sat, June 20 markthalle, Basel Press summarY

B a s e l ‘ s r e n o w n e d a r t fa i r
for new and emerging art
MON, June 15 – SAT, JUNE 20
Markthalle, Basel
PRESS SUMMARY
Page 1
FACTS
Exhibitors:
69 Galleries
Location:MARKTHALLE
Viaduktstrasse 10
CH-4051 Basel
Switzerland
Exhibition Period:
June 15 – 20, 2015
VOLTA Team:
Artistic DirectorAmanda Coulson
Founding PartnerUli Voges
Managing Director
Chris De Angelis
Project ManagerKerstin Herd
Project CoordinatorRachel Mijares Fick
Press ManagerBrian Fee
Founding Year:
2005
Press Contact:: Brian Fee
Press Manager
brian@voltashow.com
Page 2
QUOTES
Einen frischeren Eindruck macht die VOLTA, der letzte verbliebene satisfaktionsfähige Konkurrenz-Satellit.
Bei ihm stehen Größe und Qualität in ausgewogenem Verhältnis. In ihrer zweiten Ausgabe nach dem Umzug
an den alten (renovierten) Standort in die Markthalle am Baseler Hauptbahnhof scheint die Messe wieder auf
einem guten Weg zu sein.
VOLTA makes a much fresher impression, it is the last remaining satellite fair that is satisfying. Here, size and
quality are in a balanced relationship. In its second edition back in the old (renovated) location in Markthalle close
to the main train station, the fair seems to be back on track.
Stefan Kobel, Handelsblatt
An der VOLTA ist auch dieses Jahr die Aufbruchstimmung zu spüren, die Messe hat sich, wie die Liste, zum
Sprungbrett für eine Beteiligung an der Art Basel entwickelt.
Once again you can feel a spirit of optimism at VOLTA, the fair has become, like Liste, a stepping stone for a
participation at Art Basel.
Simon Baur, Basellandschaftliche Zeitung
The art circuit is a demanding beast that needs constant feeding and you better be hosting and attending the
right dinner parties. I rather like the notion of ‘art as punishment’, or ‘competitive viewing’, when people ask
have you ‘done’ VOLTA or seen this or that show, there is a sense of missing out if you hadn’t, as if somehow
you had failed in your quest to see it all and experience everything.
artlyst
Die VOLTA11 bot Kunst, die sich sehen lassen kann. [...] Macht die Volta so weiter, könnte sich sich (wieder)
zu einem Liebling entwickeln.
VOLTA11 offered art beyond conventional notions of a satellite fair for emerging art. [...] If VOLTA stays on its
present course the fair might become everyone’s favorite (again).
Karen N. Gerig, Tageswoche
Page 3
INDEX
ArtNEWSHERE’S THE 2015 VOLTA EXHIBITOR LIST
Page
5
FAD MagINTERVIEW: With Artistic Director Amanda Coulson
Page
6
ARTINFO
5 Key Art Basel Satellite Fairs 2015 — What You Need to Know
Page
7
ARTINFOWhat to See at the VOLTA 11 Art Fair During Art Basel 2015
Page
8
artnetMust-See Art Guide: BaselPage
9
The Art NewspaperArt Basel satellite fairs: the view off-piste can be full of surprises
Art Rabbit
Page
10
VOLTA11 and GalleryLOG reunite for a new series of artist videos Page
11
ArtsyExtrastruggle Brings a Symbolic Turkish Worldview to VOLTA
Page
12
WHITEWALL MagAMANDA COULSON ON THIS YEAR’S VOLTA11
Page
13
Tele BaselWas Läuft? – VOLTA11Page
16
WidewallsVOLTA11 Art Fair in BaselPage
17
artnetAndrew Salgado on his Upcoming Show at VOLTA Basel
Page
18
Basler ZeitungFrische Kunst am StückPage
20
Artribune
Basel Updates: primissime immagini dalla fiera collaterale Volta, Page
che torna nella Markethalle. Ecco le impressioni dei galleristi italiani
22
HandelsblattSpielraum für WeiterentwicklungPage
23
Basellandschaftliche ZeitungAuf dem Weg zu einer starken Messe
Page
25
Artspace
Collectors Susan and Michael Hort‘s 11 Favorite Works
From the 2015 Basel Fairs
Page
27
ArtlystArt Basel On A Budget Ben Austin Navigates The Possibilities
Page
28
artmagazineArt Basel Satelliten: Wenig gute Alternativen
Page
29
TageswocheEs geht ihm immer noch gut, dem Kunstmarkt
Page
31
ArtlystArt Basel: Satellites Of Love – VOLTA, Liste, Scope etc 2015
Page
32
WhitewallerMatthew Stone activates AesopPage
33
Page 4
Media
ArtNEWSDateApril 30, 2015
Title
HERE’S THE 2015 VOLTA EXHIBITOR LIST
Author
Hannah Ghorashi
Published
website
VOLTA announced today the exhibitors for its 2015 edition, which returns the fair to the Markthalle, Basel’s iconic
cupola located in the city’s center, from June 15 to 20 during Art Basel. For the fair’s eleventh edition this year,
exhibitors were encouraged to look to Nigel Tufnel’s quote from rockumentary This Is Spinal Tap, “turn it up to
eleven!” As a result, many of the curated projects on view will be likewise “amped up,” featuring a majority of solo
and dual-artist booths and, to quote a press release, “thought-provoking conceptual dialogues.” As seen in the
exhibitor list below, the fair will host 69 galleries from 19 countries and 36 cities around the world.
ADN, Barcelona
Akinci, Amsterdam
Alarcón Criado, Seville
Mikael Andersen, Copenhagen
Art Nueve, Murcia
ARTCOURT, Osaka
Martin Asbæk, Copenhagen
ASPN, Leipzig
BACKSLASH, Paris
Ángeles Baños, Badajoz
Beers, London
beta pictoris/Maus, Birmingham, Alabama
Jacob Bjørn, Aarhus
SPENCER BROWNSTONE, New York
Brunnhofer, Linz
Laura Bulian, Milan
CHARLIE SMITH, London
Ethan Cohen, New York
CONRADS, Düsseldorf
de Roussan, Paris
Anne de Villepoix, Paris
Tamar Dresdner, Tel Aviv
Dukan, Paris/Leipzig
Espacio Valverde, Madrid
JONATHAN FERRARA, New Orleans
The Flat, Milan
Fresh Window, Brooklyn
frosch&portmann, New York
Muriel Guépin, New York
Enrique Guerrero, Mexico City
H.A.N., Seoul
Patrick Heide, London
Jochen Hempel, Berlin/Leipzig
HilgerBROTKunsthalle, Vienna
Gerhard Hofland, Amsterdam
The Hole, New York
Jarmuschek+Partner, Berlin
JECZA, Timisoara
Kevin Kavanagh, Dublin
Kleindienst, Leipzig
KOGURE, Tokyo
Kornfeld, Berlin
Martin Kudlek, Cologne
LARM, Copenhagen
MA2, Tokyo
Ron Mandos, Amsterdam
PATRICK MIKHAIL, Ottawa/Montreal
Yossi Milo, New York
P74, Ljubljana
Pablo’s Birthday, New York
PONCE+ROBLES, Madrid
Sandra Recio, Geneva
Richard, Paris/New York
David Risley, Copenhagen
robert henry, Brooklyn
Tyler Rollins, New York
royale, Los Angeles
ROSA SANTOS, Valencia
Slag, Brooklyn
Mindy Soloman, Miami
SPECTA, Copenhagen
STANDING PINE, Nagoya
Catinca Tabacaru, New York
Ten Haaf, Amsterdam
TEZUKAYAMA, Osaka
V1, Copenhagen
WOLFSTÆDTER, Frankfurt
YOD, Osaka
Zilberman, Istanbul
Page 5
Media
FAD MagDateMay 26, 2015
Title
INTERVIEW: With Artistic Director Amanda Coulson VOLTA 11 Basel
Author
Mark Westall
Published
website
VOLTA11 opens in June and is one of ArtBasel’s most recognised and
visited satellite fairs, recognised as the place for new and emerging art in
Basel along with Liste.
Ahead of its opening FAD caught up with Amanda Coulson one of the
co-founders of VOLTA to find out more about VOLTA and also its up &
coming edition VOLTA11 Basel.
1 Why is VOLTA different to other Art Fairs?
Our two fairs (Basel and New York) began with their own unique identities:
VOLTA Basel was founded by three galleries as a fair “by dealers, for
dealers”, meaning first and foremost we have the galleries’ (and their
artists’) best interests in mind, from the quality and curation of art to the
venue and presentation of it. VOLTA NY began as a completely soloartist project fair, which at the time no other fair was doing, at least not
as their entire format. Some of this reasoning stemmed from our original
Basel plan: put the art first. And thus, as the years have progressed, more
and more VOLTA Basel galleries elect to showcase solo-artist projects. In
sum, what we aspire to in every VOLTA edition, whether in Basel or in New
York, is to refocus the fair-going experience back to its most fundamental
roots: to the artwork and the artists.
2 Whats new at VOLTA 11?
I am turning this question around to Who’s new at VOLTA11, in other words our first-time Basel exhibitors,
including among others: Yossi Milo Gallery (New York) — showcasing three artists who revel in photography’s
materiality while challenging its limits: Marco Breuer, Alison Rossiter, and Matthew Brandt.
ARTCOURT Gallery (Osaka Japan) — showing a solo project for multimedia conceptual artist Taiyo Kimura, whose
recent pursuits include Expo 1 at MoMA PS1 (New York) and the Istanbul Biennial.
Jecza Gallery (Timisoara Romania) — featuring Albanian artist Genti Korini in a solo presentation that references
H.G. Wells’ “The Shape of Things to Come” in exploring the organic rush of new architecture around his homeland.
Galería Ángeles Baños (Badajoz Spain) — following “the other” through history in a two-artist booth project:
Susanne S.D. Themlitz and Andrés Pachón
3 Any interesting talks/events lined up?
Our Monday mid-afternoon vernissag (opening day following VIP previews) is a celebration for our artists, and the
event is free after 2 p.m. and open to the public.
We have a “Basel Nacht” at Markthalle on Thursday early evening, featuring local tastemakers co-hosting the
event and inviting their respective clientele and guests for complimentary access to VOLTA11. It is our gesture in
welcoming our Basel neighbors to VOLTA. Plus, throughout the fair week Beschle serves a champagne bar on the
Markthalle entryway terrace, with local microbrewery Volta Bräu on tap as well.
4 If you had $56,000 to invest in an artist who would you invest in?
As many of our longtime VIPs do, I would invest in one of the many talented “up-and-comers” who have shown
at VOLTA throughout the years, most recently such as Lavar Munroe (VOLTA NY 2015 with NOMAD Gallery,
Brussels), who is participating in the Main Pavilion “All the World’s Futures” at this year’s Venice Biennale, or Tiffany
Chung (VOLTA11 with Tyler Rollins Fine Art, New York) who joins Lavar in the Main Pavilion group exhibition. The
list goes on…
Page 6
Media
ARTINFODateJune 8, 2015
Title
5 Key Art Basel Satellite Fairs 2015 — What You Need to Know
Author
Rachel Will
Published
website
It’s no secret that the satellite fairs orbiting Art Basel in Switzerland are a draw in their own right. With the design
fair Design Miami/ Basel anchoring the arena, four other satellite shows occupy their own respective niches, giving
opportunities to younger and lesser-known galleries to be seen.
While million-dollar price tags at Art Basel might scare off some fledgling collectors, these satellite shows offer
some works at a steal — and with entry fees of CHF17-22 ($18-23) everyone can afford to at least gaze at the art.
Page 7
Media
ARTINFODateJune 9, 2015
Title
What to See at the VOLTA 11 Art Fair During Art Basel 2015
Author
Nicholas Forrest
Published
website
VOLTA, Basel’s renowned art fair for new and emerging art, returns to Markthalle, the iconic landmark cupola in
Basel’s city, for its 11th edition in 2015 during Art Basel Week, from June 15-20, with a lineup of 69 international
positions by galleries from 19 nations and 36 cities.
In homage to VOLTA’s 11th Basel edition, prospective exhibitors were encouraged to follow the iconic quote “go
to eleven!” from the classic rockumentary “This Is Spinal Tap,” as uttered by guitarist Nigel Tufnel as he points out
that the volume knob on his amplifier goes up to 11 instead of 10.
According to Volta, more than half of exhibiting galleries this year have elected to present solo or dual-artist
booths, echoing the fair’s solo-only New York fair as well as VOLTA’s overarching mandate as a boutique and
focused platform for discovery.
The opening day of June 15 will feature a performance by Danish-Trinidadian artist Jeannette Ehlers who will
perform “Whip It Good!” in which the she takes a bullwhip soaked in charcoal and whips a white canvas to create
an action painting that references her position as a double-minority in the art world.
VOLTA11 at Markthalle is accessible by direct shuttle bus to and from Art Basel. The fair is located steps from
Basel‘s main train station SBB and is five tram stops from Art Basel (Tram Line 2, direction Binningen). All travel
information can be found on the VOLTA website.
Page 8
Media
artnet DateJune 11, 2015
Title
Must-See Art Guide: Basel
Author
Judith Probst
Published
website
Basel, located in the tri-border-area of Switzerland, Germany, and France, is one of the most culturally rich cities
in Europe. The largest art museum in Switzerland, Kunstmuseum Basel, is the oldest municipal art collection in
the world, and Basel hosts the world’s largest art fair. The city is the warmest in Switzerland, so the summer is a
great time to explore the city.
If you are one of the estimated 90,000 art lovers who visit Art Basel every year, you have the chance to see
approximately 300 leading galleries from North America, Latin America, Europe, Asia, and Africa, displaying
artworks ranging from modern masters to emerging artists. Symposiums, films, and artist talks are part of the fair’s
daily program. This year, the 11th edition of the art fair for new and emerging art, VOLTA, opens its doors a few
days before Art Basel, and, this year, is taking place at Basel’s landmark venue Markthalle. Three additional art fairs
are happening during Basel’s art week: LISTE, celebrating its 20th edition, which is dedicated exclusively to new
galleries and is focused primarily on young art; DesignMiami, which is the global forum for design; and SCOPE,
which takes place at Basel’s New Art District on the Rhine, and, this year, is focusing on art trends from Korea.
Art Fair: “Volta11”
When: June 15–20, 2015
Where: Markthalle, Viaduktstraße 10, Basel, Switzerland
Page 9
Media
The Art NewspaperDateJune 12, 2015
Title
Art Basel satellite fairs: the view off-piste can be full of surprises
Author
Pac Pobric
Published
website
Organisers of the satellite fairs, ever eager to distinguish their shows from the rest, are hosting events throughout
the week that emphasise the focus of each fair. These range from Liste’s Performance Project, now in its 11th year,
to Photo Basel’s inaugural exhibition Drive In, for which the curator Esther Woerdehoff, in association with Zurich’s
Bildhalle, has chosen images celebrating and critiquing car culture.
Here is our pick of the satellite fairs’ special projects:
[...]
For the opening of Volta, at 2.30 pm on 15 June (fair runs until 20 June), the Danish-Trinidadian artist Jeannette
Ehlers is due to perform her project Whip It Good, which she has previously taken to venues including the Royal
College of Art in London. A film of the performance, in which Ehlers lashes a white canvas with a bullwhip covered
in charcoal, will then be on view at the booth for her Copenhagen- based gallery, LARMgalleri.
Page 10
Media
Art Rabbit
DateJune 15, 2015
Title
VOLTA11 and GalleryLOG reunite for a new series of artist videos
Author
–Published
website
All eyes set on Basel when the art world descends on the city this week as Art Basel and several collateral fairs
and exhibitions open their gates. VOLTA11 - the renowned art fair for new and emerging art - is one of them.
Opening today at the iconic landmark cupola in Basel’s city cente, the Markthalle, it comprises 69 international
exhibitors that have assembled artist projects from all corners of the globe. VOLTA11 and GalleryLOG reunited for
a new series of engaging artist videos to bring you an inside look. Watch the series of inspiring interviews featuring
five artists whose works are exhibited at VOLTA11 here on ArtRabbit. The presentation features artists Batia Shani,
Liz Jaff, Gail Stoicheff, Phillip K. Smith III, and Greg Haberny.
Batia Shani // presented by Tamar Dresdner Art Projects, Tel Aviv, Booth Number C8
Batia Shani creates the site-specific installation ‘Tissue’. The Hebrew word ‘rikma’ references
this and translates to ‘needlework’, which the artist has been doing since she was a child.
The installation reflects the ongoing political instability in the Middle East. By combining
gendered outfits — male army uniform scraps stitched into handmade dresses — Shani
explores shifting identities, exploitation of authority, and the overall cycle of confusion
caused by areas in constant flux.
Liz Jaff // presented by robert henry contemporary, Brooklyn, Booth Number C23
Liz Jaff instills the sculptural power of paper into her large-scale folded-paper installations.
Her hand-cut and folded paper works culminate in the majestic booth-wide installation
“Plugs and Fuses”. Jaff was featured in ‘Behind the White Walls’, a group exhibition of
Guggenheim, MoMA, and Whitney Museum art handlers, at BFP Creative (Brooklyn) through
this past May.
Gail Stoicheff // presented by Catinca Tabacaru Gallery, New York, Booth Number B17
Gail Stoicheff contributes a major discourse on image-making and its relation to the creator’s
unique environment, in her presentation with Catinca Tabacaru Gallery. Her sumptuous
process-driven paintings marry intentional gestural interventions with manipulations of the
canvases themselves. She received the prestigious Daedalus Foundation Master of Fine
Arts Fellowship in Painting and The Elaine DeKooning Painting Award.
Phillip K. Smith III // presented by royale projects:contemporary art, Los Angeles, Booth
Number A6
Spatial perception and the emotive power of light are harnessed within the ephemeral
installations and geometric sculptures of Phillip K. Smith III. The LA-based artist has an
enviable retinue of installations already, from his ethereal “Lucid Stead” in Joshua Tree to
“Reflection Field”, commissioned for the 2014 Coachella Music & Arts Festival. He brings
both his signature “Lightworks”, immersive time-based light sculptures, and subtle “Light
& Shadow” sculptures, utilizing painted fibreglass to mimic the innate chiarscuro of his
electronic works, to the Basel fair.
Greg Haberny // presented by ETHAN COHEN NEW YORK, New York, Booth Number
C5
Greg Haberny envelopes visitors within a Pop-skewering and — in the artist’s own words —
“completely loose and out of control” — installation at VOLTA11. His filmmaking background
and grasp of cultural iconography inspires his dynamic treatises on “our contemporary
wasteland”. Haberny was subject of the solo exhibition “Hyper!” at Middlebury College
Museum of Art (Middlebury, VT) last autumn.
Page 11
Media
Artsy
DateJune 15, 2015
Title
Extrastruggle Brings a Symbolic Turkish Worldview to VOLTA Basel
Author
K. Sundberg
Published
website
Featured at Galeri Zilberman’s VOLTA11 Basel
booth is work by enigmatic Turkish artist
Extrastruggle. While the project, founded in 1997,
was often thought to be a collective, it is actually
the brainchild of one man—Memed Erdener. As
an extension of his recent manifesto, in which
he describes his body of work as a “neverending
struggle between photograph, form, sign, and
script,” Extrastruggle presents intuitive, mysterious
works that draw on a range of influences from
Islamic ornamentation and calligraphy, to
Jungian psychology, to Situationist philosophy.
Formerly employed as a graphic designer,
Extrastruggle brings the clean lines and conceptual
poignancy of his design practice to his works of art.
Moving away from earlier satirical and illustrative reactions to Turkey’s cultural climate, his VOLTA presentation
includes sculpture, paintings, and digital imagery that offer Dadaist solutions to understanding contemporary
crises, both personal and political. Recognizable objects are removed from their original context, altered, and
added to— inspiring new associations.
Here, surrealist sculptures are made from everyday materials remixed to construct symbolic narratives about
power, violence, ideology, and personal agency. A pair of eyeglasses with funnel-shaped lenses could illustrate a
myopic viewpoint of the world. However, a closer reading of its title, The Truth and the Public (2015), suggests that
the contraption is used to clarify reality, in an environment oversaturated by media and rhetoric. Spirit and Matter
(2015) castrates the power of a pistol by replacing its body with a beautiful and innocuous piece of driftwood.
Other two-dimensional works feature bold graphic logos that fuse contemporary imagery with ancient stylistic
details to create a new iconography that is current and connected to cultural history. Why Does Tragedy Give
Pleasure (2015) depicts a hungry mouth devouring another’s tears in gestures—solidified in iron—recalling Islamic
calligraphy. I Remember (2015) shows skulls looking longingly towards the heavens, referencing the mythology of
constellations and wisdom of ancient societies.
Extrastruggle’s viewpoint is, in many ways, uniquely Turkish, but is also relevant on an international scale. The
recurring themes—clarifying perceptions, the absurdity of violence, and the power of the individual—resonate
globally, pointing in a direction of empowerment and social responsibility.
Page 12
Media
WHITEWALL MagDateJune 15, 2015
Title
AMANDA COULSON ON THIS YEAR’S VOLTA11
Author
–Published
website
1/3
VOLTA11 opens today in Basel, as the art world heads to the Swiss city for the biggest art fair event of the
year, Art Basel. We spoke with VOLTA’s director, Amanda Coulson.
WHITEWALL: You were one of the founding directors of VOLTA. Can you share some personal insight to the
trajectory of its establishment as a major Basel fair?
AMANDA COULSON: We were four: three founding galleries and myself, an art critic. From the gallery perspective,
they were seeing the international galleries — unheard of 5-10 years earlier — from China, Japan, Australia, Africa,
Eastern Europe etc. accessing Art Basel and making it harder and harder to access as a relative youngster. I say
“relative” because — at the time — Liste had strict rules: no galleries over 5 years old; no artists over 40, which
seemed to me (I was 38 at the time) really ageist.
I think back to our first list, this pool of excellent galleries — Roebling Hall, Taro Nasu, STORE, Foxy Production,
Zach Feuer etc.— who were already “too old” for Liste but not yet internationally renowned for Basel. There was
a very clear niche and we saw it. From my perspective, as an art critic, I felt that main fairs were badly curated in
many of the booths and even in the selection process (galleries were being admitted with artists they had no hand
in nurturing and the “mother galleries” were being left in the cold) and from an aesthetic standpoint, I wanted to
see a fair with emerging art or where I could make discoveries in a venue that looked like a blue-chip gallery, not
an end-of-year university show. So we had this very clear vision: we thought of Art Basel as the 5-star hotel, Liste
as the youth hostel, and VOLTA as the boutique hotel. However, we thought of it only as a 3-year project for a
laugh… only when we got the amazing feedback and reaction from visitors and other galleries did we realize what
we’d started and that it could, indeed, become a major position in Basel in perpetuity. The fact we hit the nail on
the head was confirmed both by Liste later on, allowing its “graduates” (galleries older than 5 years) to continue
exhibiting and the main fair creating the Premiere section, for which they took quite a few VOLTA galleries in the
first year…
WW: The fair’s format of solo artist projects has made VOLTA distinctive. How did this investment in a deeper
investigation in artists work come about?
AC: This came about as a response to being asked to start a fair in New York. There were already 6 other fairs
in NY — unlike Basel — and we neither wanted to overwhelm visitors nor compete in an aggressive way with
the other brands. We wanted to create something which would complement our “sister fair,” The Armory Show,
which, at the time, had only 100 galleries and no modern, emerging or “focus” sections; it was all high-end, bluechip contemporary. So, I conceived VOLTA NY as solo only, to act as the emerging section of the Armory and to
have a very distinct profile from the other satellite fairs. We, of course, are distinctive in other ways: we never allow
2 galleries to show the same artist; we do not allow secondary market work; we do not want to see work you can
see simultaneously at the main fair…we really curate the fair so visitors will seeing something new in each booth.
We also saw the validity of solos for contextualizing the artist’s work by being able to see more of it but also by
being able to put it in more meaningful conversations with other artists; with solo booths you can do that, which
you can’t if each gallery brings 4-5 artists. Then it just becomes a sort of uncontrollable mass. Once we saw how
the audiences responded to this in NY, we started tightening up Basel as well. And as I am sure you are aware,
many other fairs started introducing solo sections, including The Armory.
WW: Is there anything distinctive about VOLTA Basel vs. VOLTA New York (2008-)?
AC: Well, the cities have different markets and different audiences. We were convinced of the solo projects for NY
right off the bat since there is a critical mass of art producers, writers, critics, curators, collectors right there. NY
is, of course, a market but feels much less like one than Basel, which — outside of the fair time — is not one of
Page 13
Media
WHITEWALL MagDateJune 15, 2015
Title
AMANDA COULSON ON THIS YEAR’S VOLTA11
Author
–Published
website
2/3
the major venues for art production in the world either in terms of resident artists or galleries, so this changes the
feel of each fair to a certain degree. Also collectors and audiences will be reflected in gallery choices and artist
selections… the different cities and different continents have a different set of values and requirements.
WW: You also work as the Director of National Gallery of the Bahamas. How does your experience in Nassau
inform the work you do at VOLTA?
AC: VOLTA was always interested in periphery — if you look at our cities list you’ll see we’ve made efforts to
search for good galleries from regions like East Asia, Eastern Europe or the African continent — but, of course,
being stationed here has made me even more conscious of the fact that we really have to pay more attention
to what is happening outside of the major art producing centers as this make us very one-dimensional. This
was underscored in Okwui Enwezor’s “All the World’s Futures” for the Venice Biennale, which in fact included
a Bahamian artist, Lavar Munroe, who we had focused on in VOLTA NY before we even knew of his Biennale
participation. So, I’m very interested in the Caribbean — there is great work being made all over, but a very small
market — and I see my very unique position as being a valuable asset to the region because I have an access
most people from here do not and I am able to use the VOLTA platform in a really positive way: we invited ARC
Magazine to have a booth and host talks panels; we have invited several Caribbean galleries or artists, that I
probably wouldn’t have otherwise been turned on to. As a Bahamian at home, I’m also a racial minority and a fairly
unwanted minority that comes with a large dollop of negative baggage that I have to deal with daily; I don’t resent
it or anything, it’s just the leftovers of history — my husband is German so I’m already well-attuned to having to
live with the sins of the father or grandfather on ones shoulders — but it has made me much more conscientious
about minorities in the European/American-centric art world. I am still stunned at the lack of people of color
represented either as visitors or artists at major art fairs — it makes me feel even physically uncomfortable — so I
am actively researching fields outside of the Caribbean and trying to connect to shared histories and experiences
and bring some of that to VOLTA.
WW: What can visitors to VOLTA expect from the 11th edition of the fair?
AC: As I mentioned before, we have been tightening up the Basel fair curatorially as the NY fair has blossomed
in popularity, but our galleries themselves have been thriving in this direction even as much as we prompt them
ourselves. For instance, this year nearly one-third of our Basel exhibitors (about 21 out of 69) opted for solo
positions, from internationally-noted artists like Krištof Kintera (presented with us by Galerie Ron Mandos, and
Kintera exhibited in a major solo museum survey at Museum Tinguely in Basel last year) to more “regionally
recognized” artists like Extrastruggle (presented with us by Galeri Zilberman), who is well-exhibited in his homeland
Turkey, including the Istanbul Biennale some years ago, but we can almost consider his project at VOLTA11 a
“solo debut” in Switzerland. Plus LARMgalleri from Copenhagen are featuring Danish-Trinidadian artist Jeannette
Ehlers in a performance on opening day called “Whip It Good!”. She was just awarded the Danish Art Critics Award
and has been featured in some prominent international exhibitions of late, including the 2014 DAK’ART Biennale
and “Caribbean: Crossroads of the World” at Pérez Art Museum Miami, and she is participating concurrently in
a “video parcours” group exhibition around Basel’s city-center through Art Basel Week. Plus Ehlers’ focus, as
a woman of color navigating her birthplace and its colonial past, and translating that into some very grueling
performance art, should be quite thought-provoking for visitors to the fair.
WW: Can you share a Basel destination or hot-spot you that you love to go to?
AC: Well, the Kunsthalle is the perennial venue to see and be seen, right? But I have to be honest and say, what
with production and install and the brutal fair schedule, I usually want to just eat a great meal with a few people…
So, I love to have dinner at Bon Vivant, which has group tables and an open kitchen; you can’t order, you just eat
Page 14
Media
WHITEWALL MagDateJune 15, 2015
Title
AMANDA COULSON ON THIS YEAR’S VOLTA11
Author
–Published
website
3/3
what the chef is making that night and it’s always amazing! Also, 5 Signori (also a very cute guest house), which
has a quiet terrace which is lovely in the summer or juts going to the Rhine and sitting on the steps with a good
sausage. We “VOLTAnians” have all been known to swim and it’s a great way to end a hot and tiring day, but make
sure you have your “Wickelfisch,” which is the special bag for putting your clothes in so they stay dry during your
dip in the Rhine.
Due to my field of interest I’ll definitely be checking out “Making Africa”, featuring consulting curation by Okwui
Enwezor at the Vitra Design Museum, and I always enjoy the Tinguely because it’s right off the beaten path…they
just opened a show by Haroon Mirza.
Page 15
Media
Tele Basel
DateJune 16, 2015
Title
Was Läuft? – VOLTA11
Author
–Published
daily
>> click on the picture to watch the video
WAS LAUFT - 16.06.2015, 17:00 UHR
Volta 11
Mit Beginn der Art Basel starteten auch weitere Kunstausstellungen wie beispielsweise VOLTA11. Dieses Jahr
öffnete die Volta ihre Tore in der Markthalle Basel.
With the start of Art Basel launched other art exhibitions as well, such as VOLTA11. This year, VOLTA opens its
doors at Markthalle in Basel.
Page 16
Media
Widewalls
DateJune 16, 2015
Title
VOLTA11 Art Fair in Basel
Author
Pac Pobric
Published
website
You have only few days to prepare yourself for amazing Art Basel Week. Art Basel 2015 is certainly central
event of the art week; however, other important satellite events put Switzerland in the very center of the global
contemporary art scene in June. Apart from Art Basel 2015, there will be several smaller art fairs as well, such as
RHY Art Fair and Volta 11 in Basel. Volta is Basel’s renowned art fair for new and emerging art. This year, VOLTA
11 welcomes 69 international positions by galleries from 19 countries and 36 cities.
More than half of exhibiting galleries this year elect to present solo or dual-artist booths, echoing the fair’s solo-only
New York sibling as well as VOLTA’s overarching mandate as a boutique and focused platform for discovery (check
out our preview of VOLTA New York 2015). VOLTA has already created a brand known and respected for its strict
selection of exhibiting galleries and artists, including a growing list of alumni who have graduated to the main fairs.
VOLTA11 Basel Highlights
Many artists from this year’s Venice Biennale will participate at VOLTA 11 in Basel. For example, Tyler Rollins
Fine Art from New York will exhibit amazing works by Heri Dono (representing Indonesia at its national pavilion
at Arsenale) and Vietnam’s Tiffany Chung (participating in All the World’s Futures, the Biennale Main Pavilion
group exhibition curated by Okwui Enwezor), as well as Cambodia’s Sopheap Pich. Among the highlights are
also Genti Korini (Albanian, showing with Jecza Gallery, Timisoara), whose paintings evoke Constructivism and
Cubism while emulating the many new architectural projects in his hometown Tirana; Batia Shani (Israeli, showing
with Tamar Dresdner Art Projects, Tel Aviv), presenting her site-specific installation Rikmarikmarikmarikmarikma
(“rikma” is Hebrew for “needlework”), both an homage to Charles Ledray’s 2010 Whitney Museum installation
workworkworkworkwork and a reflection on political instability in the Middle East, and many more. VOLTA 11 will
bring together wide range of curatorial practices, which will be reflected in artistic diversity, both in terms of media
and styles.
VOLTA 11 Basel – Widewalls Highlights
V1 Gallery from Copenhagen will
present new works by John Copeland,
Cali Thornhill Dewitt, Rose Eken, Alicia
McCarthy, Geoff McFetridge, and
Milosz Odobrovic; while Backslash
Gallery from Paris will present works by
Charlotte Charbonnel, RERO, Sergen
Sehitoglu, Boris Tellegen, Xavier Theunis
and Michael Zelehoski. David Risley
Gallery from Copenhagen will present
amazing works by Frank Ammerlaan,
Anna Bjerger: Jake & Dinos Chapman,
Alex Da Corte, Robert McNally, Charlie
Roberts, Keith Tyson and Dexter
Dalwood. The HOLE Gallery from New
York will exhibit works by Matthew
Stone, while Ethan Cohen Fine Arts
will show works by Greg Haberny and
Aboudia.
Left: Marco Breuer – Untitled (C-1573), 2014 / Right: Myungil Lee – To
Exist, or To Sustain, 2015
Page 17
Media
artnet DateJune 16, 2015
Title
Andrew Salgado on his Upcoming Show at VOLTA Basel 1/2
Author
–Published
website
Andrew Salgado can’t imagine being anything other than an artist. He considers this to be his most defining
characteristic. His sense of conviction has given him the drive to produce work that is meaningful to him on a
personal level and has, at the same time, gained him recognition as a young artist to watch. This month at VOLTA
Basel, Salgado will be showing a new series of 10 works at Beers London’s booth. In anticipation of the art fair,
Salgado talks to artnet News about what being an artist means to him, where his inspiration comes from, and
what his creative process is like.
When did you know you wanted to be an artist?
I often find myself talking about how being ‘an artist’ is the only thing that actually defines me, in the sense that it
determines and dictates how I live my life, the choices I make, and the desires, goals, and directives I have. I think
that without my art, I don’t exist. It’s the only thing that truly rouses me in the morning. I often wonder what I’d do
without it…I’d be so boring. Maybe I’d become a proficient cook or something. Nothing else I do is that important
to me. But still, it’s important to have a sense of humor with art. As my good friend and gallerist Kurt Beers of Beers
London says, “You may not be saving lives with art, but you are changing the world”
What are some things that inspire you?
When I was younger, I used to think that inspiration had to come from some divine place. That becomes tiresome—
and quite trite—rather quickly. It’s important to recognize how little things can become larger. My recent body of
work was inspired by a quote from a 13-year-old boy, a victim of the serial killer William Bonin and his four cronies
who terrorized young boys in Florida in the ‘80s. Apparently he said somewhere along this fateful journey, “This
is not the way to Disneyland.” That’s horrific. I like this idea of duality, where something that seems so saccharine
might actually be tragic, or horrific. But to me, the works take that initial point as their launching pad and run
tangentially from there.
Page 18
Media
artnet DateJune 16, 2015
Title
Andrew Salgado on his Upcoming Show at VOLTA Basel 2/2
Author
–Published
website
One particular work in the series, entitled Oh!, was actually directly inspired by a dollar-store party hat, [one of]
those conical ones for kids with the elastic chinstrap. I think it’s important not to ‘overthink’ and let little, often
insignificant or arbitrary things—a song, a hat, a friend, a memory, a color, an idea, a book—become metonym for
a larger, more metaphorical, and ultimately more personal message. But what each piece means to me is neither
correct nor incorrect; it’s important for me that the viewer takes their own narrative from the works.
How do you decide what to title your works?
Again, a causal, almost arbitrary process is key. The working title usually sticks. For this body of work, I’m going
really aloof, with titles that pull from direct reference to the works themselves. One piece was originally titled I’ve
Been Looking at Bjarne Melgaard, but I thought that was a bit too cute; it was renamed after that film and song
Orpheo Negro. My friend, the painter Dale Adcock, has this amazing ritualistic practice of firstly writing stream-ofconsciousness words or phrases onto paper, then weeks later drawing something without seeing that word that
was written. He says there is always a strange link. I painted Dale for this show; we used the same method and it
was strangely, eerily related.
Describe your creative process. What kinds of patterns, routines, or rituals do you have? Do you ever
experience artist’s block? What do you do to overcome it?
When I was younger I asked one of my heroes how to overcome these blocks. She isn’t a painter, but a musician,
and strangely she answered me in artistic terms. She said, “You have to clean your palette, and then collect things
that mean something to you—thoughts, conversations, a souvenir, a photo—and let them resonate together.”
Nowadays, I never have artist’s block, almost the opposite. [I have] so much to say with paint, but one has to be
critical. Editing is key. I also take at least a month off between each body of work to regenerate. I leave London
and go somewhere warm. This time, it’s Thailand. I need to be barefoot in the sand for a while, and feel the sun
on my face. People often say, “Oh, you must get so much inspiration while you’re on holiday,” and actually, no,
it’s the only time I have to switch off.
What shows rank among the best you’ve ever seen and why?
There have been a few shows in my life that have changed not only how I viewed that artist, but how I understood
painting as a whole: Daniel Richter at the Helen and Morris Belkin Gallery in Vancouver in 2005, Peter Doig at the
Tate Britain in 2008, Francis Bacon at the Tate Britain in 2009, and Bjarne Melgaard at Astrup Fernley in 2010.
Sometimes it’s not so grandiose—just a small show, or even just a painting that really moves you. I’m curating a
show at Beers London called “The Fantasy of Representation” that opens July 30, and I’m asking some amazing
painters to exhibit, including Hurvin Anderson, Eckart Hahn, Alexander Tinei, Sverre Bjertnaes, Justin Mortimer.
It’s a way for me to say, “Look, these are people that have influenced me, so I want to share them with you, too.”
What plans do you have for your solo presentation at VOLTA?
I did 10 new paintings; we will exhibit six. It was really tough to cull which to bring because each painting does
something so different. Everything is big, loud, bright, crude, just a little bit ugly…I’ve really gone over the top.
More is more is more.
What does an average day in the studio look like for you?
I never stop working. I drink too much coffee. I listen to lots of music. I come home with sore feet and just want to
watch stupid television and stop running my brain on overdrive.
Page 19
Media
Basler ZeitungDateJune 17, 2015
Title
Frische Kunst am Stück
Author
Annette Hoffmann
Published
daily
Page 20
Media
Basler ZeitungDateJune 17, 2015
Title
Frische Kunst am Stück – Translation
Author
Annette Hoffmann
Published
daily
Fresh art by the pound
VOLTA shows a broad and changing spectrum of quality
Basel. At VOLTA11 galleries display their clear identities. Slag Gallery offers art by weight: for 500 Dollars per
pound. A poster on the wall loudly offers “Premium ART Cut Fresh”, and beside it hangs a choice of saws that
can be used to cut slices off Ben Godwards room-filling, colorful bubbly urethane-foam sculpture. Of course this
is meant to be ironic. Godward is referring to none other than Karl Marx with a critique on American consumerism.
Unfortunately, the laws of an art fair cancels out his approach, especially when the work looks disposable and
somewhat reminiscent of handmade soap.
All in all, it is a rather colorful mix of quite varying quality that is shown by the 69 galleries in their booths. Kristof
Kintera’s solo presentation at Ron Mandos’s Gallery at the front of the fair – the Czech artist should still be present
in most minds from his show at the Tinguely Museum last year – may be providing sligtly false expectations: not
everything is so funny and convincing as Kintera’s shopping bag with rotating cucumber.
Other displays are blatantly kitsch. Sculptures with more bling than some people’s rims, or towers of pillows in
pastel colors, which should mostly please interior decorators. Richard Stipl’s theatrical wooden busts are flashy
at best. You can find many things that wouldn’t find space at other fairs: Basquiat look-a-likes or rather abstruse
representations of the artist’s self as Saint George at Ten Haaf Projects.
The move – since last year the fair is back at markthalle – was good for VOLTA, the presentation is airy. Likewise,
the catering section offers a Buena Vista Social Club type-of atmosphere — very relaxing.
Uninhabited desert collage
There are still interesting and established positions to be found at VOLTA. The gallery Jochen Hempel, with
branches in Leipzig and Berlin, offers a sculpture by Stephan Balkenhol amongst other pieces. His depiction of
the everyman with characteristic dress pants and white shirt is priced at 68,000 Euro. You can also find more
affordable works, a small series of four drawings by Kyrgyz artist Marat Raiymkulov sells for 2,000 Euro. A visit
at New York’s Galerie Richard, whose stand specializes in photography, is equally rewarding. Dionisio González
composes desert-scapes from multiple images of lonely architectural elements. These are available for 4,300 Euro
each.
One of the booths most worth visiting belongs to Galerie Kleindienst from Leipzig, outfitted with drawings and
paintings by Christoph Ruckhäberle and Susanne Kühn as well as photography by Swiss artist Nadin Maria
Rüfenacht. Rüfenacht, who studied in Leipzig, exhibits her series “Le roi se meurt”, available for 2,000 Euro a
piece. Her photographic works reflect the memento-mori tradition of still lifes with fragile plastic bubbles. Her
strongest pieces are when the bubble meets a champagne muselet. However, a stricter selection of galleries
would only benefit the fair.
Page 21
Media
Artribune
DateJune 17, 2015
Title
Author
Basel Updates: primissime immagini dalla fiera collaterale Volta, che torna nella
Markethalle. Ecco le impressioni dei galleristi italiani
Massimo Mattioli Published
website
“Abbiamo lavorato alla grande, solo con l’opening di lunedì abbiamo venduto quello che avevamo sperato di
vendere per tutta la fiera”. Le entusiastiche parole dei titolari di The Flat, una delle due galleria italiane presenti (l’altra
è Laura Bulian, sempre da Milano) rendono bene l’idea delle primissime impressioni sulla fiera collaterale Volta, che
torna nell’abituale location della Markethalle con una settantina di gallerie provenienti da tutto il mondo. Buona
atmosfera internazionale, dunque, con immancabili aanti alti e bassi ma livello a tratti interessante soprattutto
riguardo alla buona pittura da Romania, Germania e New York. Gradevole e carissimo il caffè, gestito dal ristorante
Meyers. Altre suggestioni, nella nostra ricca fotogallery…
Basel Updates: The very first photos from VOLTA, back at Markthalle. Here are the impressions from our
Italian galleries.
“We had an amazing time, during the opening alone we sold everything we had hoped to be selling over the
entire fair.” The ecstatic words of the owners of The Flat, one of the two Italian galleries at the fair (the other one
is Laura Bulian, also from Milan), paint a realistic picture of the very first impressions of the satellite fair VOLTA,
back again in its usual location at Markthalle, with about 70 galleries from all over the world. A good international
atmosphere, with the usual highs and lows, but at times very interesting, especially regarding quality painterly
work from Romania, Germany and New York. The catering, managed by Meyers Culinarium is delightful, yet rather
expensive. Further highlights can be found in our rich photographic gallery.
Page 22
Media
Handelsblatt DateJune 18, 2015
Title
Spielraum für Weiterentwicklung
Author
Stefan Kobel
Published
website
Entdeckungen lassen sich auf der „Liste“ nicht mehr machen.
Der vor 20 Jahren gegründeten Satellitenmesse fehlen die
Konzepte. Die „Volta“ dagegen arbeitet an der Qualität ihres
Teilnehmerfeldes. Möglich macht es der Mutterkonzern. Er hält sich
mit Renditeerwartungen zurück.
Die Liste in Basel feiert sich selbst. Zum 20. Mal findet der
prominenteste Satellit zur Art Basel in diesem Jahr statt. Schon im
letzten Jahr hatten die Macher um Peter Bläuer sich den Realitäten
gestellt und den Untertitel „The Young Art Fair“ gestrichen. Viele
der 79 Aussteller gehören fast schon zum Inventar gehören. Das
lässt die Liste mittlerweile eher als Warteliste erscheinen. Auf die Art
Basel wollen schließlich alle. Und viele waren auch schon einmal da.
KOW aus Berlin zum Beispiel, hat seit ihrer Gründung 2009 jedes
Jahr an der Liste teilgenommen. Nur im letzten Jahr hat die Galerie
ausgesetzt. Da hatte sie nämlich einen “Feature”-Stand auf der
Art Basel mit Santiago Sierra. Jetzt ist sie zurück auf der Liste, mit
dem halben Galerieprogramm, darunter Hito Steyerl und Tobias Zielony. Beide vertreten Deutschland auf der
Biennale in Venedig. Und auf der Art Unlimited ist KOW an der Präsentation von Franz Erhard Walter beteiligt. Mit
so einem Programm bespielt man keine Nachwuchsmesse.
Verdrängungswettbewerb unter deutschen Galerien
Nicht anders verhält es sich bei vielen Teilnehmern: Bolte Lang aus Zürich, Office Baroque aus Brüssel, Plan B
aus Cluj/Berlin. Die Liste ließe sich fast beliebig fortsetzen. Alle sind sie schon mindestens zum fünften Mal dabei.
Monitor aus Rom hatte ihr Debüt 2006. Freilich fällt unter anderem bei den deutschen Galerien auf, dass dann doch
ein Verdrängungswettbewerb herrscht. Das Rheinland ist nach und nach durch Berlin ersetzt worden, von wo jetzt
eine jüngere Galeristengeneration aus der Hauptstadt nachdrängt, zum Beispiel Silberkuppe, Mathew oder Dan
Gunn. Ansonsten kommt der Nachwuchs vor allem aus Südosteuropa, Lateinamerika oder der arabischen Welt.
Das einzige und relative stumpfe Instrument der Veranstalter gegen die Verflachung und Verknöcherung scheint
über das Geld zu laufen: Solopräsentationen sind für die Aussteller preiswerter als Gemischtwarenläden. Künstler
über 40 auszustellen kostet einen Zuschlag. Steuern lässt sich damit aber wohl kaum etwas. Es steigert nur
die Einnahmen der Messe. Entdeckungen lassen sich hier kaum noch machen. Vielleicht sollte sich die Messe
umbenennen in Art Basel Extended.
VOLTA auf Kurs
Einen frischeren Eindruck macht die Volta, der letzte verbliebene satisfaktionsfähige Konkurrenz-Satellit. Bei ihm
stehen Größe und Qualität in ausgewogenem Verhältnis. In ihrer zweiten Ausgabe nach dem Umzug an den alten
(renovierten) Standort in die Markthalle am Baseler Hauptbahnhof scheint die Messe wieder auf einem guten Weg
zu sein. Die Tochter eines US-amerikanischen Mischkonzerns, zu dem auch die Armory Show in New York gehört,
hatte in der Vergangenheit unter den Renditeerwartungen der Mutter gelitten. Waren zu vorigen Ausgaben auch
schon mal über 100 Aussteller zugelassen, liegt die Zahl jetzt stabil bei knapp 70 (aktuell 69). „Mittlerweile lässt uns
der Mutterkonzern weitgehend gewähren“, erklärt Mitgründerin und künstlerische Direktorin Amanda Coulsen.
„Solange wir kein Geld verlieren, ist er zufrieden.“
Jetzt wird weiter an der Qualität gearbeitet. Über ein Dutzend Galerien aus dem letzten Jahr wurden nicht mehr
zugelassen, weil renommiertere Kollegen den Neustart abgewartet hatten und jetzt deren Plätze einnehmen.
Wenn die Volta diesen Kurs beibehält, werden die letzten Schmuddelecken bald verschwunden sein.
Page 23
Media
Handelsblatt DateJune 18, 2015
Title
Spielraum für Weiterentwicklung –Translation
Author
Stefan Kobel
Published
website
Satellite Fairs Basel
Leeway for development
There are no more discoveries to be made at “Liste.” The 20-year-old fair is lacking vision. VOLTA, on the other
hand, is developping its roster. This is made possible by the mother company, which is relaxed with the fair on its
revenue expectations.
Liste in Basel is celebrating itself. This year marks the twentieth iteration of the most prominent of Art Basel’s
satellite fairs. Already last year, the management team and Peter Bläuer, accepted reality and removed the slogan
“The Young Art Fair” from its brand. Many of the 79 exhibitors are now considered part of its standard inventory.
This makes Liste appear rather like a waiting list. After all, everybody wishes to be at Art Basel. And many have
already made their appearances there.
KOW from Berlin, for example, exhibited at Liste every year since their founding in 2009. Only in 2014 did the
gallery sit out. After all, that year they had a “Feature” booth at Art Basel with the artist Santiago Serra. Now they
are back with half of their gallery’s artists, including Hito Steyerl and Tobias Zielony. Both are representing Germany
at the Venice Biennale. And at Art Unlimited KOW is involved in the Franz Erhard Walter presentation. With such a
program you should not be participating at a young talent fair.
Predatory competition among German galleries
The situation is not much different for many other participants: Bolte Lang from Zurich, Office Baroque from
Brussels, Plan B from Cluj/Berlin... The list could be extended indefinitely. They are all at least appearing for their
fifth time. Monitor from Rome debuted in 2006. Of course, especially among German galleries the competition is
fierce and visible.
Rhineland, little by little, has been replaced by Berlin, from where now a younger generation of dealers is forcing its
way in, for example Silberkuppe, Mathew, or Dan Gunn. Otherwise new blood is coming mostly from Southeast
Europe, Latin America or the Arabic world.
The organisers’ only and relatively dull instrument against the looming, flattening and fossilization appears to
operate through money: solo shows are more affordable for exhibitors than “general store” presentations.
Exhibiting artists over the age of 40 is an extra charge, but it is most likely difficult to control anything this way. It
does, however, increase revenue for the fair. It has become hard to make discoveries here. Maybe the fair should
consider renaming itself “Art Basel Extended.”
VOLTA on Track
VOLTA makes a much fresher impression, it is the last remaining satellite fair that is satisfying. Here, size and
quality are in a balanced relationship. In its second edition back in the old (renovated) location in Markthalle close
to the main train station, the fair seems to be back on track.
A subsidiary of an American conglomerate that also owns The Armory Show in New York, in the past, the fair
suffered under the financial expectations of the mother company. While previous editions saw the participation of
sometimes more than 100 exhibitors, these days the number seems to have stabilized around 70 (69 this year).
“By now the mother company mostly lets us operate independently,” explains co-founder and artistic director
Amanda Coulson. “As long as we are still making money, they are happy.”
Now the focus is back on the quality of the works. Over a dozen galleries from last year were not accepted this
year, as their more prestigious colleagues who were waiting for a reboot have now taken their places. If VOLTA
stays on its present course, even the last slightly dingy corners will disappear soon.
Page 24
Media
Basellandschaftliche Zeitung
Title
Auf dem Weg zu einer starken Messe
Author
Simon Baur
Date
June 18, 2015
Published
website
Die Volta-Show findet dieses Jahr wieder in der
Markthalle statt und mausert sich zum Sprungbrett
für Galerien und Künstler.
Welche Kunst kaufen, welche sammeln, welche
Künstler sind die Stars von morgen, welche Galerien
bestimmen den Markt? Solche Fragen sind während
der Basler Artwoche in aller Munde, viele wollen
das grosse Geschäft machen, die exzentrischen
Kunstsammler sind selten geworden. Wer diesen
Weg einschlagen will, muss seine eigenen Konzepte
im Kopf haben, auch auf der Volta. Wer die Messe
besucht, komme sommerlich gekleidet, unter der
grossen Betonkuppel wird es bei schönem Wetter
ganz schön heiss. Schwitzen und Kunstgenuss sind
nicht kompatibel.
Die Messe ist auch was für Architekturfreunde, die Kuppel der Markthalle ist einmalig und von der Strasse aus hat
man direkten Blick auf Gebäude der Architekten Herzog & de Meuron, Roger Diener und Richard Meier.
Alle Medien vertreten
Der deutsche Künstler Pius Fox bei Conrads zeigt eine Wand voller kleinformatiger Bilder. Malerei und Zeichnung
nebeneinander. Die Malereien sind meist auf schmale Keilrahmen aufgespannt, sodass auch sie den Charakter
von Zeichnungen annehmen. Stilistisch orientiert sich Fox an De Stijl und Neo-Geo, beschränkt sich jedoch
nicht auf einen Formenkanon, sondern versucht gleichzeitig, seine Motive mittels subtiler Farbklänge energetisch
aufzuladen. Neu ist diese Art von Kunst nicht, doch Fox outet sich als konzentrierter Arbeiter, dem es gelingt, die
Malereigeschichte um ein kleines Nebenkapitelchen zu ergänzen.
Wiener Galerie zu Gast
Der Wiener Galerist Ernst Hilger zeigt Installationen von Asgar/Gabriel und fotografische Arbeiten von Julie
Monaco. Beides sind Künstler, die Hilger auch in seiner in Wiens 10. Bezirk eröffneten «HilgerBrotKunsthalle»
zeigt. Die Arbeiten von Asgar/Gabriel vereinen skulpturale und malerische Aspekte, während Julie Monaco
düstere Naturaufnahmen am Computer manipuliert und irisierende Landschaften erzeugt. Aufgefallen sind auch
die filigranen Zeichnungen von Thomas Müller, die man am einfachsten mit dem Begriff «lineare Konzentration»
charakterisiert, wie man sie in der Schweiz von Silvia Bächli, der viel zu wenig bekannten Künstlerin Mette
Stausland oder Karim Noureldin kennt. Das bedeutet, dass die Linien als Träger von Informationen energetisch
aufgeladen sind.
Sprungbrett zur Art
Bei Anne de Villepoix, sie gehört zu den Begründern der «Liste», sind spannende Arbeiten von Eberhard
Grames und der Baslerin Annette Barcelo zu sehen. Wer es verspielter mag, der befasse sich mit der ästhetisch
ansprechenden Arbeit von Liz Jaff aus hunderten gefalteten Papieren, die bei Robert Henry Contemporary zu
sehen ist. An der Volta ist auch dieses Jahr die Aufbruchstimmung zu spüren, die Messe hat sich, wie die Liste,
zum Sprungbrett für eine Beteiligung an der Art Basel entwickelt.
Page 25
Media
Basellandschaftliche Zeitung
Title
Auf dem Weg zu einer starken Messe – Translation
Author
Simon Baur
Date
June 18, 2015
Published
website
On the path towards a strong fair
Parallel Fairs
VOLTA is once again taking place at Markthalle and is developing into a launchpad for galleries and artists
Which art to buy, which to collect, which artists are going to be the stars of tomorrow, which galleries are defining
the market? These questions are burning in everyone’s mind during the Basel art week. Most are out for a good
deal, and the quirky art collectors of the past have become less frequent. Today’s collectors seeking to invest in
this fashion need to have clear concepts. To their luck, this can be found at VOLTA. Visitors to the fair should come
in their summer dresses as it can get pretty hot under the concrete dome when the weather is nice. Sweating and
art enjoyment don’t quite go hand in hand. The fair is equally exciting for lovers of good architecture: the Markthalle
dome is unparalleled and from the street one has a direct view onto buildings by famed architects Herzog & De
Meuron, Roger Diener and Richard Meier.
All media represented
German artist Pius Fox at Conrads shows a wall filled with small-format works. The paintings are mostly mounted
on small stretchers, this scale gives the sense that the pieces could be drawings. Fox’s style is influenced by De
Stijl and Neo-Geo, but is not limited to one form of canon, but constantly aims to charge his motifs with subtle
patterns of color. Of course, this kind of art is not exactly new, but Fox proves to be a focussed worker and is able
to add his own little chapter to the history of art.
A Viennese Guest
Viennese dealer Ernst Hilger shows installations by Asgar/Gabriel and photographic works by Julie Monaco. Both
are artists that Hilger is showing in his “HilgerBrotkunsthalle” located in Vienna’s 10th District. Asgar/Gabriel’s
works unite sculpture and painting, meanwhile Julie Monaco digitally manipulates images of dark nature and
creates iridescent landscapes. Thomas Müller’s filigree drawings are equally striking and can best be described
as “linear concentration.” This style can be compared to the much overlooked artists Mette Stausland or Karim
Noureldin, known in Switzerland through the gallery of Silvia Bächli. The lines that these artists use are carriers of
information— loaded with energy.
Stepping Stone to Art Basel
Anne de Villepoix, one of the founding galleries of Liste, is showing exciting works by Eberhard Grames and Annette
Barcelo who is from Basel. Those looking for something more playful should consider Liz Jaff’s aesthetically
pleasing works composed of hundreds of folded pieces of paper, on view at Robert Henry Contemporary.
Once again you can feel a spirit of optimism at VOLTA. The fair has become, like Liste, a stepping stone for a
participation at Art Basel.
Page 26
Media
Artspace DateJune 19, 2015
Title
Collectors Susan and Michael Hort‘s 11 Favorite Works From the 2015 Basel Fairs
Author
Dylan Kerr
Published
website
Michael and Susan Hort are among the most influential art collectors in New York. Between their ubiquitous
presence at shows and fairs and their grant-giving (and cancer-fighting) charitable endeavor, the Rema Hort
Mann Foundation, the pair has catalyzed the careers of many artists (especially those of emerging painters).
Their approach to collecting, as detailed in our two-part interview from earlier this year, centers around
cultivating close relationships with artists and buying only what they love (often in bulk). Here, the Horts return
to Artspace to give us their top picks (and pics) from this year’s Basel fair week, including selections from
Liste, Volta, and the big daddy of them all, Art Basel.
[...]
VOLTA
TOM ANHOLT at MIKAEL ANDERSEN
Tom is a young artist from London that we discovered
at the fair. We’d never seen him before. He looks very,
very interesting—we’ll see.
ALEXANDER KROLL at GALERIE KORNFELD
Alex lives in Los Angeles, and Kornfeld is in Berlin. We
have a lot of his work up right now, and I love what he’s
doing with this one. It’s really, really good.
ABOUDIA at ETHAN COHEN GALLERY
Aboudia is from the Ivory Coast. This painting is a
little more contemporary—some of them are just too
traditional for me. We liked this one that seems a bit
fresher.
Page 27
Media
Artlyst
DateJune 20, 2015
Title
Art Basel On A Budget – Ben Austin Navigates The Possibilities
Author
Ben Austin
Published
website
Basel on a budget. Seemingly impossible, where even the most reasonable hotel is priced out at £250 per
night, the town has seen the art crowd coming and has fixed the prices accordingly. I decided to come late
and even though the easy jet flights were fine, hotel spaces were at a premium, so aged 45, I decided for the
first time ever to stay at a youth hostel, I can’t complain considering the price per night is about the cost of a
cocktail at the Kunsthalle, but being in bunk beds with a room of strangers, reminded me of summer camps,
bike rides and hiking... Good and hearty Swiss mountain pursuits.
For some bizarre reason four other bed fellows decided to leave at 4am and woke me so now I’m sitting by the
Mezzeplatz in a daze waiting for the fair to open at 11am. So what to look forward to over the next few days?
Well apart from the usual of the big names, commanding big prices at the big top (I actually like the fact that there
is an actual circus opposite the main fair). I’m excited at the prospect of seeing Art Unlimited, where you get the
spectacularly big. When did art become so massive? So shouty, look at me, buy me... Blockbusting and crowdpleasing.
Then of course there are the satellite fairs, Liste, VOLTA and Scope. Liste consistently edgy and progressive, Volta
considered with quality solo presentations and Scope, pop style and accessible. Also looking forward to seeing
the Paul Gauguin and Marlene Dumas (the show at the Tate Modern was wonderful) at the Fondation Beyeler.
Over at the Museum Tinguely is a show of Haroon Mirza. The Museum of Gegenwartskunst has a show of Joseph
Beuys, which I should like to get to, time permitting. [...]
In fact, I have this notion that art fairs are like
a huge performance piece, where art viewing
and buying can be seem as a trail and test.
Do you have the stamina to go the distance?
Do you have the means? And are you quick
enough to get to the goodies on the opening
day before another rival snaps it up. Which
dealer/consultant can you call on? Does Jay
hug you upon arrival at his booth? Did you
trawl through the Pavilions at Venice? Did you
do the rounds at the Armory and ready to
take on Frieze in London? The art circuit is a
demanding beast that needs constant feeding
and you better be hosting and attending the
right dinner parties. I rather like the notion of ‘art
as punishment’, or ‘competitive viewing’, when
people ask have you ‘done’ Volta or seen is or
that show, there is a sense of missing out if you
hadn’t, as if somehow you had failed in your
quest to see it all and experience everything.
[...]
Page 28
Media
artmagazine
DateJune 21, 2015
Title
Art Basel Satelliten: Wenig gute Alternativen
Author
Stefan Kobel
Published
website
Der galeristische Mittelstand ist in Basel ebenso abgehängt wie die ganz junge Kunst. Die Liste hat ihre Pfründe
verteilt und die einstmals so reiche Landschaft der Nebenmessen ist zum Deko-Handel verkommen. Einzig
die VOLTA bietet noch eine Alternative sowohl für junge wie für etabliertere Galerien. Bei ihr stehen Größe und
Qualität in ausgewogenem Verhältnis. In ihrer zweiten Ausgabe nach dem Umzug an den alten (renovierten)
Standort in die Markthalle am Baseler Hauptbahnhof scheint die Messe wieder auf einem guten Weg zu sein.
Über ein Dutzend Galerien aus dem letzten Jahr wurden nicht mehr zugelassen, weil renommiertere Kollegen
den Neustart abgewartet hatten und jetzt deren Plätze einnehmen.
Wer etwa den neuen Adrian Ghenie sucht, könnte bei der Jecza Gallery aus Timisoara fündig werden, die
junge rumänische Künstler auf preislichem Einsteigerniveau vertritt. Die Galerie betapictoris aus Birmingham,
Alabama, betreibt ein durchaus politisch engagiertes Programm - auf Englisch heißt das issue driven - und
wagt in ihrer zweiten Teilnahme den ganz großen Auftritt und zeigt drei Solopräsentationen in jeweils kompletter
Standgröße. Mit Erfolg: Der Umsatz liegt deutlich in sechsstelliger Höhe. Das ist ein leichter Ausreißer nach
oben, jedoch hat auch Jochen Hempel aus Leipzig Erfreuliches zu vemelden. Er konnte eine mittelgroße
Skulptur von Stephan Balkenhol verkaufen. Denn es ist nicht alles jung und billig in der Markthalle. Helga
Conrads aus Düsseldorf hat einige Jahre ausgesetzt und dieses Jahr eine Auswahl aus jungen und einer
etablierten Position mitgebracht. Amüsiert erzählt sie, dass sie mehrfach von Besuchern gehört habe: “Das
sieht ja aus wie Herman de Vries!” Es ist Herman de Vries (8.500 bis 38.000 Euro). Wenn die Volta diesen Kurs
beibehält und eine ausgewogen Mischung aus Jung und Etabliert, werden die letzten Schmuddelecken bald
verschwunden sein.
Künstlerisch der beste Satellit ist die Unlimited, die allerdings der kuratorische Abenteuerspielplatz der Muttermesse
selbst ist. Alles andere ist leider kaum noch der Rede wert. Das Solo Project mit Einzelpräsentationen, die
durchaus monumentale Ausmaße annehmen können, krankt nach wie vor und immer mehr an mangelndem
Besucherzuspruch. Man muss als Galerist schon sehr genau wissen, warum man hier teilnimmt, so wie Wolfgang
Lieser mit der Berliner Galerie DAM. Der Galerist erwartete den verabredeten Besuch einiger US-amerikanischer
Kuratoren in Basel und hat daher die kurzfristig zu realisierende Chance wahrgenommen, hier auszustellen.
Ebenfalls eine Tochter der Art Basel ist die Design Miami Basel, die einfach kein Konzept findet, historisches
mit aktuellem Design in einem wirtschaftlich sinnvollen Rahmen zu präsentieren, ohne über weite Strecken in
Deko und Glitzer abzugleiten. Ulrich Fiedler, Deutschlands wichtigster Händler für Bauhaus hat dieses Jahr die
Konsequenz gezogen und nimmt nicht teil.
Die Scope existiert tatsächlich immer noch und findet seinen Markt jenseits der anschlussfähigen Kunst. Die
Macher kaschieren das mit dem mittlerweile altbewährten Kniff, an zentralen Stellen die wenigen prominenten
Galerien zu positionieren. In diesem Jahr grüßen am Eingang Mauroner aus Wien und Salzburg sowie Omer
Tiroche aus London. Ab da geht es steil bergab.
Und dann gib es noch eine Fotomesse (Photo Basel), eine Buchmesse (I never read) sowie die eine oder andere
off-off-Veranstaltung. Ein bisschen mehr Leben jenseits des Duos Art Basel/Liste würde der Stadt mit Sicherheit
gut tun.
Page 29
Media
artmagazine
DateJune 21, 2015
Title
Art Basel Satelliten: Wenig gute Alternativen – Translation
Author
Stefan Kobel
Published
website
Art Basel Satellites: Few good alternatives
[...]
Only VOLTA offers a serious alternative for the young and established galleries. Here, size and quality are in a
balanced relationship. In its second edition back in the fair’s former setting, Markthalle, now renovated and located
close to the main train station, the fair seems to be back on track. Over a dozen galleries from last year were not
accepted in this edition, as their more prestigious colleagues who awaited for a refreshed VOLTA brand have now
taken their places.
Collectors who appreciate the works of Romanian artist Adrian Ghenie might discover the next generation at
Timisoara based Jecza Gallery, presenting Romanian artists at an entry-level price point. Gallery beta pictoris
from Birmingham, Alabama, focuses on a politically driven program. The gallery ventures with a big presentation,
featuring three solo positions encompassing three booths for its second fair participation. With success: the
gallery counted six-figure sales. Jochen Hempel, at his namesake gallery from Leipzig, sold a mid-size sculpture
by German artist Stephan Balkenhol.
Not everything is young and cheap at Markthalle. Helga Conrads from Düsseldorf, returning to the fair after taking
a break for a few years, shows a selection of young and established positions. Some visitors commented on the
artworks “This looks like herman de vries!”, not knowing it is indeed the artist’s work (8,500 to 38,000 Euro), recalls
the amused dealer.
If VOLTA stays on its present course, even the last slightly dingy corners will disappear soon.
[...]
Page 30
Media
Tageswoche
DateJune 21, 2015
Title
Es geht ihm immer noch gut, dem Kunstmarkt
Author
Karen N. Gerig
Published
website
Man kennt das nun schon seit ein paar
Jahren: Als die Art Basel am Donnerstag ihre
Türen für das Nicht-VIP-Publikum öffnete,
waren die wichtigsten Geschäfte schon
gemacht. Schon war für die Galeristen die
Zeit reif, diesen Jahrgang zu loben – und
man hörte wirklich nur lobende Worte, ob von
der Basler Galerie von Bartha, dem Zürcher
Peter Kilchmann oder der internationalen
Supergrösse Gagosian. Die Art Basel,
sie hatte schon nach zwei Tagen wieder
bewiesen, dass sie immer noch die grösste
und wichtigste Kunstmesse weltweit ist.
[...]
Zufriedene Nebenmessen
Die eigentliche Überraschung aber erlebte man dieses Jahr bei der VOLTA11. Kämpfte die Messe, die vor elf
Jahren in der Voltahalle anfing und dann in der Stadt herum mäandrierte, letztes Jahr mit äusserst schwachem
Publikumsaufmarsch, so dürfen die Verantwortlichen 2015 mehr als zufrieden sein. Viele Sammler fanden ihren
Weg in die Markthalle und kauften, die Party am Donnerstag entwickelte sich laut Aussagen der Messeleitung zum
Knüller, man freute sich über Full House.
Und auch die Besucher durften sich freuen: Die VOLTA11 bot Kunst, die sich sehen lassen kann. Gleich ein paar
Künstler, die aktuell an der Biennale in Venedig ausstellen, konnte man dort entdecken, darunter Herman de Vries
(Conrads, Düsseldorf), der den niederländischen Pavillon bespielt. Und auch auf andere bekannte Namen traf
man, von Krištof Kintera, der kürzlich noch im Museum Tinguely zu sehen war, bis Kendell Geers. Macht die Volta
so weiter, könnte sich sich (wieder) zu einem Liebling entwickeln.
The art market is still doing well
This is very well known since a few years: while Art Basel opens its doors to the non-VIP audience on Thursday,
the most important sales have already been made. Yet it is time for the dealers to praise this year’s edition – praised
words by Basel based Galerie von Bartha, dealer Peter Kilchmann from Zurich as well as from the international
heavyweight Gagosian. […]
Pleased satellite fairs
This year’s surprise is VOLTA11. Founded eleven years ago at Voltahalle, and meandering around the city thereafter,
the fair struggled with a weak number of visitors last year, upon its return to Markthalle. In 2015, fair organizers
were pleased to see many collectors making their way to Markthalle to buy art, and the party on Thursday evening
added to the excitement – all were happy about the “full house” impression.
Visitors were pleased as well: VOLTA11 offered art beyond conventional notions of a satellite fair for emerging art:
Artists exhibited at this year’s Venice Biennale, such as herman de vries (Conrads, Düsseldorf) representing the
Netherlands. Among the well known names are artists as Krištof Kintera, recently shown at Museum Tinguely,
as well as Kendell Geers. If VOLTA stays on its present course the fair might become everyone’s favorite (again).
Page 31
Media
Artlyst
DateJune 21, 2015
Title
Art Basel: Satellites Of Love – VOLTA, Liste, Scope etc 2015
Author
Ben Austin
Published
website
So, after an evening spent in Mulhouse, as that is only reasonable place to stay within a half an hour radius
of Basel, it actually wasn’t so bad, a quick train ride and viola. There was an incident involving coffee being
spilt in the back seat of a taxi to the train station that created a little bit of local upset, less said about that
the better.
First stop in the morning was to VOLTA, located back at their original location near to the train station. Some
exhibitors had kept to the original premise of doing solo presentations whilst others selected to show group work.
There were only a few people wandering the aisles and as James and I were smartly dressed (the art uniform
of blue jackets and jeans) we are getting attention from dealers who seemed a little bit in need of sales. I guess
that once the hordes have go through the main fair and the major money has already been spent and departed,
these smaller fairs struggle to break even, I would imagine after the costs of the booth, transportation, flights,
accommodation etc.
The work on show at VOLTA is actually very impressive in the most part and some of it wouldn’t be out of place at
the main fair. So, what stood out? Well Ethan Cohen was showing raw and primitive canvases by Aboudia (who
also shows with Jack Bell), Ethan was on sales overdrive and I enjoyed him explaining the work in detail. He also
had witty and expressive work by Greg Haberny on show. Beers Contemporary had some fantastic large paintings
by Andrew Salagado on display and Charlie Smith had some great John Stark pieces as well as a stunning Emma
Bennett. Beta Pictoris/Maus Contemporary presented the work of Iranian/US artist Taravat Talepasand, who
tackled race, gender and cultural taboos. The Flat – Massimo Carasi had a piece by Leonardo Ulian, who uses
patterns, microchips and circuits of electronic devices to make a web resembling Tibetan mandalas or fractal
forms. All very clever and well made.
Finally, I very much liked the craft and embroidery of the Israeli artist – Batia Shani, presented by Tamar Dresdner
Art Projects. Batia’s installation of children’s dresses, incorporating army uniforms and text based embroidery
effectively deals with some the fears and anxiety of the political situation in the Middle East. This display was very
effective and emotionally charged, one of best things on show. James and I left VOLTA, hungry and a little flat, the
dealers all seemed to looking out for that one buyer that could make all the difference. [...]
Page 32
Media
Whitewaller
Title
Matthew Stone activates Aesop
Author
–Published
Whitewaller App
Date
Page 33
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Page 34