Futuros abundantes, WORKS FROM THE TBA21 COLLECTION

Elena Damiani was born in 1979 in Lima, Peru, where she currently lives and works.

Damiani has participated in multiple international biennales, including the Seoul Mediacity Biennale (2023), Cuenca Biennial (2018, 2016), Gwangju Biennale (2016), Venice Biennale, Vienna Biennale and IV Poly/Graphic Triennial (all 2015), Bienal de la Imagen y Movimiento (2014), Mercosul Biennial (2013).

Solo exhibitions include MAC Museo de Arte Contemporáneo, Lima (2022), Chrysler Museum of Art, Norfolk, VA (2017), Museo Amparo, Puebla (2016), MUAC Museo Universitario Arte Contemporaneo, Mexico City (2015). Her work has been exhibited at the MoMA The Museum of Modern Art, Heide MoMA, Melbourne and ! MACO Museo de Arte Contemporáneo de Oaxaca (all in 2023), C3A, Cordoba and Museo de Arte Zapopan, Guadalajara (both 2022), Harn Museum of Art, Florida and A4 Art Museum, Chengdu (both 2021), Dhaka Art Summit, DePaul Art Museum, Chicago and MOCO Montpellier Contemporain (all in 2020), Museu Coleção Berardo, Lisbon and Galleria Nazionale d’Arte Moderna, Roma (both 2019), Skissernas Museum, Lund, (2017), Garage Museum of Contemporary Art, Moscow, and MOCAD Museum of Contemporary Art, Detroit (both 2015). She was awarded the Grants & Commissions Program, Cisneros Fontanals Art Foundation CIFO (2016) and the commission for the David Rockefeller Atrium, Americas Society, New York (2014).

Her work is represented in the collections of MoMA The Museum of Modern Art, New York; MALI Museo de Arte de Lima, Lima; Thyssen-Bornemisza Art Contemporary Collection, Miami; Museo Tamayo, Mexico City; Kadist Art Foundation, San Francisco and Paris, Cisneros Fontanals ArtFoundation, Miami; Kamel Lazaar Foundation, Tunisi; Schoepflin Foundation, Lorrach and FOLAFototeca Latinoamericana, Buenos Aires.

Daniel Steegmann Mangrané was born in Barcelona, Spain (1977), and he lives and works in Rio de Janeiro, Brasil.

Daniel Steegmann Mangrané’s work is made up of subtle yet crude experiments that explore the relationship between language and the world. Although primarily conceptual, his installations engage with the imagination of the spectator and exhibit a strong concern about the existence of everything we see, but especially about everything that we do not see.
Mangrané’s art often traces the boundary where nature meets artifice. Lines, circles and rhombuses are drawn, cut and projected onto leaves; the delicate symmetry of branches is split in two. These precise interventions hold a powerful force of attraction: a moment of uncertainty between what is contrived and what is natural. In each of Steegmann Mangrané’s intricate compositions, we get to experience the way which the organic and the geometric, the vital and the abstract, far from being distinct, actually define one another.

Recent solo shows include A Leaf-Shaped Animal Draws The Hand, Pirelli HangarBicocca, Milan (2019);  Ne voulais prendre ni forme, ni chair, ni matière,Institut d’Art Contemporain de Villeurbaine, Villeurbaine (2019); A Transparent Leaf Instead Of The Mouth, CCS Bard College, New York (2018); –’- –’-, Fundació Tàpies (2018; A Transparent Leaf Instead Of The Mouth, Museu Serralves, Porto (2017); (Paisaje de posibilidades), MAMM, Medellín (2016); Lafayette Anticipation, Lafayette Foundation, Paris (2015); Animal que no existeix, CRAC Alsace, Altkirch (2014).
His work has been also featured at the group shows Concrete Contemporary, Museum Haus Konstruktiv, Zürich (2019); We Were Raised on the Internet, Museum of Contemporary Art, Chicago (2018); Mixed Realities, Kunstmuseum Stuttgart, (2018); Cosmic Spring, Centre Pompidou, Metz (2017); Biotopia, Kunsthalle Mainz (2017); Mondes Flotants, 14th Biennale de Lyon (2017); The present in drag, Berlin Biennale, Berlin (2016); Sorround Audience, New Museum Triennial, New York (2015); Beauty Codes, Kunsthalle Lissabon, Lisbon (2015); Treasure of Lima, Thyssen-Bornemisza Museum, Madrid (2014).