Artissima 2023

Gabriel Abrantes (North Carolina, USA, 1984) lives and works in New York and Lisbon.

He has regularly shown his work at museums such as the Salzburger Kunstverein (Salzburg), MAAT (Lisbon), Tate Britain (London), Tate Modern (London), the Palais de Tokyo (Paris), the MIT List Visual Arts Center (Boston), Museu Serralves (Oporto) and Kunst-Werke (Berlin), ICA (London), Lincoln Center (NY), Caixa Forum (Madrid), CAM – Gulbenkian (Lisbon), amongst others.

His films premiered in competition at the Venice Biennale, the Berlinale and Locarno International Film Festival, where he won the Golden Bear for “A History of Mutual Respect” (2010). Most recently, he was shortlisted for the Berlinale Shorts competition with “The Artifical Humours” (2016), which was commissioned for the São Paulo Biennale exhibition “Live Uncertainty” (2016), and participated in the 16th Lyon Biennale, with “A Brief History of Princess X” and “Les Extraordinaires Mésaventures de la Jeune Fille de Pierre” (2022).

Daniela Ângelo (1996, Almada) lives and works in Lisbon.

She studied Photography at Ar.Co - Centro de Artes e Comunicação Visual, Lisbon. Her work focuses on the everyday perception of the spatial, social and historical dimension of cities. For the artist, speculating about what she sees daily is an equally simple and complex exercise, as it implies rethinking the way individuals direct their objective and emotional attention to usually ignored spaces and situations.

In 2020, she was shortlisted for Vila Franca de Xira Photography Biennial and recently had her first solo show, “Meteoro”, Duplex Air, Lisbon (2022). She participated in several group shows, such as “Perguntas à Ficção”, Edifício Arco-Íris, Elvas (2022); “Quem Nos Salva?”, M.A.C.E. – Museu de Arte Contemporânea de Elvas, Elvas (2022); “Matter- Affect”, Galeria No·No, Lisbon (2022); “Sleepers Eyes”, Buraco, Estrela (2022); “Gravitas”, Fundação Leal Rios, Lisbon (2022); “Depois do Banquete”, Teatro Thalia, Lisbon (2022); “Error 417: Expectation Failed”, Galeria Municipal do Porto, Porto (2021); “Casa da Dona Laura Itinerante”, Casa do Capitão, Lisbon (2021); “BF20 - Bienal de Fotografia de Vila Franca de Xira”, Lisbon (2021).

José Pedro Cortes (Porto, Portugal, 1976) studied at Kent Institute of Art and Design (Master of Arts in Photography) in the UK. In 2005, after 3 years living in London, he moved back to Lisbon and was part of Gulbenkian Creativity and Artistic Creation Program in Photography. On that same year, Cortes had his first solo exhibitions at Centro Português de Fotografia and Silo Gallery, both in Porto, Portugal. In that year, Cortes was also selected for the Photo London - Emerging Artists Presentations and, in 2006, took part in the Getty Images curated exhibition New Photographers 2007.

Since then Cortes had several institutional solo exhibitions, namely ‘One’s Own Arena’ at Museu da Eletricidade/MAAT, (Lisbon, 2015), ‘Costa’ at CGAC – Centro Galego de Arte Contemporánea (Santiago de Compostela, 2015) and in 2018 ‘A Necessary Realism, a major exhibition at MNAC, the National Museum of Contemporary Art, spanning 15 years of work.

Karlos Gil (1984, Spain) lives and works in Madrid. He studied at the School of Visuals Arts in New York and at the faculties of Fine Arts in Lisbon and Madrid where he earned his PhD in 2016. He was awarded an International Visual Art Grant from Fundación Botín and the Caja Madrid/Casa Encendida Art Award. He participated in different artistic residency’s programmes, namely at Gasworks (UK) and Fondazione Antonio Ratti (Italy). His work has been presented in solo and group shows, namely at: II Moscow Biennale, MMOMA (Moscow); Le19CRAC (France); Fundación Botín (Spain); Centre George Pompidou (Paris); Gasworks (London, UK); Idoru (Helsinki); CA2M (Spain); MARCO (Vigo) or La Casa Encendida (Spain).

Karlos Gil is interested in how objects and their meaning are transformed when placed in new environments, using abstraction, fragmentation and memory to create new narratives and readings, collapsing the temporal distance between past, present and future. The artist’s latest projects reflect on the relationship between technological development and the principles of the natural world, focusing on the borderline between the organic and the artificial, the natural and the industrial.

Adrien Missika (Paris, 1981) lives and works in Berlin. Co-founder of the art space 1m3 in Lausanne in 2006, he graduated from ECAL (École cantonale d’art de Lausanne) in 2007. He has had numerous personal exhibitions including: 21er Haus in Vienna, Kunsthaus Glarus, Switzerland, Centre Culturel Suisse, Paris; Centre d’art contemporain Genève, Switzerland and Palais de Tokyo in Paris. His work has also been shown in many group exhibitions, among which at Centre Pompidou, Paris; Metro Pictures, New York; Aargauer Kunsthaus, Aarau; Nouveau Musée National de Monaco, Montecarlo; Le Magasin, Grenoble; Fotomuseum Winterthur and Centre Pompidou Metz. In 2009 he was awarded the Swiss Art Award, in 2011 the Prize of the Fondation Ricard and the Kiefer Hablitzel Prize.

Missika is an artist who we could call a contemporary neo-romantic for his ability to force the observer to take on a viewpoint that contains elements belonging to times and geographies near and far at once. Missika’s art comes out of a practice combining technological deftness and manual skill, often having the appeal of the past mixed with the contemporary era. The results may be vital or decadent, reassuring or disquieting, and they always have an element of melancholy. He uses low-resolution videos, pictures taken with very long exposure times, ever changing print processing methods, sculptures made with reused objects and new materials, images of desolate, and magnetic places paired with soundtracks from artificial ambient noise, specifically designed for each occasion.

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Priscila Rooxo (b. 2001) lives and works in Rio de Janeiro. At only 17, Rooxo received a Painting scholarship from Rede NAMI to attend the prestigious Parque Lage School of Visual Arts. In 2021, she began studying at UERJ, while maintaining a collaboration with civic organisations and movements, including NAMI Rede Feminista de Arte Urbana. In September 2022, the artist, one of the youngest and most promising currently working in Brazil, was awarded the FOCO Prize at ArtRio with her solo show “A Mãe ta On”.

Rooxo’s work is a reflection on the territorial, gender and class issues experienced in the region she lives in, an area known for high violence and criminality rates and a lack of basic services and infrastructures. Based on an activist and critical practice, Priscila Rooxo’s paintings explore themes such as poverty, maternity, social exclusion, the recognition of women’s role in society, and the peripheral body and its relationship with notions of social belonging and visibility to subvert habitual cultural classifications and distinctions, namely between high and mass culture. Her practice is visibly influenced by graffiti and the cultural manifestations commonly associated with Rio’s periphery.

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