Philippe Fretz (1969) is a Swiss painter presently living and working in Geneva. His artistic training in Geneva (1988-92) was supported by a “Stravinsky Prize” and other fellowships. Fretz’s work has been exhibited in many solo and group shows in Switzerland and France, including the Galerie Athanor and the Galerie du Tableau, Marseille; Ancienne Abbatiale, Bellelay; Galerie ESF, Lausanne; Konsumbäckerei, Solothurn; Barrington Center for the Arts at Gordon College, MA, USA; Le Salon vert, Carouge; Halle nord, Genève, Club d’art contemporain, Lausanne
Louis-Philippe Van Eeckhoutte is an independent curator and critic based in Belgium. From 2010 to 2018 he was director at Office Baroque in Antwerp & Brussels. In 2018 he was Artistic Director of the Brussels Gallery Weekend and curator of the first edition of Generation Brussels. Since 2018 he has been the curatorial advisor for the Rediscovery section of Art Brussels. In 2020 he co-curated the 7th edition of Currents at Z33 in Hasselt. He is currently guest lecturer at the Royal College of Art in London. He is also the founder of the online interview series Drawing Room Play (www.drawingroomplay.com).
Ronni Squizzato is a self-thought Venetian artist born in 1980. He studied architecture but soon developed an interest in graphic design. His strong passion for kinetic art and optics fuelled in him the desire to create an artwork made of geometric, regular shapes that move and infuse irregular sensations and deceptive feelings, in an attempt to allure the eye of the watcher. By playing with colour, shape and perspective in a completely personal way, Ronni approaches every canvas with different tools such as tape, stencils, or anything else that could help him break structural rules.
Alejandra Sieder (Venezuela, 1974) is a Graphic Designer and Visual Artist, graduated from the Miguel Neumann Design Institute in Caracas, Venezuela.
Sieder lives and works in Sydney, Australia. She creates works that go beyond the limits of painting and installation. Made with canvas, wood, Japanese ink and acrylic, Sieder’s work is characterized by his intense study of form, volume and materiality, as well as his great aesthetic care and conceptual subtlety, while his practice emphasizes temporal aspects and performative of the creative act.
These recent works show the characteristic methodology of the artist, which consists of creating works of art in three dimensions. Sieder is based on the presentation of the movement for the effect and that it played with the viewer in the first person. Its objective is to involve the audience in a new dimension within the visual experience and create a piece that effectively expresses the interrelation between matter, space and the sensations of the viewer.
In these new works, Alejandra Sieder transcends the limits of her usual practice by orchestrating works in 3D. This particular work combines the volume of matter and the visual of monochrome colour, becoming an unprecedented installation creating volumes in the gallery space. In the exhibition, the artist not only demonstrates her absolute mastery of the techniques she has been using but also her constant and versatile artistic evolution.
Since childhood, I have been focused on analysing the nuances of human behaviour. Later in my life, and through my studies in psychology, I have come to realise that often people are unable to reflect and identify the intrusive thoughts that fill their psyche, thus precluding any attempt to receive the so much needed help. This dark hole can be felt by many as a hopeless place. However, my paintings express that there is light in darkness. Through the reflection of oneself with the canvas, transcendence over diminished mental states begin to be possible.
My aim with this artworks was to create a painting in three dimensions. I wanted it to rely on the presentation of motion for effect and to play with the viewer in the first person. My goal is to involve the audience in a new dimension within the viewing experience. I feel that I created a piece that effectively expresses the interrelationship between the matter, space and viewer sensations.
I was interested in the analogy between the objects and human bodies. Rather than regarding the two entities as radically different – one being soulless and functional and the other governed by intuition and insight – I wanted to imply that humans might be more than irrational engines of conflicting lusts and urges, like dysfunctional machines. I wanted for them to feel something in their body through their eyes that reminds them that they are alive in their own bodies.