Bio
1975, Milan
The artist obtained a degree at the Accademia
di Belle Arti di Brera, Milan,
Italy and at the Städelschule, Staatliche
Hochschule für Bildende Künste,
Meisterschülerin, Frankfurt, Germany.
She creates soft, tactile sculptures
from extensive research into traditional
craft techniques and material
experimentation. Her practice focuses
on natural materials and she defines
her work with the expression “seeing
with my hands”, as it reflects her way
of coming into contact with different
textiles and transforming them into
unique sculptures. Her research is
closely linked to residencies made in
direct contact with places and communities.
Among the most recent
residencies those at: Loro Piana Artist-
in-Residence at Tashkeel, Dubai,
(2022); New Roots Foundation, Antigua,
(2021); Temporars at Muzeum
Susch, Susch,(2019); Kiosko Galería,
Santa Cruz de la Sierra, (2017); HIAP
Residency Program, Helsinki, (2015);
SYB Artist Residency, Beetsterzwaag;
Capacete, Artist Residency, Rio de
Janeiro, San Paolo; Pact Zollverein
Zentrum, Essen, (2012), Centre international
d’accueil et d’échanges des Récollets,
Dena Foundation, Paris, (2008).
Recent solo exhibitions include: La
terra suona, Quartz Studio, Torino,
(2022); La pratica del Bianco, Palazzo
Ferrero, Fatti ad Arte, Biella, (2021);
Residencias Open day, Galería Kiosko,
Santa Cruz de la Sierra, (2017); The
Fibers of Baku, a Portrait of the City,
Kichik QalArt gallery, Yarat, Baku,
(2015); Vitrine 270° — Paola Anziché,
GAM, Torino, (2013); Greater Torino,
Paola Anziché – Paolo Piscitelli, Fondazione
Sandretto Re Rebaudengo,
Torino, (2010).
Recent group shows include: Oltre il
giardino, l’abbecedario di Paolo Pejrone,
Fondazione Cosso, Castello
di Miradolo, Pinerolo, (2022); Living
room, A space to live in a time of
change, Art.ur, Cuneo, (2021); Sustainability
Thinking, Museo Salvatore
Ferragamo, Firenze, (2021); Entangled:
Threads & Making, Turner Contemporary,
Margate; W. Women in Italian
Design, XXI Esposizione Internazionale,
La Triennale, Milano, (2016).
1988, Laudun
and the body, Ruben Brulat investigates
our relationship with our organic
self, using interactions. A dialogue to
enter in resonance with places found
by walking, where the artist reaches
for the point of contact between
humans and non humans.
Recent solo exhibitions include: Commencements,
Estart gallery, Pietrasanta,
(2015); Paths, Theatre de National
Toulouse / Galerie Pinxit, Toulouse,
(2014); Sharing Paths, Espacio Valverde
Gallery, Madrid; Sharing Paths,
Urban Spree Gallery, Berlin, (2013);
Immaculate and Primates, Confluence
Gallery, Nantes, (2011); Immaculate
and Primates, Schierke Space, Munich;
Immaculate and Primates, G3 Gallery,
Hamburg; At the edge of Brink, Immaculate
and Primates, Galerie Chambre
avec vues, Paris, (2010).
Recent group
shows include: Forces of Nature, Art
Pavillion, London; This is not a curated
exhibition, Galleria Ramo, Lugano,
(2017); Commencements and various
paintings, Saatchi Gallery, London,
(2016); Paths, Ncontemporary, London;
Commencements, Lamb Arts gallery,
London, (2015); Paths, Galerie Le LAB,
Paris; Paths, Dakar Biennale, (2014);
Paths, Ermanno Tedeschi Gallery, Tel-
Aviv, (2014); Primates, Souvenir From
earth TV (slideshow), Palais de Tokyo,
Paris; Primates, Librairie de la Galerie,
Paris; Primates, The LAB, Los Angeles,
(2010).
1974, Pechino
Zheng Bo is an ecoqueer artist of
ethnic Bai heritage. Through drawing,
dance and film, Zheng Bo cultivates
intimate relations with plants. These
relations are aesthetic, erotic, and
political. For him, art does not arise
from human creativity, but more- thanhuman
vibrancy. Zheng Bo grew up
in Beijing and now lives on Lantau
Island, Hong Kong. Guided by Daoist
wisdom, he grows weedy gardens,
living slogans, ecoqueer films, and
ecosocialist workshops. These diverse
projects, alive and entangled,
constitute a garden where he collaborates
with both human and nonhuman
thinkers and activists. His ecological
art practice contributes to an emergent
planetary indigeneity. Zheng Bo studied
with Douglas Crimp and received
his PhD from the Graduate Program
in Visual & Cultural Stu- dies, University
of Rochester. He taught at China
Academy of Art from 2010 to 2013,
and currently teaches at the School
of Creative Media, City University
of Hong Kong, where he leads the
Wanwu Practice Group.
In 2022 he is presenting a new forest
dance film titled Le Sacre du printemps
(Tandvärkstallen) at the 59th
Venice Biennale. In 2021 he staged
Wanwu Council at Gropius Bau, Berlin
and Life is hard. Why do we make it so
easy? at Kadoorie Farm and Botanic
Garden, Hong Kong. He has participated
in Sydney Biennale, (2022),
Liverpool Biennial (2021), Yoko-hama
Triennale, (2020), Manifesta (2018),
Taipei Biennial, (2018), and Shanghai
Biennial, (2016).
His works are in the collections of
Power Station of Art in Shanghai,
Hong Kong Museum of Art, Singapore
Art Museum, Hammer Museum in Los
Angeles, tate Modern, among others.
1966, Avezzano
His work, draws inspiration from the
cosmos and the elements that make
up the world of nature. Mixing art,
science and spirituality, his painting
investigates chemical reactions, mineral
fusions, atoms and the neuronal
system in relation to the world of
astrophysics. Abstract and organic
forms spin and vibrate on canvases
in bright, pure colours, creating striking
contrasts and harmonic scales that
engage the viewer in extrasensory kinetic
visions.
Recent solo exhibitions include: Illuminazione,
StudioDFB, Rome,
(2022); From wall to wall, Corte
Aprile-Traversa, Muro Leccese, Lecce;
Cosmic Dance. Cosmologia pittorica
nella danza della vita, StudioDFB,
Rome, (2021), Paesaggi di una materia
invisibile, Luca Tommasi Arte Contemporanea,
Milan, (2020); Tutundjian/Di
Fabio, Fondazione Bullukian, Lione,
Visto da qui_Alberto Di Fabio Galleria
Umberto Di Marino, Naples, (2019);
Alberto Di Fabio, Scuderie Ducali di
Palazzo Acquaviva, Atri, (2018); Oltre
ragionevole dubbio, Reale Accademia
Di Spagna, Rome, (2017); Cosmic
Gate, Palazzo dei Diamanti, Castello
Sforzesco, Porta degli Angeli, Ferrara,
(2016); CosmicaMente, Macro, Museo
d’Arte Contemporanea di Roma,
Rome, (2016); GeograficaMente, Museo
d’Arte Moderna e Contemporanea
di Trento e Rovereto, Rovereto,
(2015); Dialogues, Estorick Collection
of modern italian art, London, (2013);
Realtà Parallele, Galleria Nazionale
d’Arte Moderna, Rome (2012); Alberto
Di Fabio, Gagosian Gallery, Athens;
Gardens of the Mind, Galleria Umberto
Di Marino, Naples, (2011); Alberto Di
Fabio, Gagosian Gallery, New York,
(2010).
1978, Silandro
He graduated from the Akademie der
Künste München and Accademia di
Belle Arti Bologna in 2004.
Subtle and nuanced, the art of Michael
Fliri exists on the thresholds between
performance, sculpture, photography
and video. In his practice, which
cannot be subsumed under any single
heading, he investigates concepts
such as metamorphosis, mutation and
disguise: the protagonists in his work
– often Fliri himself – time and again
undergo a process of transformation.
Fliri’s actions allow for the construction
of suspended reality, images so
dense and poetic, so enigmatic and
dreamy, account for the continuous
and mutable flux to which everything
is inevitably drawn, but first of all, they
reach each one for us in our personal
wish of metamorphosis.
Recent solo exhibitions include:
Michael Fliri: Project room, Galerie
Italienne, Paris, (2022); La luz nunca
ve una sombra, Istituto Italiano di
Cultura, Madrid, (2021); Michael Fliri-
AniManiMism, Galleria Raffaella
Cortese, Milan; Michael Fliri. The
light never sees a shadow, RLB Atelier
Lienz, (2018); Replace me as the
substitute, De Garage-Cultuurcentrum
Mechelen; Come out and play with
me (performance), Centro per l’arte
contemporanea Luigi Pecci, Prato,
(2017); Becomings, Wendy Norris, San
Francisco, (2016); Where do I end and
the world begins, Zeppelin Museum,
Friedrichshafen (2015); Meteorite in
Giardino 7, Fondazione Merz (2014).
Recent groups shows include: The
Circus We Are!, Belgian Gallery,
Namur, (2022); VITA NOVA. Arte in
Italia alla luce del nuovo millennio,
100 Artisti, 100 Opere, Villa d’Este,
Tivoli, (2021); Unlearning categories,
Museion, Bolzano; KOPFhoch, Kunst
Meran/Merano Arte, Meran; The Clown
Spirit, De Rossaert, Antwerp, (2020);
No New Idols, Sculpture Quadrennial
Riga, Riga Lettland, (2019); In Their
Eyes..., Museum of Modern and Contemporary
Art of Rijeka, Rijeka, The
Raft, Mu. ZEE, Belgium Art Triennial
Ostende, Avatar und Atavismus, Kunsthalle
Düsseldorf, Düsseldorf, (2017);
Contour7 - Biennial of Moving Image,
Mechelen, (2017); Il sosia - artists and
private collections, Mart - Museum of
modern and contemporary art, Trento
and Rovereto, (2015); Hors Pistes. Un
autre mouvement des images. Centre
Georges Pompidou, Paris, (2012).
1983, Trento
His theoretical and field research
unfolds in archival and museum
contexts, from which he draws inspiration
with the aim of enhancing
little-known heritages. His practice
develops at the intersection of visual
art and scientific disciplines, investigating
how the latter have used the
artistic medium to progress. Through
historical and archival research, he
attempts to deconstruct the binary
condition that separates deviance and
normality, reflecting on the normative
attributions of disease, marginalization
and categorization in contemporary
society. Fogarolli’s works stimulate
critical thinking on the relationship between
the mind and the brain, reflecting
on how the functional processes of
the latter interact with the subjective
ones of the mind, and investigating
how these acts of thought develop
into behaviours considered lawful or
prohibited.
His works have been exhibited at:
CCCB Centre de Cultura Contemporània
de Barcelona; Fundación
Telefónica in Madrid; MAMbo,
Museo d’Arte Moderna di Bologna,
(2022); Benetton Foundation in Treviso,
(2021); MAMM Multimedia Art
Museum a Mosca; GAM Galleria
di Arte Moderna di Torino; Fondazione
Gschwandner Reaktor in
Vienna; Löwenbraukunst Art Center
e schwarzescafé Luma Westbau in
Zurich; STATE Experience Science in
Berlin; MARe Museum of Contemporary
Art in Bucharest; Musée d’histoire
de la Médecine a Parigi, (2020); Musée
de Grenoble, (2019); Museo Palazzo
Fortuny di Venice; MAXXI, Museo nazionale
delle arti del XXI secolo, Rome;
Les Rencontres de la Photographie,
Arles, (2018); Galleria Civica Mart,
Trento, (2014-18); Haus der Kulturen
der Welt di Berlin; Gayté Lyrique di
Paris; Hunterian Museum di Glasgow,
(2017); 5th Moscow International Biennale,
(2016); de Appel arts centre
of Amsterdam; Foundation Museum
Miniscalchi Erizzo di Verona, (2015);
La Maison Rouge di Paris, (2014); Mart
- Museo di Arte Moderna e Contemporanea
di Rovereto,(2013); dOCUMENTA(
13), Kassel, (2012).
1983, New York
Lucas Foglia is an American photographer,
living in San Francisco. His
work is concerned mainly with documenting
people and their relationship
with nature, for which he has travelled
extensively making landscape photography
and portraiture.
Recent solo exhibitions include:
Human Nature, Photoclimat Biennale,
Place du Palais Royal, Paris, (2021);
Human Nature, Museum of Contemporary
Photography, Chicago, Illinois;
Human Nature, Headlands Center for
the Arts, Sausalito, California; Frontcountry,
The Nicolaysen Art Museum,
Casper, Wyoming; Human Nature,
Foam Fotografiemuseum Amsterdam,
Amsterdam, (2018); Human Nature,
Fredericks & Freiser Gallery, New York;
Micamera, Milan; Michael Hoppen
Contemporary, London, (2017); A
Natural Order, Baumwollspinnerei,
Hall 12, Leipzig; Jeonju International
Photography Festival, Jeonju, South
Korea, (2016); A Natural Order, Galerie
Le Lieu, Lorient; Kyotographie 2015,
Galerie du Jour Agnès B, Kyoto; Frontcountry,
Kunstmuseum Magdeburg,
Magdeburg, (2015).
Recent group exhibitions include:
Shifting Perspectives, Milwaukee
Art Museum, Milwaukee, Wisconsin;
Prison Nation, Davis Museum, Wellesley
College, Wellesley, Massachusetts;
A New Society, Centre Canadien d’Architecture,
Montreal, (2022); Devour
the Land, Harvard Art Museums,
Boston; Contemporary American Photography,
Jordan National Gallery,
Amman, Jordan; Object Lesson,
Philadelphia Photo Arts Center, Philadelphia;
Prix Pictet: Hope, Gallery
of Photography, Dublin; Shanghai
Centre of Photography, Shanghai,
(2021); What Does Democracy Look
Like?, Museum of Contemporary Photography,
Chicago; On Earth, Foam
Fotografiemuseum Amsterdam, Amsterdam,
(2020).
1978, Madrid
Fernando García-Dory is an artist and
agroecologist who lives and works
between Madrid and the northern
Spanish mountains. His work engages
with the relationship between culture
and nature, as manifested in multiple
contexts, from landscape and the
rural, to desires and expectations in
relation to identity, crisis, utopia and
social change. Interested in the harmonic
complexity of biological forms
and processes, his work addresses
connections and cooperation, from
microorganisms to social systems,
and from traditional art languages
such as drawing to collaborative
agroecological projects, actions, and
cooperatives.
Recent group exhibitions include: Roundtable:
Reports from New Sweden, Tensta
Museum, Stockholm, (2013); Confessions
of the Imperfect, Van Abbemuseum,
Eindhoven, (2014); Gwangju
Biennale, Gwangju, (2016); Designed
in California, SF MoMA, San Francisco,
(2018); SALTWATER: A Theory of
Thought Forms, 14th Istanbul Biennial,
Istanbul, (2015); Cosmopolis #2-RURALITÉ
COSMOPOLITE, Centre Pompidou,
Paris, (2019) and Lumbung,
documenta fifteen, Kassel, (2022).
He is also a coordinator of the Confederacy
of Villages, an international
exchange network connecting five art
spaces working with rural communities
across Europe.
1991, Bucarest
She completed her studies at the National
University of Arts in Bucharest
(Photography and Video Department)
after studying at the Chelsea College
of Art & Design in London (2009-2010)
and at the Royal Academy of Fine Arts
in Antwerp (2010-2011).
Based on a theoretical and literary perspective,
her works focus on the relationship
between the human body and
the environment and the redefinition
of this subject in a post-human key.
The mediating properties of the body
are rendered in several ways, projecting
a translation of the world driven
by affect, signalling its position as
an interface between self and reality.
Concepts of geological time and our
intense interrelation with our surroundings
compose an aesthetic of a primal
contemporary togetherness in an organic
and biological techno-sphere.
Recent solo exhibitions include: Relics.
Quarries. Reliquaries, Peles Empire,
Berlin, (2022); Waterlily Jaguar,
SpazioA, Pistoia, (2021); Corporealle,
Künstlerhaus Bremen, Bremen;
Acumen, Porcino, ChertLüdde, Berlin,
(2019); An animal that was once
thought to be a plant that transformed
into stone, SpazioA, Pistoia, (2018).
Recent group show include: Plant
Kingdom, Budapest Gallery, Budapest;
Aliens are temporary, Kunstraum
Kreuzberg/Bethanien, Berlin, (2022);
How to Be Together, Art Encounters
Biennial 2021, Art Encounters
Foundation, Timișoara; You Sit in a
Garden, curated by Chris Andrews,
Centre CLARK, Montréal; Critical Distance,
Centre for Curators (CDCC)
Toronto, (2021); Peles Empire, Berlin;
Olev Subbi: Landscape From the
End of Times, Tallinn Art Hall, Tallinn,
(2020); The invisible inhale of an oceanic
carbon breath, Etopia Centro
de Arte y Tecnología, Zaragoza; Mutagenèse,
Maison R&C, Marseille,
(2019); Manufacturing Nature/Naturalizing
The synthetic, Frac des Pays de
la Loire, Carquefou; 10 Years of Love,
SpazioA, Pistoia, (2018).
1986, Bonn
Zora Kreuzer is a light artist based in
Berlin, who explores the space with
its specific architecture and lighting.
She interacts with these conditions
and creates expansive site-specific
interventions of light and colour,
altering the perception of the space
and blurring the line between art and
architecture.
Her work has been shown in various
solo and group exhibitions nationally
and internationally, including Klocker
Museum, Hall in Tirol; PEAC Museum,
Freiburg; Kunsthalle Nürnberg; Rocket
Gallery, London; Kunst Meran, Meran;
Museum Gegenstandsfreier Kunst, Otterndorf;
Fremantle Biennale; Museum
de Lakenhal, Leiden; Perth Institute of
Contemporary Arts and Museum für
Konkrete Kunst Ingolstadt.
Kreuzer was awarded various prizes
and scholarships, including the Marianne-
Defet-Painting-Scholarship
(2024), Stiftung Kunstfonds(2023) and
the Kalinowski Prize (2022).
1983, West Miami
Bianca Lee Vasquez, of Cuban and Ecuadorian origins, lives and works in Paris.
Her multi-disciplinary approach cuts across performance, photography, video, sculpture and
performative installation to reveal contemplative interactions between the body and the natural
world. Vasquez approa- ches photography auto-didactically, furthering the honesty and
explorative quality in each image. Her process is
a series of casual interpretations linking harmony and the divine with the body and earth. Her
work process is a sort of ritual practice that seeks to weave webs between the relevance of
these recovered experiences and modern society. In the transference of composing her
installations or interventions she re-establishes a visual, sensorial link that harkens back
to our primordial instinct.
Her works were exhibited in many venues such as Palais de Tokyo, Paris; Z42 Arte, Rio de
Janeiro; Carré Latin Festival, Jardins du Palais Royal, Paris; Instituto Valenciano de Arte
Moderno, Valencia; Musée National Eugène-Delacroix, Paris.
1972, Alessandria
Marzia Migliora is an artist based in Turin. In her practice she creates works that elevate even
the simplest human activities to moments that narrate excerpts of collective history. Recurring
themes in her work are memory as a means of articulating the present and the analysis of
labor as an affirmation of participation in the social sphere. In thirty years of work, the
artist has also chronicled the dynamics that led to capitalist paradoxes of industrial
production as an extractive and divisive phenomenon for communities.
In more recent years her works
have embraced a multispecies perspective, including that of both animals and plants,
contributing to new and necessary insights in times of global climate crisis.
Institutions that have
exhibited Marzia Migliora’s work include: Tai Kwun Contemporary, Hong Kong; MAO, Museo d’arte
Orientale, Turin; Radius Center for Contemporary Art and Ecology, Delft; Dhaka Art Summit,
Dhaka; Museo delle Civiltà, Rome; Museo d’Arte Contemporanea del Castello di Rivoli, Rivoli,
Turin; Fondazione Prada, Milan; Fondazione Merz, Turin; MART - Museo d’arte moderna e
contemporanea di Trento e Rovereto; MA*GA, Museo arte Gallarate, Gallarate; Museo Nacional
Centro de Arte Reina Sofia, Madrid; Padiglione Italia, 56a Esposizione Internazionale d’Arte,
Venice; Museo del Novecento, Milan; Fondazione Sandretto Re Rebaudengo, Turin; MAMbo, Museo
d’Arte Moderna di Bologna, Bologna; FACT, Foundation for Art and Creative Technology, Liverpool;
Ca’ Rezzonico, Venice; Museo Maxxi, Museo nazionale delle arti del XXI secolo, Rome;
OGR Officine Grandi Riparazioni, Turin; Carré d’Art, Nîmes; Serlachius Museum, Mänttä; Le
MAGASIN Centre National d’Art Contemporain, Grenoble. The artist won two editions of the
Italian Councils in 2009 and 2023.
1991, Ravenna
She studied at the IUAV of Venice
and at the Université Paris 8 – Saint
Denis. In her research she focuses on
matter and its vital changes, physical
and metaphorical terrain of union and
exchange. To tackle the substance of
things she employs a close-up and
timeless gaze, bringing to light apparently
distant elements not perceivable
to our senses in a normal state. The
work becomes a changing and varying
device for implementing reversals between
subject and frame, centre and
edge, and for giving rise to a multitude
of different fluid and subjective
images.
She teaches at the Accademia di
Belle Arti of Florence and travels for
artistic residencies, among which the
Fundaciòn BilbaoArte (SP), in collaboration
with the Fondazione Bevilacqua
La Masa of Venice.
She won the research grant of Italian
Council (2023) and participated in
Una Boccata d’Arte 2024, a project
of the Fondazione Elpis and Galleria
Continua.
She has shown her work in solo and
group exhibitions, such as That’s IT!,
MAMbo – Museo d’Arte Moderna,
Bologna; Eyes on Tomorrow, Istituto
Italiano di Cultura of Stockholm;
Caterina Morigi. Honesty of Matter,
Villa Della Regina - Polo Museale del
Piemonte and Mucho Mas! Artist-run
Space, Turin; TRE-DI-CI Sguardi sui
Musei di Lombardia, Palazzo Reale,
Milan; Possibile – Giovane Fotografia
Italiana, Fotografia Europea, Reggio
Emilia; Pedagogia dello Sguardo, MAR
- Museo d’Arte della Città di Ravenna;
and in: Fondazione Archivio Casa
Morra, Naples; Art Rotterdam, Video
Sound Art Festival, Milan, and other
Italian and European cities.
1976, Ostra Vetere
Academy of Fine Arts in 2003. His
practice explores the close relationship,
and the resulting paradoxes,
between architectural and environmental
contexts with social realities,
historical contexts and current events.
As an interdisciplinary practice, Nacciarriti’s
work results in site-specific
installations, improvised and responsive
actions, performances, sculptures,
drawings, and photography.
Recent solo exhibitions include: 00 00
00 00 00 [Essex Retail Street Market],
Old Building of Essex Street Retail
Market, New York; Crystallize #003
[Edaphic Shape], Palazzo Ducale,
Urbino, (2019); NATURA MORTA
- dimensions variable #0004, Raw
Zone ArtVerona, Verona, (2017); You
Might Get Breathless ISCP, New York;
NATURA MORTA – dimensions variable,
Kunsthalle Eurocenter, Lana,
(2015); And The Ship Sails On, Centro
Arti Visive, Fondazione Pescheria,
Pesaro, (2013), No One Knew What
Anyone Else Was Doing…, CAB, Grenoble,
(2011); Less Than Air Showroom
Elica, at the 49° edition Salone
Internazionale del Mobile, Milan,
(2010); Crystallize, Franco Soffiantino
Gallery, Turin (2010).
Recent group shows include: Bien-
Nolo, Milan (2021); Andrea Nacciarriti
/ Andrea Galvani - EX3 Fondazione
Golinelli, Bologna, (2019); Back To
The Land, Studio La Città Gallery,
Verona, (2016); Sextant Nurtureart,
New York, (2015); NEON (who’s afraid
of red, yellow and blue?), La Maison
Rouge, Paris, (2012); Sculpture Park
Regent’s Park, London, (2009); UNTITLED
(seventeen young artists), Ex
Faema, Milan, (2005).
1984, Varese
Vera Portatadino is an artist based in
Milan. She studied Visual Arts at NABA
in Milan and holds a Postgraduate Diploma
and Master’s degree in Fine Art
from the College of Art and Design in
London.
She won the Treviglio Prize in 2018 and
has participated in several art residencies,
in Italy and abroad. Her work is
part of private and public collections
such as the permanent collection of
the Mart - Museo d’arte moderna e
contemporanea of Trento and Rovereto
and the collection of the “Ernesto
and Teresa della Torre” museum in
Treviglio.
Among the most recent exhibitions:
Pittura Italiana, Triennale di Milano
(2023); Se il paesaggio è simbolico,
Boccanera Gallery, Milan (2023);
Something Filled Up My Heart with
Nothing, Otto Gallery, Bologna (2022);
PUPILLE, Ci fioriscono gli occhi se
ci guardiamo, Casa Masaccio, San
Giovanni Valdarno (2022); Botticelli.
His Time. And Our Time, Mart, Rovereto
(2021); Tetraedo, Otto Gallery, Bologna
(2021); Picture Palace, Transition
Gallery, London (2020); Anima Alzati
Apriti, Premio Treviglio (2019); Forme
Uniche nella Continuità dello Spazio,
Galleria Rizzuto, Palermo (2019);
Premio Lissone 2018, Museo MAC
of Lissone (2018); Supersymmetry,
Strizzi, Cologne (2018).
In 2014 she founded Yellow (www.
yellowyellow.org) an independent
research project and artist-run space
aimed at the study and exhibition of
emerging Italian and international
painting.
With Yellow, she has involved about
seventy artists and a dozen curators,
generating about thirty exhibitions and
three publications, and establishing
relationships with other international
independent and nonprofit organizations.
1950, Berne
George steinmann is a visual artist and
musician.
He studied Painting at Hochschule für
Gestaltung Basel and painting, Afro-American History (with Angela Davis)
and Native American History (with
Carol Lee Sanchez) at the San Francisco
Art Institute. His artistic practice
is research oriented and involves fieldwork
where he investigates Climate
Change, Biodiversity and the Ecologies
of Forests and Water. A special
focus is on the interconnectedness
of Art, Science and Indigenous people’s
knowledge. Among the transdisciplinary
projects and multimedia
exhibitions in museums, galleries and
off-spaces since 1979: Art Museum
Solothurn; Museum Caspar Wolf,
Muri (2022); Run Run Shaw, Creative
Media Centre, City University of Hong-Kong; Kunsthaus Interlaken (2021);
Parrish Art Museum New York; Kunsthalle
Appenzell 2020; Riverside Art
Museum, Beijing (2019); Museum De
Domijnen, Sittard; COP23 UN Climate
Change Conference, Bonn (2017); Art
Museum Krefeld - Haus Esters (2016);
Taxispalais, Innsbruck; COP21 UN
Climate Change Conference, Paris
(2015); Art Museum, Thun (2014);
Helmhaus, Zürich (2007); Contemporary
Arts Centre, Cincinnati (2002);
Art Gallery of Ontario, Toronto (1997);
Museum of Contemporary Art, Helsinki (1996); Winnipeg Art Gallery,
Winnipeg (1993); Pori Art Museum,
Tokyo (1989).
Since 1966 also performing as musician.
Concerts (incl. Documenta 7
Kassel), festivals and tours with own
Band and Afro-American artists such
as Mike Henderson, Kathy Webster,
Margie Evans and Grammy Award
Winner Johnny Copeland.
1994, Gothenburg
Peter Stridsberg graduated from the
Umeå Academy of Fine Arts in 2019.
With his practice he explores and
expands the borderland between
personal dimension, nature and
staged photography. He reflects on
our own notions of what is expected
of a landscape or scenery but also
what is experienced or interpreted
in our storytelling culture today. Storytelling
tradition is deeply rooted in
our cultural world, and he has long
been fascinated by how its positioning
and values have been the basis
for our approach to depicting nature
motifs that are passed on.
Recent solo exhibitions include: Forecast,
Klippan Art Gallery, Klippan;
Staying in front of new landspaces,
Kumla Art Gallery, Kumla, (2022);
The border between nature and the
scene, Reykjavik Museum of Photography,
Reykjavik; As I remember
our meeting on meadow, Rotundan
Art Gallery, (2020); Three scenes,
Mimers Konsthall, Kungälv; Plant
where you stand, Alva Hospital Gallery,
Umeå; My way home through the
edge of the sky, Gallery Gerlesborg,
Bohuslän, (2019); The space between
you and me, Gothenburg Art Association
gallery and Teatergallery, Kalmar,
(2018).
Recent groups shows include: Gaze,
Umea Art Gallery, Umeå, (2022); La
Lumiére du nord, Bendana-Pinel Art
Contemporain, Paris, (2021), Meanwhile,
Bildmuseet, Umea, (2018);
Dageu Photo Biennale, South Korea
(2016).