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 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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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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Abu Abdullah (b. 1990, Saudi Arabia) exhibited at Kunstverein in Hamburg, Hamburg; Athr, Jeddah; Centre D’art contemporain Geneve, Geneva; Art Jameel, Dubai; 12th Gwangju Biennale, Gwaghju; Sharjah Biennial 11, Sharjah; Diriyah Biennale, Riyadh; Portland Institute of Contemporary Art, Oregon; Centre Pompidou, Paris; Serpentine Galleries Marathons, London; Whitechapel Gallery, London; Louisiana Museum of Modern Art, Copenhagen; Luma Foundation, Zurich.

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