Massimo Mazzone, (Marino, Rome, 1967) sculptor, numerous exhibitions in Europe and beyond, a member of the group of artists complot s.y.s.tem, and a professor of sculpture at the Brera Academy of Fine Arts in Milan. He has organized several groups to work between art and architecture. Among his recent performances, projects, proposal and publications:
• Ex Polis
• 11. Biennale Venezia
• Edifici concettuali
◦ Post Lauream
• La Penisola degli Agnelli
• 10. Biennale Venezia
• Lezioni di pittura
• Ex Mattatoio
• Piazza Shopping Centre
• Worker Bee Cemetery
• Triennale Milano
• Casa dell'Architettura
• Fass Gallery
• L'altra Roma
• Torretta Valadier
Alain Urrutia (Bilbao, 1981). Lives and works in Bilbao.
MA STUDIO Resident Grant. Beijing. (2011)
FIRST PRIZE ERTIBIL, Fine Arts Show, Bilbao (2011)
Diputación Foral de Bizkaia Art Grant (2010)
C. de ingenieros del Pais Vasco ART PRIZE (2009)
ACCESIT in INJUVE ART PRIZE- Circulo BBAA, Madrid (2008)
UNED Bizkaia ART PRIZE (2008)
Rogaland Art Centre Of Stavanger Exchange Grant (Norway) (2008)
Residents Grant_bilbaoarte Fundation (2008)
Ihes Ederra (Ed. Alberdania 2009) / Comic Book with Hedoi Etxarte (2009)
La Bella Huida/ La Bella Fugida (Ed. Alberdania 2010) Spanish & Catalán ed. of “Ihes Ederra”
Santiago Sierrra, (Born in Madrid, 1966). 1989. Degree in Fine Arts, Universidad Complutense, Madrid, Spain. Workshop at Círculo de Bellas Artes, (J. G. Dokoupil), Madrid, Spain. 1989-1991 visiting student at Hochschule für Bildende Künste (FE Walter, BJ Blume and S. Brown), Hamburg, Germany. 1995-1997 Research Fellowship in the School of San Carlos, University of Mexico, Mexico City. His beginnings are linked to alternative art circuits in the capital of Spain—El Ojo Atómico, Espacio P—although he would go on to develop much of his career in Mexico (1995–2006) and Italy (2006–10), and his work has always exerted a great influence on artistic literature and criticism.
Sierra's oeuvre strives to reveal the perverse networks of power that inspire the alienation and exploitation of workers, the injustice of labour relations, the unequal distribution of wealth produced by capitalism, the deviance of work and money, and racial discrimination in a world scored with unidirectional (south–north) migratory flows.
Revisiting and updating certain strategies characterising the Minimalism, Conceptual and Performance Art of the seventies, Sierra interrupts flows of capital and godos (Obstruction of Freeway With a Truck’s Trailer, 1998; Person Obstructing a Line of Containers, 2009); he hires labourers to reveal their precarious circumstances (20 Workers in a Ship’s Hold, 2001); he explores the mechanisms of racial segregation derived from economic inequalities (Hiring and Arrangement of 30 Workers in Relation to Their Skin Color, 2002; Economical Study of The Skin of Caracans, 2006); and refutes the stories that legitimate a democracy based on state violence (Veterans of the Wars of Cambodia, Rwanda, Kosovo, Afghanistan and Irak Facing the Corner, 2010–2; Los encargados, 2012).