Futuros abundantes, WORKS FROM THE TBA21 COLLECTION

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

She studied Architecture at the Universidad Peruana de Ciencias Aplicadas and subsequently transferred to the Escuela Superior de Bellas Artes Corriente Alterna where she graduated in Fine Arts in 2005. In 2010 she received her Masters in Fine Arts at Goldsmiths College, University of London.
Elena Damiani employs the disciplines of geology, geography, cartography, archaeology and astronomy to reinterpret such categorisations and our understanding of the physical world around us. Her fictional and constructed landscapes propose alternative readings of geological time, history and humankind’s classifications of evidence. Scientific source material, considered rational and immutable is presented as a cultural construct, subject to interpretation and infused with alternative value systems, redirecting for more poetic and suggestive readings. Damiani’s construction of fictions both emulates and disrupts our methodology of constructing meaning and knowledge via empirical observations. Her work reveals a search to gain understanding of how structures that obey a greater magnitude than the brief passage of man on Earth are composed and work. This search formulates a series of explorations which seek to reinterpret various natural stages and natural processes while confronting us with the idea we have of the world in which we live. Her most recent work explores fractures in time and geological events as symbols of constant change. The artist refers to geological features as indicators of a time before history. To Damiani, geology reveals the memory of the land.

Her work has been exhibited at the Centro de Creación Contemporánea de Andalucía C3A (2022), Dhaka Art Summit (2020), DePaul Art Museum (2020), MOCO Montpellier Contemporain (2020), Museu Coleção Berardo, Lisboa (2019), la Galleria Nazionale d’Arte Moderna, Roma (2019); Skissernas Museum (Lund, 2017); Chrysler Museum of Art, (Virginia; 2017), Gwangju Biennale (2016), Bienal de Cuenca (2016), IV Poly/Graphic Triennial San Juan (2015), Vienna Biennale (2015), Venice Biennale (2015), Museo Amparo (Puebla, 2016); MUAC Museo Universitario Arte Contemporaneo (Mexico City, 2015); Garage Museum of Contemporary Art (Moscow, 2015), MOCAD Museum of Contemporary Art Detroit (Detroit, 2015); Americas Society (New York, 2014), BIM Bienal de la Imagen y Movimiento (Buenos Aires, 2014), Mercosul Biennial (Porto Alegre, 2013), Museo Tamayo (Mexico City, 2013), MAC Museo de Arte Contemporaneo (Lima, 2013), Government Art Collection (London, 2012), Museo de Bellas Artes de Valencia (2009), MAMBA Museo de Arte Moderno de Buenos Aires (2007), IVAM Instituto Valenciano de Arte Moderno (Valencia, 2007), Kunstmuseum (Bonn, 2006).
She was awarded the Grants & Commissions Program Cisneros Fontanals Art Foundation CIFO (2016), the Commission for a permanent site-specific installation at the Americas Society’s David Rockefeller Atrium in New York (2014), the Special Mention to Video Creation at the International Festival of Digital Arts and Cultures of Gran Canaria (2006), 2nd Prize at the French-Peruvian Contest for Visual Arts Pasaporte para un Artista (2006), the Gold and Silver at the Escuela Superior de Bellas Artes Corriente Alterna (2005), the Production Prize in the 2nd Peruvian Contest Video and Electronic Arts (2004).
Work by the artist is included in international collections, including the MoMA The Museum of Modern Art, MALI Museo de Arte de Lima, GNAM Galleria Nazionale d’Arte Moderna, Thyssen-Bornemisza Art Contemporary Collection, Art Jameel Collection, Colección Patricia Phelps de Cisneros, Museo Tamayo, Kadist Art Foundation, Cisneros Fontanals Art Foundation, Kamel Lazaar Foundation, Schoepflin Foundation, PAMM Perez Art Museum Miami and FOLA Fototeca Latinoamericana. She currently lives and works in Lima.

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).