Glorija Lizde

Born in 1991, I grew up in Nancy in north-eastern France. Since 2011, I have been living and working in Brussels. I have a bachelor's degree in photography from ESA Le 75 and a master's degree from the Royal Academy of Fine Arts in Antwerp (Belgium).
My practice focuses on landscape and questions revolving around its use, exploitation and representation. Through my projects, I attempt to reflect on our relationship with what we call nature and to offer a different understanding of it.
In Brussels, in 2020, I co-founded the collective La Nombreuse, composed of eight photographers and an art historian. We opened a multifaceted space, part studio, part exhibition space, conference venue, workshop space, etc.
The monograph Charbon blanc was published in October 2021 by Le Bec en l'air. Since 2017, my work has been exhibited at various festivals and galleries in France and Belgium in particular.

Mara Palena (1988) lives and works in Milan. Her research focuses on themes such as memory, recollection, and identity. She works with photography, video, and sound, reworking materials from archives, often open and participatory, like home movies, and drawing on a personal archive of photographic images that she has been curating for years to document her life. Her work has been exhibited at various international festivals, venues, and galleries, including the Guardian Art Center in Beijing, Galleria Studio G7 in Bologna, Careof, Marsèll Paradise, Nowhere Gallery, Pananti Atelier, and Video Sound Art in Milan, the Istituto Italiano di Cultura in Madrid, MOPLA in Los Angeles, Artphilein Foundation in Lugano, and Recontemporary in Turin. Between 2021 and 2024, she was a finalist in several art prizes, including the Lucie Foundation, Combat Prize, Premio Fabbri, New Post Photography, and Artphilein Photo Book Contest. In 2022, she was selected by Camera Torino for FUTURES Photography. Her work Oikeiôsis won the 2022 Surprize Award from Sprint and the Marcelo Burlon Foundation. The editorial project was curated and published by Witty Books in 2023 and was included by Photo España among the 100 best books published in 2024.

Parisa Aminolahi (Tehran, Iran), based in the Netherlands, is a freelance filmmaker and photographer. Her series are mostly long-term projects. And her work explores themes such as displacement, exile, homeland, family, and childhood memories, using old family photographs, self-portraits, and her own family members as subjects. Her mediums include photography, documentary filmmaking, animation, painting, and mixed media.She studied theatre stage design (BA) and animation (MA) at University of Art in Tehran and documentary filmmaking (MA) at Royal Holloway, University of London. She is a recipient of The Firecracker Photographic Grant, The Netherlands Film Fund, GUP New Dutch Photography Talent of the Year and One World Media Student Film Bursary. Her dummy book, Tehran Diary, was shortlisted for the MACK First Book Award, BUP Book Award, and PHmuseum Women Photographers Grant. She has held screenings and exhibitions locally and internationally and is represented by Ag Galerie.

Sixtine de Thé is a French photographer based in Paris. Her work is expressed as a sensory cartography of the visible and the invisible, where themes such as the body, the face and the territory are prevalent. Often on the verge of disappearance or destruction, her images attempt to answer the question: what remains? She has exhibited in France, at Private Choice, Galerie Dohyang Lee, Festival Photo Saint-Germain, Fondation Luma (Arles), and abroad (Lebanon, United States). In 2021, her project Pellicules Aveugles won a jury prize at the Prix Dior pour Jeunes Talents. In 2022, she was awarded the Villa Al Qamar, a residency at the Institut Français du Liban, as well as the research and production residency at the Centre Photographique d'Île-de-France for her project Quelque chose qui noire, a photographic installation on darkness in Lebanon, which was also a ‘Coup de cœur’ at the Prix LE BAL/ADAGP in 2023. Born in France in 1991, Sixtine de Thé lives and works in Paris. She graduated from the Beaux-Arts de Paris in 2021, after studying art history at the École Normale Supérieure and the École du Louvre.

Sarah Stone (U.K., 1994) is a photographer and artist based in Antwerp, Belgium. She received her master’s degree in photography at the Royal Academy of Fine Arts in Antwerp in 2022, winning the Photography Department prize. Her photographs have been published in .Tiff Magazine, Der Greif and Subbacultcha/Different Class and self-published books such as: 'La Vie De Camille' (2023), ‘ANNA’ (2022) and ‘The End of The Pipeline’ (2021). Her project '76 collages' was published by SO-RI in 2021 and a following series ‘98 collages’ is set to be published in 2025. In 2023 her image 'Whistle' from the project 'ANNA' was selected for ONBOARDSBiennale, an exhibition of art displayed on billboards throughout Antwerp. Her collage 'West Virginia Interior' was published in Karoo magazine in 2024. In 2024 Stone exhibited her work as part of the outside art trail "Out ofOffice" with BREEDBEELD in Gooik, Belgium and in 2023 with the FOMU(Photography Museum Antwerp) as part of .Tiff. Her collages were exhibited withStieglitz19 Gallery in the group show ‘Collage! Collage! Collage!’ with Vincent Delbrouck and Miriam Tolke (2021) as well as a pop-up in (2020). In 2025 she began her own TOT ZINES project, publishing local artists in the zine format. Stone’s work is created around a strong signature of aesthetic, poetic and colourful images, conveying a powerful message. This is substantiated by her usage of analog photography, creating imagery that presents an open and honest reflection of her surroundings, details, friends or objects that she is drawn to. Shot on 35mm film, they reveal her inner life at a certain time, almost like a distant diary. Stone's series are often founded on human traces, whether that be in personal relationships, or relationships to objects and materiality. Each with its own angle of approach, but based on the beauty of life and it's details. Her photographs illustrate and inspire people to embrace colour, texture, shape, and to see the world as a theatrical stage, full of props and characters. To capture the atmospheric variety of photographs, Stone uses various analogue cameras and experiments with making collages, using paint in her collages and works on paper.

Andong Zheng (1992, China) lives and works in Rotterdam, NL. With a hybrid background in engineering and fine art, Zheng was trained to focus on micro details within rigid causal frameworks, yet he often found himself questioning the macro structures they sustain. His work explores how seeing itself becomes a site of epistemological asymmetry. For him, image-making is less about mapping established knowledge systems than about dismantling and reconfiguring them, a way of engaging with the gaps, ambiguities, and contradictions that lie between these systems and the world. Through this practice, he seeks to open up new ways of knowing that traverse rationality.

Zheng was shortlisted for the Jimei x Arles Discovery Award (2024) and musée du quai Branly - Jacques Chirac Photography Award (2025). His work has also been featured in publications such as The Routledge Companion to Photography, Representation and Social Justice, British Journal of Photography, and Chinese Photography.

Pavle Nikolić (b. 2001, Niš, Serbia) works with photography and video, examining fundamental human tensions — authority and powerlessness, dominance and submission, aggression and passivity. He investigates how these opposing forces interact, using the constructive and transformative capacities of his chosen mediums to find the threshold at which they begin to turn into one another. Pavle studied applied photography at the University of Applied Arts in Vienna and fine art at the Beaux-Arts de Paris. He now lives and works in Paris.

Máté Bartha (1987) is a Budapest-based visual artist working in the intersection of photography and theory-fiction. His practice is driven by a mission to reenchant the world through world-building, impersonation and constructing personal and collective mythologies. His work proposes new narratives by blending symbolic and subjective interpretations of his usual field of observation, the metropolis, treating urban spaces as arenas for imaginative transformation. Bartha’s works often combine staged and documentary imagery, archival material, and speculative narrative forms, and have been published and exhibited widely. Bartha holds Master’s degrees in Photography (Moholy-Nagy University of Art and Design, 2011) and Documentary Filmmaking (University of Theatre and Film Arts, 2016), and is currently a doctoral student at MOME. His first photobook, Common Nature (2014), explored the ambivalence of urban space as a mirror of the unconscious. Kontakt (2018), a coming-of-age portrait of Hungarian military youth camps, was awarded the Louis Roederer Discovery Award at the Rencontres d’Arles (2019). His recent project Anima Mundi, a fictional urban encyclopedia of cosmic order, received the Main Jury Prize at Les Boutographies, Montpellier (2024). His ongoing work, The Dice Man, is a chance-based photographic pilgrimage through grief, memory, and city space.

Viacheslav Poliakov is a visual artist, photographer, graphic designer. He was born in 1986 in Kherson, Ukraine. Obtained a master’s degree in art education from Kherson State University. Now based in Lviv, Ukraine. His art practice exists on the intersection of documentary photography and design. He's interested in objects and spaces made by people, the historic background behind the urban landscape. Viacheslav is a finalist of Foam Talents, Vienna Photobook Festival, Circulations, Krakow Photomonth Showoff, Fotofestival Lodz Grand Prix, Prix Levallois. His works were published in the Foam Magazine, The British Journal of Photography, GUP magazine, Lensculture, The Washington Post.

I am a visual artist working primarily with photography, video, and installation. My main area of interest revolves around the idea of destruction perceived as a prerequisite for rebirth – in this regard, my practice serves as a particular form of self-therapy. My creative approach centers around catastrophic events, whether experienced in real life or staged – not merely to document, but to explore their aesthetics and the emotions they evoke. Drawing from the notion of post-photography, I attempt to extend the same approach to my audience, purposefully creating the most photogenic environment. This invites the viewer to try and explore the aesthetics and emotions evoked by my own work. The theme of the car and anything automotive-related is a constant recurrence throughout my practice, varying both in context and form. It can be an invisible companion, as seen in the series of on-the-road photos like "Post Tourism," documenting wildfire sites in Australia and California. It can also be a desirable object deliberately subjected to all kinds of abuse – set on fire, melted, or drowned – in order to test its endurance while creating the perfect catastrophic photo set, as seen in the multidisciplinary installation "Panda" or the photographs published in the photobook "Pyromaniac’s Manual." Finally, the car can be dissected, stripped, and transformed into something entirely new, like a vehicle for poetic miniatures in the "Blind Spot" series. It can even become part of a fancy dinner where the courses are prepared out of car parts and served to the guests of a luxurious retreat, mockingly bringing into the spotlight the consumption patterns of the highest social classes in the "A la carte" project, created during the Chateau de la Haute Borde art residency and subsequently exhibited at Galerie du 13 in Paris. Most recently, my interest has turned to audiovisuality, focusing on short forms of video and their potential for a more poetic style of storytelling.