www.lehila.net

lives and works in Bogotá-Colombia.

BA in Fine Arts from Los Andes University, MFA from U.C.L.A.

Cárdenas installation, sculpture, mixed-media work delves into urban ruins and cities landscapes as indications of social transformation, loss and historical memory. From the decomposition of the physical and emotional fabric of the intervened spaces, discarded structures, archives and vestiges are used as material for her work from a sculptural strategy that draws on history, architecture and archeology.

Recent projects: In 2023 took place -de volver se- an anthological exhibition at the University Museum of Visual Arts UJTL-Bogotá. In 2022 she participated in the 16th Lyon Biennial “Manifesto of Fragility”. In 2019 received the CIFO Award, in 2018 was part of the Cuenca Biennial in Ecuador. In 2017 California Pacific Triennial (CA-USA). Her work has been shown at institutions like Museo del Barrio-NY, Q21Museums Quartier-Wien, LACMA, OCMA, MFAH, Q21Museums Quartier-Wien, Museo de Arte de Zapopán- México, CAM-Raleigh, Institute of Contemporary Art-SanJose (SJICA), Museo de Arte Moderno-Medellín, Maison de l ́Amérique Latine-Paris, Apexart-New York, Banco de la República Bogotá, among others. In addition she has had solo shows in Bogotá, San Jose, Los Angeles and Madrid.

Recent awards and commissions include: Pro-Helvetia Residency 2022, Cifo Award 2019, Oma Art Prize 2016, Artist in residency at Q21Museums Quartier Wien-Austria 2016, NEARCH-Art and Archeology “The Materiality of the Invisible” residency at the Jan Van Eyck Academie - Maastricht, 2015-17. Winner of the 2012 Biennial Award of Bogotá, LARA (LatinAmerican Roaming Art) a project of Asiaciti Trust 2012. Workshop with Mona Hatoum at Fundación Marcelo Botin-Spain 2010, and received the Grand Prize MOLAA Awards 2008- Museum of Latin American Art, CA. Cárdenas work can be found in public and private collections in Colombia, South America , Europe and throughout the States.

Full CV: http://www.lehila.net/index.php/cv/ 

Ayako Rokkaku (Chiba, Japan) lives and works between Berlin, Porto, and Tokyo. Her artistic process involves an instinctive and performative approach, as she uses her bare hands to apply acrylic paint. Indeed, Rokkaku stages live painting performances in contexts where her work will be exhibited, bringing the dialogue between the audience and artist as close to one another. 

After nearly two decades of immersing her hands in acrylic and oil paint, Rokkaku expanded her artistic boundaries by challenging herself to create sculptures, using ceramics, bronze, and glass. 

Rokkaku’s visual language seamlessly shifts between elusive abstract formations and figurative elements, drawing inspiration from the kawaii (cute) culture and capturing the boundless imagination of a child. Rokkaku is known for her colourful canvases populated by imaginary landscapes and fantastical characters. 

Rokkaku has been the subject of major solo exhibitions at The Long Museum, China (2023); the Chiba Prefectural Museum of Art, Japan (2020); Museum Jan van der Togt, Netherlands (2019); Danubiana Meulensteen Art Museum, Slovakia (2012); and Kunsthal, Netherlands (2011). In 2015, she exhibited at the Swatch Art Pavilion during the 56th Venice Biennale.

Alfredo Barsuglia, born 1980 in Graz, lives and works in Vienna.

Barsuglia has received numerous awards and scholarships, including the Monsignor Otto Mauer Prize (2019), the State Scholarship for Fine Arts (2017), the Art Grand Award of the City of Vienna (2015), the Theodor Körner Prize (2013), the Art Grand Award of the City of Graz (2007) and the MAK-Schindler Scholarship in Los Angeles (2006). 

His works have been exhibited in institutions such as European Capital of Culture Salzkammergut (2024), Lentos Kunstmuseum Linz (2023), Pinakothek der Moderne, Munich (2022), Kunsthaus Graz (2021), Museum of Estonian Architecture, Tallinn (2021), Konschthal Esch, Luxembourg (2020), Kunstverein Eisenstadt (2020), Kunstforum Vienna (2019), MAK Center for Art and Architecture, Los Angeles (2018), MMKK Museum Moderner Kunst Kärnten, Klagenfurt (2018), OK Offenes Kulturhaus, Linz (2017), Neue Galerie, Graz (2016), MAK - Museum of Applied Arts, Vienna (2015), MACRO - Museo d‘Arte Contemporanea di Roma / Testaccio (2014), the 4th Moscow Biennial of Contemporary Art (2011) and mumok Museum of Modern Art Ludwig Foundation, Vienna (2010). 

In numerous projects in public spaces such as “Social Pool” in the Mojave Desert, California (2014), “Mariainsel” in Fürstenfeld (2018) or “Abriss” in Graz (2021), he deals with social values and the boundaries and transitions between public and private.

Ana Barriga Oliva was born on September 10, 1984, in the rural village of Cuartillos, part of Jerez de la Frontera (Cádiz, Spain). After studying cabinetmaking, furniture design, and applied arts in stone at the art schools of Jerez and Seville, Barriga graduated with a degree in Fine Arts from the University of Seville in 2014. She completed her studies in 2015 with a Master’s in 'Art: Idea and Production.'

In the ten years since her graduation, Ana Barriga has held over 40 exhibitions and participated in nearly 30 art fairs, including ARCO, MACO, Art Busan, Kiaf, Basel Miami, and Basel Hong Kong. Barriga's work originates from objects found in flea markets and second-hand shops, such as porcelain and antique items. The genre most frequently used in her work is still life, also known as nature morte, due to the inert nature of the depicted subjects. Ana Barriga disrupts the conventions of the genre by infusing her still lifes with life through chromatic and formal elements, as well as through the composition of the work. She achieves a vibrant, playful aesthetic, where those obsolete objects—decaying remnants of a bygone era—are revived and given a new context.

In this new context where she resurrects these found objects, an irreverent playfulness emerges, making it seem as though human life is viewed from an external perspective. A totum revolutum where the Dionysian and the Apollonian blend, a game where emotions (passions, fears, joys) intertwine with mystical, religious, or ritualistic elements in a cosmogonic and iconographic dance, all under a kitsch patina and an irreverent attitude that sometimes reaches a punk-like aesthetic. This attitude is sometimes finalized by Barriga herself, after undoubtedly immaculate execution, with a large spray-painted scribble across much of the work. The work and the symbols that form it end up vandalized, defiled, by the artist herself.

Ultimately, the still life becomes a portrait—a portrait of a world that seems to be viewed from the outside, as if life (and thus painting) is not taken with the unyielding seriousness that we humans attribute to it.