He received his BFA in Interdisciplinary Arts from Kansas City Art Institute in 2008, and his MFA in Art and Media from Zürcher Hochschule der Künste in 2013. Cruces’ work is interested in human interaction with the landscape, while incorporating a wide variety of material approaches – painting, sculpture, and video. These elements often culminate in installations that collapse notions of obligation and leisure, nature and domestication, the familiar and the foreign. 

His work has been exhibited at Kunsthaus Baselland, Basel, CH; Swiss Institute, Milan, IT; Museum of Fine Arts, Houston, TX; Kunsthaus Langenthal, Langenthal, CH; kim? Contemporary Art Centre, Riga, LV; Kunsthal Aarhus, Aarhus, DK; and Museo della Frutta, Turin, IT. He has held residencies at Cité Internationale des Arts, Paris, FR; Rupert, Vilnius, LT; Aldea, Bergen, NO; and Cripta747, Turin, IT, and Nave, Guayllabamba, EC. 

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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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The circulation of informations and images in the digital space is for him, a lens to focus on orientalism, and occidental normalization. In a split between eastern and western culture, virtuality and physicality, his work uses symbols from mainstream internet culture, conspiracy theories, and global folklore to re-think the stories and narratives of our collective imagination.

Feuvrier (b. 1997, Mauritius) is the recipient of the 2021 Sigg Art Prize, an award that offers two residencies annually, organized in collaboration with an art school, this time École Nationale Supérieure des Beaux Arts de Lyon.

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She appropriates the aesthetic to create moments of waiting, thus contrasting with the hyperaction of games in general. The situations created by the artist are therefore caricatured, but also disturbing. They declare endured, passive encounters, followed by moments of indifference.

At the same time, her tribulations on the Internet led her to protect herself from the strategy of the troll, which, instead of being an avoidance, becomes an effective disruptive mechanism, making it possible to reflect on artistic practice, its tools, its forms and its critical field. Through her work, she wishes to impose paradox, strangeness, discomfort and humor as an artistic point of view.

Muller (b. 1993, Germany) is the recipient of the 2021 Sigg Art Prize, an award that offers two residencies annually, organized in collaboration with an art school, this time École Nationale Supérieure des Beaux Arts de Lyon.

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Willmann (b. 1995, France) exhibited at EXO EXO, Paris; Fondation d’entreprise Ricard, Paris; Divan Orange, Montreal. He is the winner of the Prix Roger Pailhas (2021), Prix Linossier (2019) and the Prix de Paris (2019)

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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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Gleaning the raw material of her work from the internet and books on natural sciences, Ntjam uses assemblage – of images, words, sounds, and stories – as a method to deconstruct the grand narratives underlying hegemonic discourses on origin, identity and race. Her work weaves multiple narratives drawn from investigations into historical events, scientific functions, or philosophical concepts, to which she confronts references to African mythology, ancestral rituals, religious symbolism and science-fiction. These apparently heterogeneous discourses and iconographies are marshaled together in an effort to re-appropriate History while speculating on not-yet-determined space-times – interstitial worlds where systems of perception and naming of fixed (id)entities no longer operate. From there, Ntjam composes utopian cartographies and ontological fictions in which technological fantasy, intergalactic voyages and hypothetical underwater civilizations become the matrix for a practice of emancipation that promotes the emergence of inclusive, processual and resilient communities.

Ntjam (b.1992, France) recently exhibited at CAC La Traverse, Alfortville; NıCOLETTı, Londres; Stedelijk Museum, Amsterdam; Hordaland Art Center, Bergen; Mucem, Marseille; MuCAT, Abidjan; Fondation Calouste Gulbenkian, Lisbon; AfricaMUSEUM, Tervuren; Frac Nouvelle-Aquitaine MÉCA, Bordeaux; Agnes Etherington Art Centre, Kingston; Palais de Tokyo, Paris; Centre Pompidou, Paris; WIELS, Brussels; MAMA, Rotterdam; Biennale de Lyon, MAC Lyon; Arnolfini, Bristol.

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Created initially as fluid digital images, the paintings are printed on vinyl and then intervened upon with a gel medium that lends a texture that could be read as ghostly impressions of painterly marks. However, rather than appealing to the hand, this texture only underscores the surface as a complex field of visual play –a theme brought forth in this suite of works through the reoccurring motif of veils and unveiling. Dancing between dimensionality and translucence, her landscapes and characters bridge the divide between the enigmatic and the banal.

Louisa Gagliardi (b. 1989, Switzerland) had recent solo shows at Antenna Space, Shanghai; Dawid Radziszewski, Warsaw; Rodolphe Janssen, Brussels; McNamara Art Projects, Hong Kong; MOSTYN, Llandudno; Plymouth Rock, Zurich; Pilar Corrias, London; and Tomorrow Gallery, New York. She has participated in group exhibitions at Aargauer Kunsthaus, Aarau; Centre d’art de Neuchâtel; Kunst Halle Sankt Gallen; Museum Haus Konstruktiv, Zurich; the Louisiana Museum of Modern Art; Istituto Svizzero, Rome; König Galerie, Berlin.

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She questions the construction of a self-narrative at a time when social networks as well as the phone’s film constitute forms of chronicle 2.0.
From November 2018 and for a year, she painted everyday a photo taken with her mobile. Inspired by constrained writing, the protocol remains the same for each painting: same gouache treatment, same dimensions, each numbered and annotated with a comment.

More recently, she draws photos taken or received, images specific to Internet culture from her cellphone’s stock, and then uses them as raw material for her gouaches on paper in screen format. The subjects chosen are those that we would naturally take a photo of, a cooked meal, a selfie, friends, a vacation landscape. Once the painting is done, Marion Chaillou scans it and puts it in a binder. It is her own gaze that she returns in the literal sense of the word. The screen would be a reality that she takes care to paint, as one would paint an object from nature. From this process results the writing of a story told through an autobiographical painting.

Marion Chaillou (b. 1998, France) is currently studying at Beaux Arts de Paris.

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