Investec Cape Town

Levi van Veluw was born in the Dutch town of Hoevelaken in 1985 and studied at the ArtEZ Institute of the Arts in Arnhem. He lives and works in Amsterdam. Since graduating in 2007, he has produced multi- disciplinary works that spans scenographic installations, photographs, videos, sculptures and drawings. Van Veluw bases his practice around the idea of an alternate reality, creating a visual laboratory where both order and chaos are present. The artist has extensively investigated the relativity of matter and draws on scientific theories and physics to approach various existential dilemmas. His dark and sensory installations encourage the viewer to reflect on the development of a new knowledge, stemming from the desire for a regulated universe, while acknowledging the rational impossibility of total control. Among his personal recent exhibitions we remind: Videocittà Rome, Italy (2021); Eduardo Secci, Florence, Italy (2020); Rijksmuseum Twenthe, Enschede,The Netherlands (2020); Praz-Delavallade, Paris (2020); Het HEM, Zaandam, The Netherlands (2020); Tenuta Dello Scompiglio, Lucca, Italy (2019); Domaine de Kerguéhennec, Bignan, France (2018); La Galerie Particulière, Paris (2017); Galerie Ron Mandos, Amsterdam (2019); Rosenfeld Porcini Gallery, London (2016). Among group shows we remind: Museo Kranenburgh, Bergen, The Netherlands (2017); labellisée Normandie Impressonniste, Jumièges, France (2016); Museum de Fundatie, Zwolle, the Netherlands (2016); Maddox Arts, London (2015). Van Veluw’s works have also been widely shown at international art fairs such as Zona Maco (2018); The Armory Show, New York (2017); Art Brussels (2016); Chicago Art Fair (2016); Volta Basel (2012) and the Barcelona Loop Fair Barcelona (2014). The work of Levi Veluw has been exhibited internationally in leading museums and institutions, and is included in both public and private collections, including the Borusan Contemporary Collection, Caldic Collection, Ekard Collection and KPMG Art Collection.

Born in Brescia in 1958, he lives and works in Brescia.

Intellectual artist with training ranging from philosophy to anthropology has developed a research that has at its center the problem of the image understood as a potential place of concentration, migration, and alteration of visual memory, declined into works that develop into distinct cycles and experience different materials and techniques to continue to deepen and return to the public an infinite potential of suggestions and iconic references that sink into the dynamics of time and history and range in geographies even distant.

n this composite atlas of images, the Drawings and Tapestries, the Mirrors and the cycle of O, monochrome gold, the Nocturnes, the Pinwheels, and the Lux Drawing highlight the cruciality of thought that is behind the artistic process and bring back to the center of reflection the imaginary principle of doing.  The creative act doesn’t end with the return of the work to the world but continues in the reciprocity between this and the viewer, in a making and discarding the image as a seductive device.

These aspects have led many scholars, intellectuals and critics to deal with the work of Donzelli over the years, in exhibitions such as: Immaginale, Galleria Massimo Minini, Brescia e L’insieme vuoto, Marignana Arte, Venezia, both in 2022; In Nuce, Museo Civico Medievale, Bologna, for ARTCITY 2021; Metamorphosis, Villa Olmo, Como, 2021; Thresholds, MAC-Museo di Arte Contemporanea, Lissone, 2020; Diorama, Open Source First Shenzhen Biennale, Luohu Art Museum, Shenzhen, China, 2018; Giardini Cosmici, bipersonal with Aldo Grazzi, Palazzo Ducale, Mantua, 2017; Ad Altemps, Nazionale Romano di Palazzo Altemps, Rome, 2015; Metamorfosi, Palazzo Fortuny, Venice, 2012.

The collectives: a political project born from his idea and linked to the position of art in the two years of the pandemic, GestoZero, traveling to the Museo Santa Giulia, Brescia, Museo del Violino, Cremona, Ex Chiesa di Santa Maria Maddalena, Bergamo, 2020-2021; Intuition, Palazzo Fortuny, Venice, 2017 and Proportio, Palazzo Fortuny, Venice, 2015.

The artist translated his thought also through teaching, teaching for seven years “Theory of Perception” and “Psychology of Form” at the NABA Academy in Brescia.

Over the years, theoretical reflection has been the subject of several publications, including: Spettacolo di Niente, 2003, Mazzotta, printed on the occasion of its homonymous exhibition at the Calcografia Nazionale di Roma; Lo Sguardo Del Disegnatore, editions l’Obliquo 2002; Metamorfosi, Mousse publishing 2012; Diramante, Bandecchi and Vitali Firenze 2015; La Linea Del Tutto Mousse publishing 2016.

Among others: Peter Assmann, Ilaria Bignotti, Bartholomew F. Bland, Paolo Bolpagni, Vito Calabretta, Daniele Capra, Luca Cerizza, Alberto Dambruoso, Daniela Ferretti, Luigi Ficacci, Angela Madesani, Massimo Minini, Mauro Panzera, Roberto Pinto, Francesco Poli, Francesco Tedeschi, Clarissa Tempestini, Valerio Terraroli, Tommaso Trini, Gabriele Salvaterra, Andrea Viliani, Mauro Zanchi.

Maurizio Donzelli’s works are housed in numerous public and private collections both in Italy and abroad.

Michael Staniak was born in Melbourne in 1982 where he currently lives and works.

He obtained a BFA and a MFA from the Victorian College of the Arts, Melbourne, as well as a BA in Digital Media Communications from the Middle Tennessee State University.

Staniak was the protagonist of personal exhibitions at the Eduardo Secci Gallery, Florence (2018); Steve Turner Contemporary, Los Angeles (2017); Museum of Contemporary Art in St. Louis, St. Louis (2015); Annarunna Gallery, Naples (2015); Artereal Gallery, Sydney (2014).

Among the group exhibitions we mention the exhibitions at the galleries: Steve Turner Contemporary, Los Angeles (2018); Eduardo Secci Contemporary, Mexico (2018); Homeostatis Pavilion, São Paulo, Brazil; The Journal Gallery, Brooklyn (2017); Gertrude Contemporary, Melbourne (2016); Blain Southern, Berlin (2015); The Moving Museum, Istanbul (2014); Kunsthalle Wien, Vienna (2014); Horton Gallery, New York (2013); Northern Territory Center for Contemporary Art, Melbourne (2012).

In 2017, the Contemporary Art Museum of St. Louis published a monograph of his work, titled IMG_, which was then reported in numerous publications, including Artforum, Flashart Italy, Vault, Australia and Leap Beijing.