Blanche Lafarge is a French director and multimedia artist. She works with 3D animation, scenography, photography, and video to reveal the oppressions endured by non-human species. Through storytelling, she gives voice to the forgotten narratives of stars, plants, artificial intelligences, avatars, and robots. Her aim is to shift away from a human-centered perspective in the way we tell the world’s stories. New technologies are powerful tools for inventing new imaginaries, as they reshape our relationships with land, bodies, and other species. However, the way we use them can also be oppressive. Blanche’s work highlights the darker uses of technology as a means of domination, which she subverts by creating speculative spaces that imagine inclusive and desirable futures.

Her work has been presented at the Palais de Tokyo (Paris), Kommet (Lyon), Galerie Tator (Lyon), La Serre (Saint-Étienne), Ateliers Médicis (Clichy-Montfermeil), and Atelier Saegher (Brussels). Her films have been screened at Instants Vidéos Numériques et Poétiques (Friche la Belle de Mai, Marseille), the Dissident Festival (Marseille), and the Fessess-tival (Geneva).

Katherine Behar is a new media artist and theorist whose work interrogates digital culture through feminist and materialist frameworks, probing themes of labor, gender, and race. Her artistic practice spans various media, including interactive installations, sculpture, and performance art. Mixing low and high technologies, she creates hybrid forms that are by turns humorous and sensuous—in recent projects, exploring the automated workplace as a site for cooperation and compromise between human and robot workers. 

Katherine Behar holds a professorship in New Media Arts at Baruch College CUNY and is a 2023 Creative Capital Awardee in Technology. Her books include Object-Oriented Feminism, And Another Thing: Nonanthropocentrism and Art, and Bigger than You: Big Data and Obesity. In 2024, the Beall Center for Art + Technology presented her major solo exhibition Ack! Knowledge! Work!. An expanded catalog with essays by Kris Paulsen, Jennifer Rhee, and Scott Richmond is forthcoming from punctum books.

Manfredi Clemente is an electroacoustic composer and sound artist whose work explores the evocative potential of recorded sound. His research examines the intersection of culture and nature, drawing on ecological, aesthetic, and mythopoeic perspectives. Through the use of field recordings, analog feedback, and synthesized sound, his compositions evoke a sense of materiality, organicity and space central to his artistic vision.

He completed his PhD in Electroacoustic Composition at the University of Birmingham in 2017, under the supervision of Jonty Harrison. He has taught at several Italian conservatories and is now Professor of Electroacoustic Composition at the Conservatorio A. Vivaldi of Alessandria. Manfredi has also been a member of B.E.A.S.T. (Birmingham ElectroAcoustic Sound Theatre) between 2012 and 2017; between 2011 and 2016 he has led the installation and performance of the acousmonium for the FMC – Contemporary Music Festival of Cagliari. Starting in 2017, he worked as an A/V technician and sound engineer at Teatro Massimo in Palermo, where he later served as the chief sound engineer for audio recording and broadcasting from 2020 to 2021, collaborating with renowned conductors such as Daniele Gatti, Marc Albrecht, Roberto Abbado, Omer M. Wellber, Daniel Oren. He is the founder of Almavox, a project based in Turin and focused on territorial explorations committed to the production of experimental music with a strong ecological imprint.

His interest in theatre and the performing arts has led to collaborations with artists and companies such as Johannes Erath, Kor’sia, Maria Vittoria Bellingeri, Margherita Ortolani, LOT-EK, Gaetano Costa, Dario Enea (Soggettile Teatro), Marìka Pugliatti, Clémence Kazemi, Marco Giusti, Jacques Bonnaffé.

He has been an artist-in-residence at various independent and institutional organizations, including Ass. Musiques&Recherches (Brussels), Châteauvallon-Liberté Scène Nationale (Toulon), and Ass. APNÉES (Grenoble).

Clemente’s work has been performed internationally, earning critical recognition, including the 1st Prize at Prix Russolo (2023), Prix Presque Rien (2019), the GRM Banc d’Essai (2018), and the 1st Prize at DI_Stanze Festival (2014).

Fulvia Larena (Rome, 1995) works in research, cultural planning and the production of cultural-artistic events and contents. She has worked in more independent realities and institutional bodies.

Her research looks at food as an effective device to explore the world and read its complexities according to a gaze rooted in the territories and their regionalisms. She therefore deals with artistic practices and visual projects that study the controversies of the contemporary hyper-productive society through food and give life to expanded dialogues between theories and uses.

She collaborates with the collective Tocia! Cucina e comunità of Venice with which she carries out research focused on community, conviviality, food and environment. She follows the research of the artistic-agricultural duo Aterraterra (Luca Cinquemani, Fabio Aranzulla) of Palermo.

Elena Corradi is a visual artist born in Italy and based in Marseille. Trained in anthropology and photography, in her works she investigates the complex relationships between places and memory, developing a documentary style that leaves room for subjective narration. The combinations of images, videos and archive materials are often used by the artist to bring out multiple points of view, minor facts, or to propose tools for critical rereading of historical events or social phenomena. Her most recent projects take place in border areas, whether between two countries or between urban fabrics and spaces considered peripheral.

Recently graduated from the National School of Photography in Arles, her works have been exhibited in group shows in France and Italy. In 2023 she was selected in the Nouveau Grand Tour residency program, with the support of the Institut Français d’Italia and Palazzo Butera in Palermo. She is currently working on a collective project for the creation of social and nomadic ovens.

Jonas Staal is a visual artist whose work deals with the relationship between art, democracy and propaganda. He is the founder of the artistic and political organisation New World Summit (2012-ongoing). Together with Florian Malzacher, he co-directs the training camp Training for the Future (2018-ongoing) and with human rights lawyer Jan Fermon has initiated the collective action Collective Facebook (2020-ongoing). With writer and lawyer Radha D’Souza he founded the Intergenerational Climate Crimes Tribunal (2021-ongoing) and with Laure Prouvost he is co-administrator of Obscure Union.

Exhibition projects include Museum as Parliament (with the Rojava Democratic Self Administration, Van Abbemuseum, Eindhoven, 2018-ongoing), We Demand a Million More Years (Fondazione Sandretto Re Rebaudengo, Turin, 2022) and Extinction Wars (with Radha D’Souza, Gwangju Museum of Art, 2023). His projects have been widely exhibited at venues such as the V&A in London, the Stedelijk Museum in Amsterdam, the M_HKA in Antwerp, the Moderna Museet in Stockholm, the Centre Pompidou-Metz and the Nam June Paik Art Center in Seoul, as well as at the 7th Berlin Biennale, the 31st São Paulo Biennale and the 12th Taipei Biennale.

Doireann O’Malley is a trans-disciplinary artist based in Berlin, Zurich, and Ireland. Their research-led work experiments with collaborative methodologies, meditative and visualisation practices, auto-theory as well as performance to create films, video installations and performances with a characteristic emphasis on Virtual Reality, AI and 3D technologies. Doireann was shortlisted for Ireland’s contribution to Venice Biennale in 2024, longlisted for the Neue National Galerie Prize in Berlin in 2021, and was the winner of the Berlin Art Prize in 2018. They are the recipient of several grants and awards, including the “Künstleriche Forschung” prize from the Berlin Senate (2020/2021); Stiftung Kunstfonds, Edith Russ Haus for Media Award, and the Irish Arts Council’s “Next Generation” and several bursary awards.

BA from University of Limerick (IE); MFA from University of Ulster, Belfast (UK). 2020-2024 Guest Professor on the Masters in Fine Arts at ZhdK, Zurich; 2021-2022 Professor of Gender & Space at Akademie der bildenden Künste Wien; 2021 Guest Mentor Live Arts MA / AdBK Nürnberg; 2020-2021 Fellow, Berliner Förderprogramm Künstlerische Forschung; 2019-2020 Fellow, BPA / Berlin Programme for Artists. 

Exhibitions, talks and screenings at The Granary Theatre / National Sculpture Factory (IE); IMMA, Dublin (IE); Art Institute, Basel (CH); Biennale Zielona Góra (PL); Goethe-Institut New York (USA); Neuer Berliner Kunstverein, Berlin (DE); Göteborg International Biennial for Contemporary Art (SE); Rencontres Internationales–Forum des Archives, Paris (FR) & Haus der Kulturen der Welt, Berlin (DE); Mumok Kino, Vienna (AT); Dublin City Gallery, Dublin (IE); KW Institute for Contemporary Art, Berlin (DE); Berlin Art Prize 2018, Berlin (DE); Edith-Russ-Haus für Medienkunst, Oldenburg (DE).

Elisa T. Bertuzzo is an urban sociologist and ethnographer based in Berlin. In academic and literary texts, teaching, as well as curatorial collaborations, she valorises the everyday life facets of solidarity, resistance and self-organisation (especially) among marginalised and migrant communities. Her transdisciplinary and mixed-method research practice, evolved in more than a decade of fieldwork experiences in Bangladesh and India, typically bridges critical discourses in Environmental Humanities, Visual Anthropology, Migration Studies and Postcolonial Studies. Understanding research as part of the eco-feminist project to strengthen and, where needed, reassess epistemologies, practices of care and economies which extractivist, colonial and patriarchal logics tend to oppress, through her work she strives to support translocal solidarity.

2004 MA in Comparative Literature, Sociology, Media and Communication Studies from Free University Berlin; 2008 PhD in Urban Studies from Technical University Berlin; 2008-10 Post-Doc Studies, Berlin Graduate School Muslim Cultures and Societies / Free University Berlin. 2010-2016 Principal Investigator in the project Karail Basti: A socio-physical mapping with Habitat Forum Berlin; 2011-12 Associate Researcher, Humboldt University Berlin; 2012-2015 Principal Investigator of Archives of Movement at University of Technology Berlin; 2017-2018 Senior Researcher at Future Cities Laboratory, Singapore-ETH-Centre; 2018-2020 Visiting Professor “Spatial Strategies”, weißensee kunsthochschule berlin; 2021-22 Senior Fellow, Indo-German Centre for Sustainability, IIT Madras; 2022 Curator of the artistic research and exhibition project The driving factor for nGbK/neue Gesellschaft für bildende Kunst.

Books: Fragmented Dhaka. Analysing Everyday Life with Henri Lefebvre’s Theory of Production of Space (2009); Archipelagos. From Urbanisation to Translocalisation (2019). Co-edited: Smooth and Striated. City and Water, Dhaka–Berlin (2008); Kontrolle öffentlicher Räume. Unterstützen Unterdrücken Unterhalten Unterwandern (2012); Lefebvre for activists (2020).

Marta De Pascalis’ sonic world acts as an uncanny translator that freezes and expands emotions, conveying them into unique soundscapes. Her solo works employ analog, fm synthesis, and a tape-loop system, whereby she carves waveforms to shape cathartic sound bodies. She has performed at several festivals and venues, notably Berlin Atonal, Museo Reina Sofia, Biennale di Venezia, Berghain, Volksbühne, Café Oto, and Mutek Festival.Sky Flesh, her latest album, has been published on Caterina Barbieri’s light-years imprint.

Aylin Çankaya was born in 1989 in Antakya, Turkey. She graduated from the Department of Architecture at Eskişehir Osmangazi University in 2013 and received her M.Arch. in History, Theory, and Criticism in Architecture at Istanbul Bilgi University in 2016. Her master’s thesis problematized space through the state of being an island (islandness), which cannot be considered a city or a rural area, and argued that the pre-acceptance of the urban-rural dichotomy is no longer valid. She is currently working on her Ph.D. thesis entitled Back-to-the-Land Movements at The Periphery of Istanbul: The Expanding Commoning Networks based on Accessing Fair Food in NTUA (National Technical University of Athens). With the support of Sivil Düşün (a European Union program), she conducted a video series with seven different food producers entitled Back-to-the-Land Initiatives in the Periphery of Istanbul: Seeking the Right to Access to Fair, Healthy, and Clean Food in the City. The project revealed the importance of soil, seed, and water for these food producers, who argued for cooperation and degrowth in the face of massive urban expansion. In light of this fieldwork, she wants to continue approaching Istanbul as an urban ecology and explore the social, political, and economic processes that produce it.

Patrick Mudekereza is a writer and cultural operator born in Lubumbashi, Democratic Republic of Congo (DRC), where he currently lives and works. He initiated several art projects, including one with the collective Vicanos Club, concomitantly studying industrial chemistry at the Polytechnic faculty of the University of Lubumbashi. He then worked as administrator and curator for visual arts at the French Cultural Centre in Lubumbashi, and he is the editor of the cultural magazine Nzenze. Mudekereza has initiated and collaborated with many publications and exhibitions both in Congo and internationally. In 2014, he received the National Award for Art and Culture from the Congolese Ministry of Art and Culture. He is the director of the Centre d’Art Picha and co-initiator of the Rencontres Picha, Lubumbashi Bienniale. Over the past ten years, Mudekereza has initiated a number of different projects, such as a magazine, cultural events, and exhibitions. He was a member of the steering committee of Arterial Network from 2009 to 2014 and is now a member of its cultural policy task team.

Ibrahim Owais, is the founder of Recordat, and one part of Radio Alhara. His work revolves around designing, developing, and creating cross-media experiences for both digital and physical spaces.He specializes in creating spatial sound performances and immersive space projects that utilize sound, architecture, and science to fabricate imaginary environments. As a sound artist, he focuses on the intersection of these elements to bring new experiences to life.Whether it’s a DJ set or a sound performance his sound is in constant change, evolving with time and resonating in space. Owais uses Dj tools as instruments combining improvisational elements to create soundscapes and form cinematic sonic narratives.

Highlighted by a diploma from the École nationale supérieure des Arts Décoratifs in Paris, his studies in Object Design was punctuated by a stopover in Mexico and preceded by two years of multidisciplinary training in arts and design in Lyon. Following the encounters, he deploys since 2019 his projects between France and Italy; seeking to inscribe his work in the territory of Sicily alongside the Palermitan design structure MarginalStudio. This path through multiple context leads him to conceive his work as an activity at the meeting point of plural approaches: artistic and anthropological, historical and scientific… as much concerned with forms as with exchanges and narratives as with expertises.
From the scale of spaces — pretexts for encounters and exchanges — to the one of objects thought as a multitude of tools supporting transmissions and collective reflexions, he conceives the design as a way to question territories and their socio-economic realities ; a method to probe with their inhabitant the constructions of the identities and the future of the local cultural and economic specificities.

Adrien Buyukodabas is one of the winning residents of the Residency On The Road programme.

Piero Consentino (Ragusa, 1987) has a degree in history and philosophy with a specialist training in philosophy of language and aesthetics. He has been working in the social and educational fields with a focus on migrations, then he took part in publishing and independent theater productions. He was really active in movements for the commons and for food sovereignty.
Since six years he was a farmer in the center of Sicily. His project is called Convegno di Marte, from the name of the place: it is inspired by the principle of agroecology and the ethics of permaculture: caring for the earth, caring for people and sharing resources. He cultivates and preserves ancient grains and legumes and is about to open and artisanal stone mill and pasta factory. He is involved in collective network projects to recreate connection in the inland rural areas. Living and working with the earth, seeds and plants meant for me being able to reconnect to natural cycles and rhythms, go through adversity and learning to rejoice in the extraordinary abundance and diversity that surrounds us.

Piero Consentino is one of the winning residents of the Residency On The Road programme.

Genny Petrotta (1990) is an Italian artist who lives and works in Palermo.Her artistic practice, guided by poetry and through video installation, seeks the sublimation of a wide range of interests and influences, from anthropological and philosophical to historical. Since 2016 she has been part of Il Pavone, an artistic collective with which she has exhibited in festivals and exhibition spaces including Manifesta12 Collateral, Spazio Y Rome, Adiacenze Bologna, Festival Effetto48, Cassata Drone Palermo, Festival Main off Palermo. Since 2017 he has been working with the artistic duo MASBEDO as assistant director and also covering other roles. In 2022 she directed the production of the video installation « U scantu » by Elisa Giardina Papa presented at the 59th Venice Biennale and coordinated the production of « Alkestys » by Beatrice Gibson and Nick Gordon presented at the British Art Show.

Genny Petrotta is one of the winning residents of the Residency On The Road programme.

Diana Lola Posani, sound artist, performer and curator, is a certified Deep Listening facilitator by the Deep Listening Foundation. She performs internationally, writes in the journal A Row of Trees, curated by the Sonic Art Research Unit (SARU) – Oxford Brookes University, and debuted in 2022 on Fango Radio with the podcast Kaikokaipuu. She is currently interested in working on the shared space between sound and poetic imagery through interdisciplinary works and sound poems. Her work has been presented at Errant Sound, Tsonami Sound Art Festival, NEXTONES festival, and in the sound art platform Licheni, curated by NUB project space.

In March her translation of the book “Deep Listening – The Sound Practice of a composer” by Pauline Oliveros, was published by Timeo publishing house.

Starting from martial arts and the art of the Japanese sword, which she still practices, she approached contemporary dance. After graduating from the Italian Professional School of Dance, she immediately started collaborating as a performer with the National Academy of Rome, the Wuppertal Theater and the Teatro alla Scala in Milan, coming into contact with internationally renowned choreographers and directors such as: Nikos Lagousakos, Cindy Van Acker, Claudia Castellucci, Crysanthi Badeka, Ariella Vidach, Gisele Vienne. Her meeting with Yoshito Ohono, MaluAiraldo and Adriana Boriello was decisive in her choice to direct her choreographic and performance language towards a continuous research on the body and its movement, including Visual Art, theater and new digital media in her poetics and multimedia. From 2010 to 2018 she collaborated as a performer for Monica Casadei’s Artemis Danza company, taking her shows all over the world. Her works include « Narcissus’s way, » presented at Infinito Studio Gallert TriBeCa, in which body, sensuality, interaction with the audience. With the OltreModo collective she presented the performance « Corpi » at the Infinito Studio Gallery in New York. A post-apocalyptic scenario in which real elements and imaginary references are mixed constitutes the performance of a hybrid nature. In collaboration with Did Studio and Studio Azzurro, she created « In Fieri – Dissolvenza del divenire, » a performance installation in which body and sound dialogue. Since 2013, she has collaborated with director Romeo Castellucci, both as performer and choreographer, further developing the qualities of plasticity, dynamism and compositional rhythm applied to the totality of the performing and visual arts. As a performer of her shows, she worked on such extraordinarily important stages as: Adelaide Festival of Arts, Festival dAutomne, Holland Festival, deSingle, Peak Performance Montclair, Festival Transamerique-Montreal. Under Castellucci’s direction as choreographer, Gloria performed in The Third Reich and at the Bonn Beethovenfest: « Pavane für Prometheus » for the Bonn Festival in September.

Eliza Collin (Plymouth,1993) is a British designer and researcher. Her practice spans areas of ethnography, art, co-design, curation, and education. She develops bodies of research and methodologies focussing on new systems, perspectives and ways of relating to material, resources and the environment. Delivering design-led, third party projects from Cornwall to Kuching, she’s worked as a Project Manager and Community Director in the ongoing Palestine based cross-cultural collaboration Samak Bilab Bi Delo and been commissioned to develop research projects from Studio Rizoma (Sicily, 2020), LIPA festival (Makassar, 2020) and Narratives of Soil (Kuching, 2021) with architect Wendy Teo for the British Council to name a few. As well as being an active member of the United Matters collective she holds an MA in Material Futures from UAL Central Saint Martins.

She was first inspired by the accounts of Sicilian farmers on how deforestation and overuse have rendered the water cycle unpredictable. She collaborated with researchers in Ghana and Jersey to design the regenerative water recycling kitchen, Aqua Dentro (2021). This work on the displacement of water, its consumption and recycling, stemmed from a body of ethnographic research carried out in Sicily, highlighting the potential of design to affect human perception and in turn promote best practice. She accomplished this through international expert engagement and researching indigenous systems and technologies. She explored their potential for laying the foundations of advanced contemporary methodologies through the focus on challenging how we see water, how we understand it as a resource, how it moves through the land and is pulled into the cities, and how it is expected to be used and disposed of. The work challenged old inflexible and hierarchical systems and produced community projects providing strategic support, direction and navigation to achieve excellent, relevant and long-lasting outputs.

Since then she has been working on water-related projects within the government design team PolicyLab, collaborating on a rainwater harvesting system for the BlueCity Rainwater Hackathon (Rotterdam, 2022) and is currently in residence in Utrecht for Gemene Grond: Water is what we make it (Utrecht, 2022).

Lena Chen is a Chinese American writer and artist creating performances and socially engaged art. A recipient of Mozilla Foundation’s 2022 Creative Media Award and “Best Emerging Talent” at the 2019 B3 Biennial of the Moving Image, her work has appeared at Transmediale, Kunsthalle Düsseldorf, Färgfabriken, Baltimore Museum of Art, Haus der Kulturen der Welt, Sheffield DocFest, Museum of Contemporary Art Jacksonville, among others.

She has been awarded grants and residencies from Sundance Institute, Millay Colony for the Arts, Burning Man Global Arts Fund, Frank-Ratchye STUDIO for Creative Inquiry, Pittsburgh Foundation, and Arthur Boskamp Foundation. She has spoken at Oxford, Yale, Stanford, and SXSW. She is founder of Heal Her, an expressive arts initiative that supports survivors of gender-based violence.

Currently pursuing a Ph.D. in Performance Studies from the University of California, Berkeley, she earned a B.A. in sociology from Harvard University and a M.F.A. from Carnegie Mellon University’s School of Art. 

Born in Bangui, Central African Republic, in 1973 and raised in neighbouring Cameroon, Hervé Youmbi studied art theory and developed an interest in installation art, which he later pursued, through both practice and research, in France at ESAD (Ecole Supérieure des Arts Décoratifs de Strasbourg). 

Youmbi often integrates traditional Cameroonian sculpture techniques within his installations and into performance and video. This allows him to juxtapose indigenous African art traditions with contemporary global art conventions, and destabilise what is regarded as “traditional” versus “contemporary.” Youmbi’s series Visages des Masques/Faces of Masks transgresses these established categories in several ways. His departure point is to insert mask forms that diverge from the Western stereotypes of “African Art” for this region of Cameroon into “traditional” Bamileke ritual performances, thus embodying them with efficacy and authenticity.

Youmbi’s Les Trônes Célestes is an installation of beaded caryatid thrones “traditional” for rulers of the Cameroon Grasslands, each seat of power supported by an animal traditionally symbolic of idealized leadership—except for the tortoise that Youmbi has slyly inserted here to suggest that the deliberate creature might epitomize better leadership than, say, the leopard, a stealthy killer. His series Totems to Haunt Our Dreams confronted how difficult it was for artists to travel and network within Africa, despite shared aspirations and similar subordination to commodification, which reflects the globalisation of capital that nevertheless serves to constrain African artists within parochial silos. 

Hervé Youmbi is a founding member of Cercle Kapsiki, a collective of five Cameroonian visual artists established in 1998. The K Factory, the collective’s home, based in New Bell, one of the poorest but also one of the most dynamic districts of Douala, is a flexible space, experimental and open to a wide range of collaborations.