Karina Aguilera Skvirsky (Rhode Island, USA, 1967)

Karina Aguilera Skvirsky is a multidisciplinary Ecuadorian and Jewish-American artist based in New York. Through video, performance, and photography, her practice navigates broader questions of place, identity, and nationhood. Her main subjects of interest are abstraction, politics, humor, feminism, and history. With her work, she has explored social topics such as the African diaspora in both the North and the South of the hemisphere, the complexities of indigeneity, and the legacies of colonialism.

Aguilera Skvirsky’s work has been exhibited internationally in group and solo shows in renowned galleries and museums, highlighting, among them: Museo de la Ciudad, Cuenca, Ecuador (2021), Photoville, The Clemente, NY, USA (2021), Museo Amparo, Puebla, Mexico (2019), Centro de la Imagen, Mexico City, Mexico (2018), The Deutsche Bank, NY, USA (2018), Ponce + Robles Gallery, Madrid, Spain (2017), The Institute of Contemporary Art, PA, USA (2016), Instituto Cervantes, Rome, Italy (2013), The Montclair Art Museum, Montclair, NJ, USA (2013), The Aldrich Contemporary Art Museum, CT, USA (2007), El Museo del Barrio, NY, USA (2006), and Sara Meltzer Gallery, NY, USA (2006).

Throughout her career, she has been recognized with various grants from such as Anonymous Was A Woman (2019), The National Association of Latino Arts Culture (2018), Jerome Foundation Fellowship (2015), Fulbright Scholar Program (2015), Puffin Foundation (2006), among others.

She currently lives and works between New York and Ecuador.

Matthias Bitzer (Stuttgart, Germany, 1975)

Matthias Bitzer’s work is poetic and enigmatic, combining figurative painting with abstraction and ornamental geometries. His passion for literature, poetry, and science produce an optical network that connects gaps in our perception of time and space. His source of inspiration derives from a broad range of often forgotten historical figures, including Emily Dickinson.

Bitzer’s unique artistic language is based on formal and conceptual themes that diverge between abstraction and

figuration. He references artists from the 19th and 20th centuries such as Lászlò Moholy Nagy or Oskar Schlemmer. Nevertheless, his work goes beyond what his predecessors explored.

Bitzer unfolds a new perspective on modernism by creating a visual cosmos that immerses the viewer in a world of figuration in geometric patterns, overlapped images, and abstraction. In that sense, Bitzer is concerned with identity as an existential stance and constantly unveils the fragility of what we take as “truth.”

Currently lives and works in Berlin, Germany.

Sergio Camargo (Rio de Janeiro,Brazil, 1930 - Rio de Janeiro, Brazil 1990)

Sergio Camargo was a Brazilian sculptor born in Rio de Janeiro. He studied at the Academia Altamira in Buenos Aires, the Sorbonne in Paris and traveled extensively in Europe, where he met Constantin Brâncuși, Jean Arp and other greats of modern art.

His early works showed influence of Picasso and Laurens, and he later developed a unique style with monochromatic white surfaces and light and shadow games through geometric volumes. In 1963 he won the International Sculpture Prize at the Paris Biennial and participated in important exhibitions such as the São Paulo Biennial, the Venice Biennial and Documenta in Kassel.

He returned to Brazil to collaborate in monumental projects such as the wall of the Ministry of Foreign Relations in Brasilia. His work is part of collections such as the Tate Gallery in London, consolidating his legacy as a key figure in modern art

Marcelo Cidade  (São Paulo, Brazil, 1979)

Through an often subversive and informal practice, Marcelo Cicade questions the ideals of modernist architecture, appropriates urban spaces, and, by means of various aesthetic operations, invents new idioms, constructing fresh and surprising spaces.

The intimate bond that, for Cidade, holds together art and life authorizes the artist to explore the continual oscillating flow between the social and the personal sphere. Comparing established social relations and values, Cidade creates works that express complex social conflicts and brings signs and situations from the street into art-specific spaces. The artist’s work emphasizes an encounter between art and society, without neglecting the discussion of language.

One of Cidade’s interests is the public space generated in the urban and technological flux of the surveillance society. The city is the privileged site of events, and it is here that the artist looks for his work materials. Streets, walls, flyovers, squares, and shutters are a challenge for his gaze. 

He currently lives and works in São Paulo, Brazil.

Elias Crespin (Caracas, Venezuela, 1965)

His training in engineering and computer science is essential for the development of his work, which combines two universes: art and programming. The encounter with the work of Jesús Rafael Soto led him to discover the potential of abstraction as a form of mathematical representation. His first artwork, Malla electrocinética I (2004), is the result of a reflection process on the mathematics of movement. By using motors controlled by custom software, he manages to animate geometric modules whose kinetic metamorphosis alludes to both dance and mathematical analysis.

In 2018, Crespin was commissioned by the Louvre Museum to develop L’Onde du Midi (2020), a large-scale mobile sculpture in which 128 metal cylinders hang from nylon cables connected to programmed engines that generate algorithmically-driven movement. The undulations and transformations of the piece create a choreography whose motifs are the lines and planes of the museum’s architecture, materializing the abstraction of the formal continuities between work and space. Crespin’s research concerns time, form, and movement, not only as kinetic elements tied to aesthetics, but also as mathematical elements, tied to analysis and programming.

His work has been exhibited in different museums and international institutions such as the Grand Palais, the Maison de l'Amérique Latine, the Musée de la Musique in Paris, the Musee de Louvre, the Fondation Boghossian, the Verrière Hermès in Brussels, The Museum of Fine Arts, Houston (MFAH), and the Fondation Boghossian, the Verrière Hermès in Brussels, The Museum of Fine Arts, Houston (MFAH), and the Ullens Center for Contemporary Art in Beijing. His participation in the International Exhibition in Astana, the XIII Biennial of Cuenca, and the Busan Biennial in Korea is noteworthy.

Currently lives and works in Paris, France.

Galia Eibenschutz (Mexico City, Mexico,1970)

Multidisciplinary artist, she develops her work between the performing and visual arts. She explores themes such as the registration of movement and the passage of time, and the scenic presence of the body and its projection in architecture. She studied Visual Arts at the Universidad Nacional Autónoma de México's national school for the plastic arts holds a MFA from DasArts in Amsterdam.

The artist's drawing and movement laboratory -presented at numerous universities and art spaces in Mexico and the United States- is a fundamental part of her practice. She has exhibited work at Mexican venues such as Arte Abierto, Casa Wabi, the Hospicio Cabañas, the Museo de Arte Carrillo Gil, the Museo Jumex, the Museo Tamayo, the Museo Universitario del Chopo, Laboratorio Arte Alameda, Sala de Arte Público Siqueiros and Teatro de Danza.

She has also collaborated with international spaces such as Assembly (New York), Center for the Arts and Communication (Art Basel, Miami), Stedelijk Museum voor Actuele Kunst (SMAK, Amsterdam), The Cedar Cultural Center (Minneapolis) and YYZ (Toronto), among others. She was selected as a choreographer by the Mcknight Foundation (2019) and as a commissioned artist for the 15 FEMSA Biennial (2024).

She is currently a member of the Sistema Nacional de Creadores de Arte de México.

Hilma's Ghost  (Brooklyn, USA, 2020)

Hilma’s Ghost is a feminist artist collective that was co-founded by artists and educators Sharmistha Ray and Dannielle Tegeder at the peak of the pandemic, in 2020. The essence of their artistic collaboration lies in acknowledging mysticism as a wellspring of collective wisdom that has fostered personal resilience and sparked aesthetic ingenuity for women artists across eras.

Through exhibitions, workshops, and publications, the collective forges connections between artists and healers, innovating novel, liberatory practices tailored to women, non-binary, and trans artists of the contemporary era. Over the past couple of years, Hilma’s Ghost has cultivated undertakings that champion experimental teaching methods, transcultural dialogue, and the scaffolding of communities, all through the prism of feminism, geometric abstraction, and spirituality.

Solo and group exhibitions and projects include The Aldrich Box at The Aldrich Contemporary Art Museum, Connecticut, USA (2023); Schema: World as Diagram at Marlborough Gallery, New York, USA (2023); Radical Spirits at Hill-Stead Museum, Connecticut, USA (2022); Probably Just the Wind at Parallax Art Center, Oregon, USA (2022); ABSTRACT FUTURES TAROT at The Armory Show, New York, USA (2021); and others. Their work has been reviewed favorably in The New York Times, The Brooklyn Rail, Artnet, Hyperallergic, and others.

Ray and Tegeder work together in Brooklyn, New York.

Jeppe Hein  (Copenhagen, Denmark, 1974)

Jeppe Hein studied at the Royal Danish Academy of Arts in Copenhagen and the Städelschule in Frankfurt. Hein is widely known for his production of experiential and interactive artworks that can be positioned between the junction of art, architecture, and technical inventions.

Unique in their formal simplicity and notable for their frequent use of humor, his works engage in a lively dialogue with the traditions of Minimalist sculpture and Conceptual art of the seventies. Hein’s pieces often feature surprising and captivating elements that place spectators at the center of events and focus their experience and perception on the surrounding space. The influence of Conceptual art movements on Hein’s work can be seen in projects such as One Wish for You (2020), where he created balloons that looked like they were made of plastic and inflated by helium but were actually made with fiberglass, chrome lacquer and a magnet that holds them to the ceiling.

The material ambiguity of the piece lies in the naturalness with which the balloon moves against the most subtle breeze and the technical process behind it, something that allows Hein to show how our understanding and perception of daily objects are more in a subjective assessment than in their materiality itself. At the same time, the distortion of space that can be seen on the surface of the balloons reaffirms the idea that our gaze is under constant transformation.

He currently lives and works in Berlin, Germany.

Magali Lara  (Ciudad de México, México, 1956)

Magali Lara es egresada de la carrera de Artes Visuales para la Expresión Plástica por la Universidad de Guadalajara y cuenta con la Maestría en Artes de la Universidad Autónoma del Estado de Morelos. Con más de 40 años de trabajo, la artista visual, gestora y académica ha desarrollado una práctica multidisciplinaria que explora temas relacionados al inconsciente, la cotidianidad, las emociones, el cuerpo, lo femenino y la otredad.

Influenciada por las mujeres pintoras de la escuela mexicana, como María Izquierdo, Olga Costa y Frida Kahlo, Magali Lara retomó el gusto por la naturaleza muerta, los objetos y las atmósferas oníricas. Estos elementos son empleados para componer un lenguaje simbólico único que ha llevado a los campos de la animación, el dibujo, la escritura, la cerámica, el libro de artista, la pintura y el textil. Principalmente asociada con el arte conceptual, Magali Lara ha sido constante con una “poética” que habla sobre el cuerpo, la intimidad, el deseo, la maternidad, la infancia, la sexualidad y la cotidianidad; todo ello desde una perspectiva de “feminidad” que reconoce como inexorable. Partir desde lo cotidiano y lo visceral del cuerpo humano le permite hacer un comentario sobre la condición humana, algo que la artista considera esencial en la función social del arte.

Desde los años noventa trabaja en la Facultad de Artes de la Universidad Autónoma de Morelos. Actualmente forma parte del Cuerpo Académico de la Maestría en producción de arte, y participa como jurado en varias bienales y fomentos a la producción artística y como asesora de planes de estudio en diversas instituciones de educación artística. Es miembro del Sistema Nacional de Creadores FONCA, al cual accedió por séptima ocasión en 2020-2023. En 2019 recibió la medalla al Mérito en Artes por parte del Congreso de la Ciudad de México y en 2024 fue acreedora a la Medalla Bellas Artes del Instituto Nacional de Bellas Artes y Literatura en México.

Actualmente vive y trabaja en Cuernavaca, México.

Julio Le Parc (Mendoza, Argentina, 1928)

Julio Le Parc is one of the most renowned figures in the field of research, and experimental visual arts focused on modern Op-Art, whose influence spans from the mid-20th century to the present. He studied at the National University of the Arts in Argentina, where he was first interested in the relationships between light and form. Immersed in the radical environment of the student movements of his native country, between 1955 and 1958, he participated in the occupations of the Academy of Fine Arts and the reformulation of its programs, oriented by the proposals of avant-garde artists such as the Arte Concreto-Invención movement and where he met the influential art critic Jorge Romero Brest.

In 1958 he traveled to Paris after receiving a scholarship from the French Cultural Service, where he met artists such as Victor Vasarely and other important representatives of Kinetic art. From them, Le Parc extracted not only its formal proposals regarding movement but also its political implications to articulate aesthetic experiences without the need for previous knowledge or any sort of familiarity with the art world. Such implications derived into collective practices of the Groupe de Recherche d’Art Visuel (GRAV), of which he was a founding member, guided by a rejection of the position of art in capitalism. The collective emphasized anonymity and the participation of spectators through the application of industrial, mechanical, and kinetic techniques alike.

Afterwards, he participated in the Atelier Populaire during May 68 in France, as well as in various avant-garde radical publications, anchoring his production – always close to Kinetism – in a social and political commitment that conceives spectators no longer as participants in the work, but as co-authors of it.

Currently lives and works in Paris, France.

Francisco Muñoz (Tlaxcala,  Mexico, 1986)

Francisco Muñoz’s multidisciplinary practice includes ceramic, drawing, collage, painting, textiles, and installations. He studied at the Escuela Nacional de Pintura, Escultura y Grabado, La Esmeralda, in Mexico City, and later at the Escuela Nacional de Bellas Artes in Lyon, as part of an artistic fellowship program. His work is placed in the questioning and analysis of national identities, especially in aesthetic terms. The artist is originally from Tlaxcala, a crucial place in the imaginary produced by the official history of Mexico regarding the period of the Conquest. In that sense, Muñoz approaches pre-Columbian images and symbols as a part of present-day speeches that are necessary to question and explore.

One of the main axes of his work is the relationship that objects have with different contexts and how their meanings can be reordered through material modifications, conceptual associations, or painting interventions. The possibilities represented by the adaptation of objects to different environments are key to Muñoz’s practice: the identity of each piece is based on multiplicity, on the encounter between its “original” meanings and those it assimilates, both in the process of artistic work and at the point of encounter with its viewers. This syncretism directly connects the conceptual with the material, a line on which his work unfolds. Muñoz's work can be found in the Alain Servais Collection (Belgium) and in various private collections in Mexico.

He currently lives and works in Mexico City.

Felipe Pantone (Buenos Aires, Argentina, 1986)

He began his practice as a teenager, making graffiti in Torrevieja, in the south of Spain. Calligraphy and typography, the fundamental focus of graffiti, were the platform from which the artist undertook the development of an abstract or geometric visual language that aims to be both accessible and democratic, parallel to current technological speech. Pantone's work maintains a historical connection with current production methods and with the visual references of the hyper-connected and digitized society. His work is a meditation on the ways in which we consume visual information in current times.

Abstraction is first used as stylistic branding and then poured towards the references of the present time full of infographics, statistics, and visual representations of data that synthesize realities into quickly understandable formats. With this, Pantone reflects on the impact of the digital revolution and global communication on the constitution of the contemporary subject. In today’s accelerated world of industrial production with light, color or previously impossible visual experiences, Pantone recognizes chromatic combinations —such as the glitch or technological failure— as visual experiences linked to contemporary culture. The result is a language that moves between technology and the fine arts, taken to several applications.

Among his most outstanding public installations are the murals commissioned by the Palais de Tokyo in Paris, France; the mosaic at the Polytechnic University of Valencia, Spain; the murals in two buildings of the Tecnológico de Monterrey, Mexico; the mural Optichromie at the Albright-Knox Art Gallery in Buffalo, USA and the mural 300,000 Km/s on Faria Lima Avenue in São Paulo, Brazil.

He currently lives and works in Valencia, Spain.

Diego Pérez (Mexico City, Mexico, 1975)

Diego Pérez’s multidisciplinary practice continuously plays with the idea of the border, be they the limits that divide art from other sorts of objects, those that divide art from the wider public, or those that separate contemplation from experimentation. The artist articulates a sculptural imagination in which every material is an endless source of forms whose relationships do not end in the work, but extend to the environment and the viewer.

Beginning his career in the field of photography, Pérez has oriented his work towards the public life of objects, fomenting, not without a degree of humor and an affinity for fantasy, an inquiry about social relationships that give works meaning. It is in everyday life where a chair becomes a shelf, or where a box transforms into a plant pot; the art-life border is constituted and dissolved in the conjunction of public space, work and spectator.

For Pérez, it is important to let imagination and daydreaming flow, because that is where the contact between apparently separate fields is produced between artist and artisan, connoisseur, casual observer and so on.

He currently lives and works in Mexico City.

Jesús Rafael Soto (Ciudad Bolívar, Venezuela, 1923 - Paris, France, 2005)

Jesús Rafael Soto was an influential and central figure of post-war global modernism. He participated in the group exhibition Le mouvement (1955), at the Denise René Gallery in Paris, one of the foundational moments of the style. Throughout his career, he was prominent for the redefinition of the social role of art, rooted in wide research about the spatial-temporal quality of the artistic object.

Soto studied Fine Arts in Caracas, then he moved to Paris in 1950, where he became a part of the international group of artists that sought to renew the experimental art scene. Even though he has been commonly associated with Op Art, Soto’s work is rather characterized by the continuous study of movement and the dematerialization of the form, producing kinetic constructions where the active participation of the spectator is fundamental.

In 1958 he began Vibraciones, a series consisting of the overlap, in various levels, of grids and mobile objects that create infinite possibilities of vibrations and variations. Soto managed to create works accessible to all people, without marking the differences of age or cultural capital of the public, appealing to the very experience of the viewer in relation to the artistic object.

Oswaldo Vigas (Valencia, Venezuela, 1923 - Caracas, Venezuela, 2014)

Oswaldo Vigas was a Venezuelan artist who pioneered the blending of abstraction and figuration with rituals of popular culture and folklore. Best known as a painter, polemist, and muralist, his work spanned sculpture, print, drawing, ceramic, and tapestry. Predominantly recognized as a self-taught artist, Vigas avoided the artistic canon of post war Venezuelan geometric abstraction to build his own language. His work was inspired by the magical, the mythical, and the telluric of local and Latin American imaginary, a line of research that would be the common thread of his oeuvre. He is considered one of the essential figures of Informalism in South America.

Jointly with Alejandro Otero and Los Disidentes, Vigas participated at the Proyecto de Integración de las Artes de la Universidad Central de Venezuela designed by architect Carlos Raul Villanueva. In 1954, he represented Venezuela at the Venice Biennale. In 1992 he participated in the XXVI International Prize of Contemporary Art of Monaco, receiving the first prize, and in 1999, the Iberian-American FIA Art Fair chose him as the honored artist. Oswaldo Vigas died in Caracas in 2014 at the age of 90 years.

Today, his works are part of the collections of important public institutions such as the Museum of Fine Arts, Houston; the San Francisco Museum of Modern Art, the Art Museum of the Americas, OAS, in Washington, D.C., the Musée Des Beaux Arts D’Angers, and the Musée Des Beaux-Arts in Reims; the Museo de Arte Moderno de Bogotá; the Museo Nacional de Bellas Artes in Santiago de Chile to name a few; as well as in numerous important private collections around the world.

Ding Yi (Shanghai, China, 1962)

Ding Yi’s career includes studies in decorative arts at the Shanghai School of Arts & Crafts, a position as a designer in a toy factory, and studies in traditional Chinese painting at Shanghai University. The diversity of this background has been reflected, in his work, in the simultaneous coexistence of a high degree of apparent mechanization, repetition and precision, along with a creative impulse towards novelty and formal experimentation.

Though as a student he already favored abstraction, it was in 1988, when he began the infinite series called Appearance of Crosses, in which he started to develop a unique visual language that contradicted the typical formats of Chinese painting of that time. Using the cross as a formal referent, sometimes emptied from meaning, and sometimes associated with negation, Ding Yi established a distance from expression and the sentiment that predominated in his artistic environment. The idea of combining the principles of design with those of painting resulted, then, in an approach that he has called “the rational abstract”, in which the rigor of the lattice coincides with the dynamism of stroke and color.

His artistic practice includes painting, sculpture and installation, and is circumscribed by the idea of promoting the autonomy of the artistic field beyond politics and history. As he has stated: “abstract art can represent the spirit”.

He currently lives and works in Shanghai, China.