NISO is rooted in dialogue: between generations and visual languages, between the urgency of the new and the persistence of the essential. We support artists who challenge the surface—who think through gesture, color, material, and historical awareness. Our program is guided by three core principles, woven into a curatorial approach that is precise, attentive, and rigorous: (I) supporting artists with distinctive voices; (II) bringing renewed attention to overlooked trajectories; (III) fostering meaningful dialogues between works, languages, and generations.

(I) Discovery: We are committed to emerging artists who work with evolving visual languages and a sharp formal sensibility. We seek voices that, through visual intensity, raise new questions and expand the scope of contemporary artistic practice.

(II) Critical Recovery: We revisit significant yet neglected paths in art history—works that speak to the present and deserve to be re-examined through fresh perspectives. This approach is grounded in a reflective reading of the past, oriented toward transformation.

(III) Intergenerational Dialogues: We connect artists across generations and geographies, activating productive tensions and shared sensibilities. Rather than searching for stylistic similarity, we look for converging concerns—stories that resonate across Time and challenge how we see and understand Art today.

Together, these principles form the foundation of our work and the heart of our activity: a way of thinking through art with curatorial precision, openness, and care. Each exhibition is a visual hypothesis—an active space where past and present unfold in conversation.

NISO is committed to supporting the next generation of talents as well as rediscovering the legacy (...)

Bridging Art History with Contemporary Practice. 

Born in Colombia to an Italian family of agronomists and architects, Daniel Brusatin grew up very close to nature and was exposed from a very young age to the arts and design. He trained in The Academy of Fine Art in Florence with an emphasis in sculpture. His love for materials and production techniques took him to Milano to a second degree in design and applied arts. During his studies and at his arrival in London Brusatin worked for Brian Clarke where his love for stained glass, Ceramics and architectural art found mentorship.Always with a strong artistic practice his studio has moved from Florence and Milan to Paris and since 2013 is based in London.

Even though Daniel Brusatin’ work comprises diverse artistic disciplines: Sculpture, drawing, ceramics, stained glass and architecture; he has always kept painting as the central axis of his practice. it is throughout the relationship and conversation between these mediums that his work starts to shape up. Exploring visual language through semiotics, art history, traditional techniques and the act of making, Brusatin attempts to blur the arbitrary lines dividing the arts and encourages questions of fundamental phenomena as the relationship between the perpetual forces of nature and the hand of the artist, the curious case of ‘accidentality’ in a chaotically organized world and the role art plays in civilisation. 

Formally and Conceptually his work anchors the contemporary world in tradition, art history and the psychology of engagement creating a dialectic between materials and artistic expressions that serve as a catalyst to this visual poetry; based upon the idea that “beauty is not a characteristic linked to any particular thing but a state of understanding” Brusatin looks for common denominators, triggers, and expressions of primal relatability. Subjects often treated in his work are the relationship between abstract and figurative art, the conception of the work and the creation of an image in an era of careless mass-production and the importance of the artistic experience; the present and emotional engagement between the work and the viewer. 

Turning the subject matter into art itself this lines are dissolved and their effect multiplied. For Brusatin to define is to limit and a practice in constant revision and experimentation becomes the only path to evolve the artistic language

Daniel_Brusatin_CV.pdf

Intimate Immensity, 2025 Oil, Gesso on Burlap Collage 200 x 300 cm 

Totem, 2024 Victorian Railway Oak Sleepers 259 x 25 x 15 cm each

Entropy and Intent, 2022 Oil, Gesso on Burlap 160 x 120 cm 

Rendez-vous, 2022 Oil, Gesso on Burlap 160 x 120 cm 

Malaké, 2022 Oil, Gesso on Burlap 160 x 120 cm 

Woven Language, 2020 Oil, Gesso and Burlap on Canvas 180 x 90 cm 

Poetic Weave, 2019 Oil, Gesso and Burlap on Canvas 180 x 90 cm 

The Flower is Always in the Almond, 2024 Venetian Glass and Carrara Marble 100 cm diameter 

Mateo Revillo (Spain, 1993) is an artist who lives and works in Paris. His practice revolves around a central notion: that of latent structures inscribed in an assemblage suspended in time.

There they are, fully visible—fragments, open forms, surfaces that seem to contain duration. This initial materiality leads us directly into his practice, situated between painting, sculpture, and architectural intervention. Revillo works with elemental materials—lime, plaster, pigment—combined with a scenographic sensitivity that, while not visibly tied to any specific style, resonates with deep echoes from various artistic traditions, both past and present, including the Spanish one.

Upon closer observation, each piece reveals itself as a threshold—like the vestige of a future ruin or the remnant of a ceremony yet to occur. A constant tension emerges between structure and fragment, between architecture and fracture, between what has disappeared, what remains open, what lingers suspended in transformation. This same tension is reflected in the way color inhabits the surfaces of his work.

Color in his work does not function as ornament, but as a structural agent. It generates a dense, physical atmosphere—a field of emotion that adds temperature, vibration, and depth. It is not applied; it is revealed. Revillo’s chromatic choices seek density rather than harmony. Color is embodied in matter, attaching itself to the folds of time contained in each surface, intensifying the temporal dimension of the whole.

And it is precisely within this temporality that the constructive core of his work takes shape: a composition of fragments where the unfinished, the open, and the persistent coexist. His forms do not illustrate; they pulse. The material does not represent; it resonates. Everything seems to exist in a state of ongoing transformation or emerging memory.

This logic of instability translates into a will to narrate through interruption. The images he constructs contain layers, folds, and voids that operate as ways of thinking about time and history. Each piece speaks from the present with the voice of something not yet articulated—though that voice rarely settles into fixed form.

Many of his works undergo successive processes of transformation. He adds layers, introduces contradictions, displaces elements. What appears closed today may reopen tomorrow. What was once form dissolves; what presented itself as image becomes trace. There is no final version. What matters is not the result but the journey. His practice rests on a deep belief in change, in increasing complexity, in the possibility of being multiple.

Revillo’s work is not directly or explicitly aligned with the tradition of political or socially critical art in the classic sense. Yet that does not mean it lacks a critical dimension. His work tends to operate from a subtler place—often formal or affective—where the political may surface as resonance, as internal tension between language, matter, and image.

He moves within a field of exploration in which systems of representation, visual codes, and gestures that may seem neutral or formal acquire a critical charge precisely through their ability to destabilize norms, to displace meaning or suspend it. In this sense, we could speak of a micropolitics of form or a structural critique, more aligned with a conceptual and post-minimalist sensitivity than with overt denunciation.

That same critical and experimental attitude drives his expansion into other domains of knowledge. Driven by insatiable curiosity, Revillo has spent years establishing connections between art, architecture, anthropology, and memory. His background in social sciences reinforces this transversal gaze, where each work functions as embodied, culturally active thought.

Rather than delivering a message, his work proposes ways of doing, forms of attention, tactical decisions, and intuitions that do not follow a preordained plan but instead unfold through a material, concrete, and risk-laden internal logic. Color, form, and gesture do not act in isolation, but as parts of a will that is not discursive, but physical.

This will does not exclude use, but it rejects the imposition of function. Revillo does not pursue utility as a mandate. His practice does not respond to an external purpose. It has use, but not imposed function. He inherits an architectural sensibility and an anthropological perspective. He builds like someone who listens; he invents like someone who excavates. Each space—like each work—activates its own rules. Norms, then, are not erased but reorganized. From this reorganization arises a fertile ambiguity, where the formal, the poetic, and the intimate intersect without hierarchy.

From this position, Revillo reserves the right not to say everything. He allows things to simply be. To speak for themselves. And in doing so, he resists the tyranny of the message through the power of a form still in the process of becoming.

Mateo_Revillo_BIO+CV_compressed.pdf

Teatro, 2024 Encaustic and casein paint on cement and plasterboard, wood.

Glauco Series, 2023 Fondo, Galería Alzueta, Barcelona, October 2023.

Ave - Políptico, 2022 Encaustic on cement and plaster, wood 250 x 250 cm 

Köln 2017, 2024 Encaustic on casein, cement and plaster, wood 120 x 270 cm Straight, No Chaser, curated by La Méditerranée, Zuzeum, Riga, 2024

Serial Recall is a collective exhibition gathering the works of five different multidisciplinary artists in an attempt to develop odd and poetic stories of an uncertain time, nestled between spontaneous gestures and deliberate contemplation. Subtly engaging with the space of Niso Gallery, Loulou Siem (UK), Mateo Revillo (Spain), Guadalupe Vilar (Argentina), Ava Binta Giallo (Germany-Guinnea) and Hicham Gardaf (Morocco) created site-specific interventions thinking of memory as an entity in constant metamorphosis, where fiction and reality blur into a vision of History that resists fixity. For Walter Benjamin, memory is the “theatre, the medium of past experience”, but what if it is also the theatre of the present? Approaching these questions phenomenologically, and to a certain extent metaphysically, this exhibition aims to explore the possibilities of traces, whether present or absent, human or artificial, left across time and

Thought as an excavation of souvenirs of a time that is yet to be lived or relived, this show invites the audience to engage with their own concepts of memory and its correlation to space. In that respect, by intervening directly on the architecture of the gallery, the artists envisioned intuitive installations that eclectically reflect a cohesive understanding of the spatial and temporal context they are in, while still attempting to escape it. In an effort to generate new meanings and flexible truths, these installations seek, in this way, to stand by their own whilst trying to reappropriate settings and circumstances, objects and subjects in synchrony with their own spectrum. While Loulou Siem plays with materials and textures in order to create what could be perceived as unfunctional “artifacts” and other facsimiles, recalling perhaps inner feelings of a vague domestic souvenir that never occurred, Ava Binta Giallo reinterprets traces and left histories by producing ethereal works that combine painting and organic matters. In contrast, Guadalupe Vilar reinvents materials by reusing discarded fabric to build theatrical installations, uncannily anthropomorphic… Very methodical, Mateo Revillo seems to anchor his praxis at the intersection of sculpture, painting, and architecture, projecting a personal reading of his surroundings, inevitably reshaping form and substance. And, as memory and history are reinterpreted in a somewhat absurd archeological way, Hicham Gardaf unlocks with photography and film, forgotten stories of a reality that seems blurrier and blurrier–a flickering flame that resists the tensions of time.

Serial Recall aims in this way, to highlight the multiple possibilities of narrating and reading facts and feelings. Visualizing a familiar environment to better remember, all five artists create new memories within a space that is neither familiar nor foreign, initiating an intentional peregrination à la Gaston Bachelard- “the house shelters day-dreaming, the house protects the dreamer, the house allows one to dream in peace.” The audience is, in this way, led to follow the artists in their phenomenological embrace of the space, inviting all to daydream, remember, forget, and remember over and over again. Exhibition curated by Yasmine Helou in collaboration with NISO Gallery.

SERIAL RECALL PRESS RELEASE.pdf

Serial Recall is a collective exhibition gathering the works of five different multidisciplinary artists in an attempt to develop odd and poetic stories of an uncertain time, nestled between spontaneous gestures and deliberate contemplation. 

NISO

NISO

01.07—02.08.25

01.07—02.08.25

Artists

Daniel Brusatin

Daniel Brusatin

Mateo Revillo

Mateo Revillo

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