Born in 1980 in Cleveland Ohio, OH, USA
Lives and works in New York, NY, USA

New York based artist Daniel Arsham work explores the fields of fine art, architecture, performance, design and film. Raised in Miami, Arsham attended the Cooper Union in New York City where he received the Gelman Trust Fellowship Award in 2003.

Soon thereafter Arsham toured worldwide with the Merce Cunningham Dance Company as the company’s stage designer. The experience lead to an ongoing collaborative practice which continues as Arsham works with world renowned artists, musicians, designers, and brands.

Arsham’s uchronic aesthetics revolves around his concept of fictional archaeology. Working in sculpture, architecture, drawing and film, he creates and crystallizes ambiguous in-between spaces or situations, and further stages what he refers to as future relics of the present. Always iconic, most of the objects that he turns into stone refer to the late 20th century or millennial era, when technological obsolescence unprecedentedly accelerated along with the digital dematerialization of our world. While the present, the future and the past poetically collide in his haunted yet playful visions between romanticism and pop art, Daniel Arsham also experiments with the timelessness of certain symbols and gestures across cultures.

In 2008, Arsham co-founded Snarkitecture with architect Alex Mustonen. Snarkitecture is a collaborative design practice established to investigate the boundaries between the disciplines of art and architecture. Snarkitecture focuses on the reinterpretation of everyday materials, structures and programs to new and imaginative effect. The studio’s work includes installations, architectural environments and objects for a diverse range of clients such as Beats by Dre, Calvin Klein, COS, Design Miami, Gufram, Kith, New Museum, and Valextra.

Remy Jungerman (1959) lives and works in New York and Amsterdam. He attended the Academy for Higher Arts and Cultural Studies in Paramaribo, Suriname, before moving to Amsterdam where he studied at the Gerrit Rietveld Academy.

In his work Jungerman explores the intersection of pattern and symbol in Surinamese Maroon culture, the larger African diaspora, and 20th century Modernism. Placing fragments of Maroon textiles and other materials found in the African diaspora—the kaolin clay used in several religious traditions or the nails featured in Nkisi Nkondi power sculpture—in direct contact with materials and imagery drawn from more ‘established’ art traditions, Jungerman presents a peripheral vision that enriches our perspective on art history.

In 2022 Jungerman received the A.H. Heineken Prize for Art.

From November 20, 2021 – April 10, 2022 he was the subject of a career survey show at the Stedelijk Museum, Amsterdam titled Remy Jungerman: Behind the Forest.

In 2019 he represented the Netherlands at the 58^th Venice Biennale in 2019.

In 2008 he received the Fritschy Culture Award from the Museum het Domein, Sittard, The Netherlands.

His international residencies include Art Omi, International Studio & Curatorial Program (ISCP) in New York and Tembe Art Centre, Moengo, SR.

His work has been featured in numerous publications and acquired by various institutions and private collectors worldwide including Stedelijk Museum Amsterdam, Kunstmuseum The Hague, and International African American Museum (IAAM), Charleston, US. His first book, Where the River Runs, published by Jap Sam Books in 2019, won the 2019 50books | 50covers design award from the AIGA in the US and has received two 2019 30 Best Dutch Book Designs awards. His second book, Behind the Forest, was published by Jap Sam Books in 2021 in connection with his solo exhibition at Stedelijk Museum Amsterdam. His third book, Tracing the Lines: Patterns of the African Diaspora was published by Jap Sam Books in 2024.

Visit the website of the artist here.

Born 1995 in Malaysia.
Lives and works in The Netherlands

Marcos Kueh is a textile artist from the Island of Borneo, with a professional background in Graphic Design and Advertising. His love affair with textiles started two years ago in his Academy’s textile workshop, while trying to find a sense familiarity to grasp onto while studying in the Netherlands. The ancestors of his land encapsulated their dreams, myths and hopes in their textiles. Many of Kueh’s textile works are explorations and speculations of the traditional meaning of the craft in the contemporary context. His practice has motivated him to work and learn about both the traditional weaving techniques back in Borneo and the ‘modern’ industrial weaving mills here in the Netherlands.

Marcos Kueh graduated from The Royal Academy of Art (KABK) in The Hague in 2022. He participated in the Best of Graduates 2022 exhibition at Galerie Ron Mandos, during which Joop van Caldenborgh, founder of Museum Voorlinden, awarded him the Young Blood Award of 2022. In October of 2022, Kueh started the Ron Mandos Young Blood Foundation Residency at the BRUTUS Lab in Rotterdam. His studio will be opened to visitors during Art Rotterdam 2023, running from February 8^th to 12^th. Currently, his work is also on view at Museum Voorlinden, Wassenaar, NL, and Stedelijk Museum, Amsterdam, NL. Previously, Marcos Kueh had exhibitions at Osaka International Art Fair, Osaka, JP; Architectural Biennal Rotterdam, NL; Kazerne, Eindhoven, NL, and The Backroom, Kuala Lumpur, MY.

Sabine Marcelis is an artist and designer who runs her practice from the harbor of Rotterdam, the Netherlands. After graduating from the Design Academy of Eindhoven in 2011, Marcelis began working within the fields of product, installation and spatial design with a strong focus on materiality. Her work is characterized by pure forms which highlight material properties.

Marcelis applies a strong aesthetic point of view to her collaborations with industry specialists. This method of working allows her to intervene in the manufacturing process. Pushing production and material boundaries and using research and experimentation to achieve new surprising visual effects for projects both showcased in museums and commissioned by commercial clients and fashion houses. Sabine considers her designs to be true sensorial experiences: the experience becomes the function, with a refined and unique aesthetic.

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.

Koen van den Broek was born in 1973 in Bree, Belgium
He lives and works in Antwerp, Belgium

Born in 1973 in the Belgian town of Bree, Koen van den Broek first studied architecture and subsequently painting, initially at the Royal Academy of Antwerp and then at the Academy of Visual Arts of Breda. In his opinion, despite his painting studies, he has always remained an architect at heart. Ever since his student days, van den Broek has travelled constantly: around Europe, to the USA, Mexico and even to Korea. Always with his camera close to hand. He takes photos, a lot of photos, which all depict the same subject: the architectural interventions of man on the landscape.

Early in his career, Koen van den Broek developed a fascination for desolate landscapes in which man rarely appears, but always makes his presence felt. He depicts the traces left behind on roads, streets and houses that have been abandoned. The artist’s perception of roads and borders in barren lands has provided the painter with impulses that enable him to make his specific statement on landscape painting. Van den Broek operates by turning his face downwards and zooming in on the irregularities of the pavement, on curb stones and shadows. It is this very search for a subject of representation that led the artist on a journey closer to abstraction.

Works by Koen van den Broek are part of major public collections, including the LACMA, Los Angeles; SMAK, Ghent; M HKA, Antwerp; Busan Museum of Art, Busan; San Francisco Museum of Modern Art, and Museum Dhondt-Dhaenens, Deurle. His work has been presented at the Venice Biennial (2015 & 2017); White Cube, London; Kunstmuseum, Bonn; Royal Museum of Fine Arts of Antwerp and Brussels; Seoul Arts Centre, Seoul; Kunsthalle, Mannheim; Royal Academy, London; MAS, Antwerp, and Kunsthal, Rotterdam; His work can also be found in numerous public spaces in Belgium, such as the Hofkamer, Antwerp; ‘t Zilte, MAS, Antwerp; AZSM Hospital, Mechelen, and the Provinciehuis, Hasselt.