Yunping Li

Nuno Alexandre Serrão is a Portuguese photographer and director whose work explores the relationship between natural landscapes and human-made structures, combining cinematic formalism and raw storytelling. Led by curiosity, he often creates or documents non-linear narratives about uncomfortable and ambiguous topics that challenge comfort zones and encourage reflection, ultimately provoking questions about what is fundamental or emergent. His work has gained international attention, and is published in established media outlets like HuffPost, Público, Expresso, L’Hémcycle, Cosmopolitan, Marie Claire, and GQ. It has also been exhibited in cultural institutions such as Fotogalerie Friedrichshain in Berlin, ImageNation in Milan, ArtIcon in Paris, and the National Museum of Finland. His short films and commercial projects have been recognized at festivals like Aesthetica, Caminhos do Cinema Português, FUSO, and Inshadow Festival. Critics describe Serrão’s work as ‘pursuing the beauty that emerges at the intersection of nature and humanity’ (Ana Marques Maia, Público, 2024). Claire Ducresson-Boët describes his landscapes as ‘places of passage and transition where time seems to stand still, offering a moment of quietness before life resumes.’

Jaka Teršek (b. 1997, Slovenia) is a photographer and visual artist whose work explores themes of national identity, mythology, and the interplay between geography and human culture. He frequently combines photography with text, creating narratives that blur the boundaries between fact and fiction. He holds a BA in Photography from the Academy of Fine Arts and Design at the University of Ljubljana and an MFA from the Royal Academy of Fine Arts Antwerp, where he is currently engaged as an artistic researcher. His series OWL, FOX, HEDGEHOG, DEER was finalist in the Blurring the Lines competition organised by Paris College of Art in 2022 and was shortlisted for the PhMuseum Photography Grant in 2023. Jaka has exhibited in numerous group and solo exhibitions, including at FOMU Antwerp, Gallery Artget Belgrade, Plečnik House Gallery, Gallery DobraVaga Ljubljana, and UGM Maribor. He is also a founding member of the collectives Fotosfera and Študio.

Zoé Aubry (1993) develops a practice of critical, feminist, and experimental visual research through photography, within installations that unfold in space. Her work aims to reveal the mechanisms of visibility, and invisibility of dominant media narratives, notably through the use of poor images, inverting the logics of the attention economy. Holder of a Bachelor’s degree in Photography from ECAL - École cantonale d’art de Lausanne and a Master’s degree in Contemporary Artistic Practices from HEAD - Haute école d’art et de design de Genève, her book #Ingrid (2022), co-published by RVBBOOKS and Gato Negro Ediciones, was shortlisted for the Autor Book Award at the Rencontres d’Arles and won the Most Beautiful Swiss Books award. Her work has been exhibited in group and solo exhibitions, including « The Lure of the Image » at Fotomuseum Winterthur, «LES RESISTANTES» in Paris, « Concerned » at the International Red Cross and Red Crescent Museum, at the Musée des beaux-arts du Locle or in Arles, and several festivals including Athens Photo Festival, Biennale de l’image tangible Paris, Guernsey Photography Festival or Les Rencontres de la Photographie de Marrakech. She was the laureate of the Photographic Survey of the City of Geneva in 2021, and of the Swiss Federal Design Awards in 2018. Converging or in parallel, she fights within collective and associative projects and co-founds several initiatives where cultural work and political commitment meet to militate both towards utopias and direct field perspectives.

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.

Máté Dobokay (b. 1988) is interested in conceptual art and experimental photography, particularly through manipulating the medium and neglecting the apparatus. He is graduated at University of Kaposvár on Photography BA department. He is a member of Studio of Young Artists’ Association. He received a Republican Scholarship for 2015‐2016, was shortlisted for the Leopold Bloom Award in 2015 and for the Esterházy Award also in 2017. During 2014 he was a member of the winning team at OFF_Festival, Bratislava and was nominated for the Lucien et Rodolf Hervé Prix. He was the youngest artist in “IMPACT: Abstraction & Experiment in Hungarian Photography” exhibition in New York. He has had some solo exhibitions and featured in several group shows. He is represented by acb Gallery, Budapest.

Thérèse Anna Rafter (b. 1989, Dublin, Ireland) is an artist and researcher working across photography and installation. Her practice investigates how the living world is mediated within Western visual culture, with particular attention to institutional modes of representation and display. Engaging critically with the legacies of natural history, museum practices, and photographic visual regimes, Rafter’s work explores the boundaries through which human–animal–land relations are constructed and maintained. Characterised by a measured tension between restraint and sensitivity, her work is articulated through a rigorous analogue approach to material, form, and production. By foregrounding processes of framing, preservation, and visibility, Rafter challenges anthropocentric ways of seeing and considers how knowledge of nonhuman life is produced and encountered. Rafter holds a BA in Photography and completed an MA in Visual Arts in 2024. She is currently undertaking a research Master’s at Sint Lucas School of Arts, Antwerp, Belgium.

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.

Rafael Roncato (Brazil, 1989) is an interdisciplinary visual artist, editor, and educator working between Brazil and the Netherlands. His practice examines colonial memory, media myths, and the politics of representation, focusing on how images construct belief systems and shape collective perception. Grounded in documentary photography and expanded through archival research, video, and editorial strategies, Roncato develops semi-fictional, non-linear narratives that interrogate contemporary media landscapes and historical power structures.

Inspired by comics, cinema, and Brazilian (post)modernism, his work moves fluidly across formats, from artist books to exhibitions and multimedia projects. He holds a Master’s in Photography and Society from the Royal Academy of Art, The Hague, where he teaches artist bookmaking and visual storytelling and mentors emerging practitioners.

His work has been exhibited internationally, including at the Netherlands Fotomuseum, Noorderlicht International Photo Festival, PhMuseum Days, Les Rencontres de la Photographie d’Arles, Encontros da Imagem, and Schwules Museum Berlin. His photobook Tropical Trauma Misery Tour received the 1st Prize at the Kassel Dummy Award ’23 (GER), the Imaginária Festival Dummy Awards ’23 (BR), and a Special Mention at the Hong Kong Photobook Festival ’23.

Portrait of Rafael Roncato by Gita Cooper van Ingen

Andreas Hopfgarten (b. 1987) is a German visual artist and photographer based in Reykjavik, Iceland. His research-based practice explores the intersection of personal and collective histories. Through intuitive storytelling, his work incorporates film, sculpture, and installation techniques, creating multi-layered narratives. Hopfgarten’s projects often reflect on memory, identity, and the cultural forces that shape them. He earned a Master of Fine Arts from the University of Fine Arts Hamburg (HFBK Hamburg; Prof. Simon Denny) in 2023 and a Bachelor of Fine Arts from the same institution in 2020 (Prof. Simon Denny). His academic background also includes a Bachelor of Arts in Communication Design from the Hamburg University of Applied Sciences (HAW Hamburg) and a diploma in photography from the Photo+Media Forum Kiel. His work has been exhibited internationally in notable venues and festivals, including the Haus der Photographie, Deichtorhallen in Hamburg, NRW Forum in Düsseldorf, Goethe-Institut Nicosia in Cyprus, the Voies OFF Festival in Arles, and the Einar Jónsson Museum in Reykjavik, Iceland. Hopfgarten has been recognized with several awards, such as the Claussen-Simon Foundation Fellowship (2019/2020) and the gute aussichten – junge deutsche fotografie (2016/2017).