MIART

Becky Beasley (b. 1975, UK) graduated from Goldsmiths College, London in 1999 and from The Royal College of Art in 2002, is an artist who lives and works in Hastings, England.
Beasley’s “sculptures and photographs, as mute and minimal as they appear, unexpectedly open onto literary worlds.”(Christy Lange, Frieze Focus).
Beasley produces objects, photographs and texts which are typically informed by a deep engagement with literature — specifically in the past ten years certain writings of William Faulkner, Herman Melville, Bernard Malamud and Thomas Bernhard— and historical research.
She is interested in the ethics of dialogue and how to inhabit the spaces, works and lives of others in tandem with ones own through art.
Her practice is also concerned with spatial experience, in particularly the interior. She has developed a practice which explores the image and the limits of language. Through an abstracted grammar of the everyday, she sources personal experiences and literary references for moments of complexity and ambiguity.
Beasley’s work has been featured in solo exhibition internationally including, Tate Britain, Serpentine Gallery Pavilion (live work), Spike Island, Leeds City Art Gallery, Towner Art Gallery, 80WSE (Steinhardt, NYU) New York, South London Gallery (live work) and SKUC Gallery, Ljubljana. Group exhibition participation includes Bluecoat, Liverpool; Whitechapel Gallery, London; Kunstverein Munich and La Carte D’Après Nature, National Museums Monaco (Touring to Matthew Marks, New York), as well as three Arts Council Collection touring exhibitions, In a dream you saw a way to survive and you were full of joy, curated by Elizabeth Price; British Art Show 7: In The Days of the Comet and Structure and Material (with Claire Barclay and Karla Black).
Her work has been reviewed in the New York Times, Artforum, Art Monthly, Frieze, Art Review and Flash Art International. Beasley was on the ICA Artist’s Advisory Committee in 2012 and was nominated for the Max Mara Prize in 2009. She has had five Paul Hamlyn Nominations.

Matthias Bitzer was born in 1975 in Stuttgart, he lives and works in Berlin (D).
He graduated from Staatliche Akademie der Bildenden Künste Karlsruhe, Germany in 2004.
His artistic practice combines drawing, sculpture and painting creating experience spaces with strong references to history and intellectuals and a deep reflection on their identity, in which the viewer can immerse himself. The development of his work shows itself in the increasing complexity of the installations, maintaining their focus on the construction of memory and the reconstruction of reality. His research involves literary personalities, writers and their characters who have frequently slipped into outsider positions. Fascinated by the relation between the invisible and the real, Bitzer layers symbolic fragments and fractured forms on top of one another as citations. In a new inspection of classical modern art from today’s perspective, the artist combines portraits and geometric constructions in his drawings, paintings and sculptures. Through the analysis of this multiplicity of figures, Matthias Bitzer’s work investigates different looks on reality and through his more and more complex abstract patterns he gives the viewer a visual translation to this fragmentary dimension, to these different points of view, to possible gazes. Through paintings, sculptures and mural drawings, all strictly connected to each other, he thinks the exhibition space as an autonomous body, where you can “consider the works as a kind of symbolist translation or a decoding of reality that tries to make visible something that was invisible before” as the artist says.
His works are part of Public collections at LACMA, Los Angeles, USA, MARTa Herford, Herford, Germany, Städtische Galerie Karlsruhe, Karlsruhe, Germany, Geraer Sammlung, Gera, Germany, CCA Andratx, Mallorca, Spain, and Rosenblum Collection & Friends, Paris, France.

Jan De Cock was born in 1976 in Etterbeek. He now lives and works in Anderlecht, Belgium.
From the beginning of his career, De Cock’s art has revolved around production and the ways in which an artist relates to the broad culturally-injected concept of Modernism.
In 2003 Jan De Cock entered the competition Prix de la Jeune Peinture Belge (Prize for Young Belgian Painters). After Luc Tuymans, he is the second Belgian artist to have had a solo exposition at Tate Modern and the first living Belgian artist to have had an exhibition at MoMA (2008). Much of his work draws on visual and formal comparisons between early-20th century abstract art movements and contemporary design and mass production. During the first decade of his career the artist worked on the intersection between sculpture and architecture and he succeeded in extending the underlying functionalist consequences of the Russian Modernist artist El Lissitzky‘s Proun Room, thus completing a missing link within the modernist program yet to be completed in late twentieth century modernist art.
Since the second decade of the 21st century his works evolves around the concept of Romanticism.
On several occasions, he stresses the independence from market controlled mechanisms which are in an outspoken opposition to a romantic and utopian stand. e.g. the integration of an already existing school in the artist’s studio: The Brussels Art Institute.
From his exhibition Eine Romantische Ausstellung onward the focus of his works shifts towards disruptive interventions in order to destabilise art market mechanisms.
After the departure from Brussels and the relocation of Jan De Cock’s studio to Turin , Italy and then Bruges, Belgium and the closure of The Brussels Art_ Institute, The Bruges Art_ Institute was founded in 2019. Just like its predecessor The Brussels Art_ Institute, The Bruges Art_ Institute is invariably labeled a ‘romantic place’ (quote) by its founder Jan Frederik De Cock. The Bruges Art Institute is home to The Flemish Masters, Grandiose Shipyards and Jan De Cock Advisory. It is a complex of fine arts salons, a studio, a school where the various functions of living, working, studying are united in an anti-modernist way with a Wunderkammer, a showroom and a school.

Simon Dybbroe Møller’s practice tests the relationship between essential sensate qualities and the evolution of communication; how it feels to be bodies tumbling or stumbling through this world; how we change media and how media changes us. His work often concerns the materiality and physicality of things against the backdrop of ubiquitous representations in the media.
He has had solo exhibitions at Contemporary Art Centre in Vilnius, Fondazione Giuliani in Rome, Kunsthalle Sao Paulo, 21er Haus in Vienna, Kunstverein Hannover, Frankfurter Kunstverein, among others. His work was included in the 5th Moscow Biennial, the 2nd Turin Triennial, and the 9th Berlin Biennial and in group exhibitions at MOCA Detroit; KW Institute for Contemporary Art, Berlin; Palais de Tokyo, Paris; SMK National Gallery, Copenhagen; Centre Pompidou, Paris;  CCA Wattis in San Francisco, Hamburger Bahnhof, Berlin, Ludwig Museum Köln, MMK Frankfurt am Main and the Museum of Contemporary Art Tokyo. Dybbroe Møller has been an invited lecturer and guest teacher at Harvard University, UDK Berlin, Kunstakademie München and  École Nationale des Beaux-Arts de Lyon.
Simon Dybbroe Møller (1976) was born in Aarhus.
He studied at the Kunstakademie Düsseldorf and at Städelschule in Frankfurt am Main.

Alice Ronchi was born in 1989, Ponte dell’Olio.
She grained her BA at Nuova Accademia di Belle Arti (NABA), Milan, IT (2012) and her MA at the departement of Material utopias at the Sandberg Instituut, Amsterdam, NL (2015).
She attendend a Residency VSC / Vermont Studio Center, Vermont (USA) in 2017.
In Alice Ronchi’s sculptures and installations, everyday objects meet the world of invention and fantasy. The search for “wonder” is a constant theme in the art of Alice Ronchi, populated by familiar yet enigmatic figures, product of the re-elaboration in an abstract key of everyday objects. Halfway between playful and minimalist, Alice Ronchi’s work is always a perfect synthesis of formal simplicity and geometrical precision. Through the use of different media, ranging from sculpture to photography, from performance to video, Alice Ronchi questions the world with a curious gaze and returns it to us as if it were a magic place, with the ability that artists have always had of looking at the world with different eyes.

She exhibited at Gasconade space, Milan, Peep-Hole, Milan (both 2013); Fondazione Sandretto Re Rebaudengo, Turin; La Triennale Museum, Milano (both 2014), Galleria civica di Trento, Trento, Fons Welters Gallery, Amsterdam (both 2015); Macro Museum, Rome and Stadgalerie, Kiel (both 2016), MamBo, Bologna (2018), MAXXI, Rome (2019), GAM, Turin (2020).
Currently she is teaching at NABA University in Milan: Sculpture – International English course.