Levi van Veluw was born in the city of Hoevelaken in 1985. He lives and works near Amsterdam, The Netherlands.

Over the past 15 years, Van Veluw has produced a diverse and evolving oeuvre that is exhibited all around the world. He is known for installations, sculptures, drawings, and autobiographical films that draw from his childhood memories. From the depths of his memory, the artist unearths images that provoke universal emotions and question our human logic. Van Veluw plays with elements of order and chaos, posing to the viewer questions about our obsessive pursuit of control.

Van Veluw creates his works with extreme care and craftsmanship; his sculptures of clay and wood are made entirely by hand, giving them an authentic, coarse, and organic character. His intricately built-up charcoal drawings show great symmetry and harmony, whilst his remarkable use of light evokes a strong, meditative mood. The installations by Van Veluw offer intense and immersive experiences. In the past, he has built complete, though fictional cathedrals – amongst other dark and sensory spaces built of obscure forms and materials. Visitors that enter Van Veluw’s alternate realities become disassociated from their existing spatial interpretations. They experience a disruptive environment where both order and chaos live one amongst the other.

The work of Van Veluw has been exhibited internationally in leading museums and institutions worldwide, such as the Museum of Arts and Design, New York; the Bass Museum of Art, Miami; Ars Electronica, Linz; Centro Nacional de las Artes, Mexico City; Design Museum, London; Musée d’art contemporain de Montréal, and Marres House for Contemporary Culture, Maastricht, amongst others. His work is included in both public and private collections, such as the Borusan Collection, Istanbul; Museum Voorlinden, Wassenaar; Museum MORE, Gorssel; the KPMG Art Collection, Amstelveen; the Ekard Collection, Wassenaar; the Lakeside Collection, Rotterdam, and Cobra to Contemporary/The Brown Family Collection.

Additionally, Van Veluw has worked on commissions for private clients. Within these commissions he has undertaken many collaborations. In 2012, Van Veluw worked alongside curator Marc Coetzee on the film “Family”, produced as part of the “Films4peace” project. In 2014, working alongside Hermès, Van Veluw created a life-sized site-specific installation for one of their main windows in Shanghai. Van Veluw has also participated in international film festivals, including Addis Foto Fest, Addis Ababa; Afrika Film festival, Leuven; Trinidad and Tobago Film Festival, Port of Spain, and West Midlands Human Rights Film Festival, Birmingham.

The arduous drawing process of Renie Spoelstra always begins with a journey. For close to a decade, she has travelled to coasts, lakes and beaches throughout North America and Europe. Recently she visited the volcanic islands of La Palma and Iceland, looking for landscapes that evoke overwhelming existential feelings. Once she has found these locations, she films the scenes, and by using the stills from the footage, she is able to move on to the next phase of conveying a personal representation of a geographic location. Her work is never about the locations she depicts – no matter how beautiful they are. They are always about triggering emotions and associations that sharpen our senses.

Renie Spoelstra uses film footage as a starting point for her charcoal drawings. The suede like and velvety texture is achieved by the many layers of charcoal, which are skillfully positioned on top of each other to re-create an almost cinematographic scene. The balance between darkness and soft beams of light is rendered through the many shades of black and grey, creating a notion that something may be lurking below the surface.

Renie Spoelstra looks for an atmosphere, and it is this atmosphere that she tries to re-create in her drawings. The dark hues, empty landscapes and sheer size of the works evoke an existential, melancholic sentiment, and allows for the viewer to lose oneself in each piece. Although these works are reproductions of real places, and are not imagined sceneries, the soulful nature of the drawings, and dark depths, reveal a personal interpretation of the artist’s emotion.

Themes of intensity, secrecy and mystery are reoccurring in Spoelstra’s works. There is an alluring and mythical feel of a place. The series ‘Stretching Universe’ refers to the scientific fact that our universe is expanding, while here on earth it feels as though it is shrinking with the rise of xenophobia, narrow-mindedness and the continuous threats of climate change. Fleeing, or escaping to nature is not as easy as it may seem.

Renie Spoelstra studied at St. Joost, Breda and at the Academie Minerva, Groningen. She has exhibited in the Netherlands and abroad, notably at institutions like the Albertina, Vienna; Museum Boijmans van Beuningen, Rotterdam, and Stedelijk Museum Schiedam. Her work is included in renowned collections such as the Centre Pompidou, Paris; MACBA Barcelona; Stedelijk Museum Schiedam; Centraal Museum, Utrecht; Cobra Museum voor Moderne Kunst, Amstelveen; Museum Voorlinden, Wassenaar; the Guerlain Fondation, Paris, and many other (private) collections.

Hans Op de Beeck was born in 1969 in Turnhout, Belgium. He lives and works in Brussels, Belgium.

Hans Op de Beeck produces large installations, sculptures, films, drawings, paintings, photographs and texts. His work is a reflection on our complex society and the universal questions of meaning and mortality that resonate within it. He regards man as a being who stages the world around him in a tragi-comic way. Above all, Op de Beeck is keen to stimulate the viewers’ senses, and invite them to really experience the image. He seeks to create a form of visual fiction that delivers a moment of wonder and silence.

Over the past twenty years Op de Beeck realized numerous monumental ‘sensorial’ installations, in which he evoked what he describes as ‘visual fictions’: tactile deserted spaces as an empty set for the viewer to walk through or sit down in, sculpted havens for introspection. In many of his films though, in contrast with those depopulated spaces, he prominently depicts anonymous characters.

Hans Op de Beeck was born in Turnhout in 1969. He lives and works in Brussels, Belgium. Op de Beeck has shown his work extensively in solo and group exhibitions around the world.

Bouke de Vries (1960) was born in Utrecht, NL
He lives and works in London, UK

Bouke de Vries studied at the Design Academy  Eindhoven, and Central St Martin’s, London. After working with John Galliano, Stephen Jones and Zandra Rhodes, he switched careers and studied ceramics conservation and restoration at West Dean College. Every day in his practice as a private conservator he was faced with issues and contradictions around perfection and worth: “The Venus de Milo’ is venerated despite losing her arms, but when a Meissen muse loses a finger she is rendered virtually worthless.”

Using his skills as a restorer (c.f. Ron Mueck’s model-maker skills), his ‘exploded’ artworks reclaim broken pots after their accidental trauma. He has called it ‘the beauty of destruction’. Instead of reconstructing them, he deconstructs them. Instead of hiding the evidence of this most dramatic episode in the life of a ceramic object, he emphasises their new status, instilling new virtues, new values, and moving their stories forward.

The more contemplative works echo the 17th- and 18th-century still-life paintings of his Dutch heritage, especially the flower paintings of the Golden Age, a tradition in which his hometown of Utrecht was steeped (de Heem, van Alst, van Huysum inter alia), with their implied decay. By incorporating contemporary items a new vocabulary of symbolism evolves.

These ‘dead natures’ – natures morts – give everyday household objects, a plate, a milk jug, a teapot, a modern poignancy that refers back to the vanitas and memento mori paintings of that period. An installation in de Vries’s London house is arranged in the manner of Daniel Marot with white Delft domestic pottery rescued in fragments from 17th- and 18th-century rubbish tips, now dug up and partially pieced together. Among them are two small artists’ paint pots with the pigment still in them, as possibly once used by – who knows? – Vermeer or Rembrandt.

Currently living and working in Rotterdam, through his art, Tomáš Libertíny continually explores the beauty and intelligence of nature as well as probing into the existential questions of the human mind.

Born in Slovakia, the son of an architect and a historian, he studied at the Technical University Košice in Slovakia focusing on engineering and design. He was awarded George Soros’s Open Society Institute Scholarship to study at The University of Washington in Seattle, where he focused on painting and sculpture. He continued his studies at the Academy of Fine Arts and Design in Bratislava in painting and conceptual design. After receiving the prestigious Huygens Scholarship, he enrolled in the master’s program at the Design Academy Eindhoven where he received his MFA in 2006.

Libertiny’s fascination with the beauty and intelligence of nature fuels his work with timeless yet relatable emotions. The relationship between man and nature, both psychological and physical, serves as a constant source of inspiration.

Katinka Lampe traverses the realms of figurative, expressionist, and abstract painting in her soft, yet uncanny, portraits. Her works, though imbued with a sense of realism, are not meant to represent those that they depict. Resemblance is not the defining characteristic of these pieces. Instead, the artist sees the figures as visual impressions that, once transformed by her gaze, become representative of larger themes within society, rather than the individual.

Lampe often uses accessories loaded with connotation to provoke loose characterizations of theme and mood. The imposed roles played by her models, their poses, expressions, and their way of being dressed, mostly copied from magazines, the internet or old master paintings, obscure their personality and provoke deeper and subjective meaning in the minds of the viewers. Through these juxtapositions the artist explores important societal themes relating to identity, aging, color, and the ever-growing dependence on media.

Katinka Lampe is an artist based in Rotterdam, The Netherlands. She received her degree from the Academy of Art and Design St. Joost in ‘s Hertogenbosch, The Netherlands. Her work has been widely exhibited internationally in a variety of galleries, museums, and prominent art fairs such as Museum Arnhem, Arnhem,NL: Museum Van Loon, Amsterdam, NL; Singer Museum, Laren, NL, Museum Jan Cunen, Oss, NL ; Untitled Art San Francisco, USA and Untitled, Art, Miami Beach, USA. Her work is included in the collections of 21C Museum Hotels, USA; West Sun Capital Collection, Montreal,CA: Museum Arnhem, Arnhem, NL; APMA, AmorePacific Museum of Art Seoul, KR; Museum van Loon, Amsterdam, NL; C.N.A.P Centre National des Arts Plastique, Paris, FR; Museum More, Gorssel, NL; Schunck*, Heerlen, NL; Akzo Nobel Art Foundation, Amsterdam,Nl; De Nederlandsche Bank, Amsterdam, NL; ING Collection, Amsterdam, NL; Art Curial, Paris, FR; Frisseras Museum Athens, GR, and Cobra to Contemporary/The Brown Family Collection.

Katinka Lampe was born in 1963 in Tilburg, NL
She lives and works in Rotterdam, NL

https://katinkalampe.nl/

Ivan Grubanov (SRB, 1976) has enjoyed an intense training as an artist, starting out at the Belgrade Academy of Fine Arts, followed by training programs and residencies at the Rijksakademie van beeldende kunsten in Amsterdam, the Delfina Studios in London, Casa de Velazquez in Madrid and the Katholieke Universiteit Leuven. In 2015, he represented Serbia at the 56th Venice Biennale with his project United Dead Nations.

Ivan Grubanov is constantly trying to innovate the medium of painting. Being born himself in a country with such a turbulent past, he became intrigued by the articulation of historical memory against contemporary conditions. What does his heritage still mean for him today? And in a broader sense how do past cultural values still exist in our current globalised society. His process-oriented painterly method evolves into a podium for knowledge production, persistently posing challenging questions about social and political realities.

Ivan Grubanov has established his international career through numerous solo, group, and biennial exhibitions worldwide, as well as many artistic and scholarly awards. Solo shows include Laboratorio 987 at MUSAC in Leon, Le Grand Cafe Centre d’Art Contemporain in St Nazaire, Gallery of the Belgrade Cultural Center and Salon of the Museum of Contemporary Art in Belgrade, Stroom Center for Contemporary Art in Den Haag, Nogueras Blanchard in Barcelona.

Participations in group shows include the Museum of Contemporary Art in Krakow, Witte de With in Rotterdam, Kiasma in Helsinki, the 3rd International Festival of Contemporary Art of Algiers, the 10th Istanbul Biennial, the 1st Thessaloniki Biennial, Stedelijk Museum CS, SMART Project Space and De Appel in Amsterdam, the Drawing Center and Apex Art in New York, City Gallery in Prague, the 50th Belgrade October Salon, the Spa Port Biennial in Banja Luka, the 3rd Bucharest Biennial of Young Artists, Moderna Galerija in Ljubljana, the 3rd Tirana Biennial, the 3rd Biennial of Quebec, Kunsthalle Bern, Office Baroque and Extra City Kunsthal in Antwerp, Aeroplastics in Brussels, South London Gallery, ARCOS Museum in Benevento, Museum De Beyerd in Breda, Henie Onstad Art Center in Oslo, National Museum of Contemporary Art in Athens, Museu Colecção Berardo in Lisbon, Iaspis in Stockholm.

The work of Inti Hernandez is embedded in the philosophy wherein life is defined as a perpetual flow of energy. In his view the question is no longer, “What can I pick out of this flow of energy to my personal liking and benefit?” but, “What could I contribute to this flow of life that is still missing? Hernandez believes that by finding answers to this question your ideas will always be welcome and will allow you something in return.

Hernandez sees art as a medium to create conversation and dialogue. The very nature of his work embodies collaboration. He explores meanings and triggers reflection through his artistic process and through the interaction with those who engage with his work. The more ideas are adopted as another’s subject, the more energy they gather and the more they connect to something fundamental. When ideas manage to create conversations they become something undeniable.

Architecture and Industrial design are both disciplines very much interconnected with daily life. In his work Hernandez plays with their language and with their multidisciplinary habits. By doing so he ensures a special flavour of common sense in his results. Through this process Hernandez obtains vital impute out of the dialogue with people, their dreams, ideas, necessities, priorities, spontaneity and initiative. He sees art as an established institution, which can be developed into business cases and showcases so that many other interests can participate with it- supporting it and being supported by it and thus gaining a benefit from it.

Inti Hernandez lives and works in between Amsterdam (The Netherlands) and Havana (Cuba).

www.intihernandez.com

Renato Nicolodi was born in 1980, in Anderlecht, Belgium
He lives and works close to Brussels, Belgium.

The architectural work of Nicolodi is clearly monumental. The artist is inspired by classical architecture, which he uniquely processes. It is only when the viewer steps onto the work and inspects it from close range, that he can obtain a clearer understanding of the work, as if he is invited to take part in a visual and physical search within the architectonic forms he has created. Different vantage points and views reveal subtle games of light gradations with the constantly recurring subjective black space, that remains inaccessible for the viewer, coaxing one into reflection. Pure formalistic language is given an almost sacred priority.

Renato Nicolodi studied Audiovisual and Fine Arts at Sint-Lukas in Brussels, and is a laureate at the Higher Institute for Fine Arts (HISK) in Gent. His work can be found in the SFMOMA, San Francisco; Beelden aan Zee, Scheveningen; the collection of the province of Oost-Vlaanderen, Belgium; the province of Vlaams-Brabant, Belgium; the city of Genk, Genk; The city of Lokeren, Lokeren; Ekard Collection, Wassenaar; Achmea collection, Zeist; Houthoff Buruma, Amsterdam; Cobra to Contemporary/The Brown Family Collection, and many other international private collections.

Working in sculpture, drawing, embroidery, ceramics, video and performance in a succession of ‘actions’. Reza Aramesh draws references from media coverage of international conflicts dating from the mid-20th century until present day. This coverage is then transformed into sculptural volumes in collaboration with non-professional models, who help him re-enact his chosen source materials. No direct signs of war remain in the physical end results and the characters seem driven out of their initial contexts. Opposition between beauty and brutality allows the artist to unveil the absurdity and the futility of these actions. Aramesh de-contextualises these scenes of violence from their origins, exploring the narratives of representation and iconography of the subjected male body in the context of race, class and sexuality in order to create a critical conversation with the western art historical canon.

Reza Aramesh’s work has been exhibited in both solo and group exhibitions such as in the occasion of the Museum of Fine Art, St Petersburg, Florida (2025), Historic Hampton House, Miami (2025), Venice Biennale (2024), at the Bienal de la Habana (2024), Asia Society Museum in New York (2020), Met Breuer in New York (2018), SCAD Museum in Georgia Atlanta (2018), Akademie der Kunst Berlin (2016), the 2015 Venice Biennale, Art Basel Parcours 2017, Frieze Sculpture Park 2015 and 2017, and at Maxxi Museum in Rome (2016). He has orchestrated a number of performances and exhibitions in such spaces as at Barbican Centre, Tate Britain and ICA, London. His works have entered public and private collections worldwide including in Argentina, Germany, Lithuania, Poland, USA, Belgium, France, Iran, Lebanon, Israel and the UK.