The Fluxus–CPGA Prize aims to support talents of the French art scene and to promote its visibility and influence on the international stage. It also celebrates the relationship between the artist and their gallery. The endowment, amounting to £15,000, is shared between the artist and the gallery presenting them at the fair.
The jury declared about the artist: “The jury adored the contrast between the materiality and sensuality of the pieces, notably the wooden eggs. They liked the organic shape of the egg and how it clashed with the posthuman technological structure, implying a relationship between humanity and technology, themes that are reverberated in today’s society. Additionally, Emalin ambitiously displays works that are not easily sellable, as is this piece. They champion artists with huge installations. Here, the piece holding an important space within the stand embodies a statement of ambition.”
The jury, composed of seven members, included:
- Alessio Antoniolli (Curator and Director of the Triangle Network),
- Claude Bonnin (President of ADIAF),
- Edward Gillman (Director of Chisenhale Gallery),
- Nathalie Guiot (Collector and Patron, founder of the Fondation Thalie Brussels–Arles and Aleor Craft & Biodesign),
- Hélène Nguyen-Ban (Chair of Fluxus Art Projects),
- Véronique Parke (Collector and co-founder of the artists’ residency Launchpad LaB)
- Catherine Wood (Director of Programme and Chief Curator at Tate Modern).
Daiga Grantina (b. 1985, Saldus, Latvia) lives and works in Paris, France. Grantina’s sculptures investigate the encounters between materials and their consequent relationships of dissonance and consonance, inducing an exercise in expanded vision. Her material gestures resonate with the structural shifts of organisms and environments, navigating relations of volume and form at the point where microscopic and macroscopic overlap and intersect. Her abstract vocabulary borrows from bodies and landscapes to explore indescribable matter, a plastic investigation of the formless and misshapen. Intuitively concocted forms self-consume and self-produce, at once a continuous development of a shared idea and a space of tension where the hierarchies of perception find themselves rearranged. Recent solo exhibitions include Emalin, London (2025); Kunstmuseum Appenzell (2024); Z33, Hasselt (2024); Art Museum Riga Bourse (2022); GAMeC, Bergamo, (2021); New Museum, New York (2020); the Latvian Pavilion, 58th Venice Biennale(2019); and Palais de Tokyo, Paris (2018).
Emalin is a London-based contemporary art gallery run by Leopold Thun and Angelina Volk. Since opening its doors in 2016, the gallery has grown a roster of sixteen international artists with a diverse focus on multi-disciplinary and critically engaged practices. The gallery’s artists work across a range of media with a commitment to conceptual engagement with material. Critically, politically and socially oriented, the gallery’s programme foregrounds a generation of artists paving paths for new areas of enquiry. The vast majority of the represented artists had their first UK solo exhibitions at Emalin, each of whom has gone on to exhibit at international institutions and biennials. Alongside its exhibition schedule, Emalin produces print publications, annual offsite projects and public programmes involving artists, curators and musicians. In 2024, Emalin opened its second location in London, restoring the 18th century Clerk’s House as a historical space for site-responsive exhibition making.