COSAR

Gabriele Beveridge (b. 1985, Hong Kong) lives and works in London. She studied at Falmouth College of Arts, Cornwall, and the Slade School of Art, London, from which she graduated in 2010.
Beveridge is known for her sculptural and conceptual practice that combines materials as diverse as hand-blown glass, photo chemicals and faded advertisements found in beauty salon windows. Her assemblages put display on display, spotlighting the modular shelves that populate the innards of high-street shops, often combining them with slumped hand-blown glass forms that harness the material’s beauty, strangeness and ubiquity. They mimic the body and the way it’s displayed in a vastly expanding search space, where biology evolves with the natural and non-natural, the organic and inorganic. Rather than presenting a critique of commodity goods by way of simulation, Beveridge takes the cosmetic mechanisms that prop up consumer desire and carries them to their logical extreme. These cells, organs and hybrids live and evolve in familiar settings and suggest the seepage of some parallel reality into the prosaic.

Recent solo exhibitions include Packed Stars Diving, Seventeen Gallery, London (2022), Great Pretender, Kai Art Center, Tallinn (2021), Tender Greed at Bradley Ertaskiran, Montreal, CA (2019), Skin for Either One, Deweer Gallery, Otegem (2019), Eternity Anyways, Chewday’s, London (2016), Health and Strength, La Salle de Bains, Lyon (2015), By Mistake or Design, Zabludowicz Collection, London (2015), In a normal world I’d be there, Outpost, Norwich, UK (2014). Recent group exhibitions include Blink, Stavanger Art Museum, Stavanger, NO; Pre-Pop to Post-Human: Collage in the Digital Age, Hayward Touring, London, UK; Comrades of Time, Cell Project Space, London, UK; Desire, Yancey Richardson Gallery, New York, US; Physical and Virtual Bodies, Arnhem Museum of Modern Art, NL; La Chose Encadrée, Glasgow International, Scotland, UK; Folly, Emalin, London, UK. Beveridge’s work is held in public and private collections worldwide including: Museum Kunstpalast, DE, Stavanger Art Museum, DK, Collection of Larry Gagosian, US, Collection of Angela Missoni, IT, Zabludowicz Collection, UK.

Koen Doodeman (*1987) is a Dutch artist based in Amsterdam. He studdies at the Rijksakademie van beeldende kunsten, Amsterdam, The Netherlands and received the Koninklijke Prijs voor Vrije Schilderkunst, The Netherlands .
Koen Doodeman’s works are textile fabrics based on photographs that look like panel paintings from a distance.
The balancing act in their perception between photography, painting and textile object, between two-dimensional image and three-dimensional depth effect, is crucial for their reception.
His work covers a spectrum between painting and textiles, but it is never one hundred percent one or the other; Doodeman seeks the moment in between. He is interested in looking at a textile work from a painterly perspective and vice versa.
In terms of content, his works literally interweave abstract and representational motifs. Plants, sunsets or abstract patterns stand side by side and merge into a unified composition.
Koen Doodeman is the winner of the Royal Prize for Painting of the Netherlands, where his works are represented in numerous museum and private collections.

Inna Levinson is born 1984 in Lviv, Ukraine and lives and works in Berlin. She studied Fine Arts at UdK, University of the Arts in Berlin.
In her visual worlds, Inna Levinson deals with current phenomena such as social media and the digital visual worlds that we consume every day and that determine our view of the world.
Her artistic response to this is expressive painting, which she applies with a palette knife and oil paint to coarse-meshed jute, lending the traditional medium a surprisingly fresh language. Inna Levinson never attempts to compete with the perfect surfaces of digital images in her painting; she always asserts the autonomy of the painterly gesture, while playing with the codes and gestures of our digital world in a confidently contemporary manner.

Stefan Sehler, born in Nürnberg, studied at Kunstakademie Düsseldorf and is based in Berlin.
Sehler is a painter. This simple statement, however, proves helpful when looking at his paintings, which at first glance are mostly received as large-format photographs or prints.
Sehler‘s work derives its relevance and its conceptual sharpness precisely from the apparent refusal of the medium-specific characteristics. In contrast to painting, photography has no surface, it is rather a virtual mirror.
It is precisely in the vivid approach of his often large-format reverse glass paintings to the technical medium that Sehler creates the space to reflect on the specific characteristics of painting. It is precisely the lack of haptics, ductus and surface that make them thematic. The choice of motifs, which at first glance seem to take up the innocuous genre of nature painting, also proves to be a seductive occasion to rethink terms such as ‚representational‘ and ‚abstract‘.

Marjolein Rothman is a Dutch painter, whose powerfully suggestive works are an inquiry into the nature of perception. Often fashioned in series, her portraits, and paintings of architectural monuments and buildings, are geometrically shaped, fragmentary, and rendered with minimal depth in a spare, sober palette. Devoid of the compositional detail that conventionally directs the viewer’s interpretation, Rothman’s portraits and scenes of people capture mood and feeling through posture or gesture. Evidence of her early training as a photographer, her images seem to loom out of and disappear into their ground, frozen in a state of becoming like photographs forming in a dark room. 
Her most recent series of works, titled Orange and Teal (2023), references a specific colour contrast commonly encounteredin filmmaking and photography, which combines the warmth of orange with the cool, soothing tones of teal or deep blue. Rothman employs these two tones to explore the notion of transformation. By utilizing low contrast and dividing her compositions into parallel planes, she aims to obscure the boundaries between the subjects and their surroundings. This shift in perception occurs as the primary form and 'rest form' alternately come to the fore. The artist's chosen motifs of flowers and self-portraits constitute art historical nods to the vanitas and memento mori still-life genres in painting with their reference to the fleetingness of life. The flowers, symbolizing ephemeral beauty parallel the enigmatic nature of the self-portraits. Her distinct painterly technique transmutes the flowers, bodies, and faces into ghostly appearances that seem to appear and disappear at the same time.
Marjolein Rothman (b. 1974) studied at the AKI in Enschede, and was artist-in-residence at the Rijksakademie van Beeldende Kunsten, Amsterdam, between 2003-2004. Rothman was awarded the Dutch Royal Prize for Painting in 2004. Her works have been exhibited at De Kunsthal Rotterdam, De Vleeshal Middelburg, De Nederlandsche Bank, Amsterdam. In 2023, Rothman had her first museum show at Villa Mondriaan in Winterswijk, accompanied by a publication (Interval, 2023). Since 2010, she is a Lecturer in Fine Art at HKU, Utrecht, and Painting at AKI Art EZ Enschede.