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  • . Benjamin Bichard
    Benjamin Bichard keeps track of a multitude of forgotten and common items and makes them seem “organic” and new. Crude and useful objects, objects for which, due to the fact we use them daily, we lost sight for, are made anew. Further inspection of his sculptures, like crystal chandelier and dripping fountain erected at the center of a gallery, reveals that, for us, their past forms had no obvious intrinsic beauty, a beauty that comes fully revealed by simple means of camouflage. The fountain sponges are synthetic and the chandelier is made out of plastic knives. The visual illusion is very effective and compels the observers to rethink their views of the objects that inhabit our daily lives. They remind us of negative strength that mass production and serialism exude upon our appreciation for the simplistic beauty of common objects, the fragility of life and invaluable banality of days that accumulate. Bichard rightfully recognizes that those objects witness the most intimate acts of our lives, and breathes in them new values that force us to, once more, appreciate their refinement.
    Pencil peelings covering the bench, the smell of ligneous flakes, the sound of a pencil sharpener and abstract flowers we unintentionally made by discarding the wooden shavings, all remind us of our carefree childhoods and delicacy we have so easily forsaken. Accessing Bichard’s world feels as if we are recovering lost time and are filling in the void made by the absence of adolescent innocence, it dissipates with time and makes us feel like coming home. Just like chrysalis the butterfly leaves behind disappear, we tend to forget the very existence of the tracks that preceded our venture into adulthood that brought with it a complete loss of appreciation for innate beauty that simple, palpable objects radiate.
    With an obvious tendency for monomania, the artist accumulates all things disposable and stands at the pulpit giving praise to the beauty of insignificant and ephemeral. The show will be available for all to witness starting on March 17th and ending on April 23rd, 2016, at Galerie Géraldine Banier, Paris.
    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.
  • . Gustavo Diaz Sosa

    Born in 1983 in Sagua la Grande, Cuba, Gustavo Díaz Sosa graduated in 2002 with a Degree with Honors from

    San Alejandro’s Fine Art Academy of Cuba, where he was teaching painting from 2000 until 2004. 

    In 2004 he came to Donostia-San Sebastián, Spain, thanks to a scholarship granted by Arteleku. He studied

    engraving, lithography and serigraphy between 2004 and 2007. In 2022 he worked as a visiting professor at

    the Drawing Workshop of the University of Darmstadt, Germany.

    Gustavo Díaz Sosa’s artistic goal is “to describe a lost, anonymous, global, surrendered and desperate society

    functioning in a system which presumes to exist as a democracy on a global level.” 

    His characters “continue to run towards nowhere looking for doors or exits from the monumental walls that

    keep them trapped under the burocratic and established rules.” 

    The artist uses architecture in his works like a tool or a symbol of power. “Architecture has always been used

    to protect man, but also to dominate him”, states Gustavo Díaz Sosa. “Religion, myths, politics have always

    relied on huge temples in order to confirm man’s fragility when faced to power. My intention is to get the

    viewer to reflect upon these issues.”

  • . Claudia Ebbing

    Was born in 1969 in Borken, Germay

    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
    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
    Academy diploma - concentration on painting

    Selected Exhibitions :
    «GanzFreiNeun» (G)
    Members exhibition Kunstverein Duisburg Duisburg Art Association

    Claudia Ebbing, painting (E)
    In the context of a scholarship of the Ministry for Culture and Science of the State of NRW Barnsfeld, 46342 Velen

    Art space Ba Cologne, Cologne-Ehrenfeld Claudia Ebbing, painting (E)
    «be wandering»
    Claudia Ebbing and Thomas Trute Open studio, Velen-Ramsdorf

    «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).

  • . 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.

  • . 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. 
  • . 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.

  • . 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.

  • . René Romero Schuler
  • . 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

    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.