Self-taught, Cyrielle Gulacsy (born in 1994 in Paris region) focuses on drawing and painting. Initially driven by a quest for realism, her work has evolved under the influence of modern physics, towards the representation of an imperceptible reality, in the realm of abstraction, revealing the invisible laws of nature. Space-time, electromagnetism or the diffraction of light are all fields of research and experimentation through which the artist can explore new representations of reality.

Dhewadi Hadjab (born in 1992 in M’Sila, Algeria) graduated from the École supérieure des beaux-Arts d’Alger, the École d’Art de Bourges and the Ecole des Beaux-Arts de Paris. He is represented by the Kamel Mennour gallery. Surprising and disconcerting, the paintings of Dhewadi Hadjab are of intriguing beauty. Photography and pictorial practice are both at the center of his work.

Mariana Hahn (born in Schwäbisch Hall, Germany) investigates archives and archival processes, the memory of her body and her own genealogy, and their transfer to other media, be it paper, copper or other organic and mineral materials. It is precisely the water, the salt, that allows the artist to fix her own silhouette on wide and thin copper plates, when she prints her body covered with sweat after running, when she applies a few lines with her tongue, or when she whispers poems near piles of salt on copper.

Hall.Haus is an organization of four designers, founded in early 2020 by Abdoulaye Niang, Sammy Bernoussi, Teddy Sanches, and Zakari Boukhari. They advocate a creative approach derived from an interaction between their environment (hall) and design (haus). Their fields of action in design are: the object, experience, and transmission. This organization is committed to imagining the world of tomorrow, using its multicultural heritage, coming from design, the streets (in a broad sense), and from its origins; it aims to act for ecological transition and to make design more accessible, especially to young people.

Charles Hascoët (born in 1985 in Paris) is a painter. His work, tinged with nostalgia, strives to weave links between onirism and academism. From still life to underwater compositions, he tells his story in chapters. Since his graduation from the Beaux-Arts, he tries to assert a completely personal direction devoid of compromise. He has been collaborating since 2019 with Superzoom with whom he has exhibited in Paris and Miami, is represented since 2020 by Dumonteil Gallery in Asia, and since 2021 by New Galerie. Charles lives and works in Paris and New York.

Paul Heintz (born in 1989 in Saint-Avold, France), gratuated from the Beaux-Arts de Nancy, Arts Décoratifs de Paris and Le Fresnoy, studio national des arts contemporains. His eld of action is a bizarre set of cases where what is real is largely imbued with fiction, and where social normativity also makes its weight entirely felt. There is an inherent toxicity to imagination and fiction when they combine their approval of the social norm, as is the case with storytelling for example. From there, Paul Heintz enters the logic of fiction, takes it further and lets through redeeming current.

Most of the works conceived by Ibai Hernandorena can accept this reading: the creation of spaces for speech, spaces for meeting - not in the sense that speech or meeting are possible in them, but rather in that the works themselves activate them, arouse them, open up a space as if dedicated to them. They are, so to speak, the houses, the living homes, where there can be the other.

Born in Paris in 1991, Arthur Hoffmann is a visual artist who explores the porosity between reality and illusion, through extensive experimentation with the medium of photography and painting. His work focuses on spaces of transition, where everything seems transparent but the essential emerges from the void. Playing with raw and delicate materials, he transforms non-places into dense spaces, marked by a subtle balance between chaos and harmony, absence and presence.

The work of the duo Irma Name (Hélène Deléan and Clément Caignart) has consisted since 2016 in setting up collective or participatory projects, questioning the ambiguous role of politics and pedagogy in their artistic practice, as in art in general. Because collaboration and improvisation are empirically at the heart of production methods in film, theater and performance, Irma Name sees these different mediums as privileged tools to give shape to her speculative narratives.

Michel Jocaille works with sculptures and installations of various scales, mostly composed of material combinations with a camp aesthetic - which emphasizes artificiality and its exaggeration by reverberating in a theatrical extravagance. The artist is interested in questions relating to identity constructions by incorporating references to the cult of the body, the notion of fluidity and hybridization. The works that he produces testify to a formal and theoretical research aiming to blur the hierarchies between discourses, to overturn the nomenclatures and the imaginary representations. It is thus that unfolds within the step of the artist a reflection on the referential and authoritative systems which found the identity constructions.

Livia Johann (born in 1986 in Paris) graduated from ENSBA Lyon and HEAD Geneva. She is a member of the Rotolux collective. She develops a practice of sculpture and performance, using materials referring to the universe of the building site, implying a total engagement of the body. She questions the economy of artists and develops production systems, using traditional sculpture as well as edible material.

Born in 1986, Olivier Jonvaux is a graduate of the ENSBA - École nationale supérieure des beaux-arts de Lyon and the Fresnoy - Studio national des arts contemporains. He has been invited to various residencies and artistic institutions in France and abroad. His work has been exhibited at the Palais de Tokyo, the LAM - Villeneuve-d'Ascq, the Musée d'art moderne de Saint-Étienne, Basis Frankfurt, the CEAAC Strasbourg, the Bazaar Compatible Program in Shanghai. His films have been presented at SESIFF in Seoul, ISFF in Clermont-Ferrand, Instants Vidéos in Marseille, Pavillon Sicli in Geneva. His work has been exhibited at the Salon Jeune Création and has received various awards including the Ateliers d'art de la Réunion des musées nationaux, the AIA and the AIC of the DRAC Île de France, or the Chantiers de la création at Mains d'Œuvres. His work covers different mediums, from sculptural to multimedia, drawing on fields as varied as philosophy and comics.

Saija Alexandra Kangasniemi is a Finnish visual artist. She has graduated from Aalto University in Finland. She works through the mediums of performance art and visual art, often exploring the notions of consciousness, presence and concentration. She is interested in participatory and collective working methods, and creating bodily practices that can open new relations with the environment and other beings.

After studying at EM Lyon and ESMOD Paris, which led her to undertake a six-month initiation journey in Asia, Solène Kerlo (born in 1990 in Suresnes) decided, at age 30, to pursue her childhood passion, which she had neglected for too long: painting. Using an earthy and textured palette, she represents the symbols of an imaginary and spontaneous calligraphy, as though she was unearthing from the bowels of the earth a universal and immemorial language, which would establish a communication
between the visible and the invisible, between matter and spirit.

Léa Klein learnt drawing at the Lycée Estienne. She then entered the Ecole des Beaux-Arts de Paris, where she discovered sculpture in Giuseppe Penone’s workshop. Léa Klein reflects on these experiences through her practice of drawing. The graphic activity, influenced by the rhythm of ornamental Guyanese sculpture, transcribes the character of the places that the collective has frequented over the past decade.

Sarah Knill-Jones' (born in 1969 in London) work investigates the human figure and its propensity for the monstrous as well as the power of abstract gesture to create a visceral response to the world. Often inspired by the relationship between humans and nature, she seeks to provoke reflection on the duality of our relationship to our environment. She explores the expressive links between the substance of painting and the body through painting, photography, monotype, video, and collaborative projects.

Victoria Kosheleva (born in 1989 in Moscow) graduated from the Moscow State University named after Surikov, Department of Monumental Painting in 2012. She studied at Parsons in New York, in the department of design, and at the “Free Workshops” of the Moscow Museum of Modern Art. She works in the genre of figurative painting, often using surrealistic elements.

The practice of Emma Kovo (born in 2000 in Paris) gravitates around the imprint through different techniques of collage, photogram, and printing, such as engraving or silk screen. The intention is not to keep the trace of existing things but to use as raw material the artist’s own plastic traces, the material that she creates, samples, and diverts. She experiences the ardor of the gesture and of this gesture she keeps a trace which will be transformed, accumulated, saturated, then altered.

Currently based in Paris and fascinated by his contemporaries, everyday objects, and the transformations of the body related to the passage of time. In 2012, in order to escape the feeling of isolation imposed by studio work, the artist started painting alone in the streets using a brush. His giant octopuses now sprawl all over Paris, their endless tentacles running across the city's facades and rooftops. "I love the idea of painting in urgency," Initially preoccupied with his studio work (drawing, painting, and video), Kraken "observes life unfolding, even the least graceful of it."

Nika Kutateladze was born in 1989, in Tbilisi. He studied on the faculty of Architecture at the Tbilisi State Academy of Arts between 2007 – 2011. In 2013 he graduated an informal master’s course at the Centre of Contemporary Art, Tbilisi (CCA-T). The majority of the artworks comprise installations and sculptures, reflecting day-to-day consumerism and different environmental issues. His later artistic utterances challenge the transformative process of architectural spaces and urban environment, in general.

Constance Lafonta (born in 1997, Paris) is a contemporary artist who explores profound themes such as memory, identity and human fragility. A graduate of the Beaux-Arts de Paris and Central Saint Martins, she approaches her work with a philosophical reflection on the impermanence of memories and the way in which identity evolves over time. Her immersive work invites both a sensory and conceptual experience, questioning the viewer's perception of the fluidity of existence. Often involving a collaborative aspect, Constance also encourages reflection on the collective dimension of the human experience, highlighting the interaction between the individual and the collective, the tangible and the intangible. Her works thus become spaces for intellectual meditation, where notions of time and identity are constantly redefined.

Martin Laforêt (born in 1991 in Paris), lives and works in Vernon, France. His work is part of the arte povera aesthetic, but does not follow any precise course of action. Inspired by artisanal know-how and the intelligence of the hand, he likes to handle the ambiguity of industrial construction materials to give them a new nobility. In contrast to the usual practices of design, which often seek to conceal technique for the benefit of aesthetics, he develops a language of deconstruction, or rather he unveils the construction.

Grégoire Laisné (born in 1982 in Tours) graduated from the Ecole des Beaux-Arts de Rouen, he started his artistic career as an engraver. He was awarded the Prix Lacourière for his first works on paper. His unique monotypes immediately stand out, through the presence/absence of the human figure in a kind of impossible and universal portrait. Whether it is through painting, printmaking or drawing, Grégoire Laisné is now developing very personal techniques, combining computer-based methods (digital drawing) and more traditional skills.

La Méditerranée is a research group cofounded by artists Mateo Revillo and Edgar Sarin, and art historian Ulysse Geissler. Each one, through his own experience, has developed processes and methods over the past decade with the purpose of supporting the singular ecology of each exhibition, like a space of action. Under this model, at the opening, neither the audience nor the artists can know where the exhibition is headed: its principle is built as the exhibition unfolds.