Pia Camil (b. 1980) lives and works in Mexico City.
She has a BFA from the Rhode Island School of Design and an MFA from the Slade School of Fine Art, London.

Her work has been exhibited internationally with recent solo-exhibitions including : Rie Ahora Llora Despuès at Galerie OMR, Vélo Revelo at Clark Institue USA, Fade to Balck at Queens museum NYC, Here Comes the Sun at Salomon R. Guggenheim Museum, Bara, Bara, Bara, at Tramway Art Space, Glasgow (2019), Split Wall at Nottingham Contemporary (2018) ; They, at Galerie Sultana (2018); Bara, Bara, Bara at Dallas Contemporary (2017) ; Home Visit at Museum Ludwig, Cologne (2016) ; Slats, Skins & Shopfittings at Blum & Poe, New York (2016) ; A Pot for a Latch, New Museum, New York (2016); Skins, Contemporary Arts Center, Cincinnati (2015); The Little Dog Laughed, Blum & Poe, Los Angeles (2014); Espectacular Telón at Sultana Gallery, Paris (2013); Cuadrado Negro, Basque Museum Centre for Contemporary Art, Vitoria-Gasteiz, Spain (2013). Recent group exhibitions include: Protest! at Centro Pecci, Prato, Desert X Biennial, California (2019); Art Basel Cities, Buenos Aires, Argentina (2018); LISTE, with Galerie Sultana, Basel, Switzerland (2018); Descheas at Instituto de Vision, Bogota (2017); «Womenhouse », Monnnaie de Paris (2017); « Performance ! », Le Tripostal, Lille (2017).

Camil’s work is in the permanent collection of Salomon R. Guggenheim Museum, Centre Georges Pompidou, Paris, La Colección Jumex, Mexico, Blanton Museum of Art, Austin (USA), and at the Kadist collection amongst others.

Camil’s work is usually associated to the mexican urban landscape, the aesthetic language of modernism and its relationship to retail and advertising. Recently she has engaged in public participation as a way to activate the work and engage with the politics of consumerism.
Through her work Pia Camil has shown a proclivity to failure or the decaying associated to the mexican urban landscape, aspects of modernist culture and traces of art history. Her practice has explored the urban ruin – including paintings and photographs of halted projects along Mexico’s highways (highway follies); abandoned billboards that become theatre-like curtains therefore theatricalizing failed capitalist strategies (espectaculares), or the problems and contradictions that arise when engaging with iconic art works (No A trio A or Cuadrado Negro).

“Bara, Bara, Bara”, Tramway, Glasgow 2019

Olivier Millagou was born in Toulon (France), in 1974. He lives and works in Sanary sur Mer (France).

Recent solo shows include : “Winter a Gogo”, Chantier Naval Borg, Marseille, “Wild On The Beach”, Villa Tamaris - La Seyne sur Mer (2019); “For Those Who Think Young”, Le Panorama, La Friche, Belle de Mai - Marseille (2019); “A Swingin’ Summer”, Galerie Sultana, Paris (2019); “Blue Moon”, Ecole d’art de Belfort, France (2017); “One Way Wahine”, Galerie Sultana, Paris (2016); “Out of Sight”, Galerie Sultana, Paris (2014).

He also participated in group shows such as Last chance to see it, Petach tickva Museum of art, Israel (2018); Frieze, with Galerie Sultana, Londres (2018); Les hommes de la Mancha, Galerie Double V, Marseille (2018); Notes for a Shell, More Projects, Marseille (2018); The Design Parade, Toulon (2018); Observations sonores, Musée Gassendi, Digne (2016); Fresh Painting, French Painting, The Breeder Gallery, Athens (2015).
Millagou’s works are in the permanent collection of CNAP (Centre National des Arts Plastiques), Paris and of FRAC PACA (Fonds Régionaux d’Art Contemporain, Provence-Alpes-Côte d’Azur).