ZONAMACO

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.

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.

Jon Kessler is a mixed media artist known for kinetic sculptures that expose their mechanics to the viewer. These sculptures are often amalgams of analogical and digital technology that have political implications. He received a B.F.A. from the State University of New York at Purchase in 1980 and completed The Independent Study Studio Program at The Whitney Museum of American Art in the same year. Kessler has been a professor at the Columbia University School of the Arts since 1994. More recently, he has focused on developing immersive installation pieces. Jon Kessler began exhibiting works in the early 1980s in the form of shadow boxes attached to the wall. Objects found and manufactured, illuminated and mechanized, creating scenarios, both abstract and figurative. The artist deliberately left the sides open to expose the mechanisms: a simple shift in the position of the viewer revealed the inner workings “behind the scenes”. The sculptures of the 1990s have become larger with higher production values. After September 11, the artist claims to be obsessed

from the image of what terrorists saw from the cockpit before the impact, so he decided to recreate it using a surveillance camera. Since then, his work has become more political. However, the rawness and immediacy of the current work incorporates a playfulness reminiscent of the sculptures made in the 1980s. The mechanisms are visible with little or no attempt to “finish” the pieces: once the sculptures work, they leave them in the form of a prototype with the clamps and tape needed to keep them assembled.

Since 2004, she has created life-size video installations that occupy space. These installations involve the viewers, transforming them into reconnaissance objects and guarded objects: this creates a symbiotic relationship between the camera and the viewer, who continues within it as a viewer and performer, voyeur and exhibitionist.

His interest in what happens between the viewer and the artistic object has remained consistent. Kessler’s work continues to play consciously in that arena, controlling the experience of the viewer of the piece, while also offering a glimpse of the mechanism of that manipulation.

Recent solo exhibited included: Century Pictures, New York (2017); Jon Kessler’s Gifts, Salon 94, Freemans Alley, New York (2015); The Web, Swiss Institute, New York (2013); Ethan Cohen Fine Arts, Beacon, New York (2012). Kessler has participated in a group shows at ICA Boston (2018); Palais de Tokyo, Paris (2018); Whitney Museum of American Art, New York (2017); Carnegie Museum of Art, Pittsburgh (2017); Wellin Museum of Art, Hamilton (2016); Gerald Peters Gallery, New York (2016); MOSTYN, Wales (2015); Red Bull Studios, New York (2014); Museum Tinguely, Basel, Switzerland (2013); MACRO, Rome (2011); Park Avenue Armory, New York (2008); Whitney Museum of Art, New York (2005); Ethan Cohen Fine Arts, New York (2004); Bronx Museum, New York (2003); CRP Gallery, Brooklyn (2000); Galleri K, Oslo (1999). Kessler’s work is now in the permanent collections of The Museum of Modern Art, The Whitney Museum of American Art, Walker Art Center, and the Museum of Contemporary Art in Los Angeles.

Terry Haggerty translates natural forms, man-made objects, and ambiguous shapes into engaging line compositions that oscillate between flat and dimensional space using simple two-color combinations, as well as multi-colored line arrangements painted on shaped wood panels and fabricated metal. Using a simple curved line motif, Haggerty stretches the picture plane beyond view with running parallel lines that bend from sight to define both visible and invisible space. Within the confines of an outlined shape, multiple angles of a form, seemingly contradictory, are viewed from a single viewpoint. The focus of perception gradually shifts towards the visual qualities of the painted object. The viewer is drawn to their flatness and technically-consummate surface finish that gives the appearance of quasi-mechanical perfection. There’s no build-up of paint on paint to be seen; we are left with a non-reflective surface that leaves no history of its making, preserved in an encased varnished shell.
Terry Haggerty was born in London, England and studied at the Cheltenham School of Art, Gloucestershire. His work has been exhibited widely in galleries and museums around the world, including solo presentations at the Norton Museum of Art, West palm Beach, FL; Modern Art Museum of Fort Worth; and Hammer Museum, Los Angeles. He is the recipient of several awards including the FOR-SITE Foundation Award (2009), John Anson Kittredge Award (2003), and the NatWest Art Prize (1999). Commissions include wall drawings for AT&T Stadium in Dallas, Munich Re in London, Roche Diagnostics in Indianapolis and corporate and private collections around the world.
 

Tim Plamper was born in Bergisch Gladbach, Germany in 1982. He currently lives and works in Berlin. He studied Fine Arts at the Stuttgart State Academy of Art and Design with Alexander Roob and then, from 2003 – 2009, at the University of East London with John Smith.

Drawing represents Tim Plamper’s artistic focus and conceptual basis. On the basis of mainly representational drawings, in recent years he has come closer and closer to a more open and broad form of this art; hence drawing not only as a form of expression and depiction, but more and more comprehensively as a way to materialize feeling and thinking directly. For the artist, it is fundamental that the immanent mode of thinking about structures with the means of drawing also structurally determines the works produced alongside. In his artistic practice, he is particularly interested in the border zones and overlapping areas of different media fields and their mutual fertilization. The artist sees drawing as the connecting core competence, which forms the tool to act closer to the world and make a meaningful contribution directly to the material. Thus, drawing is not to be understood as the mere result of any thought process, but rather has the potential to be a form of cognition itself and at the same time its image. In his practice, his own body always plays an important role, and not only because drawing is, in fact, namely based directly on the subjective actions of the artist, but also because the motifs of his works are largely drawn from an inner, erotically charged pictorial world, one in which remembering, desiring and mysteriousness flow into one another.

His works have been exhibited widely in both Germany and abroad. Among his recent exhibitions, we recall: Exit II (Prolog) (2019), Megamelange, Cologne; Reflection is a Wall (2019), Unttld Contemporary, Vienna; Not dark yet (2018), Kunsthaus Muerz, Muerzzuschlag, Austria; Zone (2017), Suzanne Tarasieve, Paris; L’œil du collectionneur (2016), Museum of Modern & Contemporary Art Strasbourg; Atlas (2016), Unttld Contemporary, Vienna; Hausbesetzung (2014), Nassauischer Kunstverein, Wiesbaden.

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.