Feature

VOLTA12 and GalleryLOG reunite for a new series of artist videos

13 Jun 2016

Guest contribution by VOLTA11 and Gallery LOG

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. VOLTA12 - 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 68 international exhibitors that have assembled artist projects from all corners of the globe. VOLTA12 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 VOLTA12 here on ArtRabbit.

Avital Burg at VOLTA12

Born in Tel Aviv and based in New York, journalist and visual artist Avital Burg (presented by Slag Gallery, Brooklyn) re-contextualizes art historic tropes of portraying charged interior spaces with experimental techniques and sociopolitical undertones.

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Fanny Allie at VOLTA12

Fanny Allié (presented by Fresh Window, Brooklyn) engages outlines of the human form — from collage to emotive neon installations — to question our relationship to our bodies and social movements, as well as the intrinsic memories contained within and in our absence.

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Jeffrey Hargrave at VOLTA12

Subject of Escape Route, a solo exhibition at Bronx Museum of the Arts, Jeffery Spencer Hargrave (presented by Ethan Cohen New York, New York) filters art history through Black history and queer identity, manifesting a refreshing directness and witty honesty throughout.

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Kevin Bourgeois at VOLTA12

Kevin Bourgeois (presented by Causey Contemporary, New York) assembles At Play in the Fields of the Lord, a site-specific and interaction installation that furthers his investigation and critique of unseen policing and social fragmentation within "The Cloud" of anonymous, ephemeral contemporary culture.

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Lado Pochkhua at VOLTA12

Lado Pochkhua (presented by Project ArtBeat, Tbilisi) takes on post-Soviet identity in his draftsman-quality renderings of Georgian aristocracy, a decidedly "old-school" approach that highlights both technique and time period.

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