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. 

NISO is rooted in dialogue: between generations and visual languages, between the urgency of the new and the persistence of the essential.

Bridging Art History with Contemporary Practice. 

Daniel Brusatin (Bogotá, 1989) works fluidly across painting, sculpture, glass, ceramics, and architecture, each material and process serving a meticulous inquiry into form and memory. His practice begins with an attentive listening to matter—charred wood, tinted glass, glazed ceramic, pigment laid as a veil. In his hands, objects take on the presence of breathing organisms, their surfaces becoming sites where light and substance enter into a quiet, resonant dialogue.

Each work carries the echo of a larger whole, a fragment of an unseen architecture or a landscape only partially revealed. Studies in Italy and formative experience in London alongside Brian Clarke refined his mastery of stained glass and complex artisanal processes, yet his language extends beyond craft: every gesture reads as a meditation on erosion, resilience, and permanence.

In recent series, Brusatin articulates a poetics of tension: creation and destruction, the artisanal and the industrial, the intimate and the monumental. His works act as thresholds—spaces where viewers encounter the weight of time and the vibrancy of material.

For NISO, Brusatin represents a practice that unites tradition with contemporaneity, rigour with sensitivity. His work embodies ideas rather than illustrating them, pursuing the deep respiration of matter. Each piece invites the eye to slow down, to witness how silence crystallises into structure, and how every fragment holds, in potential, an entire world.

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 

Max Wechsler (Berlin, 1925 – Paris, 2020) lived as a Jewish child refugee in France from 1939, having fled Nazism, and from that moment developed a heightened awareness of language as a boundary. A self-taught artist and graphic designer recognized late in life, he developed his practice on the margins of dominant circuits. Nonetheless, his work has been embraced by institutions such as the Centre Pompidou, the Musée d’Art et d’Histoire du Judaïsme, and the Berlinische Galerie. Wechsler's work has been recognized for its distinctive visual exploration of language and memory, contributing a unique perspective to the art of the late twentieth century.

In his early years as an artist, Wechsler focused on a form of graphic investigation rooted in abstraction. His work leaned toward a material sensitivity, where texture and composition took center stage. These initial pieces, though not yet incorporating text, already revealed a tendency toward visual economy, formal restraint, and expressive silence. In this early period, a faint echo of surrealist sensibilities—particularly in their attention to the unconscious image and poetic disjunction—can be discerned, although Wechsler’s path would diverge toward a radically different grammar. The later introduction of language did not represent a break, but rather a conceptual intensification of this poetics of the fragment.

It was over time that text and typography came to occupy a central place in his practice. From that point on, Wechsler transformed the act of writing into a plastic gesture. His work—constructed through fractured typefaces, layers of paper, and visual memory—does not seek to speak, but to make visible the resistance of the sign once clarity has been suspended. Wechsler does not narrate. He superimposes. He covers. He extracts from the printed letter—fragmented, dismembered, at times illegible—a new surface language, a visual rhythm composed of cuts and voids. Each of his compositions behaves like a skin that accumulates time: the visible becomes trace, the text becomes matter, and reading becomes an act of excavation, a layered effort of deciphering and reconstruction.

His practice emerges in the interstices—between memory and oblivion, between word and silence. Wechsler works with discarded printing papers, disfiguring and reconfiguring them. He interrogates legibility itself. Instead of searching for meaning, he exposes its ruin. The letter, liberated from its semantic function, becomes a visual particle: a residue, an interruption, a tension.

This transformation of typography into pictorial surface is not a formal strategy but a form of embodied thought. Matter becomes argument, and collage becomes critique. Every printed fragment carries a history—of violence, displacement, survival. Wechsler does not illustrate that history: he condenses it.

His work sits at the crossroads of conceptual art, radical material experimentation, and graphic tradition, while belonging fully to none of these lineages. What he creates is not a style, but a field of visual questions that inscribe themselves into art history as a fertile anomaly—a practice that thinks language through its fracture.

Wechsler does not seek impact. His work does not impose itself: it waits. As if each composition were a sentence not yet written. Or better still: a way of speaking without words. A way of remaining.

Within the context of NISO, the presence of Max Wechsler functions as an axis of depth. His work introduces a different temporality—layered, critical, silent—that expands the curatorial field toward an archaeology of signs. Against spectacle, he proposes reading. Against discourse, the fragment. Against excess, density.

Max Wechsler CV+BIO.pdf

In Collective Statement, the works of Hitoshi Nakasato, Max Wechsler, Mateo Revillo, Sawako Nasu, João Trevisan, Amanda Ziemele, Daniel Brusatin, and Guy Haddon Grant occupy the gallery without being forced into a single narrative or a rigid hierarchy. The exhibition moves away from the idea of art as illustration or symbolism; instead, it focuses on the raw mechanics of making—the calibration, structural clarity, and material decisions that define each practice.

What connects these eight artists is a shared resistance to the theatrical. Each work follows its own internal logic, yet enters into relation with the others through the room’s pacing, distances, and silences. Meaning is not announced but emerges through proximity and the time spent in the space. The gallery becomes a field in which distinct positions coexist without being merged into a single voice.

Integrated directly onto the walls is a layer of documentary material and photography. These elements do not function as explanatory labels, but as a surface of information that links the finished works to the traces of their formation. The viewer moves between object and record, presence and source, allowing both to remain active without one subordinating the other. The space not only shows the works, but the thought that sustains them. 

In this sense, the exhibition aligns with a lineage of exhibition-making historically associated with figures such as Harald Szeemann, where shows are conceived as constellations of autonomous positions, held together by spatial intelligence and necessity rather than by a predetermined theme. Differences are maintained in tension, allowing each practice to retain its clarity.

Ultimately, Collective Statement proposes a different mode of encounter. It privileges attention over immediacy, coherence over spectacle, inviting viewers to remain, to shift their position, and to allow meaning to surface through the relations between works, documents, and the space that holds them. 

This exhibition is the result of four years of sustained work at the gallery, from its nomadic beginnings in 2021 to the present. During this time, the gallery’s program has taken shape through dialogue with curators and artists of different generations, visual languages, and practices, developing a way of working grounded in attention, continuity, and coherence. This exhibition reflects this process: NISO appears here not as an external organiser, but as an operative body formed through the relations it has cultivated over time.

Alongside this exhibition and to accompany the work developed at the gallery, the gallery will launch in February its first annual editorial project. Conceived not as documentation but as an extension of the gallery’s program, it opens an editorial space where works, texts, and images continue the dialogue initiated in the exhibition space.

Collective Statement functions as an expanded archive of NISO. It presents the gallery’s identity and reflects on its formative period, from its nomadic beginnings in 2021 to the present.

NISO

NISO

21.01—14.03

21.01—14.03

Artists

Daniel Brusatin

Daniel Brusatin

Max Wechsler

Max Wechsler

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