Jose Bonell is a painter of fragmentary details, whose work is imbued with immense subtlety. His narratives are based around the collective imagination and infused with historical, literary and personal references. Whether dreamlike, sarcastic or simply humorous, his canvases depict scenes in which his characters are involved in a series of outlandish or bizarre acts. In a lively and fluid manner, the paint is applied to the surface in subtle brushstrokes and dabs, giving rise to discreet acts of folly, absurd situations and ambiguous moments, all emphasized by the artist’s perceptive use of atmospheric colors. Jose Bonell paints with a swift hand, seeking out with his brush the shapes and colors that form his tragi-comic images which probe the mysteries of time and space. His paintings are visual allegories of both the futility and poetry of human existence. They form a mythological universe rich in metaphor, like a vast kaleidoscopic frieze revealing a world that is the mirror image of our own.    

Jose Bonell was born in Barcelona in 1989. He is a permanent resident of the Piramidón Centro de Arte Contemporáneo in the Catalan city. His works have been exhibited in numerous solo and collective shows, most notably at Various Small Fires (VSF) in Los Angeles, the Rossi Contemporary in Brussels, White Columns and The Hole in New York, Plataforma in Barcelona and The Curator’s Room in both Amsterdam and Barcelona. He was awarded the Prix Novembre in Vitry-sur-Seine, France, in 2020. Alongside Sara Bonache, he is the co-director of Unica Edicions, founded in 2020, which publishes artist’s books and objects in limited series.

Amy Bravo is a New York based artist of Cuban Italian origin. Her works combine symbolism—stylized palm trees, roosters, horses and waxed mustaches—artifacts from Latin American religious and popular culture and family stories, to create her own intimate and imaginative vision of the island of Cuba, a mixture of the familiar and the unknown, of beauty and bewilderment.

She has an unconventional approach to painting, preferring irregular shaped canvasses to the classic stretcher forms, and mixing black and colored pencil drawings with various other disciplines such as painting and collage using materials such as string, leather, dried leaves and lace amongst other diverse objects drawn from her personal and family history. This very particular combination of techniques, where pride of place is given to DIY and popular culture, fits in perfectly with the intentions of her work: to bring together complex identities, to rebuild a family lineage interrupted by exile, to reimagine her ancestral home and to sketch the outlines of a mythical world. Thus, her works have given birth to a rural community populated by Amazons, women wrestlers and cowgirls; proud and liberated women at the crossroads of the three communities asserted by the artist: Women, Brown and Latinx.

Born in 1997 in New Jersey, Amy Bravo lives and works in Brooklyn, New York. After graduating from the Pratt Institute, she obtained a MFA at Hunter College in New York in 2022. Amongst recent exhibitions, she had a solo show at Nada Miami and a duo show at Swivel Gallery in New York in 2022. In 2022, she also benefitted from a residency at the Fountainhead Residency in Miami.

As something of an enfant terrible of the art world, Olaf Breuning views the world through disillusioned eyes and delivers an absurd and deceptively idiotic, satirical version of what he sees. His work can be perceived as a kind of personal diary, driven by everyday life, fueled by humor and fashioned by whatever might be at hand and with the help of a gang of friends. Stylistically, his work happily flirts with caricature and reveals an ongoing concern with man’s impact on nature. Olaf Breuning employs photography, film, ceramics, engraving and drawing to create a very direct and deliberately regressive form of art. Recently, he has added painting to his body of work: naïve and almost childlike forms and colors are applied using woodcut stamps made from solid wooden blocks, lending his highly rhythmic compositions the rustic aspect of wood engraving and the primitivism of art brut.

Olaf Breuning was born in 1970 in Schaffhausen (Switzerland), moving to the USA at the beginning of the 2000s. Today he lives and works in upstate New York. In 2016, he was the subject of a retrospective at the NRW-Forum in Düsseldorf and has enjoyed solo exhibitions at the Palais de Tokyo, Paris, the Chisenhale Gallery, London and at the Paul Klee Museum in Bern. He participated in the 2008 Whitney Biennial and his work has been featured in group exhibitions at the MoMA, New York, the Pompidou Center, Paris, the Haus der Kunst, Munich, the Kunsthalle, Zurich, the Walker Art Center, Minneapolis, the Jeu de Paume, Paris, the KW Institute for Contemporary Art, Berlin, the Whitechapel Gallery, London and the Mori Art Museum in Tokyo.

Anthony Cudahy combines a wide variety of references in his painting: masterpieces of art history, archives of queer culture, gay iconography as well as personal and family recollections. Inspired by photographs that he decomposes from one painting to another producing a serial effect, Cudahy incorporates these images in a chain of transformations, infusing each new iteration with different affects and his own musings. His repertoire, with its flowers, expressions of love and portraits of youthful men, explores romantic, tender and intimate registers.

Subdued, as if suspended, Cudahy’s painting is derived from a sense of the dramatic. At the center of his more complicated compositions, captured in ambiguous situations or broken narratives, the human figure emerges as a focal point. The exploration of individuality is rendered by the delicate manner in which faces and expressions are portrayed, compared with the bodies and settings, which are composed of broad, energetic brush strokes and abstract flat tints. Chromatic aberrations and vivid contrasts of acidic colors create an imbalance and unite contradictions that would otherwise appear irreconcilable.

Anthony Cudahy graduated from the New York Pratt Institute in 2011 and from the Hunter College in 2020. His first solo exhibition in a European public institution was held at the Musée des Beaux-Arts de Dole in 2023. In 2024, the Ogunquit Museum of American Art will present his first institutional exhibition in the United States. He has participated in several one-person exhibitions across the USA most notably at 1969 Gallery and Deli Gallery in New York as well as at Farewell Books in Austin, TX. His works have been included in group exhibitions in New York at Perrotin Gallery, Hales Gallery, at the Athens Institute for Contemporary Art, (GA), and at Pace Gallery (Hong Kong), amongst others.

More abstract than CoBrA, more colorful than Joyce Pensato, Aneta Kajzer’s work sits assuredly in the ranks of Bad Painting. It eschews the normative concepts of the image, alternating between seriousness and humor and daringly treading the borderline between beauty and ugliness. Her deformed, diverse and sometimes-contradictory figures allow the spectator some insight into the artist’s social preoccupations: it is of no consequence if some things remain unresolved, as long as they exist. Her artistic process begins with her choice of colors and strokes, from which at first transitory forms emerge that constantly evolve before finally taking on their definitive shapes. In constant dialog with the motifs that appear on her canvases, Kajzer alternates between planned and intuitive gestures. She creates conflicting arrangements between abstraction and figuration, combining contradictory forms of expression. Often a perfectly placed comma of paint resolves the conundrum of the image as a whole, making full use of the phenomena of pareidolia and suggestive association.

Aneta Kajzer was born in 1989 in Katowice in Poland and lives and works in Berlin. She graduated from the Kunsthochschule Mainz and was awarded a residency at the Künstlerhaus Bethanien in Berlin. In 2018, she participated in the Goldrausch Künstlerinnenprojekt, a development program for female visual artists. Her work is regularly exhibited, particularly in shows dedicated to the contemporary rejuvenation of German art such as Now ! Painting in Germany Today in Deutschland, shown at the Deichtorhallen Hamburg, Kunstmuseum Bonn, Kunstsammlung Chemnitz and Museum Wiesbaden in 2019-2020. She has also enjoyed numerous solo exhibitions, most notably at the Conrads Gallery in Düsseldorf, the Künstlerhaus Bethanien and the Institut für Moderne Kunst in Nuremburg.

Laurent Le Deunff’s sculptures often mislead the eye due to the disparity between the materials used and the objects represented. He has a pronounced taste for traditional techniques from the world of arts and crafts as well as decorative artifices. The modesty of papier-mâché and fingernail clippings rubs shoulders with the nobility of bronze and deer antlers, and the rarity of fossilized dinosaur droppings sits side-by-side with the ordinariness of fake wood made from cement. Le Deunff’s meticulousness and acute sense of observation have also been deployed in his series of drawings—copulating animals, the footprints of imaginary monsters or artist’s cats—through which he explores animality, in a narrative that leaves plenty of space for the imagination. His bestiary brings together a wide variety of creatures—dolphins, slugs, moles seahorses and bears—without any hint of hierarchy of species. Humans are not excluded from the narrative, which reactivates a kind of archetypal primitivism: a prehistoric phallus and various totems and talismans transport civilization back to its most splendid origins.

His works have been the subject of exhibitions at La Halle des Bouchers, Vienne (FR), at Carré Scène nationale, Château-Gontier (FR), at Frac Île-de-France, Paris (FR), at Frac Normandie Caen (FR), at MOCO, Montpellier (FR), at Frac Poitou-Charentes, Angoulême (FR), at FRAC Nouvelle Aquitaine MÉCA, Bordeaux (FR), at MRAC Occitanie, Sérignan (FR) and at Musée d’Art Moderne Paris (FR). Laurent Le Deunff's work is held in the collections of the Musée d’Art Moderne de Paris (FR), MRAC Occitanie, Sérignan (FR), CAPC, Bordeaux (FR), Frac Île-de-France, Paris (FR), Frac Nouvelle-Aquitaine MÉCA, Bordeaux (FR), Frac-Artothèque Nouvelle Aquitaine, Limoges (FR) and Frac Normandie Caen (FR).

Since the 1990s, Françoise Pétrovitch has produced one of the most powerful bodies of work on the French art scene. Amongst the numerous media she has explored—ceramics, glass, ink washes, painting, print and video—drawing retains pride of place. In constant dialog with the artists who have preceded her, she has been able to measure herself against the incontrovertible motifs of “high art”­­—Saint Sebastian, still lifes, etc. Pétrovitch’s art reveals an ambiguous world, willingly transgressive, playing with conventional boundaries and eluding any interpretation. Intimacy, fragments of life and disappearance, alongside the themes such as the double, transition and cruelty run through her work, which is inhabited by animals, flowers and beings, and whose atmosphere fluctuates between light and dark, rarely leaving the spectator unmoved.

She has enjoyed numerous solo exhibitions both in France and abroad, as in the Fonds Hélène et Édouard Leclerc in Landerneau and the Bibliothèque nationale de France, Paris, in 2022, and the Musée de la Vie romantique, Paris, in 2023. In 2018, she was the first contemporary artist to be awarded a solo exhibition at the Louvre-Lens. Over the past few years, Pétrovitch has produced monumental wall drawings and large format ensembles, for the Galerie des Enfants at the Centre Pompidou, the West Bund Museum, Shanghai, or for the Ballets du Nord Company. Her works are included in many private and public collections, most notably the Centre Pompidou, Paris (FR), the Voorlinden Museum, Wassenaar (NL), the National Museum of Women in the Arts, Washington D.C. (US), the Musée Jenisch, Vevey (CH), the Musée d’Art Moderne et Contemporain of Saint-Etienne (FR) and of Strasbourg (FR), the MAC VAL (FR) and numerous regional art centers throughout France as well as the Salomon and Guerlain Foundations.

Born in Versailles in 1980, Laurent Proux lives and works in Paris.

In his painting and drawing, Laurent Proux produces powerful and original imagery that seeks through his formal choices to resolve the questions raised by his subjects. Described by some as a realist due to the subjects he depicts—industrial machinery, workstations, sexualized bodies, etc.­—his style finds its emancipation through his never-ending exploration of pictorial solutions, the integration of aberrations, bringing planes into collision, the use of artificial colors, all freeing his oeuvre from the opposition between figuration and abstraction. He approaches the human form through fragments, exaggeration and the use of silhouettes to create a kind of body-cum-machine, politicized and under assault, often disturbing and occasionally sentimental. His canvases take the form of a stage, in an altered perspective and the artist addresses the spectator with a visual and intellectual enigma running through the image.

Laurent Proux’s oeuvres are included in the collections of the National Center for Visual Arts (CNAP), the Occitan, Limousin and Nouvelle-Aquitaine regional contemporary art collections (FRAC) and the Paris Municipal Collection (FMAC). His work has been exhibited at the Mana Contemporary in Chicago (US), the Shanghai Art Museum (CN), the Moscow Center for Contemporary Art (RU), the Musée d’Art Contemporain in Lyon (FR), the Limousin FRAC in Limoges (FR), at the Lieu Commun in Toulouse (FR) and at the Musée d'Art moderne et contemporain de l'Abbaye Sainte-Croix aux Sables-d'Olonne (FR). Laurent Proux was a resident of the Casa de Velázquez in Madrid (ES).

Moffat Takadiwa creates large format sculptures from materials found on garbage dumps, notably computer parts, plastic bottle-caps, toothbrushes and toothpaste tubes. After gathering great quantities of these small objects and sorting them by color and shape, the artist weaves these discarded scraps into rich wall hangings. Once suspended, these post-industrial fabrics, through their intricate beauty, acquire an aura of ritual or totemic artifacts.

Born in 1983, Moffat Takadiwa lives and works on the outskirts of Harare in Mbare, one of the largest recycling centers in the country and an important hub for the informal economy. Belonging to the post-independence generation, his work reflects his preoccupation with issues such as consumerism, inequality, post-colonialism and the environment. Since the earliest days of his artistic career, he has used his practice as a platform for the rehabilitation of his community, working with young local artists and designers, with a view to founding the world first artistic center based on the use of reclaimed materials.

The National Gallery of Zimbabwe, Harare, staged a major solo exhibition of Moffat Takadiwa in 2023. In 2024, he will have his first solo exhibition in a French institution at the Galerie Édouard Manet, Gennevilliers, and will represent Zimbabwe at the 60^th Biennale di Venezia alongside five other artists. He exhibited his works in major institutions abroad as well, most notably at the Craft Contemporary (US), during the exhibition organized by Jeffrey Deitch and Gagosian at the Moore Building in Miami (US), at the ARoS Kunstmuseumat, Aarhus (DK), the MACAAL, Marrakesh (MA) and the Arnhem Museum (NL). His works are included in numerous public and private collections including the CNAP, Paris (FR), the FRAC Alsace (FR) The Fondation H, Antananarivo (MG), The Jameel Arts Center, Dubai (AE), The Arsenal Contemporary Art, Toronto (CA) and the CC Foundation, Shanghai (CN).

Within their practice, Gert and Uwe Tobias have revived a wide range of traditional image-making techniques—woodcut printing, low-relief sculpture, drawing using typewriters, watercolor, gouache, ceramics and lacemaking—into which they breathe new life using contemporary means. Their oeuvre is mainly influenced by the myths, costumes, crafts and commonplace motifs of their native Transylvania, subverted and fused with elements of popular culture, abstract art and contemporary graphic design. From this rich pictorial repertoire, they create a varied body of work in which legends and folk tales, carnivalesque figures and archaic elements are subject to constant metamorphoses.

Born in Romania in 1973, the twin brothers Gert and Uwe Tobias have been developing a collaborative practice since 2001. Their four-handed work bears witness to the perfect symbiosis of their individual gestures, striving towards a common goal. Today, they live and work in Cologne, Germany. The twin brothers have recently enjoyed exhibitions at the MoMA in New York, the Sprengel Museum in Hannover and the Pinakothek der Moderne, Munich, both in Germany, The Dhondt-Dhaenens Museum in Deurle, Belgium, the Whitechapel Gallery in London, the Kunstmuseum Ravensburg, Germany, the Kupferstichkabinett at the Staatliche Kunstsammelungen in Dresden, the Maramotti Collection in Reggio Emilia in Italy and the UCLA, Hammer Museum of Art in Los Angeles as well as many other venues. In 2022, they were awarded the Prix du Dessin (Drawing Prize) by the Fondation d’Art Contemporain Daniel et Florence Guerlain.