Category: Artists

Nick Devereux (UK, born 1978 in Panama City, lives and works in London) is a multidisciplinary artist, working between sculpture, painting, drawing and photography to both compose and realise his work.
His studio is a stage for imaginary environments filled with surfaces and sculptures made from a range of found materials: broken glass and ceramics, wood, metals and scraps of fabric.
Often, depictions of these dioramas are drawn or painted through careful observation, resulting in images that seem both familiar and unnatural. 

Recent solo shows include: Ritorno al collage. Nick Devereux e i maestri italiani del disegno novecentesco / Case Chiuse #07, a cura di Irina Zucca Alessandrelli, Bosco Verticale, Milan, 2019; In the Round, Adelaide, Marseille, 2018; Nick Devereux, Museo Pietro Canonica, Rome, 2017; Known Unknown, Art Club Villa Medici, Rome, 2016; Flakturm, Case Chiuse #00, Milan, 2014; Inpainting, Fondazione Querini Stampalia,Venice, 2013. Recent group exhibitions: Entre Les Frontieres, curated by Julia Cistiakova, Galerie Espace de l’art contemporaine du theatre de Privas, Privas, France, 2019; Greffes, curated by Pier Paolo Pancotto, Galerie Rolando Anselmi, Berlin, 2018; Iconic, Knust x Kunz, Munich, 2017; Honoré, Galerie rue Visconti, Paris, 2015; Wanderer Above the Sea of Fog, Galerie Bugada & Cargnel, Paris, 2015.

Gabriele De Santis (Rome, 1983) is a conceptual artist and he gained his MA in Visual Arts at the University of Arts of London (2010). His research focuses on the ways in which an object can be liberated from its usual state and transposed into the realm of fine arts, taking into consideration and investigating the effects that inevitably this reintegration entails.

His recent solo shows include: All Colours of the Night, Valentin, Paris (2019); Per Andare Dove Dobbiamo Andare per Dove Dobbiamo Andare, Nomas Foundation, Rome (2018); I Can Skip the Turtles this Time, Ultrastudio, Pescara (2018); Case Chiuse #05, Milan (2017); Truth Be Told, Frutta, Rome (2017); Spin like earth, brew like matcha, Jose Garcia, Mexico City (2016); We’re Short a Guy, Valentin, Paris (2015); If you have got the feeling jump across the ceiling, Limoncello, London (2015); On the Run, Italian Cultural Institute, London (2014); Dear Los Angeles, ICI, Los Angeles (2014); The Dance Step of a Watermelon While Meeting a Parrot for the First Time, Depart Foundation, Los Angeles (2014). His recent group shows includes:The Annotated Reader, curated by Ryan Gander and Jonathan P. Watts, Quartz Studio, Turin and The Fruitmarket Gallery, Edinburg (2019); Kizart,curated by Raffaella Frascarelli, Museo MAXXI, Rome (2019); TransAntiquity, Galeria municipal de Porto, Porto (2018-2019); Greffes, curated by Pier Paolo Pancotto, French Academy, Rome (2018); In Addition, curated by Adam Carr, Mostyn, Llandudno, UK (2018);  Art Situacion I-III SPAIN / ITALY, curated by Vicente Todolì, Maria de Corral, Lorenza Martinez de Corral, Ilaria Gianni, Matadero, Museo Villa Croce, Genova, MACRO, Rome (2016-2015); Networked encounters offline, Lewben exhibition at 10th Kaunas Biennale, Kaunas (LT, 2015); Un Nouveau Festival, curated by Florencia Chernajovsky, Centre Pompidou, Paris (2015); 80 Years, Limoncello, London (2015);Frieze Sculpture Park, London (2014).

Tomaso De Luca (Verona, 1988) is a visual artist who lives and works in Berlin. He studied Painting and Visual Arts at NABA, New Academy of Fine Arts in Milan.

He employs drawing, sculpture, installation, and video practices to expose what is buried in collective imagery: his works stand as defections to the modernist canon, representing active survival strategies against isolation. De Luca’s work has been exhibited in venues such as: Quadriennale di Roma (2020); Contemporary Art Centre, Vilnius (2017); Parque Lage, Rio de Janeiro (2015); Fondazione Sandretto Re Rebaudengo, Turin (2015); among others. He was among the finalists of the 9th Furla Prize in 2013, and was awarded the title of Cy Twombly Fellow at the American Academy in Rome, in 2017. In 2021, his work A Week’s Notice won the second edition of the MAXXI Bvlgari Prize.

Alejandro Corujeira (Buenos Aires, 1961) studied at the School of Fine Arts in Buenos Aires before moving to Madrid in 1991.

His work has been exhibited in museums across Latin America and Europe, including at the 33 Bienal de São Paulo, São Paulo, Brazil (2018), Fundación Caja de Burgos, Burgos (2017), Museo Nacional Centro de Arte Reina Sofía, Madrid (2002), Centro de España en Buenos Aires (2005).

His works are included in important collections and public institutions such as: Museo Nacional Centro de Arte Reina Sofía, Madrid; Museo de Arte Moderno de Buenos Aires (MAMBA), Argentina; Colección Patricia Phelps de Cisneros, New York; Jack S. Blanton Museum of Art, Austin, Texas; Colección Unión Fenosa, La Coruña, Spain; Museo de Arte Contemporáneo de Panamá, Panama; Museo de Arte Contemporáneo de Caracas Sofía Ímber (MACCSI), Caracas, Venezuela; Instituto Valenciano de Arte Moderno (IVAM), Valencia, Spain; Academia Española de Historia, Arqueología y Bellas Artes, Rome.

Roberto Coda Zabetta (1975, Biella) lives and works in Milan. He is a painter and was the studio assistant to Aldo Mondino from 1995 to 2005. In 2017 he started the project Catieri: Cantiere 1 / Terrazzo, Complesso SS. Trinità delle Monache, ex Ospedale Militare, Naples, Italy, 2017; Cantiere 2 / Harbour, presented in Portivy in the Quiberon peninsula, France, 2018. His artwork have been showcased in galleries and national and international museum: Museo d’Arte Contemporanea Villa Croce, Genoa (2016); Fondazione Mudima, Milan (2015); Palazzo Barbarigo Minotto, Venice (2015); The Shit Museum, Piacenza (2015); MAC-Museum of contemporary art, Brasil (2012); Museo di Palazzo Reale, Milan (2010); Museo della Certosa, Capri (2011); Indonesian National Gallery, Jakarta (2009); The David Roberts Foundation, London (2008). He collaborated for external projects for Madre Museum in Naples, the Teatro India in Rome, MAXXI – National museum of arts of the XXI century in Rome and the Triennale of Milan. The artist has been selected for multiple awards among which some promoted by the Fondazione Michelangelo Pistoletto, Biella; Dena Foundation, Paris; BP Portrait Award National Portrait Gallery, London; XIV Quadriennale, Rome; P.S.I. Italian Bureau, New York; American Academy, Rome.

Paolo Brambilla (Lecco, 1990) studied at Accademia di Belle Arti di Brera, Milan, and Koninklijke Academie voor Schone Kunsten in Gent, Belgium. 

His multidisciplinary artistic practice makes use of speculative processes and formal permutations, assuming or distorting different formats of production and reproduction that could be natural, artificial, actual or virtual; in order to address the infinite cycles of assimilation, dispersion and transformation of the cultural product. His work is marked by speeches, perhaps even haunted by the ghosts of previous states. By taking forms and shapes, following different pathways, mimicking movements, by shadowing and repeating gestures, he has established a rich and dense vocabulary of materials, symbols and references, associatively moving between a variety of historical registers. An art object as a mold of multiple approaches. Or, in other words still, the artistic process as an amalgamation, a synthesis of radically diverging scales, rhythms and sources into a (seemingly) congruent whole that is an art object. 

Among his recent solo exhibition: Parata, Las Palmas Project, Lisbon, Portugal (2019); Mandragola, Galleria Massimodeluca, Mestre, Venice (2019); Fiordiluna, Dimora Artica, Milan (2019); I wanna be where the people are, GAFFdabasso, Milano (2018); Capriccio, Museo Ettore Fico, Turin (2017); SUPERHYPHENATION, Poppositions 2017 – Don’t agonize, organize!, ING Art Center, Bruxelles (2017). 

He participated to several group exhibitions, the most recent are: Placido, Dimora Artica, Milan (2019); The Useless Land, Castello di Lajone, Italy (2018);Capitolo I: Estate, Residenza La Fornace, Italy (2018); La seconda notte di quiete, DepositoA, Verona (2017); 70° Premio Lissone, MAC – Museo d’Arte Contemporanea, Lissone (2016); Open Call Club, Galeria Cavalo, Rio de Janeiro (2016).

Tarek Abbar is an artist and art director, currently living in Japan. His works are mainly drawings on paper and are characterized by graphic lines, precise strokes and microscopic details as well as a certain Japanese imprint. Through his works he tells complex stories of almost surreal characters, or about impossible cities with detailed and – at first glance – futuristic structures. In this imaginative world, however, a strong trace of the present always transpires with its possible variations, be they personal or collective.

Paris based artists A Constructed World have produced an extensive body of work over the past twenty-six years. The subject matter of their more recent work interrogates who is speaking and what can and cannot be said, made material through paintings, digital media, sculptures and paper installations. Their performances, activated by people, paintings, objects, speech, conversation, philosophical texts and music, attempt to counteract the narrowing discourses and tedious processes that pervade the space of culture and politics. They invite the company of others and have a close group of artists, writers, curators, art historians and philosophers they work with.

Performances have been commissioned by institutions such as Palais de Tokyo, Paris; Nuit Blanche at the Conservatoire National des Arts et Métiers, Paris; Museum of Contemporary Art, Sydney; Les Laboratoires d’Aubervilliers; FRAC Champagne-Ardenne, Reims; Paola Pivi’s Grrr Jamming Squeek, Sculpture International Rotterdam; and private situations including Case Chiuse by Paola Clerico, Turin / Milan; Marsèllaria, Milan, salon Jackie, Paris; Roslyn Oxley9 Gallery, Sydney.

Retrospective and survey exhibitions include A Dangerous Critical Present, Museo d’Arte Contemporea di Villa Croce, Genova; Based On A True Story, Ian Potter Museum of Art, the University of Melbourne; Saisons Increase, CAPC Musée d’Art Contemporain, Bordeaux; and Increase Your Uncertainty, Australian Centre for Contemporary Art, Melbourne.