Artists’ Biographies

Giorgio Andreotta Calò (1979, Venice) lives and works between Italy and the Netherlands. Using fragments, found materials, weathered objects, and even entire architectures as his raw material, his works can be interpreted as “active residues” of consumed processes and actions, in which the temporal dimensions of past and future relate to each other in a continuous alternation.
In 2011, Calò’s work was presented at the 54th International Art Exhibition of La Biennale di Venezia, directed by Bice Curiger. In 2012, he won the Premio Italia per l’arte contemporanea promoted by the MAXXI Museum in Rome with the work Prima che sia notte. Between 2012 and 2013, he was an artist-in-residence at the Centre National d’Art Contemporain at Villa Arson, Nice, France.
In 2014, he won the Premio New York, sponsored by the Italian Ministry of Foreign Affairs. In 2017, Calò was one of three artists invited to represent Italy in the pavilion curated by Cecilia Alemani as part of the 57th International Art Exhibition of La Biennale di Venezia.
With the project Anastasis, in 2017 he won the second edition of the Italian Council grant awarded by the MiC, which supported the monumental installation realized in 2018 at the Oude Kerk in Amsterdam. In 2019, he presented the exhibition CITTÀDIMILANO at Pirelli HangarBicocca.

Giulia Cenci (Cortona, Italy, 1988), lives and works between Amsterdam and Cortona.

In her process of observation, Giulia Cenci selects irrelevant elements and details from industrial objects and our daily lives, capable of expressing the vulnerabilities, promises, and failures of human activity. The consequences of our past, the structure of society, and the conditions of the self in a contemporaneity defined by products and avatars suggest to the artist views of hypothetical habitats.
Discarded objects, natural elements, and human and animal prototypes intermingle and interact, organized into serial groups or isolated in search of subjectivity. Figures and structures constitute environments where it is difficult to define a logical hierarchical order. Concepts of belonging to a species or gender are questioned, in an attempt to dethrone a real form of dominance of one group or individual over another.
Her installations reveal a constant duality: the belonging to forms and patterns known and repeated in our present, and an exacerbation of sculptural actions in an effort to obtain strongly impure objects. Technique and technology, repetition, similarity, and the idea of reproduction populate environments where the bodies of visitors often become part of the scene, becoming additional matter that interacts with “the rest.” Giulia Cenci was the winner of the Baloise Art Prize at Art Basel 2019 and was a finalist for the Future Generation Art Prize 2023-2024 and the MAXXI BVLGARI PRIZE 2020. Her recent solo and group exhibitions include: Le Masche, Radis – Fondazione per l’Arte Moderna e Contemporanea CRT, Rittana, IT; Secondary Forest, High Line Art, New York, NY; Secondary Growth, Pièce Unique – Massimo De Carlo, Paris, FR; Among the Invisible Joins. Works from the Enea Righi Collection, MUSEION, Bolzano, IT; Colorescenze, Centro Pecci, Prato, IT; Face to Face, MUDAM, Luxembourg, LX; The Milk of Dreams, 59th International Art Exhibition, La Biennale di Venezia.

June Crespo (1982, Pamplona, lives and works in Bilbao) examines contemporary models of representation through a sensual methodology, commenting on the real and symbolic dynamics surrounding the female body (evident, for example, in the incorporation of women’s magazines in her sculptural sets). Crespo’s interest in the concrete and corporeal conditions of the object/body, as well as the immaterial contexts in which it circulates and moves, questions the composite configuration of contemporary life, composed of material and discursive dynamics. Crespo has garnered international recognition from the very beginning of her career. In 2022, her sculptures were included in The Milk of Dreams at the 59th Venice Biennale. She has exhibited her works in major national and international cultural institutions, including CA2M in Madrid and Artium in Vitoria-Gasteiz; CRAC Alsace, France; TEA Tenerife, MUSAC, León, Spain; Jeu de Paume, Paris; Fundació Joan Miró, Barcelona, Spain, among others.

Jesse Darling (Oxford, 1981, lives and works in Oxford) considers how corporeal subjects are initially formed and continuously transformed through sociopolitical influences. Working with sculpture, installation, video, drawing, text, and performance, Jesse Darling draws upon personal experience and narratives from history and counter-history.
They explore the inherent vulnerability of being a body and how the inevitable mortality of living beings translates into civilizations and structures. Characterized by a series of floating consumer goods, support devices, liturgical objects, construction materials, fictional characters, and mythical symbols, Jesse Darling’s work recontextualizes man-made objects to reveal their precarity.
The forms, simultaneously wounded and liberated, lay bare their fragility and their need for care and healing. In 2023, they were awarded the Turner Prize 2023 for painting.
Selected solo exhibitions include: VANITAS, Petit Palais, Paris, FR (2024); On Our Knees, Arcadia Missa, London, UK (2024); Gravity Road, Mining History Centre, Lewarde, FR (2023); Turner Prize 2023 Winner; Enclosures, Camden Art Centre, London, UK (2022); Gravity Road, Kunstverein Freiburg, Freiburg, DE (2020); Kunstpreis der Böttcherstraße Prize, Bremen (2020); The Ballad of St Jerome, Art Now, Tate Britain, London, UK (2018).
Jesse Darling’s works are part of major public collections, including Tate, London, UK; Arts Council, London, UK; Lafayette Anticipations, Paris, FR; FRAC des Pays de la Loire, FR; UK Government Art Collection, London, UK; Glasgow Museums, Glasgow, UK; CNAP, FR; X Museum, Beijing, CN; Aïshti Foundation, Beirut, LB.

Bronwyn Katz (1993, Kimberley, South Africa) is rooted in the exploration of materiality, space, and the ways in which everyday objects can be reimagined and transformed. Katz works with found materials and diverse media, using these elements to create sculptures and installations that evoke a sense of movement, presence, and absence. Her work engages the viewer with the physicality of materials, their potential, and the socially constructed ideas embedded within them, encouraging deeper relationships between bodies and the environment. Katz’s approach to sculpture connects themes of memory and resilience, exploring interstitial spaces and utilizing materials that reflect her cultural heritage and personal experiences. Her work dialogues with indigenous forms of abstract art from southern Africa; methods and traditions of mark-making and storytelling that predate Western modernism by far.
Among her recent solo exhibitions are: Stone’s embrace, a love spiral of erosion and renewal, Stevenson, Johannesburg (2024); Tus tsĩ ǀxurub, Rain and drought, MASSIMODECARLO, Paris (2023); I turn myself into a star and visit my loved ones in the sky, White Cube, London (2021); and A Silent Line, Lives Here, Palais de Tokyo, Paris (2018). Katz has participated in group exhibitions including: SIGHTLINES on Peace, Power & Prestige: Metal Arts in Africa, Bard Graduate Center Gallery, New York (2023); The Milk of Dreams, 59th International Art Exhibition, La Biennale di Venezia (2022); Soft Water, Hard Stone, New Museum Triennial, New York (2021); The Future Generation Art Prize Exhibition, PinchukArtCentre, Kyiv (2021); NIRIN, 22nd Biennale of Sydney (2020); Là où les eaux se mêlent, 15th Biennale de Lyon (2019).
Katz is a founding member of iQhiya, a collective of 11 women who have performed in various spaces, including Documenta 14 (in Kassel and Athens). Katz was born in 1993 in Kimberley, South Africa. She lives and works in Cape Town.

Sandra Mujinga (1989, Goma, Democratic Republic of the Congo) lives and works between Berlin and Oslo. Exploring the dynamics of visibility and opacity through a multidisciplinary practice that includes text, sculpture, performance, dance, the Internet, and digital images, the artist addresses and negotiates themes such as identity, self-representation, and surveillance.
Her practice has been described as an inquiry into “what it means to exist in darkness,” highlighting the conflicting nature of visibility, which, while serving as an increasingly broad platform to promote diversity and difference, simultaneously increases unwanted surveillance and data collection.
To counter this phenomenon, the artist suggests that humans must become more adaptable to their environments, exploring through her work the survival strategies employed by animals that change their bodily characteristics to adapt to their surroundings. Mujinga is deeply inspired by science fiction, Afrofuturism, and the idea of the “post-human” as a speculative and political perspective that imagines alternative worlds at the intersection of technology, humanity, and animality.
Her works have been exhibited at major international institutions including the Stedelijk Museum, Amsterdam, the Netherlands (2025); Kunsthalle Basel, Switzerland (2024); Hamburger Bahnhof, Berlin, and Munch, Oslo (2022); Swiss Institute, New York (2021); La Biennale di Venezia and MoMA, New York (2022).

Isabel Nuño de Buen (1985, Mexico City) lives and works between Hanover and Mexico City. Isabel Nuño de Buen’s work is ambitious, not only in terms of scale but, above all, in terms of scope. Incorporating sculpture, drawing, and installation, the artist creates allegorical portraits of herself and of human civilization as an ongoing, multifaceted, and incomplete project.
As such, hers is an essentially fragmented practice, characterized by a sense of floating openness and always striving towards a much larger, continuously evolving, and unknowable whole. Her works appear as enigmas that, if completely deconstructed and studied, would not so much reveal their mysteries as erase them; their semi-inscrutable promise of intelligibility and meaning becomes an allegory of both the self and civilization. Far from being literal or didactic, her work and its multiple potential meanings play and exist on the threshold of comprehension, just as previous civilizations and our complete and knowable selves exist on the threshold of our understanding, always remaining just beyond our grasp.
Among her recent solo exhibitions are Garden of Time, Mai 36 Galerie, Zurich, 2024; Now and Away, Chris Sharp Gallery, Los Angeles, 2023; Isabel Nuño de Buen – SPRENGEL PREIS 2021, Sprengel Museum Hannover, Hanover, 2021; In another time and space, Lulu, Mexico City, 2021; and in fugue, Kunstverein Hannover, Hanover, 2020.

Luca Trevisani (Verona, 1979) is a visual artist. His multidisciplinary practice has been exhibited internationally in museums and institutions. Trevisani has published several books, including Lo sforzo ha preso strumenti (Argobooks, 2008); Luca Trevisani (Silvana Editoriale, 2009); L’arte di piegare per grandi e piccini (Cura Books, 2012); Water Ikebana (Humboldt Books, 2014); Grand Hotel et des Palmes (Nero, 2015); Via Roma 398. Palermo (Humboldt Books, 2018).
Trevisani’s research spans sculpture and video, crossing into boundary disciplines such as performance art, graphic design, experimental cinema, and architecture, in a constant state of magnetic and mutable exploration. His works challenge or even subvert the historical characteristics of sculpture, in a continuous investigation of materiality and its narratives.

Chiara Nuzzi / curator

Chiara Nuzzi (Naples, 1986) is a curator, author, and editorial manager. In 2023, she curated the annual Project Room program for the Fondazione Arnaldo Pomodoro in Milan, with the exhibition projects Lito Kattou. Whisperers and Paul Maheke. The Purple Chamber. Since 2019, she has been curator and editorial manager of Fondazione ICA Milano, where she curated the exhibitions Erika Verzutti. Notizia (co-curated with Alberto Salvadori); Camille Henrot Estelle Hoy. Jus d’Orange; Rebecca Moccia. Ministry of Loneliness; Chemutai Ng’ok. An impression that may possibly last forever; Annette Kelm. DIE BÜCHER (co-curated with Alberto Salvadori); Costanza Candeloro. My skin-care, my strength, the group exhibition Small Fixations, and Simone Forti. Close to the Heart (co-curated with Alberto Salvadori). She has curated both group and solo exhibitions in Italy and abroad, collaborating over the years with various public and private institutions including Fondazione Arnaldo Pomodoro; Istituto Svizzero, Milan; ar/ge kunst, Bolzano; Museo MART in Trento and Rovereto; Le Narcissio, Nice; Independent Art Fair, Brussels. Recent publications include: Camille Henrot Estelle Hoy. Jus d’Orange (NERO, 2023); Rebecca Moccia. Ministry of Loneliness (Humboldt Books, 2023).