Miguel Acosta (Caracas, Venezuela, 1953). Aquitect by trade, he was initiated into traditional drawing under the direction of Charles Ventrillon-Horber. His work borders between the disciplines of art and architecture as related their relation to the city. In Paris he developed projects with architect Ricardo Porro, and deepened the notion of the art-architecture binomial as a socio-cultural force in the city and its history. In the 90s he experimented with the valuation of the frame as an artwork itself. His sculptural pieces are based on the analysis of the mutability of forms and the flexibility of structures. He was an adjunct professor at the schools of architecture in Chile and Colombia. He participated at the May Salon in Paris, 1981, at the XVII National Exhibition of Fine Arts in Aragua, Venezuela 1994 (1st Prize for Three Dimensional Piece) and the Croquis Auction Odalys Gallery, Caracas 2014. Among his most important public pieces are the Portal al parque de los Caobos, Caracas 1996 and the Mural de la plaza de Palos Grandes, Caracas 2008.
Ana Isabel Diez (Medellín, Colombia, 1958). Formed as an electronic engineer and administrator, she studied art at institutions like the School of Visual Arts in New York SVA, the Institute of Art and Design Massachusetts-MassArt, and the Minnesotta Center for Book Artsm, among others. Innovative approaches to landscapes and conceptual work on gender violence characterize her work. She works at the print workshop La Estampa in Medellin. She has exhibited at the Museum of Modern Art of Medellin, Bogota, Colombia, and at the Cultural Center of the Inter-American Development Bank in Washington D.C., among others. She was nominated for the VIII Prize Luis Caballero 2015, Bogotá, Colombia, for her piece Em-bola-atados. She won the Painting Prize of the III International Biennial of Contemporary Art in Florence (Italy). Her work is part of collections such as the National Museum of Women in the Arts, Washington, D.C., and the University of Salamanca (Spain), among others.
Sonia Falcone (Santa Cruz, Bolivia, 1967). Her Campos de color installation, created for the Montevideo Biennial, 2012, with 88 vessels filled with mounds of salt and spices from countless geographical areas –as a parable able to synthesize repetition and formal homogeneity with the richness of diversity- has traveled (different versions thereof) to distant cities. It was taken to the Venice Biennale in 2014. After being exhibited at the Contemporary Art Center of Siberia, Novosibirsk, and the Contemporary Art Fair Moscow, both events in Russia; at the Pop-Up Biennial Dublin in Ireland, the Latin American art fair Pinta London; it was the piece that was installed for the G-7 meeting. The installation suggests a mapping of the planet where unification does not amount to the imposition of a single modus vivendi. In her recent exhibition in L.A at the Fabien Castanier Gallery, she presented a version of her Windows to the Soul, exploring once again the relationship between natural forms and social constructions.
Florencio Gelabert (Havana, 1961). MFA University of Miami, Florida, 1998. Throughout his life, he has inserted in contemporary art the perfected ploy of an excavator of ruins, doing a kind of apocryphal urban archeology. He undermines the traditional categories of installation and sculpture while unearthing the evocative power of affection that lives in the death of things. Amongst his recent exhibitions are Journeys: A Dialog with Time. Recent works by Florencio Gelabert, Museum of Art + Design, Miami, US, 2015; Foot Steps, Villa Manuela Gallery, Havana, Cuba, 2011;
Crack & Waste, Urban Views, Praxis International Art, Miami, 2010; Concavities, RL Art Projects, New York, 2009; Intersections, The Patricia and Phillip Frost Art Museum, Miami, 2008, Paradise O, Moderna Museet, Stockholm, Sweden, 2000. His pieces form part of collections like the Perez Art Museum Miami, the National Museum of Fine Arts Habana; the Neuberger Museum of Art, the Museum of Contemporary Art, North Miami, the Bass Museum of Art, Miami Beach, the Ella Fontanals-Cisneros Collection, Miami, and the Luciano Benetton Collection, amongst others.
Mabel Poblet (Cienfuegos, Cuba, 1986). A graduate of the Higher Institute of Arts in Havana, she participated in the Conduct Art Workshop directed by Tania Bruguera, and was awarded the Noemi Prize, as a resident fellow of the Browstone Foundation in Paris. She was resident artist of the Havana Cultura project promoted by Havana Club, and won a Special Mention from the Maretti Award Editore III Edition Jury by the Visual Arts Center & Miria Vicini. Among her recent exhibitions, the most distinguished include Patria, collateral exhibition at the Twelfth Biennial of Havana, Villa Manuela Gallery, Havana, 2015; and Marea Alta, Morro Cabaña, Havana, 2015; Reverse, Thomas Art Center; and Courageous, Madrid, 2013; Desapariencia, Gallery Link, Lima, 2013; Situacion Limite, Raquel Ponce Gallery, Madrid, 2012; and Reunificacion Familiar, Collateral to the Eleventh Havana Biennial, 2012. Her work is part of the Museum of Contemporary Art in Tampa; CIFO, Miami; and the Brownstone Foundation, Paris, among other collections. In the Diario de viaje series, the circular parts, simulation of an iris, contain photographic fragments of her movements, they are logbooks of an artist that sees the reflections of history -individual and collective- in the geographical and mental landscape.
Sam Winston s’ practice is concerned with language both as a carrier of messages but also as a form in and of itself. Initially known for his typography and artist books, he employs a variety of different approaches including drawing, data mapping and poetry.
A continuing theme is his exploration of the hidden narratives found in canonical bodies of text. Works such as Darwin’s Origin of the Species or classic nineteenth century children’s literature are often subject to data mining and cut and paste techniques to playfully reveal meta narratives and visual assumptions.
Other forms by which he achieves this are through sculpture, collage and mark making. He is an advocate of concept lead, craft based strategies as a means to learning. These element are often embodied in his participatory projects, seminars and lectures.
Winston has exhibited his work in museums and galleries around the world. The Tate Britain, the British Library, the Library of Congress in Washington, D.C., MoMA NYC and Stanford University, amongst many others, all hold his artists’ books in their permanent collections. He lives and works in London
Viviana Zargon (Buenos Aires, Argentina, 1958). With a degree in Fine Arts from Barcelona, she returned to Argentina in the mid 80’s and began documenting abandoned industrial buildings, transforming the photographic archive into conceptual pictorial pieces or intervening photographic documentations of artifacts and factories with a subtle exercise of fiction that reactivates the life of those spaces. She has exhibited individually in galleries in Buenos Aires e.g. the Benzacar Gallery, 1985; the Borges Cultural Center, 1998; as well as the Galleria Banchi Nuovi, Rome, 1996; the Sicardi-Sanders Gallery, Houston, 1997, and the Lucía de la Puente Glaeery, Lima, Peru, 2015, and the Museum Calderon Guardia, San José de Costa Rica, 2006, the Museum of Contemporary Art in Lima, Peru, 2015; and the Aluna Art Foundation, Miami, 2015. She has received awards such as the First and Second Prize for best foreign show, awarded by AICA, in Puerto Rico and the Dominican Republic respectively, 1996 and the Grant for Artistic Creation Torches Foundation, First Prize Valoarte Foundation, Costa Rica, 2008.