Nico Vascellari (1976, Vittorio Veneto, Italy), lives and works in Rome. 

His recent solo exhibitions include: MAXXI – Museo nazionale delle arti del XXI secolo, Rome (2018); Palais De Tokyo, Paris (2017); Whitworth Art Gallery, Manchester (2016); French Academy – Villa Medici, Rome (2016); Case Chiuse #03, Casa Bonacossa, Milan (2016); Estorick Collection, London (2016); National Gallery of Arts, Tirana (2015); Museion, Bolzano, Italy (2010); Museo MAN, Nuoro, Italy (2007); Skuc, Lubljana (2006); Viafarini, Milano (2006). 

The artist also participated to the 52nd Biennale d’Arte di Venezia (2007); Manifesta 7; 15a Quadriennale di Roma (2008); 12a Biennale d’Architettura di Venezia (2010). 

His works were included in important public institution such as: Museo del Novecento, Milan; Fondation Beyeler, Basel; Riga Art Space, Riga; La Maison Rouge, Paris; MAK, Vienna; Kunsthaus, Graz; SongEun Art Space, Seoul; ZKM, Karlsruhe; La Casa Encendida, Madrid; Espace de l’Art Concrete, Mouans-Sartoux; Palazzo Reale, Milan; Fondazione Sandretto Re Rebaudengo, Turin; CSW, Warsaw; PinchukArtCentre, Kiev; Le Magasin, Grenoble; Wysing Arts Centre, Cambridge; EACC, Castelló; MART, Rovereto; Museo Pecci, Prato; Palazzo delle Esposizioni, Rome; MAMBO, Bologna. 

His works are included in important collections such as: Deutsche Bank, Milan; Macro – Museo d’Arte Contemporanea Roma, Rome; MAXXI – Museo nazionale delle arti del XXI secolo, Rome; Museion, Bolzano; Whitworth Art Gallery, Manchester; MUSAC – Museo de Arte Contemporáneo de Castilla y León, Leon.



Carlo Valsecchi (Brescia, 1965) lives and works in Milan. He has exhibited his photographs in numerous national and international institutions.

His recent solo exhibitions include: Tamen Simul, The Open Box, Milan, 2019; Gasometro Man, Pinacoteca Nazionale di Bologna, Bologna, 2019; Developing the future, Ex Ospedale dei Bastardini, Biennale di Fotografia dell’Industria e del Lavoro, Bologna, 2017; Roberto Coda Zabetta / Carlo Valsecchi, Case Chiuse #01, Garage Soccol, Milan, 2015; Mare Nostrum, Walter Keller Gallery, Zurich, 2013; San Luis, Mart – Museo arte moderna e contemporanea di Trento e Rovereto, Rovereto, 2011. 

Among the most important group exhibitions: Civilization: the way we live now, MMCA, Seoul, 2018; UCCA, Beijing, e NGV, Melbourne, 2019; Ceramica, Latte, Macchine e Logistica. Fotografie dell’Emilia-Romagna al lavoro, MAST GALLERY, Bologna, 2016; No Man Nature, Fotografia Europea, Effetto Terra, Palazzo da Mosto, Reggio Emilia, 2015; Industria Oggi/Industry Now, MAST GALLERY, Bologna, 2015; Museo della Merda, Castelbosco, Piacenza, 2015; Landmark: The Fields of Photography, Somerset House, London, 2013; Un libro, una mostra, Galleria Carla Sozzani, Milan, 2013; Un mondo nuovo, UniCredit Art Collection, Milan, 2012; Subverted, Ivorypress, Madrid, 2012; 54th Biennale di Venezia, Italian Pavilion, invited by Norman Foster, Venezia, 2011. 



Natália Trejbalová (Košice, Slovakia, 1989) lives and works in Milan. She studied painting at the Accademia di Belle Arti in Bologna and later, in Milan, cinema and video at Scuola di Nuove Tecnologie dell’Arte di Brera. 

Her multidisciplinary artistic practice leaves no space for boundaries between the media, using the same approach whether it be video, object, drawing, photography, performance and more. In her latest films explores through the possibilities of science fiction and speculative world-making our individual perception of global-scale transformations, possible future interspecies relations and changes in the planetary environment.

She participated in various group and solo exhibitions in different institutions and spaces such as Power Station of Arts, Shanghai (CN), Fotomuseum Winterthur (CH), Quadriennale di Roma (IT), Regional Art Gallery Liberec (CZ), L’Esprit Nouveau (IT), 35m2 (CZ), PAV Turin (IT), Regional Art Gallery Pardubice (CZ), Enclave Projects (GB), Gossamer Fog (GB), Galerie Charlot (FR), Fondazione Pini (IT) and others. Her recent solo shows include Isle of the Altered Sun at A Promise of Kneropy (2021), Bratislava, Slovakia, About Mirages and Stolen Stones (2020) at Case Chiuse HQ, Milan, and and suddenly the apparition was gone, long gone (2020) at XY, Olomouc, Czech Republic.
Her videos have been presented in several important festivals and institutions, like Mudam – Luxembourg and soon also at Palais de Tokyo, Paris.
Trejbalová was also invited in residency by international institutions such as Schafhof-Europäisches Künstlerhaus Oberbayern (Freising, 2021); Kunststiftung Baden-Württemberg (Stuttgart, 2018); VIR ViaFarini in Residence (Milan, 2017); AIR Futura (Prague, 2016); SÍM Reykjavík (Iceland, 2015). She also participated in Arte Visione Lab 2019 and in 2021 she won the XXVI Premio Gallarate for her video About Mirages and Stolen Stones, 2020.
Natália Trejbalová is also part of the artistic duo Bellagio Bellagio.



Giulio Scalisi (Salemi, 1992) lives and works in Milan. He is a multimedia artist whose work takes shape through different mediums and forms, such as videos, comics, installations and drawings. 

He tries to gaze inside himself, as a subject living in contemporaneity, knowing that the “individual” is nothing but the product and mixing of forces coming from outside, forces that are able to induce desire, joy or fear, and the study of these compulsions is the subject of his work.

In 2014 he takes his BA in Visual Arts at NABA, Milan and in 2016 a MA in Visual Arts at Écal, Lausanne. Among the group shows: Good Guys (Gran Riserva), Gasconade, Roma; tAPC/the Artist’s PC, Le Botanique Centre Culturel, Bruxells; Cali Gold Rush, Lucie Fontaine, Milan; Life is a Bed of Roses, Fondation Ricard, Paris; Homesick, Futuredome, Milan; Fedeli alla linea, Sonnenstübe, Lugano; Every breath you take, Galleria Umberto di Marino, Naples; Dripping in crocodile tears, Like a little disaster, Polignano; 1999, Kaleidoscope @ Spazio Maiocchi, Milan; A healthy dose of confusion before the bang, Federica Schiavo Gallery, Milan. Solo show: Alghe Romantiche, Tile Project Space, Milan (2018); A house for a gentleman, Kunsthalle Lissabon (2021).



Jacopo Rinaldi (1988, Rome) lives and work in Rome as artist, educator and researcher. He studied at the Academy of Fine Arts in Rome and specialized in Milan with a thesis on the relationship between the Harald Szeemann archive and the architectural space that preserves it. He works as a teacher and assistant at Naba in Rome. Through photography, drawing and moving images he analyzes the relationship between memory, archive and architecture in the transmission of knowledge. His works have recently been exhibited in numerous associations and institutions, including: Palazzo Strozzi, Firenze, PAV, Parco Arte Vivente, Turin; MACRO, Rome; Casa Testori, Novate Milanese; Casa Masaccio, San Giovanni Valdarno; Fondazione Francesco Fabbri, Pieve di Soligo; Rivoli2, Milan. 

He took part in residency programs such as Visio, Mahler LeWitt Studios / Viaindustriae, Careof, Viafarini, Fondazione Spinola Banna, Fondazione Pistoletto, Ramdom association, dOCUMENTA (13).
He is a member of Mnemoscape, a research platform focused on issues related to memory, methodology and the archive. 



Tamara Henderson (New Brunswick, Canada, 1982) lives and works in London. 

Her recent solo exhibitions include: Womb Life, Rodeo, Piraeus (2019); Womb Life, Kunst-Werke Institute for Contemporary Art, Berlin (2018); Case Chiuse #06, Tamara Henderson Attorno Carla Accardi, remote curating By Andrea Lissoni, Milan (2018); Seasons End: More Than Suitcases, Douglas Hyde Gallery, Dublin (2018); Tamara Henderson, Seasons End: Out of Body, Serpentine Galleries’ Park Nights (2017); Seasons End: Out of Body, Oakville Galleries, Oakville (2017); Seasons End: Panting Healer, REDCAT, Los Angeles (2016); Seasons End, Glasgow International, Glasgow (2016); The Last Waves (with Julia Feyrer), Morris and Helen Belkin Art Gallery, Vancouver (2016); Consider The Belvedere (with Julia Feyrer), Institute of Contemporary Art, University of Pennsylvania, Philadelphia (2015); Sans Tete au Monde (with Santiago Mostyn), Kunsthall Stavanger, Norway (2014); Tapped Out And Spiralling In Stride, Grazer Kunstverein, Graz (2014); Evergreen Minutes Of The Phantom Figure, Kunstverein Nürnberg – Albrecht Dürer Gesellschaft, Nürnberg (2013). 

Recent group exhibitions include: Biennale de l’Image en Mouvement 2018, OGR, Turin (2019); GIBCA Biennial, Gothenburg (2019); Biennale de l’Image en Mouvement 2018, Centre d’Art Contemporain de Genève, Geneva (2018); Virginia Woolf: An Exhibition Inspired by her Writings, Tate St Ives, St Ives, Pallant House Chichester and The Fitzwilliam Museum, Cambridge (2018); Tate Exchange, Tate Liverpool, Liverpool (2016); Vancouver Special: Ambivalent Pleasures, Vancouver Art Gallery, Vancouver (2016); Life Itself, Moderna Museet, Stockholm (2016); This Sentence, China Art Objects, Los Angeles (2015); The Hypnotic Show, Toronto Kunstverein, Toronto (2014); dOCUMENTA(13), Kassel (2012). Her works are included in important public collections such as: Tate Modern, London; Vancouver Art Gallery, Vancouver; Moderna Museet, Stockholm; Walther Philips Gallery, Banff Center for the Arts, Banff.



Valentina Furian (Venice, 1989) attended the Visual Arts course at the IUAV University of Venice and at the ESBA in Nantes. In 2018 she graduated at IUAV with a thesis on the role of the domesticated animal in the visual arts.

The artist works mainly with moving images. The video gives her the possibility to document sculptural installations and performative actions planned in front of the camera. Her research focuses on the relationship between reality and fiction, staging an imaginary that flows from everyday dimension into a fantastic one.The aseptic settings that she imagines and draws are cohabited by alchemical entities that upset ourperception. Her work is animated by a strong tension towards the manipulation of the elements that compose it. The issues addressed in each new production investigate the relationship between man and nature, the artist is particularly interested in exploring animal domestication as a form of human domination as well as human domestication in relation to social rules. Her obsession with the boundary between reality and fiction develops from the study of the role of truth and the role of falsehood through a performative experience.
The works are conceived by the artist’s imagination as already shaped images, her role is to make them real and tangible. A careful study of light allows Furian to manipulate the visual material – often composed of simple, direct and yet very intense images – and include it into artificial scenarios, sometimes recreating them only through perception.

In 2020 the MUSE – Science Museum in Trento, Italy, inaugurated Nautilus, and UNA gallery in Piacenza, inaugurated Cari Cani, two solo shows by the artist. In 2019 she presented her video work at MAXXI, Rome and in the same year she was artist-in-residence in Mumbai with ArtOxygen in collaboration with The Blank Contemporary Art, she presented a screening in Sunaparanta Center of Contemporary Art in Panjib, Goa. In 2019 her work was also presented in the group exhibition Immersione Libera, organized by Galleria Continua with Marina Nissim; in 2018 she was selected by Lorenzo Balbi for That’s IT!,  a generational exhibition of artists born in the 80’s, at the Mambo Museum in Bologna and she also participated to Straight-up@ExtraDry video art award. She worked in institutional and experimental spaces such as: Sunaparanta Center for Contemporary Art (Goa, IN), Method Gallery, ArtOxygen (Mumbai, IN), MAXXI (Rome), MUSE (Trento), MAMbo (Bologna), BACO, The Blank Contemporary Art (Bergamo, IT), UNA (Piacenza, IT), Civic Museum of Bassano del Grappa (IT), CareOf, ViaFarini, Dimora Artica, Pelagica Gallery (Milan, IT), Bevilacqua la Masa Foundation (Venice, IT), GalerieSAM83 (CZ).



Gaia Fugazza (1985, Milan, Italy), lives and works in London. 

Her practice includes paintings and performance, exploring the troubled relationship of humans and the natural environment, plant knowledge, reproduction and transcendental practices.

Solo and duo exhibitions of Fugazza’s work have been held at Richard Saltoun, London; Häusler Contemporary, Zurich; Zabludowicz Collection, London; Gallleriapiù, Bologna. Recent performances include Transcendence, Royal Academy of Arts, London; Super Nature in two Parts, Lisson Gallery, London; Baltic Triennial 13, South London Gallery, London; Star Messenger, LUX, London; Water from the Waist Down, Kunsthall Oslo.

Her work has been featured in several Biennales and institutional shows such as the 13 Baltic Triennal, Glasstress, Venice; Mediterranea, Milan; The London Open, Whitechapel Gallery; Hrm 199 Ltd, Tinguely Museum, Basel. Fugazza collaborates with other artists and curators to create alternative ways to present works such as the furniture line with Assemble, the web-site Post from the first Lockdown, the party My Night of Untlimited Favour and Grandine the exhibition program that she hosts in her studio.



Alessandro Di Pietro’s work is based on linguistic structures and cinematographic grammars, outlining methodologies that generate new narratives and production strategies through hybrid environments, inhabitants of monstrous plausible characters and non-objective technologies. In 2017, he partecipate as a fellow at the American Academy in Rome.

Notable exhibitions include solo and double solo presentations at: BLIND DATE #4 – Fearsome Features, Sonnenstube, Lugano (2019); FELIX, Marsèlleria Permanent Exhibition, Milan (2018); SHORT STORIES OF FIRES AND CARBON, RAUM, Bologna (2018); Towards Orion: Stories from the Backseat, LA PLAGE, Paris (2017); NEW VOID, La Rada, Locarno (2016); Tiziano e Giorgione, Tretiegalaxie – Barriera, Turin (2016); Double Cross, CAB – Centre d’Art Bastille, Grenoble (2015).
He also participated to several group exhibitions, the most recent are: #80 #90 c, Villa Medici, Rome (2019); PERFORMATIVITY, Centrale Fies, Trento (2019); The Tesseract, American Academy in Rome, Rome (2018); Marsélleria New York Screenings, Marsèlleria, New York (2018); FIGURE DI SPAGO – Pratiche narrative, Fondazione Baruchello, Rome (2018); THAT’S IT, MAMBO – Museo d’Arte Moderna Bologna, Bologna (2018); MOSTRI CONTRO FANTASMI, OGR – Officine Grandi Riparazioni, Turin (2018); Radieuse, Istituto Italiano di Cultura, Brussel (2017); The Habit of A Foreign Sky, Futurdome, Milan (2016); VISIO – Next Generation Moving Images, La Strozzina, Florence (2015); Glitch. Interferenze tra Arte e Cinema, OCAT, Shanghai (2015) and PAC – Padiglione d’Arte Contemporanea, Milan (2014).

In 2020 he received a grant from the Pollock – Krasner Foundation in New York and, in 2017-2018, the Cy Twombly Fellowship at the American Academy in Rome.



Nick Devereux (UK, born 1978 in Panama City, lives and works in London) is a multidisciplinary artist, working between sculpture, painting, drawing and photography to both compose and realise his work.
His studio is a stage for imaginary environments filled with surfaces and sculptures made from a range of found materials: broken glass and ceramics, wood, metals and scraps of fabric.
Often, depictions of these dioramas are drawn or painted through careful observation, resulting in images that seem both familiar and unnatural. 

Recent solo shows include: Ritorno al collage. Nick Devereux e i maestri italiani del disegno novecentesco / Case Chiuse #07, a cura di Irina Zucca Alessandrelli, Bosco Verticale, Milan, 2019; In the Round, Adelaide, Marseille, 2018; Nick Devereux, Museo Pietro Canonica, Rome, 2017; Known Unknown, Art Club Villa Medici, Rome, 2016; Flakturm, Case Chiuse #00, Milan, 2014; Inpainting, Fondazione Querini Stampalia,Venice, 2013. Recent group exhibitions: Entre Les Frontieres, curated by Julia Cistiakova, Galerie Espace de l’art contemporaine du theatre de Privas, Privas, France, 2019; Greffes, curated by Pier Paolo Pancotto, Galerie Rolando Anselmi, Berlin, 2018; Iconic, Knust x Kunz, Munich, 2017; Honoré, Galerie rue Visconti, Paris, 2015; Wanderer Above the Sea of Fog, Galerie Bugada & Cargnel, Paris, 2015.