Alma Feldhandler was born in 1996 in Trappes, France. She lives and works in Paris. Her recent exhibitions include The Latest Thing (2026) at Meyer Riegger Wolff, Seoul; There Is a Crack in Everything (2025) at the Jewish Museum of Belgium; Who’s the Captain of All These Boys of Death? (2024) at Meyer Riegger, Berlin.
She graduated with a BA from the LCC, University of the Arts London (2017) and post-graduated with a DNSEP from the ENSAPC, Paris (2021)

In her work, Adélaïde Feriot (born in 1985 in Libourne) experiments with the introduction of living organisms in the space and time of the exhibition. She sees herself as a “tuner of living machines”, keeping in mind the troubling idea of the automaton, between the animate and the inanimate. Materials, their origins, their properties, their symbols, are at the heart of her practice. She seeks to give shape to the transfers of energy that take place between them in the workshop, and later when they are joined by our vibrating bodies.

Justin Fitzpatrick (born in 1985 in Dublin) lives and works in Paris. He received an MFA in Painting from the Royal College of Art in 2015. Through painting, sculpture, and writing, he explores human consciousness through the lens of biology.
His fantastical works stage mutating figures, Art Nouveau–inspired lines, and Gothic motifs, where bodies become mechanical spaces. Stylized skeletal forms, plants, and insects emphasize the interconnectedness of species, drawing on cellular science, myth, poetry, as well as reflections on social class and sexuality.

Gabriel Fontana is a freelance designer working in the field of social design. He develops projects that combine art, sport and community education. His area of research? Sport. Not as a performance, but as a genuine social laboratory. By inventing new sports, he explores how our bodies internalise and reproduce norms of gender, identity and power, and invites us to unlearn these codes. The games he creates encourage empathy and offer new ways of thinking about the collective. His game Multiform has been introduced in schools across Europe, showcased at the Paris 2024 Olympic Games, and recently acquired by MoMA, thereby becoming the first queer sport to be included in a museum collection.

Born in 1984, Faye Formisano graduated from E.S.A.A Duperré in textile design and from Fresnoy - Studio national des arts contemporains. Artist and director, she explores in her work at the crossroads of drawing, textile and cinema, the border of identities through fantastic figures. Inspired by science, dance and literature, she draws from the idea of the monster a principle of metamorphosis that questions the notion of the link between humans and their environment. Combining old and new technologies, her films, drawings and immersive textile installations (VR) are presented in film festivals in France and internationally (Sundance, GIFF in Geneva, Guanajato, Mostra de Sao Paulo, Clermont-Ferrand, Etrange Festival). Her work is also present in various art centers and galleries (CAC Geneva, MBDK Leipzig, Paraédolie Marseille, M.E.P Paris, Gr_und Berlin,). She is currently pursuing a thesis in research-creation at the University of Lille and Fresnoy on the use and functions of the veil in cinema as a manifestation of troubled identities, recently presented at the Gaîté Lyrique.

John Fou (in 1983 in Les Lilas) is a multidisciplinary artist. Self-taught, coming from the world of performing arts and more particularly of circus, dance and theater, he develops a practice of figurative painting in which he portrays social relationships between animals of different species, like an allegory of his life, and more generally of human relations. His experience as a dancer is a major influence on his painting, through the way that the protagonists come into contact: they love each other, size each other up, admire each other, crush each other, cling onto each other and seduce each other.

Max Fouchy (born in 1988 in Grasse) entered the Beaux-Arts de Paris in 2009, in Tadashi Kawamata’s workshop, which put great emphasis on personal practice. This freedom allowed him to develop an intuitive approach, based on almost scientific experiments. His work often consists in collecting random materials and objects and revealing their forgotten potential. After obtaining a DNSAP in 2014, Max created the workshops “Le Lance-Pierre” with other artists, within the Salvation Army.

Clédia Fourniau (b. 1992, Paris) explores the boundaries of painting, questioning how images are created and perceived. A graduate of ENSAAMA and Beaux-Arts de Paris, her practice is rooted in constant experimentation, blending diverse materials such as resin, pigments, oils, and mica onto various textile supports.
By applying glossy resin, Fourniau creates a self-reflexive dialogue between the canvas and its surroundings, physically engaging the viewer through reflections. Her work bridges minimalist inquiries into form and color with an expressive gesturality inherited from Abstract Expressionism. Incorporating cryptic symbols and "fake" characters, she seeks to short-circuit the authority of the artistic gesture through a process-driven, studio-based practice.
Winner of the 2022 Sisley Beaux-Arts de Paris Prize and the 2024 Reiffers Art Initiatives Prize, Fourniau lives and works in Paris.

Henri Frachon conducts fundamental research on the birth of the most elementary forms and is particularly interested in the hole. It is by digging and drilling that he seeks to better understand the essence of this mysterious and vital element. Sculptor born in 1986 in Corsica and raised in Tahiti, he graduated from ENSCI-les Ateliers in 2019 and from Arts et Métiers in 2010. He was a winner of Audi Talents in 2020 and of Villa Noailles in 2021. His work has been exhibited at the Palais de Tokyo, the Picasso Museum in Vallauris, and in Japan.

Between vestige and anticipation, Sacha Gabilan’s work stages soft, ghost-like architectures marked by wear. Sculpture, photography, and archives converge to think of memory as movement: what persists, distorts, and disappears. His pieces evoke scarred skins, chests, or tombs, held in a constant tension between fragility and monumentality. Through wax, wood, or stretched resin, Gabilan creates surfaces of inscription where the trace itself becomes the true subject.

Fernanda Galvão’s practice (b. 1994, São Paulo) is rooted in her relationship with nature, enriched by references to feminist science fiction. Through careful observation of living systems, she develops fictional ecosystems and landscapes shaped by a diffuse memory, engaged in an infinite cycle of metamorphosis.
Working primarily with painting, while also extending into installation and video, her practice opens onto autonomous universes governed by their own spatial and temporal logics. Devoid of sunlight or horizon, these worlds suggest the emergence of an elsewhere, imbued with a deeply personal mythology.
Fernanda Galvão has exhibited in institutions and galleries such as the Museu Oscar Niemeyer (Curitiba, BR.), Instituto Tomie Ohtake and Museu de Arte Brasileira (both in São Paulo, Br.), White Cube (London), Casa Triângulo (São Paulo), Andersen’s Contemporary (Copenhagen), Foundry Seoul, and Lyles & King (New York).

Trained as a graphic designer, Giada Ganassin (born in Ivrea, Italy, in 1988 - lives and works in Paris) uses drawing to invite reflection and allow people to feel understood and comforted beyond language barriers. Her research pushes the sign to its simplest form and mixes it with different materials to allow it to enter the daily life of everyone, at the scale of the house as well as the city. Since 2020, she has been imagining designs that rotate endlessly on François Bonnot's ceramics and objects, as the Ideal Office. Bureau Idéal creates objects that tell stories and open up the everyday to reverie and contemplation. The relationship between form and setting is central and one relies on the other to exist: stories unfold on the surface of the objects and revolve around them - without beginning or end.

Laura Garcia Karras (born in 1988 in Les Lilas) defines her paintings as silent spaces. In the space of this silence, a reflection emerges, at once pictural, philosophical and poetical, essentially based on time. She remembers an incredibly powerful sensation that she felt as a child. She took a fossil in her hand; at that moment, she was fully aware that she was literally holding time, embodied by this small stone. She was holding a natural construction, the mineral moulding of a living form, vegetal or animal, whose imprint travelled through time to find itself in her hand.

Hector Garoscio strives for an aesthetic ideal based on an appreciation of beauty experienced as a dynamic and interactive event; a modified state of consciousness, a moment of poetry and grace. Intuitively, he has come closer to the surface, its reflections and its parallel dimension. As full as flat, it hides an abyss of interpretations, a true ground of imaginary. Like a threshold, it marks the physical transition between two worlds, two potentials.

Anaïs Gauthier was born in 1991 in Paris. Anaïs Gauthier’s immersive installations simulate life that stubbornly persists in failure. She sets in motion various chain reactions within a paradoxical ecosystem where the organic and the mechanical merge without ever fully managing to coexist. Exhaustion is symptomatic of this mutual rejection. Yet these technological reliquaries and these autoimmune forms depend on one another. She regularly collaborates with engineer Matthieu Grivelet, blending art and technology.
Text: Alexia Abed.

Bérénice Gaça Courtin is a multimedia artist based between Geneva and Paris, and a graduate of HEAD – Genève. At the intersection of tapestry, performance, sound, and technology, she develops a practice that considers textiles as a political infrastructure capable of revealing the relationships between bodies and systems of power. Drawing on the history of cryptography specifically that of the Enigma machine, which her grandfather, the Polish resistance member Kazimierz Gaca, worked on her research creates a dialogue between coding devices and digital culture.
She is currently presenting a textile and sound installation at Manifesta 16 Ruhr, the European Nomadic Biennial, in the Ruhr region (Germany), in an exhibition curated by Krzysztof Kosciuczuk and Anda Rottenberg.

Clémence Gbonon is a French artist born in 1994. Her painting work embodies a space of conflict, transformation and the pursuit of self-determination. Between abstraction and figuration, her work articulates dreamlike visions of Black consciousness in search of itself. Clémence Gbonon studied at the Beaux-arts de Paris and the Cooper Union, New York. Her work has been shown in France, the United States, Europe and Nigeria.

Quentin Germain, born in 1987, grew up and lived part of his life abroad, notably in Brazil, the former Yugoslavia and China, where he studied at the Central Academy of Fine Arts in Beijing. He entered the Beaux-Arts de Paris in 2006 and graduated in 2012 in the studio of James Rielly. Fascinated by archaeology and German romantic painting, he is imbued with the aesthetics of the sublime, perpetuated in the work of Gerhard Richter or Anselm Kiefer, painters who have greatly influenced him. More broadly, cinema and scientific imagery are other essential sources of inspiration for him. His work unfolds through several mediums: painting, sculpture, drawing and installation. Since 2016, his research focuses on ruin and the passage of Time, through series of landscapes and objects that question the duality between natural and artificial. Whether in his paintings painted on oxidized steel, or in his concrete sculptures immersed in the open sea, technique dialogues with living matter, figurative order with natural chaos.

Federico González (Suricata), Mexican multidisciplinary musician and sound artist, bridges indigenous traditions with avant-garde electronic music. Exploring rave culture as an experimental space, he creates links with museums and galleries, questioning sound’s role in cultural identity, social change, and resistance. Based in Paris, he blends field recordings, handmade instruments, and an acid political approach.

The work of Jérôme Grivel (born in 1985 in Mulhouse, graduated from the Villa Arson in Nice in 2010) develops a critical reflection exploring the entangled, sensory, physical and spatial relationships between situations, environments and bodies, and the social, political and psychological states they entail. Declined on the performative mode, his practice unfolds through different disciplines and threads of thought (sculptures, drawings, architectural projects, performances, videos).

Misha Gudwin is an artist and curator born in Voronezh, Russia (November 23, 1995). He lives and works in Paris. He graduated from the BAZA Institute of Contemporary Art in 2021. His artistic practice focuses on the interaction between urban and digital environments, often using found objects that reflect the industrial nature of contemporary cities. His work also engages with internet subcultures and pop culture. Gudwin is a co-founder of the artist-run exhibition space Emergency Space in Paris.

Pauline Guerrier (born in 1990 in Clamart) shares her time between various workshops in Italy, Maghreb, Portugal or Chili. Weavers, glassblowers, stone carvers, glaziers, mosaicists and many others constitute her daily life: she observes, analyzes and learns. Perpetually seeking to learn these ancestral techniques, she confronts the knowledge of yesterday with the world of today and of tomorrow.

Cécile Guettier (born in 1992 in Paris) graduated from the School of Fine Arts of Nantes Métropole in 2018. She was selected for the Révélations Emerige Grant in 2021 and awarded the Villa Noailles Prize.
Exploring Cécile Guettier's work, our gaze is simultaneously carried away by vibrant colors, a teeming multitude of lines, a variety of materials, and captivated by clear composition and sensitive outlines. The artist's intent encounters on canvas and paper, at the crossroads of details, a peculiar happenstance, accidents inherent to the language of painting, which align with her representations and reinforce them; it's as if the image preexisted like a magnet within the blank canvas, and any blot falling onto the surface was destined to fill it. The figures present in her work belong neither to dreams nor nightmares; chimera-like, their enticing colors keep us from being frightened by them, and their unsettling actions make us want to encounter them. It is perhaps this ambivalence that makes the contemplation of these works so generous; a silent excitement settles in, our imagination travels from clue to clue. Through their plastic and narrative singularity, Cécile Guettier's images take their place in our memory alongside those that provided us with answers while simultaneously inventing the questions.

Raphaël Guez (born in 1996 in Paris) is a digital artist and designer who works on the links between spirituality and technology. Using digital collage, video, or 3D, he tries to create various universes where discrepancies in scales, spaces, and emotions question the future of humanity in the age of technology. A machine learning engineer by training, he now wishes to link data and 3D immersion in his artistic approach.