Guillaume Bijl (Antwerp, Belgium, 1946—2025) was a self-taught artist. Beginning in the late 70s, he abandoned painting and started making tragi-comedic installations, sculptures and compositions inspired by the banality of our consumption-driven society. In his compositions Bijl brought together found kitsch and cheap objects and showcased them as if they were relics of our times, preserved for the future as priceless treasures, emphasizing the absurd bond people tend to have with material objects.

Matthew Day Jackson (Panorama City, California, 1974) is a painter, sculptor, draftsperson, and photographer based in Brooklyn, New York. Through his multifarious practice, Jackson grapples with big ideas such as the evolution of human thought, the fatal attraction of the frontier and the faith that man places in technological advancement. In particular, his work addresses the myth of the American Dream, exploring the forces of creation, growth, transcendence, and death through visions of its failed utopia.

Turiya Magadlela (Johannesburg, South Africa, 1978) employs art-making techniques historically associated with women, utilizing sewing and embroidery on a range of conceptually charged fabrics, from pantyhose to correctional service uniforms. These materials are transformed into abstract compositions through cutting, stitching, folding, and stretching, ultimately affixed to wooden frames. Her oeuvre engages in an ongoing dialogue regarding the colonization of black bodies and women, a theme that is particularly resonant in her use of materials with a capitalist character, a pertinent consideration in an era where commodification is increasingly relevant.

Shahpour Pouyan (Isfahan, Iran, 1979) explores expressions of power, domination and possession through the force of culture. His works—whether monumental ceramic structures, delicate drawings, or pseudo-architectural relics—unearth not only histories, but the very systems by which history is preserved, distorted, and mythologized. Working at the intersection of archaeology, memory, and ideology, he constructs objects that seem to belong to a world that almost was: not quite past, not quite fictional, suspended in an uncanny realm of political possibility.

Peter Schuyff (Baarn, Netherlands, 1958) is a painter, sculptor and musician. A prominent member of the Neo-Geo movement that emerged in New York in the 1980s, his paintings depict complex, swirling geometric patterns warped around irregular planes—images now ubiquitous in the field of computer graphics, but which in Schuyff’s work showcase the delicate nature of his technique, the luminescent quality of their surface built up through the application of numerous thin layers of paint.