Inversé 11 1/2 Caliber’ movement, and – as is tradition – the House’s designers have transformed the watches’ dials into stunning works of art. Sapphires emphasize the eyes on a golden face, eyelashes are decorated with silky, colourful feathers, while cheeks – blushed with excitement during dancing – are conveyed by pink quartz, spinel, sapphires and scarlet rubies. Over 60 baguette cut diamonds surround the dial with a sparkling halo, giving the watch an even more luxurious appearance. DIOR GRAND BAL RUBAN The Dior Grand Bal collection is now enriched with two pieces and a new aesthetic inspired by the couture universe. The Dior Grand Bal Ruban are equipped with the ‘‘Dior Inversé 11 1/2’’ calibre, featuring the oscillating weight placed on top of the dial which shapes a knot swirling to the rhythm of a ball gown. As a hallmark of the Maison often highlighting a key point of the clothe such as a neckline, a hip or the upper of pumps, the knot is here adorned with round cut, baguette cut and snow set diamonds and with different harmony of colours. It adorns a dial decorated with gold threads or covered with feathers the way it adorned Monsieur Dior’s creations. The velvet strap, the different settings of diamonds, the feathers and gold threads echo the wealth of materials in Haute Couture. The lining of the strap as well as the iridescent case-back are details only known to the wearer. 36 mm automatic - Steel, pink gold, white gold and diamonds. Limited edition of 88 pieces. DIOR GRAND BAL MASQUÉ 1 Automatic - “Dior Inversé 11 1/2” calibre with functional oscillating weight on the dial in platinum, yellow gold and white gold set with pear-cut and roundcut snow-set diamonds, square baguette-cut pink spinels, triangle-cut pink sapphires, triangle- and round-cut rubies and adorned with feathers. DIOR GRAND BAL PLUME CHINESE NEW YEAR Specially designed to celebrate the 2020 Chinese New Year, the Dior Grand Bal collection is now enriched with a new model in 36mm, combining the delicacy of a feather with a flamboyant red. The Dior Grand Bal Plume is equipped with an automatic movement, exclusive to the Maison Dior, the “Dior Inversé 11 ½” calibre, featuring a patented and functional oscillating weight recreating the swirl of a ball gown. The oscillating weight, adorned with feathers and set with diamonds, evolves in harmony with a red motherof- pearl dial. Combining feather-making know-how, specific to Haute Couture, with watchmaking technology, this model is elaborated with great delicacy, like a feathered petticoat embroidered with diamonds. 36 mm automatic - steel, pink gold, diamonds, feathers and red mother-of-pearl. Limited edition of 88 pieces. For pricing & more visit Dior Watches By ML Staff. Images courtesy of Dior

With COVID-19 vaccines currently in the final phase of study, you’ve probably been wondering how the FDA will decide if a vaccine is safe and effective. Based on the status of the Phase 3 trials currently underway, it is unlikely that the results of these trials will be available before November. But it is likely that not just one but several of the competing COVID-19 vaccines will be shown to be safe and effective by the end of 2020. I am a scientist and infectious diseases specialist at the University of Virginia, where I care for patients with COVID-19 and conduct research on the pandemic. I am also a member of the World Health Organization Expert Group on COVID-19 Vaccine Prioritization. What is the status of COVID-19 vaccines in human clinical trials? Phase 3 studies are underway for the Moderna and BioNTech/Pfizer vaccines, the Oxford/AstraZeneca viral vector vaccine and now the Johnson & Johnson viral vector vaccine. Each of these vaccines uses the SARS-CoV-2 spike glycoprotein, which the virus uses to infect cells, to trigger the immune system to generate protective antibodies and a cellular immune response to the virus. Protective antibodies act by preventing the spike glycoprotein from attaching the virus to human cells, thereby neutralizing the SARS-CoV-2 virus that causes COVID-19. In the case of Moderna’s nucleic acid vaccine, the messenger RNA encoding the spike glycoprotein is encased in a fat droplet – called a liposome – to protect the mRNA from degradation and enable it to enter cells. Once these instructions are inside the cells, the mRNA is read by the human cell machinery and made into many spike proteins so that the immune system can respond and begin producing antibodies against this coronavirus. The Oxford/AstraZeneca and Johnson & Johnson vaccines use a different strategy to activate an immune response. Here an adenovirus found in chimpanzees shuttles the instructions for manufacturing the spike glycoprotein into cells. Phase 1 and 2 studies by pharmaceutical companies Janssen and Merck also use viral vectors similar to the Oxford/AstraZeneca and J&J vaccines, while vaccines by Novavax and GSK-Sanofi use the actual spike protein itself. Animal tests show the vaccines provide protection from coronavirus infection Studies in animal models of COVID-19 provide convincing evidence that vaccination with the spike glycoprotein will protect from COVID-19. Experiments have show that when the immune system is shown the spike protein – which alone cannot trigger disease – the immune system will generate an antibody response that protects from infection with SARS-CoV-2. In studies in hamsters an adenovirus viral vector – the approach used by Oxford/AstraZeneca, for example – was used to immunize with the Spike glycoprotein. When the hamsters were infected with SARS-CoV-2 they were protected from pneumonia, weight loss and death. In nonhuman primates, DNA vaccines – which deliver the gene for the spike glycoprotein – reduced the amount of virus in the lungs. Animals that produced antibody that prevented virus attachment to human cells were most likely to be protected. What have the early Phase 1 and 2 studies in humans shown? Overall, vaccination has triggered a more potent neutralizing antibody response than even that seen in patients recovering from COVID-19. This has also been the case for Moderna’s vaccine currently in Phase 3 trials and for vaccines from CanSino Biologics and Oxford/ AstraZeneca. What side effects have been observed? Physicians have recorded mild to moderate reactions when the subjects were observed up to 28 days after vaccination. These side effects included mild pain, warmth and tenderness at the site of injection, and fever, fatigue, joint and muscle pain. But Phase 1 and 2 studies are by small by design, with just hundreds of participants. So these trials will not be large enough to detect uncommon or rare side effects. The emphasis on safety as the primary goal was recently demonstrated in the Phase 3 Oxford/AstraZeneca vaccine trial where one vaccinated individual developed inflammation of the spinal cord. It isn’t clear whether the vaccine caused this reaction – it might be a new case of multiple sclerosis unrelated to the vaccine – but the Phase 3 trial was halted in the U.S. until more is known. How is the FDA ensuring that a vaccine will be safe yet quickly produced? The FDA has issued guidance for industry on the steps required for developing and ultimately licensing vaccines to prevent COVID-19 – these are the same rigorous safety standards required for all vaccines. There are, however, ways to speed the process of approval that are centered on “platform technology.” What this means is that if a vaccine is using an approach such as an adenovirus that has previously been shown to be safe, it may be possible for a company to use previously collected data on toxicity and pharmacokinetics to fast-track clinical trial approval. While speed and safety may appear conflicting goals, it is also encouraging to note that the rival vaccine manufacturers have jointly pledged not to bow to any political pressures to rush vaccine approval, but to maintain the most rigorous safety standards. How protective does a vaccine need be to receive FDA approval? The FDA has set the bar for the primary endpoint of a Phase 3 trial of 50% protection for approval of a COVID-19 vaccine. Protection is defined as protection from symptomatic COVID-19 infection, defined as laboratory-confirmed SARS-CoV-2 infection plus symptoms such as fever or chills, cough, shortness of breath, fatigue, muscle aches, loss of taste or smell, congestion or runny nose, diarrhea, nausea or vomiting. This means that an effective vaccine is considered one that will reduce the number of infections in vaccine recipients by half. This is the minimal protection that is anticipated to be clinically useful. That is, in part, because lower levels of efficacy could paradoxically increase COVID-19 infections if it leads vaccinated people to decrease mask wearing or social distancing because they think they are completely protected. Since a vaccine might be more effective at preventing severe COVID-19, the FDA instructs that protection from severe COVID-19 should be a secondary endpoint. How many people have to be vaccinated to know if a vaccine works in Phase 3? The current Phase 3 trials are enrolling 30,000-40,000 subjects. Most of these participants will receive the vaccine and some a placebo. When, exactly, the results of Phase 3 studies will be released depends in large part on the rate of infection in the placebo recipients. The way that these vaccine studies work is that they test if naturally acquired new coronavirus infections are lower in the group that received the vaccine compared with the group receiving the placebo. So while it is good news that COVID-19 infections have dropped recently in the U.S. from 70,000 to 40,000 cases per day, this drop in new infections may slow the vaccine studies. Will Emergency Use Authorization fast-track vaccine? In an emergency such as we are faced with the COVID-19 pandemic, with approximately 700 new deaths and 40,000 new cases per day right now, the FDA is authorized to allow the use of unapproved products for the diagnosis, treatment and prevention of disease. That includes a vaccine. The standard approval process for vaccines can require more than one year of observation after vaccination. If the short-term safety is good and the vaccine works to prevent COVID-19, then the vaccine should be approved for use under an Emergency Use Authorization while it is still being studied. Under Emergency Use Authorization, the FDA will continue to collect information from the companies producing the vaccines for benefit and harm, including surveillance for vaccine-associated enhanced respiratory disease or other potentially rare complications that might be observed in only one in a million. What should we expect in terms of approvals? I expect that the FDA will approve several vaccines by the end of 2020 under its Emergency Use Authorization authority so that vaccination can begin immediately, starting with high-risk groups including first responders, health care personnel, and the elderly and those with preexisting medical conditions. This will be followed rapidly with roll-out of vaccination to the population at large, while all of the time the FDA and vaccine manufacturers will continue to monitor for side effects and work to improve upon these first vaccines. This process is expected to take months. It may not be life back to normal next year, but all signs point to a healthier 2021. By William Petri, Professor of Medicine, University of Virginia. Special thanks to The Conversation for this story and images. You can support the independent network which provides news by donating today.

Art Basel debuted its digital platform, the Online Viewing Rooms, with 235 galleries showing over 2,000 pieces. To help our readers navigate these first virtual aisles, curators were invited to preview the offering and share what caught their eye. Art Basel's Film sector curator Filipa Ramos kicked off the series. Nam June Paik, Untitled, 1994; Leeahn Gallery, Seoul and Daegu The more spontaneous, playful, and sometimes outright funny aspects of Nam June Paik’s drawings and paintings are sometimes less considered than his technological environments, robotic creations, and explorations of modern communication devices for which the artist is better known. Untitled (1994) features a little humanoid figure painted on top of a television test card, an image that used to be transmitted when a channel wasn’t broadcasting a program. It brings together Paik’s humorous spirit, his investigation into the visual culture of television, and his interest in the relationship between people and media. Reverting the logics of his better-known painted television screens, which Paik would cover in paint with abstract gestures, he opted here for figuration to signal a bright and almost explosive encounter between a person and a machine. Lee Ufan, From Line, 1979; Kamel Mennour, Paris and London Despite being a manifesto against representation, Lee Ufan’s paintings sing. I’d love to be a musician just to be able to play the incredible melodies that come out of his compositions of lines and patches. In this beautiful work from the ‘From Line’ series from the 1970s, you can hear the sounds of deep cobalt blue, warm white, and the rhythm of long, parallel stripes – calm, bright, and assertive, aligned side by side like a flock of birds flying together across the sky. A major figure of the important Korean Monotone Art movement (Dansaekjo Yesul), Lee was also the co-founder of Mono-ha in the 1960s and is one of its last survivors. Ma Paisui, Spring of Taroko, 1976; Asia Art Center, Taipei, Beijing, and Shanghai I recently saw Gu Xiaogang’s stunning film Dwelling in the Fuchun Mountains (2019), the young Chinese filmmaker’s first feature film. Named after a legendary 14th-century scroll by Chinese painter Huang Gongwang, the film also unfolds like a scroll: slowly, bit by bit, long shot after long shot. Dwelling in the Fuchun Mountains shows four seasons of the lives of various members of the Yu family, whose individual stories are shaped by the major challenges facing contemporary China today. While depicting a different landscape, the Taroko National Park in Taiwan, and a single season, spring, Ma Paisui’s painting, with its vivid jade and sapphire mountains rising high above the clouds and dwarfing the tiny human figures and their infrastructure, brought back to me the outstanding images of Dwelling in the Fuchun Mountains. There is something incredibly disruptive in Ma’s use of color in his landscape – at once vivid and outlandish, concrete and unreal – that makes the spaces he captures look like a lucid hallucination. Andi Fischer, Oh Oh Endkampf, 2019; Sies + Höke, Dusseldorf Peter Paul Rubens liked to paint flabby naked women and dramatic scenes. Sometimes he would combine these, sometimes not. He also enjoyed painting brutal hunting scenes in which strong, patrician men were portrayed slaughtering foxes, wolves, crocodiles, hippos, tigers, lions, leopards, and other ferocious beasts. Zoological bloodbaths anticipating the Anthropocene, these paintings should be used to mourn the harm humans have inflicted on the world. It’s of Rubens I think of when I look at Andi Fischer’s monumentally childish Oh Oh Endkampf (2019). I enjoy how this work exposes the ridiculous ambition and offensive imagery of so much European religious and aristocratic baroque painting, Rubens included. Schematic, straightforward, and cartoonish, but also funny in their childish manners, Fischer’s works reveal the absurdity of Western iconography while offering us potential stories to be told by the child in each of us. Ana Mazzei, Woodpecker, 2020; Ana Mazzei, Hare, 2020; Green Art Gallery, Dubai Just like cherries, which always grow in groups, Ana Mazzei’s elegant sculptural works should always come in sets of at least two or three pieces. To separate the Brazilian artist’s freestanding wooden objects would be to deprive them of their narrative strength, to prevent their theatrical potential from unfolding, and to abolish the stories they are about to tell. Here, two creatures from the woods, a woodpecker and a hare, engage in a playful dialogue about the relationship between abstraction and figuration, modernism and postmodernism, subject and object, nature and culture, art and life. Yunizar, Untitled, 2020; Gajah Gallery, Singapore Red dogs and black birds and funny lizards. Jellyfish and sea cucumbers, small fish and large fish, all close to the bottom. Crowned coronaviruses, little volcanoes, and huge flowers… You can find so many figures in this painting by the Indonesian artist Yunizar. At once bestiary, mental map, scribbled drawing, delirious fantasy, and textile pattern, Untitled (2020) is inspired by the oral stories of the Minangkabau people of West Sumatra, Indonesia, a matrilineal society arranged in female clans from which the artist descends. Despite its apparent simplicity and naïve style, this rhythmic composition requires time and attention for its details to be observed, and for each character to be fully considered as part of a complex whole, in which forms, words, and movements are brought together in a continuous festival of lines and colors. The Online Viewing Rooms launched on March 18 and closed on March 25, 2020, but collectors can still contact galleries using the contact details on the individual gallery page. Information about the next edition will be released soon. Filipa Ramos is a Lisbon-born writer and lecturer based in London. She is Curator of Art Basel’s Film sector. Her research looks at humans' engagement with animals in the contexts of art and artists’ cinema. Her essays and texts have been published in magazines and books worldwide. She co-founded and co-curates Vdrome, a program of screenings of artists’ films. She is Lecturer at the MRes Arts at Central Saint Martins, London, and at the Master Programme of the Arts Institute of the Hochschule für Gestaltung und Kunst, Fachhochschule Nordwestschweiz, Basel. She was Editor in Chief of art-agenda, Associate Editor of Manifesta Journal, and collaborated with Documenta 13 (2012) and 14 (2017). She edited Animals (Whitechapel Gallery/MIT Press, 2016) and curated the group exhibition ‘Animalesque’ (Bildmuseet Umeå, Summer 2019, and BALTIC, Gateshead, Winter 2019/20). She curates the ongoing symposia series ‘The Shape of a Circle in the Mind of a Fish’ with Lucia Pietroiusti for the Serpentine Galleries. Courtesy of Art Basel

When Art Basel debuts its Online Viewing Rooms on March 20, 2020, it will be a turning point. The virtual space of a publicly accessible, timed, online exhibition is new territory for many of the 233 participating galleries. They have all risen to the challenge: each has chosen a curatorial concept for their virtual room as individual as a fingerprint, with the added bonus of being unconstrained by the dimensions of a traditional white cube. From blue-chip paintings to outdoor sculptures, the artworks offered are of the highest caliber. Read on for a sneak peek at what’s in store. Monumental installations The most obvious advantage of the virtual realm is that dimensions cease to matter. Ambitious, even room-size installations – from Kimsooja’s Deductive object (1997) presented by Axel Vervoordt to an 8.8-meter Vivian Suter canvas at Karma International – are part of the mix. Others have taken this leeway as a kind of dare. Pilar Corrias is offering Philippe Parreno’s floating fish school, My Room is Another Fishbowl (2016), conceived for his much-acclaimed Tate Modern Turbine Hall installation. Galeria Continua is bringing Antony Gormley's Breathing Room II (2010), a unique environment that uses phosphorous to conjure an architecture as if from the air, while OMR has a new piece by James Turrell, Circular Glass (2020), which is embedded with computerized LED lights and whose dimensions will be customized for its future home. Taking things a step further into the virtual, one collector has the chance to acquire a Yayoi Kusama infinity room – the mirror-box format Life Shines On (2019), via Ota Fine Arts – perhaps one of the most talked-about artwork series in recent years. Philppe Parreno, My Room is Another Fishbowl, 2016. Courtesy Pilar Corrias, London. Rediscovered modernisms Another advantage of the Online Viewing Room is the collapse of geographic distance, bringing many Art Basel Hong Kong participating galleries to global attention. Nowhere is this more evident than in the selection of major Middle Eastern, Asian, and Southeast Asian masters little seen in the west. A case in point is the late I Gusti Ayu Kadek Murniasih, a pathbreaking Balinese artist who boldly addressed pleasure and sexuality in her paintings, shown by Gajah Gallery. In Selma Feriani’s thoughtfully composed room, abstract paintings by the Moroccan painter Mohammed Hamidi fold African symbols into modernism’s customary flatness. And Watanuki Ltd./Toki-no-Wasuremono brings to light the Japanese avant-gardist Onosato Toshinobu, who drew inspiration from traditional textile patterns, eventually blowing them up to macro size with an Op Art effect. Left: I GaK Murniasih, Tali KBku di Caplok Ikan Dalam Mimpi, 1999. Courtesy Gajah Gallery, Singapore. Right: Mohammed Hamidi, Composition 1964, 1964. Courtesy Selma Feriani, London, Tunis. Indigenous practices The incorporation – and sometimes even recovery – of indigenous crafts in contemporary artworks is a pronounced trend from Canada to the Pacific Rim. Silverlens has chosen to focus on materials and makers. The Manila gallery is presenting woven mats in pandanus or bamboo by the Malay artist I-Lann Yee, who gives traditional objects a political twist. Jan Murphy Gallery has composed a dual show of richly hued, celestial works by two contemporary painters, Sylvia Kanytjupai Ken and Tjungkara Ken, from the remote Anangu Pitjantjatjara Yankunytjatjara lands of South Australia, who draw on an artistic heritage some 40,000 years old. EJA 19, 2018-2019. Courtesy Silverlens, Manila. Meticulous geometries Mathematical precision can be found in several rooms, often bridging East and West. The godfathers of minimalism, Carl Andre and Sol LeWitt, are on offer at Alfonso Artiaco and Konrad Fischer Galerie – the latter having paired a copper Andre floor sculpture with a bronze plinth by Yuji Takeoka. Sabrina Amrani is featuring Formation of a Square II (2018) by Egyptian artist Chant Avedissian, whose acrylic-painted motifs collapse the colors, architecture, and patterns of the Silk Road. Meanwhile, The Third Line proposes a dialog of geometrically inspired works, with reflectors on aluminum by Rana Begum and embroideries by Jordan Nassar. Left: Carl Andre, 2 x 18 Cyprigene, 1994. Right, Yuji Takeoka, Golden Base, 1987. Courtesy of Konrad Fischer Galerie, Cologne, Berlin. Rare gems Other galleries are using the relative intimacy and cohesion of the Online Viewing Rooms to contextualize early and unusual works by major names. Hanart TZ has collages by the prolific ink artist Luis Chan; Meyer Riegger has a 1987 chalk-on-paper installation by Miriam Cahn. Nathalie Obadia will show early photographs by Agnès Varda taken in China just before the Cultural Revolution, while Gallery Espace will offer two cast-paper works by the India-born artist Zarina, among others. Luis Chan, Door God, 1978. Courtesy Hanart TZ, Hong Kong. Cutting-edge video The internet lends itself well to photographic and video works, as the strong lineup of lens-based works shown in the Online Viewing Rooms suggests. Chi-Wen Gallery presents ‘Just Kids!’, a grouping of works by fluid young Taiwanese photographers and artists. A highlight is a video by Yu Cheng-Ta and Victoria Sin, known for referencing drag culture in their practice. David Lewis gallery, on the other hand, has chosen to concentrate on one piece, Madame de Void: A Melodrama (2018), a 45-minute long film by Felix Bernstein and Gabe Rubin billed as ‘101 Dalmatians as seen through the lens of Fassbinder's The Bitter Tears of Petra von Kant.’ Victoria Sin, If I had the words to tell you we wouldn’t be here now, 2019. Courtesy Chi-Wen Gallery, Taipei. Photo panorama Photographic offerings run a full gamut, from modern, black-and-white classics to contemporary artists using the camera conceptually or as an activist tool. Cao Fei, featured in Vitamin Creative Space’s room, shows stills from her 2019 retro-futurist film Nova (2019). For 40 kilómetros (40 kilometers) (2014), Teresa Margolles, presented by Galerie Peter Kilchmann, shot the altars marked by acts of violence along a notorious stretch of road in northern Mexico. The Third Gallery Aya has given over their room to Eiko Yamazawa. Born in Osaka in 1899, Yamazawa went on to become one of Japan’s first female photographers, who developed late in life a particularly distinctive style of abstraction captured in chromogenic and gelatin-silver prints. Marina Abramović, Aaa-aaa with Ulay, 1978-2010. Courtesy Lia Rumma, Naples and Milan. Small sculpture Take Ninagawa offers a gilded cardboard box by the Vietnamese-Danish artist Danh Vo that serves as a meditation on consumption. In Fortes d’Aloia & Gabriel’s room, pegged to the transporting powers of reflective surfaces, Valeska Soares’s mirrored sculpture trio, Self-portrait in denial (2004), riffs on the hear-no-evil, see-no-evil motif. At Matthew Marks Gallery, sculptures by Ron Nagle – humorously titled Señor Sensimilla and Dietary Indiscretion (both 2019) – pack personality that belies their sub-seven-inch stature. Valeska Soares, Self-portrait in denial, 2004. Courtesy Fortes d'Aloia and Gabriel, Lisbon. Find out here if your favorite gallery is showing in Art Basel’s Online Viewing Rooms, follow #artbaselovr on Instagram for more works, and set a reminder for the go-live at 6pm HKT on March 20, on view through 6pm HKT on March 25. Courtesy of Art Basel

In the midst of the global COVID-19 pandemic, a small non-profit in South Florida has been working with the world’s top brands, philanthropic organizations, and volunteer groups to bring assistance to millions of people in the most affected communities around the world. CADENA International, an inclusive prevention-focused global network committed to providing disaster-relief to vulnerable populations worldwide, has aided over 1.4 million people in COVID-19-affected regions since March by providing: 13,039 meals 10,800 basic necessities 17,686 COVID-19 health personnel kits 77,305 COVID-19 protection articles and more And the work is just getting started. CADENA International will also distribute over 100,000 surgical masks to Latin American countries whose communities have been greatly affected by COVID-19. More than 10,000 masks will be hand-delivered by employees and volunteers from CADENA to hospitals and healthcare centers in each country, including Argentina, Chile, Colombia, Peru, Ecuador, and Mexico. Utilizing the resources of the Jewish Diaspora and multinational corporations, CADENA, and its allies have carried over 350 missions in 20 countries as of March 2020. For more information on CADENA, please visit https://cadena.ngo/. By ML Staff. Images courtesy of CADENA International.

Day of the Dead Fiesta at Chotto Matte On Saturday, October 31st, Chotto Matte will be transformed into a traditional shrine to those who have passed, and will offer a two-for-one “haunted hour” all night long featuring La Adelita Tequila. The special menu includes festive libations like Deadly Spice made with La Adelita Tequila Blanco, passion fruit puree, St Germain, agave, lime juice, jalapeño, cilantro leaves, pinch of tajin ($14) and Shiso BOO-zy La Adelita Tequila Blanco, pineapple juice, yuzu lemon, agave, egg white, basil leaves, shiso leaves, edible flower, wasabi ($16), Vampire Ritual La Adelita Tequila Reposado, Chambord Liqueur, passion fruit puree, lime juice, agave, filthy cherries, lemon twist ($18), and Soul Taker La Adelita Tequila Reposado, Del Maguey Mezcal Vida, demerara syrup, orange bitters, Angostura bitters, orange peel ($14), as well as Soul of the Dead Dover sole tempura, ama su ponzu, red onion salsa ($45, serves two). South American-themed performers and DJs will keep the celebration going all night.  When: Saturday, October 31st at 7 p.m. Where: Chotto Matte, 1666 Lenox Ave #1664, Miami Beach, FL 33139 Phone: 305-690-0743 Website: https://chotto-matte.com/miami/ Story by Katie Whitman, Images courtesy of Chotto Matte

Like many inventions, the discovery of Teflon happened by accident. In 1938, chemists from Dupont (now Chemours) were studying refrigerant gases when, much to their surprise, one concoction solidified. Upon investigation, they found it was not only the slipperiest substance they’d ever seen – it was also noncorrosive and extremely stable and had a high melting point. In 1954 the revolutionary “nonstick” Teflon pan was introduced. Since then, an entire class of human-made chemicals has evolved: per- and polyfluoroalkyl substances, better known as PFAS. There are upward of 6,000 of these chemicals. Many are used for stain-, grease- and waterproofing. PFAS are found in clothing, plastic, food packaging, electronics, personal care products, firefighting foams, medical devices and numerous other products. But over time, evidence has slowly built that some commonly used PFAS are toxic and may cause cancer. It took 50 years to understand that the happy accident of Teflon’s discovery was, in fact, a train wreck. As a public health analyst, I have studied the harm caused by these chemicals. I am one of hundreds of scientists who are calling for a comprehensive, effective plan to manage the entire class of PFAS to protect public health while safer alternatives are developed. Typically, when the U.S. Environmental Protection Agency assesses chemicals for potential harm, it examines one substance at a time. That approach isn’t working for PFAS, given the sheer number of them and the fact that manufacturers commonly replace toxic substances with “regrettable substitutes” – similar, lesser-known chemicals that also threaten human health and the environment. As PFAS are produced and used, they can migrate into soil and water. MI DEQ Toxic chemicals A class-action lawsuit brought this issue to national attention in 2005. Workers at a Parkersburg, West Virginia, DuPont plant joined with local residents to sue the company for releasing millions of pounds of one of these chemicals, known as PFOA, into the air and the Ohio River. Lawyers discovered that the company had known as far back as 1961 that PFOA could harm the liver. The suit was ultimately settled in 2017 for US$670 million, after an eight-year study of tens of thousands of people who had been exposed. Based on multiple scientific studies, this review concluded that there was a probable link between exposure to PFOA and six categories of diseases: diagnosed high cholesterol, ulcerative colitis, thyroid disease, testicular cancer, kidney cancer and pregnancy-induced hypertension. Over the past two decades, hundreds of peer-reviewed scientific papers have shown that many PFAS are not only toxic – they also don’t fully break down in the environment and have accumulated in the bodies of people and animals around the world. Some studies have detected PFAS in 99% of people tested. Others have found PFAS in wildlife, including polar bears, dolphins and seals. Attorney Robert Billott describes suing Dupont for knowingly releasing millions of pounds of hazardous PFOA in Parkersburg, West Virginia. Widespread and persistent PFAS are often called “forever chemicals” because they don’t fully degrade. They move easily through air and water, can quickly travel long distances and accumulate in sediment, soil and plants. They have also been found in dust and food, including eggs, meat, milk, fish, fruits and vegetables. In the bodies of humans and animals, PFAS concentrate in various organs, tissues and cells. The U.S. National Toxicology Program and Centers for Disease Control and Prevention have confirmed a long list of health risks, including immunotoxicity, testicular and kidney cancer, liver damage, decreased fertility and thyroid disease. Children are even more vulnerable than adults because they can ingest more PFAS relative to their body weight from food and water and through the air. Children also put their hands in their mouths more often, and their metabolic and immune systems are less developed. Studies show that these chemicals harm children by causing kidney dysfunction, delayed puberty, asthma and altered immune function. Researchers have also documented that PFAS exposure reduces the effectiveness of vaccines, which is particularly concerning amid the COVID-19 pandemic. Regulation is lagging PFAS have become so ubiquitous in the environment that health experts say it is probably impossible to completely prevent exposure. These substances are released throughout their life cycles, from chemical production to product use and disposal. Up to 80% of environmental pollution from common PFAS, such as PFOA, comes from production of fluoropolymers that use toxic PFAS as processing aids to make products like Teflon. In 2009 the EPA established a health advisory level for PFOA in drinking water of 400 parts per trillion. Health advisories are not binding regulations – they are technical guidelines for state, local and tribal governments, which are primarily responsible for regulating public water systems. In 2016 the agency dramatically lowered this recommendation to 70 parts per trillion. Some states have set far more protective levels – as low as 8 parts per trillion. According to a recent estimate by the Environmental Working Group, a public health advocacy organization, up to 110 million Americans could be drinking PFAS-contaminated water. Even with the most advanced treatment processes, it is extremely difficult and costly to remove these chemicals from drinking water. And it’s impossible to clean up lakes, river systems or oceans. Nonetheless, PFAS are largely unregulated by the federal government, although they are gaining increased attention from Congress. Water treatment tanks Part of a filtration system designed to remove PFAS from drinking water, Horsham Water and Sewer Authority, Horsham, Pennsylvania. Bastiaan Slabbers/NurPhoto via Getty Images Reducing PFAS risks at the source Given that PFAS pollution is so ubiquitous and hard to remove, many health experts assert that the only way to address it is by reducing PFAS production and use as much as possible. Educational campaigns and consumer pressure are making a difference. Many forward-thinking companies, including grocers, clothing manufacturers and furniture stores, have removed PFAS from products they use and sell. [Understand new developments in science, health and technology, each week. Subscribe to The Conversation’s science newsletter.] State governments have also stepped in. California recently banned PFAS in firefighting foams. Maine and Washington have banned PFAS in food packaging. Other states are considering similar measures. I am part of a group of scientists from universities, nonprofit organizations and government agencies in the U.S. and Europe that has argued for managing the entire class of PFAS chemicals as a group, instead of one by one. We also support an “essential uses” approach that would restrict their production and use only to products that are critical for health and proper functioning of society, such as medical devices and safety equipment. And we have recommended developing safer non-PFAS alternatives. As the EPA acknowledges, there is an urgent need for innovative solutions to PFAS pollution. Guided by good science, I believe we can effectively manage PFAS to reduce further harm, while researchers find ways to clean up what has already been released. By Carol Kwiatkowski. Adjunct Assistant Professor of Biological Sciences, North Carolina State University. Special thanks to The Conversation for this story and images. 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Gulfstream Park Village, South Florida’s premier outdoor entertainment destination, will host two exciting family-friendly and socially distanced events in October, including a live virtual concert featuring Mr. Nice Guy on Saturday, October 10, and its annual ‘Not So Spooky’ Halloween, on Friday, October 30. Gulfstream Park Village will also be lit up in pink throughout October, in honor of Breast Cancer Awareness Month. The open-air entertainment destination is in compliance with the best practices recommended by the Centers for Disease Control and Prevention (CDC), as well as state and local health care officials, in an effort to make Gulfstream Park Village a place where guests feel comfortable venturing back into public and reconnecting with friends and family. All guests are required to maintain the social distance of six feet between visitors and wash their hands in accordance with the CDC guidelines. Live Virtual Concert Featuring Mr. Nice Guy: Get ready to rock! On Saturday, October 10, from 7–9 p.m., Gulfstream Park Village will be hosting a free virtual concert featuring South Florida’s premier classic rock band, Mr. Nice Guy. The event will be moderated by Doc Reno from BIG 105.9 FM. Livestream the concert on https://gulfstreampark.com/concert, and enjoy live entertainment from the comfort of your home! Feel like venturing out of the house? Come visit Gulfstream Park Village and enjoy socially distanced, outdoor dining at Yard House or Christine Lee's, where you can experience the live concert from the Gulfstream Park Walking Ring! Location: Virtual Date/Time: Saturday, October 10, 7–9 p.m. More Information: https://gulfstreampark.com/concert ‘Not So Spooky’ Car-lloween: No tricks, just treats this Halloween for Gulfstream Park Village’s ‘Not So Spooky’ Car-lloween! Start Halloween festivities early on Friday, October 30, from 6:30–8:30 p.m., with a socially distanced and safe alternative to neighborhood trick-or-treating. This drive-thru event will offer a ghostly good time for families and kids of all ages. Kids are encouraged to dress in costume as their families drive through Gulfstream Park Village to collect candy and sweets from 10 spooktacular stations. Each station will bring a small bag of candy and drop it in the trunk of the car. . Location: Gulfstream Park Village Date/Time: Friday, October 30, 6:30–8:30 p.m. More Information: https://gulfstreampark.com/events-and-entertainment/event-calendar/details/2020/10/30/default-calendar/car-lloween Bright Lights for Breast Cancer Awareness Month: Think Pink at Gulfstream Park Village! In support of Breast Cancer Awareness Month, Gulfstream Park Village will be lit up in bright pink and decorated with metal pink ribbons throughout the month of October. The lights will be on full display along Hallandale Beach Boulevard and throughout the property. Location: Gulfstream Park Village Date/Time: Thursday, October 1 – Saturday, October 31 daily from 12:00 p.m. – 9:00 p.m. Weather permitting. Where: Gulfstream Park Village 901 S. Federal Hwy Hallandale Beach, FL 33009 More on Gulfstream Park Gulfstream Park is South Florida’s premier entertainment, dining and restaurant destination, located between Miami and Fort Lauderdale, anchored by the legendary Gulfstream Park racetrack. Gulfstream Park not only offers world-class Thoroughbred horse racing, but is also home to a casino and family-friendly venues including over 15 restaurants, outdoor cafes, art galleries, fashion retailers, state-of-the-art bowling alley, and a renowned selection of signature home stores. Gulfstream Park, voted a 2020 Top Travelers' Choice Winner by TripAdvisor, is located at 901 South Federal Highway in Hallandale Beach, Florida, just two miles east of I-95. Valet service (may or may not be available due to COVID-19) and complimentary self-parking are available. Gulfstream Park is open seven days a week. For hours, schedules, upcoming events and additional information, visit www.gulfstreampark.com or call 954-454-7000. By ML Staff. Images courtesy of Gulfstream Park. Cat Image by Unsplash

Julia DeForest Tuttle, also known as "Mother of Miami," is the only woman to found a major American city. Julia was an American businesswoman who owned the property upon which Miami, Florida, was built. For this very good reason, she is known as the original founder of Miami. The only woman to found a major American City Tuttle came to Fort Dallas, Florida, from Cleveland, Ohio, on a steamship after her father and mother had moved to South Florida. A little over ten years later, in 1886, her husband died; the foundry had already been sold. Upon his death, she found that her husband had not been good at managing money. This placed Julia in dire financial straits. To supplement her small income, she had to turn their four-story home into a boarding house and tearoom for young ladies. In 1890, when her father died and left her his land in Florida, she sold her home in Cleveland, Ohio and relocated to Biscayne Bay. Tuttle used the money from her parents' estate to purchase the James Egan grant of 640 acres (2.6 km2), where the city of Miami is now located, on the north side of the river, including the old Fort Dallas stone buildings, and the two-story rock house built by Richard Fitzpatrick's slaves some 50 years earlier. This was converted into her home. In 1891, Tuttle brought her family to live there. She repaired and converted the home into one of the show places in the area with a sweeping view of the river and Biscayne Bay. Tuttle immediately decided to take a leading role in the movement to start a new city on the Miami River, but knew that a decent transportation (in that time, a railroad) was necessary to attract development. Tuttle tried to induce Henry Flagler to extend his railroad to Fort Dallas (Miami), and offered to divide her large real estate holdings if he would do this. She wanted to extend it to that place because she wanted to make it easier to get around. She wrote numerous letters to Flagler in this connection and finally made the trip to St. Augustine and in person repeated her offer. Her efforts were of no avail at that time; however, providence favored Tuttle. The Great Freeze of 1894-1895 devastated the old orange belt of central and northern Florida, destroying valuable groves and wiping out fortunes overnight. Either Flagler then recalled Tuttle's story of the tropical Biscayne Bay weather and sent some men to investigate, or Tuttle alerted Flagler that the freeze had spared the Miami River, sending as evidence a bouquet of flowers and foliage (possibly oranges) to Flagler, whose order to extend the Florida East Coast Railway was then given. On February 15, 1896, Joseph B. Reilly, John Sewell, and E.G. Sewell, the vanguard of the Flagler forces, arrived, and the work of building the Royal Palm Hotel was commenced. Under an agreement between the two, Tuttle supplied Flagler with the land for a hotel and a railroad station for free, and they split the remainder of her 640 acres (2.6 km²) north of the Miami River in alternating sections. On April 22, 1896, train service of the Florida East Coast Railway came to the area. On July 28, male residents voted to incorporate a new city, Miami. Thereafter, the city steadily grew from a small town to a metropolis. In 1898, Tuttle fell ill with apparent meningitis. Plans were made to move her to Asheville, North Carolina, by rail for treatment, but her condition deteriorated before she could be transported. She died on September 14, 1898, at age 49. Her funeral took place at her Fort Dallas home, and she was buried in a place of honor at the City of Miami Cemetery. Tuttle died leaving a large amount of debt, partly the result of her altruistic land grants to Flagler. Her children sold her remaining land to pay off the debt. For that reason, her name was mostly forgotten until it was placed on a causeway for Interstate 195 over Biscayne Bay. In contrast, the name of William Brickell, a large landowner on the south side of the Miami River who contributed to Tuttle's efforts to incorporate the city, was widely used on the south side of what became Miami. Just as Tuttle is called the Mother of Miami, Flagler became known as the Father of Miami. Coincidentally, both Tuttle and Flagler had previously lived in Cleveland, where they first met. In addition to the Julia Tuttle Causeway, the memory of Tuttle has been honored with a sculpture in Bayfront Park, by Daub and Firmin. Special thanks for Wikipedia for textual inserts. To ensure that Wikipedia continues to ensure that everyone has the right to free and open knowledge, please donate. Every week Miami Living showcases things like persons, places, animals, objects and things that we love. If you find this posting inspiring, share it and post a comment below. Got a love suggestion?