Mindy Solomon Gallery is proud to participate in VOLTA NY 2013 March 7 – March 10 at 82 Mercer St., an invitational show of emerging solo artists’ projects and the American incarnation of the successful young fair founded in Basel in 2005. VOLTA NY was conceived in 2008 as a tightly-focused, boutique event that is a showcase for relevant contemporary art positions. The 2013 fair presents 95 international galleries, spanning 6 continents and spotlighting artists from 38 nations. A platform for challenging—often complementary, sometimes competing—ideas about contemporary art, the strictly solo format is what gives the New York fair its unique character.
VOLTA NY has become an indispensable event in Armory Arts Week. With a total attendance of 18,000 visitors for the 2012 edition, the number of visitors is expected to increase in 2013 at the new location in the heart of SoHo, 82 Mercer Street between Spring and Broome, supported by direct shuttles from The Armory Show. The venue offers 50,000 square feet of event space spread over two floors. A former manufacturing facility, the 82 Mercer building still retains original 19th century details, including cast iron columns, 14-foot ceilings, hardwood floors, and brick archways.
Mindy Solomon Gallery will feature the work of Generic Art Solutions, the collaborative efforts of Matt Vis and Tony Campbell. This New Orleans-based art duo utilizes nearly every medium as they examine the recurring themes of human drama and the (dis)functions of contemporary society. Always rooted in the performative, they play every character in their work. In their more distilled ‘duets,’ we see something of a yin-yang (a balance between individuals not quite interchangeable). But, in their more elaborate stagings, the resultant effect is as epic as the subject matter itself. By combining Classical, Romantic, and Baroque compositional elements with contemporary pictorial techniques, they illuminate the common thread that connects past histories with current events. This strategy creates something of a ‘déjà vu’ effect, driven by drama and surreality with traces of levity. In this dialogue between past and present, the viewer realizes several things: 1) that the history of art is inextricably political; 2) that human behavior repeats itself no matter how tragic or brutal; and 3) that this cycle of repetition must be broken so personal and societal progress can be made. Despite all this, the work contains a glimmer of hope—a hope that through thoughtful examination and a commitment to change, we can indeed forge a better future.