Luke James’ practice – encompassing mainly sculpture but also photography and painting – summons a physical relation to materials and space. His sculptures could be broken down as a series of sensitive and weighted gestures performed on raw materials. In his photographs, the camera angle captures the architectural and geometrical dimension of situations rather fortuitous or provoked by the encounter of dissonant elements, echoing the shapes elaborated in his sculptures. His works could be understood as evidence or fragments of his dissection of relationships oscillating between power relations and curiosity: Man, animals, architecture, social classes are some of the components of the interactions the artist observes and questions daily. These thoughts are nurtured by an assiduous reading of American and European literature and philosophy that depict groundbreaking attitudes and thoughts, which offer a counterpoint to the prerogatives of the modern eastern society. In his exhibitions, Luke James most likely presents sculpture and photography jointly, sometimes punctuated by painting. Each discipline acts as a reading clue for the others. For the artist, the exhibition space becomes a territory to be conquered, that he takes over by means of construction actions as well as deconstruction ones.
Emma Dumartheray (FR/UK) graduated from the École du Louvre and Panthéon-Sorbonne University (Paris) in contemporary History of art and Urban Anthropology, as well as Museum Studies and Managing cultural heritage (Sorbonne). Her Master’s thesis concerned French art in public space from the 1990s until today. Her diverse work experience in audience engagement as well as project management in several cultural institutions in France has led her to the Centre for Fine Arts in Brussels, as coordinator of the Bozar LAB. There she developed a strong interest in media art, and the links between contemporary art, science and technology, and believes in the strength of interdisciplinary projects as a means to reach wider audience and tackle today’s societal challenges. As part of her main tasks at Bozar, she is in charge of the coordination of European projects, as well as coordination of the diverse activities and partnerships of the newly Bozar Lab (2017).
Serena viola, architect, PhD in Building and Environmental Regeneration, Associate Professor of Architectural Technology, at the DiARC Department, University of Naples Federico II. She carries out research and teaching activities on the topics of technologies for the built environment maintenance and rehabilitation. In the years 2018 - 20, with the role of project manager, she collaborated on the Creative Europe project, Artists in Architecture (Call for Proposals EACEA 32/2017 and EACEA 35/2017). She is the author of scientific articles and monographs on the themes of technological innovation in the recovery of settlement systems. She is the Principal Investigator of Playgrounds and Art project for Communities in Transition: care pact for cities, Play_ACT, University Research Funding Program (FRA).
Maria Rita Pinto
Architect, PhD in Environmental and Building Recovery, she is Full Professor of Architectural Technology (08/C1) at the Department of Architecture, University of Naples "Federico II". She is coordinator of the Post-graduated Master in Maintenance and Sustainable Re-qualification of the Built Environment and member of the Board of the PhD in Architecture, University of Naples “Federico II” since 2013. She was Scientific Responsible of DiARC, University of Naples in the Cooperation project European year of Cultural Heritage 2018, “Artists in Architecture: re-activating Modern European Houses”, Creative Europe Program - Call for Proposals EACEA 32/2017 and EACEA 35/2017. Imagine Europe. A House History is an interdisciplinary European project on the crossroads of art, architecture, education and conservation, BOZAR Center for Fine Arts, Brussels - BE, University of Naples Federico II, Naples - IT, Fundacio Mies van der Rohe, Barcelona - ES. The project proposes a journey into a network of emblematic European houses interacting with and finding new inspirations from young artists, students and citizens across Europe. By doing so, it casts light on a less known chapter of the history of cultural heritage in Europe and attempts to propose new innovative ways of embracing and promoting its creative potential for sustainable growth and wellbeing. In particular, the research proposes activities that connect the broader cultural, economic, and social challenges related to the conservation and (re)use of cultural heritage on a European level.