Roma Moskalenko

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.

Short biography: Odysseas Tsompanoglou (born 1998, Greece) is a photographer based in the Netherlands whose work explores loss, melancholy and collective healing. His practice investigates notions of truth, deterritorialization, hyperreality and postmodernity, often through speculative and situationist strategies that blur the line between document and fiction. Currently pursuing a Master’s in Photography & Society at the Royal Academy of Art, The Hague, he approaches photography as a collaborative process that questions authorship and invites the publics to co‑produce meaning and dialogue around the visual medium. Informed by his experience with Obsessive-Compulsive Disorder, he applies strict technical constraints to his practice, using photography as a therapeutic tool to metabolize the instability of time and perception. By recording the ‘glitches’ of a reality that feels increasingly separated from physical experience, his work ultimately seeks to construct a sense of home within the empty coordinates of the virtual age.

Laureta Hajrullahu (b. 1997, Preshevë) is a Prishtina-based multimedia artist exploring privacy, gender, intimacy, digital ecosystems, video games, and (im)possible futures. Her work critically examines the boundaries between virtual and physical worlds, offering diverse perspectives on ‘reality.’ Hajrullahu’s art has been presented at numerous national and international exhibitions in the past, including Manifesta 14 Biennial, Gjon Mili at the National Gallery of Kosovo, Bazament Art Space in Tirana, FORUM STADTPARK in Graz, Tallinn Art Hall, Art Quarter Budapest, Toplocentrala in Sofia, and the Museum of Contemporary Art Montenegro. She is currently artist in residence at The Academy of Arts in Szczecin and she will have a solo exhibition at Vänersborgs Konsthall.

Irish artist, Miriam O’Connor lives and works in Cork. She holds a BA in photography from Dublin Institute of Technology, and completed a Research Masters at the Institute of Art, Design & Technology, Dun Laoghaire in 2011. Drawing inspiration from the language, sights and sounds of the everyday, O’Connor’s practice frequently engages with matters which reflect her everyday surroundings, as well as her day-to-day experiences of being a photographer. Her projects have explored themes around looking and seeing; the relationship between camera and subject; the circulation and consumption of images and the complex nature of photographic representation.Her work has been exhibited and distributed extensively, with features in magazines and publications including; Camera Austria, Source Photographic Review, The New York Times and The Guardian. Recent solo shows include Sternview Gallery, Cork, Galleri Image, Denmark, The Third Space Gallery, Belfast and during ‘THERE THERE’ festival, Cork curated by Stag & Deer. In 2012, she received the Alliance Française Photography Award, which included a residency at the Centre Culturel Irlandais, Paris. She was the recipient of the Emerging Irish Artist Residency Award [EIARA] in 2015 which included a month-long residency at Burren College of Art, Co. Clare. Publications include, ‘Attention Seekers’ (2012) ‘The Legacy Project’ (2013) and ‘Tomorrow is Sunday’ (2017). She was one of the selected artists for Greetings from Ireland (2015) and New Irish Works I & II (2013, 2016). In conjunction with Galleri Image, Denmark, she recently produced new work for FRESH EYES - International artists rethink Aarhus, which was exhibited during Aarhus Capital of Culture, 2017.

Vitalii Halanzha (b. 1991) is a Ukrainian artist photographer living and working in Kyiv. His artistic practice involves engagement with the landscape, employing it as a dynamic medium to explore the complex relationships between natural processes and society. In his recent work, Halanzha investigates the intersection of the enduring presence of warfare, environment, and perception. Using a restrained visual language, he documents the quiet aftermath of war. Avoiding the scenes of destruction, he invites viewers to observe what lingers - the latent threat, the buried remnants, the psychological and environmental imprints. Vitalii has been selected as an artist for the third cycle of the Parallel Photo Platform in 2019-20. His works have been exhibited in numerous galleries and festivals, such as Landskrona Foto, Les Rencontres d'Arles, Odesa Photo Days, Lodz Fotofestiwal, Photo London, etc. In 2025, he is one of the nominated artists for the FUTURES European Photography Platform.

Raisan Hameed (*1991) is an Iraqi-German multimedia artist based in Leipzig. He is currently a Meisterschüler with Prof. Tina Bara at the Hochschule für Grafik und Buchkunst in Leipzig, after completing his Diploma in Photography. His work has been featured in various international exhibitions, including the Prix Photoforum Biel, Bundeskunsthalle Bonn and the Carte Blanche Exhibition in Paris. Hameed's practice is defined by a subtle and metaphorical visual language, profoundly impacted by his personal experiences of loss, trauma, and displacement. At the heart of his work is the transformation of intimate visual memories into universal narratives, as exemplified in one of his most acclaimed projects, Zer-Störung. Recontextualizing damaged family photographs that bear the scars of his hometown, Mosul, Hameed explores the destruction inflicted upon his family while reflecting on human themes of resilience and survival.

Vanessa Lucrezia Francia is an Italo-Hungarian photographer born in 1994. She currently works as a freelance photographer, collaborating with Luxury brands. Her personal research has a special focus on Familiar and intimate environments, in search of a silent dialogue with her subjects. Her research looks for the understanding of the intergenerational gap and how familiar and personal traumas can be projected. She mixes archive photography with her own personal shots with a strong aesthetic research due to her fashion background. In October 2024 she won the open call and was exhibited at the NARNIIMMAGINARIA International Photography Festival with her project "Home is where your heart beats the fastest" . In 2024/5 she attended CURAE masterclass of PHmuseum with Erik Kessels, during while she developed her last project “MANUAL OF HOW TO BECOME A GOOD GIRL - from 1 to 30 with zero expectations” , shortlisted at Phest Opencall 2025 and Perimetro Awards 2025 by the editors pick and published in Elle Italia.

Tony Dočekal (1992, Amsterdam) is a photographer and visual artist whose work focuses on identity, belonging, and the shared human condition. Her practice is shaped by encounters with individuals and communities on the road, with a particular interest in the resilience and adaptability of people living on society’s margins. Her first monograph, The Color of Money and Trees, explores the tension between material success and deeper fulfillment, asking if true prosperity lies in community and self-awareness rather than wealth and possessions. The series includes Chad on Skid Row, which won the Zilveren Camera Portrait Award in 2021, and Lyric at El Pais, a portrait of a young girl living off the grid in Arizona. The work navigates the balance between societal expectations and individual freedom. Tony’s debut short film, Pearls on Credit, reflects on how personal identity is shaped by broader economic systems and societal expectations. Shown alongside an installation of The Color of Money and Trees at Biennale Images Vevey, it deepens Tony’s exploration of the pressures individuals face in navigating these structures. Tony holds a Bachelor’s degree in Fine Arts from ArtEZ University of the Arts and has received recognition, including the Olympus Young Talent Award and De Burgemeester de Bruinprijs.

Teresa Freitas (b. 1990) is a Portuguese photographer and colourist. Her work navigates the genres of fine art, documentary and street photography, often exploring the impact of colour in composition, place, mood, and in the viewer's aesthetic response. Initially drawn to black and white film, Teresa followed her influences from Painting and Cinema to apply a knowledge of colour theory and harmony to develop a signature style which has earned her praise in many publications. She shares this knowledge through international workshops and online courses. After several years working in commercial photography—with collaborations including Leica, Adobe, and Dior—she is now focused on short and long-term documentary projects. Her current work examines cultural and symbolic relationships to nature, particularly through flowers.

Anna Safiatou Touré (Bamako, Mali, born in 1996) is a Franco-Malian multidisciplinary artist based in Brussels. She graduated from the Nantes Saint-Nazaire School of Fine Arts and the ENSAV La Cambre in photography. Anna Safiatou was awarded the Médiatine Prize in 2022 and the Roger De Conynck Fund in 2023-24. Her work explores the space that unites or separates the two sides of every migratory narrative. The journey through this personal, historical, and cultural blending fills for her empty or unanswered spaces. On her own scale, she wishes to materialize this absence by creating her own evidence to make history heard—rendering the absence visible to tell stories from these new bodies. Like a certain poetry of emptiness, couldn’t the world be told in reverse, like a stencil, from the edge?