Levi van Veluw was born in the Dutch town of Hoevelaken in 1985 and studied at the ArtEZ Institute of the Arts in Arnhem.
Since graduating in 2007, Levi van Veluw has produced multi-disciplinary works that includes photographs, videos, sculptures, installations and drawings. This varied body of work has been showcased in many different locations across Europe and the United States, earning him a number of nominations and awards.
Mathilde Roussel is a French artist based in Paris. Her artwork explores the questions around human being in what it is the most imperceptible. It is linked to a search to reveal through metaphor, our inner image. She wants to find the shape, the color, the dimension of our mental landscape. Her autonomous preparatory drawings allow her to formally think her sculptures which become drawings in space. Through her explorations, she strives to question time considering both human and vegetal time. Her work becomes a mapping of our body, an anatomy of time and space that we occupy by our fragile presence in the world.
(Source : http://anti-utopias.com/)
Mathieu K. Abonnenc (b. 1977, lives and works in Metz) devotes his work to the forgotten or marginalized areas of recent history, figures and events associated with the 20th century’s struggles for emancipation of identity. On the basis of investigations and documents, he attempts to deconstruct the nature of representations of the geographical Other in particular.
Sculptor, painter, and installation artist Elaine Cameron-Weir uses materials ranging from wood, concrete, and plaster to marble, brass, and acrylic on canvas, producing objects and wall works that riff on 20th-century art while alluding to science fiction and an imagined future. Weir’s body of work has also included sequenced cast metal slabs, whose uneven surfaces and cracked edges evidence process and recall artists such as Eva Hesse andRichard Serra. Her 12-foot houseplant Palm (2012) is constructed entirely of brass, while Times Zones Radio Waves (2012), a bamboo-like structure composed of alternating metals, features stalks that converge into antennae.
(Source : ART SY)
Like a fanatical researcher, or an obsessive collector, Elodie Lesourd collects images of exhibitions of fellow artists who used here and there a Fender guitar, a Marshall amplifier, Tama drums, or even less direct references to the world of rock (without style preference). In the middle of the 2000s, she invented a term that explains both her style and her subject : hyperrockalisme, mixing rock’n’roll pictures and pictorial hyper-realism. « Official » exhibitions views published in catalogues and magazines are painted by the artist with the approval of the original author and in such a way that objects in the image are represented full-scale. Elodie Lesourd, who compares herself to a necrophagous person, allows those who look at her paintings to be physically confronted with a dead exhibition, no longer existing. For these original views, she only chooses photographs where human presence is not detectable. Only beautiful objects, like gleaming guitars, are in the front of the silent stage. The artist is interested in the reception of rock in contemporary art, but also in the way it is documented and published. Her paintings on wood, a deliberately poor material that brings her closer to a certain rock culture of DIY, are perfectly faithful to the original image, and give a second life to installations which had ceased to exist since the last day of their exhibition. Gradually, Elodie Lesourd produces a real anthology (she uses the word « ontology » with pleasure) of the history of rock in contemporary art. A curator’s job ?
Art my Religion, Thibaut de Ruyter dans le catalogue d’exposition de “La belle peinture est derrière nous”, Instut français de Turquie et Culturesfrance, décembre 2010.
Damir Radović, *1976, a Sarajevo born sculptor, currently living and working in Lyon, France.
His work is both a question of balance and a tool for understanding reality. A very delicate balance, silently worked by the interplay of contradictory forces, at the point of dispersal.
Everything is a question of immersion within his scheme ; an alliance between visual matter and subtle moods. Images of the everyday set into space like so many motifs of a monumental composition. His drawings are haunted by all these elements that disrupt the senses, plunge them into experience, carress and play with disapearance to cede their position.
Through installation, drawing and video, his work consists in capturing the real, in its’ cultural and social aspects, in archetypal, generic or carnivalesque form that examine the modes of historical and contemporary representation.
French artist been born in Bent in 1986, Jérémy Gobé works in Paris.
From the beginning of the development of his artistic practice, Jérémy Gobé asks himself the question of the work and the repeated movement. But he evokes the question of the abandoned factories which leave workers without work and materials without worker, objects without use and not shaped works.
In 2011, he is a prize-winner of the Bullukian prize, the Pierre Gautier-Delaye Prize , ENSAD / Cité Internationale des arts and the Prize of the festival Ici et Demain of Paris.
Key to the work of Lucas Maassen is a process of validation through perception. To what extent are aspects of scale and matter fundamental to determine and pronounce typological objects? In a highly playful manner, Maassen manipulates the parameters of conceiving objects; deriving from recognisable functionality into a fictional realm of attributed economic value as limited or as matter, both effectively qualitative realities, he qualitatively measures these up to apparent conditions of the imaginary.
Utilising exclusive materials and technologies, a secondary layer of tension of conceiving objects arises. A toy chair made of pure gold, poured out of one bar of gold, raises the question of its value: emotional vs. real value. Likewise, a chair created by a Focus Electron Beam (FEB), results in a chair so small that even a regular microscope cannot reveal this seat. This chair is a leap of faith into technological authorship. Our day-to-day empirical reality is just not good enough to capture these objects. To what extent is technological culture able to transmit empirical experiences to our mindset? And moreover, our cultural tradition tells us that a chair has four legs but what happens when these notions are being challenged by a non-empirical, technological order?
Measuring up chairs to the extent that they seem to generate a life of their own; through a character derived from inner qualities beyond any man-conceived sphere, Maassen creates an imaginative order.