Working in painting, installation and performance, Agnes Scherer creates complex pictorial works that engage with power relations and their underlying psychologies within historical systems, economies and societal roles. Through deep analysis of art history, anthropology and cultural history, she subverts the artistic strategies that traditionally served structures of power. Using unique forms of presentation by placing handmade artefacts into theatrical, elaborate, frameworks like operettas and narrative installations, the artist debases the authority in a way that is spectacular, through puppet shows and absurdist pantomimes. Scherer’s visual language includes universally known symbols and anachronisms that are transposed into each other in neo-baroque-like complexity, interrogating the undertones of contemporary society and its histories. 

Agnes Scherer has previously held solo shows in institutions including unst Halle Sankt Gallen (St. Gallen); (Bel Ami (Los Angeles); Heidelberger Kunstverein, Sans titre, (Paris); PAGE (NYC); Kunstverein für die Rheinlande und Westfalen (Dusseldorf); ChertLüdde (Berlin). Agnes Scherer’s first operetta “Cupid and the Animals”, was awarded the Nigel Greenwood Art Prize in 2015 and performed in, among other places, the Museum Ludwig (Cologne) and TRAMPS NYC). In 2019, her second elaborate work within this format, “The Teacher”, was presented by Kinderhook & Caracas in Berlin, at Cabaret Voltaire, Zurich (2020) and recently in Italy for the festival ART CITY Bologna (2023). The artist’s narrative installation “The Very Hungry” at the Berlin project space Horse & Pony was granted the Berlin Art Prize (2019). Agnes Scherer’s works are featured in the permanent collections of important institutions and museums, including FRAC Champagne-Ardenne, Reims; Moderna Museet, Stockholm; KOLUMBA Museum, Cologne and Kunsthaus NRW Kornelimünster in Aachen.

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Moving between the object and document, real and virtual, physical and digital, Artie Vierkant works in a variety of media including photography and sculpture, and also acts of circulating JPEGs and negotiating limits of patents and tradements. The artist is interested in subverting the conventional theology of art by altering tangible elements of his work through digital interventions, thereby reflecting on the essence of online interactions that are rapidly overtaking physical encounters in an increasingly digitised culture. Vierkant’s works further pose questions around the ownership and Intellectual Property rights in a “post-internet” age. For the artist, the documentation of the art becomes a work of art in its own right, blending distinction between the object and its image and thereby collapsing the notions of value and originality. 

Artie Vierkant’s work has previously been exhibited internationally in solo and group exhibitions in institutions such as Feuer / Mesler (New York); Westfalischer Kunstverein (Munster); Centre d’art Galerie Edouard Manet (Gennevilliers); Carl Kostyal (London); Exile (Berlin); The Green Room (London); Kunsthalle Freiburg (Freiburg); American Academy Rome (Rome); Ullens Center for Contemporary Art (Beijing); International Center of Photography (New York); among many others.

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In his practice, Austin Lee combines analogue and digital processes to create a distinct, cartoon-like imagery reminiscent of early Internet. The artist’s paintings and sculptures – which depict humans, animals, plants and hybrid creatures in a palette of recurring bright colours – navigate the digital realm of art-making and art-consumption while referencing the canons of classical painting. By translating digital sketches into works on canvas and sculptures through the use of airbrush, paintbrush and 3D printing, Lee creates works that land at the intersection of abstraction and figuration, evoking both online and offline spaces. Stripped of sharp edges, the artist’s universe of saturated yet soft and gentle visual vocabulary is ultimately dedicated to the intricacies of human emotion in the digital age. 

Austin Lee has previously exhibited internationally in galleries and institutions including Pace Prints (New York), Wallach Art Gallery (New York); M WOODS (Beijing); Jeffrey Deitch (New York); Peres Projects (Berlin); Spazio Maiocchi (Milan); Mine Project (Hong Kong); Jeffrey Deitch (New York); Mosaic Art Foundation (Istanbul); Kaikai Kiki Gallery (Tokyo); BANK (Shanghai), among others.

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Avery Singer engaged in performance art, video making, as well as sculpture utilizing carpentry, metal casting and welding. After graduation, she discovered her chosen art form from an unanticipated experiment with SketchUp, a program used by her peers to design exhibition spaces, and airbrushed a black-and-white painting based on a digital illustration. Since then, Singer has employed the binary language of computer programs and industrial materials in order to remove the trace of the artist’s hand while engaging the tradition of painting and the legacy of modernism.

Deepfake Rachel (study) (2023) was part of Singer solo exhibition ‘Free Fall’, a reflection upon her personal experience of the 9/11 terrorist attacks on the World Trade Center in New York City and explores the wider societal impact of collective trauma and proliferating image culture and media dissemination. Based entirely upon Singer’s childhood memories, the works and architectural intervention in the exhibition are a testament to the power of memory—and a memorial to a moment of terror and survival. 
Avery Singer has previously exhibited internationally in galleries and institutions including Hauser & Wirth (London), ICA Miami (Miami); Museum Ludwig (Cologne); Marta Herford/Kunsthalle Bielefeld (Bielefeld); Gavin Brown’s enterprise (New York); Hammer Museum (Los Angeles); LACMA (Los Angeles); 58th Venice Biennale (Venice) among others.

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The first iteration of the project will take the shape of a Virtual Reality as well as a video. His work has been exhibited at Des Corps Libres, Reiffers Initiatives, Paris. Drop 06, Zien, Online. Global Gallery, Worldwide. Organized by Porsche and König Galerie. Salon de Montrouge, Paris.

During his AlUla Artist Residency, Ben Elliot has been inspired by the scenery, the local wildlife, the people in AlUla and the developments brought on by Saudi Arabia’s Vision 2030. He imagined the future of these landscapes and produced a powerful immersive Metaverse experience, challenging the past and future through the digital realm, based on his historical site visits and with the help of the local community and experts.

During the “Palimpsest of Time” exhibition, Ben Elliot showcased Smartsuit, a speculative garment designed by him, which envisions the future of clothing for the human body. Perfectly designed for AlUla’s desert, it is minimalist, utilitarian and streamlined for everyday use, Smartsuit acts as a true bioskin, responding to the needs of the body in a technology driven society. Constructed from intelligent biomaterials and acting as a new exoskeleton, Smartsuit adapts to unlimited colours and intuitively shapes itself to the individuality of its user while responding to its environment. The suit adapts to the weather, provides warmth, energy and nutrients to the host, optimises the body’s performance levels, enhances the senses, stores unlimited data and connects intuitively to all social networks. The Smartsuit is self-cleaning, self-healing and self-fragilising.

On March 8th, the event “Sands of tomorrow” included an off-white cocktail and finger food and recital of Ben Elliot’s writings by Alanood.

At the intersection of physical and digital paradigms, Metaone is divided into different environments inspired by innovative places, like AlUla. Metaone envisions being a digital answer to these new kinds of cities and societies, which are at the same time smart and in adequacy with their natural habitat (i.e. biomimetic shapes).
For Elliot, AlUla represents a very exciting ambition for a futuristic country where history, nature, technology, and sciences coexist to create progress. He is interested in the conception of new spaces that rethink humanity’s relationships to the space we live in – which is also something the metaverse should provide reasoning about through the shapes (architecture, urban planning) or values (sustainability, well-being) it carries.

Ben Elliot’s workshop was intended for the younger local generation of AlUla.

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With practice spanning across various art forms including land art, large-scale prism and solar spectrum installations, paintings, film and photography, Charless Ross explores the effects of light, time and mathematical structures and reveals optical, astronomical and perceptual phenomena. Using sunlight and starlight as his artistic tools, Ross creates large prisms to project solar spectrum into architectural spaces and draw the quantum behaviour of light with dynamite. His other medium called ‘solar burns’ constitute paintings created through dynamite and powdered pigment being burned when exposed to the powerful beams of light guided by a prism. Ross is well-known for his long-term project of building the geometry of stars into his earthwork titled ‘Star Axis’, now nearing completion in New Mexico after 51 years. His work, ranging from monumental to delicate, is a true adventure in time and space. 

Ross has exhibited at venues including the Museum of Modern Art (NYC),  PS1 (NYC), Dwan Gallery, Museum of Contemporary Art (Los Angeles); and Museum of Contemporary Art (Chicago). His artworks are collected by the Whitney Museum of American Art, Centre Georges Pompidou, and Los Angeles County Museum of Art, among other institutions. In 2011, he was named a Guggenheim Fellow.

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Working at the intersection between painting and digital media, analogue and digital techniques, Chris Dorland explores the ways in which machine and surveillance technology records and reproduces reality through data visualisation, scanning hardware and other optical devices. The artist is interested in what ramifications can those have on human modes of perception and existence in the age of control, consumerism and technology. The artist’s paintings, digital collages and films convey a dystopian vision through distorted and glitching imagery that lands at an unresolved tension between technological utopia and post-capitalistic chaos. 

Chris Dorland’s has recently had solo exhibitions in galleries and institutions such as Lyles & King (NYC); Super Dakota (Brussels); NıCOLETTı (London); Aetopoulos (Athens); Museo Nacional De Bellas Artes (Santiago), among others. His works was included in group exhibition in institutions including Liste Art Fair Basel (Basel, 2023); PM/AM (London) NADA (Miami, 2019); Frieze NY (US 2019); Cleveland Triennial for Contemporary Art (Cleveland); Anonymous Gallery (Mexico DF)); New Museum/Art Production Fund (NYC);  Gasser Grunert Gallery (NYC), among others. Dorland’s work is in the permanent collections of the Whitney Museum of American Art, New York, US; Bronx Museum of Art, New York, USA; Neuberger Museum of Art, New York, USA, among others.

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Arcangel has previously exhibited in numerous solo — including full floor solo exhibition at the Whitney Museum of American Art (NYC) — and group shows internationally, including CC Foundation (Shanghai); Firstsite (Colchester); Espace Louis Vuitton München (Munich);  Galleria d‘Arte Moderna e Contemporanea (Bergamo); Reykjavik Art Museum (Reykjavik);  Carnegie Museum of Art (Pittsburgh); Barbican (London). His work was included in the Whitney Biennial at the Whitney Museum of American Art and the Liverpool Biennial (both 2004).

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Working in video, installation and painting in the aftermath of post-Internet movement, Gaspar Willmann questions collective beharious and representations in the context of a technocratic society, driven by affects. Through the use of everyday objects and imagery, Willmann creates paintings that he describes as ‘photo-montages’, whereby his digital drawings are printed onto the canvas, intertwined with images found randomly on the Internet. Blending nostalgia of the traditional art historical motives, such as still life, with the visual language of the banality of the everyday, Willmann reinvents the medium while reflecting on the undercurrents beneath the surface of normality. 

Gaspar Willmann presented his work at FRAC Pays-de-la-Loire (Nantes), Fondation Fiminco (Pantin), 65e Salon de Montrouge (Montrouge), Fondation d’Entreprise Ricard (Paris). He won the Prix de Paris (ENSBA Lyon, 2019) and the Roger Pailhas Prize for its presentation with Exo Exo at Art-o-rama (Marseille, 2021). He was a finalist of the Prix des Amis du Palais de Tokyo (2022) and he is the laureate of the Cité Internationale de la Tapisserie Prize (Aubusson, 2023). He was a resident at the Cité Internationale des Arts (Paris, 2020) and at Villa Belleville (Paris, 2021).

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More recently, they have taken an interest in various state violence and questioned places of power through the use of monumental frescoes.

Quinlan & Hastings (b. 1991, UK) recently exhibited at Isabella Bortolozzi, Berlin; MOSTYN, Wales; Fondazione Musei Civici di Venezia; Hayward Gallery, London; Whitechapel Gallery, London; Sweedens National Centre For Architecture and Design; Canton Gallery, Guangzhou; University of California; Galeria Graça Brandão; The Cruising Pavilion, Venice Architecture Biennale; Walker Art Gallery, Liverpool; ICA, London; Centre Pompidou, Paris; Southbank Centre, London; DRAF, London.

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