Untitled Art

Richard Dupont was born in New York in 1968. He lives and works in New York.In the 90s he attended Princeton University, Departments of Visual Art, Art and Archeology.

Dupont’s multifaceted artistic practice includes installations, sculptures, drawings, reliefs, animations and prints. Dupont’s work draws from a variety of themes and references, and engages the Postdigital in relation to the history of sculpture and the Body art, Process art and Systems art movements of the 1960s and 1970s.

Richard Dupont’s work draws from a variety of themes and references, and has been described as “post-digital” and “post-internet”. His work references the Body art, Process art and Systems art movements of the 1960s and 1970s. However, he uses 3D digital models of bodies and objects rather than things themselves. Dupont had his body scanned at a General Dynamics facility on The Wright Patterson Air Force Base in 2004, and has been working from these images, translated into both two and three dimensions, since then. An interest in the implications of biometric technologies underpins much of his work. Interested in the way we scrutinize ourselves, Dupont sees his reproductions of the human figure as a way to highlight the idea of “self-surveillance,” and to note the way in which we map our lives through accumulating details.

Recent solo exhibitions include: Richard Dupont Show, ARC Fine Art LLC, New York (2021), Biometries, Heads and Islands, ARC Fine Art LLC, New York (2021), Solo project, Untitled Miami (2019), Fictions #1, Eduardo Secci Contemporary, Florence (2018); Tracy Williams, Ltd., New York (2015); Object Ritual (Offsite), Queens Museum at Bulova Corporate Center, New York (2014); Eduardo Secci Contemporary, Florence (2014); Tracy Williams, Ltd., New York (2013); Carolina Nitsch Project Room, New York (2011); Independent Project per The Armory Show, New York (2009); Lever House, New York (2008); Hudson Valley Center for Contemporary Art (HVCCA), Peekskill (2008); Tracy Williams, Ltd., New York (2007); Art Positions, Solo Project, Art Basel Miami, Miami (2005).

Recent group shows include: Planthouse Gallery, New York
(2017); Southampton Arts Center, Southampton, New York  (2017); Planthouse Gallery, New York(2016); The New York Academy of Art, New York (2015); Memorial Art Gallery, Rochester (2013); The Richard Massey Foundation for the Arts and Sciences, New York (2013); Carolina Nitsch Project Room, New York (2012): The Flag Art Foundation, New York (2010); Charest Weinberg Gallery, Miami (2010); International Print Center, New York (2009); New Prints Autumn 2007, International Print Center, New York (2008); Six Degrees of Separation, Stux Gallery, New York (2006); Center Gallery at FAU, Boca Raton (2004); Space 101, Brooklyn, New York (2003).

Theo Triantafyllidis (b. 1988, Athens, GR) is an artist who builds virtual spaces and the interfaces for the human body to inhabit them. He creates expansive worlds and complex systems where the virtual and the physical merge in uncanny, absurd and poetic ways. These are often manifested as performances, virtual and augmented reality experiences, games and interactive installations. He uses awkward interactions and precarious physics, to invite the audience to embody, engage with and challenge these other realities. Through the lens of monster theory, he investigates themes of isolation, sexuality and violence in their visceral extremities. He offers computational humor and AI improvisation as a response to the tech industry’s agenda. He tries to give back to the online and gaming communities that he considers both the inspiration and context for his work by remaining an active participant and contributor. He holds an MFA from UCLA, Design Media Arts and a Diploma of Architecture from the National Technical University of Athens. He has shown work in museums, including the Hammer Museum in LA and NRW Forum in Dusseldorf, DE and various galleries such as Meredith Rosen Gallery, the Breeder, Sargent’s Daughters and Young Projects. He was part of Hyper Pavilion in the 2017 Venice Biennale and the 2018 Athens Biennale: ANTI-. Theo Triantafyllidis is based in Los Angeles.

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.

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.

Kevin Francis Gray was born in Northern Ireland in 1972. He currently lives and works between London and Pietrasanta.

Kevin Francis Gray has generated bodies of work which address the complex relationship between abstraction and figuration. At the core of the artist’s practice is an interrogation of the intersection of traditional sculptural techniques and contemporary life. Rather than working towards ideals of beauty or memorial, Gray attends to the psychological effects, often relying on textural surfaces rather than facial or bodily expressions. Furthering Gray’s decade of working with marble, his new work pushes the possibilities of the artist’s sculptural practice into new territories of physical and psychological expression.

He received his BA from the National College of Art & Design in Dublin (1995) and the School of Art Institute in Chicago (1996), and then went on to earn an MA in Fine Art from the Goldsmiths College in London. He works closely with the Giannoni marble studio in Pietrasanta, renowned for its use of sculpting techniques that date back to Canova and Michelangelo. His works have been included in exhibitions at the Royal Academy, London, UK; Sudeley Castle, Winchcombe, Gloucestershire, UK; Museum of Contemporary Art of the Val de-Marne, Paris, France; Nieuw Dakota, Amsterdam; Palazzo Arti Napoli, Naples, Italy; Musee d’art Moderne, Saint-Etienne, France; ARTIUM, Centro-Museo Vasco de Arte Contemporáneo, Vitoria-Gasteiz, Spain; Tel Aviv Museum of Art, Tel Aviv, Israel; and Art Space, New York, USA.

Andrea Galvani was born in Italy in 1973. He lives and works between New York and Mexico City. Adopting a cross-disciplinary approach that often draws upon scientific methodology, Galvani’s conceptual research informs his use of photography, video, drawing, sculpture, sound, architectural installation, and performance. His work seems to heighten awareness, articulate and extend the limits of sensory perception. Investigating relationships between fragility and monumentality, temporality and continuity, visibility and invisibility, his projects are documents of interventions orchestrated on site. Modifying and distorting natural surroundings, Galvani transforms the environment into a laboratory for physical experiments, cerebral observation, and collective action.

Galvani has exhibited internationally, including at the Whitney Museum, New York; the 4th Moscow Biennial for Contemporary Art; the Mediations Biennial, Poznań, Poland; 9th Biennial of Contemporary Art of Nicaragua; Art in General, New York; Aperture Foundation, New York; The Calder Foundation, New York; Pavilion – Center for Contemporary Art and Culture, Bucharest; Mart Museum of Modern and Contemporary Art, Trento; Macro Museum, Rome; GAMeC, Bergamo; De Brakke Grond, Amsterdam; Den Frie Centre of Contemporary Art, Copenhagen; Sculpture Center, New York; among others. His work is part of major public and private collections in Europe, the Americas, Asia, and Africa, including: the Permanent Collection at the Dallas Museum of Art, Texas; Deutsche Bank Collection, London; Artist Pension Trust, New York; the Contemporary Art Society, Aspen Collection, New York; the UniCredit Art Collection, Milan; the Permanent Collection of the United States Library of Congress, Prints and Photographs Division, Washington, DC; the Mart Museum of Modern and Contemporary Art of Trento and Rovereto; the 500 Capp Street Foundation, San Francisco; MAXXI National Museum of XXI Century Arts, Rome; The Armory Show, New York and MACRO Testaccio, Rome.  He was a visiting artist at New York University, and has completed several artist residencies in New York, including Location One International Artist Residency Program, the LMCC Lower Manhattan Cultural Council, and the MIA Artist Space Program/Columbia University School of the Arts. In 2011, he received the New York Exposure Prize and was nominated for the Deutsche Börse Photography Prize. In 2016, the Mart Museum of Modern and Contemporary Art of Trento and Rovereto presented Galvani’s first mid-career retrospective in Europe. In 2017, his work was selected to represent the Deutsche Bank Collection at Frieze New York. In 2019, he was awarded the prestigious Audemars Piguet Prize.

Gerold Miller born in 1961, in Altshausen (Germany), he lives and works in Berlin.

Miller studied from 1984 to 1989 sculpture at the Academy of Fine Arts in Stuttgart with Jürgen Brodwolf. From 1989 to 1992 he received a scholarship from the state of Baden-Württemberg, in the following years he received other scholarships in Paris, Poznań and Sydney.

Miller’s aluminum walls and glossy paintwork represent an exploration of a pictorial presentation in the space between painting and sculpture. His interest lies in the thin lines in which the three-dimensional object becomes a two-dimensional surface and where objectivity is transformed into abstraction. In the Total Object series, Gerold Miller studied the connections between minimalism, pop art and design. His works oscillate between being “objects” and being “tableaux”; between abstract and reality. The monochromatic void is transformed into the protagonist, representing everything and nothing, while the interaction between matt and glossy lacquer or contrasting color gives rise to a virtual space behind the image plane. His works, consisting of highly reflective two-dimensional panels and covered with layers of industrial glaze, can be defined as wall sculptures or architecturally reactive works. His work is exhibited and appreciated at museums worldwide. He had solo shows, among others, at the the Walter Storms Galerie, München/Munich (2018); Galerie Mehdi Chouakri, Berlin (2017); Galería Casado Santapau, Madrid (2016); Galerie Nikolaus Ruzicska Salzburg (2015); Mies van der Rohe Haus in Berlin (2014); at the Museum gegenstandsfreier Kunst, in Otterndorf, Germany (2010); at the CAN, in Neuchâtel, Switzerland (2006); at the Kunsthalle Vierseithof, Luckenwalde, Germany (2003), his outdoor installation was unveiled at the Daimler Maybach Headquarters in Stuttgart, Germany (2003); Miller was a subject of a major solo exhibition at the Nationalgalerie im Hamburger Bahnhof, Museum fűr Gegenwart, Berlin, Germany (2002); at the Städtisches Kunstmuseum, Singen, Germany (2001); at the CCNOA – Center for Contemporary Non-Objective Art, Bruxelles, Belgium (2001); at the Artspace, Visual Arts Centre, in Sydney, Australia (1999); at the Städtische Galerie Altes Theater, in Ravensburg, Germany (1997); at the Städtische Galerie im Kornhaus, Kirchheim/Teck, Germany (1993).

He also recently participated in several group exhibitions in many international museums, among which we can remember: Kunstmuseum Singen, Singen, Germaniy (2018); Aldo Chaparro Studio, Mexico City (2018); the Kunstmuseum Bremerhaven, Germany (2017), the MASILugano Museo d‘arte della Svizzera italiana, Lugano, Switzerland (2017); Museum Ritter, Waldenbuch, Germany (2017); Louisiana Museum of Modern Art, Humlebæk, Denmark (2016); the Städtisches Kunstmuseum, Singen, Germany (2014).

The work of Gerold Miller is represented in collections all over the world, among which we mention: Louisiana Museum of Modern Art, Humlebaek; Kunstmuseum Stuttgart, Stuttgart; NOMA New Orleans Museum of Art, New Orleans; Société Générale, Paris; Bundesministerium für Kunst, Vienna/Wien; Mallorca Art Foundation, Mallorca; Rozenblum Foundation, Buenos Aires.