Naa Teki Martey Lebar

Miriam Pružincová, also known as MIMI, is a Slovak photographer, filmmaker, and visual artist. She is currently studying for her master’s degree at the Academy of Arts, Architecture and Design in Prague, in the Photography II studio led by Alena Kotzmannová. In her practice, she works primarily with analogue photography and video, a documentary approach, and her personal archive. Since 2019, she has been systematically collecting fragments of everyday life, which she subsequently connects into carefully composed pairs, diptychs, and visual sequences, thus creating series or an endless, unnamed body of work that is simply about life as such. Through the deliberate connecting and assembling of photographs in installations, as well as the intentional completion of series through newly made images, she disrupts the boundary between chance and staging within documentary practice. She understands photography as a form of play and a tool for storytelling — a visual poem or narrative. At first glance, her work may appear delicate, yet it carries irony, paradox, and intense intimacy. From environmental themes and stories of people searching for their identity, the artist gradually moves toward more personal subjects that address safe spaces and generational anxieties. Her practice also engages with memory, corporeality, mental health, trauma, the relationship to nature, and the natural presence of death in life. Her work has been exhibited, among others, in Prague, Munich, London, Berlin, Milan, Tokyo, and Slovakia.

Bio: Yun Ping Li (Hubei, China, 1998) is a visual artist based in Madrid. His work investigates the intersection between photography and performance, as well as exploring the concept of belonging in relation to the human body, physical spaces, and family ties. He is author of 回家 (huí jiā). The project has been winner of 13th Galicia Contemporary Photography Award, Fotonoviembre photography biennial and FOTODOKS open call 2025 and Getxophoto open call 2026. He has presented it at Paris Internationale and the annual "Plat(t)form" portfolio review event at Fotomuseum Winterthur (Switzerland). He has participated in solo and collective exhibitions in venues such as El Local (Madrid), Photo Elysée (Switzerland), La Panera (Lleida), The National Museum of Anthropology (Madrid) and Sala Arte Joven (Madrid). He has published his work in Sinetheta, Balam, Exit and Esto es un cuerpo magazines. His work is in the collection of Kutxa foundation.

Sebastian Stadler is a Swiss-Finnish artist based in Zurich, Switzerland who works with photography, video and text. He studied photography at the Zurich University of the Arts (ZHdK) and the Lausanne University of the Arts (ECAL). His work has been exhibited in national and international exhibitions, including at Kunstmuseum Liechtenstein, Photoforum Pasquart, Kunstmuseum Thurgau, Kunsthaus Baselland, Centre de la photographie Genève, Haus Konstruktiv Zürich, Kunstmuseum St. Gallen and the gallery Heinzer Reszler in Lausanne. In 2013, Sebastian Stadler received the Swiss Art Award, and in 2019 the Manor Art Prize St. Gallen. In 2021, his first monograph, A Close Up of a Large Rock, I Think, was published by Kodoji Press and was selected as one of the Most Beautiful Swiss Books. His work is part of several important public and private art collections, including Vontobel Art Collection, UBS Kulturstiftung, Maus Frères SA Collection, Geneva, Kunstmuseum St. Gallen, Kanton Zürich, Kanton Thurgau, Kanton St. Gallen and Julius Bär Art Collection.

Sheung Yiu (HK/FI) is a Hong-Kong-born, image-centered artist and researcher, based in Helsinki. His artwork explores the act of seeing through algorithmic image systems and sense-making through networks of images. His research interests concern the increasing complexity of algorithmic image systems in contemporary digital culture. He looks at photography through the lens of new media, scales, and network thinking; He ponders how the posthuman cyborg vision and the technology that produces it transform ways of seeing and knowledge-making. Adopting multi-disciplinary collaboration as a mode of research, his works examine the poetics and politics of algorithmic image systems, such as computer vision, computer graphics, and remote sensing, to understand how to see something where there is nothing, how to digitize light, and how vision becomes predictions. His work takes the form of photography, videos, photo-objects, exhibition installations, and bookmaking.‍

Mateusz Pecyna is a Polish visual artist working with installation, moving image, objects and sound. His practice explores how technological systems and environmental stress reshape contemporary culture, especially through regimes of visibility, interfaces and synthetic forms of nature. Rather than treating technology as a neutral tool, he approaches it as a cultural agent: something that produces aesthetics, behaviours and power relations. Combining research with speculative narration, he builds layered situations that test the boundaries between documentary evidence and constructed scenarios.

Pecyna holds an MA in Photography and Multimedia from the Academy of Fine Arts in Łódź, Poland. He has presented work widely in solo and group exhibitions in Poland and internationally, across museums and festival contexts. He currently participates in the international Heritage Lens programme, focusing on how climate change and environmental catastrophe reorganise cultural heritage, public imaginaries and the conditions of living. He was awarded the Artistic Scholarship of the City of Łódź (2025).

Sybren Vanoverberghe (b. 1996, BE) is an artist who lives and works in Belgium. Vanoverberghe has had recent solo exhibitions at Deweer Gallery, Otegem (BE), UZ Brussels (BE), CC De Factorij, Zaventem (BE) and Keteleer Gallery, Antwerp (BE). He had two-person exhibitions at De Brakke Grond, Amsterdam (NL), Contretype, Brussels (BE), Barbé Gallery, Ghent (BE), Ontsteking, Ghent (BE). His works have been shown at various fairs such as Unseen, Amsterdam (NL); Miart (IT), Art Brussels (BE) and Art Cologne (DE). Vanoverberghe’s works are published in artist books such as 2099 (2018), Conference of the Birds (2019), 1099 (2020), Sandcastles and Rubbish (2021), Desert Spirals (2023), MUSA (2024) by Art Paper Editions (BE). His works are included in the public collection of the Flemish Government – FoMu, Antwerp, BE. Vanoverberghe received his MFA from The School of Arts – KASK in Ghent, (BE). Vanoverberghe engages with photography, employing diverse printing techniques, installations, structures, and discovered objects in his artistic practice. His creations capture landscapes and their remnants in a perpetual state of transformation, revealing the intricate interplay between place and time. Through his works, Vanoverberghe explores the convergence of history, nature, and heritage, presenting viewers with a visual dialogue that spans both the historical ruins and commonplace locales. His art challenges established notions by juxtaposing present-day structures with what might be interpreted as artefacts from an envisioned future. Vanoverberghe’s pieces possess a pronounced anachronistic quality, with certain images portraying a bygone era that never truly existed. Within his monographs, he often delves into the cyclical nature of specific sites, transcending their original geographic context. His work prompts speculative inquiries that traverse time, oscillating between past and future with equal resonance. A perpetual tension permeates Vanoverberghe’s oeuvre, inviting contemplation on the dual nature of images — whether to accept them as historical documents or dismiss those that seem to foretell a future yet to unfold. Sybren Vanoverberghe is represented by Keteleer Gallery, BE.

Camille Poitevin (b. Montreal, Canada, 1996) is a french multidisciplinary artist based in Brussels. Installation plays a central role in her practice : drawing from lens-based media, sculpture, sound, and performance, she creates time for introspection in a fast-paced society. In doing so, she aims to challenge social norms, unfreezing preconceived ideas in human interactions, social roles, and personal identity. She holds a Bachelor’s degree in Applied Arts from Concordia University in Montreal (2018) and a Master’s degree in Visual Arts (Photography) from ENSAV La Cambre in Brussels (2022). During her master’s studies, she was awarded a creation grant from the King Baudouin Foundation as well as the Servix Prize. Her work has been presented in Belgium (FOMU, Musée Botanique, Beursschouwburg, BPS22, Hangar Art Center, Ateliers Mommen, HISK Gosset site, CAL Charleroi), the Netherlands (De Brakke Grond, Marres Huis voor Hedendaagse Cultuur), France (FRAC Franche-Comté), and Italy (Fondazione Sant’Elia). In 2025, she takes part in the group exhibition Art au Centre in Liège, as well as in the .TIFF Emerging Belgian Photography program presented at FOMU and later at De Brakke Grond, within which she was selected for the European FUTURES Photography platform. That same year, she participates in Art Contest at the Musée Botanique, where she receives the Collectors’ Prize. She lives and works in Brussels and develops her practice within the collective studio Koekelhouse (Young European Artists).

ROXANA RIOS *1994 (they/them) currently based in Leipzig, Germany. In 2017 Roxana picked up a double study at HGB Leipzig and AdBK Nuremberg and studied in the classes of Heidi Specker and Juergen Teller. After graduating in 2020 Roxana joined Isabel Lewis' class of the performing Arts.They received their Diploma in July 2023. Roxana's work has been shown at Museum Folkwang Essen, DEICHTORHALLEN Hamburg, Museum of Contemporary Art Leipzig, Fotomuseum Winterthur and FOTOHOF Salzburg. Roxana was nominated for the Federal Prize for Art Students in 2020 and won the Contemporary German Photography Grant in 2024                                                                   Roxana's current practice engages in critical discussions concerning the development of (hegemonial) narratives, as well as the relations between image- and knowledge-production. Roxana examines ‘the’ body as a construct, material and representative within social orders.In this function, the work understands itself as an exercise in utopian thinking, seeing and speaking – a contribution to contemporary, social and aesthetic discourses.

Bertrand Cavalier unfolds his artistic thinking across photography, sculpture, drawing, and video, each medium enriching the others. His work shifts from a politics of the gaze to a logic of sensation, where art becomes a bodily experience rather than mere representation. In this way, his work is part of a contemporaneity that echoes the ideas of Gilles Deleuze, offering a reflection on our ability to communicate and share ideas beyond words, through sensations that resonate with our bodies and our spaces. — Olivier Grasser Bertrand Cavalier has published with Fw:Books (NL, 2020) and Spector Books (DE, 2024). He is the laureate of the Prix Ville de Bruxelles – Centrale for Contemporary Art (BE, 2025) and has exhibited at FOMU Antwerp (BE), Photoforum Pasquart Biel (CH), BIP – Biennale de l’Image Possible, Liège (BE), and FRAC Orléans (FR). He received the Sébastien van der Straten Fund Award (2019) and was a resident at Artwell Amsterdam (NL, 2021) and Cité internationale des arts, Paris (FR, 2023). His work has been published in Artpress, Mouvement (both FR), Camera Austria (AT) and l’art même (BE).

Olga Bushkova (*1988 in Rostov-on-Don, RU) is an artist based in Zurich who has been deeply engaged with photography since 2011, using it as a tool to deal with everyday life issues. Her works have been presented in numerous solo and group exhibitions in Switzerland and internationally, including at the Photoforum Pasquart in Biel, the Fonderia 20.9 in Verona, the IMAGO Gallery in Lisbon, the Jungkunst in Winterthur, and the Musée Visionär in Zurich. In her photo books A Google Wife (Dalpine, 2017) and How I Tried to Convince My Husband to Have Children (Witty Books, 2020), she explores themes such as migration, integration, and parenthood from a personal perspective. She is a member of SIYU, the pool collective, and near. Since 2016, she has been working on the long-term project A Photo at 12 (working title), in which she reflects on her communication with her father through photography.