Alberto Casari (Lima, 1955. Lives and works in Lima.) is a multidisciplinary artist whose practice encompasses actionism, conceptualism, projects based on experimentation with language, textile and pictorial production, assemblage, among other practices and ways of understanding artistic work.

This multiplicity found a space for development in the project PPPP (Peruvian Products for Thinking), a company founded in 1994 and dissolved in 2016. Through it, Casari brought to life different alter egos that channeled distinct modes of artistic production, at times collaborating with one another or staging entire exhibitions as independent individuals. These heteronyms are Alfredo Covarrubias, focused on written text and actionism; Aquiles Córdova Incis (alias “El Místico”), interested in the materiality of the works and energy; Arturo Kobayashi, a painter situated between naïve art and figuration with a distinctly cosmic approach; and finally Patrick Van Host, whose interviews with the various personas that made up PPPP unraveled the projects, their references, and motivations.

He has exhibited in more than 40 exhibitions in Latin America and Europe, including the 44th and 54th Venice Biennale (1990 and 2011), the 30th São Paulo Biennial (2012), the 2nd International Design Biennial of Saint-Étienne (2000), the 4th Havana Biennial (1991), the 1st and 2nd Ibero-American Biennial of Lima (1997, 2000), Palazzo Strozzi, Florence (1992), Museo Nazionale di Antropologia e Etnologia, Florence (1994), Museo de Arte Contemporáneo, Lima (2019), Museo de Arte de Lima (1998), Museo de la Nación, Lima (1997), among many others.

Joana Escoval (Lisbon, 1982. Lives and works in Lisbon.) is a multidisciplinary artist whose practice encompasses both sound and visual media in the form of sculpture, installation, walking-performance, video, painting, and printed matter. The fluidity of elements and materials—carrying the charges and vibrations of primary and transitional states of matter—lies at the core of her research, not only as an expansion of environmental aspects but also as energetic systems of bodies. By exploring sound as a carrier, her work invites reflection on our connection to invisible energy fields within new social practices. Escoval’s practice opens a dialogue between the physical and the metaphysical, fostering a relationship with time and space beyond a Western point of view.

Her exhibitions and projects include: MACAM Museum, Lisbon; Palazzo Borromeo, Milan; Vent des Forêts, Meuse; Kestner Gesellschaft, Hannover; S.M.A.K. Museum, Ghent; GAMeC Museum, Bergamo; Pavilhão Branco, Lisbon; MAC/CCB Museum, Lisbon; Nicoletta Fiorucci Foundation, London; Centre d’Art La Panera, Lleida; La Casa Encendida, Madrid; Kunsthalle Lissabon, Lisbon; La Criée Centre for Contemporary Art, Rennes; Fondation d’Entreprise Ricard, Paris; Astrup Fearnley Museet, Oslo; Serralves Museum, Porto; among others.

She won the BES Revelação Award in 2012 (Serralves Museum) and was nominated for the EDP Foundation New Artists Award in 2015, in Portugal. She received a grant from the Calouste Gulbenkian Foundation and from the FLAD Foundation in 2013. Escoval participated in the Fiorucci Art Trust residency in Stromboli in 2015, RU in New York in 2013/14, Halfhouse in Barcelona in 2011, among others.

Her work is part of public and private collections such as the Nicoletta Fiorucci Foundation, UK; FRAC Lorraine, FR; Fundació Sorigué, ES; Fundación Kablanc Otazu, ES; S.M.A.K. Collection, BE; Portuguese State Collection, PT; City of Lisbon Collection, PT; EDP Foundation, PT; António Cachola Collection – Museum of Contemporary Art of Elvas, PT; MACAM, PT; Silvia Fiorucci Collection, MC; among others.

Moisès Villèlia (Barcelona, 1928 – 1994) began his artistic career at a very young age, training in wood carving in the family workshop. After an initial figurative period, in the 1950s he came into contact with the Catalan avant-garde and broke with figuration, participating in the group Club 49 and founding Art Actual, which advocated for a transgressive and avant-garde art.

From the mid-1950s he developed intense exhibition activity, especially in Barcelona during the 1960s, while exploring new materials such as concrete, metal, and polyester, and combining his artistic practice with design and theater. His stays in Paris, Argentina, and Ecuador at the end of the decade marked his interest in bamboo, a central material in his work following his return to Catalonia in 1972.

In the 1970s and 1980s he consolidated his own sculptural language, characterized by organic and lightweight structures that explore the relationship between nature and human construction, particularly his frameworks or “spider webs.” He received important recognition, such as the retrospective exhibition at the Fundació Joan Miró in 1983, and his work forms part of significant national and international public and private collections.

His work can be found in the Museo Nacional Centro de Arte Reina Sofía, Madrid; Museum of Contemporary Art of Barcelona (MACBA), Barcelona; National Art Museum of Catalonia (MNAC), Barcelona; La Caixa Collection, Barcelona; Joan Miró Foundation, Barcelona; ARTIUM Museum, Vitoria-Gasteiz; Valencian Institute of Modern Art (IVAM), Valencia; Patio Herreriano Museum, Valladolid; Albright-Knox Art Gallery, Buffalo; Wilhelm Lehmbruck Museum, Duisburg; among many others.