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  • . Maguy Banq
    Maguy Banq was born in 1954, in Marseillan, South of France. She graduated
    from the School of Fine Arts of Mexico in 1992. She shares her life between
    France and Mexico and exhibits regularly in these two countries.
     
    Fed to the classic techniques, Maguy Banq allies the work of the bronze to materials
    and forms of the minimalist art. Because the work lies itself in the association of its
    pure, geometrical, multiplied forms where her bronze work, as a way of cross, takes
    back the stages of the human condition. She is interested from the beginning of her
    researches in the "cycle of the absurd ", eternal resumption, symbolized in her works
    by the myth of Sisyphus. She experiences and expresses labour, absolute quest towards
    an ecstatic and calmed plenitude, which as for Albert Camus would tighten towards an
    "happy men".
  • . Manuèle Bernardi

    Manuèle Bernardi, was born in 1959 in Saint-Tropez, France. She lives and works in Roussilon, France. 

    After studies to the Academy Roederer and to Beaux-Arts de Paris, she becomes a decorator and a

    wardrobe master then an illustrator, before choosing to express herself by the painting and finally,

    the sculpture. 

    This visual artist explores the feminine representation in what it has of links
    in its ecosystem. She makes perceptible invisible emotion of two beings which connect,

    the alchemy of a group which moves towards a common destination. Her sculptures, Callipygia,

    in feet anchored well in the reality, rise unconditionally towards the other one, the waves pass.

    In her installations, the fragile material , of paper, plastic, seeds, ..., is strengthened by invisible

    threads, Manuèle studies the flora and fauna as the source of an inspiration for a common life

    where the link makes rampart, sets up itself as protective shield of a materialistic everyday life.

    If the installations of Manuèle Bernardi have a high poetic density, they contain in their heart a

    disturbing fragility. Attached to nylon threads, these little things icker happily on themselves,

    unaware of their meaning. Individually they are only the traces of a past life, of a manslaughter,

    together they reform a quivering ecosystem that seeks to protect its center. A new constellation

    around a visible or concealed star that brings back a form of life. The allegory does not stop there,

    Manuèle protects her installations of a sheet of transparent plexiglass which is reminiscent of the

    ozone layer. 

  • . Benjamin Bichard

    Benjamin Bichard was born in Nice, France, in 1982. He’s graduated from the famous Villa Arson in 2010.

    After his studies he lived few years in Paris and was selected by the 57th Montrouge Salon for the young

    creation where he was discovered by Geraldine Banier gallery. In 2014 he came back to his native city,

    He still lives and works at Nice today.

    He has chosen everyday objects, assimilated to our consumption, to realize them into new forms by

    accumulation, assembly, twisting and cutting. His modular objects reveal the aesthetic power of

    these invisible actors of our everyday life. 

  • . Joachim Biehler
    Joachim Biehler was born in 1981 in Strasbourg. He received the National Superior Diploma
    of Expression of Plastic Arts (DNSEP) of the Superior School of Art of Perpignan.
    57th Salon of Montrouge.
     
    Familiar with the contemporary art milieu, he knows any of its subtleties or references, and enjoys
    twisting them with humor. Most of his works play an attraction-repulsion game. In the “like project”,
    one of his first series, Joachim substituted his face from contemporary art icons’ ones, such as ORLAN
    or Jeff Koons. The photomontage, a bit disturbing, makes us smile and wonder about the young
    generation’s place in this well-organized star-system.
    “Big sugar vanity” is also based on an ambivalent process: candies appeal and disgust us at the
    same time, placing us in direct confrontation with the vanity symbol. As a consequence, we connect
    sugar with our annihilating, blinded, consuming, warrior society.
    This work rests on a system of paradoxes. Through candies, Joachim captures a part of our senses: sight,
    sense of smell, taste. Our emotions are torn by the artist’s use of a material which deeply reminds us of
    childhood and feelings of immediate affection. Vanity reveals itself as a metaphor of today’s society, where
    the human being, often unconscious, sinks into warrior madness. With humor, poesy and irony,
    Joachim Biehler calls for a return to feelings.
  • . Samuel di Blasi
    Born in Alba, Italie, in 1975. He lives and works between Alba and Pietrasanta.
     
    Samuel di Blasi graduated in sculpture at the Academy of Fine Arts in Turin where
    he started to work. 
    In 2000 he was in London, where he perfected his artistic language in the studio of
    Noriaki Maeda. His monumental works describe the link between man and nature.
    The artist idealizes the two universes by freezing them: this still image creates
    metaphysical worlds linked to dreams. «I like to represent water using fire, because
    they are two opposite elements, opposite, but both alive. I use photography to stop
    the suggestion that I see and the beauty that will lead me to
    the realization of the work. I grew up through photography and the super-eight,
    made first by my grand-father and then by my father».
    Samuel Di Blasi uses the short film technique as a representation of the non-expressible
    in words and considers himself a visual sculptor, a creator of worlds that can be crossed.
    “We often observe shapes that don’t want to be description of themselves but simply
    be something that looks like something else,
    like the idea of seeing a cloud and wanting to climb it”.
    In 2015 he realized at the National Mountain Museum of Turin the personal exhibition
    «Lo scalatore di Nuvole» (The Climber of Clouds), whose art book is published by
    Riccardo Cordero (Lizea Arte Edizioni).
    In 2018 he realized at ADD-Art Gallery in Spoleto the personal exhibition
    «Sognando Sogni», curated by Roberto Sottile, and published his last book (ADD Edizioni).
    In 2020 he created the work «Uomo Onda» commissioned by Arena Italia for the Olympic
    Games in Tokyo. At the same time, the production company Roundabout in Milan,
    interested in its history, is making the docu-film «L’uomo onda».
  • . Yosman Botero
    Born in Cucuta, Colombie, in 1983. Leaves and works in Barcelone, Spain.
     
    Power is everywhere - Yosman Botero Gomez
    The creative universe of Yosman Botero can be defined as a space built of doors
    and mirrors, where everything is reflected and confronted with the objective of mapping,
    revealing and questioning power relationships. Influenced by multiple references originating
    from history, literature, documentaries and art, Yosman has assembled an archive rich in
    mixtures that he uses at the time of creation. Standing out is his ability to detect signs and
    symbols and to elaborate narratives out of them that, in a visual and conceptual dimension,
    question the tensions both ideological and institutional as well that of the economic system i
    n a society that bears decades of repression and brutality, articulating a essentially political work.
    Yosman develops a creative process in which he first locates a colonizing act, and then
    determines the exploitation exercise to which it corresponds. His work criticizes the inappropriate
    use of natural resources through mining, the manipulation of information by the powers that
    be, and the unbridled cravings for enrichment. At this point, much of his work arises from the
    need to visualize the void, to generate resilience processes in the spectator. There is a marked
    interest in architecture and landscape that acquires a dimension as a social territory. Thus, his
    method of work could be defined as the study of the ecology of war, where he expresses an
    interest in those landscapes that during war conflicts only acquire value insofar as these may
    be a resource for the enemy.
    The theoretical references of Yosman’s work are multiple. Among them the American writer,
    philosopher, film director and photographer Susan Sontag who in her books reflects on the
    meaning of her art. “That a bloody battle landscape could be beautiful - in the sublime,
    astonishing or tragic record of beauty - is a common place of the war scene images made by
    artists. The idea does not fit well when applied to the images taken by cameras: finding beauty
    in war scene photographs seems cruel. But the landscape of devasta- tion remains a landscape.
    In the ruins there is beauty.” (SONTAG SUSAN. Regarding the pain of the others. De Bolsillo, 2010.P. 68.). (...)
     
    Natalia Castillo Verdugo 
    Director AMA+
  • . Marco Cordero
    Born in 1969 in Roccavione (Cuneo), Italy.
    Marco Cordero graduated in Sculpture at the Albertina Academy of Fine Arts in Torino,
    city where he continues to live and work.
     

    His work establishes a genealogic relationship to matter, undertaking a movement in which,
    from the library as a collective heritage, becomes the germ of sculptures that hold a material
    “reminiscence” value. The intervention on the written text in which he digs, profiles enigmatic
    shapes and forms, and sets a space in which the matter is thought as memory.  The book,
    though cut in a creative intention, remains idolized as an aesthetical, historical, cultural
    and divinatory object. This creative and aggressive gesture represents thus the nuclear e
    lement that makes explicit and overcomes the first meaning by opening a latent and potential semantic field.
     
    The hand of the artist gives way to the drawing that emerges from the stacked pages, showing
    the deficiency or inadequacy of writing to communicate properly, turning into an indecipherable
    text. Words stay readable and emerges from literary hidden references, simulating a horizon
    line; an excavated group of books brings to light a mountain landscape from which tracks of
    earth or charcoal traces, as a sort of memory of their future.
     
    Dialectic process between the materiality of heritage and his conceptual projection, Cordero
    undertakes then a hermeneutic of substance. He re-interprets and transforms this legacy
    in a renewed language, seizes the texts and their opened possibilities to perform an unveiling
    and concealing game, that enhances an archaeology of subject who confronts the matter.
  • . Khaled Dawwa

    Born in 1985 in Maysaf, Syria. 

    Leaves and works in Vanves (France).

    Khaled Dawwa graduated from the Damascus School of Fine Arts in 2007 (Syria). 

    His sculptural practice is rooted in the social and political history of his time and in his belief that art has a role to play in it. The Syrian revolution and, more broadly, the upheavals that have affected the world since 2011 have led him to question the relationship between people and power, and between art and memory.

     His men of earth and bronze evoke the duality between people and authority, between fragility and solidity. Reduced to impotence by their statufication or pierced by an infinity of holes, these male figures stuck to their seats embody the ambivalence of power.

    As Khaled Dawwa says, «the holes, in some of my works, are a way to undermine the solidity of the system, to weaken it. It is my way of expres- sing my frustration with the state of the world around me. I spent hours punching through the statues, both those made of clay and those made of bronze. It is an attempt to pierce the mass, to break the wall.»

  • . Moustapha Diop

    Born in Dakar, Senegal (1984). He leaves and works between Aulnay and Auxerre.

    Through his painting Mouhamoudou Moustapha Diop makes the walls speak. We find them covered

    with cement, torn posters, painting. They are a means of communication, a silent lung that inspires

    urbanity and expires the imprint of the past.

    The artist erects these walls using cement pigments on canvas, paper or polystyrene, he experiences them.

    Playing with their symbolic. At once a rocky expression of a primitive society, they are also the representation

    of the boundary between private and public, the demarcation between the obstacle and freedom.

    Moustapha Diop is also known for his video work, which was presented at the Goethe Institute in Dakar and at

    the Dak’art Biennale in 2018.

  • . Claudia Ebbing
    Was born in 1969, in Borken, Germany.
    Claudia Ebbing's paintings are asian-like, meditative and somewhat nostalgic. The design
    language and color palette are reduced to the essentials. She depicts the emergence of a
    memory that blurs. Inspired by old photos, traces of thought and current events mix to create
    new narratives.
    Claudia uses ink and oil painting on canvas, and creates large paintings where the viewers can
    immerse themselves.
    The nature often appears abstract and surreal. And presence of children from an other times,
    creates a poesy that arouses wonder.
    The combination of these unreal landscapes and mysterious children creates the necessary
    ambivalence and poetics to question the viewer in his relation with nature.
    Education :

    2003 - 2006
    Studies at the ibkk, Institute for Visual Arts and Art Therapy in Bochum, among others with Era Freidzon
    2005
    Guest student in the advanced training with Prof. Chung Guang Yang, Anhui Art College / PR China
    2006 - 2008
    Master class with Prof. Dr. Qi Yang, Bochum
    2008
    Academy diploma - concentration on painting
    Selected Exhibitions :

    2021
    «GanzFreiNeun» (G)
    Members exhibition Kunstverein Duisburg Duisburg Art Association
    «nature-remembers»
    Claudia Ebbing, painting (E)
    Exhibition-Installations
    In the context of a scholarship of the Ministry for Culture and Science of the State of NRW Barnsfeld, 46342 Velen
    2020
    Art space Ba Cologne, Cologne-Ehrenfeld Claudia Ebbing, painting (E)
    «be wandering»
    Claudia Ebbing and Thomas Trute Open studio, Velen-Ramsdorf
    2019
    «Playing with the object»
    Member exhibition Kunstverein Duisburg
    Duisburg Art Association (G)
    27th Huntenkunst 2019, SSP-HAL, Ulft/ NL (G)
    3rd art award of the city of Günzburg
    Art-Off e.V. art association.
    Günzburg Local Court, Award Ceremony 05/22/2019 (G).
  • . Frédéric Garnier

    Frédéric Garnier was born in 1970 in Troyes.

    All his really protean creations stage our questioning on the human existence.

    Its beginning and its term. Its meaning. What we name collectively « After «.

    Then what survives us is born, takes place in memoirs, « tracks of life ».

    Visual artist, he expresses himself through numerous mediums: sculpture, installation,

    photo, video and drawings. His reflections concentrate on the object, which makes link between

    the human being and the world. By using materials of our time (foil blanket, cement, plexiglasse),

    it anchors its works in our period. They crystallize questionings in the intimate and universal echos.

  • . Benjamin Grivot

    Benjamin Grivot was born in 1994 in Dijon (France). He lives and works in Dijon.

    He graduated from EMA (Fructidor 2014) and Ensa Dijon (2016).

    In 2017, he won the prize of the Dijon-Dallas Residence.

    Emerging artist, he exhibited in group exhibitions in the United States 

    and France.

    In 2019, he has a solo show at the Espace Ricard (Dijon) for his exhibition :

    "Anyone can play guitar".

    His work evolves around the relationship between visual arts and music. 

    His different experiments are built around the matter of objects,

    to their learning at first glance. He uses these materials as a support for

    sliding between two universes.

  • . Ottmar Hörl

    Ottmar Hörl (born 1950 in Nauheim, Germany) is a notable German artist, art professor and writer.

    Hörl has become famous with large installations in Berlin and Munich, among others, and will now realize a spectacular project of his "Art in the public environment" in the city of Nuremberg where he teaches as a professor at the Academy of Fine Arts since 1997.Using about 7000 plastic replicas of Dürer's hare Hörl will transpose the central square in the old town of Nuremberg into a large green corridor of 2500 m². For two weeks, the Nuremberg Main Market will become a "Large Piece of Hare" in honor of Albrecht Dürer before breaking up in its individual components and so to speak merge into the population.

    Duplication, the idea of serial production, and large numbers are the center of Hörl's projects. His art intends to inspire communication and to include as many people as possible. Dissolving of the large piece of hare into individual components is part of the concept. After two weeks, one may take a piece of hare home against a nominal charge. The hares move from a public to a personal environment. "I want to reach out with my work, set an impulse and let people take their Dürer home to allow individual, undogmatic altercation."

    Hans-Jörg Sigwart.

  • . Boris Jean
    Was born in Rabat (Marocco) in 1963.
    Leaves and works in Chelles (France)
     
    Stemming from the Beaux-Arts school of Tours and from the Conservatoire libre du cinéma français,
    Boris Jean became an art director and a director in the film industry (Les Épaves, Grand prix du
    festival d’Avoriaz), in advertising and live performance.
    Influenced by the Stanley Kubrick’s cult movie, he leads since 2001 his own odyssey,
    by building « Little Big », a futuristic world made of cities, realized in miniature with rubbish and simply
    recycled objects. 
    And because it is also a game, the spectator is urged to click three
    times on his smartphone to obtain a night even more mysterious, even more poetic, even 
    more fantastic, urban vision of the landscape.
    He, who learnt with Jean Giraud aka Mœbius to raise eyes towards the sky, invites us to look at the
    city as if it was overflown by a plane we were in, perceiving its lights through the porthole, and looking
    close to discover the way he plays with the architecture of the masters of the reinforced concrete and
    the vacuity of the Haussmann order. 
  • . Yanne Kintgen
  • . Anna Dorothéa Klug

    Was born in 1984, in Nuremberg, Germany.

    Anna Dorothea Klug studied ceramics in art colleges in Nürtingen, Halle and for a guest

    semester also in Ohio. Therefore her works are made of clay. Her interest is not the

    self-expression of this material. Material is for her only a means to an end when she

    tries to find images for emotional states. Her beautiful sketchy drawings serve as

    models for the sculptural works. That is the exciting task: translating a two-dimensional

    representation into the spatial.

    Anna Dorothea Klug is concerned with the visualization of her own elementary emotions -

    fear, pain, joy, sadness, longing, pity, security - and their transfer into the universal.

    In doing so, she makes use of fairy-tale-like images from mythology and their stereotypical

    contemporary interpretations. It is the narrative of the relationship between mental and

    physical states, the narrative of the relationship between body and mind, the narrative of

    the ambivalence of human states of being.

    The actors of this bizarre world theater are humans and animal-like beings. In the series

    entitled «The Feeling Behind,» they always appear as a pair: a small human and an oversized,

    fantastic-looking animal being. Their relationship remains mysterious. Their interaction

    seems to follow a ritual that remains hidden from the viewer. Visibly borne by empathy,

    they consistently exclude third parties.

    Works in collection :
    Hetjens Museum Düsseldorf
    Naspa Wiesbaden
    Grassimuseum Leipzig
    City of Gmunden, Austria
    City of Kempten

    Selected exhibitions :

    2021 The other view, Villa Jauss, Oberstdorf
    25th Anniversary of the Ceramics Award in the Pulverturm, Stadtmuseum Oldenburg
    Creatures and Bodies, City Museum Hüfingen
    Art from the Allgäu, Alpine Museum, Kempten
    From the dark forest, solo exhibition, Kunsthalle Kempten

    2020 72nd Great Swabian Art Exhibition, In the H2- Center for Contemporary Art

    2019 10th Korean International Ceramic Biennale, Korea

  • . Lino Lago

    Lino Lago was born in 1973 in Redondela, in Spain.

    He lives and works in Madrid, Spain.

    He graduated from the Fine Arts University of Madrid Complutense University, painting section.

    Lino Lago has always been a painter. From an early age, he dedicates him to his vocation.

    When he returns to university, he will be deeply shocked by the idea of «death» of painting,

    which has spread over twenty years in contemporary art. Since then he has been tirelessly

    questioning his status as an artist and his production.

    Since 2015, the artist expresses his questions through two séries.

    The first «Fake Abstract» confronts the minimalism of a monochrome with a detail of a masterpiece.

    The overlay is unveiled by the trace of a child’s finger that would have erased the second layer of paint,

    revealing a look, a mouth. With a humor that borders on the absurd, Lino puts in tension the

    concept of beauty, in the aesthetic sense of the term. On the one hand, the canon sought by the

    classic masters takes hold of the woman and brush it in details until splendor, on the other

    the modernism of the 1970s seeks beauty in an «art that excludes the superfluous «(Carl André).

    This juxtaposition creates a vibratory effect and raises the question of what beauty is today.

    The second series, Pintura sobre Pintura, leaves more room for the master canvas. The viewer

    must move away to understand the superposition. Painted in negative, a dog’s head holds in its

    fangs the classic beauty. The beast eats the beautiful.

    Lino Lago seems to be accompanied by the works of the old masters to understand and

    apprehend contemporary issues. As if asking us to reconsider them, he paints them through a

    keyhole, creating a whole new attraction. This fragmentation of the portrait opens our eyes to

    multiple interpretations.

    Lino Lago is an international renown artist. His paintings are in several public and private collections.

  • . Michel Laubu and...

    Michel Laubu, creator and artistic director of Turak since 1985, and Emili Hufnagel, co- director of the

    company since 15 years.

    Michel Laubu presents his theater in France and abroad ( Indonésie, Russie, Syrie, Norvège...). He was

    artisartner at Volcan, national stage of Havre, at Bateau Feu, national stage of Dunkerque, at Subsistances

    in Lyon...In short terms, he brings in France and abroad this strange theater, poetic and visual. The company has

    just its birthday of 30 years in 2015.

    Emili Hufnagel, accomplice of Michel Laubu, co-writes the projects with him. She is also a comedian in

    all the shows of Turak. 

    Turak in few words

    Turak, is a Theater of Objects and Puppet company, that develops a visual theater «all ground compatible»

    fed by diverted objects, by old or imaginary mythologies, by languages in multiple and invented accents.

    Known for its research work around the object, Turak mixes the puppet forms, the gestural theater and the

    plastic exploration. This tinkered poetry could be situated in the crossroads of the dance, the gestural theater

    and the plastic arts.

    The artistic approach of Turak lays on a game with the used object. Imaginary past, born from «the used of the object»,

    memory and marks of an invented civilization, it is from this fictitious archaeology that shows and exhibitions are created.

    The shows written and staged by Michel Laubu thus address a very wide public. Every image having several levels

    of reading, the doors of access are not lacking. It is a writing in strata, with « theater in all the floors». 

  • . Laurence Le Constant

    Laurence Le Constant was born in 1976 on Reunion Island. After obtaining

    a degree in fashion design, she began art studies specialized in textile design

    and then developed skills as an embroiderer, weaver and feather-worker.

     

    The ancestral gestures were patiently passed on to her in the workshop. She

    ater chose a course combining visual arts at the Sorbonne with classes at the

    School of the Chambre Syndicale de la Couture Parisienne, which sealed her

    desire to master the creation of the most sophisticated materials, together

    with the fundamental questions of visual art.

    ​

    From 2000, she gained experience in prestigious haute couture workshops as  

    Chanel, Dior, Emmanuel Ungaro, Prada, etc. In 2010 she decided to devote

    herself entirely to her own work and finally allowed herself to show a body of

    work that was just waiting to be seen.

    ​

    She has participated in several group exhibitions in Paris, Tokyo, Osaka, Dallas

    and San Francisco. The work MICHELINE (from the series MY LOVELY BONES) 

    joined the permanent collection of the Dallas Museum of Art in 2012. 

    ​

    A noteworthy selection of her Vanitas (from the MY LOVELY BONES series)

    was shown at the Art Paris Art Fair in March 2014 and March 2015.

    From May to the end of June 2014, the Geraldine Banier Gallery devoted a

    solo exhibition to her work: “HER GARDEN”.

    ​

    2015 was marked by a series of collaborations with Massaro (Chanel’s custom-made

    shoes department). They gave rise to SUKI, EVE, DAPHNE and Mademoiselle IVES.

    ​

    The alchemy that developed between the artist, the bootmaker of the Rue de la Paix

    and the watchmaker Roger Dubuis resulted in the creation of the ultra-limited edition

    watch: VELVET GRETA in 2016.

     

     

    Traduction: C.Peers.

     

     

  • . Christelle Leloup

    Was born in 1968, in Calvados. She lives and works in Paris.


    After studying interior design, she works as a decoration consultant for magazines and individuals.

    In 2006, she created a line of tableware, "Les Fées en Seine".Since 2014, she joined the embroidery

    workshop Vernoux and samples for the Haute Couture. At the same time, she embroiders in

    complete freedom the sketches of Sylvie Mangaud, sculptor. 

  • . Sylvie Mangaud
    Sylvie Mangaud is born in 1961, in Paris. She lives and works in Paris.

    Sylvie Mangaud seems to sculpt the vibrancy that emanates from the female body in motion.

    Whether it is a gesture or an emotion, we fully understand the essence. Attitudes are accurately,

    sometimes slightly ironic, like self-mockery. His sculptures are close to the sketch, their

    shadows play with them and tell a poetic double.

    Her nudes have no definite face, just a head wear, they are all women, all at once playful,

    languorous, seductive, pensive ...

    It is the crossroads of her studies that led her naturally to sculpture. Originally, a training

    of photographer allows her to know how to seize the movement, the emotion, and

    immortalize the moment. At the same time, she is studying morphopsychology, which will

    enable her to observe and restore the subtleties of the female body.

    Nudes and animals immediately become his favorite territory without respecting the proportions

    that will define her style.

    Elephants advance with a sure and quiet step. Baboons fly from one branch to another. Herons

    are about to leave the nest. Cheetahs roam ... Their momentum and their intentions are palpable.

    They all seem caught on the run, at a standstill. They heard the sound of the dark room closing

    on them.

    The bronze material takes under the fingers of the artist a lightness, which makes the sculptures

    alive, one could almost feel their pulse.

  • . Manu Munoz

    Manu Muñoz. ( Cabo de Gata. Spain. 1977)

    In an environment not very conducive to urban art, a small village in southern Spain,

    Manu Muñoz began making their first murals and graffiti in the year 1990. Three years

    later, a proposal to participate in a charity exhibition led him to make his first works on

    canvas in a more formal style.

    Since then, his work has described a line outside the dictates or art trends, a work

    without complex, personal and pure, described in eclectic compositions or mixtures of

    conflicting concepts creating images that could well be a stage for emotions more

    primitive or land to cultivate new insights.

    His work has undergone various changes, both in concepts and techniques, which do

    not concern the artist, who defends the creative exercise as an act of freedom and

    commitment to the change of time, also linked to individual personal experience

    constant interaction with the world.

    Nature as a key element, as a starting point or final objective is the current focus

    of its work, the recreation of the universal and timeless consisting of real elements

    used as mere forms stripped of meaning. Order from chaos or vice versa. No dictates

    because everything is unpredictable and changeable.

    After almost 30 years of career, in which his works have been shown in galleries and

    fairs in Europe, America and Asia, Manu Muñoz continues working tirelessly and immersed

    in what the artist calls "endless learning": Experimentation, search for new languages

    that enrich his work and thus broaden the discourse of his work in territories to be discovered.

  • . Mireille Robbe

    In 2012, one of her works of the V.I.T.R.I.O.L. series sent her on the path of hidden symbols,

    which led her to Alchemy (and C.G. Jung) or, in simple terms, to the philosophy of nature,

    of the universe. An inexhaustible source of information and inspiration.

    She integrates this symbolism and philosophy only in her way of thinking and not in the

    first visual layer of her works.
    You will realize that all of her concepts are interconnected, even if they look different.

    This visual difference is partly explainable by the fact that the chosen medium is a function

    of the concept and not vice versa.

    The common thread in her work is to show us the ingenuity of nature, allow us to reflect a

    bout details that escape us because of their so-called obviousness.

    Mireille Robbe, 1962, Brussels. Lives and works in Louvain (Belgium).

  • . René Romero Schuler
  • . Jordane Saget
    Was born in Pithiviers (France) in 1980.
    Leaves and works in Paris.
     
    Self-taught, Jordane Saget embellishes Paris with his arabesques, and has done so, for a little more than year.
    From his secret diary to the street, he draws with chalk, ephemeral art in the subway, (Concorde metro station
    was his first gallery), on pavements and on the famous Fürstenberg square (his biggest horizontal artwork),
    around the columns of Buren (his unfinished work), on carriage and building entrances. These arabesques,
    composed of three white lines, are much more than a simple ornament of the urban decor, they play with the
    architectural disorders and invite us to follow them until we get lost in our own imagination.
     
    During Bizarro 2016 (multiple galleries itinerary and exhibition), organized by the Gallery Géraldine Banier, Jordane
    Saget decorated the mirrors of the Hotel, in Saint-Germain-des-Prés, a four hands art work with Jean-Charles de
    Castelbajac. He gives up on this occasion the pen name J3 and presents his first geometrical paintings.
     
    His photos reveal a new stage of his work : a game with the lights of the city, the hollow of the shadows, the ghost
    tracks of buildings and urban furniture.
  • . Fernando Suarez Reguera
    Born in Oviedo, Spain, 1966.
    Leaves and works in Madrid Spain
     
    Fernando Suarez is an enormously versatile sculptor. His training, his mastery of
    the environment, and his untiring creative capacity, allow him to travel on many different
    paths of creativity, although these paths may share similar challenges. He works
    preferably with iron and bronze, but it is surprising the multiple resources he uses
    to diversify its production. From utilizing materials like resin for example, to manipulating
    the multiplying effects of mirrors, or to exploit all the options offered by the Spatial
    occupation, with a singular obsession for movement and weightlessness.
    He is primarily interested in the human body, and is capable of deepening both
    his psychic surroundings with the most varied formal solutions. He uses a model
    of a strong man, strong muscular complexion, pushed to the most unsuspecting limits.
    Active, restless, tried-and-tested man who must overcome, who jumps,
    climbs, runs, fights, or maintains balance, in a continuous game of equilibrium. Fernando
    Suarez possesses an unusual mastery of capturing the rhythm, the gesture, the
    precise moment to freeze an image in time while studying its dynamic potential. He
    creates a special man, whose muscles are shaped with metal blades and rods, and
    therefore is also a hybrid machine, often immersed in suggestive futuristic poses. But
    he also studies the individual as a creator, as inventor of vehicles and gadgets, or as a
    being that transforms his environment. This involves bridges, architecture, and unique
    buildings from exotic settings evoking distant environments, or blocks of flats under
    construction or destroyed by fire, urban agglomerations, or the ironic circulatory chaos
    shown in an absurd and endless circle.
    All are constructive and structural, sometimes very complex, that allows him to explore
    new and rich possibilities utilizing plastic.
     
    - Moises Bazar
  • . Alexia Tailleur
    Artist and photographer born in 1983 in Orleans, France, Alexia
    Tailleur studied gold leaf technique in an Italian monastery before realizing her master
    thesis on icons, at the University of Toulouse. Today, she lives and works in Paris.
     
    Her creation enhances private stories. Her subjects, anonymous or not, reflect her personal
    universe and are treated in the style of icons, using gold leaf technique. It generates a special
    feeling, like an aura, that highlights the subjects and allows the artist to reintegrate them
    into society and history, sanctifying them.
  • . Carlos Tardez

    Born in 1976, Madrid 

    Leaves and works in Madrid Spain)

     

    Carlos Tárdez is a multidisciplinary artist who could be framed in figurative 

    art but with the added bonus that his paintings hide a deep symbolic layer behind an appearance 

    of everyday life. As Tárdez himself explains, «My work is born out of my experiences. I try to 

    always keep in mind the banality of what I do, because only from unpretentious sincerity does t

    he idea arise. Every day new elements appear and reappear. That’s why I don’t set myself any 

    objectives. I paint out of an inner need. It is from my own work that new questions arise, new projects».

    Both in painting and sculpture, he has achieved a high level of quality that has earned him, 

    among many other awards, the BMW Medal of Honor in 2010 and 2018. 

     

    Both in his paintings and his in sculptures there are mythological connotations, double meanings 

    and great irony in the reinterpretations of everyday scenes and objects.

    This fact is particularly evident in his sculpture (in this case, in addition to the polychrome resins, 

    there are also pieces made of bronze), where he uses a preconceived idea or an object associated 

    with a meaning and turns it upside down.

    On the canvas he tries to express the idea in the most direct way possible, his pictorial technique 

    and the realism employed are careful, generating simple and emphatic compositions in which 

    emptiness takes on a meaning and, in many cases, carries the conceptual weight in a treatment of s

    pace that drinks directly from abstract painting.

    Color also has a direct relationship with the distribution of space, atmosphere and depth. The 

    psychological influence and symbolic value of color are given great importance. It is also common 

    to see horizontal or vertical bands of matt black appearing in his paintings that delimit the space.

    It is a symbolic figuration, with a series of resources that have enriched its own iconography. 

    The title of each of the works suggests and reinforces the idea on many occasions, always leaving 

    open the subjective interpretation of the viewer.

  • . Polat Tayir (Fulati...
    Born in 1977, in Xinjiang (China). He lives and works in Paris.
    PHD in visual arts (2017) Paris Sorbonne - ENSBA, in A. Pincas studio (2004).
    ​His work explores the idea of the integration of an individual in society and seeks a
    relationship between him and things, between his body and the landscape. His approach
    combines painting and photography: originally a simple painting on a cliché, the artist
    covers his hand with paint, on the spot; a performance that he immortalizes in the
    moment by a photograph. 
     
    From 2006, he undertook a series of photographs of his painted hand, as an extension
    or detour of the landscape. His hand is the central element, representing himself and his
    being, telling his story. The lines of his hand are in the landscape, merging and confronting
    it, like the slow process of integration of an individual into a new culture. In his latest series, 
    ​Polat integrates a glove, a tangible trace of the performance but above all a substitute for his body.
  • . Vytautas Tomaševičius

    Vytautas Tomaševicius

    Was born in 1972. He is a Lithuanian painter. He lives and works in Vilnius since the late 1990s.

    In 1998 he graduated from the Vilnius Academy of Arts, majoring in
    painting and theatre set design. For several years he has been setting movie
    design and painting at the same time. His most acclaimed work included creating
    sets for the 2001 Werner Herzog film Invincible.
    In 2004, he has devoted himself solely to painting.

    ‘The paradox is what I still like very much. An unexpected proposition is always very interesting.

    Things that combine contradictory features or qualities lead to re-thinking. Looking at something

    new makes us angry, nervous, sometimes happy. For me, a paradox means making an impact’,

    Vytautas Tomasevicus.

    Vytautas creates his story by counterposing small to large, bright to fuzzy,
    colored to black and white, calm to expressive. ‘I like it so much and consider it
    as means of expression. Dozens of colorful exotic birds in the landscapes of an
    industrial city, graffiti-stained yaks in front of the mountains speak reminds us
    about a changing world that we do not notice when we drown in our daily routine’,
    artist states.

    In 2008 Tomaševicius was awarded First Place prize at the Baltic Art Biennial in
    Saint Petersburg.

    In 2019 he won an Excellence Award in the Open Category at the third Art Olympia
    Biennale in Tokyo, with his work A Still Life with Two Objects (2016), the
    painting was exhibited at the Metroplitan Museum of Art, of Tokyo the same year.
    Tomaševicius is the first Lithuanian artist to be awarded this honor.

  • . Andreas Von Gehr
    Andreas Von Gehr was born in Santiago, Chile, in 1972, where he studied art and obtained a degree in fine arts.
     
    Since the beginning of his career, he has received awards such as the Philips Art Award for Young Talents in 2000 or was noticed by his presence as the only representative of Chile at the Japanese Triennial of Osaka the same year. Most recently, he has been awarded the GZ-ArtBasel Art Fair International Showartists Award, as well as the International Artists Wanted Award.
     
    The work of Andreas Von Gehr questions the image and legitimacy of traditional artistic disciplines by creating a hybridization between painting, photography and digital resources. The artist provokes a fragmentation-deconstruction of the image which, after a process of assimilation, recomposes and gives a new meaning in order to invite the spectator to rethink all that constitutes his environment.
    The representation of the landscape concerns the place where Andréas mixes his experience and his personal reflections in the political and social context of his country, Chile.
  • . Nicolas Demeersman

    Photographer, Film Maker and Publicist. Born in 1978 at Seclin, France
.

    Leaves and works in Paris

    The Work of Nicolas Demeersman, often debated, gathers pictures where col- lide the genres :

    the elegance and the trash, the seriousness and the absurd, the reality and the fiction ...

    Considering that it is as well important to please as to displease, he approaches contemporary

    subjects to deceive values, aprioris and visual codes. Beyond the esthetics, he stages «the agreed»

    pushed in its extreme, wishing to question us about our positions and their internal logic.