“…in refusing to “dumb down” the work, Solomon has created a loyal following via a string of sophisticated exhibits where spectators are just as likely to see a series of highly conceptual, illustrative paintings as a set of visceral, material-driven sculptures. Decamping to Little Haiti has helped maintain the serious, creative vision of this forward-thinking space.
“Running through March and April are dual solo shows: “Whenever Forever” by Jennifer LeFort and “Revelatory Dérive” by Andrew Casto. LeFort’s innovative canvases bristle and glow with assertive neon hues, a space the artist says is “both pre-tech and post-virtual at once.” Casto’s alien sculptural forms mimic erosion and geological processes, but their unconventional coloring and warped compositions seek to invoke “the phenomenological ramifications of responsibilities and stress [that] shape us physically, mentally, and emotionally.”
We are thrilled to announce that Juana Valdes‘ “An Inherent View of the World” has been purchased by the Pérez Art Museum in Miami, FL. This installation was on exhibit at the gallery October 23–December 11, 2015. Please join us in congratulating Juana, and read more about her work below. Mindy Solomon Gallery will be featuring a solo exhibition of Juana’s work at Zona Maco in Mexico City, where she continues to explore the idea of object as metaphor for history and identity.
Multi-media installation artist Juana Valdes uses her training in Western post-modern philosophy, printmaking, photography, sculpture and ceramics to explore issues of transculturation, pigmentocracy, history and memory. In the past, Valdes worked with maps, ships and sailing motifs to investigate the complexities of identity in the face of shifting national/political borders as well as the history of human migration. More recently, Valdes began working with bone china porcelain, traditionally distinguished and valued for its whiteness and translucency and documented as an important commodity in the history of trade between Europe and Asia. By inserting pigments during fabrication into the clay and manipulating its chemical composition, Valdes created artworks which serve as metaphors for the mythology of whiteness in our society. In the current project on view, Valdes encourages us to ponder the history of global trade and colonialism by presenting a monumental installation of vintage china and domestic wares she has collected from antiques shops, flea markets and estate sales/auctions.
The business of selling and trading china has been intrinsically tied to European
overseas expeditions and transmigrations, and the first public company to issue
negotiable shares – and the model for many of today’s corporations – was a Dutch
trading company created in 1602 for selling china from Asia to European countries. The
Dutch East India Company’s hugely successful trade with Asian countries made the
Dutch a major global commercial trader and led to the formation of other trading
companies eager to participate in the highly profitable business. Over time, new
industries resulted when European companies began manufacturing domestic china and
many Asian companies likewise arose to produce china specifically for European export.
Valdes displays examples of china made in different countries and time periods, and
each piece embodies the cultural values of its time/place, reflecting aesthetic and
economic decisions made by the manufacturer and by consumers. Not to be forgotten in
this economic chain of activities is the woman who purchased these domestic wares to
be used by her family, and Valdes invites us to think about how the design and
decorative patterns on plates, cups and other pieces of china often provided children in
these households with their first aesthetic experience.
Not surprisingly, all this historic economic activity included constantly searching for
competitive business advantages, especially the advantage gained when entities can take
resources without paying for them. Colonialism, a natural offshoot of global trading, has
resulted in skewed racial relationships between lighter-skinned people and the darkerskinned
— with profound consequences that impact us today. By presenting this
Duchampian artwork created with the collection and arrangement of seemingly simple
domestic wares, Valdes offers us an opportunity to engage with and re-examine the
myriad issues available here: globalization, hybridization, economics, labor production,
cultural identity, migration, valuation, aesthetics, collecting, selling, women’s history and
even the possibilities of art.
Einar and Jamex de la Torre are among the featured artists in this Miami New Times article focusing on collections confronting controversial issues. If you missed the opening reception and the launch of Cheech Marin’s new mezcal Tres Papalote,® come in to the gallery to experience The Flaunting of Youth by Einar and Jamex de la Torre and Raw Horse Power by Generic Art Solutions. On view through January 14, 2017.
“They are among the most important Chicano or “Border Baroque” artists in the world today.”
– Lena Katz, Miami New Times
Cuban artists Geandy Pavón and José Manuel Mesías have received top picks from several Miami publications including The Culture Trip, Cuban Art News, Miami New Times, El Nuevo Herald, and the Miami Art Guide. Don’t miss “Political Fold” and “About the Absolute Truth,” on view at Mindy Solomon Gallery through August 13th.
We are honored that Osamu Kobayashi and Paul Pagk were selected as one of May’s five Critic’s Choice features by Claire Breukel on Art Circuits this week. This show was a beautiful union of two artists who share a love of the materiality of paint, the delights of vibrant color, and the varieties of spatial experience found in abstraction.
Anticipation is high for this year’s Art Wynwood taking place February 11-16, and we are thrilled to be part of a featured booth curated by MADA (Miami Art Dealers Association). Art Wynwood Director Grela Orihuela sat down with Miami New Times to talk about this year’s line-up and events:
ScreenDance Miami is a Tigertail-produced festival that takes place the end of each January at various venues. It offers skill-developing workshops, panel discussions and screenings. ScreenDance Miami highlights national, international and Miami-based choreographers and filmmakers who are working with emerging and new concepts in regard to movement and dance on film and dance on camera. The festival was created to support professionals in this field and the development of dance created for the camera. ScreenDance Miami seeks to engage the public and bring to light this adventuresome form. For the second year in a row, Tigertail is partnering with the internationally acclaimed Cinedans of the Netherlands.
January 23, Mindy Solomon Gallery, 7:00 & 9:00pm (identical programs)
• TWITCH, 2015, 5 minutes, Montreal, Quebec, Canada
Director Jules de Niverville, Choreographer Michael Watts
TWITCH is a five-minute experimental performance video incorporating contemporary dance, contortion and acrobatics. It chronicles the life-pulse of a creature in conflict, its stirrings, twitching, and convulsions, its agonizing missteps and battle with demons. It’s an ode to overcoming dark energies that lie within the embodiment of conflicting energy.
• Helena, 2015, 3:50, Los Angeles, CA
Director and Choreographer Nadav Heyman
Solo performance in the wake of a stream of consciousness. “Sleep is not democracy and it is not a mantra. It is neither plastic nor glass. It cannot break. It cannot burn. It cannot pollute. Sleep is salty and at times sweet.”
• When the Time Is Right, 2015, 5:58, Tallahassee, FL
Director Jennifer Petuch, Choreographers Jennifer Petuch and Ircamar Garcia
Reflecting nature we witness profound life-change through personal metamorphosis. When the Time Is Right captures the transformational moment of an individual breaking free from her past into something beautiful and passionate.
• Plow Plant Reap, 2015, 13:02, New York, NY
Director and Choreographer Marta Renzi
An all-female community comes together, joins in a baptism and a roundelay against a majestic landscape of rolling farmland. Shot at the historic Miller Farm and danced by eleven members of the Slippery Rock University dance department.
• Whitespace Bodyspace, 2014, 4:23, Miami, FL
Director and Choreographer Ariel Baron-Robbins
This is a site-specific piece developed for an art space called Whitespace in West Palm Beach. The filmmaker visited the site and made a series of body-interventions in the landscape.
• Migration, 2015, 5:50, Montreal, Quebec, Canada
Director Marlene Millar, Choreographer Sandy Silva
On an island in the Saint Lawrence Seaway, preparation for a migratory journey is expressed through percussive movement and vocals set within an unusual natural landscape.
• A dia de hoy…, 2015, 6:45, Miami, FL
Director and Choreographer Niurca Marquez
This is a journey of the unfleshed mover and the moved, a picture of the echoes that remain in spaces long after we depart; evidence of lives lived in earnest.
• All Waters, 2015, 7:03, Miami, FL
Director and Choreographer Julien Valme
“I feel you… your abundant presence and never ending grace. It is only in the stillness that you are with me. It is only in the darkness that I see you in the deepest part of my heart. There I find you. Yet with eyes wide open I lose you.”
• On the Other Side of the Lake, 2015, 6:10, Hollywood, FL
Director and Choreographer Jenny Larsson
On the Other Side of the Lake is an experimental short film where the main character is the lake – a body of water that connects memories, emotions and experiences. The lake becomes a catalyst for communal storytelling as well as a physical journey into the water.
• Klasse, 2015, 9:04, Tallahassee, FL
Director Malia Bruker, Choreographer Hannah Schwadron
Klasse tracks back to Jewish Hamburg at the height of WWII as children escape one by one on the Kindertransport. The preserved classroom from 1938 emphasizes the haunting fixity of place, while a cast of German students reimagines the courageous spirit of children with uncertain futures, both then and now.
“Where artists go, galleries follow—and not just in the cerebral sense.”
We couldn’t be happier in our new home in Little River—and many of our fellow galleries seem to agree. The Miami Herald and the Miami New Times both take a closer look at the recent migration and its effects on both the galleries and the existing neighborhood, including special notes on Mindy Solomon Gallery’s move.
“The Way We See It” received top picks from El Nuevo Herald and The Daily Wood in the exhibition’s final week.
The evocative photography of Scot Sothern and Muir Vidler created some great buzz through its run, during and post-Art Basel week. We can’t wait for our next opportunity to show these wonderful artists in the gallery!